James Bowers debut album My Trio Album
My Trio Album is the thrilling debut from renowned Melbourne based pianist James Bowers. Recorded at Tokyo's Studio Dede, the album features Earshift Music favourites, drummer Shun Ishiwaka and double bassist Marty Holoubek. The nine Bowers originals embody influences from Aaron Parks, Paul Bley, Messiaen, Prokofiev, Electric Wizard, J Dilla and Philadelphia Experiment, creating a musical exploration through Bowers’ broad stylistic vision. Performed with technical brilliance, lyrical beauty and, at times, explosive energy, the album presents a refreshing take on the acoustic piano trio format.
On My Trio Album, Bowers composed specifically for bandmates Ishiwaka and Holoubek, making the most of their palpable chemistry. The first meeting of this group was midway through 2019 when they came together to make Marty Holoubek’s celebrated debut Trio I.
James and Marty met when Holoubek first moved from his home in Adelaide to Melbourne, quickly forming a close musical and personal relationship based on shared ideals of honesty, creativity and trying to play with really great time-feel. It was through his connection with Holoubek that James then met Shun, and it was immediately apparent that the sum of these three musicians became something more than simply it’s parts. Shun is a rising star on the Japanese jazz scene, becoming one of his generations most sought after drummers.
Bowers is a prolific and diverse presence in the Australian music scene. Collaborations and recording credits include Angus and Julia Stone, Remi, Sex on Toast, and Vaudeville Smash. It is in no small part thanks to his work in pop/funk/hip hop at such a high level that James is able to bring such a fresh, diversely informed perspective to making jazz and improvised music.
"Though fluent in many musical languages, he maintains a voice that is uniquely his own that permeates throughout his work." - Barney McAll
My Trio Album album was made possible by the City of Melbourne, with thanks.
James Bowers & Earshift Music acknowledges the Wurundjeri people of the Kulin nation as the traditional custodians of the land on which I live and work. I pay my respects to their Elders past, present and emerging, and extend that respect to all First Nations people.
Artist: James Bowers
Album: My Trio Album
Release: January 22nd
Label: Earshift Music distributed by MGM
Format: CD, DL and streaming services
Catalogue Number: EAR045
Streaming/Download: https://ffm.to/mytrioalbum/ https://jamesbowers.bandcamp.com/album/my-trio-album
Personnel: James Bowers - Piano/Composition, Marty Holoubek - Acoustic Bass, Shun Ishiwaka - Drums
Album Launch Details
Friday January 29th 2021
Jazzlab
27 Leslie St, Brunswick 3056
$30/20 entry
7pm doors, music from 9-12am
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About the Music
Every track was recorded live in a day at Studio Dede in Tokyo. All music (except Santa Claus is Coming to Town) was composed by James Bowers, later on mixed by James Bowers and eventually mastered by Lachlan Carrick.
“Bigger, Slightly Angrier Horse” - I’ve always silently disliked albums that start with intros that, whilst effective, end up being things I find myself skipping through on repeated listens. This is basically the exact opposite to that, throwing everything at the kitchen sink at the listener in the hopes of wrangling their attention away from whatever else is going on in their life. It’s also a bit of an in-joke with the band because the opening figure is actually the same as on Marty’s album Trio I, sort of a nod to the fact that we both made our first records with the exact same band in very similar circumstances. It’s a riff we came up with during a residency at former Melbourne bar “Horse Bazaar” some years ago.
“Pact of the Fiend” - This was actually the first track I wrote for the album and was kind of the catalyst for the gradually emerging thought of “oh, I actually have a bunch of things I want to say that are pretty much only sayable with this lineup of musicians”. The initial riff came to me out of the blue just as I was getting into a rideshare with 2 strangers. I considered just leaving it to chance to remember it but thankfully I risked seeming like a complete lunatic and made a quick voice memo on my phone. The second main section sort of acts like a palate cleanser, and borrows from some of the harmony I’ve digested through playing and listening to classical music over the years.
“Mahou” - The Japanese word for “Magic”. This is an attempt at playing around with some devices that players like Aaron Parks use so well in their harmonic language to create a sense of mystery and unrest whilst still feeling grounded and folklike.
“Why Not?” - I don’t remember exactly but I think the name for this came from me asking myself “why did I just write a bebop tune?”. Not a whole lot to say about this other than I think it sounds like we’re all having a bunch of fun.
“Eyes Closed Tight, Full of Tears” - This was written during a pretty heavy period of my life, and the initial idea was just the first 16 bars of the chord progression which was pretty much all I could muster in terms of productive output during that time. The melody and following sections were written some months later, when I was feeling more optimistic and more resilient within myself. I particularly like the contrast between the darkness and light, sorrow and hope.
“Madoo Song (home)” - I wrote this song just before leaving to go to the airport, sort of as a reflection on the feeling of home and as a dedication to my wife. I tend to get pretty homesick when I go away so this kind of serves as a little piece of the feeling of home that I can bring with me anywhere.
“Santa Claus is Coming to Town” - Sort of a bit of throwaway fun, I’ve always loved playing some of the more cheeky/tongue in cheek jazz standards. Paul Bley also recorded this on his first record, so it’s a bit of a nod in that direction also (there was a long period of my life where all I listened to was Paul Bley).
“Hellfire” - One of my favourite things about playing with Marty and Shun is the amount of forward momentum they carry in their playing. Many would say that this errs a little far on the “pushy” side but I reckon it goes HARD!
“Groovy Spooky” - Not a huge amount of overarching thoughts with this track other than again, it’s just a vehicle for the three of us to explore rhythmic interplay and enjoy locking in with one another. Stick around for the Shun Ishiwaka masterclass in the outro. What a drummer!!