Opening the middle

I could only manage one of two sessions, but each evening at Midpoint at Ainslie Arts Centre had three performers so this was still a generous vision of the style.  The style was electronica-cum-dub-cum-pop whatever.  The classifications have exploded so I might talk of one tonight as post-rock.  Whateva.  But I always expect an intellectually satisfying outing at AAC and it didn't disappoint this night.  

First up were locals Ben Marston and Chris Thwaite.  Both well renowned in jazz circles, trained at the SOM, appearing variously, if these days less frequently, in jazz or such outfits.  Ben had his trumpet of course, and a table with laptop and various effects and perhaps triggers or keys; Chris had his kit with a drum pad and laptop (I guess) beside him.  And that overegged floppy bassy kick that remained for the night over the PA; probably apt for the style.  You could hear the jazz chops as they worked through various improvisations.  Ben would play with electronic tones with just a hint or occasional quote from his brassy-clear trumpet themes.  The harmonies are not complex in this music.  I noted a pretty simple scale with a few flats and notes dropping Bb-A and Eb-D and Cs and Gs ad Fs.  A feel might change between those themes, or when Chris reappeared after a break or when he played with some gorgeous polyrhythms or moved accents within bars.  This music moves, subtly, slowly, mesmerically.  There were some slips with too loud noises, but electronics do this occasionally: they are so literal!  Then for a later theme, a lovely octaver on trumpet, then some descending chromatic arpeggios.  I'm thinking '70s Miles.  Great stuff and not too indulgent, perhaps ~35mins.

A younger generation and different gender followed.  Two young women appearing as Shāyú, I think a take on their names.  One controlled a laptop with controller; the other read poetry, spoken word.  The laptopper started with a heavily reverbed welcome to country, then, if I got it right, a recorded female voice from a university library speaking of love and dating with plenty of giggles, all backed with big  orchestral-like sounds moving slowly between adjacent pitches or chords, then into several spoken word works, poems, by the poet of the pair.  I couldn't catch all amongst the accompaniment, but it could be jokey and mostly returning to the theme of dating and relationships.  Like, ask what is the most common item in your wardrobe, socks, that was so funny.  Or her fave, Devotion is a river, about parting in the morning, of kisses and a face like the moon, a common love of Arianna Grande and compared playlists.  Thus are concerns of this age and gender, and good on them.   It makes me feel old and withered.  Or another on food fads after a relationship ends, with music mostly droning in accompaniment, but climaxing with the relationship's end.  An interesting conversation and promising new duo.

Ben Marston (trumpet, electronics) and Chris Thwaite (drums, electronics) opened the first evening of Midpoint at Ainslie Arts Centre.  Shāyú followed.  They comprised a laptopper and a poet but names unknown.

Pressing

Great to get back to the standards repertoire and the National Press Club. It's a venerable institution and the end-of-week jazz sessions are longstanding and a great pleasure with some of the best musicians in town. Tonight it was trumpet/flugel and piano with Ben Marston and John Black. Both longstanding musicians of high regard and considerable history. No charts that I noticed. Just comfy heads and varied accompaniments and intriguing solos. And no surprise to catch up with musician friends at this local, in this case my sax mate, Richard.

Ben Marston (trumpet, flugelhorn) played a duo set at the National Press Club with John Black (piano).

Processing

To me, jazz is fine music with groove; "classical" is fine music without that Afro-American inspiration; popular music is less fine, usually. But to say that it's all a melange these days is unexceptional. The music of Ben and Hugh's latest album is played on ABC jazz radio but it shares much with electronica and dance music. It's accompanied by electronics and tangles of cables, heavily processed, happens live through computers and Ableton, features loops and drones and pitch shifts and the like, and mixes it with jazz trumpet, easily reminiscent of Miles at times, and Rhodes and piano tones and lines and sequences that speak jazz languages. Do I need to say, I loved it? This sounds modern and relevant, fresh, contemporary as in the NPR Best 50 albums for 2018 that dropped in my email the other day. To some degree it's standard electronics but jazzers make it sparkle by adding that level of instrumental dexterity and harmonic knowledge. Ben and Hugh both have that in spades: Ben's fabulous, rich, tempered trumpet tone and melodic intelligence; Hugh's superb Rhodes and other tones (much fed from a laptop he had by his side) and his unerring and inquisitive harmonies and extended chops. These are two masters playing contemporary, sometimes minimalist, on occasion austere or exposed or flourished. The loops provide a bed for some stunning releases at times, long lines or consistent and insistent sequences. Manual sequences over computer sequencing. The concert was at CMAG (Canberra Museum and Gallery) as an event in the EuroVisions exhibition and it fitted perfectly with the colour and contemporary European art collected by the Sydney Goldbergs. Great music in and fitting an intriguing space.

