Peter Ross Range

Sony has packaged this album like a 1980s disc of music to snog by, but the saxophonist Amy Dickson’s new release is an intriguing and entirely serious collection of recent works by Australian composers, works she did much to create. The title work, premiered by Dickson in 2012, is a late score by Peter Sculthorpe. The first movement is sun drenched and full of yearning, the saxophone soaring over a teeming orchestra; the second is a more unsettled expression of homesickness. Ross Edwards’s concerto entitled the Full Moon Dances – recorded, unlike the rest, live in concert – is elegantly scored and evocative, especially in the opening Mantra, in which the saxophone interweaves with the orchestral soloists, and in the pulsing, almost Stravinsky-esque First Ritual Dance. But it is Brett Dean’s 2007 flute concerto The Siduri Dances, here arranged for saxophone, which offers the most wide-ranging demonstration of Dickson’s mastery with its note-bending, buzzing effects and hectic rhythms.

“Full of fire, spirit and life.” is how Mozart described this work of his contemporary, presented here for the first time on this new 2CD set. Mozart’s positive verdict on Josef Myslivecek (1737-1781) was intended to make the listener aware, for the fact that the extremely critical Salzburg composer expresses himself positively about a colleague is an absolute exception. His oratorio Adamo & Eva, performed in Florence in 1771, was composed at precisely the time when contact with the Mozart family seemed to have been particularly close.

Empire was originally intended to be a new line-up of Flash. The nucleus of the band were guitarist Peter Banks and singer Sydney Foxx. The band never got a record deal and cd's were released in 1995-1996 by One Way Records. The music was recorded in the seventies. Recorded in 1974, this has a few fillers, and it occasionally falls into the prog habit of going six minutes when four would do, but it's still mystifying that this perfectly solid collection would go missing for so long. Empire's sound bridges the West Coast funk of Cold Blood and the jazzy guitar of early Yes, and it works surprisingly well. The charging "Out of Our Hands" has some clever guitar effects thrown in, and a startling moment where Foxx's vocals rise up like a kettle on the boil.