Above – Gregg Arthur, one of Australia’s greatest jazz singers… Screenshot
This concert took place on April 13, 2024 at Sydney’s City Recital Hall, and shortly after, a review of mine appeared in the Music Trust’s e-zine Loudmouth. Having praised the performance in glowing terms, I’m gratified to claim that, now a film of this outstanding concert is available, the opinions I expressed in that review were pretty much on the money.
In fact, the film brought me much closer to the action than where I was sitting in the audience on the night, some distance from the stage. Accordingly I now find the music here substantially more revealing about the artistry of Gregg Arthur, one of our greatest Australian jazz singers. Many paradoxes reveal themselves. His phrasing is nuanced and impeccable without sacrificing his ability to go up a gear whenever he feels that the music permits him to be adventurous. At the same time, that adventurousness is ameliorated by a certain restraint in his style, a discipline if you like, which allows him to stay cool, understated and nonchalant throughout.
I have vigorously applauded the beautiful playing of pianist Peter Locke in many previous reviews of Arthur’s performances. But we all know that when the music has disappeared into the ether, and what remains is simply the text which documents that music, talk is cheap. Once again I’m gratified that the evidence in this film profoundly supports what I wrote. On the superb Steinway grand in the CRH, Locke produced not only a great sound but also a cavalcade of ideas that in my view were perfectly apt for Arthur’s vocals.
Moreover, this film adequately supports the notion that the whole group of Locke, bassist Craig Scott and drummer Andrew Dickeson is one of the great piano trios in Australian jazz, up there with the best of them.
One of the most unique aspects of an Arthur presentation, usually done at least once in a performance, is the rendering of a great standard accompanied solely by Scott’s double bass. Here it is their version of the classic Nature Boy, which has become one of Arthur’s signature tunes. Scott’s unique ability to create an orchestral sound on bass is there for all to experience.
As for Andrew Dickeson, who shines in all conceivable settings, is there any drummer who plays with more awareness of how his volume will be received in the audience? Who is not afraid to use his brushes, where he’s an acknowledged master? Here’s a man who always plays with good taste, but without sacrificing the ability to provide the excellent time-feels which are essential to Arthur’s music.
I reiterate what I’ve written previously about this trio at the City Recital Hall: “Without exception these three great musicians came to the party, and did everything expected of them.”
The same goes for the two guest instrumentalists who provided additional colours to the music when they were introduced: tenor saxophonist Craig Walters, and guitarist Charlie Meadows. Their superb playing underlined what we already know about Arthur’s oeuvre: that he is not a singer who hogs the limelight, and relegates the musicians to minor roles. On the contrary he presents to his audience a complete jazz package, including generous space given over to all musicians for their improvisations. Moreover, Arthur’s palpable pride in the musicians who surround him is one of the most energising aspects of his artistry.
It is good news that this excellent film now exists, and will be shown on a number of different platforms internationally. It was filmed by the film production company Australian Theatre Live who, says Arthur, “did an outstanding job capturing the intimacy of the musicians and the vastness of City Recital Hall.” Furthermore, Arthur credits recording engineer Michael Bainbridge who “recorded the sound and did an exceptional job making sure it didn’t echo in that massive hall.”
This product confirms what insiders know about Gregg Arthur’s artistry: that as a performer, he has the priceless ability to draw the listener into the deeper meanings of immortal lyrics; that he can ride on the pulse of a rhythm section, and swing irresistibly; and that he knows how to sell a song, particularly in the case of those beautiful ballads which he’s made his own, such as Star Dust & My Funny Valentine.
Also, by the way, he’s a talented composer, closing his CRH performance with an unexpected bonus: his own song Last Call, highly reminiscent of saloon songs such as the great Johnny Mercer/Harold Arlen ballad One For My Baby (And One More for the Road).
This 55-minute film shows that Gregg Arthur now has a great deal going for him. His vast experience overseas, including in the US and other international arenas, as well as in Australia, has prepared him for the pre-eminence he now enjoys in Australian jazz. And did I mention that he’s tall, dark and very handsome? That’s another of his priceless assets that can’t be dismissed.
Review by Eric Myers dated August 21, 2025. This film will be shown shortly on SBS and on SBS on Demand.
