Standards and Scriabin

I thought I was hearing substitutions over chromatics in Andy Butler's playing and I chatted with him later about playing, listening and the like. He doesn't listen to tons of music; the most recent was Frank Sinatra. Most of his recent gigs have been more experimental. He mostly plays and practices classical. He mentioned Scriabin Preludes as transferable to jazz. May I was hearing Scriabin. Certainly, there was little of the right hand lines against left hand chording that is standard bop and later jazz soloing style. This was chordal, full handed style. Classical is like that. I heard block chords, a mobility with time and placement of beats, feels well behind the beat, chromaticism and chromatic movements, heavy pedalling (unusually using several pedals), some almost endless solo lines, considerable freedom in harmony. He was playing standards but bending them wildly, at least when he wasn't just spelling a beautiful balladic melody. This is all something I love: great music treated with frequent, trained abandon. Andy was playing with Simon Milman and Aidan Lowe. Simon took plenty of solos, sometimes searching for, or with the help of, the melody; not so fast but exploratory. Nice. Aidan was frequent smiles, finding ways to respond to some daring takes, quick witted, driving, sensitive and aware. Great drumming, as usual. Just standards. Set 1: How deep is the ocean, Groovin' high, I fall in love too easily (a lovely tune and not common), Slow boat to China (how cute, but perfectly effective and innocently swinging), Foggy day (at a quick pace). Then set 2: If I were a bell, I thought about you, Darn that dream, Oleo, Straight no chaser. Great to see Andy again; great to hear a string of standards played with a considerable learned transgression; great to hear a decent piano trio. If only Andy had brought his own Steinway.

Andy Butler (piano) led a trio with Simon Milman (bass) and Aidan Lowe (drums) playing standards at Smiths.

More chalk and cheese, pt.1

Freshbace was two student bands, each led by a visiting jazz luminary. The first was Bennie Maupin; the second was Joe Chindamo. I’d seen both of these musicians in workshop so I was intrigued to hear them in concert as leaders of a student band. Like some other combinations that I’ve attended at CJP, these were chalk and cheese.

Bennie’s band went first. Bennie was involved in some major movements in the late sixties and seventies - Bitches brew, On the corner, Headhunters, Mwandishi – so we could expect a more spacey presentation. We got it. Just to emphasise the approach, the concert started with a string quartet. Then into a concert of heavy grooves, touches of free or at least lengthy cacophony, string quartet intros and washes, plenty of solos including a Ponty-like jazz violin, and an end on a solid funk. The tunes were originals from Bennie’s pen. Jewel of the Lotus and Mapo were spacey ‘70s jazz from early ECM releases. Equal justice was a ballad where Bennie played a slow ostinato of long and somewhat atonal intervals on piano. The final tune was a solid jazz funk that livened up to finish the set. This is probably the era that most influenced me in jazz so I was entranced by the music. The students were playing to their best, aware but smiling, and the music was alluring and physical. I especially took note of the unusual sound of El’s electric violin, which she played with considerable authority and with those characteristic intervals due to the tuning in fifths. Daniel’s guitar solo, especially his overt cutting blues and repeated notes against the funk, was classic Kim: outlandish but convincing. Jordan dropped into slap for the funk and let loose some devastating triplet slaps. I enjoyed watching the string quartet enjoying temporary freedom from dots during several group improv passages. Nice concert and earthy and physical.

Bennie Maupin (soprano sax, piano) led a student band comprising Andy Butler (piano), Matt Handel (alto), Tom Sly (trumpet), Patrick Langdon (trombone), Daniel Kim (guitar), Henry Rasmussen (drums), Llewellyn Osborne (jazz violin) and the Childers String Quartet of Tobias Chisnall (violin), Estelita Rae (violin), Anthony de Battista (viola) and Julia Janiszewski (cello).

