ArtSound's 40th

Thanks to ArtSound.  It has a mighty and worthy history and well celebrated by CJ and the local jazz and arts community.  Also thanks to Chris for permission to publish his presentation at the 40th anniversary celebration.  And to James Munro who played an original composition and various Bach cello suites.  And, not least, thanks to Rebecca Vassarotti (Greens, Member for Kurrajong, ACT Minister for the Environment, Heritage, Homelessness and Housing Services, and Sustainable Building and Construction) for the selfie featuring Rebecca with ArtSound board members and presenters Bart Meehan and Chris Deacon and Betsy Dixon (President). / Eric

Remarks by Chris Deacon OAM, ArtSound Manager Technology on ArtSound’s 40th Anniversary, 3 March 2023

In ArtSound’s 40th anniversary year, it’s my pleasure as one if the co-founders to place a lens on some of our achievements.

The award-winning ArtSound has come a long way since it kicked off its 17-year bid for a permanent FM licence with test broadcasts and recording services in the early 1980s. That was at the former Curtin Childrens’ Library. Known then as Canberra Stereo Public Radio (when stereo FM was rare) a small but passionate group of musicians and artists stayed the long course for the Canberra community and were awarded a permanent licence in 2000.

Radio had become formulaic, lowest common denominator, with few opportunities for quality and in-depth local arts expression, so we set out to change this. One of Canberra’s major strengths is its cultural diversity and we felt that should be reflected in its radio stations. We also developed a unique program format aimed at devotees of quality specialist music where there was a distinct void. It was a radio station funded by those who loved it most. We even built our own microphones!

An FM station dedicated to listeners with an interest in, or appreciation of these matters, was a good idea in 1983, and still is! The coming together over many years of the cohort of arts and music interests that now comprise ArtSound is itself a valid indication of community need. Today I believe those listeners would remain poorly served, despite a large increase in the number of media feeding our ears, were it not for ArtSound’s efforts.

We’ve broadcast non-stop since then with transmission sites at Black Mountain and Mt Taylor, and today provide quality broadcasting on FM and DAB+ and online global streams plus recording and audio production services for members and other participants in Canberra’s arts and cultural scene.

With the assistance of the ACT Government and other community sponsors, ArtSound went the extra mile and moved to bigger and better premises here at the former jazz campus of the School of Music in 2005.

Notwithstanding its small beginnings, ArtSound has developed a strong role in promotion and projection of local arts in and around Canberra, both on air and through off-site recording and broadcast.

We’ve made significant contributions to the success of a range of professional and amateur musical, artistic events and careers through our contributions to audience development.

Indeed, there are writers, actors and musicians of national calibre in Canberra, yet before ArtSound commenced its service, there was no guarantee that the electronic media would provide more than token opportunities for the development of this talent.

We were among the first radio stations in Australia to adopt new digital “tapeless” recording technology, and Canberra musicians started to be heard on radio stations throughout Australia. We reintroduced radio drama in the 1980s and that ground-breaking work continues today.

The station provides opportunities for people who would not easily find space elsewhere in the radio landscape.  We promote the art of listening and the art of presentation…

The medium of radio has some unique qualities that are ripe for artistic enquiry. It’s been described variously as the “theatre of the mind,” an invisible arts centre — where our public artworks reside in a virtual gallery for the audio arts. Radio is far from dead. It has enjoyed a resurgence during and since Covid as listeners confined to their homes realised the value of a community companion in their lives. Like many stations worldwide, we kept ArtSound on air throughout — also from our homes — thanks to some savvy technology!

In feedback from our loyal listeners, we are often told that ArtSound remains their “station of choice” or “ArtSound is the best radio station in Canberra,” “Love the Vibe,” and so on. Some are enthralled by what we do, others are more selective in their listening choice! It’s those values that keep an estimated 40-50,000 listeners tuned in to ArtSound each week.

According to a 2022 McNair survey, community radio reaches over 5 million Australians every week. In fact, 30% of all radio listeners listen to community radio.

