Vale Brenton

Brenton Holmes was our friend and a drummer for numerous gigs. He died the other day and his old band played to his memory at his wake: Richard Manderson, Mike Dooley, Leanne Dempsey and me. A friend said at the funeral service that he sought "a life of the mind". That was so close to Brenton as Renaissance man but he was also deeply welcoming and had a strong sense of ethics built on humane principles. He died too young, not yet 70, after having to give up drums a few years earlier. Vale Brenton, you are well remembered.
RIP Brenton Holmes 1950-2018

Future back-tracking

Great fun night. Jazz Republic plays a backyard for Martina and Jack. This is a crossing the generations gig for crossed generations. A standard mix of jazz and pop but a clear night, a band drenched in chemicals for the mozzies, some considerable fun and one of the only times I've played a party gig and had people sit later in the night to listen. Also amusing to be playing e-bass again. I forget how quick and fluent you can be on this thing, especially after years developing muscles on the ungainly but beautiful double bass. Is this a back to the future experience? Maybe so. Electric basses are hardly the future (dating from ~mid-1950s) but double basses have centuries on them. But much enjoyed. Thanks to all.

Jazz Republic were Leanne Dempsey (vocals), James Woodman (piano), Richard Manderson (saxes), Eric Pozza (bass) and Brenton Holmes (drums).

Unseasonable cold

Jazz Republic played outside for a school barbie and it was fun but it was also bloody cold. Nice to greet James Woodman who was filling in for Mike on the night. But how cold! Wind chill factor cold; rain cold; fingers that refuse cold. I played with fingerless gloves, but I can only imagine the effect on exposed sax metal. Intonation becomes an issue, doubly so as Richard switched tenor and soprano. We had to play slower, too, so the blasters became medium swings in the second set. I enjoyed the few trio numbers, piano trio, then a format I’ve wanted to play for some time, sax trio. It’s open, chordless, contrapuntal and surprisingly modern sounding with much the same lines. I also enjoyed playing some of James’charts. We share a love for post-bop. Charts from Bobby Timmons and Ronnie Matthews as played by Woody Shaw. It’s an attractive era: interesting changes (not all 2-5-1) and written syncopations that transform easily into walks. Nice gig but memorably cold. On this night Jazz Republic were Richard Manderson (saxes), James Woodman (piano), Eric Pozza (bass) and Brenton Holmes (drums).

FATs 2013

You just enjoy some gigs and I enjoyed this one. A depleted Jazz Republic appeared as a piano trio supporting Ruth O’Brien at the CIT FAT awards. It’s a nice open format although more work for everyone. Ruth is one of the advanced students in the CIT Music program. We performed various standards but also a few originals by Ruth including Stupid fool, a nicely funky piece that was sat well amongst the walks and dotted latin rhythms. I enjoyed the outing for several reasons. I had a nice amp supplied by CIT – loud and punchy, Hartke and Ashdown - and it was all setup for me. How nice is that? Mike had Nord and Roland, Brenton had Gretsch and the PA was big. So the gear was interesting and entertaining. We sat in a corner of a large hall with trainee stage managers and mixers, playing easy backing for arrival and interval for a decent crowd. The FATs are the 14th annual CIT Film & Television Awards. We saw a range of video and films, original concepts or C100 reports or music clips. Some were early attempts, but others were mature students and quite professional products. Just a pleasant, indulgent performance and for a decent crowd. Thanks Ruth.

Ruth O'Brien (vocals) performed with the Jazz Republic  at CIT Woden.  JR3 were Mike Dooley (piano), Eric Pozza (bass) and Brenton Holmes (drums).