Cyberhalides Jazz Photos by Brian Stewart

Old and young guns, pt.1

The concert was entitled 21+75 because it marked the recent birthdays of each artist. Andy Butler was the junior; Bernie McGann the senior. If this expresses the quality of jazz in Australia as it has been and as it will be, I can only be proud. These were two seriously satisfying sets, and I was not the only one who left in thrall.

Andy led a big band (and for one tune, an octet) performing a series of charts that he’s developed with sponsorship and mentoring from Steve Newcomb under an Australia Council program. I know the band is brought together for this performance, so I was mightily impressed by how easily the band took to the charts. They weren’t easy, with odd times and syncopated conversational passages back and forth between parts. There may have been a touch of hesitation from the horns but nothing at all from Mark on drums. I particularly noticed his solo, which was solid, even magisterial. And a mix on a decent PA made all the difference. You always hear the snakey reeds and the blasting trumpets, but the tuba can be lost with its bell pointing to the ceiling. Tonight it was here and proud and speaking with its own voice. There were solos all round, of course, but the excitement here is in the tone and the orchestration and composition. The first tune was as yet unnamed and I heard it in 7/4 but perhaps with 4/4 passages. Poco was a highly syncopated unyielding pattern over 16 with a buzzing bee swarm as resolution. I missed the third tune’s title, but it was sleazy and slow and arranged for octet. The big band returned for Ode to Skype, if I remember correctly, in triple time. Andy later told me he communicates with Steve (and his girlfriend) over Skype. The final tune was Tightrope. There as a lively buzz in the foyer after Andy’s concert: for the pride in achievement as well as for the beer line. This gig was joyously received and Andy was talking of other gigs. But how to do this with such a large outfit? We can only hope.

Andy Butler (piano, composer) led big band comprising John Mackey, Niels Rosendahl, Matt Handel, Tom Fell (saxes), Miroslav Bukovsky, Alex Raupach, Ax Long, Scott Temby (trumpets), Rob Lee, Valdis Thomann, Patrick Langdon (trombones), Peter McGovern (tuba), Max Alduca (bass) and Mark Sutton (drums)

Cyberhalides Jazz Photos by Brian Stewart

Colour against the dark, part 2

It’s only a small room so they could hardly fit on stage, but the sound of Alex Raupach’s Dectet was lush with the tuba and various horns and the soprano voice performing sometimes as a singing voice and otherwise wordlessly as another instrument. This sound just has to remind you of Miles in the ‘50s. The tonality and harmonies and voice movements may be influenced by Gil Evans (the ballad was spot on) but the music was contemporary. The one non-original was a piece by drummer John Hollenbeck. It sat minimally against an insistent and heavy drum pattern then grew into melody and withdrew again to melodic minimalism. The last (as yet untitled) tune of the night seemed to be similarly contemporary with perhaps cacophony replacing minimalism. An earlier tune was cabaret-zany music as a setting for lyrics in Franglais by Liverpool poet Neil Innes. Andy’s Drag was more slow and bluesy and ripe for solos. Matt was his normal stunningly fluid and expressive self; Alex impressed me with some very purposeful solos on trumpet and muted trumpet and flugelhorn. Andy’s style was hard and abrasive and exploratory with single-note lines in a hard-bop style and formed an interesting contrast to Tate’s gentler tone in the previous set. I hadn’t heard Valdis for some time and I luxuriated in his solo of essential lines portrayed with richly satisfying tone. The tones of Ben and Tom and especially Peter’s tuba was essential for the lush performance. I was surprised by Ben on flute at one stage, when I thought I was hearing voice. Mark added rhythmic grunt and lots of percussive colour and Rohan sounded strong and beautifully tuneful on bass. But this was essentially a group performance in a way that smaller formats aren’t. It was lush and rich and satisfying and it must have been lots of work to orchestrate. There were some minor lapses in intonation, but nothing a little practice or regular performance wouldn’t fix. This was part 2 of a concert that confirmed the quality of our local jazz product (while it lasts). I enjoyed it, but more, I was truly impressed.