Ben Marston and Hugh Barrett performed at the Canberra Museum and Gallery.

Ripping up the place

I was amused at a comment about deconstructing the place. Someone had taken down a pot plant for better sightlines, then he'd responsibly replaced it at the end of the night. The jazz scene is like this. Likeable people who study complex things that pay little for arts-sake with a relaxed dress sense. Like one player who's in Canberra for his Philosophy PhD at ANU on a topic somewhere in Ethics. It's a quiet time for musos after the rush of Christmas. A few are back home to visit rellies: Aidan Lowe was back from Berlin for a time. Otherwise, it's good times and good beers and some excellent music. Hugh Barrett was filling in for Wayne Kelly; Aidan Lowe for Mark Sutton; Ben O'Loghlin was coordinator, calling in various players for the second, jam set. Ben Marston, Tom Fell, Steve Richards, some others. The tunes for the first set were less the obvious blow numbers - Blue in green, Nica's dream and the like. The jam set was more commonly known tunes, starting with Stella then Blue bossa. I got a go on Alone together then Blue Monk. The playing was excellent all round. Aidan's playing a storm, if lamenting his kit that's sat in a shed the last year (fair enough). Hugh smoothed through various harmony colours with extensions or substitutions or whatever and laid down sweet, unassuming solo lines: all the piano's role and done with great skill. Ben O'L floored me, interesting and varied, right on top of the beat and driving with a firm, full sound. Then the horns, Ben M and Tom, soloing nicely, spelling heads with ease but also harmonising melodies and accompaniments to hint at arrangements. Tom commented it's a great lineup for that (rhythm section plus sax and trumpet), but no surprise there, it's the quntessential bop-modern lineup. The last tune was a raging Rhythm changes: so much for deconstruction, this was ripping up the place in a more positive light. And there were chats and beers as jazz is. Much enjoyed. Thanks to all.

Ben O'Loghlin (bass), Hugh Barrett (piano) and Aidan Lowe (drums) were the support band for the jazz jam at Old Canberra Inn. Tom Fell (sax), Ben Marston (trumpet), Steve Richards (drums), Eric Pozza (bass) and others sat in. The OCI jazz jam is at Old Canberra Inn, every Wednesday, 6.30-9pm, free entry, good beers on tap.

This time Texas

It was almost like a jazz variety show when Niels Rosendahl presented his Farewell Concert. There was an audience of family and friends and not just the local jazz students and tragics. There was a good representation of audio and recording engineers and photographers were well represented. Niels, as host, chatted with the audience and invited a string of musician colleagues to stage to perform a varied mix of styles and tonalities. Then to top it off, there was a party in the foyer afterwards. But this was not lightweight performance. These are top players around town and our best are very good. First up was Niels’ organ trio with Luke Sweeting and Gary France with that particular ‘50s tonality that can be a bit woofy but which swings hard and funky when it’s in good hands. They were variously joined by three trumpets (locals Dan McLean and Ben Marston and Melbourne visitor Matt Tubman) and Raf Jerjen sat in after a few tunes. Ben played a gloriously melodic solo on Stella by starlight (trumpeters do) that highlighted to me the difference from prolific tenor madness. But then Dan and Matt indulged in trumpet mania with Dizzy’s classic brass hit, Night in Tunisia. Niels played Moon River for a friend in NYC and Luke performed a piano solo, while reading a chart from his mobile, that had Brenton and I astonished by its brilliantly perverse logic. (Luke later told us he just ignored the chart for a bit – so much for our ears). Both Raf and Gary had their solos too. Raf was newly back from NYC with a new commitment to rhythm above all and Gary is long out of the US but always with involvement and huge joy in his playing. I hadn’t realised that Gary studied at the very school that Niels is attending for his Masters program – University of North Texas School of Music: 1,500 students; 25 bands; a small town of jazzers. Back to the concert. Luke swapped to grand piano, groups grew and shrank, styles changed through various bop-influences and movie musicals then even on to the blues when Fiona Boyes came on stage. Niels has been expanding his palette into the blues and its conventions by touring with our internationally-recognised Fiona. Fiona led a Mississippi blues duo with Niels from acoustic guitar, vocals and kick box and an electric guitar blues. Then a return to jazz conventions and the influences and Coltrane and John Mackey and then a touch of evocative vocals and playful vocalese from Rachael Thoms. Then the party.

