What shape is that?

A felucca is a traditional wooden sailing boat, as seen on the Nile and Red Sea, distinguishable by its triangular lateen sail. Felucca (proper noun) is also the name of a contemporary jazz trio and I heard them the other night at Smiths. Not sure if I can see the connection but I enjoyed the music. The jazz Felucca was a sax trio with tenor sax and a distinctive aluminium strummed bass, sparse syncopated feels and long and intense crescendos. There's very little swing here, but this is the nature of current jazz. Abel's strummed bass was the identifiably different element, processed, metallic and ringing, strummed chords and pick. It was only very seldom that he played single notes and these were 4-to-the-floor rock feels that soon returned to syncopated strums. Drums were mostly acoustic and one tune started with a driving solo, but they, too, went digital when Paul processed through a drum machine, for deep echoes and stretched pitches. I liked this. New sounds, rock presence. Against this, a single tenor sax seemed simply toned, played without effects into a mic, but this was contemporary playing so nothing too obviously diatonic. The changes were rock-like, perhaps 4-bar phrases with a change each bar, but there was readiness to dissolve to free, or hold to a heavy psychedelia. It was mostly strong, driving playing, even if spacious, but there was gentleness, too, with some floating tunes of plectrum scrapes and heavily echoing bass and African rattles and pensive sax and cymbals. This is Sydney music, one band of many out of the JazzGroove stable, always interesting and probably performing too seldom. Contemporary jazz is a demanding form and not heavily attended, despite its obvious authenticity. A few aspects make this band new to my ears, especially the role of the bass, and so it is. There's a world of adventure in these combinations that visit us from Sydney. That's the nature of a developed jazz scene and Felucca is a comfortably inventive part of it.

Felucca are James Loughnan (tenor sax), Abel Cross (bass) and Paul Derricott (drums) and this is worthy invention with contemporary awareness and touched with some electronic freedom. Trangular, like the sails? Yeah, maybe, but the rhythms are square rigged.

This is personal

Second sets can often be the strongest, and that’s how I found the performance of Jeremy Rose last night at the Loft. It was actually a slightly strange night with a small audience and a band that must have been a bit disappointed. But I noticed during the second set that the band was different: more settled, unpressured, warmer, quieter, more free-flowing, easier grooves and interactions. Given little audience, you can play somewhat to yourself. There’s still some obligation, but it’s more intimate and personal, and anyway the audience was musos so they understood.

This was a CD release tour and the music seemed to be all from the pen of Jeremy. It was a wide range of originals in various times and honest styles, feels and melodies. Well placed with passion, but also with location. Immersed in history, within the great modern tradition and touching on early modern, and located in place with clear references to Jeremy’s Scandinavian connections but also with new world energy and brashness. “Never wear red pants at a bull fight” was reminiscent of Mingus in tune and title, alternating between bass riff and walk, with a bluesy overlaid sax. “Prelude” was a smoothly flowing introduction; “In transition” was boppy modern against a rapid walking bass; “Avant garden” was in 14. Jeremy introduced “My space” as influenced by a composition teacher in Oslo who was interested in maximising ideas from melodic fragments considered as horizontal lines. The outcome was a 4-bar melodic snippet that mutated harmonically in 3/4 time. I enjoyed the harmonies in this music: gently moving and an interesting chordal base for solos.

Jeremy has an easy fluency on alto and soprano saxes and an ease with dissonance that I noticed especially on the snake-charmer-like soprano. Jackson Harrison’s playing was sustained and sometimes fragmented, variously fighting the beat or riding it, stating ballads with sweetness or up-tempos with some contention. Abel Cross sat in for Alex Boneham on this tour and did a great job on some very demanding numbers. He was playing a stubby Czech-eze bass with a delightfully soft presence in accompaniment, although I would have preferred a bit more volume. James Waples was tellingly disjointed, inventive and apt. I enjoy the contemporary willingness to play away from standard sound mixes so I was intrigued with a passage of fast, free playing by bass and piano against sustained hi-hat patterns. James’ solo at the end on the night lifted the house in a crescendo of thought and power that incessantly grew to lift off then suddenly ended as he stopped to retrieve an errant bass drum. I’ve observed just a few players who can’t help but take off in solos and I think they must be naturals, or at least naturals in solo structure. This solo was like that.

It was a strange night with that diminutive audience, but it lent it a unique presence. The event was somewhat disappointing, but in response the music was intimate and connected. Jeremy Rose (alto, soprano sax) led a quartet with Jackson Harrison (piano), Abel Cross (bass) and James Waples (drums) playing his own compositions at he Loft. Jeremy returns to Canberra at the Gods in a few weeks’ time with the Vampires. And don’t miss anything at the Loft: it’s infrequent but it’s the most adventurous modern jazz around town at the moment.