Alex Raupach (trumpet, flugelhorn) led a dectet with Rachael Thoms (vocals), Matt Handel (alto, tenor), Tom Fell (tenor, baritone sax), Ben Sutcliffe (tenor, flute), Valdis Thomann (trombone), Peter McGoven (tuba), Andy Butler (piano), Rohan Dasika (bass), Mark Sutton (drums).

Pitching the alto

I asked Matt Handel if he’d transcribed the performances he played at his history of alto sax retrospective, but he said he hadn’t. It fitted with Luke’s comment that Matt has a memory. I was educated and enlightened by Matt’s interpretations of favourite works by favourite alto players. This was not new music or original. It was an exploration of different styles and different players, and Matt’s renditions were profoundly diverse and indicated his immersion in these key players. Who were they? The first was a delightful, purely lyrical rendition of Johnny Hodges playing In a mellow tone. It was so beautiful, like language, unforced but with occasional devastating runs that fell for the horn. I noticed this with several other players – a willingness to enjoy melody, playing slowly, delight in intervals, but also the skills to pull of lengthy and emotive flourishes. But that’s what solo development is about. Phil Woods’ Strollin’ with Pam was more recent, still in the mainstream but street-wise and abandoned. Charlie Parker took us back the birth of the modern with ‘40s bop. Matt’s Eric Dolphy was from Berlin in 1961 and was tortured and blues-influenced and generously dissonance with every note plumbing depths of spirit. I think this was my most striking amongst a varied bunch. Next was Cannonball Adderley with Spectacular from 1957, a superb shower of frolicking consonance. After the break was Art Pepper’s Ophelia from 1957, rooted but with an easy readiness to depart from the ordinary. Then Kenny Garrett’s [Woody] Shaw, all Arabic scales in constant lines. The second set also had some local flavour. Matt studied with Tony Gorman for several years so his Spice Island was authentic: all mesmeric and dreamy with a melody that discombobulated my ears when I expected a tone and got a semitone. Matt’s Tony-solo was stunning too: quietly interpretative but then rabidly released. Next was a heavy, slow, rock tribute to Arthur Blythe, with Matt playing Joey Barrons’ interpretation of AB’s Little boy. Then Australia again with Bernie McGann’s Acacia from the Last Straw in 1995 and a final Cherokee. I was surprised by just how truly stylistically different each tune was in Matt’s playing. This is not easy and it was a truly impressive display.

The rest of the band were no slouches, either. I felt Andy was most comfortable on the impressionistic styles where his contemporary classical interests are evident. His descending chromatic chords were an eye opener on the Dolphy piece, and his solos were particularly vivid in these styles. Rohan’s bass solos were phrased like a sax with nice bebop triplets, and that’s high praise for our bulky instrument. And I can never be uncomfortable with Mark’s drums that just spell out the highpoints of 50’s post-bop era. James O’Donnell, a student of Mark’s, sat in for the final Cherokee and was all concentration with a driving ride.

At the end, I felt this was as good as it gets. Great music of a great jazz era, played with skills and an awareness that’s both catholic and informed. What a pleasurable gig and an education too. Matt Handel (alto) led a quartet with Andy Butler (piano), Rohan Dasika (bass) and Mark Sutton (drums). James O’Donnell (drums) replaced Mark for the final tune.

Cyberhalides Jazz Photos by Brian Stewart

New York state of mind

Keith said to me it that Miles O’Connell’s music might have been recorded by Blue Note is it had a trumpet. I located it somewhere in the ‘70s, but maybe that’s just because that’s when I started listening to jazz. But it’s music you might hear today in the clubs in New York. I know that Miles was listening to at least some of this music when he was recently in NYC. He played one track from Kurt Rosenwinkel, who he’d caught several times, and who is a major influence for many current jazz students. Miles had told me that most of what he was playing was original and it was written during or after his NYC sojourn. So this is also where it’s at now; a modern style that’s spanning the decades. I hear it as busy grooves from bass and drums, slower melodies that float over chords that change slowly, perhaps every two or four bars, still the head/solos/head structure, and all players having a solo role, and usually a plangent tenor out front with guitar or piano accompaniment. But I guess that’s modern jazz in its major guise.

