Articulations

Many jazz players tend to post-bop and instrumentals but I have huge respect for lyrics and love a singer.  Tilly Street is a walk back to the glorious history of women singers in jazz, to the love songs, the '30/'40s musicals, the '50s/'60s which she spoke of as Beatnicky (nice!).  Even so, I was taken aback when she finished with the haunting tune Lawns by Carla Bley and Kurt Elling and to some degree by a string of intriguing, politically or intellectually challenging songs written by her and band members.  Quit my job was a rollicking fun tune of optimism; Let the right one in suggested a touching love song; another touched on politics with due care.  There was also one suggesting a child's view but I'd guess more an adult thinking back to lost possibilities, dunno, a delicious ballad called Peter Pan.  I also particularly enjoyed Spring can really hang you up the most, all heartbreak and bittersweet memories (listening now to Ella from Whisper not) or another pensive number, Something cool (listening to Julie London from Round midnight; nice but not Ella). So this was a night of words and song and I loved the return to such beauteous ballads and articulated emotions.

Tilly Street (vocals) performed at Smiths with Arthur Washington (guitar), Andrew Scott (piano), Max Alduca (bass) and Abby Constable (drums) for the release of her new album All at sea.

OWJF2022-6

Day 2 of OWJF2022 and I decide to spread my listening, some singers, the older jazz traditions, perhaps some blues or roots, a pub venue rather than another concert-hall church.  And good for a bit of exercise walking between venues and braving the cold.   Colder than Canberra by a few degrees and the dress of the locals shows it.

First up is Kate Wadey Trio at the Con.  Someone had spoken well of her the day before.  Kate with bass and piano.  I  caught a few songs.  First up was East of the sun, west of the moon, a favourite song, so I was on side.  Decent piano and bass solos; bassist Sam likes soloing with the bow.  Then a few originals.  I notice I'm genuinely impressed with a composition: an authentic, satisfying chord structure that moves nicely through keys or major/minors; AABA with harmonic changes in both As and Bs; med-slow walk.  So this is a jazz singer and capable writer, nicely presented in satin dress in the morning, has worked on cruise ships.  Lovely standards and originals in the tradition.  And I'm a sucker for a good song.  Much enjoyed.

Then some diverse things for my ears.  First up Queen Porter Stomp.  Three women up front, three part harmonies and ukelele, trumpet and trombone, three guys in the back line with guitar, bass, drums.  Some nice players I recognise from other outfits, not least Crystal Barreco upfront.  Was she out of Canberra?  I've definitely seen her play here with locals.  Plenty of cut-times, jump music, lovely harmonies, a decent guitar solo thrown in.  Very nice and entertaining.  Light and polished at the Cadia Club.  I am discovering more venues.

And a folkoric twist, singer-songwriter Darren Smith.  I came in late and just heard one song, telling of the #MeToo movement to his young daughter.  Honest and open, strumming and singing.

Kate Wadey, Darren Smith and Queen Porter Stomp played at the inaugural Orange Winter Jazz Festival. Kate Wadey (vocals) performed with Andrew Scott (piano) and  Samuel Dobson (bass).  Queen Porter Stomp comprised Crystal Barreca (vocals, ukulele), Louise Horwood (trumpet, vocals), Rose Foster (trombone, vocals), Aaron Flower (guitar), Alex Masso (drums) and Matt Lamb (bass).  Darren Smith (vocals, guitar) played at the Lord Anson.

In one pocket

It was only a quick listen on the way to something else, but I was really glad that we caught up with Pocket Trio at the National Press Club. They are from Sydney. They'd played Smiths and BentSpoke earlier in the week in Canberra but I was busy. Just a little piano trio with a delightfully joyful take on standards: swinging, capable, light and vibrant. Their playing was a dream but their presence was low key, joyous. Nicely sharp but unobtrusive drums, clear piano spelling tunes, tons of lithe bass solos. Max was once a student at ANU so back home. It's interesting to see people as they grow into the art: he's playing now with great chops and finesse and intelligence. I've only caught Andrew on piano once before; Tim has visited often over the years. Hope to hear them again. Intellectually satisfying and just plain nice music.

Pocket Trio are Andrew Scott (piano) Maximilian Alduca (bass) and Tim Geldens (drums). They played at the National Press Club.

Playing it tough

Maybe it's the age of the audience and maybe it's the jazz they started out with but several said how much they enjoyed this gig by the Matt Ottignon and his Tough Tenors. Just straight ahead, blues-infused, heavily swinging, uncomplicated and earthy (which does not translate into easy to play). Median tempos or up-tempo (even the one ballad, Body & soul, was pretty quick), burning tenor sax with two tenors up front. Tonal, bluesy lines, steady swing and walks, neat piano comping, unison or harmony heads and steady drums. Dirty big tones and satisfyingly twisted lines from hot and sweaty tenors. This may be as serious as your life, but you can feel the joy and even humour. The tunes were from several gatherings of two tenors - Eddie Lockjaw Davis with Johnny Griffin, Dexter Gordon with Wardell Grey, Sonny Stitt and Gene Ammons - but also a few singles - Ellington, Diz, Clifford Jordan, Bennie Motin, Lester Young, Coleman Hawkins. All formative players around the era of bebop and its offshoots. The band was pretty much a recent gathering but it didn't show: they were still blowing tight and together, obviously informed by the various traditions of this art as well as supported by their individual skills (these were some good players). Just a hard swinging night of hot playing with some humour amongst the pleasure. It's getting on to 60 or 70, even 80, years old by now, but how good to return to this formative era.

The Tough Tenors were Matt Ottignon and Chris O'Dea (tenors), Andrew Scott (piano), Tom Botting (bass) and Tim Geldens (drums) and they played at the Gods.