Chris Poulsen's High Five

Historical article recovered from a Wayback capture dated 2018-02-24.

Chris Poulsen is a professional jazz pianist, band-leader and composer. Having played professionally since 1999, he has more than ten years of experience performing around Australia, NZ, USA, UK and Nepal within various groups and settings. Chris’s impressive memory of jazz standard repertoire and understanding of harmonic theory comes from a wide range of influences and disciplines, and has enabled him to develop significant concepts and applications of music in many contexts. It has also informed his incredible improvisational skills, allowing true expression and flexibility in his performance. Chris is most known for his work with Brisbane-based jazz ensembles SCAT, and The Chris Poulsen Trio.

As front man of The Chris Poulsen Trio – an intensely energetic jazz/fusion combo – Chris draws upon his jazz-fusion, gospel and 60’s post-bop influences, channelling jazz greats such as Herbie Hancock and Medeski, Martin & Wood. The Trio, which was birthed in 2004, sees Chris join forces with bassist Jeremy O’Connor and new drummer, Sam Mitchell, and is full of dynamic colour, improvisational interaction and adventurous aggression. The Chris Poulsen Trio has supported jazz big-names: Mike Stern; The Yellowjackets; Cindy Blackman; James Morrison; and is set to support US jazz front-runners, Snarky Puppy, in June 2013. The Trio has just released their long-awaited studio album, David & Goliath, which takes the listener on a conceptual and musical journey through the ancient Biblical narrative of giant and boy.

More recently, Chris has branched out into solo-piano works, and played his first solo performance at the Brisbane Jazz Club to a sold-out crowd. He will be recording his first solo album early next year, focusing on his musical interpretations and arrangements of classic hymns.

Having recorded and co-produced many albums, and working as a session musician in various genres, Chris is also well-known for his work as a visual artist, having painted art-works.

1. CHRIS POTTER’S UNDERGROUND - 55 Bar, New York 2005

Chris Potter - tenor sax; Wayne Krantz - guitar; Jason Moran - rhodes; Nate Smith - drums

I remember squeezing in to this tightly packed venue, standing squashed right up at the bar, looking over Jason Moran’s shoulder witnessing this vibing band explode with energy! These guys were playing right on the edge of their ability, taking risks and flying high with crazy melodies and odd rhythms. Moran’s enthusiasm was such that he snapped a few tines on his Rhodes, and Nate Smith’s gusto lost him a drumstick to the front table of listeners. I really loved how Potter and Krantz were able to weave lines in and out with each other. It was so inspiring to see that level of intensity and interaction.

2. VNMG - Brisbane Jazz Club, Brisbane 2000

Will Vinson - alto sax; Steve Newcomb - piano; Thomas Morgan - bass; Peter Gabis - drums

On return from study at Manhattan School of Music, my then piano teacher Steve Newcomb brought with him a group of musicians from around the world whom he had met at the college and recently recorded a bunch of original material together. As a wide-eyed young musician, I watched this band present something really fresh and optimistic. There was a real sense of beauty and exploration, both in the composition, and the performance. I think a lot of the harmonic ideas have really stuck with me.

3. WAYNE SHORTER QUARTET - Carnegie Hall, New York 2005

Wayne Shorter - tenor sax; Danilo Perez - piano; John Patitucci - bass; Brian Blade - drums

This was an incredible experience! I had been a huge fan of these musicians individually as well as a band, and to see them perform live was nothing short of amazing! They had just released the “Beyond the Sound Barrier” album and performed material from that. The level of interaction - listening and dialoguing within this band blew me away! Wayne Shorter showed what it means to be a band leader, guiding his fearless rhythm section through very open spaces of improvisation, and subtly connecting ideas and phrases, building tension, creating beauty and taking the band and audience on a real journey. The use of rhythm and dynamics - especially from Brian Blade and Danilo Perez, really captured my attention.

4. HERBIE HANCOCK HUNTERS 05 - St Louis, MS 2005

Roy Hargrove - Trumpet; Kenny Garrett - alto sax; Herbie Hancock - piano; Lionel Loueke - guitar; Marcus Miller - bass; Terri Lyne Carrington - drums

I hadn’t planned on seeing any music while in St Louis, but when we heard about this line-up coming to town, we decided to stay a few extra days and catch it. It was a really cool gig! Roy Hargrove and Kenny Garrett were cooking as expected, and I really enjoyed hearing their interpretation of the old 70s Herbie rep. Marcus kept it funky, and I appreciated Herbie’s apparent sense of trying to keep it ‘fun’ - not a lot of snobbery in that band. I remember we were pretty young and excitable and decided to sneak in a few hours early to see the sound-check, then hung out later to meet Roy and Kenny, and a brief ‘hello’ with Herbie. It was just a fun night.

5. CHICK COREA RETURN TO FOREVER - QPAC, Brisbane 2011

Chick Corea - piano; Stanley Clarke - bass; Lenny White - drums; Frank Gambale - guitar; Jean Luc Ponty - violin

I had seen Chick Corea perform live before, but the thing that struck me about this concert was how incredibly ‘all over it’ he was this night. My wife and I managed to get front row seats, and eye-ball the musicians as they played. Always a fan of the legendary Lenny White’s slightly loose yet phat grooves, but mostly we were glued to Chick ripping it up on Rhodes, synths and piano. He nailed all those characteristic lines with precision, but he still seemed to be pushing his own limits and improvising with a real fire. It was great to feel so closely drawn into that, and to communicate to the band with smiles and nods, our appreciation of every phrase - a real sense of band-audience interaction.