Live in Valdagno, Italy, with Way Out West for Veneto Jazz Festival July 2008
Peter Knight Quintet-------Peter Knight trumpet, Colin Hopkins piano, Stephen Magnusson guitar, Frank Di Sario bass, Tony Floyd drums----------------Way Out West------------Peter Knight trumpet, Paul Williamson tenor sax, Dung Nguyen dan tranh dan bau modified electric guitar, Ray Pereira percussion, Dave Beck drum kit, Howard Cairns bass-----------------5+2 Brass Ensemble-------------Peter Knight, Gianni Marinucci trumpets, Geoff Collinson French horn, Kynan Robinson, Adrian Sherriff trombones, Anita Hustas bass, Rajiv Jayaweera drum kit and percussion
Kenny Wheeler, Morton Feldman, Clocked Out Duo, Cootie Williams, Radiohead, Nina Simone, Messiaen, Phil Slater, Beck, Arvo Part, Stephen Grant, Bjork, Miles Davis, Django Reinhardt, Morton Feldman, Anthony Pateras, Bob Dylan, Scott Tinkler, Kate Neal, Dave Douglas, Tomasz Stanko, Duke Ellington, Allan Browne, Billie Holiday, The Necks, Bach, Stephen Magnusson...
風格近似
Live in Valdagno Italy, July 2008
Adrian Jackson's review of Peter Knight Quintet's new album, 'All the Gravitation of Silence', in Rhythms October edition:
Trumpeter-composer Peter Knight has established himself as a significant voice on the national scene over the last few years. He won some very positive reviews for his debut album, Between Two Moments, in 2001 then for recordings with his 5+2 Brass Ensemble and the co-op band Way Out West. Fine as these recordings were, his latest album represents a significant advance. It’s a gem, one that seeks to explore a relatively narrow range of moods and colours and succeeds brilliantly.
A key ingredient is the choice of personnel: in Colin Hopkins (piano) and Stephen Magnusson (guitar), Knight has two of the most distinctive stylists on the Melbourne scene. They are fully attuned to Knight’s approach, which here is all about melody – melodic statement, variation and development. Knight’s own playing, whether he is using a mute (or more often) an open horn, is richly expressive; he is a ‘less is more’ trumpeter in the Miles Davis tradition. As much as the notes played, the emphasis is on the expression conveyed in those notes, the tone used, the feeling of space surrounding each note, which gives it extra weight. It’s about nuance, rather than brashness or drama.
As suggested above, Hopkins and Magnusson complement the trumpeter superbly; some of the guitarist’s best work involves subtle colourings in the background. Bassist Frank Di Sario and drummer Tony Floyd also make tasteful, constructive contributions.
Knight wrote most of the pieces and there are some striking melodies, for example, ‘Cruikshank Park’ and ‘Eunoia’ sound like pieces that the great Kenny Wheeler might have written. Three pieces collectively improvised in the studio ('Haiku Number 1', 'Haiku Number 2' and 'Haiku Number 3') stand up very well alongside the pre-composed pieces, providing an effective change of pace.
The mood is almost uniformly low-key, introspective; only ‘Franky D’, towards the end of the album, offers a more urgent pulse and a fiery solo from Magnusson. I’ve found this an album I’ve especially enjoyed listening to first thing in the morning, or late at night.
