Andrew Robson's High 5

Historical article recovered from a Wayback capture dated 2018-02-24.

” one of the most complete players of the instrument worldwide. Drive, sensuality of tone, elegance and breathtaking technique, a combination of introvert poetic themes with extrovert elements – he is a wonderful musician.” - Ulrich Olshausen, Frankfurter Allgemeine Zeitung, November 10, 2004 (Daily newspaper, Frankfurt, Germany)

Andrew Robson is one of Australia’s premier alto saxophonists and composers. He performs nationally and internationally with groups including:

Mara

Mike Nock’s Big Small Band

Ten Part Invention

The World According to James

and his own group, the Andrew Robson Trio.

In 2003 Andrew won the distinguished Freedman Jazz Fellowship, for which only 12 musicians nationally were invited to apply.

Two years before that he won an Australian Record Industry Association (ARIA) Award for Best World Music Album for Live in Europe, by the Mara Ensemble. This CD included Andrew’s compositions.

Andrew has also been twice nominated for an ARIA Award for Best Jazz Album for his recordings Sunman (2001), and On (2003). Andrew was nominated for Jazz Instrumentalist of the Year in the 2004 MO Awards. In addition, the Andrew Robson Trio’s first album Scrum was short-listed for Rhythm Magazine’s Album of the Year and was nominated for the ABC 24 Hours/Classic FM Australian Jazz Album of the year 1997.

Andrew has performed extensively both at home in Australia and internationally with numerous jazz and world music groups. International tours included performances at the Berlin Jazz Festival, Chicago Jazz Festival, Greenwich and Docklands Festival (London), WOMAD (Reading, UK), Bim Haus (Amsterdam), and prestigious jazz clubs in Germany such as Unterfaht (Munich) and Stadtgarten (Cologne).

In Australia, Andrew has performed at all key festivals and venues and recorded with some of the country’s most celebrated talent including the late Jackie Orszaczky, James Morrison, Barney McAll, Tony Buck, The catholics, Sandy Evans Group, The Umbrellas, Clarion Fracture Zone, James Muller, Wanderlust, Vince Jones, Monica Trapaga, Ed Kuepper, the Mighty Reapers, Marcia Hines, Renee Geyer and The Whitlams.

He has also appeared with touring American blues artists Terry Evans, Cornell Dupree and Jon “King” Cleary.

Email: andrewrobson@ozemail.com.au

Website: www.andrewrobsontrio.com

Record Label: www.lamplightrecords.com

“Anyone who has already posted their High-Five, or indeed anyone who has challenged themselves to come up with their own list of desert Island discs, the problem is not so much what to put in but what to leave out. As a professional saxophonist there are a great number of performances that I have been lucky enough to be a part of that I could easily have included in the list below. But it seems that a list of performances at which I performed belong in a category of their own, a little different to being an audience member.

But the one performance I would like to mention, one that I was on stage for, took place in 1994 on the banks of the Danube in Budapest. I was a member of Jackie Orszaczky’s band, the Grandmasters.

We were told later that there were more than 10,000 in the audience that night. So many, that the roads at the back of the park had been closed for the duration of Jack’s appearance. Towards the end of our set, Jack told the crowd that “all cultures have the blues and here is one of ours.” The vast sea of screaming fans fell silent and Jack sang the traditional Hungarian folk song, “Sir Az Ut”, accompanying himself on electric bass with the three horns (James Greening, Jason Cooney and myself).

I am sure that all musicians have moments that confirm for them why it is they do what they do. This is most definitely one of mine”.

1. SUN RA – The Knitting Factory NYC 1992

This was one of those completely stunning gigs, the full significance of which is still dawning on me. Looking back, I now know I was present for the final moments in a unique chapter of musical history.

Sun Ra was very ill – I think he had had a number of strokes and he seemed unable to move very much at all – except for his hands. The gig was upstairs at the Knitting Factory in Greenwich Village and we had arrived pretty early, to make sure of a seat. When we entered the upstairs performance space, Sun Ra was already sitting at his keyboard.

By the time the rest of the band took the stage the house was full to overflowing! They played what I can only describe as free big band music – but even this description puts a straight jacket around what actually took place – the band played with so much freedom and energy.