Show going on

Gossips was booked but Leanne had the lurgie, so it was Jazz Republic with a guest singer, Rachel Thorne, instead. I've heard Rachel around and admired her singing for some time. It's always nice to play with capable new musos. She was good: singing, scat, and a nice take on mixing lines from one song in with another. The songs were mostly old standards. L-O-V-E is a ridiculously cute thing that I’d wanted to play for some time, complete with chromatic key changes. Otherwise Perhaps3, So nice to come home to, Come fly with me, Lullaby of Birdland. Nice standards and well received. We also played several original tunes. Mike debuted three songs: two witty love songs, a swing and a boogie, and one heart-on-the-shoulder ballad. My Sambala got an airing. I was playing solidly so enjoyed the outing and caught some clever solos and fills from Richard. My thing these days is setting the essence of tune, and letting the flourishes and fancy stuff come of their own accord. Slow learner, perhaps, but finally learnt. This was a nice, easy gig for a pleasant audience and I enjoyed it lots. Thanks to Rachel. Rachel Thorne (vocals) sang with Jazz Republic at Bite to Eat. The Republicans are Mike Dooley (piano, vocals), Richard Manderson (saxes), Eric Pozza (bass) and Brenton Holmes (drums).

Jazz band with choir?

I saw a Facebook status comment saying someone was watching jazz with a choir. The friend throught that was pretty strange. It was us! Jazz Republic was playing with the Rhythm Syndicate choir. It was a gig for the C100 Musical Offering, at the Brassey Hotel. Our pianist, Mike, is the accompanist for RS and he drew us in to read charts for a few tunes. It was an interestingly mixed gig. RS sang with Mike for some songs, with JR for about 10 others, and JR played several short sets in between. RS sang standards and rock & roll and early jazz, but also Sting’s Field of gold, with some more complex harmonies. I particularly enjoyed The nearness of you, given it’s such a lovely ballad, and a cute song of innocent film seduction called Baby it’s cold [outside] (girl plans to leave, boy warns of snow and cold, mmm). On the contrary, our JR sets were hot with fast takes on a string of tunes, especially a take on My finest hour at breakneck speed, but also a few funky numbers, Chameleon, of course, and Wayne Shorter’s Adam’s apple. This was fun and good practice in chart reading and hits. A very enjoyable outing at the Brassey. BTW, the first Sunday each month is Big Band afternoon at the Brassey. Good to keep in mind.

Rhythm Syndicate was accompanied by Jazz Republic at the Brassey Hotel. RS is led by Shilong Ye (musical director, conductor) and accompanied by Mike Dooley (piano). JR are Mike Dooley with Richard Manderson (saxes), Eric Pozza (bass) and Brenton Holmes (drums).

Memorable

I’ll sneak in another of my gigs, this time for our instrumental quartet, the Jazz Republic. There were many ways that this gig will be memorable. Firstly, Miroslav Bukovsky sat in for our wounded saxist, Richard (nothing terminal). How wonderful to play with a musician of such skills and long experience. It was a surprise when Miro told me after the gig that he’d taught Richard at the Sydney Con years before. How small is this jazz world. We were also playing this gig for the Canberra 100 Musical Offering, which is coordinated by Don Aitkin and Helen Moore. Helen wasn’t there, but Don and Bev, his wife, were. It turns out that Don plays a mean Brubeck piano by ear, having played professionally way back before his days in academia. We also had a mate of Mike’s in attendance, APRA and double-EMMY award winning composer and musician, Art Phillips, originally from LA and now resident in Sydney. If I’d realised he’d written songs for Minnie Ripperton, and played guitar for Barry Manilow and directed music for the likes of Demis Roussos, Dory Previn and John Rowles, I might have been more nervous. But nerves serve little purpose. Enough just to play, even if only one set of a few standards, latins and one of Mike’s original ballads. Good fun and thanks especially to Miro for sitting in. The band appeared as the Jazz Republic with Mike Dooley (piano), Miroslav Bukovsky (trumpet, flugelhorn), Eric Pozza (bass) and Brenton Holmes (drums).

