Clinics then and now

The JMI Summer Jazz Clinics were in town for their second local incarnation and the instructors were on stage at Smiths. The Jazz Music Institute is based in Brisbane and its clinics are a direct descendant of the Jamey Aebersold clinics that came to Australia in the 1970. They were big deals. I attended one (1980?) in Melbourne with a string of staff including Aebersold and David Baker, Dave Liebman and Phil Woods. The ensembles numbered perhaps 40 and I remember drummer David Jones in the top band overseen by Liebman. Both Jazz and Summer camps are smaller now but this staff gig was a stunner. I've sometimes felt jaded with unrelenting swing at jam sessions but this was top notch and as it can be. Eric slurring with deep resonance; John extemporising with passion and abandon. The brothers Ben and James Haupmann just stunningly expressive and purposeful on guitar and drums. The Brisbane sibling cohort of head-of-school Dan laying down some lovely, clear trumpet lines and coordinator Paula comping and soloing with delightful simplicity and clarity. What got me, especially, was the portrayals of the very common and renowned pieces that they played. The tunes were stock standard: Ladybird; Footprints; Stella; I mean you; All blues; All the things you are; Night in Tunisia. Apart from Monk's I mean you, they were uber-common. But you don't always hear all the original inflections, those intro and outgoing lines in Things (fairly common but not essential) or the clear harmonies on heads or Eric's spot-on, detailed take for the Footprints bassline or, for that matter, Night in Tunisia. You could hear their deep listening through their immediate playing and it was lovely. I mean you is less common, but how nice is Monk's odd take on Rhythm changes and his odd little insert at the end of the head. Fabulous, by Monk and the band. I got talking to one woman who was grinning widely at John's solos. Sax player, perhaps? No, flautist with classical training, had toured with ACO and played the Sydney Opera House pits, no less, now in other work here in Canberra. We chatted about classical/jazz, how jazz demands deep practical knowledge of theory and the rest and how this was authentic, deeply understood and prepared, no pretence for miles. The audience was generous; the playing was stunning; the authenticity and purpose of jazz was evident. Great night from a great set of players. Thrilling.

The Jazz Misc Institute Staff Band played at Smiths. They comprised Dan Quigley (trumpet), Paula Girvan (piano), John Mackey (tenor), Ben Hauptmann (guitar), Eric Ajaye (bass), James Hauptmann (drums).

Touching base

There's too little jazz in my life these days but I got to the Hauptmann Trio last night and it was stunningly good. It was actually the Trio+1, the 1 being John Mackey. The trio are siblings, big sis Zoe and two brothers Ben and James. Zoe couldn't make it but they still kept it in the family: cus Nick Hoorweg sat in on bass. John had been one of their teachers in the past at the ANUSOM and the whole crew are well known to local jazz aficionados, so it was very much a family affair. How these students mature with time in the workforce! Nick told me of leaving Canberra immediately on finishing his degree to start a 6-month gig with a Motown show. Zoe's now in the big time touring scene and I guess James and Ben are there, too. So they should be. Ben really led the show, offering favourite tunes and being the front man. There were common jazz tunes - Chelsea Bridge, Secret love, Caravan, Willow weep for me, Meditation - and a few outliers, not least the very lovely Mancini Moon River and a gentle Bill Frisell and a Stan Turrentine burner. Ben put some interesting edges to all, eg, a synth tone bookending Chelsea Bridge (?) and a 12/8 groove to introduce Meditation. And some fabulously interesting guitar, well controlled and infrequent out-playing, biting and intriguing solos and some choppy country-like feels reminiscent of Frisell. James was just driving, enjoying the floor tom for his solos, and grabbing wayward drums as he attacked the kit. Nick was neat, sometimes just unobtrusively spelling the chords with tonics and the like, otherwise walking, sometimes soloing, again with a nice freedom. And John up front, quick witted and always inquisitive on both melodies and solos. Because it's an unusual choice and also because it's such a pretty tune, I noticed Moon River. John's simple statement of melody was to die for. But I felt that for multiple tunes on the night. These are guys (in the absence of the gal) who are at the top of their craft and supremely interesting. Just a fabulous outing.

The Hauptmann Trio + 1 played at the ANU Reunion Pop-Up Village. They comprised Ben Hauptmann (guitar), Nick Hoorweg (bass), James Hauptmann (drums) and John Mackey (tenor).

