"a bold new chapter in Australian jazz"
(Sydney Morning Herald)
“(Delay 45) ...have developed an approach to performing that is creative and individual…”
(Loud Mouth)
Flux is the second release from Sydney quartet Delay 45, Flux. Flux expands yet refines their innovative and individual approach to performance with remarkable agility, musicality and finesse, demonstrating how they are one of the most exciting ensembles to emerge in recent years from Australia’s jazz and improvised music scene.
Led by award-winning trumpeter Tom Avgenicos, Delay 45 is a Sydney-based modern jazz group featuring close collaborators Roshan Kumarage (piano), Dave Quinn (bass) and Ashley Stoneham (drums). The group have gained recognition among peers, critics and audiences for their debut release Big Ears, with critics claiming "a bold new chapter in Australian jazz" (Sydney Morning Herald), and that they “have developed an approach to performing that is creative and individual…” (Loud Mouth).
Their latest work Flux explores notions of flow, movement and shape, ideas that have been developed over a number of years. Bandleader, composer and trumpeter Tom Avgenicos reflects, “an important part of the creative process was to consciously eschew the head-solo-head format commonly found in jazz, instead favouring a more fluid compositional approach that affords an interchangeable relationship between composition and improvisation.”
Moody compositions and open improvised solo sections form the foundation for evocative spaces where musical conversations occur. “It is this space where the ensemble comes into its own,” explains Avgenicos, “flowing seamlessly between structure and spontaneity, underpinned by our shared improvisational language and a deep musical relationship that stretches back as far as high school.”
Highlights include the spontaneous duets between Avgenicos and Kumarage where rich tonal playing from Avgenicos acts as a perfect fold for Kumarage’s minimalistic approach. Having undertaken intense study under Scott Tinkler since their first release, Avgenicos utilises an expanded improvisatory vocabulary of angular melodic lines and extended trumpet techniques. With mentors such as Matt McMahon and Carl Dewhurst, Kumarage displays an effortless sense of patience and ability to toy with musical ideas. Often the quiet achiever in Sydney’s jazz scene, bassist Dave Quinn emerges as an outstanding soloist performing a number of captivating solos. Drummer Ashley Stoneham performs with an exceptional dynamic spectrum, from subtle sonic textures to surges of intense energy. The album captures a sense of joy in music making of these kindred spirits.
Delay 45 is a Sydney-based modern jazz group led by award-winning trumpeter Tom Avgenicos, alongside close collaborators Roshan Kumarage (piano), Dave Quinn (bass) and Ashley Stoneham (drums). The group have gained recognition among peers, critics and audiences for their debut release Big Ears, with critics claiming "a bold new chapter in Australian jazz" (Sydney Morning Herald), and that they “have developed an approach to performing that is creative and individual…” (Loud Mouth).
Released alongside the album is the ‘Flux’ short film: an interdisciplinary collaboration between Delay 45, contemporary dancer Reina Takeuchi, film director Monisha Chippada and videographer Jack Single. Whilst the artists individually operate under contrasting disciplines, an important part of the creative process was for the artists to work and engage with each other’s creative practice, both actively and passively. The result is a deeper understanding of flow, movement and shape, and their function in the artists’ creative practices. Flux demonstrates how interdisciplinary collaboration can lead to a more nuanced understanding on a conceptual level which in turn can enhance the creative practice of the artist.
1.Hubris
2.Interlude 1
3.I'll Come To The Next One
4.She
5.Foolish
6.Impermanence
7.Interlude 2
8.Hindsight
9.Keep Away
Tom Avgenicos - trumpet
Roshan Kumarage - piano
Dave Quinn - bass
Ashley Stoneham - drums
ABOUT THE MUSIC
All tracks composed by Tom Avgenicos
Hubris
A piano ostinato provides the foundation for collective improvisation. A cathartic unison bass and trumpet melody is heard as the piece reaches its climax.
Interlude 1
The first interlude on the album, this track is entirely improvised. Kumarage patiently toys with an octave motif, whilst the rest of the ensemble experiment with different textures. In post-production, a synth drone and subtle delays were added to enhance the twilit atmosphere.
I’ll Come To The Next One
One of the fascinating things about jazz and improvised music is how much music can be made using such limited material. This track is the longest in terms of length but the shortest in terms of the amount of compositional material. The composition is an 8 bar cyclical motif which takes the listener on a journey; a triumphant ascent leads into a wild open improvised section before the theme returns for a calm resolution.
She
In 2020, Avgenicos was fortunate to receive mentorship from Andrea Keller, who spoke about recycling compositional material from her catalogue to create new works. It can even be as simple as performing a piece with a different stylistic approach, which is the case here. Originally from Avgenicos Brothers Treading Water, this time a subtle rubato approach presents the piece in an entirely new light.
Foolish
Avgenicos had been listening to Kenny Wheeler heavily around the time of writing this piece. The rich harmony provides evocative stimuli to interact with whilst the open solo sections provide a contrast, generating an almost whirly effect.
Impermanence
As humans we crave and cling onto things, thinking that they will last forever. But nothing ever does. No matter how solid things may seem, the universe is in a constant flux.
Interlude 2
Kumarage’s sensitivity, patience and delicate touch is again on display. He skillfully hints and transitions into the next composition.
Hindsight
The oldest piece on the album, Avgenicos wrote this composition in his second year studying at the Sydney Conservatorium of Music. Originally, the way the piece was written interfered with their creative process as it was too structured. They decided to abandon the score and instead used the general idea of the composition as a conduit for musical conversation.
Keep Away
The ensemble performs at full throttle on this shoot-first-and-ask-questions-later composition.
