c.v. - SELECTED PASSAGES FROM CRITICAL REVIEWS
On OUD playing on the CD by EAST OF WEST - MOVING HOME (a finalist in the 2023 ARIA awards in the World Music category):
From Bosnia to Brisbane via Sweden and Slovenia, the Australian-based trio East of West span all points of the compass with a fusion of the music of the Balkans and the Mediterranean, jazz and Middle Eastern classical forms to create a sound that defies simple categorisation. If pushed, we could probably settle for something like ‘Balkan ethno-jazz fusion,’ although such a clumsy phrase fails to do justice to the elegance and subtlety of Moving Home, the follow-up to 2019 debut Little Harbour.
Bosnian-born double bass-player Goran Gajić is the main composer of the tunes here, played by oud maestro Philip Griffin and percussionist Malindi Morris, who studied folk music in Sweden and Slovenia, where she played with the band Lastovka. Although all 11 tracks are instrumental, there's plenty of variety, both rhythmically and in terms of mood, from the 7/8 groove of ‘Tablelands’ to the Persian influence of ‘Lahor’ via a Hellenic flavour on ‘Windswept’, on which Griffin switches from oud to the Greek laouto. Perhaps best of all is ‘Stringybark’, containing a slow atmospheric bass and oud duet.
Nigel Williamson Songlines August/September 2023 - https://www.songlines.co.uk/review/moving-home?fbclid=IwAR0JXi5RsXV0IVBhfzYMzeaynyHzvlU-ZlkMCpXBjMmEag8m3Y8YUQ-CJTw
Three Marys - World premiere of Chamber Opera (orchestra included Philip Griffin on oud) at Sydney Opera House - May 2023
Among their number was Charbel Moussa as featured vocalist. He delivered, along with the oud player Philip Griffin in the eight-member musical ensemble, striking Middle Eastern textures to the score.
Deborah Jones, Limelight Magazine, 12 May 2023 - https://limelightmagazine.com.au/reviews/three-marys-sydney-opera-house-unwrapped/
additional review of video of production by Caroline Wilkins in Resonate Magazine - 26 September 2023 here:
https://www.australianmusiccentre.com.au/article/review-three-marys?fbclid=IwAR0R6vM5MCFXSL1JJm-o86CVIJ8NwHmuFC7rf4sJQjHlithX92StRFm0J_0
East of West Performance and Ukulele Masterclass with Philip Griffin held on Sunday February 16th 2020
Folk Redlands put on an excellent afternoon which included a Ukulele Masterclass Workshop with Philip Griffin. Prior to the workshop we were treated to some fantastic world folk, Balkan and Middle Eastern music played on oud and double bass with various hand percussion. Philip, Malindi and Goran were all virtuoso musicians and told us a bit of history about the instruments and the tunes. You could hear a pin drop as everyone was enthralled by the performance which was totally acoustic and unplugged.
There was a very good turn out of interested spectators and uke players who stayed for the workshop after the performance. There were quite a few BUMs on seats (pardon the pun) to learn a Venezuelan tune called La Perica (The Parrot) arranged by Philip. There were 3 ukulele parts – strumming, picking and the melody line, also a part for baritones and a part for the U bass. It was surprising how quickly all the parts came together within an hour as an ensemble and how good it sounded.
All in all it was an enjoyable and very educational afternoon.
Julie (aka Mama Juju) www.brisbaneukulele.com/review-ukulele-masterclass-with-phillip-griffin/
On playing oud ON East of West’s 2019 release Little Harbour
This debut release by Brisbane trio East of West evokes, as the title promises, the experience of meandering through the back streets and alleys of a Mediterranean port city, where a moment of solitude and tranquillity can suddenly be replaced, as one turns a corner, by bustle, debauchery and danger.
Bosnian-born bandleader, bassist and composer Goran Gajic, with oud player Philip Griffin and percussionist Malindi Morris, have crafted an album brimming with subtle touches and details, and replete with storytelling and imagery that's effective both mentally and viscerally.