Studio

Chris said it was like listening to a band in a studio and it was. Jonathan Zwartz had brought his sextet to Canberra to play for Geoff Page's series at the Gods and the music was so relaxed and easy but virtuosic, distilled, crystal clear but inventive, exploratory. All the lines just seemed so perfect, so apt, but never trite; perfectly expected after they were played, but wildly inventively conceived before they were played. And with surging rhythms that were busy but settled, malleable but sturdy. Jonathan himself was all over the bass, smiling at the intensity, firmly in the pocket, never losing the essence of the groove, but moving through and around it with wonderful playfulness. Along with long-term drummer offsider, Hamish, rock solid times (he preceded several tunes with a few clave clacks on a metronome to settle the time), intriguing grooves and ready for the non-standard, like one tune played fully with hands not sticks, or one with not a kick amongst it, and the apt changes under solos. Matt was all studied Rhodes intrigue, ringing chords, neat fills and unpretentious solos. And the solos of Ben and the two horns, Michael and Phil, stunned me first up with thei r similarly light, lithe phrasing and varying attacks, in Ben's case, toying with picking and hammer-ons and the like. They played on somewhat that way, immensely discursive and investigative. I was floored by one trumpet solo from Phil, all melody and long, long phrases and chromatics then realised there was more, and under such control, a trumpet that merged imperceptively with tenor, could blat, but would so easily whisper. Not easy on that instrument. And the feel were all so defined, just right. That's also why I thought of the studio, where seasoned players can spell a tune with unrelenting clarity. And also, like a studio, they were playing without rehearsal. When Jonathan was giving instructions before one tune, they joked this was their rehearsal. And the tunes were diverse. They'd started with Seahorse, in triple time, with spritely melody. Then Milton, in honour of Milton Nascimento. Then a ballad called Billy. Then Scando, with a delicious Birth of the Cool-like walk. Then Soul sing, after a Donny Hathaway song. Jonathan commented that times are hard for musos, so "it's like a political statement just to get up and play". But they were enjoying it. Jonathan had a wide smile on his face at their superbly satisfying sounds. Then a second set, starting with a jungle bop and finishing with a pair, one openly beautiful, introduced as "like a hymn", and a bouncy tune to end. It's not often I've heard such precision and distillation of late or perhaps ever. A stunningly impressive outing. Need I say I was in awe.

Jonathan Zwartz (bass) led his sextet comprising Michael Avgenicos (tenor), Phil Slater (trumpet), Ben Hauptmann (guitar), Matt McMahon (Rhodes) and Hamish Stuart (drums) at the Gods.

Prog folk folk 2

Still at FrogFest, and I was to see Ben Hauptmann’s band, BOB, and Mr Fibby.

BOB was a totally different experience. Highly trained playing that was tight, richly improvised and ornamented and arresting in concept and in performance. It started with a subtle but mobile solo on keys from Damien, precise and understated, then into melodies that spoke of folk song and solos with long crescendos that built steadily and unerringly. Ben’s guitar is always honest and impressive, sharply toned and with a touch of banjo or country-hick influence. Julian entered on tenor for several melodies but I was surprised his solos seemed so few in number. Damien reappeared for solos, but I particularly liked his presence as organ bass and piano/organ accompaniment. I was particularly following Evan. I seldom have much to say about drummers, but I was dazzled by this display: rock solid and stable beats, singular grooves of deadened snare and toms or smashing cymbals. All the time with precision and delicacy and refreshing, committed fills. I heard this as a master class in rock drumming. BOB features Ben Hauptmann (guitar) with Julian Banks (tenor), Damien Slingsby (keys) and Evan Mannell (drums).

Last was Mr Fibby. I’d heard tell of the band, so I was interested to have a listen. How clever was this, and how different? Classically-trained instrumentals accompanying zany story telling with an Eastern European accent. I’m sure I caught some Bach amongst the Gypsy instrumentals. I certainly enjoyed the story-book references to ANU V-C Ian Young for his current threat to the School of Music. (He was not a welcome man at this event!) These were contorted and somewhat improvised stories with dreamy logic and fairy tale characters. And tones of violin, cello and acoustic guitar that were played with real skills and panache, despite the none-too-classically-perfect environment. This was serious theatrical fun with great wit and serious fine-music skills. Highly recommended. Mr Fibby are Zavi (aka Sam King, guitar), Rusalka Seraphina (aka Emma Jasmine Kelly, violin), Borracio (aka Spike Thompson, cello) and No Important (aka Adam Hadley, story teller).