Miles did it well, both musically and in presentation. There was some nervousness, and the second set sat more comfortably than the first, even though Miles had told me that was the harder set. They’d settled by then. I appreciated Miles’ tone better, then. It was not so much forceful as sinuous, although hardening when emotions called for it. These were nicely developed solos with sparser starts and developing flourishes presented with an edgy distance that befits jazz seriousness. But there was also a nod to performance. I really liked the professionalism of the band introductions at the outro over an obviously planned, funky riff. Nice one! Also the way tunes merged with intervening solos and the way Miles maintained the flow by only speaking occasionally. Daniel fitted this image to a tee. He’s a performer with considerable presence, but also a developing rabid guitarist. His tone here was distorted but not sustained and it nicely displayed some intriguingly jagged lines. Max stated harmonies and pushed the groove and soloed comfortably. I particularly liked a solo intro in the second set that highlighted the tone of the Velvet strings, but I enjoyed his presence too. He’s an openhearted and involved player and a pleasure to watch and presumably to play with. Luke was steady and calm and slightly distant and that seemed apt when Miles noted he’d returned from a recent outing as a rock god. Andy sat in for just one tune that had him punching heavy quarter note block chords each side of a sweeter solo. Mostly the tunes were originals written during or after Miles’ NYC sojourn, but there was also Rosenwinkel and Radiohead, the intelligent pop choice of this generation. In all, an interesting and convincing concert with and some very decent modern jazz writing. Miles O’Connell (tenor sax) led a quartet with Daniel Kim (guitar), Max Alduca (bass) and Luke Keanan-Brown (drums). Andy Butler (piano) sat in for one tune.

Tenorism

It was a night to wallow in tenor sax and hard swinging jazz when Niels Rosendahl and John Mackey played at the Gods. I commented to a few people that we don’t hear this straightahead, hard-biting blowing so often these days. People agreed and some were nostalgic. Niels said he feels most comfortable in this style. It’s a great style and pretty much the introduction of many people to jazz. It almost sounds almost quaint to describe it these days: hard swinging walking bass, richly embellished and busily energetic polyrhythms from drums, the colours and harmonic leads of modal comping on piano and that quintessential wail of the tenor in full abandon as it rides the chords or flies somewhere above them. Or later in the night when the ballads come out, the tempo is tamed, the energy is dissipated, but the depth remains. It wasn’t such a long night, so Body and soul, as clearly emoted as was Niels’ take on the Coleman Hawkins version of 1939, was not fatigued but it was intensely beautiful. The night’s tunes make up your truncated Real Book index: Body and soul, Johnny Griffin/John Coltrane/Hank Mobley’s All the things you are, Fletcher Henderson’s Invitation, Sam River’s Beatrice, Lester Young’s Lester leaps in, Charlie Parker’s Confirmation, Wayne Shorter’s Night dreamer, Joe Henderson’s Inner urge. Beatrice is a favourite ballad of mine but was fresh to my ears in this incarnation. John led that as a quartet. He also led Confirmation, this time as a duo with Mark on drums, in a take on the duo by Chick Corea (on drums!) and Michael Brecker from 1981. This was unrehearsed (no problem there), moving through rubato and swing, adventurous and eminently successful (nice combination). The band even snuck in two originals, both by John, and both in the style of the great tenors. Pantano Drive is a driving C-minor blues take on Mr PC, and Whoops! is a hardbop melody built on Giant steps changes (this was Niels’ choice in place of Giant steps itself). I recognised both and enjoyed them immensely. The two tenors played the heads in unison, and what power! These are two saxists with huge tone and ridiculously easy technique. But they are also quite different. John, mentor to Niels, is screeds of chromatic or tonal colour and masses of notes, so the return to melody is somewhat an unexpected delight. Niels takes a more classic solo development route of absorbing melody building to flourishes and a more judicious use of extravagance. But they are both mature performers and I love both approaches. Pianist Andy is another generation of performer (there are a few here). His comping was of the hardbop era, but his solos were more contemporary takes on most tunes, although I heard some straight boppy soloing towards the end. Rohan is an upcoming jazz star out of a classical background (I also heard him with the AYO) who’s wonderfully fluent with lyrical solos well into thumb positions and steady walks although I would have liked a fuller tone. Mark is a busy and detailed drummer who’s perfect for this style and just showed it again: mature and masterful. I was in a spot to watch his technique and it was devastating: so intricately detailed (I was dumbfounded to watch the delicate control of middle finger on snare stick) yet solid and intense and driving. This was a refreshing and immensely skilled concert and the essence of hard-biting jazz.

