There’s something to be said about witnessing an artist who truly knows their way around an instrument, especially in an intimate setting such as Venue 505, which is well known for corralling the greatest and sometimes most inconspicuous local jazz talent. Paul Mason and his power trio put their names up on 505’s entry way chalk board for the first time last Thursday, producing a set filled with the sense of candour and feeling that only someone who can claim a spot amongst the top guitarists in Australia could possibly pull off.
Supporting the trio was solo artist Ollie Brown, whose extensive years of busking have brought a hard earnt perspective and mournful plaintiveness to his repertoire. Armed with a guitar and kick drum which he admitted to not have practiced much with before, Brown delivered a beautifully reflective set of which “Backroads” and “Halfway Home” were highlights. Thoughtful lyrics set off by slow spun melodies were punctuated by the buzz of harmonica for the last few tunes and included a very sweet, gentle rendition of Bruce Springsteen’s “Dancing in the Dark”. It’s not hard to see the qualities that granted Brown a support slot alongside the likes of The Beach Boys and Bic Runga and a recent guest appearance in the Virgin Airline Lounge.
Having proven his musical chops with a regular spot on the Monday Jam, a musical rite hosted by The Basement, as well as paying his dues as Jessica Mauboy’s session guitarist, Mason’s teamed up with the talented likes of Timothy Bowen to co-write songs “My Way to You” and “Hold My Heart”, both infinitely catchy and soul stirring pieces, lent a different slant by the Bob Dylan-esque tones of Mason’s voice. The night offered new material written by the budding lyricist, who’s been adding to his already keen ability to put together intricate instrumental pieces such as “Constant Rate” and “Stratas” – both equally emotionally rich and rhythmically diverse in sound.
New songs “Go to Waste” and “Didn’t Want To” prove gut wrenchingly sad in their lyrical content, some of which provides the most simple and repetitive of words to really drive home intent. Along with the ability to convey genuine sentiment comes the surprisingly nimble guitar licks and flourishes which will hopefully become a recognisable part of Mason’s signature sound. Thrown into the set list was a well worn, but as Mason put it ‘cheesy’, cover turned favourite through his father’s musical taste Buddy Holly’s “Everyday”, as well as a ripper of an extended solo, once again drawing out a veteran skill and ease with his instrument of choice.
With Bobby Poulton and Miles Thomas as willing, brilliantly talented accomplices on the bass and drums respectively, it’s hard not be drawn into the well executed display of musical dexterity that is the Paul Mason Power Trio. A wicked sense of humour and at times hilariously awkward banter seems to add to the charm and stage presence of the troupe for whom this is just the beginning.
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