Riding the boundaries

Published 3 years late after being forgotten in draft

Riding boundaries can be relaxing, out on the endless plains, surveying territory, but the unexpected can happen and it takes wisdom and some good will to respond effectively.

It’s a long shot but I thought of boundaries as Julian Banks and the Hauptmanns were playing one of their later tunes last night at the Gods. I’d heard finger picking guitar and stylish hints at the banjo that Ben sometimes plays, and bass playing cut time on 1-3. It was mostly a rockabilly style with clear jazz training and sensibilities that I heard, with an undercurrent of bouncy humour. Like the version of Caravan earlier in the night. But there had also been a tango from Julian, called Take 2. And a Happy Birthday in jazz style for Geoff Page. Then an amusing title Cumquat may, and later a cut time take on You don’t know what love is: very different, but still laid back and satisfying. But I think it was during a tune called Daggerburton (?) when I thought of boundaries. Daggerburton started with heavy blues licks on guitar, from the era of Hendrix and Cream, then dropped into a reggae. I’m wondering: “stylistically, just what is this?”. I heard it as a postmodern, ironic awareness, and the rockabilly said boundaries. So it was.

It was satisfying and deceptively corny at times, but with humour and taste. Ben often enough exploded into fast and complex guitar solos, but they were clean and unlike his effected extravaganzas that I’ve heard at other times. Julian was superbly tasteful. I heard some modern out playing at the very start of the night, but he settled to big rich tone and sweet intervals and crystalline melody. Deceptively simple; beautifully tasteful or tastefully beautiful. Zoe was steady, although she told me after that she’d been playing a borrowed bass with a different neck and setup and so she was very uncomfortable. I’d noticed her few solos were short and tuneful, but I thought reluctant. It fitted when I heard her borrowed bass was so different. (Acoustic basses variously have necks that meet the body at D or Eb on the G-string. This was a D instrument and she normally plays an Eb, so she must have been fighting for good intonation all night). James is always solid and steady in a full, swinging drum style. He took a few short solos later in the night which were flowing and moderately busy but they left me wishing for more. So this was a night of laid back and mostly on the beat grooves, attractive tunes and clear melodies, but also irony in its catholicity of styles. Out on the plains; riding the boundaries of improvised music; taking influence from wherever: in summary, intelligent, current and entertaining.

Julian Banks (tenor) played a reunion concert with jazz school mates, the Hauptmann family: Ben Hauptmann (guitar), Zoe Hauptmann (bass) and James Hauptmann (drums).

Boutique rock & everyman beer

It’s not just in the name that we hear hints of misspent youth, but the Alcohotlicks are mature and respectful of their past and the music is invigourating even if you don’t share the era. My era is earlier and most of the audience’s era was later, but we could all feel the raunchy grooves and the beer-spilled bars that speak from this music. One tune was a dedication to Sonic Youth; I heard intimations of Metallica in another; Evan volunteered influences from Dirty Projectors. One tune even sounded more country-ish, perhaps Doobie, to my ears and it was a thing of prickly beauty which was somewhat surprising amongst this fare which was guitar music but of a richly altered form. The guitars were often effected: mostly just sustained and overdriven but there were organ tones there too. The two guitars were interesting both individually and as a pair and that’s not surprising given their 1st and 2nd prizes for guitar at Wangaratta a few years ago.

But they are quite different in style. To my ears, Aaron is more overt, steady and clear with lines that talk in open sentences. Ben is more effected and expansive, not shredding but with a similar voluminous extravagance. But these were their solos, and that was only part of their roles. There was no bass, so they took rhythm duties, too, which were mostly chordal, often steady four-to-the-floor, or pretending at a bass line. To my bassist ears, guitars are always pitched too high for this, but I noticed some intriguing atonal lines from Ben in one tune. I didn’t notice the lack of the bass, and neither did another bassist mate who I talked to, but it changed the aural effect: to middy and chordal and leaving wide open space for the drums. The bass drum thudded away and even led several of the tunes with emotional crescendoes of increasing frequencies of kick. And I noticed the rest of the kit as thuddy and deep, as Evan toyed with standard rock fours and syncopated to fives or whatever. Several tunes were all incessant, woody drums and only sparse cymbals for highlights. This was not a night for the ride: it was more hi-hat or shats (as introduced by Evan) or metal snaps. It was intelligent drumming: quirky riffs that were unfussily sustained. Despite the chords and lines of the duo guitars, it was the drums that defined it for me, with Evan’s wonderfully essential and sometimes dishevelled jazz-chop takes on rock drumming. But this just extended to the band that was so well sorted and settled and agreed, despite some devilishly unexpected repetitions and syncopations. Suffice to say I enjoyed the night!