The compositions are inspired by varied sounds, textures and rhythms from around the Balkans and the Mediterranean, with elements of funk and jazz and space for improvisation.
Several pieces, like the potent Fields and plaintive title track, completely change mood halfway through, adding to the overall sense of drama.
…the playing from all members is impressive, and exemplifies Brisbane's being a fertile environment for creative multicultural music. Accessible in the best sense of the word, this is very easy to enjoy. ☆☆☆☆
Eugene Ulman https://www.smh.com.au/culture/music/grimes-remains-queen-of-other-worldly-pop-on-final-earth-album-20200217-p541fp.html 21 February 2020
On playing electric bass & tambura with The Balkanics - Lawson Mechanics Institute November 4th, 2017
They look like so many clowns who have run away from the circus: refugees from making people laugh who have turned, instead, to music and the fine art of brewing jubilation. Among the plethora of bands playing Balkan and Gypsy music in Australia these days, one rarely encounters high-level musicianship so completely intertwined with sheer gusto as is the case with The Balkanics…
The band has a particular penchant for the music of Macedonia, the wonder being the degree to which they generate something of the primal force of a Balkan brass band with just five players.
But he (Linsey Pollak) has also surrounded himself with colleagues who broadly match his exuberance, leaving no sense of an idiom being painstakingly recreated so much as of them making this music their own, notably by emphasising the potential for jazzier and funkier iterations. Adding sonic colour to the visuals the five members played a dozen instruments between them (no doubt with many more in reserve). …Philip Griffin on bass (his lines helping define the band's singular approach). ☆☆☆☆
John Shand www.smh.com.au/entertainment/music/balkanics-review-hang-on-to-your-hats--theres-some-sheer-gusto-blowing-up-20171105-gzf0nj.html 5 November 2017
On COMPOSITION; and playing theorbo, baroque guitar, percussion on Affetto’s 2017 album AFFETTO
The five musicians of Affetto borrowed their collective name from the Italian word for mood, emotion or affect and they aim to take us on a roller coaster of ups and downs, from plaintive to passionate and serene to sensual.
This CD is an attractive sampling of what they do, with music drawn from the vast storehouse of the Renaissance and Baroque; familiar composers such as Monteverdi and Caccini sit alongside Cazzati, Mudarra and Sances.
Dealing with scores that are sometimes little more than shorthand, it's fascinating to hear how ingeniously they are realised by Rachael Griffiths-Hughes on harpsichord and organ and Brisbane-based Philip Griffin, plucking, strumming and bowing his various instruments.
There's a real sense of infectious joy in this album, so much so in the Spanish-styled stroll through one Diego Ortiz piece, that you'd be happy for it to saunter well beyond its 1'40" running time.
The final track anchors us in Aotearoa in 2017 as Griffin's Whaia te iti kahurangi puts music to an old Maori proverb, introduced by the clarion call of Reid's conch shell trumpet. The text, "Seek the treasure you value most dearly; if you bow your head, let it be to a lofty mountain", inspires a delightfully catchy setting; four centuries ago, on the other side of the world, its ancient wisdom could well have fuelled a Monteverdi madrigal.
Verdict: Local early music group navigates the centuries with charm and style. ☆☆☆☆☆
William Dart www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=11932405 13 October 2017
On playing electric bass, electric guitar, oud, tambura for Linsey Pollak’s 2014 CD Mrs Curly and the Norwegian Smoking Pipe
The compositions are also Pollak's, occasionally in collaboration with Tunji Beier (percussion) and Philip Griffin (assorted strings)… Between them the players provide enormous variation in the textures couching the serpentine melodies, off-metre rhythms and improvisations, and the cumulative charm, beauty and emotional range is an apt match for Pollak's dazzling ingenuity. ☆☆☆☆
John Shand www.smh.com.au/entertainment/music/shortlist-album-reviews 6 November 2015
On playing oud, guitar, acting, singing in Creative Development showing of Conversations for Various People, Oct 2015:
THE music theatre company, Various People Inc, has presented some quite outstanding shows in recent years, way out of the ordinary in content, innovative in production, sophisticated in performance.
