Old-school Player Gets A Groove Thing Going

Sydney Morning Herald

Friday May 16, 2008

John Shand

ERROL BUDDLE & RON GILLETT

Paddington/Woollahra RSL,May 14

Reviewed by John Shand

IF Errol Buddle had been born in Amsterdam rather than Adelaide there would probably be a statue of him by now. In the 1950s he was the first Australian to be embraced by the American jazz scene, and the first musician to play jazz bassoon. Now 80, he has enjoyed a 63-year career and could be Exhibit A in the case for music keeping you young.

His playing carries an authority only years can buy. With feet slightly splayed and planted firmly, his very stance is a challenge, and when he puts tenor saxophone to lips the sound is almost daunting in its power.

His big, bright tone seems to sweep the music before it as the ideas unfold, sometimes broiling, sometimes swaggering and sometimes elegantly lyrical.

Here he paid tribute to the "Boss Tenors" - Gene Ammons and Sonny Stitt - in company with Ron Gillett, a wonderful saxophonist I have not encountered before. A less imposing tenor player than Buddle, he was nonetheless an ideal foil, producing a creamier sound on the mid-tempo and slower pieces, as well as being able to add a grittier edge when the energy rose. He also played bustling alto on the closing There Is No Greater Love.

Buddle's doubling of instruments included some remarkably swinging piccolo, although it was his barnstorming tenor on John Brown's Body that stole the show.

The horns were ably supported by Maree Steinway (battling with a piano that, were it a horse, would be put out to pasture), bassist David Pudney and drummer Andrew Dickeson (who produced a scintillating brushes solo on Things Ain't What They Used To Be).

You could contend that this was museum-piece jazz, but the argument becomes irrelevant when the music carries the conviction of the second two sets, and when one player was present when this style was forged.

© 2008 Sydney Morning Herald

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