The Alcohotlicks are Ben Hauptmann (guitar), Aaron Flower (guitar) and Evan Mannell (drums).

Banjocularity

I’ve heard it called jazzabilly. Zoe and the Buttercups are an oddly named band (no guy could lead a band with this name) and the lineup is somewhat heterodox given its paired horns with paired guitars that can switch to banjo and acoustic. But it’s a fabulously entertaining and eclectic sound that’s postmodern in its irony and its habit of collecting titbits of style. I enjoyed the CD, was surprisingly taken by their performance at JU2010, and adored this latest outing at the CJP. This one was particularly intimate, being in a small, slightly muggy theatrical space with stage lighting and decent sound and Viennese mirrors and Parisian café tables with the band on the long wall and the audience arrayed closely around it. I loved it, and obviously the band did too.

This music is delightfully and unchallengingly lyrical with melodies that are simple and just plain lovely. Buttercuppin’ is a theme tune and it’s pure and played unadorned and with heart and it’s just plain beautiful. Gut for garters was Zoe’s pirate song (“every band needs a pirate song” says Zoe) and was mysterious like the giant squid or the white whale. Sludgebucket was the heavy rocker with screaming guitars. Zoe mentioned Mahavishnu, but this is heavy like Beatles’ I want you (she’s so heavy), not metal. The Buttercups have too much wit and love for genuine heavy (good on them). But great guitars! Brother Ben is a favourite of mine when he lets go, which he does on this tune, but I also noted some nicely restrained overdrive from Aaron. These guitarists are a feature of the band, with Aaron’s airy reverb behind so many tunes, and Ben’s banjo defining the rhythm on others. Banjo? It’s disconcerting but joyous and just one of the Buttercups’ little idiosyncrasies. The Buttercups don’t get together so often these days (Ben is in Melbourne; the others in Sydney), but you wouldn’t know it. The rhythms were tight and supple from Zoe’s easy bass and brother James’ sharp drums. The harmonies were sweet, from the horns, but also sometimes in unison with one or other of the guitars. If there were weaknesses in performance here, I didn’t notice it. The band was concentrated but relaxed and the tunes were genuinely song-like: rollicking good feels with those attractive melodies. Oddly, at one time there was even jazzy disjointedness as feel-good decayed to free and atonal then back again to sweet song. Clever - they are jazzers under the hat, after all. But the whole is joy and sonority. Everyone likes a sea shanty, and I can’t imagine that everyone wouldn’t like the Buttercups. As for me, they bring wit and joy with impressive playing and I thoroughly enjoy them for that.

Zoe and the Buttercups is a project of Zoe Hauptmann (bass). Zoe’s blokey Buttercups are Ben Hauptmann (guitar, banjo), Aaron Flower (guitar), Dan Waples (sax), John Hibbard (trombone), James Hauptmann (drums).

Bundle of joy

These are the local joys that visitors only happen on, or get invited to. I’d talked to Rajiv Jayaweera the night before, at Paris Cat, and he invited me to a beer garden gig with Ben Hauptmann at Brunswick Green on Sydney Road. I was interested. Guitar and drums, no bass, with a favourite guitarist. And it was bliss. I only caught 30-minutes, but this was great. Coopers on tap; a vibrant beer garden scene in a cosmopolitan area; wonderfully threatening weather; Ben’s richly looped guitar/s, two, three, four layers with crisp or overdriven solos blaring away on top, and a joyous communication with Raj. Lots of smiles; plenty of indulgent playing that was bliss to anyone who bothered to listen. I like a listening environment, but I also like quality background music where players are a bit self-indulgent, playing to their wishes and inevitably to their strengths. I was just reading something on this in extempore. A muso was describing how his best playing is often that when he most seems to be ignoring the audience. Now, musos can be lazy, ignoring the audience and also their playing. But this was one of those good gigs, where the musos play for themselves and incidentally for the public and it’s great. Twangy, screaming, swinging, whatever, this was played true to style, simply correct, easy and unforced, masterfully. A wonderful outing. What tunes? It finished with C-jam blues, that simple but masterful melody that appeared several loops into the tune to smiles on my part. Other tunes were more chordally complex and with that Hauptmann rockabilly presence, so presumably originals. Whatever, it was a small bundle but a stork-like bringer of joy.