Niels Rosendahl (tenor sax) and John Mackey (tenor sax) led a quintet with Andy Butler (piano), Rohan Dasika (bass) and Mark Sutton (drums) at the Gods playing music of the jazz tenor greats.

Cyberhalides Jazz Photos by Brian Stewart

An Ark in a storm

The Loft is now underway for the year and I caught the Silver Spine Arkestra last night. It’s an obvious reference and tribute to Sun Ra and I locked in the date when I saw it. I found the electronica and experimentalism of the band was a reminder of Sun Ra, but his embedding in the greater jazz tradition and swing and Ellington in particular was not on show to my ears. I trust the cult-like personal demands of the original were also missing: Sun Ra was inventive but he was also a demanding and idiosyncratic leader. I’ll put it down to his background on Saturn. The SSA played two sets, each comprising a single improvisation. The first was more rhythmically and harmonically obvious. Shoeb played bass guitar here on steady quarter or eighth notes that outlined a two chord pattern. I particularly enjoyed a 2 chord bass loop that was nicely tentative and meditative and seemed to merge the bass into the group improv rather than feature it as a definer of the groove. The second was more airy, as Shoeb toyed with mixer and electronics. For me, the defining point of contact for both improvisations was Evan’s drums with his unconventional rhythmic patterns that defined feels and moved to create structure and improvisational spaces. These spaces were effectively filled by laptop-generated drones and digitally effected, refracted and refactored tones from Reuben, and long, slow contrapuntal notes or bowed sax bits from Andrew on alto. Miro provided the melody, close harmony and percussion that added detail to the whole. I heard a similarity to modal Miles of the fusion period and Miro also mentioned that. I delighted in one precisely placed trumpet harmony with Andrew’s alto that was indelibly pure. And Miro’s trumpet reappeared in processed form from Reuben’s laptop at times. He also played some fascinating African percussion instruments and whirling drones. The second improvisation featured visitor Andy on piano. This was minimalist, meditative, modulating piano taking both gentle bass and alternative rhythmical roles and using closely spaced chords with slight alterations of one note or unassertive arpeggios. Like SSA’s namesake, this is challenging and unconventional music; music for closed eyes and not for visible pleasure; music as sound that crosses into free improvisation. Nice one.

The Silver Spine Arkestra comprised Miroslav Bukovsky (trumpet, percussion), Andrew Fedorovich (alto sax), Reuben Ingall (laptop electronics), Shoeb Ahmad (bass guitar, synth) and Evan Dorrian (drums). Andy Butler (piano) sat in for the second set.

