Bigs and littles

Callum Allardice appeared upstairs at Smiths, in McGregor Hall, in quartet format.  Interestingly, his merch was essentially two albums: one of this very quartet playing this format in this concert and this music  and the other a much bigger outing called his Cinematic Light Orchestra, comprising the band with significant orchestral accompaniment, strings, horns, all written and arranged by Callum.  I was impressed both ways.  Some of the tunes from the large ensemble were played on the night by the quartet and this was significant.  Callum writes his music and it's rich and evocative and can expand to the millions but is served perfectly well by a quartet, at least one that's receptive and aware and with musical maturity to respond.  Callum lays down most melodies with a clear, perhaps distorted or delayed but uncluttered tone, perhaps call and response in the melody, certainly interesting and complex, followed by solos to explore but respond to the essence of the melody.  Luke is rich in response too, but such differently toned on piano, and perhaps more open to expansive interpretations.  This is essentially the rhythm section of the orchestral outing, and they were to die for.  Tom quite simply spelling varied rhythms for immense ensemble stability if with lovely, neck long arpeggiations to fill and engaging if uncomplicated thumb position solos spelling the tune with a lovely respectful response, providing admirable firmness for Hikurangi to let fly often enough on drums.  It's a common theme for firmness and bustle to coexist between bass and drums.  In the end, I took the quartet CD given it's a better representation of the gig on the night but the two display the capability of Callum and his writing, despite his Berlin experience (as him about that!).   A hugely rich and satisfying set of tunes and capable expression by the band.  This was the first of their east coast tour, so catch them if you can.

Callum Allardice (guitar, composition) led a quartet with Luke Sweeting (piano), Tom Botting (bass) and Hikurangi Schaverien-Kaa (drums) upstairs at Smiths.

Two settings

I was on Llewellyn stage until the start time for Antipodes at Molly so I only caught the last tunes of the first set.  More on this excuse in the next report.  When I arrived, the band was playing music that was clearly scored, delicately written.  I wondered if they were touring an album.  No, but there was much new material.  Slow pensive melody played unison, exploding into short shared solo passages then back to controlled melody.  Room for solos, including the sit-ins, John Mackey and Miro Bukovsky, joining the core quintet of alto, guitar, piano, bass and drums, all taking their feature but combining to an effective theme.  Antipodes is an international grouping, formed out of a meeting of Luke (Aus) and Jake (NZ) in Berlin (Ger).  So antipodean, if international.  Then a relaxed break and a final set of a few blows on a blues and Stomping at the Savoy and I'll remember April.  Great, outgoing, joyous but intense jamming, but still relaxed and fun rather than the serious, scored first set.  All fabulous playing and inventive composition.  A pleasure.

Antipodes played at Molly with sit-ins John Mackey (tenor) and Miroslav Bukovsky (trumpet).  Antipodes comprised Jake Baxendale (alto), Luke Sweeting (piano), Callum Allardice (guitar), Noel Mason (bass) and Tim Geldens (drums).

Distillate

There was just a time when Antipodes were playing away, clear and sharp and purposeful, that the word distillate came to me. The band has been together for some time, but I doubt they play together all the time. Nonetheless, this was beautifully correct while also being quick and complex at times and neat in passing of solos and the like. Restrained, inventive, sharp, intense. These are all words that fitted. To me, that means a nice band with artistic cred. I loved all the solos: frequently from altoist Jake, fairly commonly from pianist Luke and guitarist Callum and surprisingly frequently from bassist Max. And I really liked Max's playing. Not overtly showy but interestingly intervallic and wonderfully complex rhythmically. Smiths' budget doesn't quite come to a Steinway, but Luke's presence and solos were exploratory and always apt none-the-less. Callum's guitar was quite subdued, but could soar with speedy crisp lines or impart lovely modernist colour with various pedals. Not sure I remember a solo from drummer Tim, but his sharpness with gentility was inspirational. They could lift in volume, but they could also sit with the quietest of presence. The music was all original, interestingly from around the band and funnily enough the basis of some effective stage patter from Jake. A few songs for relatives (Tim's grandmother Joyce) or personal discoveries or cosmic themes (Phobos AND Deimos), but Sleep was the funniest. Ask Jake about that one. For a few later songs, trumpeter Alex Raupach sat in and the presence remained with neat sight-read harmonies that added nicely to the understated sophistication. Great night listening to some seriously impressive contemporary jazz. A huge pleasure.

Antipodes played at Smiths. Antipodes comprises Jake Baxendale (alto), Luke Sweeting (piano), Callum Allardice (guitar), Max Alduca (bass) and Tim Geldens (drums). Alex Raupach (trumpet) sat in for a few tunes.

Another thing

Antipodes was my second concert for the night. Less than a concert, really, because I only caught 2 tunes from the second set, but these were fascinating and only went to confirm the chalk and cheese difference of these styles and of the range of jazz played now. John Mackey's concert had been Coltrane, intensely spiritual, relatively simple structurally and melodically, open and interactive and improvised. Antipodes was far more ordered, written, its loose space bounded and arranged. Here there's extended unison melody, arranged structure, different sounds. The guitar was strong and driven in its solo; a synth appeared; bass and drum took solos at the end, drums playing against a riff. Not sure I caught a trumpet or sax solo in these last tunes, or from Luke on keys, but they would have earlier. The environment was different, too, of course, Hippo's noisy cocktail atmosphere, so I was envisaging as much as I was hearing. So different from JM; so much a modern take on the history; complex in composition as well as improv. They are about to record this music. Can't wait to revisit it. Maybe to hear what I didn't from a late arrival and some tech probs and Hippo's busy space.