Ben Hauptmann (guitar, loops) played with Rajiv Jayaweera (drums) at the Brunswick Green.

A different ship

The Captains came for Floriade, ie, Katie Noonan and the Captains. Not all the Captains, because Katie usually uses a bassist and ex-Canberran Stu Hunter on keyboards. Today, it was just two guitars and drums with Katie on keys, glockenspiel and vocals. But the Canberra connection was maintained given one of those guitarists was Ben Hauptmann (who’s also returning for Jazz Uncovered next week). In addition, Katie included a string quartet which I think was local (I’m sure I’ve seen one of the violinists in the Canberra Symphony Orchestra). So the ship was changed, but the destination was the same, and the voyage was interesting and worthwhile.

We can expect interest from Katie Noonan. She sings songs with a complex and mobile voice. The songs are written by her, the band, also in conjunction with the best Australian songwriters (Don Walker, Paul Kelly, Neil Finn). And the songs are wholesome if exposed with songs of family and husband (challenging jazz tenor saxist Zac Hurren). The arrangements are anything but jazz or rock or most pop, even. Then reminded me at times of Beatles, with sheets of music, rock drums with guitars providing harmonies and colours, overdriven and sustained, texture rather than solos, laid back tempos. It’s not a music of individuals, other than the singer, but of an ensemble. The string quartet easily fitted the approach. There were dynamics and crescendos and sustained loud passages that were emotionally intense, almost anthemic. I loved the pretty glockenspiel that Katie often played in place of keys. I’d gone looking forward to hearing a big PA in an open space. I find it a pleasure these days, when sound is good. This wasn’t. It was a dirtier, boofy PA, more suited to rougher rock than something with this detail, harsh, edgy and indistinguishing. Heavy on bass, so the drums were quite unbalanced: heavy kick and floor toms, and ride cymbal and high hats that got lost. Strange, really, when the clear glock and strings call for something so different. It’s the modern linear arrays that I like: I’ve heard some lovely PAs like this with power and also detail and a crystalline, clear sound. This was a professional show, and impressive, but there was little audience response, and no encore, and the end came somewhat with a whimper. Sad, because this was very impressive popular music.

Katie Noonan (keyboards, glokenspiel, vocals) led the Captains comprising Cameron Dale (guitar), Ben Hauptmann (guitar, mandolin) and Declan Kelly (drums, percussion). They were accompanied by a string quartet comprising Pip, Catherine, Liz and Martin (Katie didn’t give the full names).

Translations

They were the Translators and they performed at the Gods the other night. It’s an apt name for an unusual mix of instruments that produces a very recognisable and attractive outcome. It’s seldom that I attend a band with electric mandolin, especially one that’s screaming like a Strat, or Spanish guitar played in classical cum Flamenco style, but that’s what was on stage, and it worked comfortably with the sixteenth note grooves from electric bass and the lively drumming. An unusual combination but still with affinities: with Jaco for those bass chords and funky grooves and exquisitely mellifluous bass melodies and with Al Di Meola and Paco De Lucia for those nylon strung Spanish guitar sounds. Even the mandolin had references. The fast lines, high pitches, sometimes screaming sounds with overdrive and echo sold it as an instrument with attitude, sounding eerily like studio-based indie guitar soundscapes.

The elder of the band was Steve Hunter. Steve’s a master electric bassist and wonderful to hear: a great, phat sound; rich and varied chords and fingerstyle sixteenth note funky accompaniment; sweet melodies and some devastatingly fast falling lines. Ben Hauptmann was on the electric mandolin: from sharp and thin mando lines to fast guitar-like solos to complex and richly effected soundscapes. Brother James Hauptmann was on drums: not showy, but strong with busy grooves that grew naturally to peaks with the solos. Damian Wright was the Spanish guitarist. The nylon sound is recognisable (you hear it often enough from players like John McLaughlin, perhaps played with a plectrum) but the style places the band outside the mainstream. This is thumb plucking, fingernail strums, fingerstyle chords. There was some jazz sensibility in the left hand, but the right was in another space altogether. Very capable and perfectly fitting to this context, but still quite unexpected.

