Ultimate Fate of
'The Ultimate Fate of...' is the debut album from the Alastair Kerr Quartet. Featuring four of Melbourne's finest young jazz musicians, the Quartet is fast making a name for itself as one of the most dynamic bands on the scene. Recorded live at Bennetts Lane Jazz Club in 2009, the album showcases compositions from Kerr and pianist Marc Hannaford, with lively solos from trumpeter Pat Thiele and the beautiful playing of bassist Sam Zerna. This group's other credits include supporting Chucho Valdes in 2010 and extensive touring around Australia. 'This was a performance that felt different from the start, not only because of the modern jazz, but an underlying mischievous humour... How pleasant also to see such a range of original music, with curiously humorous titles, played by the composers and each member of the quartet understanding what the composer wanted out of each piece." - Hector Beveridge, Launceston Jazz Club. REVIEW by John McBeath of The Australian 3.5 Stars 'THIS youthful Melbourne quartet led by drummer Alastair Kerr has released a debut album of originals, five by Kerr, plus one from the group's pianist Marc Hannaford. It's a straight-ahead jazz combo recorded live at Bennetts Lane, and featuring trumpeter Pat Thiele with Sam Zerna on double bass. Most of the substance is provided by Hannaford's inspired piano; they're all talented musicians, but Hannaford is the most experienced. Comically titled The Ultimate Fate of The Energizer Bunny, the 15-minute Kerr opener features bass, piano and a toy piano chiming daintily to establish the theme. Zerna's bass contributes a lengthy, intelligent solo with piano chords fleshing out the low notes before the drumkit arrives and Hannaford provides a piano bass ostinato, as the three instruments build climactically to the trumpet's entry. Here Thiele injects clever humour, using half-valving to portray the Energizer Bunny staggering as it runs out of power. The toy piano returns for the close in slowing waltz time. Hannaford's Silver Charlie is a post-bop theme on which the pianist plays an elongated solo, swinging adeptly within the genre to introduce Thiele's fast-running trumpet in contemporary style with undercurrents from earlier traditions. Kerr's grooving kit, underpinned by double bass, is forefront for the opening to Not Another One, which builds to an energetic trumpet climax.'