Here we are then at the arse end of the year, so the least we can do in 2016 is try and go out on something of a high. Sydney’s Mister Ott – signed to the exemplary Art As Catharsis label and led by the titular Matthew Ottignon are just the right kind of antidote you need for a year that has – in the opinion of all great thinkers and philosophers – gone tits up.
Flippant I may be – but in times when insularity, suspicion of ‘the other’, hate crimes, and racism all seem to be on the increase, Ottignon and his band of hip cats have recorded an expansive album that embraces world music and culture, that looks forward positively to a global society where unity, rather than division, are the main virtues of humanity. Positive, buoyant, Single Shot slides easily from Mulatu Astatke inspired Ethiopian Jazz through the relentlessly compulsive Afro-futurism of Head Hunters/Sunlight period Herbie Hancock.
This in itself would be enough for many, but the seven tracks on this record also take in Nik Turner style space-jazz (particularly his Space Fusion Odyssey which we reviewed last year) and the regimented fastidiousness of Fela Kuti or Steely Dan. Yes, there’s a touch of acid-jazz – that much maligned and mostly forgotten movement of the late 1990s but – god damn – you really want to get up and dance to this record. Stick it on at New Year’s Eve after a few drinks and see what happens (and send me pictures).
Starting with the musicianship – it’s near faultless – the interplay between Ottignon’s saxes and Ellen Kirwood’s Trumpet is a wonderful thing to hear when they go at it full bore – recalling, if you will, the heady jazz-funk experimentalism of Eddie Henderson. Daniel Pilner’s organ and Ben Panucci’s guitars provide plenty of spaced-out effects and trickery to keep the most jaded space-head happy, while Eden Ottignon’s bass is rock-solid throughout, providing not just the foundations of each track, but imbued with a great amount of P-Funk flare. There are a number of Bootsy Collins albums, no doubt, nestling in his collection somewhere. Finally, on more than one occasion do percussionist-drummers Carlos Adura and Dan Kennedy prove that they have a touch of the Billy Cobhams about them, there’s no doubting that they know their way around a kit – and then some. While these musicians are giving us a masterclass we should also give a nod to the production, making full use of the aural space with a terrific wall of sound.
Each track is upbeat and drenched in cosmic energy – from the hedonistic promise of the night in the opener ‘Blood Sky’ to the syncopated reggae blitz of ‘Dragon Majesty’ through to the closing Sun-Ra hat-tip ‘Space Will Win’, we’re drawn very willingly into a world where jazz-fusion rules, and where it becomes very difficult to believe that this album was made in 2016 rather than 1976. Standing out for me are the epic-workouts of ‘Snakebite’ and ‘Shakedown’, powerhouses of tracks that hit light speed early on and suck you along with them.
It’s all too short, and over too quickly in my opinion – but you won’t wear it out from repeated listening. I’d also say you really mustn’t pass by the opportunity to hear this music. Single Shot is certainly a strong contender for one of this year’s better jazz releases, has a great deal of crossover appeal, and transcends the genres from which it was born, and by which it was influenced.
I think you’ll love it.
The new Mister Ott album ‘Single Shot’ is being released Dec 1 at the Imperial Hotel, Newtown. You can buy it now on Bandcamp.
The new single called ‘Single Shot’ from the 7 track new album ‘Single Shot’ was released today. You can check it out on Bandcamp right now
Thursday December 1st
The Hi Tops and Mister Ott both launch their new albums. See you there, will be a party!
Imperial Hotel – 35 Erskineville Road, Newtown – 8pm
Mister Ott is busy writing and rehearsing the new album, but will be taking time out to get back to 505 early next month. Part of the Sydney Fringe festival, 505 is a unique venue, and Mister Ott has had some amazing gigs there over the years. It would be great to see a full room down there, so book tickets now, and tell all your friends. It will be a great night of music.
Saturday September 3rd
280 Cleveland St, Surry Hills
Doors at 6pm. Music starts at 8:30pm.
For tickets visit venue505.com
Lazybones March 2016 ‘The Heroic Easy’
Party vibes at Lazybones
with Ben Panucci (g) Ellen Kirkwood (d) Eden Ottignon (b) Daniel Pliner (k) Carlos Adura (d) Matthew Ottignon (ts) Chris O’Dea (bs)
Mister Ott Tour 2016
Some basic zoom and iPhone footage while on tour with Mister Ott 2016.
Tour included performances in Berry (NSW), Melbourne (VIC), and Sydney (NSW)
First clip ‘Yekermo Sew’ (Mulatu Astatke) taken at Open Studio, Northcote, Melbourne
Second clip is ‘Cumbia Del King’ (M.Ottignon) taken at Playbar, Surry Hills, Sydney for the Eastside Radiothon. (very low light)
Third club is ‘Gonder’ (M.Ottignon) taken from the Melbourne Jazz Festival gig at Footscray Arts Centre, as part of the Jazz a bye series (where parents can bring their babies to gigs!)
Fourth clip is ‘Single Shot’ (M.Ottignon) taken at Foundry 616, Ultimo, Sydney (low light)
After a great first show at Marrickville’s Lazybones Lounge, Mister Ott will return in March for a full 3 sets.
- Thursday March 24th.
- Lazybones Lounge
- 294 Marrickville Road
- 8:30pm – Midnight
RHYTHMS MAGAZINE MAY JUNE 2015 – Tony Hillier
Ethiopian jazz and soul from the ‘60s and ’70s has cast a spell in Oz-jazz circles. Sydney’s Mister
OTT is among a handful of excellent local combos exhibiting a strong Ethiojazz influence
cultivated by musicians such as Mulatu Astatke and Getatchew Mekurya, and French producer
Francis Falceto’s seminal Ethiopiques CD series. The debut album of Kiwi expat saxophonist/
flautist Matthew Ottignon’s band – inspired by an Ethiopian tour with singer Dereb Desalegn –
marries the mesmerising eastern-sounding pentatonic scale, distinctive phrasing and trance-like
rhythms of Ethiojazz with groove-laden retro funk and mainstream jazz playing. In Drop It Like It’s Ott, chunky sax solos, often in tandem with trumpet and Farfisa organ swells, swirl on a recording lent authenticity by analogue studio gear. The bright and breezy ‘Gonder’ is a harbinger of what’s to come. A dialogue between upper register trumpet and lower register baritone sax highlights the equally jaunty ‘Take It Higher’. Wah-wah guitar and bass lay down wicked funk rhythm for the horns in ‘Mattaraja’. Distorted axe solos grind in that track and ‘Shalimar The Clown’. Built on a standard Latin groove, ‘Shererit’ and the preceding ‘Octopussy’ include conga solos. ‘Jellyfish’ and set standout ‘Tana Lake Part 2’, which follows a short-but-sweet piano prelude, are comparative slow-burners. Tony Hillier