Canberra 100 Musical Offering

Art Phillips Music Design

Don Aitkin's blog

The joy of a nice gig

What a great little gig I played on Thursday night. It was just a piano trio with Peter and Brenton at the Tradies: quiet, spacious, relaxed. Peter was enjoying the Kawai grand, observing that it’s well maintained and the action is not as heavy as some Kawais and just how good it is to play a real piano. I hadn’t played for a while, but I had travels and European jazz clubs in my mind, as well as some recent listening to Scott LaFaro. His voluble, melodic style was in my mind. I was happy with my solos on the night, with space and melody and structure and some fast bits, but I still dropped back to 1s in accompaniment. But my pizz was working well, and that was pleasing. Strange to say, but for me the most important tone control is the volume control, meaning you have to get that right or your pizz is either pondrous or feeble. This night I got that right and dropped out some low-mid honk and it was sounding good. Ah, how nice is that! Brenton was also relaxed and enjoying the gig and our tempos were steady and solid. Just standards but it was a very nice gig and much enjoyed. I’m glad it was because I missed two others on the night, including Ben Hauptman just a few hundred metres away at the Loft. This one was worth it: this is why you bother with all the practice and the rest. Thanks to Peter and Brenton. Peter Kirkup (piano) led a trio with Eric Pozza (bass) and Brenton Holmes (drums).

On the other foot

Pics by Phil Jones

I’m usually the bloke taking pics of bands, but when Sax & the Citizens (Gossips’ instrumental quartet) played a private gig the other night, Phil Jones of the Travelling School of Photography was busy with his camera on us. He was lucky to have spotlights in the back garden so there was plenty of light. Phil gave me a CD of pics before he left. Here’s just one. Thanks, Phil. Nicely done.

philjones.com.au

Cosmo2

Gossips played over the weekend at the 2011 Cosmo Cabaret fund-raiser for Timor. Other returnees were soprano Kirsten Mann and The Cashews. Newbies this year were Anton Wurzer and the K-Motion dancers presenting a display on Argentinian tango. A busy night of varied entertainment and goodwill and chatter.

Gossips opened with a short set. We touched on the ‘40s theme of last year, but there was more a sweep of the 20th Century. Leanne even got to revisit a Goth past when we played Love cats. Most fun was the set with Anton, but more on that later. Kristen was again accompanied by Mike, but she sang a more earthy set this year. Firstly an Erik Satie song, obviously in French and more folksome than last year’s Debussy, but later a Celtic-sounding song of a barmaid who makes some extra money on the side from disreputable activities. The soprano technique does not make for lyrics that are easy to understand, but we got the message. The Cashews followed with their wonderful, sometimes touching, always clever songs of Canberra life presented with smiles and wit and exemplary interaction with the audience. Alison and Pete have the sweetest of mingling voices and unobtrusive harmonies and match it with a decent folksy instrumental technique. And was that an 8-string uke that Pete played?

The K-Motion dancers came after the break. The tango is a thing of some interest in jazz circles, but I only see the dance in films. It started with four couples that form from an inner circle surrounding the dance floor. The male, red jacketed, seeks a female and the sultry, seductive encounter begins. This is tightly framed, closely moving dance, bodies close and suggestive, even if faces are distant and formal. Anton followed with a solo set of lively, flexible tunes from fleeting fingers. There was some humour to end with a medley that included Stairway to Heaven, but mostly it was busy, enlivened improvisation. Anton plays a hot accordion, and I love that sound. It’s not one that we often hear in jazz, and perhaps the only one that we hear in jazz in Canberra, but it deserves more popularity. Perhaps it’s my Italian background but I love that sound and Anton plays with vigour and fluency and improvisational skills that makes it such a pleasure. Gossips returned for a few final tunes with Anton, and this is where I particularly noticed. One was a boppy 5/4 original by Anton, another was a hot bop blues, but it was Bluesette that particularly fitted. It’s a composition of Toots Thielemans so the tone fits perfectly with the snappy wind tone of the accordion.

So a very pleasant night of considerable variation and some new exposures. Much enjoyed. The Gossips are Leanne Dempsey (vocals), Mike Dooley (piano), Richard Manderson (saxes), Eric Pozza (bass) and Brenton Holmes (drums). Kirsten Mann (voice soprano) was accompanied by Mike Dooley (piano). The Cashews are Pete Lyon (vocals, guitar) and Alison Procter (vocals, guitar, accordion). In individual K-Motion dancers are unknown to CJ. Anton Wurzer (piano accordion) performed solo and with the Gossips. And this all happened at the Second annual Cosmopolitan Cabaret in Curtin.