We are pleased our own concept of independent local media has been embraced so well. This has not been without its financial challenges, but the feedback is generally positive on our successes to date. After 40 years of existence, and 23 years of full-time operations, there is still so much more potential to be tapped and we are up for that should the resources available to ArtSound be increased.

We brought a totally new type of radio to Canberra, and it has been done largely by volunteers. Over the past four decades, hundreds of dedicated volunteers from within and outside the music and arts community have come forward to offer help and be trained in the art of radio presentation. We are pleased to report that many of these have found professional careers in other media or the arts industry.

ArtSound discharges its role, in part, through its continuing creative partnership with writers, performers, musicians and producers across the region. Some 500 guest segments and over 300 hours of live locally recorded concerts have been presented over the past year alone. Many of our programs draw attention to the amount, variety and quality of local artistic achievement. With volunteer resources, ArtSound continues to develop new content and to explore artistic and cultural forms that might otherwise go unrecognised, by multiplying audiences.

Radio is also a most powerful means by which people can share a common experience, learn about their culture, and learn about themselves.

But wait — ArtSound is much more than just radio!

First, it has become a focal point for production and recording services to the arts community.

There are many examples of how ArtSound provides a springboard for artists and musicians in Canberra; how we act as a conduit for information about the arts and cultural activity. Our physical location and social reach enable us to function as a cultural “hub,” connecting and enabling productive relationships between artists, organisations and audiences.

Second, ArtSound has amassed arguably one of the largest recorded music and oral history collections in the ACT.

In particular, the work of the late Anne Edgeworth and the late Gillian Alcock, should not pass without mention. We conducted a Centenary of Canberra Sound Preservation Project to identify and catalog some of the best of our culturally significant items, many of which were restored for broadcast as part of the 2013 celebrations.

Third, ArtSound helps others preserve the past.

Numerous individuals, organisations and government agencies and national institutions have hired our facilities for their own work, including preservation of audio material of national importance. The speeches of Prime Minister Menzies, oral histories of Vietnam Vets, and even ABC archival recordings of famous events, have all passed through ArtSound’s digital preservation studio. Many generations of recording technology and formats have been employed for this work.

Since 1983, literally tens of thousands of individual items of the nation’s spoken-word heritage have been carefully saved for all Australians to appreciate. Clients have included the National Archives, the National Library, the Australian War Memorial, and Old Parliament House.

ArtSound’s audio services continue to be in demand, with bookings for CD recording, voice-overs and nationally and internationally significant production work.

Among clients, we’ve contributed to Hollywood movies, Disney studios and SBS TV, supported national election coverage for the UK press and the community radio network and produced voiceovers for the local fire brigade.

Recent work includes audio books for internationally renowned publishing houses, local poets and authors, and a host of nationally significant podcast recordings. We’ve also provided media training for artists and engineers and radio rookies courses for teenagers.

ArtSound pioneered the successful Senior Memories internet streaming service for seniors, with entertainment and information targeted specifically at the aged, particularly those who may be socially isolated. The service was launched in 2013 and extended to 11 aged care facilities and retirement homes. Many seniors were trained to present their own programs.

A few years ago, we closed the streaming service in favour of expanding the content to weekday mornings on ArtSound FM. By all accounts it has become a popular offering.

Radio is such an empowering way for everyone to fully participate in society.

We have encouraged both seniors and young people to find creative ways to use the radio medium, to express themselves and to share their talent.

In this regard, we launched the Fine Music Network Young Virtuoso of the Year (ACT) Competition in 2013, and the national prize has been awarded on several occasions since then to the ACT entrant.

Canberra music performances and special content is often showcased beyond the ACT through the Community Radio Network of 450 non-profit radio stations.

Having made great strides in recent years, ArtSound faces the undeniable financial challenges experienced, for the most part, by many arts and cultural organisations. And like most non-profit organisations, ArtSound is too frequently diverted from its principal goals in order to spend valuable time and effort on essential fundraising in order to survive.