Antipodes are Jake Baxendale (sax), Ken Allars (trumpet), Callum Allardice (guitar), Luke Sweeting (piano), Max Alduca (bass) and Aidan Lowe (drums). They played at Hippo.l

Perceptions evolving

It's strange how you see bands differently in different incarnations. Antipodes played again at Smiths and this time I was just mesmerised by the richness and development of the compositions. Not that the blowing isn't good. It always is. These are wonderful players and they leave space for improv, but I wondered at the complexity of lines, of interactions, of feels. One piece, by Callum, was called Five 3 ways, apparently written to cycle through 5/8, 5/4 and 15/8. A mate commented that is sounded "almost baroque" and it did, especially a counterpoint section where the band broke down to just guitar and alto. Jake's Luke's Hidden Falls had the most deliciously settled feel, sparse and zen-like which developed busyness and complexity then finally returned. Luke can present his tunes with light, daily life images for titles, about kids on bikes or pants, but they are richly structured: his Glasshouse starts meditative and relaxed, enlivening with a guitar solo and ending on anarchy. The membership of Antipodes has varied over their three visits: Luke and Jake for all three; Callum for two; Tom and Tim for this latest. So it is with touring bands but the core compositional duties sit with Luke, Jake and Callum. I was entranced by the rhythm section, Tom a favourite of mine, tight, very effectively syncopated and one solo, especially, a very pleasant surprise when he was brave enough to play so little and so deliciously simply. Tim was new to me and a great pleasure: always strong and driving, sharp and clear and some lovely divisions of the beat, rudimentary. Luke likes his Rhodes: this time that sound came from a lightweight Korg Krome. He likes the acoustic, too, of course, but Smith's upright, although undeniably authentic, was not quite so pleasing. Either way, he's an easy master, spelling harmonies and exploring chords with varied ease. Callum is nicely understated, clean, crisp but fast and well filled. Jake will play the distant and pensive, bent notes, slow connections, intervallic explorations, but enjoys the explosive, fast, loud, physical. So, I wrote before of a great blowing band, and they continue with plenty of nice improv, but it's composition that gets my admiration on this visit. A wonderfully lively and thoughtful band.

Antipodes comprised Jake Baxendale (alto), Callum Allardice (guitar), Luke Sweeting (piano), Tom Botting (bass) and Tim Geldens (drums). They played at Smiths.

Made for our times

There was just one point when I was taken aback by how sophisticated was this music. Antipodes was playing at the Ainslie Arts Centre. These are a band of Sydney-based musicians, but a collaboration of Australians and New Zealanders. Locally, we know Luke Sweeting and Max Alduca well, having had them studying during the better days of our Music School. But I suddenly realised how perfect were the harmonies of the front liners, how neatly the bass line sat, propelling the music but unhurried and unforced, and the drums that seemed so understated then would come alive for a solo or a responsive fill or the guitar that delved into sequences and the rest but also could just be there, supportive, and Luke's piano, of course, ever present and ever apt. The sound all merging so neatly and correctly and satisfyingly. I thought of the careful, distilled music of CTI in the '70s. It had that air of clarity and refinement. Then to think of the tunes. These were all originals, and in 9 tunes there were four writers: three from Callum, two each from Luke and Simon, one from Jake. And all competent, interesting tunes. Another plus; another mark of sophistication. This is antipodean music of depth and content. I wonder if we still deserve this, in our era of destruction and immediacy. Ocean sounding song reminded Luke of ocean sounds (obviously enough). The Ditch was an apt concern for this antipodean mix. Anthem was the NZ anthem rearranged. Mister Bank was a dedication to a band that has Luke obviously admired in this travels. A few others with less obvious titles. Classy playing with deep intent. Too poorly attended, but like I wrote above, do we deserve such stuff as dreams are made on? Our times seem better suited to Hillary Duff's take than Antipodes'.

Antipodes are Jake Baxendale (alto), Luke Sweeting (piano), Callum Allardice (guitar), Simon Ferenci (trumpet), Max Alduca (bass) and Harry Day (drums). Antipodes played for the Confluence series at Ainslie Arts Centre.

From across the ditch

I caught Jake Baxendale last with Luke Sweeting a year ago. The band was Antipodes Quintet and the two had met in Germany. This time Jake was here with mates from New Zealand in his 5-piece format called JB5 at Hippo prior to the full 8-piece band appearing as The Jac at Smiths the following night. They were performing tunes from their new album with compositions by Jake and guitarist Callum. This was not the full band with rich orchestration that's on their website, but the tunes were probably the same and the playing was clean and well rehearsed. I liked these compositions. They were nicely varied in grooves and rhythms with nice harmonies up front on some effective but not too obviously structured heads. The bass and guitar started spacious (one had guitar playing a single note on the beat for extended bars and it worked a treat) but would grow in intensity; the drums seemed generally more urgent and ready to blow. The front horns took their share of solos, of course. Alexis on trumpet had an ease with rapid lines with a nice degree of curliness. Jake's alto was more cerebral, sometimes puckered, other times wailing or imploring, plucking lines and contradictions. This was just more-so while soloing simultaneously. I enjoyed two bass solos by Nick, but especially one towards the end of the night, long and strongly rhythmic and unforced. I noticed one of Callum's guitar solos as simply themed then developed through unexpected dissonance into more speedy playing. This was interesting charts very neatly played, embellished with extensive soloing. Nice and presumably more lush in the 8-piece format. Sorry I couldn't get there.

JB5 were Jake Baxendale (alto sax), Alexis (Lex) French (trumpet), Callum Allardice (guitar), Nick Tipping (bass) and Shaun Anderson (drums).