There was some stunning playing here and I imagine Niels can only continue his development with this sojourn. It was a friendly night and chatty to finish off, but as I walked home I wondered if Niels will ever wish to return to the future desert that will be Canberra music.

Niels Rosendahl (tenor) led a several bands and several visitors at his farewell concert: Luke Sweeting (organ, piano), Gary France (drums), Rafael Jerjen (bass), Dan McLean (trumpet), Ben Marston (trumpet), Matt Tubman (trumpet), Fiona Boyes (guitar, vocals), Rachael Thoms (vocals).

Cyberhalides Jazz Photos by Brian Stewart

Ben’s Big Band Theory

Ben Marston is presenting another four concerts in his annual series. I got to the Big Band Theory outing yesterday, and enjoyed it immensely. This is a big band in the modern jazz orchestra format, playing charts written by Ben. The sound is smooth, and the horns swell with grace and pleasure. As with most Big Bands, they don’t get together too often, but you wouldn’t guess it from the performance. It seemed well intoned and tight, with a lovely relaxed rhythm section courtesy of James, John, Lachlan, and some wonderfully apt and unforced drumming from Chris. The band was a pleasure.

The tunes included some from last year’s outing and even some features that date back several iterations, including the hot features, Accidental instigation and Theophanaic synchronicity – both suitably lively and challenging tunes to end the concert with. Ben’s two larger works, the African Roadway Suite and his Canberra suite, appeared. I noticed James playing the treacherous African Roadways this year with the double bass, where he played electric last year. I can understand why he’d back off on the fast falling bass line on the second tune, but he did it justice this year on double. There were some intriguing solos: passionate explorations from John Mackey, of course (we expect nothing less!); a pairing of Joe Lloyd (alto) and James Le Fevre (baritone); a few very tasteful outpourings from Niels Rosendahl; several from Ben himself (it’s his band so he gets to star), Rob Lee on trombone and Lachlan Coventry on guitar. On the day, perhaps I was most taken by Chris Thwaite. He always plays with taste and perception, but this time he was fabulously relaxed and expressive, and I seemed to settle the band’s performance into a steady groove. I wondered if the groove was a little too laid back at times (but then I do tend to count in at a lively tempo).

Ben offered some new charts this year. Five-sty (from feisty) was in 5/4 time: rollicking but none too easy to tap, and with some contrasting horn lines that reminded me of TV cop shows. Undercurrent of discontent was another new one to me, a slightly angry cry with a shared solo on guitar and trumpet. “Choose to be childlike” and “Icy poles, beachtowells & backyard sprinklers” tell of younger, more innocent days, but the playing is no easier because of it. Childlike, especially, had some very difficult writing for the horns. Icy poles was perhaps the most reminiscent of the classical jazz big bands. But I think my favourites on the day were the two ballads, Lament for music, beautifully luxuriant and a lovely vehicle for John Mackey to express on, and Autumnal from the Canberra Suite, that just glowed with swelling horn lines.

Gathering a band like this is a labour of love, and Canberrans should support it with a regular audience in addition to their government grants. Well done, to the band, and to Ben for leading and for all the charts. A great achievement.

