Reviews

Sydney Morning Herald, Feb 2007

Caressing, sometimes pummeling, and there's structure, too

Author: Reviewed by John Shand
Date: 10/02/2007
Words: 357
Source: SMH

   

 

   

Publication: Sydney Morning Herald
Section: News and Features
Page: 25

SEAN WAYLAND

Wine Banq, February 8

EACH time Sean Wayland returns from his New York base another leap in his music has been made. This time he began with a solo piano set, playing material from his recent eponymous album. It was quite a brave move - not because Wayland isn't up to the task, but because his playing can be as unassuming as the man, and this required a shadowed silence in Wine Banq to work.

Work it did. A scattering of original compositions were treated very freely, many of the most telling moments proceeding from the ingenuity with which Wayland made the transitions from one piece to the next.

Some pianists are like sculptors or architects in the way they improvise. Wayland is more like a masseur, caressing or squeezing out the notes, and occasionally pummeling them. That is not to say there was no architecture in the astute variations of mood and density with which the set was constructed. Amid curdled harmonies and ostinato rhythms came pools of soft, sad, scarcity - a Wayland specialty - and a suitably celestial reading of Across the Universe, one of John Lennon's least acknowledged songs.

Ostensibly a world away, the second half was performed by a lively quintet. Yet at its heart still lay more shrewd, quirky and engaging Wayland originals, with the composer joined by guitarist James Muller, alto saxophonist Dan Waples, Melbourne bassist Ben Robertson and drummer James Waples.

Muller immediately tipped a cauldron over the music with bent notes and more bent ideas, scorching runs and streams of unconsciousness. Eenan danced to a lighter swing and, after Wayland had entertained with the more dissonant implications, Waples's alto homed in on the tune's blitheness. Boxing Day had a fiendish melody and a demonic solo from Muller, crammed with slurs, growls and arcing melodic peaks. Wayland's synthesiser contribution was more modest, his best work coming on piano throughout the set. A.R.C. provided an apt climax with its change from crunching rock to gale-force swing of increasing tempo, vigorously underpinned by Robertson and Waples.


Review Courtesy AllAboutJazz.com

Expensive Habit
Sean Wayland | Seed Music
By Mark F. Turner

From Sydney Australia, pianist/composer Sean Wayland delivers Expensive Habit, a crystalline view of his formidable skills. Unbeknownst to many, Wayland has been around the globe and studio for a number of years with numerous credits and a dozen recordings as a leader. But if you took the names of Brad Mehldau, Larry Goldings or Joey Calderazzo, he is a player of the same high caliber.

Like many musicians persevering without label deals, Wayland has released his own music covering the gamut of classic jazz, popular and other genres. And while the production values of Expensive Habit clearly lack “bling” and cosmetic bells and whistles, the music shines brightly on its own. Recorded in New York, it features Wayland supported by some dazzling players including saxophonists Donny McCaslin, Will Vinson and longtime associate, guitarist James Muller, also from Australia.

Fourteen originals of modern jazz that truly swing; things ignite like wild-fire. The tongue-in-cheek “ Trane Plus Molly Equals Countdown“ is a serious burning bopper, featuring Wayland’s ingenious chops on acoustic piano supported by an unyielding rhythm section. One of its cousins “Arc Etude,” is straight hard bop with fearless solos from Wayland, McCaslin’s throaty tenor and fine picking from Muller.

Wayland proves equally adept when “plugged in” mixing acoustic with synths on Beautiful,” electronic keyboards on “Accept Your Life” and computer on “Jochen Computer.”

There’s a lot to absorb, yet this is more than just a demo recording of Wayland’s skills as a performer. There’s insightful composition heard in “Grandmother Chord Repeat,” a tune that moves through dangerous time signatures. A classic romantic quality on the ballad “Little Bay” and a sense of techno-experimentation on “Surging Darkness” and “Out They Go” show Wayland’s abilities across a variety of styles.

There’s a view that “some” jazz artists take themselves too seriously. Perception, packaging and persona may be relevant to an artist’s exposure. What really matters in the end, is what the music brings to the listener. Expensive Habit most definitely provides high-quality with plenty of substance.
 

Track Listing: Trane Plus Molly Equals Countdown; Beautiful; Arc Etude; Accept Your Life; Oberheim; Little Bay; Wayland Solo; Grandmother Chord Repeat; Vibulator; Jochen Computer; Xpanda; Surging Darkness; Out They Go; Mcbride Transposed.

Personnel: Sean Wayland: acoustic piano, keyboards, synths, computer; Luca Benedetti: guitar; James Muller: guitar; Matt Penman: bass; Donny McCaslin: tenor sax; Will Vinson: alto sax; Chris Baumann: saxophone; Nick McBride: drums; Jochen Rueckert: drums.