Third of 3 of how many

There were three acts for the latest of hellosQuare concert at Street Theatre Two. It’s an intimate venue equipped with a nice PA and decent upright piano and it’s a venue I like: intimate, informal, suited to experiment.

The feature act of the show was 3ofmillions. 3ofmillions plays with effects and presents freely improvised musics with few obvious chordal structures or harmonic movements and none-too-obvious compositional forms. They are very competent players who know how to interpret free and atonal forms and who work well together. That’s doesn’t make it any easier, but it does make the effort worthwhile. What do I remember of this? Some fabulous, frantic piano reminiscent of atonal classical styles; intensity that built and broke and passed through the players with ease; some very sweet walking bass (how unexpected!) at the end that convinced me of the sound of Abel’s unusual instrument (more below); some huge drum dynamics that clashed with ears and other performers, although never purposelessly; an arresting pitch bend effect that Abel used on his bass. I enjoyed this set. Just two long improvs, both capable and impressive even if never undemanding. BTW, Abel’s bass was semi-acoustic, a copy of Steve Swallow’s signature instrument (Citron AE5 Swallow). It has a long (36” scale) narrow neck and 5 strings, tuned E-A-D-G-C on the Swallow original. Abel suggested it excelled in chords and high notes rather than low walking styles, but it heard it as beautifully sweet for a short walk in the band context. BTW, Abel also played with a pick, although perhaps not a copper pick as does Steve Swallow.

The openers were Cat Cat and Anonymeye. I presume Cat Cat are locals. Three guitars, some vocals, some harmonica, mostly one chord, a constant 4/4 backing track at about 110bpm (for all but one tune where they did 4/4 at 110bpm without the backing track), mostly with recorded tambourine on 2-4. They are described as kraut rockers, with “drifting guitars, droning keyboards and metronomic grooves”. I heard minimalist, ‘60s Doors-like tunes. Enough said. Then Anonymeye. Anonymeye is Andrew Tuttle from Brisbane, who is touring for Sound Travellers. He mostly played acoustic guitar and just a little keyboard, looped and effected. Strangely, he finished with straight finger-picked guitar piece that was, for me, the highlight of his performance. There were mentions of country and folk musics in the promo, but I heard it more as classical style with some degree of crossover to more popular styles. This was decent playing and the electronics were authentic enough when you closed your eyes. But the style (a solo performer mostly twirling knobs on stage) does seem rather indulgent, even onanistic. Maybe I just need to be better trained. I know others say that about jazz solos, but at least the skills are manifestly more demanding.

The supporting performers were Cat Cat and Andrew Tuttle (guitar, keyboards, electronics) as Anonymeye. 3ofmillions was Adrian Klumpes (piano, electronics), Abel Cross (bass, electronics) and Finn Ryan (drums).

Citron AE5 Swallow

Tour no.5 to the Gods

Trio Apoplectic are on their 5th tour. Recent outings were to White Eagle, but this one was to the Gods for Geoff Page’s annual series. Trio Apoplectic are Dave Jackson (alto sax), Abel Cross (bass) and Alex Masso (drums). I know them as a demanding but satisfying outfit, with the open, minimal, chordless sound of a sax trio. The chordless trio format allows considerable leeway for all players and flexibility in statements of harmonies and counterpoint. Their music is modern and often difficult, and their statements of harmonies are not always too obvious, so I was surprised when they opened with a favourite standard, There will never be another you, played with a fairly mainsteam approach. But it segued into free playing, strummed bass and the like, and we were in familiar territory. There were some original tunes I recognised: Dynamite, Saturday arvo, Details of how to get APOPLECTIC on your number plate. They seem to like Monk (they also play Boo Boo’s Birthday on their album and live) so Rhythmaning was no surprise. There was also a tune dedicated to Bernie McGann: The last postman, by Tony Gorman. The audience was small and subdued and the band was only at the start of its tour. But we always expect an interesting and challenging night with this modern outfit, and it was. Click on the labels below for earlier TA reports.

Ivory and apoplexy

White Eagle offered another double bill last night. This is obviously developing as the nature of the event, with audio provided and recorded by ArtSound, and a local band and a local or visiting band as a main act. Tonight’s show featured Ivory Hunter, Daniel Hunter’s band, and the return of Sydney’s Trio Apoplectic.

Ivory Hunter is led by Dan Hunter (guitar), with Yen Nguyen (drums), Gareth Hill (bass) and Munro Melano (keyboards). I hadn’t heard of Ivory Hunter before but I assume the musos have been playing together for years at the Jazz School. I’ve reported on these players several times on CJ, but mostly they were playing the standards repertoire (very capably). However, Ivory Hunter is a platform for originals. The tunes were penned by various band members and covered a range of approaches. There was one bordering on hardbop, but mostly they were more melodic and tuneful. I particularly liked a couple of tunes from Gareth, a ballad and another tune with a very convulsive melody leading into a hard swing. Daniel’s Act of will was an interesting piece with a sustained quarter-note melody that had my mind drifting. And I have to mention Dan’s Scofeel. It’s an obvious take on Scofield, with indefinite timing, sleezy down-South solos, bluesy organ in the background, and Chambers-style drum patterns crossing the bar lines. So there was quite a range of styles here: floating and relaxed, bluesy, out. I had the feeling these guys were beyond simple exuberance, and were seeking more musical statements.