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A recent review of Invisible Cities and Other Works by Peter Knight's 5+2 Brass Ensemble in Cadence Magazine:
Rufus Records, one of Australia..s most prominent independent Jazz labels, has consistently documented that country..s rich jazz scene. While a great deal of Australian jazz is probably not heard by the majority of Cadence readers, Rufus is a great place to start for the curious sort. One such excellent release on the label is trumpeter Peter Knight..s 5+2 Brass Ensemble, a brass ensemble consisting of five horns and two rhythm players. As one might gather, the group..s sound is powerful and strident, though the arrangements and instrumentation provide for a surprisingly wide timbral spectrum. In this configuration, two trumpets play against a French horn, a trombone, and bass trombone, abetted by the potent rhythm team of bassist Anita Hustas and drummer Rajiv Jayaweera. Compositionally, the program is focused on Knight..s ..Invisible Cities Suite,.. a four part suite influenced by Italian writer Italo Calvino..s Invisible Cities, a tome dedicated to reflections on cities and their imagery. Taking up such inspiration, the first movement, ..Cities and Desire.. is a foggy, ruminative piece that presents both symphonic elements, thanks mostly to Geoff Collinson..s French horn and the trombones that conjure a grave soundworld. The suite gains momentum on its second section, ..Hypatia,.. a roiling vamp set by Adrian Sheriff..s bass trombone, Hustas.. bass, and Jayaweera..s pulsing drums that inspire the active interplay of the ensemble, eventually dissolving and then swinging mightily. As for the concluding half, ..Cities and Signs: Vault.. ripples with urgency due to a pliant groove and the farewell, ..Cities and Memory,.. floats away like a passing vision, replete with the ensemble..s vocal whispers that add an air of both mystery and reflection. As for the standalone compositions, ..All The Gravitation of Silence,.. opens as a shifting sound- world, commencing as an impressionistic pas- tiche, an uptempo Swing jaunt that includes potent solos from the leader and Adrian Sheriff..s bass trombone and a return to its initial thoughts. Of the remaining pieces, ..Fragment.. is a stunning ballad with Gianni Marinucci..s flugelhorn cutting deep and Dave Douglas.. ..Loopy,.. the only non- Knight piece, is taken as a joyous waltz that is both invigorating and inspires repeat visits. Worth noting is there are also two brief fragments that are less compelling, but serve their purpose as interludes/sketches. Worth searching out (if you can find it), Peter Knight and his ensemble have created a riveting work.
www.rufusrecords.com.au
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John Clare, reviewer
August 28, 2006
The modern trumpet long ago stepped beyond its heraldic and martial role. You can hear it in subtle glints and laciniations through Debussy's music, in Bix Beiderbecke's often delicate playing and in the lyrical and even introspective elements of Miles Davis and Chet Baker. It was Davis, above all, who made the trumpet float.
Melbourne trumpeter Peter Knight has explored this area in a distinctive and very beautiful way, taking from his forebears only what he needs. The feeling is not melancholy but placid and shining.
Crucial to the effect is guitarist Steve Magnusson, playing in a pastoral dream or, it seems, making shapes in ductile gold wire. All five players are crucial. There are fiery flares, glorious brass projections and faster pulses, but in the main it all seems to expand slowly.
The word is chill, I suppose, but it would repay one to give much deeper concentration than that
LIVE AT TAKATSUKI JAZZ FESTIVAL (JAPAN) 2009
Australian trumpeter-composer Peter Knight is a multidisciplinary musician who has gained wide acclaim for his eclectic approach, which integrates jazz, world music, and experimental traditions. He leads several projects of his own and appears as a soloist in a range of settings, he also composes for theatre and film, and has created sound installations.
Peter appears internationally, with recent highlights including high profile performances with his group Way Out West at Montreal Jazz Festival, Vancouver Jazz Festival, and Veneto Jazz Festival. In 2009 Way Out West also toured Korea and Japan including concerts at Takatsuki Jazz Festival. In 2007 he performed solo (trumpet and laptop) at the Banff Centre of the Arts (Canada), and earlier this year appeared as part of Erik Griswold’s Wide Alley at the Auckland Festival and Sydney Opera House.
Peter is the recipient of numerous grants and awards. In 2009 he won (with Way Out West) the Bell Award for ‘Australian Jazz Ensemble of the Year.’ In 2008 he was nominated for the APRA Awards, ‘Jazz Composition of the Year.’ In 2007 he was awarded the Rolston Music Fellowship by the Banff Centre for the Arts, which enabled him to take up a composer’s residency in October 2007. Peter’s work has also been supported by grants from The Ian Potter Trust, Australia Council for the Arts, Arts Victoria, Alan C. Rose Trust, Australia/Korea Foundation, Australian International Cultural Council, and The Myer Foundation. He was the 2005 recipient of the Keith and Elizabeth Murdoch Travelling Fellowship (VCA).
