|News / Reviews|
"Take a core sample of the Jazz strata and BLOW is an assured and intoxicating distillation of many of its layers. Their CDBlue Sun Red Moon is a celebration of a shared passion and conviction. Its wordless songs of joy are anthems to the human spirit and the collective experience of creating music in the moment.
I found it so inspiring that BLOW now provides my program with a new opening theme."
Gerry Koster, Jazz Up Late, ABC Classic FM
"Drummer Ted Vining and pianist Bob Sedergreen have never left you in any doubt that their music has heart. Vining has literally shouted it at you with rambunctious cymbal crashes and reckless punctuations These two Melbourne stalwarts continue to galvanise other players with their energy and sheer joy in music making."
John Shand, The Australian
"A band whose sum exceeds its parts because the players are willing to put the music first."
"Their intensity and explosive force are legend."
Gail Brennan, Sydney Morning Herald
"Without compromise in their drive, creative ability, unity and energy."
Perth Jazz Society News
"The most exciting music of the MJC Alive Jazz Festival."
Adrian Jackson, The Age
"Ted Vining is one of the most exciting, dramatic and soulful drummers we have ever had in this country, while Peter Harper produces some of the strongest and most beautiful saxophone sounds you will ever hear."
John Clare, Sydney Morning Herald
"BLOW tends to 'paint' their music. In all, their performance feels very complete unto itself, a cast of characters telling stories."
"Supportive, intuitive, very serious and very good humoured."
Angela Smith, Adelaide Advertiser
"Presence by BLOW - In most music-making a constant tension exists between the muting and the revelation of the self. The former is a matter of putting the music first and latter of lending it character. That tension is destroyed when a player mistakes displaying technique for revealing the self. Veteran drummer Ted Vining could be Exhibit A of how that tension works. Most of Blow's music is groove-based, and Vining can articulate these with exquisite minimalism: the archetypal muting of the self. But when the music starts to burn he can detonate energy bombs of such catalysing force as to propel his colleagues to another level, and in the process you hear the warmth and effervescence of the man burst into the music's foreground.
Blow does not rewrite any rulebooks, but it does generate post-Coltrane jazz of real heart; an ebullience that is implicit in the playing of all: Bob Sedergreen (piano), Peter Harper (tenor saxophone), Ian Dixon (flugelhorn) and Gareth Hill (bass). The gifted Adrian Sherriff also guests on two pieces with his shakuhachi and bass trombone."
John Shand, The Australian
Presence - Following their 2013 release Empathy, Melbourne-based quintet BLOW retain the same personnel for their sixth album. The collection maintains the group’s contemporary approach with an interesting mix of rhythmic post-bop and out of tempo, free group improvisation. The title track is a good example of the former with Bob Sedergreen’s swinging piano opening and a theme taken up by the duo of Peter Harper’s tenor and Ian Dixon on flugelhorn before the tenor breaks out and Dixon supplies high-flying embellishments to Harper’s solo.
Two shortish tracks, Deep Earth One and Two move into free experimentation in which Gareth Hills’s acoustic bass and Ted Vining’s drums add important components to an impassioned and frenzied mix. The longest track at under ten minutes Blues For a Paradox, begins with soft, abstract drum strokes under a bluesy flugelhorn ahead of a strong bass riff establishing a medium slow tempo for piano and the two horns to deliver the soul-infused melody. Then it’s expressive solos from both soaring flugelhorn and angular piano leading to a languid conclusion on a steady bass foundation.
Guest artist Adrian Sherriff appears on Until playing a shakuhachi Japanese flute in a minor scale on a medium tempo piece and provides an energetically flourishing solo pushed along by piano and vigorously skilful drumming. A brief piano trio intro with robust bass introduces Dixon’s dynamic flugelhorn on Lionshare as Sedergreen supplies the rhythmic chords and the tenor takes over as Dixon interweaves brass filigrees. Overall the new album features strong rhythmical approaches in an advanced mainstream context with occasional forays into ‘out there’ abstraction.
John McBeath, The Australian
Presence - Most members of this well-known Melbourne jazz quintet have been playing together for a couple of decades and it shows to their advantage. Presence is rich with straigh-ahead, swinging 4/4 rhythms, heard too little these days. The tunes, mainly written by band members, are post-hard-bop in flavour, relaxed in feeling, with a touch of Italian film music thrown in.
There are also a few short 'free' pieces which provide variety and don't outstay their welcome. It's hard to think of a more driving rhythm section in Australian jazz at the moment than Bob Sedergreen (piano), Gareth Hill (bass) and Ted Vining (drums). Propelled by this, and often playing polyphonously, are the insufficiently recognised tenor sax of Peter Harper and the flugelhorn of Ian Dixon.
If there are influences here of John Coltrane and Miles Davis, they're more than welcome. Multi-instrumentalist Adrian Sherriff is added on two tracks (playing shakuhachi and bass trombone).
Geoff Page, Sydney Morning Herald
"Hello World! Do yourself a favor and listen to Ted Vining's "Musiikki Oy" (now BLOW).
A band which speaks the jazz language well. It has some great and creative leadership. The playing is inspired.
Barry Buckley was amazing, and Bob Sedergreen plays nice lines.
Overall it is as good as everything that is played today here in New York and Europe".
Horst Liepolt, New York, December 3, 2016