Sense out of chaos

Press, 28 December 1985, Page 11

Sense out of chaos

ALLAN FRANCIS

THE BLACK SHEEP. David Donaldson, Stuart Porter, Anthony Donaldson play five tracks of originals. BRAILLE RECORDS BRAI Playing a style that is uniquely their own (not many would lay claim to any association), Black Sheep has revamped its act, pruned its membership, sliced a good deal of nonsense from its music and generally had a good clean up. Presumably, this is in the best interests of permanency, as the refurbishing shows. Added to all of these things, Black Sheep has replaced the froth with fervour, meaningless quacks and grunts with some characterful composition that makes sense out of chaos. Stuart Porter reveals a responsible flair for tenor and alto saxophones that were once only outlets for whimsy, thereby knitting up the other strands of the group into cohesive jazz. One might, have expected the usual cacophony in the opening tracks, “Big Chief Baada” and “Low Tide,” but instead there is an air of sober introspection with some good, modern jazz. It takes a further couple of tracks just to make sure the group isn’t simply pulling our legs. If nothing else, it proves that there is a logical end to nonsense and after the spoof inevitably is music. In so doing, the full potential of the players is revealed. Those quacks and grunts of old were good fun and I would be the last to regret their passing, but at the same time the sense of fun is equally indispensible. Apparently, the group thought so too, and after the first two tracks it lapses back into the sound kaleidoscope of old - right up to the end track, which is a lament Mahler might have considered in place of his funeral march for March hares and other unearthly creatures. That the subject of the lament is simply a broken cup is immaterial; the spirit that prompted the discussion is the same.

Before this serious tone poem, the trio give free rein to colourful thoughts in the most picturesque patterns

imaginable. As an alternative to the day-to-day mediocrity that confronts the listener from Radio New Zealand, Black Sheep provides the complete answer, but the buyer should beware of getting hooked on its music; I really don’t think Black Sheep will seriously consider it proper. GLENN MILLER Twenty Greatest Hits. MUSIC WORLD DLUC 2007.

In these enlightened times, the last thing acceptable is the lack of good recorded sound from transferred 78s. Unfortunately, in spite of the excellent choice of material, this issue is bogged down with hoarse sound quality that does little to lift the raft of very good numbers from the Glenn Millar repertoire. Such excellent songs as “I Guess I’ll Have to Dream the Rest,” “It’s Always You,” “Sunvalley Jump” and the peppy “Yes, My Darling Daughter” are diminished by inferior sound. There is a good smattering of perennials balancing up the rarefies.

This will assuredly appeal to those who have not got all the tracks put out by the actual Millar band, but others expecting to hear the lush Miller harmony should note that it can be done better than this. ELAINE PAIGE. Cinema. Twelve tracks by Elaine Paige, vocal. WEA 240 5111.

Life today is inconceivable without Andrew Lloyd Webber, Tim Rice or Elaine Paige, so it is fitting that the latter takes advantage of her ascending popularity by turning out a package of movie hits or themes that most find irresistible.

Elaine Paige is not a first-class singer by any standards, but she has an appealing voice and style which cover a multitude of lesser faults. Presented here in a super pack and with a fortress of good supporting musicians, she is unbeatable. The tunes then are from the stock song book that everyone knows, “The Way We Were,” “Up Where We Belong," “Bright Eyes,” “Alfie,” “Windmills of Your Mind”-mostly numbers that have made an indelible mark from the 1960 s to the 1980 s.