For her latest venture, director Cheryl Pickering has chosen to show a work in progress.
Named Conversations, the piece tracks people who have been forced out of their homes, persecuted, brutally treated, sometimes murdered. Through their songs and stories as displaced persons, as refugees, as boatpeople, they fill in the gaps, flesh out the statistics, with personal accounts of their agonies from Auschwitz to Australia.
Congratulations, carried with acclamation, to Pickering and her crew for their courage…
…performers (Cheryl) Pickering, Catherine Campbell, Mojgan Khadem, Stephen Sheehan and Philip Griffin an expert on the oud.
Elizabeth Silsbury www.adelaidenow.com.au The Advertiser 25 October 2015
On playing theorbo, Baroque guitar and singing on Chamber Music NZ tour with Affetto, July 2015:
The group known as Affetto may be unique in New Zealand. It is made up of world class baroque specialists who make their magic on authentically built baroque instruments, and who design and deliver their concerts as a thoroughly professional collective.
Through their perfectly managed and meticulously prepared performances they deliver a musical milieu which is unique, accessible, and exciting.
They played with such éclat, and vigour, and communicated such drama, such feeling, that this audience will remember tonight for a very long time.
… the theorbo player extraordinaire who was even taller than his giant lute, but as comfortable on the diminutive baroque guitar as he was singing a stunning duet with Tankersley.
What extraordinary musicians. What wonderful music. Here, truly, be sheer delight.
Sam Edwards www.stuff.co.nz/waikato-times/news/70288390/review-affetto-share-music-magic-in-the-waikato 16 July 2015
…Henry Eccles' Drunken Dialogue (sung as a riotous duet with Philip Griffin)
…[the Affetto musicians] brought their innate grace, charm and vigour…
Peter Mechen middle-c.org/2015/07/wit-theatricality-and-food-for-thought-from-affetto-in-lower-hutt/ 8 July2015
On playing theorbo and singing with Affetto, February 2015:
…matched by Philip Griffin's masterful performance on the Theorbo.
Other highlights from the evening include a spirited rendition of Eccles Drunken Dialogue between Tankersley and Griffin [singing].
Dione Joseph www.theatreview.org.nz/reviews/printreview.php?id=7850 1 Mar 2015
On playing theorbo (“lute” in review)with Pipers Sinfonia for Auckland Choral at Auckland Town Hall in Handel’s Messiah:
Pipers Sinfonia provided spirited accompaniment and the sharing of continuo duties between two organs, harpsichord and lute was beautifully done.
William Dart New Zealand Herald 17 December 2014
On playing theorbo, baroque and modern guitars, oud, percussion and singing with Affetto, Hamilton, September 2014:
At one stage in my notes, I wrote, "Suddenly, I am in the presence of great beauty… measured elegance… sensuous intimacy…" all of which came from instruments which were plucked, struck, bowed and blown to offer a soundscape unlike any other. It was made possible by the virtuosity of musicians ranging from Philip Griffin who played, sang, and made the giant theorbo sing as well, to soprano Jayne Tankersley whose voice is the ultimate baroque instrument and whose pianissimo, melancholic, utterly pure final note in the heartrending Flow My Tears [accompanied by Philip Griffin on modern guitar] was mesmerising.
Sam Edwards Waikato Times 11 September 2014
On performance as Howard Wise in World Premiere of Len Lye the opera (Eve de Castro-Robinson) 2012:
Towards the end of the work, tenor Philip Griffin brings a moment of humanly relatable pathos as Lye’s sympathetic but pragmatic New York art dealer, who finally has to take Lye off the books.