Peter has released five albums of his compositions in the last seven years with ensembles including Way Out West, his eponymously titled quartet, and the 5+2 Brass Ensemble. His releases have received international accl.. “Honest, inventive and original.” Hour Magazine Montreal. “Combines different styles seamlessly, [and] succeeds where so many other world music fusion groups fail.” Vancouver Sun. “An unusual and beguiling sound.” Cadence Review (New York). “Quietly forceful.” The Age.
In addition to the projects he leads, Peter has performed and recorded with a diverse range of local and international artists including: Adam Simmons, Adrian Sherriff’s ‘Oynsemble’, Hugh Fraser Quintet (Canada), Quinsin Nachoff (Canada), Kate Neal’s ‘Dead Horse Wind and String Ensemble’ (composition commission), Misinterprotato, Grand Union Orchestra (UK), Allan Browne, Ren Walters’ ‘This Ensemble’, Giorgio Magnanensi (Italy), Christian Pruvost (France), Erik Griswold’s ‘Wide Alley’ and ‘Ecstatic Music’ projects, Scott Tinkler, Stephen Magnusson, The Violent Femmes (USA), Spiderbait, You Am I, The Saints, and reggae star Horace Andy (Jamaica/UK).
Peter holds a Masters of Music Performance (VCA) and is currently completing a doctorate at Queensland Conservatorium where he is on full scholarship. He lectures part-time at NMIT, sits on the board of the Melbourne Jazz Fringe Festival, and on the Arts Victoria Arts Development panel. He has had numerous articles and stories published in: The Age, Overland, Music Forum, and The West Australian. Later in 2009 his most recent written work is to be published by Australian Academic Press in, Musical Autoethnography: Creative Explorations of the Self through Music.
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Video Concert "ROUND ABOUT 68" / Bruno TOCANNE "new dreams" Trio + Hasse POULSEN + Xlr Project - MAY 16th - Train Théâtre - Porte Les Valence Jazz Festival (France) Bruno Tocanne : dms; Hasse Poulsen : guit; Rémi Gaudillat : tpt, Lionel Martin : saxs, Nico Ticot : video http://www.imuzzic.net/4newdreams.html
Hello!! Thanks for the request. I think that your music is good. I hope your success all the world. Have a wonderful week!! Support message from Tokyo. Puchi Bruce.
Howdy Peter Knight Thank you very much for da Link Up & Sharing the Music Nice to meet you through cyberlink! Luv your tunes & keep up da Great Work! Wishes you All da Best in 2009! Enjoy your week!
Well... i'd think twice about going back. You need a circus act that's bawdy to pull a crowd there. I think i'll just go back and play at the Grace Emily pub....in winter.<br />ragee
Hey Peter.<br />We went pretty well... friday night kinda quiet, about 30 people, but Sat night seemed pretty huge! don't know how many payers... guess i'll find out when we get the money. The whole tour was a great experience, I never tour really , so it was fun and musically interesting too. Natimuk was fun and Mc Laren Vale was too... just enough people to make it worthwhile.<br />I figured i lost about $200 in the end from the whole tour ...so thats not too bad i guess!!<br />Jeff- Ragee- Raglus
Hi I hope you are well in the sticky fly country. Gosh have not seen you for a while. We are all getting fatter and working on the jolly chops. HAPPY HALLOWEEN
Yeah, not bad... I'll have to get a lesson off you soon. I'm auditioning for VCA and Monash this year so I need to brush up on chops... is next Monday (Oct 6) good for you?
Episode 3 is up, this episode features Floating Roach auditioning another guitarist, Playing a Zappa tune called 13 becuase i couldn't play along to the diamond loops and other glorious news and updates.
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or youtube.com/blogsofwoolhouse
leave me a comment if you think of something cool.
stay tune for the next episode, the recording, the guitarist and the loops. amazing stuff.
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