The tunes were originals by various members: Flamenco influences, two chord funky solos, rapid unison melodies, unexpected and dramatic starts and stops. This was energetic and lively music, tons of runs, tons of cleverness and overt Latin passion. At one stage, Geoff Page mentioned that Steve was the bassist who convinced him of the authenticity of the electric bass. It’s easy to concur on Steve’s expertise and musicality, but this night was not just Steve. The performers presented an odd mix of instruments, and a style that we are aware of but that’s not common on the jazz scene in Australia. But it’s infectious and lively and I, for one, would easily hear more.

The Translators are Steve Hunter (electric bass), Ben Hauptmann (electric mandolin), Damian Wright (Spanish guitar) and James Hauptmann (drums).

Visiting Gods

Dale Barlow played at the Gods last night. He’s not divinity, but he’s definitely a classic of Australian modern jazz. He’s not a frequent visitor to Canberra, but you get a night of hard swinging post-bop when he does visit. Showers of notes, flurries and effusions of phrases that play around the harmony. An ability to maintain lines, move phrases in and out of dissonance, cut the beat into smaller parts, and hold lines based on those parts for long, sinuous passages. Simply, a hot player in that hot post-bop mould. And with such a lovely big fat tone. He was playing a King Super 20, the same instrument that Cannonball Adderley played. The quality of the tone was obvious. Also occasional flute and alto flute. The selection was somewhat improvised, with the band stopping between tunes to discuss what to play next. But, as Dale said, these guys had been playing together over the years it was all perfectly comfortable. They are professionals of a high calibre, and this is stock of trade.

For our local pride, it was a Canberra rhythm section: Ben Hauptmann and Brendan Clarke, both Sydney-based but Canberra-bred and -trained, and Mark Sutton who is Canberra-based. Ben always blows me out with exciting guitar lines weaving through dissonances and across the full range into searing high notes; finger picking that imparts extra complexity to his chordal playing; a wonderfully rich and hot sound from an old Fender valve amp. Brendan is a renowned bassist for good reason. Fluently and busily exploring the fingerboard, up into thumb positions (did he reach to two octaves? I think so), variously moving across or up and down the neck, some lengthy chromatic lines in solo fills, or beautifully evident and simple chordal playing that stated the tune with elemental clarity. His sound was pretty soft, but listening back to a recording, it’s neat and present and thumpy with those Velvet strings. Mark Sutton is a popular choice for visiting jazz performers given his national experience and respect. There’s a seriousness to his playing, a busy-ness and responsiveness that’s demanding, and also a conception that ranges from early drum styles, so you can hear band music and marching rudiments interspersed with modern. So all round, it was masterly control that we heard.

They played 10 tunes with plenty of time for play and more than a few choruses for each solo. There were a few originals by Dale in a classic post-bop tradition. There were several well known standards done with power and ballads with subtlety: Chelsea Bridge, Willow weep for me, a sprinting Rhythm changes, Tad Dameron’s lovely On a misty night, Round midnight, Out of nowhere, a rollicking end on (Once I had a) Secret love. And there was one that seemed oddly different but nonetheless very satisfying, a dreamy tune that started with droning guitar and wailing tenor and sounding of the Scottish Highlands, and that moved into a Wanderlust-style groove.

It’s always great to hear such capable musicians doing flat-out post-bop styles: generous swing, hard blowing solos, memorable tunes. It’s what jazz is all about, at least for the boppers and their descendents. Dale Barlow (tenor, flute, alto flute) led a quartet with Ben Hauptmann (guitar), Brendan Clarke (bass) and Mark Sutton (drums).