Big gig

It was the first time I’d played in Parliament House and it was the Great Hall, so in terms of a gig this was big. We were providing background music for the dinner of a national industry conference with guest politicians and diplomats and it was all choreographed and controlled: a big event management activity, with lots of staff and perfect presentation and speeches and videos on massive screens. But in terms of music, it was not too big. We were playing comfortably at acoustic level and this was quite adequate despite the grand space, the sound was open, Mike had a large Yamaha grand and it sounded solid and clear. We managed one decent set during the main course, but mostly it was just a few tunes between speeches. Mike got a longer solo piano set behind desert and snuck in a Chopin waltz (C#min) which added some time-honoured class. We got some (unexpected) applause after our All blues, and we played capably and started and stopped when flagged by the event manager. It was an easy gig except for setup. Everything needed to be x-rayed, and double bass refuses to fit in the small machines at the Parliament entrance, so it was the loading dock in the afternoon. This was interesting enough the first time, but it could easily become tiresome. Lauren said to me the other day that she finds it a buzz to play at special locations. So do I. I’m still living off my story of playing for Rupert Murdoch, the then PM (who arrived by helicopter, much to the amusement of a visiting US newspaper editor who must have seen it all) and other Australian and US dignitaries on Murdoch’s local farm many years back. There are no particular stories from this gig, but none-the-less it’s a good one for the scrapbook.

Jocie and friends

Gossips played a gig recently with Jocie Jensen sitting in at Bite to Eat Café. There were lots of friends there, and that was fun, and the music was casual and entertaining. Thanks to Jocie and congratulations. She got some very positive comments from fellow singers and that’s something to note. Just two sets. Here are some pics. On the day, Gossips featured Jocie Jensen (vocals) with Mike Dooley (piano), Richard Manderson (tenor, soprano sax), Eric Pozza (bass) and Brenton Holmes (drums).

Who? What!

Cognac Lounge played a particularly smooth gig on Sunday, and I was enjoying the lounge grooves and even the hipster-cum-nightclubby connotations of this music was amusing revelry. Playing hits of Sneaky Sound System (who?) and Barry Gibb (what!) and Leonard Cohen (revived blast from the past) and big names and mid-sized names that I’d never heard of that were newer than Miles and not as new as Me’shell.

We fitted in a few swingers, too: the commonly jazzed up ones, but also Joyspring (vibrant) and East of the sun west of the moon (delightful) and Lament (exquisite). Lots of bass solos, Peter playing some angular substitutions and finding ways back in, Monica in fine voice which I seemed to hear for the first time given better monitoring and Brenton loose and busy over a performance rich in (musical) vamps. I’m gigging a bit more frequently these days, so time to stop reporting the run-of-the-mill gigs here, but this one was great fun.

Ice ice

This was a nice little gig. Cognac Lounge played again at Adore Tea. It was unseasonally cold and raining, so ice ice is not inappropriate. But that’s not all. CL is currently moving to smooth lounge with Sadé grooves and music in the style of the pop jazz ladies, like Diana Krall and Madeleine Peyroux, and even some minimalist dance tunes like Ice Ice Baby and Tainted love. I like the simple chords (Ice… has two, but these tunes often have just one) and the miasmic repetition and the simple but insistent hook. I’m suggesting we harden up a little with interesting pop numbers from the likes of Prince and Nirvana. But either way it’s an entertaining diversion from the standards: fewer and simpler chords, more hypnotic minimalism, more popular and well received. Entertainment is meeting the punters’ preferences, and I’m happy to do it. Cognac Lounge are Monica Moore (vocals), Peter Kirkup (keys), Eric Pozza (bass) and Brenton Holmes (drums).