It was obvious that even though Sun Ra was physically not in great shape, musically he was inspiring the musicians to reach great heights of creativity and commitment and the audience went completely nuts for the duration of the performance. At the end of the gig (and encore) there still was no satisfying the crowd’s enthusiasm. Sun Ra, after what seemed like a very long time, began to move in his chair, over several long minutes he struggled to his feet and fell, instantly, back into his chair. The audience went crazy “Sun Ra, give it to him he deserves it ” screamed a particularly enthusiastic audience member. I couldn’t have agreed more!

2. STEVE LACY WITH THE ENGINE ROOM – The Basement, Sydney 1999

This gig was very special for many reasons, not least of which, the unbelievable playing of Roger Frampton. Despite being gravely ill, Roger played at such a high level, and with such invention and virtuosity that Roger on stage by himself would have made for an unforgettable performance.

Add to this John Pochee and Steve Elphick at their creative best and you are starting to get the idea. Now, add to this mix arguably the greatest improvising soprano saxophonist the jazz world has known and you can see why I am not the first to include this gig in this High Five column.

3. JAN GARBEREK AND THE HILLIARD ENSEMBLE – Sydney Opera House, 8 Feb 2002

In terms of an all round concert experience this is one of the best live performances I have ever heard.

The sound of these five musicians in the Concert Hall was simply stunning. The intonation was so good it was frightening and the amplification was so subtle that unless I had heard the effect of it myself, I would not have believed this kind of live sound was possible.

I had high expectations for this gig as I am a fan of Jan Garbarek’s and I was also familiar with the recordings he had done with the Hilliard Ensemble.

The simplicity of the concept and the purity of the sound were breathtaking and the effect was only heightened by the vast space of the Opera House Concert Hall.

4. BENNIE WALLACE Tribute to Coleman Hawkins – Chicago Jazz Festival 2004

This gig was a completely unexpected bonus at the end of what had already been an amazing day. I had just performed at the Chicago Jazz Festival with Ten Part Invention and it was only after this I discovered that Bennie Wallace would be performing on the same stage later in the evening.

I first heard Bennie Wallace when Colin Hoorweg (the drum lecturer at the Canberra School of Music) played me a track from a Bennie recording with Dave Holland and Elvin Jones (Big Jim’s Tango on the Enja label – if you want to track it down). I was instantly taken by how distinctive he sounded. He had such an original approach to his lines. I still believe he is one of the most strikingly original tenor players around.

Hearing that first track (around 1989) was the beginning of an ongoing quest to get my hands on Bennie’s recordings. So, all those years later, to discover that I was actually performing on the same bill as Bennie Wallace was something of a coup. (Of course we also had backstage passes and could hang out in the green room too!)

Bennie’s gig was really something very special. Bennie played arrangements of tunes with a small big band that formed a tribute to Coleman Hawkins. It was a heavy line-up that included Ray Anderson on trombone and Herlin Riley on the drums. For me the completely mesmerizing highlight of the gig was when they played the traditional tune “Joshua Fought the Battle of Jericho” and Herlin Riley put down his drum sticks and played the deepest, jaw-dropping groove on the tambourine. Not a gig or a day I will forget in a hurry.

5. ORNETTE COLEMAN – Sydney Opera House, 24 Feb 2008

This was such a recent gig and one that many of you reading this may have been to. For me, Ornette is so special, his sound, his conception, his writing, his commitment to his art. I was actually a little nervous about going to this gig, not wanting to be disappointed by the possibility of hearing one of my idols not at the peak of his powers. When Ornette shuffled onto the stage I feared the worst until he played his first note.

I know not all the seats in the concert hall at the Opera House provide the same sonic experience but from where I was sitting Ornette sounded like an angel. As good as all of my favorite Ornette records -only better!

There was something about seeing him play live that helped me to understand more about his music. I have found that since this gig I am hearing another level on his recordings too.

For me this concert was also a lesson in performance and concert craft, in the best senses of those words. He chose a wide selection of his music from across his whole career and his decision to finish the night with Lonely Woman was sublime.

Ornette played with a sense on joy and almost child-like enthusiasm for the music an inspiration.

I should also add that I was lucky enough to meet Ornette after this concert; of course, this only added to the already overwhelming experience of hearing him play.