Turossing it (Moruya 2011/1)

Moruya is an annual opportunity to catch up on the Jazz School, at least if you hang out at the Air Raid Tavern. The larger ensembles are mostly there. The faculty is always represented somehow. This year it was Vince Jones and Matt Thompson as leaders. Luke appeared with some prominent students as the ANU All Stars and also with his Sextet. As usual, I kept a particular eye open for the bassists. There were also the trad and mainstream communities and the festival of voice and the jazz gospel service and the St Louis-style march. The march is fun, especially if you can walk with your instrument. I’ve only seen it once and, as I remember, the tunes were A closer walk with me and When the saints go marching in. The walk is hardly the stuff of the modern or avant garde or even of the Air Raid Tavern, which is the modern jazz centre and the hangout of the Jazz School. We appeared this year as Sax & the Citizens with Mike, Richard and guest Henry Rasmussen. A nice innovation this year was a few open sessions for jams (called Blackboard Band sessions, but the jams just happened, no blackboards required). I got to play in one and another was settling in for the night when I left the Air Raid on Saturday. I saw about 20 bands over the weekend, and won’t report them all. So, what featured for me?

Vince Jones led a quartet with Matt McMahon, Eric Ajaye and Mark Sutton. This was a concert style in a new concert venue, so it’s different from the normal intimate Moruya experience. This was gentle, politically committed and nicely flowing, as Vince’s concert are. I like the way he merges tunes and maintains an atmosphere. And I like the way he’s committed to more than just the music. It’s refreshing. I’m not so spiritually inclined but politically I enjoy the snouty right wing consternation after his concerts. No harm done there. Musically, I especially remember a beautifully detailed head that was richly improvised: detailed like scat but with words and soft and unintrusive. What is it about trumpet that produces singers like this? Vince Jones (vocals, trumpet, flugelhorn) led a quartet with Matt McMahon (keyboards), Eric Ajaye (bass) and Mark Sutton (drums).

I can talk of the Luke Sweeting Sextet and the ANU All Stars (terrible name!) in one paragraph. They were a blast and perhaps my favourite music of the weekend. The All Stars were led by Reuben, with Luke Sweeting, Max Williams, Rohan Dasika and Aidan Lowe. They played music of Reuben and Luke and some interesting non-originals by the likes of Tomas Stanko. Luke’s Sextet added Matt Handel and played charts by Luke. Perhaps the Stars were more mesmeric and restrained, although I remember a march-like piece, while Luke’s tunes were more harmony-flavoured, charted vehicles, but both had involved and committed solos against great grooves and were truly impressive outings. The ANU All Stars was led by Reuben Lewis (trumpet) with Luke Sweeting (keys), Max Williams (tenor), Rohan Dasika (bass) and Aidan Lowe (drums). The Luke Sweeting Sextet added Matt Handel (alto, tenor).

Crossing over with Luke and the All Stars in style and membership was Alex Raupach. He’s another band leader with original compositions in a modern style of less frequent chord changes and satisfying, floating melody. I place somewhere near the All Stars, but without the ventures into mesmeric minimalism. Alex Raupach (trumpet) led a quintet with Matt Handel (alto, tenor), Andy Butler (piano), Rohan Dasika (bass) and Aidan Low (drums).

I’ll highlight just a few individual players although they weren’t the only ones that stood out for me. Firstly, Aidan Lowe for his hard work. He’s a wonderfully strong player and on many first call lists. On Saturday he played eight sets straight and was still playing with interest and energy in the last set, but reasonably turned down the jam afterwards. Another is bassist Rohan Dasika. I’d only heard Rohan at one jam session before where he played a steady and repetitive Footprints. He’s ready and able to maintain an unchanging groove (he’s also studying in the classical school and if you’ve seen some orchestral bass scores, you’ll understand that repetition is common there, too) but he could also lay down and improvise on strong grooves and solo with bow or pizz. I was taken aback when he played the final few bars of Donna Lee in unison with horns at bop speed. He did the same on another tune with German bow. As you’d expect from a classical cat his intonation and chops were just right, but his grooves and walks were also good. I should mention Reuben Lewis, too, for Moruya and several gigs I’ve heard him at recently. His playing these days is wonderfully sophisticated, fully-toned, vibrant and appropriate in some very different contexts. A pleasure.