Robbie Ellis http://www.theatreview.org.nz/ (NZ professional theatre & dance: reviews, news and your views) 6 September 2012
On performance by The Pocket Score Company of Homecoming (1997):
“… followed by madrigals by Marenzio and Morley, all eclipsed by the performance of the powerful setting of Bruce Dawe’s poem Homecoming by Philip Griffin. Griffin’s score magnifies the sharp edge to Dawe’s words while maintaining the poignancy of these young, modern soldiers brought home, ‘too late, too early’ in winged hearses, the howling jet engines representing contemporary keening. Paul Eldon’s fluid tenor voice worked well here and David Mackay’s voice delivered the last line gracefully and hauntingly.”
Jennifer Gall The Canberra Times 9 June 2011
On singing tenor solos in Messiah (Handel) 2005:
“The tenor solos were splendidly sung by Philip Griffin. His voice is richly sonorous, and he displayed fine musicianship in a polished performance of his demanding pieces.”
Peter Tillett Fleurieu Life, The Times 15 December 2005
On composition for Vigil Bluetongue Theatre 2005:
“…complemented by… original, recorded music that is quite moving.”
Sue Oldknow Portside Messenger 17 August 2005
and
“…lovely score that very effectively punctuates the many short scenes.”
Ms Fit What’s on in Adelaide - essentialadelaide.blog.com
On arrangement and music direction for The Government Inspector State Theatre Company of South Australia 2005:
“Visually and aurally an outrageous delight, from spectacularly vulgar costumes and sets to peculiar rap music on balalaika and squeeze box…”
Russell Starke Weekly Times Messenger 9 March 2005
On composition and music direction for Euripides’ Trojan Women State Theatre Company of South Australia 2004:
“The women’s chorus… under the direction of composer and music director Philip Griffin, works to powerful effect as the beaten, bereaved, captive and abused women of Troy chant their woes, sing their laments and curse the enemies and the gods…
…the real star of the production is the music composed for it by Griffin with Ross Daly, an expert in the various non-Western instruments that dominate, quite beautifully, the soundscape of the play.
The performance of this haunting, hybrid music, both instrumental and choral, becomes an integral part of the set and of the script.
The play is worth seeing for the music and the chorus…”
Kerryn Goldsworthy Eastern Courier Messenger 24 November 2004
“The music composed by Philip Griffin and Ross Daly and performed on such bowed string instruments as the lyra, tarhu, saz and oud, adds strong Mediterranean and Balkan accents to the production…”
Murray Bramwell The Adelaide Review 26 November 2004
On music and sound design for Death of a Salesman State Theatre Company of South Australia 2004:
“…sound by Philip Griffin was evocative and appropriate.”
Russell Starke News-Review Messenger 4 August 2004
and
“From Cath Cantlon’s multi-level caged set to Philip Griffin’s intriguing score… every aspect of this production gels.”
Matt Byrne Sunday Mail 8 August 2004
On laouto and electric guitar playing on the CD by Xenos - Çirikli
Listening to Balkan music, you sometimes have to go as far as Australia. A lot of immigrants went down under taking their music with them, but Melbourne's Xenos band has no Balkan or Roma roots… But I wonder if you would recognize the difference to the original. No, this is the pure drop though. Trance-like Gypsy songs and round dances from the Balkan, Greece and Romania, enigmatic and entrancing.
Tom Keller a.k.a. Walkin' T:-)M www.folkworld.de/30/e/cds3.html 2004
On music and sound design for The Crucible State Theatre Company of South Australia 2003:
“…eerily enhanced by subtle music and sound from Philip Griffin, the production has an edge of danger that is spellbinding.”
Stephen House Guardian Messenger 19 March 2003
On playing Balkan and Middle Eastern lutes with Ross Daly and Friends:
“Philip Griffin’s nimble fingers on the tambura were never less than the perfect accompaniment, so I loved it when he had a chance for a more prominent part in the last piece of the night.”
