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Live Concert Review - Burghausen, Southern Germany.
B.Furtner.
Burghausen News October 3rd 2005.
Phasenkonzert-Bericht-
Burghausen, Southern Germany.
B.Furtner. Burghausen News October 3rd 2005.
Live Concert Review - Open Strings Festival, Osnabruck.
Ulrich Olshausen.
Frankfurter Allgemeine September 30th 2005.
Phasenkonzert-Bericht-
Open Strings Festival, Osnabruck.
Ulrich Olshausen.
Frankfurter Allgemeine September 30th 2005.
Live Concert Review - Queens Hall, Edinburgh.
Rob Adams. April 21st 2005.
Live Concert Review - Lerwick, Shetland.
Chris Silver. March 16th 2005.
Live Concert Review - Roots @ The Reid Series, Edinburgh.
Nick Scott.
www.edinburghguide.com. August 28th 2004.
Live Concert Review - CCA, Glasgow.
Leon McDermott. SUNDAY HERALD. September 2003.
Live Concert Review - Eden Court Theatre,
Inverness.
Kenny Mathieson. JAZZWISE. November 2001.
"Despite that classical-sounding name, the Scottish Guitar Quartet
are a jazz group with a substantial pedigree. Malcolm MacFarlane
formed the band with Ged Brockie, Kevin MacKenzie and Nigel Clark
last year. All four players use lightly amplified acoustic guitars,
an unusual but not entirely unprecedented format for jazz.
That inevitably gave their music a slightly limited chamber-jazz
feel, but they compensated by working hard at varying voicing and
musical textures. All four had ample scope to demonstrate their
qualities as soloists, and if the lack of a conventional rhythm
section was occasionally felt, their deft interplay and clever use
of bass lines and percussive effects usually filled any gaps in
effective fashion.
Their own material dominated the set, with MacFarlane and Brockie
the main contributors, although they threw in the odd jazz standard,
including a lovely arrangement of ‘Blue in Green’ from Miles Davis‘
Kind of Blue.
MacFarlane’s ‘Denial’ (based on Charlie Parker’s ‘Confirmation’)
allowed all four players to show off their fluency in a pure bebop
idiom. Most of the other tunes drew on more diverse influences from
folk, rock and even classical sources, as in the evocative, almost
New Age flow of Ged Brockie’s ‘ One More Day’, or the overt gypsy
references in his fiery ‘Dance of the Gypsy King’."
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