TAMIL ROGEON - Son of Nyx
Soul Bank Music SBM001CD
Tamil Rogeon (viola, ARP Odyssey); Sam Keevers (Helpinstill, ARP Odyssey solo); Doug Mougerman (Helpinstill; ARP Odyssey solo); Danny Fischer (drums); Sam Anning (acoustic bass); Javier Fredes (percussion); Allysha Joy, Jace Xl, Ladi Tiaryn Griggs, Rita Satch (vocals).
Recorded Swimming Pool Studios. No date given.
If you asked many jazz fans to name a jazz violinist, the chances are they could come up with at least one or two off the top of their head, such as Stéphane Grappelli, Jean-Luc Ponty, Michal Urbaniak, Jerry Goodman or Noel Pointer. But what about a jazz violist? Step forward Melbourne-based violinist and composer Tamil Rogeon. The viola is larger than a violin, uses thicker strings and is tuned differently, resulting in a lower, mellower sound than found on a violin.
On his latest album Rogeon has created music that is both modal and retro. It’s retro in the sense that he uses instrumentation that harks back to the 1970s. This includes the ARP Odyssey synthesiser, a favourite of jazz-rock fusion artists such as George Duke, Joe Zawinul and Herbie Hancock (that burbling bass line on ‘Chameleon’ is courtesy of the ARP).
Another retro instrument used on this album is the helpinstill, an instrument I have never seen listed on any other album I have ever heard, let alone reviewed. Designed in the late 70s, the helpinstill is an upright piano with electromagnetic pick-ups that amplify the sound. Portable versions – designed for touring - are built into flight cases. The helpinstill here is used to produce both a conventional piano sound and electric piano sounds which emulate the Fender Rhodes electric piano, a signature sound of 70’s jazz-rock fusion.
Nyx incidentally, was a Greek goddess of The Night, who it is said, had one thousand sons, so there are plenty of potential candidates for which son the album title refers to. The answer is in the title of another tune on the album, ‘Momus,’ the name of one of Nyx’s sons. The album has six tunes ranging in length from five and half minutes to eleven minutes. The opener, ‘House No Wheels,’ begins with whirling synthesiser sounds that reminds me of a theme tune for a 70s science fiction programme. Swirling viola lines wind their way through this mid-tempo piece. The viola’s tone is gorgeous and less sharp than a violin. Midway through the piece, Fischer plays a drum solo, before the music shifts to double time and a flowing electric piano-like solo concludes the song.
On the shuffling ‘Bad Sandals,” Rogeon’s viola sweeps and soars, Fredes’ pounds away on the congas, Mourgerman creates a host of weird and wonderful sounds during his ARP Odyssey solo, as the vocalists hum along in the background. ‘Banished’ features more expressive viola playing by Rogeon, while the Latin-flavoured ‘Momus” is driven by Fischer’s relentless cross stick beat, accompanied by more quirky sounds on the ARP Odyssey. The eight-minute long ‘Mount Olympus’ (a reference to the mountain where Momus resided) features some splendid soloing on the helpinstill by Mougerman and by Rogeon on viola.
The closing number, ‘Horn No Eyes,” is an eleven-minute suite, with an opening section comprising of crashing cymbals and cascading piano chords, accompanied by the plangent tone of the viola, and Anning’s tender pizzicato bass playing. The piece progresses into the second section, with a piano and bass vamp, and a choir accompaniment. Fischer starts playing with some urgency and sounds soar from the ARP Odyssey. An electric piano-like solo starts up, followed by Rogeon’s animated solo on viola. Another piano/bass vamp marks the start of the final section, as the music moves up a notch, with a heavier backbeat, more prominent percussion and energetic viola playing.
It’s a highly satisfying ending to the album, and if you like jazz-rock fusion music such as Jean-Luc Ponty’s ‘The Struggle of the Turtle to the Sea,’ from his Enigmatic Ocean album, you’ll especially enjoy this track. One thing is clear on listening to this music – jazz and the viola do mix - and they make a terrific combination.