Ben Marston led and composed for Big Band Theory. The players were: Miroslav Bukovsky, Dan McLean, Ben Marston (trumpets), Rod Harding, Valdis Thomann, Rob Lee, Dave Hicks (trombones), James Le Fevre, Joe Lloyd, John Mackey, Adam Matthews, Niels Rosendahl (saxes), John Black (piano), Lachlan Coventry (guitar), James Luke (bass), Chris Thwaite (drums)

Privileged

I realised while I was amongst the live sound of Ben Marston’s Quartet going live to air on ArtSound that I was privileged to be there. To hear the banter and reasonably controlled confusion that exists around the professionalism and impressiveness of the music itself. This is music speaking for itself. The band didn’t even know what they were to play for the last tune, but who’d know (other than because they said so to the listening audience, of course). These guys know each other after years of a weekly residency and although it finished 4 years ago, it’s still there in their interactions and their bumptious joy in performing their electric versions of some very well known standards. Although well known, some purists might not recognise Miles in this concoction. But I reckon Miles would enjoy the musical humour and coquettishness of it all.

Needless to say, I enjoyed Ben’s band immensely. Ben played a clean sounding trumpet or flugelhorn, but it sat neatly with clear solo lines and occasional flourishes. James toys with us, with the deepest of sub-bass sounds and Pastorian chords and a delightfully unsustained, string slapping sound on his home-defretted 5-string Fender jazz. Lachlan riffs richly with those fast lines that guitarists do, reminiscing on the US West Coast sounds of recent years, with just an edge of distortion. Chris was blissful in his so apt but so modular yet fluid patterns, and his zen-like appreciation of the ringing of cymbals. I remember a one-note passage in a solo by James on All the things you are that just moved the dots around the bars. Just lovely, and so playful. Then a heart-beating rhythm on the lowest of bass tones (down deep to 20Hz and thereabouts) and a steady, then simple but pure drum solo.

The tunes are ones we all know (although not Material girl this night; their locally famed adaption of Madonna’s magnus opus): Blue monk; a 25 minute medley of Third rock from the sun, All the things you are, Nica’s dream and Nardis; Solar. Ben’s original, Accidental instigation, is obviously not so well known, but it sat perfectly comfortably in this lofty company.

Comtemporary jazz is all things to whoever wishes to listen. I’ve just heard a CD from a tuba / clarinet / banjo / drums outfit from Sydney, and it’s witty and humorous and I enjoyed it immensely (The fantastic terrific Munkle). This is more electric, Pastorian, so hitting on the fusion scene, but with similar, ironic, pomo credentials. See this band, as Trident or Quadrant or Ben Marston’s Quartet or however they name themselves on the day. They are a local jazz institution and not to be missed. It’ll be a privilege for you, too.

Ben Marston (trumpet) played with Lachlan Coventry (guitar), James Luke (bass) and Chris Thwaite (drums).

Ben’s big band

Ben Marston commenced his Jazz Project for 2008 with a big band session in the Street Theatre on Sunday. Big bands present a high level of complexity in organisation and in presentation, so they are not too common, but they are blissful in tone and complexity. It’s doubly difficult and impressive when you are composing and arranging all the music, as Ben did.

The concert was in two sets, with plenty of variation in harmony and tonality. The first set opened with a dissonant tune with a political theme: “Canberra does not say anything” was indignation at Canberra standing in for Parliament and Government in the media. The next two tunes also had a Canberra theme, but were more joyous and pleasant, picturing a Garema Street Parade and Canberra’s autumn weather. These three tunes comprised the Canberra Suite. I particularly liked the complex, moody piece that followed. “Accidental instigation” was apparently written for, and played by, Ben’s band of recent years, 12 Tone Family. This was controlled, composed, emotive music. The set ended with James switching to electric bass and a stronger groove for the rest of the concert. Theophanaic synchronicity was the last tune of the first set. I’m not sure what the tune represented (although Theophanous is a federal political name) but I remember it as sixteenth notes with plenty of soloing from trumpet and other. The groove continued in the second set, along with some recurring references: a searing comment on politics in Dance of Disillusionment, and a gentler reference to Canberra weather in December rains. There was a gentler Lament for music, with some expressive soloing by John Mackey. But the feature for me was another suite, the perfectly expressive, and suitably worldly, African Roadside suite. It was made up of three pictorial tunes which described a car journey in Rwanda: a red earth roundabout, an open road journey, and the obvious relief in relaxation on arrival. More impressions? Several pieces of written counterpoint; quite a few guitar solos from Lachlan, and leads and solos from Ben; an expressive solo from John Mackay; and some collective solos, one of two trombones, another of alto and baritone sax.