Community arts stations like ArtSound FM are hindered by restrictions on their range of funding sources which puts them at a disadvantage compared to some other broadcasters such as those in the multicultural, religious, indigenous, print handicapped and educational sectors, where it is possible to access larger pools of territory, state or federally supported dollars.

While the level of public and private spending on community radio has risen markedly since we were established, the costs of our “core” operations have risen dramatically in recent years and ArtSound realises it cannot accomplish its work alone.

As an arts broadcaster, the success of our work will depend on the contributions of the members, individuals and organisations most directly involved in Canberra’s artistic and cultural life, represented by many of you here today.

Whatever your involvement in the arts, however specialised or general, whether as an artist, a business owner or a concerned listener, ArtSound always welcomes your views. Indeed, the success of efforts to strengthen ArtSound’s role in Canberra’s cultural life depends on the variety and breadth of measures which can be mobilised for that purpose — so we look forward to your comments and suggestions.

Today ArtSound is an award-winning 40-year-old cultural resource which exists to enlighten and enrich the quality of life for anyone within the listening area that shares our ideals. By tapping new and little-heard content, we have become a significant member of the national community broadcasting system, and arguably, we have enhanced and strengthened the arts in Canberra.

We must ensure that this facility and its unique use of scarce broadcast spectrum is given the maximum opportunity to innovate, to grow with its arts constituency, and to keep pace with the best that Canberra has to offer.

ArtSound’s role as a key potential driver of productivity in the arts, and a genuine discovery channel of arts and music, needs to be acknowledged more widely. And everyone should do a radio program at least once in their life!

—

I wish to extend a special “thank you” to the sponsors and individuals that supported us in so many ways over the past 40 years. There are too many to mention them all, however I would like to place on record the contributions of the following organisations that have got us to this point:

The ACT Government through artsACT, Infinite Networks, the Canberra Labor Club, the Canberra Southern Cross Club, Rotary International (Belconnen), ACTEW Corporation and the Community Broadcasting Foundation.

My thanks also to Alicia Payne MP, the Federal Member for Canberra, whose donated stage and PA I am using, as part of the Australian Government’s Stronger Communities program.

I can announce today that we have also been successful in securing funding under the ACT Government’s Technology Upgrade Fund towards upgrade of ArtSound’s outside broadcasting equipment. Thanks to Emma Davidson, Assistant Minister for Families and Community Services, and the ACT Community Services Directorate.

Finally, it’s important to acknowledge co-founders: Terry McGee, the late Gillian Alcock, Marilyn Chalkley, Michael Poole

as well as some long-timers and life members:

Bill Oakes, Clinton White, Professor Deane Terrell AO, Brian Leonard, Annabel Wheeler, the late Anne Edgeworth, the late Phil Birch- Marston, Jim Mooney OAM, Greg Mitchell, Floyd Patterson, Kathy Syrette, Rod Menzies, Graham McDonald, James Steele, Gary Knobel and the late Jenni Knobel, Gerry Kay, Peter Field, Tony Griffiths, Richard Gate, Liz Clarke, Jennifer Kingma, Christine Cansfield-Smith, Judy Baker, Neil Gowen, Bill Stephens OAM, Lauren Black, Stan D’Argeavel, Isobel Griffin, Vicki Murn, Dianne Parrey, Garth O’Loughlin, John Rogers, Judy Hayes, Phillip O’Brien, Peter Trainer, Bert Whelan.

And a special mention of the late Barbara Byrne, whose support through the Canberra Labor Club ensured the completion and fit out of several ArtSound studios in 2005 and former Chief Minister Jon Stanhope who kindly launched these premises in 2005.

Plus, the generosity of our listeners and members needs a special thanks — and that is what this year’s Anniversary is all about.

Thank you!