Spanish translation

It was a refreshingly different style of crossover that was presented by The Translators last night at Hippo, and perhaps apt following the weekend of the National Folk Festival. From my JazzGroove emails, it seems there’s a good deal of experimentation with different musical forms coming out of Sydney. Canberra seems to be relatively tame in this regard. I can guess two reasons for this. Firstly, our jazz players are mostly at the student level and are learning their trade; our best tend to leave for bigger smokes before they spread their exploratory wings. Secondly, when you’re in business and earning your crust, you are busy testing new ideas and sounds to see what sells, and that’s another prod for invention. Musical invention in Sydney features several Canberra names (Hauptmann, Undy, Clarke, Dewhurst, Ryan). It’s nice when those names come home for a family visit, as two of them did for the Translators gig.

The Translators had elements common to other jazz formats mixed with tonalities which were decided different. There was Steve’s virtuoso, Gatling, punchy, Pastorial electric bass. Steve’s a stunner with some blisteringly fast but clear fills and sustained 16th note finger play in the tradition of Jaco: world class and not one to miss. James accompanied him with strongly driving but unobtrussive drumming. His has a full and rolling drumming style, with solos which are comfortable within the groove while deceptively crossing rhythms and dissecting bars and beats. Joining this were the less common sounds: Damian’s flamenco guitar and Ben on mandolin. Mandolin? Well, it was perfectly satisfying mandolin for lovers of a hot guitar solos. Ben played plenty of very stylish guitar-like jazz solos but with the clipped, peaky sound of the mandolin. It was interesting and engaging, but also strangely comfortable for such an uncommon instrument . Damian’s guitar was much more diverse in style. He introduced several tunes with classic flamenco solos and flourishes, and his solos were similarly Spanish. Sadly, the finger picking and nylon-strung guitar didn’t cut through like the other instruments, so I missed detail in many of his solos, but my impression was of Al DiMeola with Paco Peña, or a jazzy take on Sky with John Williams.

The music was all original. Each of the members penned at least one tune performed on the night. It was all built on strong beats, and the powerful rhythm section made it incessantly danceable, so again I thought of the folk crowd which loves to dance. I counted several triple time rhythms, although there was also 4/4 and at least one 7/4 on the night. I wondered if it was the rhythm that had got to the couple who were sweatily pashing off in the front row for a full set, but perhaps it was just youthful lust.

Whatever, this was fascinating and refreshing and inventive. A very successful fusion of elements of flamenco, jazz and even rock. The name says it all: translation. Great stuff and recommended.

The Translators are Steve Hunter (electric bass), Ben Hauptmann (electric mandolin), Damian Wright (acoustic guitar), James Hauptmann (drums).

Buttercuppin’ hoe-down

Zoe brought her bumpkin Buttercups to town last night for a great night of whacky but intelligent, hick but danceable music. I’ve written of the CD recently, and many of the tunes were from that CD. This was a six-piece jazz-trained outfit, but playing across the styles of rockabilly, reggae and blues, but always with the tinge of the jazz influence, despite the ever-present 1-3 drum figures. I guess this is one of the options for where to take jazz in the new century. Whatever, it’s entertaining, infectious, and very different sounding. Perhaps the defining sound is the banjo, which brother Ben plays on most of the tracks. But Ben’s given it a strange twist, with this normally rhythmic and ostinato instrument played as solo modern jazz guitar. Weird, as it imparts a new choppy, staccato sound to a jazz guitar solo style. The drums are also key, with other brother James playing impeccably on the square 1-3 beats, and ably managing the growing intensities of rhythm section against solos. The sleazy front line of trombone and alto sax are perfect. John Hibard on trombone plays the part to perfection, with energetic gyrations on his lengthened instrument, and with the addition of a great rendition of the song from the CD. Dan Waples played perhaps the most jazz style on the night, but even so he seemed to forego wailing and screaming in a Coltranesque style, preferring an elegant, intellectual, probing style that to me was reminiscent of Chris Potter. There were several excellent blues solos from Aaron Flowers, who’s a guitarist of few but meticulously appropriate notes, and hot soloing by Ben ranging across rock and fusion styles when he did get on his guitar. Both guitarists played Telecasters, and the sounds were to die for. Zoe held it all together (in calling the tunes as well as on bass) and played a few of her own solos. She’s gloriously understated in her playing and always lyrical. Lovely stuff. It was a wonderfully quirky, joyful and entertaining night at the trying edge of the art.

Zoe and the Buttercups were Zoe Hauptmann (bass, vocals), Aaron Flower (guitar), Ben Hauptmann (banjo, guitar), John Hibard (trombone, vocals), Dan Waples (alto sax), James Hauptmann (drums).