U Can Two

Gossips have recently played two private gigs at the University of Canberra. They were amusing and pleasant gigs, although the role was background and the music considerably toned down. But we had a good time anyway. Here are a few pics from the gigs, a unrecognisable mix of pics from the two gigs (the performances were in the same room). Good fun and some cool swing - just hope for many more.

CosmoCab

What a fascinating night it was! The Cosmopolitan Cabaret was a fundraiser for two development projects in Timor, one for micro finance in West Timor and another for sustainable farming in East Timor. The audience was committed, friendly, intelligent and the performers were diverse, local and interesting. It was not your normal display of jazz chops. This show covered folk, rock, classical song and cabaret-jazz. My band, the Gossips, started up with the cabaret-jazz playing ‘40s-era tunes with a cabaret bent: Ellington, bop, latin, even war-time singalongs. Great fun and some decent soloing all round. Congrats, guys … and our Darling Sister Leanne. Then Drew Walky with punk-cum-mod singer-songwriter songs of Canberra. This was interesting lyrics, strummed strat and a great line in dry vegetal stage humour and some amazingly capable number guessing from the audience. Then soprano Kristen Mann singing several songs by Debussy accompanied by Gossip Mike Dooley on piano: a change and a delight. A wonderfully strong and serene soprano voice filling a reverberent hall; no PA wanted or needed. Delicious! Then the fabulous Cashews. The Cashews are Pete Lyon and Alison Procter and are a Canberra alt institution. Famed for guerilla gigs (I dream of this, but it doesn’t work quite as neatly with double bass), clever, humourous, sometimes touching lyrics, easy and pleasant stage patter, these are a gem. The harmonies are so sweet, the ambience is light and humourous, the playing is capable and the songwriting is relevant and intelligent. Don’t miss their “acoustic-brain-pop”. Then more rock-influence with Andrew Holmes and Naomi Milthorpe performing songs of Ryan Adams. Not nearly so humourous. [Wikipedia notes that Ryan Adams recorded one album called the Suicide Handbook which was rejected on the grounds that it was "too sad". Hardly Cashews territory.] The end of the night was Gossips for our second set. So, a great night. Lots of varied sounds and emotions and a good cause.

The Gossips are Leanne Dempsey (vocals), Richard Manderson (sax), Mike Dooley (piano), Eric Pozza (bass) and Brenton Holmes (drums). Drew Walky played guitar and sang. Kristen Mann (soprano) sang Debussy with Mike Dooley (piano). The Cashews are Pete Lyon (vocals, guitar) and Alison Procter (vocals, guitar, accordion, supermum). Naomi Milthorpe (vocals) and Andrew Holmes (vocals, guitar) performed songs of Ryan Adams.

Ladies’ day

It was pretty much a ladies’ day: a clothing exchange called We’ll wear again to raise funds for Frocktober and the Ovarian Cancer Research Fund. Certainly, the audience was mostly female, but at least there were a few guys, even if they were mostly in the band. Not sure if we entertained the women as much as the second-hand clothes did (I jest; we did perfectly well), but we got a few claps and it was a very enjoyable, 40s-era theme and it was the Irish Club so there was Guinness on tap. James LeFevre helped out on tenor with some authentic bluesy growls and Lester style appropriate to the gig. I am a bit closer to a decent amplified double bass sound, so I was enjoying it. Leanne was the dignified but entertaining front person that a Darling Sister must be. Brenton played some of his best solos: busy but still relaxed, tumbling rolls and fills. Mike was sniffelling a cold but pulled through another impressive, professional performance. And I found myself a perfectly nice shirt: the grrrls can’t have it all their own way.

I just caught another band on the Irish Club deck playing Pogues and more traditional Irish music: Humbug. Here’s a pic. I haven’t written up Irish music, although their fiddle reels and the like can be insinuating and entertaining.

The Gossips are Leanne Dempsey (vocals), Mike Dooley (piano), Eric Pozza (bass) and Brenton Holmes (drums). Saxist Richard Manderson was not available on the day, so James LeFevre (tenor) sat in. Thanks James.