Music is a hard task-master

But it can be fun!  Tilt was in the studio again.  It's entertaining but demanding.  We last recorded for a Friday Night Live session and it felt a little more comfortable this time around.  It was the same ArtSound studio but this time we didn't need to think of an audience, at least not immediate.  Here we could have a few gos, chat between, be a little adventurous, even indulgent, for a few hours.  Our tunes were all originals by James, other than a few individual and group improvs.  We'll see if something comes out of it.  BTW, for any muso who wants a recording outing, there's a recently tuned Yamaha grand just waiting with some nice gear in a nice space.  Thanks to Chris and Liam for doing their parts.

Tilt recorded at ArtSound FM's studio.  Tilt are James Woodman (piano), Dave McDade (drums) and Eric Pozza (bass).  Managing mics and decks were variously Chris Deacon and Liam O'Connell.

Radio waves

Finally we've made the radio. Tilt Trio recorded a session at ArtSound way back in August. Since then, we've played gigs, travelled, ArtSound has undergone challenges (still underway), but finally our session has been broadcast. It's a humbling experience to hear yourself on radio, but I expected nothing less. Some nice playing but also some needs for improvement. All inevitable and the daily experience of music. But thanks to Chris Deacon for his huge efforts over time for radio in Canberra and specifically Friday Night Live and his recording of Tilt. And thanks to ArtSound, such a gem of culture in Canberra. Thanks, too, to James and Dave for the great playing. Greetings from ArtSound live.

Tilt Trio were broadcast on ArtSound. Chris Deacon (audio) recorded and hosted. Tilt are James Woodman (piano), Dave McDade (drums) and Eric Pozza (bass).

Sounding arty

That was fun! Tilt went into the ArtSound studio to record for Friday Night Live with Chris Deacon. We played mostly originals, but also a few standards. This is a thrill. The sound is tight and clear, the piano is a gem (Yamaha C6 in great condition) and it was quiet despite footy on Manuka oval next door. Suffice to say, this is the real deal, decked out for sound, provided with some serious gear (Neumann, Rode into Yamaha digital and dreamy studio monitors). We just heard a first take but it's a thrill to hear yourself thus. Maybe my bass really does sound so good? FNL is broadcast Fridays 8-10pm. Expect to hear Tilt Trio in 3/4 weeks, but tune in regardless. A few fluffs, yes, but that's part of a faithful record. And FNL itself is a fabulous record of current and historical music from at gigs or studio. Thanks again to Chris.

Tilt Trio pre-recorded a Friday Night Live session at ArtSound with Chris Deacon recording. Tilt are James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums).

CDs and live

Now this was fun. ArtSound had its annual open day. There was music and wine tasting and sausage sizzle and a book and CD fair all day. I indulged mightily in CDs: quite a splurge. Wayne Kelly was there with Angela Lount and Dan McLean. Tony Magee and Dave O'Neal were in a trio with fiddle and three harmony voices and it was magic. I wondered if our jazz might be too heavy, but it worked OK sprinkled with Beatles (And I love her) and Nirvana (Teen spirit). Otherwise it was mostly hard bop with two feels and walks and solos. But it's nice to go to air, to have someone to introduce you and an audience. Nice outing. Thanks to Chris and ArtSound for our first AS broadcast.

Tilt played for the ArtSound Open day. Tilt are James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums).

Better the studio

The Benny Lackner trio was on tour through Asia and Australia and NZ with funding from the Goethe Society. I heard them in the quiet atmosphere of the ArtSound studio as they recorded a broadcast for transmission on a coming friday night. All very rushed. Arrive Airport 3.30pm; taxi to ArtSound; coffee and recording; lift to hotel for dinner and a shower; evening gig at Hippo; fly out next morning. This is the life of a jazz player on tour. Despite the frantic pace, the music was laid back grooves, spacious, floating, Euro-styled. Pensive heads with lyrical, leisurely solos from Benny on piano (impressed by the Yamaha C6 in the studio) that might rush into sixteenth notes then drop back to 8th notes; plentiful lively solos from Paul on bass; drums soloing as occasional fillers or lengthier against an obbligato line. This is a contemporary, rock-aware music with jazz sensibility. His albums include takes on pop (Prince Sign of the times; 99 red balloons) and the ArtSound set included Hendrix If 6 was 9. His albums also touch on the standards although still with a contemporary view. Bemsha swing is identifiable but rhythmically further contorted on bass with an long insistent solo line over. I haven't heard Brad Plus but an intriguing title (Bad Plus meets Brad Mehldau, I guess) Palau was a ballad, an open and airy music box, reminiscent of Ravel. Heartracer was rock groove and moving chords with a hesitating piano over. There's a European awareness here, gentle and pensive, but with a contemporary sensibility. Not for nothing that Benny is from Berlin and has studied with Charlie Haden and Brad Mehldau is his mentor. Not really something for Hippo, but for the studio or a quiet venue, light and airy and searching. You can hear them sometime soon with Chris Deacon on ArtSound's Friday Night Live.

