High peaks

I reckon hard bop is the fave, the high peak, of any jamming jazz instrumentalist.  I dropped in on Molly after the Cowboy Shakespeare and that's exactly what we got.  This was like a jam session but at the highest level.  Tunes I recognize but can't always name (lyrics help to remember song titles) but Salt peanuts (again, Dizzy's "Salt peanuts" refrain is exactly why I remember this tune), Caravan, Whisper not, Watermelon man and the like.  Plenty of cycles, delirious heads, 32-bar or blues-related forms.  The players were Con Campbell, Mic Knight, Ben O'Loghlin, Mark Levers, the Wednesday Pro-jam scene transposed to a Friday.  Ben sounded clear and purposeful and I was enamoured by a bass line (perhaps for Whisper not?) that was just the recorded take.  To my mind it indicated listening rather than transposition, this not being too difficult to recognize, but so nice a referral.  I got that from Con, too, with heads that were spelt like the originals, perhaps twisted a little to be slower or otherwise for the occasion and the players, but such close recognition to the originals.  Mark is always ready for a solo with his rudiment-rich precision that I love.  He can play a session with just a snare and it's still richly exploratory and interesting.  That's rudiments for you.  And Mic busy on scalar lines for solos, perhaps interrupted by chordal contrasts.  Back to Ben, fully over the fingerboard, studied in the thumb positions and with a setup that sounded so good up in the upper reaches.  And those patterns up the neck, consistent, perhaps scalar, into a thumb stratosphere, all clear and noted.  And the whole, changing, playful or thoughtful, sometimes sitting or alternatively driving walks or effective grooves.  All as the essence of a challenging jam session.  So glad I dropped in.

Con Campbell (tenor), Mic Knight (piaqno), Ben O'Loghlin (bass) and Mark Levers (drums) performed at Molly.

Canb Jazz Fest 3

Day 1 was great if interrupted; day 2 will be the same.  First up a big band, the ANU Jazz Orchestra.  They played a string of tunes, maybe uptempo because MD Con Campbell observed that they'd finished early.  SO be it.  This was big, fat, horn heavy tones, solos passed around variously, some decent grooves.  They played 9 tunes, several by Sammy Nestico including Dvorak's theme which is an arrangement by SN of the Largo second mvt. from the new World Symphony.  But my fave was sponsored by a local for this band from composer Jenna Cave who appears in CJ frequently when studying at ANUSOM and last time I heard, was MD for her own jazz orchestra in Sydney.  What gives you hope was a lovely, rich piece with glorious harmonies rather than the sharp hits of many big band tunes, luscious harmonies and several movements.  Then a short quick drop-in to hear the Razzlers.  Dance worthy, period jazz that I know little of, but worthy. They had a few couples up on their feet and a very impressive presence!   Then Wayne Kelly with Ben and Mark in the bar upstairs.  Then Wayne Kelly with Ben and Mark in the bar upstairs.  This is the very trio that CJ first wrote up, in October 2005.  They look younger in that pic.  But what a band!  All originals, compositions from all members, sharp and beautifully played, mature and expressive all round, pizz and bow, sticks and brushes, plenty of excellent solos, rich in tones and harmonies and well arranged.  I noticed a post on FB with a pic of them in the ArtSound studio, I think 3 days before, so maybe this is a new album in train.  If so, it will be worthy!  Just one standard, I'm old fashioned.  Then Mereki Leten.  I've seen Mereki in various combinations in a few locations.  She's one to get out for the gig and that's great, and very often with Michael Larsen-Collins and sometimes with Greg Stott at her side.  This time that trio was grown with Gus Henderson.  Mereki had written a tune for this event and it was nice but her flute was playing up.  Thus played on tenor sax and with key change for her offsiders, but it went perfectly well.  Otherwise, a David Bowie tune on   flute, a lovely Stan Getz Sunshower, Nicola Conte and some standards.  Mereki plays with a lovely tone and confident although understated melody.  Nice.  Gus was also understated but took a solo or two and Michael was on a Bass VI, the Fender-designed octave-dropped guitar.  The Bass VI is having a run in town with Lachlan playing quite expertly, in Wanderlust and beyond.  And Greg, shredding here even beyond what I'd expected.  Just relaxed but expressive, quick and melodic.  What's not to like?  And a quick touch of Matthew Dennett and Robbie Mann playing CM Widor Toccata in F on two pianos in the Red Room.  I only caught a few minutes and really quite unexpected.  Then off for another family matter before a final return...

The ANU Jazz Orchestra performed under Con Campbell (MD, conductor).  Wayne Kelly (piano) performed with Ben O'Loughlin (bass) and Mark Sutton (drums).  Mereki Leten (tenor, flute) performed with Greg Stott (guitar), Michael Larsen-Collins (bass) and Gus Henderson (drums).  Matthew Dennett (piano) performed with Robbie Mann (e-piano).  They performed at the inaugural Canberra Jazz Festival at Smiths.

Awe all around

Wayne Shorter was obviously a formative artist for Con Campbell and Alex Raupach and they'd been planning a performance of his album Speak no evil for some time.  When WS died, aged 89, on 2 March 2023, it took on a special relevance.  Con's quintet comprised Con and Alex with Wayne Kelly, Chris Pound and Nick McBride.  It's a star-studded Canberra lineup but apt for this music, playing Wayne, Freddie Hubbard, Herbie Hancock, Ron Carter and Elvin Jones.  But the start was also fascinating.  An original for the quintet by Alex, then a trio of trios.  Chris and Nick with Alex then with Con for two tunes by another uber-creative Thelonious Monk (Evidence, Friday the 13th), then a trio with Wayne playing a WK original.  Quite a different tune to end a shortish first set, in expectation of the album replay.  Then the album straight through in order.  Delightful syncopation on bass, extended flourishes on piano not least through chords, just fascinating chordal, often chromatic, movements with extensions spelling the flow, unique structures like 32-bars that were anything but AABA and 9 bar sections and the rest, all manner of colours in the writing.  And those indicative solos over, from Wayne and also more regular from Freddie.  I followed the chords from iRealPro and was fascinated by all this, and somewhat confused.  I'd played chords like this but never quite investigated these changes and the harmonic roles of these alterations.  This is deserving; worthy of investigation even at a kitchen table.  By the end I was quite awed by the source material but also by the local interpretation.  Just stunning all round.  The night ended pretty early and several went off to Molly for the jam session.  I started up the stairs, but the raucous sounds seemed at some conflict with what I'd heard, so I deferred, passing Nick on his way in.  Wow.  I still feel the awe.

Con Campbell (tenor), Alex Raupach (trumpet), Wayne Kelly (piano), