photo: James Tarbottom
Ghosts Between Streams (Earshift Music) is a grand concept by Australian musician Tom Avgenicos, who leans on his roles as trumpeter, composer and bandleader, effectually revealing that he’s a force in all three. Inspired by covid lockdown-era nature walks around a preserve in the Sydney area, Avgenicos came up with a theme highlighting the vulnerability of nature in a time of rapid human development, and composed a full set of music accordingly.
There are no words for this modern symphony, but the message gets out in other ways: field recordings of small nature sounds under a highway are interspersed throughout. The music itself is episodic, suite-like and passionate without being overbearing. Further, there’s a visual component carried out by two dancers.
This album captures the 2023 premiere presentation of Avgenicos’ work at Sydney’s The Neilson, Pier 2/3, with ten performers in all (including those pair of dancers). The base unit is Avgenicos’ own band Delay 45, a contemporary jazz quartet that also features Roshan Kumarage (piano, synthesizers), Dave Quinn (bass, synthesizers) and Ashley Stoneham (drums, guitar). Playing alongside the band is the Ensemble Apex String Quartet with Ben Adler, Beatrice Colombis (violins), Phoebe Gilbert (viola) and Noah Oshiro, Reena Oh for one track (violoncello).
You’d be hard pressed to tell that this was a live recording, as the acoustics are studio-pristine and the audience was either being very polite or has been successfully mixed out during the performances. Either way, the sonic quality is ECM level. Avgenicos’ trumpet has the tone and confident eloquence of Enrico Rava, which makes his horn perfectly suited for the setting.
With all that in mind, the music isn’t strictly a jazz record but rather a cross between jazz, chamber music and electronica. This close juxtaposition of the organic with the synthetic fits right in with the overall concept.
“Before We Part” is a soft launch, on a repeating figure, awash in mostly acoustically-created ambient washes with Avgenicos’ acting as the lone voice in the void before the fragile sonic state blows open. But Avgenicos is unnerved, maintaining a stately composure. “Epione” is yearning, episodic with a touch of tension churning below.
Sounds of nature — like a running brook — caress the melody delivered by strings for “Ghosts.” All that largely fades out when Avgenicos and Kumarage move it into the next pattern and the trumpeter delivers affective remarks.
Avgenicos goes it alone for an interlude, a recital of clarity and sentiment; his reserve loosens up when the backing band joins him. “Magic Rock” is a feature for Ensemble Apex until Avgenicos enters and immediately soars above it.
The tension builds for “Rise,” the first motif ending with a punctuated final note blast into the ether, kicking off the release of the second segment. “Stroll” transforms from a slow march into a unsettled gallop, but it’s fascinating how rest of the band lags the rhythm section in making the transition.
The “Underpass” begins with the soothing sound of nature, segueing into the sound of lament punctuated by Avgenicos’ trumpet as Kumarage’s piano shimmers just behind by electronic effects. But the band doesn’t go quietly into the night: a synth-laden groove barges in with only about two minutes left and Avgenicos makes his final impassioned pleas through his trumpet.
It’s astonishing that Tom Avgenicos chose such a prodigious undertaking for his debut record. He set out with big ambitions, but Ghosts Between Streams attains the impact that he sought.
Pick up a copy now from Bandcamp.
*** Tom Avgenicos music on Amazon ***
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