Benny Lackner (piano) led his trio with Paul Kleber (bass) and Matthieu Chazarenc (drums) in a recording for ArtSound.

This is CJBlog post no. 1300

A runaway artistic success

Jazz Uncovered, JU2010, the second apparition of our local modern jazz festival, was a runaway artistic success. We’d fallen on a theme of variety in promoting the event in the run-up, and this turned out to be the key to the day. Modern jazz is a broad church and JU2010 was clear evidence of it: cool or smooth or experimental or hot, vocal or instrumental, duo or band or large ensemble, richly arranged or free, even circus music or rockabilly. There was variation and exploration everywhere, with both seriousness and joy. I can only bow to the level of creativity and skill shown by our local students and professionals and our visitors. We’d invited the performers with these words: “We are seeking a broad range of inventive modern jazz in varied formats, large or small ensembles, even solo artists if you have something special to offer. We are hoping for original compositions, special performances like replaying renowned albums, retrospectives of famous performers, cross-genre styles like NuJazz, jazz-poetry, breakbeats. We have a definite preference for original compositions, so get your pencils and manuscript paper to work and get in touch.” It was pleasing how eagerly and competently they responded. I know the local scene, but even so, I was floored to see and hear it all together, in one place, on one day, and I was overjoyed with the visitors and their contributions on the day.

The culture was reinforced with the dedication of committee and volunteers, the good will and easy interaction of musicians and audience, the recording prizes donated by ArtSound and Infidel (and the ACT Government’s funding support), the low-key but effective sound work by Guy, and of course the involvement of ArtSound throughout the event. ArtSound broadcast live to air early in the afternoon, then recorded most of the rest of the event. You’ll no doubt be hearing sets on Friday Night Live over coming months, and there’s even talk of a JU2010 sampler CD in the wind. Certainly the music deserved it.

But where was the audience? It was a meagre turnout. The committee will ponder the lessons learnt. Was it the long weekend, the two consecutive long weekends, Floriade, the warm spring weekend, school holidays, marketing, Canberra’s habit of pushing off down the coast when the weather’s good? Probably a bit of all those things, but audience is the sine qua non for events and JU2010 was sadly wanting. This is not unknown in jazz. I was chatting to Matt McMahon who observed that some of his favourite recordings are live and with an obviously small audience. It’s a common experience: fine art is a challenge. Not everyone’s up to it or interested in it, and perhaps no-one’s up to it every day. For now it’s over to the committee to discuss the outcome of the day. But on the positive side, here are a few pics. And thanks again to the committee: Brenton Holmes, Cameron Smith, Lauren Black, Reuben Lewis and Eric Pozza.

BTW, congratulations to Matt Thompson who won the ArtSound FNL/Mastering prize, and “lucky Luke” Sweeting and Rachael Thoms who won the Infidel recording session.

