From "The Age", reviewed by Jessica Nicholas

MacLean nets his place as Harper's heir

When Nigel MacLean met Don Harper in 1985, Harper was in his 60's and MacLean in his teens. But the pair, both classically-trained jazz violinists, struck a close rapport which continued until Harper'sdeath in 1999.
Shortly before he died, the ailing composer asked MacLean to complete and record what would be his final work, the Illawarra Suite. four years later, with help of an Arts Victoria grant and a group of dedicated musicians, MacLean has fulfilled Harper's request.
The suite was recorded last week, and performed live for a small studio audience on Thursday night. The performances purpose was to record and film the night for a future DVD, and the musicians were grouped in a circle around their microphones rather than facing the audience. The players' focus, too, was on the recording rather than the audience response, so it did feel a little strange reviewing this as a live concert. In many ways it was more like reviewing a CD - especially as the best sound was heard from the control room rather than the recording studio.
But even in this artificial environment, the strength and vitality of Harper's writing was immediately apparent. So too was the commitment and energy of the Filmharmonix musicans - reedsman Tony Hicks, guitarist Geoff Hughes, bassist Ben Robertson and a string quartet led by MacLean - who negotiated Harper's demanding charts with great care and focus.
While the improvised solos provided the clearest link to Harper's jazz leanings, his string voicings are perhaps the most striking element of this suite. As the quartet darted and swept across the lush melodies - with bass and guitar in delicate counterpoint - you could hear references to Harper's dance-hall past. But the sweetly dissonant harmonies also hinted at Debussy, Shostakovich, and birds whose calls inspired movements of the suite.
Laughing Kookaburras was a case in point, the strings surging in dramatic unison or breaking into jagged staccato riffs. In the Common Koel, a subtle, unruffled bass pulse gave way to a vivid Hot Club-style swing, before retreating into darker more brooding territory. Written by MacLean after Harper's death, this piece not only confirmed MacLean's natural talent as a composer and arranger, but his rightful position as the heir to Harper's artistic legacy.

Back to filmharmonix