Matt Keegan Trio Live
LINER NOTES: I can clearly remember the day more than 7 years ago when my close friend Matt Keegan told me about the band he was about to rehearse with for the first time. Yeah man, that'd be interesting, was my surprised reply. By choosing to play with drummer Dave Goodman and bassist Cameron Undy, which remains the MK3 lineup to this day, Keegan had not made things easy for himself. He had chosen instead to give his music to two powerful and forward looking voices on their instruments. This trio, Keegan had decided from the outset, would be a congress of equals; a three-headed beast fleshing out the bones of Keegan's carefully prepared scores. The sizzle on this band's hotplate was there from that first rehearsal. The childlike smile Matt had when I asked how the new band sounded is still there seven years later as he hands me a copy of the live album to listen to. This band love playing together. You can hear the ease with which they weave together the set opener Ambiguous. This is a group confident in their own sound. And yet throughout this set we hear those moments where the musicians scare and inspire each other in equal measures, in particular Undy blowing on Topelepsey, Keegan on his intro to Six and out, and Goodman raising all hell on Blues Accoutrements. The agile push-pull of their shared dialogue keeps the rich creative juice coursing through this band's well-worked veins. There is no sax trio anywhere on the planet that sounds like this. And now we, the fans, finally have a document proving what we have known a long time - this band goes off live! And so here it is now for you to enjoy. Cameron Deyell March 2010 Review of LIVE album in Australian 4th Sept 2010 ?4 stars? MATT Keegan's saxophone-led Sydney trio sounds like a larger group, partly due to Keegan's use of electronic effects and because of Dave Goodman's comprehensively energetic drumming. Toplepsey is an example: after Cameron Undy's solo electric bass intro, slowly stepping moodily downwards, Keegan arrives with a double-tracked sax theme against shifting, speeding drums. The opening track, Ambiguous, begins with solo sax and multiple effects in a slow-tempo mystical melody, soon joined by bass and drums in a heady rush of quadrupled time behind a continuously undistracted, languorous saxophone. A bluesy theme permeates Half Full over a hefty groove from bass and drums, while a more post-bop style blues at a faster tempo occupies Blues Accoutrements, notable for it's accelerated sax runs and a knock-down-drag-out drum solo. Another sinewy bass solo opens Ins with smartly fingered embellishments, settling into a strong, rhythmic theme for Keegan's sax-plus-effects to investigate as drums hurtle and scurry. Bass is given effective wah-wah treatment for an intro to Blood Let, where a slower theme from the sax rides over doubled time. In these originals the saxophone trio moves into another dimension where broader textures and multi-phonics are used to good effect.?John McBeath Review in altmedia.net.au Posted: Tuesday, 17 August 2010 It begins with layers of mournful, elegaic sax. Enter a skittering ride cymbal, and then thrumming, propulsive bass, glancing off the main melody like hail off a basalt monolith. Clouds of steam, lichen on black rock, boulder-strewn hillsides. You might associate this kind of aural landscape painting with the ECM label, with John Surman, or Terje Rypdal perhaps. But no, this is local tenor saxophonist Matt Keegan and his cohorts Cameron Undy (electric bass) and David Goodman (drums), recorded live at the Excelsior Hotel in Surry Hills, and the piece is Ambiguous. The Trio is equally adept at evoking cityscape's (Half Full has the kind of hangdog sexiness that makes for a great cop show theme) and all-out weirdness. Toplepsey begins with a creepy descending bass figure, rim-shots, and gnarly, twisting double-tracked sax - Keegan works a mean FX pedal - before falling apart in a clattering heap, and regrouping like a King Crimson out-take from 1975. Blood-Let features spindly, helix-like melodies . An invigorating set of originals played by musicians who won't let purism stand in the way of good music.?***1/ 2 Brian Yatman.