Reviewed by George Cole
Soul Bank Music SBM001CD
Tamil Rogeon (viola, ARP Odyssey); Sam Keevers (Helpinstill, ARP Odyssey solo); Doug Mougerman (Helpinstill; ARP Odyssey solo); Danny Fischer (drums); Sam Anning (acoustic bass); Javier Fredes (percussion); Allysha Joy, Jace Xl, Ladi Tiaryn Griggs, Rita Satch (vocals).
Recorded Swimming Pool Studios. No date given.
If you asked many jazz fans to name a jazz violinist, the chances are they could come up with at least one or two off the top of their head, such as Stéphane Grappelli, Jean-Luc Ponty, Michal Urbaniak, Jerry Goodman or Noel Pointer. But what about a jazz violist? Step forward Melbourne-based violinist and composer Tamil Rogeon. The viola is larger than a violin, uses thicker strings and is tuned differently, resulting in a lower, mellower sound than found on a violin.
On his latest album Rogeon has created music that is both modal and retro. It’s retro in the sense that he uses instrumentation that harks back to the 1970s. This includes the ARP Odyssey synthesiser, a favourite of jazz-rock fusion artists such as George Duke, Joe Zawinul and Herbie Hancock (that burbling bass line on ‘Chameleon’ is courtesy of the ARP).
Another retro instrument used on this album is the helpinstill, an instrument I have never seen listed on any other album I have ever heard, let alone reviewed. Designed in the late 70s, the helpinstill is an upright piano with electromagnetic pick-ups that amplify the sound. Portable versions – designed for touring - are built into flight cases. The helpinstill here is used to produce both a conventional piano sound and electric piano sounds which emulate the Fender Rhodes electric piano, a signature sound of 70’s jazz-rock fusion.
Nyx incidentally, was a Greek goddess of The Night, who it is said, had one thousand sons, so there are plenty of potential candidates for which son the album title refers to. The answer is in the title of another tune on the album, ‘Momus,’ the name of one of Nyx’s sons. The album has six tunes ranging in length from five and half minutes to eleven minutes. The opener, ‘House No Wheels,’ begins with whirling synthesiser sounds that reminds me of a theme tune for a 70s science fiction programme. Swirling viola lines wind their way through this mid-tempo piece. The viola’s tone is gorgeous and less sharp than a violin. Midway through the piece, Fischer plays a drum solo, before the music shifts to double time and a flowing electric piano-like solo concludes the song.
On the shuffling ‘Bad Sandals,” Rogeon’s viola sweeps and soars, Fredes’ pounds away on the congas, Mourgerman creates a host of weird and wonderful sounds during his ARP Odyssey solo, as the vocalists hum along in the background. ‘Banished’ features more expressive viola playing by Rogeon, while the Latin-flavoured ‘Momus” is driven by Fischer’s relentless cross stick beat, accompanied by more quirky sounds on the ARP Odyssey. The eight-minute long ‘Mount Olympus’ (a reference to the mountain where Momus resided) features some splendid soloing on the helpinstill by Mougerman and by Rogeon on viola.
The closing number, ‘Horn No Eyes,” is an eleven-minute suite, with an opening section comprising of crashing cymbals and cascading piano chords, accompanied by the plangent tone of the viola, and Anning’s tender pizzicato bass playing. The piece progresses into the second section, with a piano and bass vamp, and a choir accompaniment. Fischer starts playing with some urgency and sounds soar from the ARP Odyssey. An electric piano-like solo starts up, followed by Rogeon’s animated solo on viola. Another piano/bass vamp marks the start of the final section, as the music moves up a notch, with a heavier backbeat, more prominent percussion and energetic viola playing.
It’s a highly satisfying ending to the album, and if you like jazz-rock fusion music such as Jean-Luc Ponty’s ‘The Struggle of the Turtle to the Sea,’ from his Enigmatic Ocean album, you’ll especially enjoy this track. One thing is clear on listening to this music – jazz and the viola do mix - and they make a terrific combination.
Reviewed by George Cole