Crossing the barricades

There’s been a schism in the jazz community from the days of be-bop and it lives on as schisms do. The Bebop revolution brought a new approach to jazz, with the “mouldy figs” and “reboppers” parting ways. I’ve taken one side of that barricade at times, but these days I have a renewed interest in the history of our music, so it was with anticipation that I finally got to catch Brass’ere. Brass’ere aren’t just a wonderfully amusing name. They are also brass ensemble in the style of the New Orleans street bands. They can busk; they can walk and play; they sound generous and rotund with a fat tuba bass and marching drums; and they sneek in a baritone sax as the one reed instrument. They play standards of the brass band and trad jazz repertoire. But there’s joy and fun in this band (as should be with a New Orleans brass outfit - they play swinging music at funerals, after all) so their repertoire extends to a good bit of funk and even some re-imagined pop tunes. So, this is amusing and entertaining and big and satisfying music, and it swings with fat brass harmonies and backing lines. Wonderfully involving.

Cameron Smith leads the band, on trumpet and occasional vocals, but there’s another trumpet (Zach Rafffan) and two trombones (Josh Gosling and Michael Bailey). This is the core of the fat, swinging lines, and they do it with great rhythmic feel and dynamics and nice pitch. Brass players get good training in ensemble work, and you can hear it here. The bottom end is supplied by that phat tuba sound (David Ackiewicz) and the dirtier, reedy bari sax (Nathan Sciberras). A good strong bottom end with reliable time and a decent share of the solos. I hadn’t expected drums (Robert Nesci), given it’s a marching band, but I see from pics of the busking band, that Nesci walks with a snare. Nice one. In the studio he played kit. Nesci’s role is quite sparse and often with even feels on the 1,3 (more common on that side of that barricade) and he does it well. And there’s some vocal, too, when Courtney Stark sits in for blues or whatever, sometimes with accompaniment from Cam.

So what did they play? There were some standards of the trad repertoire (St James Infirmary, Sweet Georgia Brown), some blues (Happy blues), a decent percentage of originals of funk and ballad styles, and even a Jackson 5 pop tune (I want you back) that featured an introductory bass line on tuba. And that mainstay of the experience of brass band players, a hymn (Irish blessing). But how cool it all was! Great sound, big brassy chords and deeply entertaining! Great stuff. Break down them barricades!

Brass’ere performed for ArtSound’s FNL. They comprise Cameron Smith (trumpet, vocals), Zach Raffan (trumpet), John Gosling (trombone), Michael Bailey (trombone), Nathan Sciberras (baritone sax), David Abkiewicz (tuba), Robert Nesci (drums), Courtney Stark (vocals).

Milonga on air

It was like a broadcast milonga. Tunes broken into tandas (that set of tunes for a tango dance) separated with cortinas (the disparate “curtain” music that allows the dancers to swap partners at a social dance, ie, at a milonga). So it was when Los Jovenes del Tango performed last night for ArtSound’s Friday Night Live. Actually, I’m cheating. I’d never heard of a milonga or a cortina (other than Cortina d’Ampezzo) before last night, but I’d heard some tango, and we all know how seductive it is (musically and otherwise). This music of the bordillos of Argentina is the music of prostitutes and the lower classes that was later taken on by French upper classes, and became an international music, impinging on jazz and classics. I’ve written on CJ of Marcella Fiorillo, Canberra’s wonderful link to Argentina, performing a tango opera of Astor Piazzolla, Maria de Buenos Aires. This was less formal and less classically-composed, but still ordered and complex with emotional crescendos, some unexpected time signatures and the inevitable words of passion. During the intermission interview, Natalya quoted one line: “I slit my wrists and bleed at your feet”. Not light hearted and not writing of the middle classes, other than perhaps their impassioned teenagers. But unlike teenagers with their passions, this feels true. This feels of backstreets and desperation. I can hear why people get so committed.

The band was an uncommon mix, too (as was Marcella’s Piazolla orchestra). The backing was Simon on a steady double bass and Liena on a classical pedal harp that performed various lines for guitar and others. There was no bandenoneon, but Valdis drew notes of heart-on-the-shoulder emotions from the bellows of an accordion and Lathika’s violin generously emoted each impassioned line. I particularly noticed both the violin and accordion for these intimately voiced melodic snippets. Valdis swapped for trombone at one stage and that fit nicely too. Natalya provided the voice. I found the tango voice strangely enervated but I expect that’s the nature of tango singing: a world-weariness that we also recognise in cabaret, perhaps a European equivalent with a similar dark history. But it’s lovely music of rhythm and passion but also with an end-of-time edge.