The encore was a case of sublime to ridiculous. Ben has played many small band outings with this rhythm section at Trinity on Tuesday nights. Madonna’s Material girl has become a standard at these sessions. It forms a great little groove for a blow; Chris, Lachlan, James and Ben carried it off with humour and funky precision. Nice one.

The event was well supported, with lots of family and friends, so it was one of those pleasant jazz events with an easy and intimate atmosphere. I doubt it was so easy for ArtSound who recorded the event. Theirs was a challenging job, with more mics in the mix than I’ve seen them use before, and two mixers on the go.

Ben’s project returns to the Street Theatre on 15 Jun, 14 Sept and 7 Dec, all Sunday afternoons at the Street Theatre. Apparently the next concert will be broadcast nationally by ABC-FM. For once, the media can say Canberra and we can feel comfortable with the label. Ben will be pleased!

The band comprised: Miroslav Bukovsky, Dan Mclean, Ben Marston (trumpets), Alistair Clarke, Valdis Thomann, Rob Lee, Dave Hicks (trombones), Adam Mathews, Andrew Pogson, John Mackey, Joe Lloyd, James LeFevre (saxes), Chris Thwaite (drums), James Luke (bass), Lachlan Coventry (guitar), Wayne Kelly (piano).

Residential zone

Long residencies are a special thing in music. They develop a particular mystique. They engender a family following (“like our living room”) but also a sibling-like interaction between the players. The gig at Trinity Bar in Dickson on Tuesday nights is one of these. Members have changed slightly over the years, but the core is still there, and the approach remains, along with the competency and interaction, and sheer intense groove of the session. This is a hidden gem of jazz in Canberra, and should not be missed.

The band is Trident, or more correctly, Trident+1. Members are James Luke (bass), Lachlan Coventry (guitar), Chris Thwaite (drums) and Ben Marston (trumpet). Presumably Ben is the +1, although they’ve been “+1” both times I‘ve seen them recently. I wrote about the band when they played recently at White Eagle under Effects, anyone. Needless to say, they were playing with lots of processing and effects at that gig. James tells me they’ve recently dropped the effects, and it was a clean, clear performance at very moderate volume that they gave last night. But the playing was no less intense or capable. This was sharp, closely interactive groove based on well-disguised standards. Truly excellent playing, and perfect for the club venue.

The first set comprised Nica’s dream, Nostalgia on Times Square, Stella by starlight and a blues that I didn’t recognise. As I said, it was well disguised. I’d listened for 10 minutes of perceptive solos against sharp funk and rock rhythms before there was a recognisable head or chord sequence on Nica's dream. Even when there was something recognisable, it was not expected: the bridge was a strangely timed unison bass/guitar part against the standard melody. And then it dissipated again, this time to reggae and another trumpet solo. The others tunes were just as unanticipated. James blew me out with a great Fender fretless jazz bass tone, a variety of tonalities, chords, thumbs, slap and fingerpicked funk. Pity about his amp which was breaking up occasionally. Lachlan played with a clarity and traditional tone from a semiacoustic. Chris had a minimal kit, and Ben was playing clean trumpet. But they all soloed excellently. Chris against some terrific band unison work on Nostalgia. James played some interesting cross timing, including half-note triplet chords against 4/4, and splendidly expressive lines. Both Lachlan and Ben soloed with panache, and moved into and out of tonality with ease.

In all, a night of very capable laid back, varied and authentic grooves. Free entry, ubercool but comfortable surroundings and reasonably-priced drinks make this a must-do activity for a Tuesday night.

Effects, anyone?