Double bass

It wasn’t the double basses at John Mackey’s gig that attracted me, but it did interest me. There have been experiments before with two basses, or two drummers; Ornette even had two bands. In the end, there were three basses, although only two ever played together at one time: Jonathan Zwartz and Rohan Dasika played together, and Max Alduca took the solo bass chair on one tune.

This was not a highly organised or charted gig. It was unrehearsed and more a hot session with some great players performing John’s standard sax repertoire. John likes it this way and it went down a treat. Long blows on just six tunes over two sets: Blue 7, Jonathan’s “Something more ambient” jam, Miss Jones, Footprints>Giant steps, Oleo and Take the Coltrane. Standard modern sax workouts from around the ‘50s and Jonathan’s ambient groove insert. But what playing! These are amongst the top local players, and it showed. John shredding tenor harmonies and Matt contorting lines on the alto. Andy moving through chords with a post-bop sensibility and fluency. Mark pushing with steady brushes and sticks on a woody-sounding kit and occasionally loosening up for a short solos. Rohan and Jonathan listening, and avoiding each other’s domain: high repeating lines against walks, or bowed solos against grooves or just dropping out for uninterrupted single bass lines. I found the basses did merge a little. It’s low down there, and the tones aren’t as identifiable as two horns together or even two pianos. Rohan said before the gig that he would concentrate on “keeping out of the way” and they were obviously both doing that. But what playing. Rohan was great and impressed with classically trained precision and that bowing skill. Jonathan’s just a star. He’s a big man who looks comfortable and plays with eminent solidity and strength on the big bass, with a massive tone and a bell-like clarity of intent. His solo to end the night just floored me.

So, it was a loose night, but with some excellent playing that would go down anywhere. In the Loft, in Canberra, for an audience of a few dozen afficionadoes. What skills and art this is. A blowout. John Mackey (tenor) led a sextet with Matt Handel (alto), Andy Butler (piano), Jonathan Zwartz (bass), Rohan Dasika (bass) and Mark Sutton (drums). Max Alduca (bass) replaced Jonathan and Rohan for Oleo.

Oh my gawd

There were a lot of those “oh my gawd” moments when I caught Oehlers/Mackey/Magnusson/Zwartz at the Loft. It was a party for the local jazz community and everyone was there; standing room only in our oddly located and intimate venue. These are some of the cream of the Australian jazz dairy, and friends to boot. This was to be standards: easy and relaxed but also serious and with energy and life to spare. This is the instrumentalists’ life, ears and heart and exertion. It was interesting to see two top tenorists together; interesting to have heard two top Australian guitarists and two vastly different approaches to jazz on two consecutive nights. Wonderful.

The band was Jamie Oehlers (tenor) and John Mackey (tenor), Steve Magnusson (guitar), Jonathan Zwartz (bass), Mark Sutton (drums) and Andy Butler (piano). There were two sets, just seven tunes, all standards, perhaps two hours of playing: All the things you are, My one and only love, Body & soul, Footprints, and a few others I recognised but couldn’t name. There were rabid, extended solos and taut accompaniment. There were contrasts in style and friendly challenges. These guys are playing for friends, but there’s a friendly rivalry like a footy team together in the muck. Suffice to say there were many Oh my gawd moments, and the response is little other than a chuckle at the seemingly impossible playing. Fabulously involved scalar movements and patterns from Jamie; blistering lines of quizzical uncertain pitch from Steve; outrageously dirty blues with atonal flourishes from John; firm tone, perfected intonation, melodic fluency, easily extended range and a unique line in single fingered scales from Jonathon; great energy, punchy kick and blushing cymbals from Mark; almost classical, overlapping scalar lines from Andy.

It was just a blow but it was a window on the highest skills around. What a way to party.

Cyberhalides pics