Los Jovenes perform regularly for milongas of the Tango Social Club of Canberra, so if you have always wanted to indulge in dancing this Argentinian passion, chase them up. Link below. Los Jovenes del Tango are Natalya Tacheci (vocals), Lathika Vithanage (violin), Valdis Thomann (accordion, trombone), Liena Lacey (harp, viola) and Simon Milman (contrabass).

Tango Social Club of Canberra

Heavy patter

The ArtSound Radiothon continued with a special edition of Friday Night Live featuring the Monsoon Trio. The name’s new, although the members are pretty well known to CJ: James LeFevre, Eric Ajaye and Chris Thwaite. James is a great front man, confidently calling for cash for support from subscribers, and there were some promises made during the concert. It verged on the challenging and unknown at times, and perhaps not the popular singalong standards that appear in a normal telethon (think variety stars) but that’s not the ArtSound way. But we like liked it in the control room, and the band had a great time. There were some standards in the first set and a bit more adventurousness in the second. The standards included Alone together and Stella, some from the master Monk, Friday the 13th and Misterioso, and the lovely Beatrice, which seems to have recently grown in popularity around Canberra. James provided his ode to CJ Dennis, Triantiwontigongolope, and they played Miroslav Bukovsky’s gloriously tuneful Wanderlust number, Delicatessence. I love the chord-free sound of a horn trio, and this was a good example, open and clear. You need strong players so the chordal structure remains clear, and Eric and James did that perfectly capably, and Chris rang the changes equally clearly. A nicely relaxed concert rather than tempestuous, with an open sound and a good mix of tunes, and for a good cause.

Monsoon Trio are James LeFevre (tenor), Eric Ajaye (bass) and Chris Thwaite (drums).

Radiothon

ArtSound lauched its Radiothon this weekend. Lounge suits were de rigueur, there were drinks and canapes and ArtSound’s patron and Viceregal consort, Michael Bryce, gave a few humourous words and formally opened the Radiothon.

Dave Rodriguez and Lachlan Coventry entertained in the background, and Tony Magee and Chris Deacon migrated to the Yamaha C6 grand in the studio for an impromptu concert. I hadn't heard Tony before, although he's well known around town. He's got an impressive memory. Firstly Gershwin and Cole Porter then on to Moonlight Sonata. The Beethoven was lovely romantic stuff, nicely played and not too protracted, and it was all pretty much on call. The Canberra Times social photographer, Lyn Mills, was also there and I managed a snap of she who is normally the other side of the lens.

Best of luck to ArtSound and their fund-raising. Feel free to ring and make a donation to a good cause or even just finally do the right thing and become a paying member. They do great work for jazz and all the arts in Canberra.

More original than the titles suggest

Aron Lyon played last night for an ArtSound Friday Night Live broadcast in his Trio with Bill Williams and Ed Rodrigues. These are commonly reported players at CJ, so I won’t go into a lengthy description. Suffice to say it was an intriguing yet comfortable trio playing some well known standards (You don’t know what love is, Stella, Round midnight, and Wayne Shorter’s Deluge, which is less standard than jazz tune) plus a pile of originals, mainly by Aron himself, and with jokingly insignificant names: Three-four (guess the time signature), As new 1, Dotted crochet, Bunch of fives (this title is more promising). Then there was Bill’s original, called “Original”. Mmm. At least Aron promised to retitle his tunes before he records. But seriously, folks, the guitar was clean and crisp and fluid; the bass was similarly flowing and rapid and accurately pitched; the drums were Ed’s high standard of precision and constantly manipulated and mobile rhythms. And so many comfortable and expressive solos from all players. Just a lovely, mature, expressive few sets by a very strong guitar trio. Catch them if you can – it’s worth it.

Aron Lyon (guitar) led a trio with Bill Williams (bass) and Ed Rodrigues (drums) at ArtSound.