Ben Eltham The Courier-Mail 3 March 2003 reviewing the concert at QPAC Concert Hall, Brisbane, 27 February 2003.
and
“Griffin was equally impressive on the lute-like laouto, oud and tambura, forming a rhythm section with the consistently engrossing and intricate hand-drumming of Beier..... Those who missed this will have to settle for their splendid album, Kin Kin.”
John Shand The Sydney Morning Herald 19 March 2003 reviewing the concert at Paddington Uniting Church, Sydney, 13 March 2003.
(“This was some of the finest music heard in Sydney for years.” John Shand-SMH)
On electric guitar playing on the CD by Xenos - Tutti Frutti (a finalist in the 2001 ARIA awards in the World Music category):
“A special mention should go to Philip Griffin, who is the only non-local (i.e. non-Balkan) guitarist I have ever heard to have grasped the intricate mix of twang and strum that drives the song and dance along.”
Kim Burton Songlines Winter 2001
and
“It's like I'm listening to an authentic Romanian or Macedonian band. They are backed by a great band including Gaida, percussion, saxophone, electric guitar and many other instruments. Xenos managed to record a convincing cd with strong vocals and energetic music. I still do not believe that their from Australia. The vocals are just to authentic and the musicians seem to know what their doing. The best Balkan cd from outside the Balkan I can think of!”
Eelco Schilder www.folkworld.de/24/e/cds2.html 2001
On composition for Antony and Cleopatra The Australian People’s Theatre 1993:
“Best is Philip Griffin’s music and Kym Barrett’s design. ...a real help in guiding us through the convolutions of this marvellous story. So is Griffin’s music, through which the battles and much else are performed on some splendidly bizarre instruments he has designed himself, including a great drum array and a piano standing on its side so the performers can scrape and play on the exposed strings.”
John McCallum The Australian 7 May 1993
On composition for Karagiozis Down Under 1992:
“What appealed to me most, however, was the music, written by West Australian Philip Griffin.”
Eleni Nika (translated by Thomas Papathanassiou) Neos Kosmos 13 February 1992
On The Voyage of Vasco Pyjama 1991:
“... and some inspired musical numbers by Philip Griffin...”
Alison Farmer The Australian 14 October 1991
and
“Multi-talented Philip Griffin is the musical director...”
David Hough The Bulletin 5 November 1991
On composition for A Dream of People Royal Shakespeare Company 1990:
“...and the music - unaccompanied Spanish guitar - is unexpected and witty.”
John Morrish Time Out 8 August 1990
On conducting BMus graduation recital, Western Australian Conservatorium of Music 1988:
“Notably in the first movement, Philip Griffin (who is, incidentally, the first Conservatorium BMus graduate in conducting) coaxed a lively and committed response from the Conservatorium Chamber Orchestra and, throughout the evening, in fact, directed events with considerable understanding of the soloists’ musical requirements.”
Neville Cohn The Sunday Times 27 November 1988
On singing the roles of Pilato and Petrus in Passio secundum Joannem (Bach) 1988:
“Philip Griffin impressed with his singing of Pilate and Peter. He has developed a particularly even vocal technique which should hold him in good stead for the future.”
Alan True Music Maker May/June 1988
On performance in the title role of Gianni Schicchi (Puccini) 1988:
“Philip Griffin as Gianni Schicchi gave an excellent performance in which he displayed vocal and acting skills...”
Anne Hodgson The West Australian 14 October 1988
and:
“Philip Griffin was a dashing, albeit youthful, Gianni Schicchi. ...he played it with the panache it required, leading the rest of the cast a merry chase.”
Alan True Opera Australia December 1988
On composition for Three Balkan Songs as performed by I Cantori 1986:
“The evening finished with three charming settings of Balkan songs by the conductor. Griffin exploited complex rhythms and progressively more abrasive harmonies to weave colourful sound pictures. The singers coasted through these arrangements which are certainly worth another airing.”
Alan True Music Maker January/February 1987