Last night’s White Eagle seemed a detour into the 21st Century and jazz as it is now: a melange of styles and sounds, with clear references back to jazz history, but with newer tonalities and technologies. I’ve asked on CJ poll whether there’s jazz after Bitches Brew. I was not surprised that everyone who answered, answered “Yes”. But I was surprised that so few people answered. The question was a bit of a joke for me, and presumably for those who didn’t bother to answer, but it’s still argued in conservative jazz circles. Jazz suffers from such internecine dischords. The trad/modern standoff still appears occasionally and the argument over electronic instruments is ongoing. But I’ll choose to sit this one out. I’ll just return to my M-Base Collective and Branford Marsalis and amuse myself thinking about how this White Eagle would have upset the conservatives.

Trident+1 started the night. Trident are a trio comprising Chris Thwaite (drums), James Luke (bass) and Lachlan Coventry (guitar). The +1 is Ben Marston (trumpet, flugelhorn). James described the style as “made up on the spot, with some jazz standards to meet up … sometimes”. This is definitely the approach. It’s loose and improvised, but they have achieved this open and responsive relationship through playing together for considerable time. The experience shows. The set comprised 3 extended improvisations. There were soundscapes and funk and reggae and one hard swing. There were processed sounds galore. I guessed octavers, autowahs or synths, choruses, reverbs and echoes on trumpet, bass and guitar, and there may have been others. There were mesmeric repetitive rhythm passages, mostly set by guitar or bass. There were loads of solos from all instruments, variously standard jazz styles or more impressionistic. There were squeels of whales from flugelhorn, and didjeridoos emanating from bass. And there were lovely calls back to the jazz and even pop forms with melodies that rose from the highly processed, rhythmic substructure: Alone together followed by Nica’s dream over reggae; Madonna’s Material girl with a coda of Weather Report’s Birdland; Mingus’ Nostalgia in Times Square. The floor was littered with effects. There were two PAs on stage for the instruments alone, as well as the obligatory stage PA. It all sounded highly processed, compressed, full and fat, like recorded music rather than simple, acoustic jazz.

Chris played fabulously in this format: richly changing rhythms; great counterpoint to more or less regular grooves of the other players; some excellent, accurate, clearly intentioned solos. James played a fretless 5-string Jazz bass, through masses of effects and into a PA for clear, sharp, full-range sounds. He played confidently, mimicked Zawinul-synths and didjerdoos and more, and played some lovely solos along with chords and harmonics at various other times. Lachlan was relatively traditional in this context: attractive and not overwhelming effects, and some crisp, clear jazz soloing. Ben set the scene with known melodies played with simplicity and conviction, but also dropped into impressionistic sounds and effected solos, and the first time I’ve heard octavered flugel. Great, confident and convincing playing all around.

Trident+1 are a fabulously involving and developed outfit playing the highest level of groove-infected, culturally-inclusive music with a jazz sensibility. Trident play every Tuesday night at Trinity Bar in Dickson. Catch them!

The second band was a less processed and took a more standard modern jazz approach, but still displayed frequent effects on sax and bass. And it also featured electric bass (another one to upset the conservatives). The band was the Matt Keegan Trio out of Sydney’s JazzGroove stable: Matt Keegan (tenor sax), Cameron Undy (electric bass) and Dave Goodman (drums). The trio played original music in the modern jazz idiom, with frequent blues or funk feels, and some monster unison lines.

Matt mostly plays a considered, calm and melodic style with clear intentions and a considerable exploration of dissonance. On the other hand, he loosened up and played excitedly on the later tunes on the night, and also played with a range of effects on various tunes throughout the night. Cameron is a frequent visitor to Canberra, being a product of the town and the Jazz school. He plays with a strangely wooden tone on a 5-string electric bass: more woody than crystal clear; very satisfying on fast funky patterns and occasional blistering solos. I found it interesting to hear the way Cameron dug into the strings with strong double bass-strengthened fingers. It made for a very different and more traditional sound than James’ in Trident (although James also plays double bass). I was also interested to notice how much a statement of the underlying rhythm was Cameron’s soloistic style. It’s not unusual in bassists; I noticed a similar approach by Zoe Hauptman. Dave played a strong, steady and definitive role in this band along with a busy, satisfying solo later in the night. The band lifted for the last few tunes, when Cameron rose from his seat, and the energy level was turned up a notch. So, a strong and competent modern jazz outfit.

Matt Keegan's website