![]() Of the HK members, he says, “They’re all quite brilliant in their own right … They’re just really forward-thinking young people, and I want to always be involved and understand and learn from what’s happening, as opposed to what happened.”Īs McAll acknowledges, this echoes Miles Davis’s stance. ![]() ![]() It’s just that this helped me, and I really enjoy it.” “It’s kind of like a balm for myself for this last two years of chaos, and hopefully other people might find solace in it – but I’m certainly not trying to say I’m making some sort of healing music. “I wanted to make something similar to the feeling I used to get when I swam in the shallows, and warm currents would wash over me as a child,” he says. The impetus for the record epitomises McAll’s quicksilver imagination. The project ties together different areas of McAll’s career, and is crowned by the involvement of Bartz, a much-sampled hero for all involved. He collaborated with Hiatus Kaiyote’s Simon Mavin (keyboards), Paul Bender (bass) and Perrin Moss (drums) on several projects, including Moss’s own band, before McAll pooled them with tenor saxophonist Julien Wilson, singer Rita Satch and others to forge a unique, exultant brand of soul music on Precious Energy. Since returning to Australia, he has continued to widen his horizons, his projects ranging from jazz to choirs. Barney Mcall, right, with members of Hiatus Kaiyote.
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