Daniel always plays in a restrained and careful way, and he did so this night. He plays occasional flourishes but lots of well-considered melodic lines. Gareth also led as melodist on several tunes and played some excellent solos. He’s a strong player, and his tone is also strong: good muscular fingers dragging the strings for a clear, woody tone. Munro played synths at times, along with piano and organ sounds. I particularly liked his comping, especially following his responses to Dan when he played outside. Yen held it all together and played several expressive solos, not least on his own compositions.

As for the band name, Hunter is an obvious reference, but is there some other message? Perhaps. The smooth surface and alabaster colouring of ivory seems to fit the music.

Trio Apoplectic were quite a change after the more relaxed Ivory. Right from the top, they played with intensity, energy and intelligent interaction. I’ve written about TA before; they played at the first White Eagle session. Their return was quite triumphant. This was modern jazz of a high order. Intellectual, emotionally demanding and satisfying, great playing with great, clear sounds, exploratory. I love this style and I was trying to place it. Perhaps Joe Henderson? I asked them about their influences. Interestingly, they offered Bernie (McGann) and when I further inquired, they suggested other players around Sydney.

TA are Dave Jackson (alto sax), Abel Cross (bass) and Alex Masso (drums). They play a mix of standards and originals. Originals come from the pens of Alex and Abel, especially Abel. They played Monk’s Boo Boo’s birthday. Originals included the oddly named Details of how to get apoplectic on your licence plate (apparently a renowned title at Sydney’s Birdland records). There were soundscapes and free styles, hard swing and balladic styles, bowed bass reminiscent of didjeridoo and sax harmonics. Several of these tunes are on the CD, and were played at TA’s last White Eagle concert. I feel they’ve explored the music much further, and this was the source of such a satisfying performance.

They all played with intense energy and commitment throughout the show. Noone played too obviously, or displayed the chords too evidently. The harmonies and counterpoint were fascinating. They were also all very balanced, each player providing an essential ingredient and contributing equally to the complexity and richness. This is just highlighted by the open sound a chordless trio. Dave plays alto, and it fit so well: smooth and sinuous, but also intriguing and exploratory. Abel played hot from the top, and played some excellent solos. The underlying chords were interpreted so subtly I wondered if the tunes were modal. A lovely modern style. Alex was mobile and varied on drums: brushes or sticks, cymbals or drums, sparse or dense.

Another great night at White Eagle, in expectation of White Eagle’s debut as an international venue next week, with the bassist Senator Eugene Wright.

Three apoplectic jazzers

Trio Apoplectic played last night for the inaugural monthly concert and jam organised by Jazz School students at the Polish White Eagle Club. TA are a young Sydney band, comprising Dave Jackson (alto sax), Abel Cross (acoustic bass) and Alex Masso (drums).

They played two sets of modern acoustic jazz comprising 50/50 interesting standards and originals. I heard it as post-bop, but perhaps other descriptions are apt. Non-originals included tunes by Mal Waldron, Tony Gorman, Thelonius Monk (BooBoo’s birthday), Ellington (Sonnet for Sister Kate/Coco) and the standard The Blue Room (Rogers & Hart?). The originals included “Details of how to get Apoplectic on your licence plate” (no other band is likely to use that title!) and the hard bop tune Dynamite which finished the night on a high.

This is a chordless trio, so there’s a open sound, which lets you hear each instrument clearly. It also demands that the harmonies are well defined by the bass and sax, and they were. I love this format, especially because I can so easily make out the bass lines which can be lost in more full orchestrations. I loved Abel’s excellent, lively and communicative bass playing. He was very comfortable when walking and in freer support roles, and he played great solos. He also had a satisfying woody sound, and a beautiful looking bass of a rich mahogany-coloured timber with strong grain patterns; lovely. Dave played thoughtful solos, with lots of clear and well-maintained pattern work and nice structure. He seemed deeply involved when he was playing, and showed a real relationship to the tune at hand. Alex supported, with close interaction with Abel, and increasingly frequent solos (mainly trading 8s, but one or two full solos later in the night).

I thoroughly enjoyed the playing, and the small crowd obviously did too. It’s great to see more Sydney players coming down, and the opportunity for Canberrans to get to know the products of the venerable jazz course at the Sydney Conservatorium.

Thanks to TA's press release for the mono pic above.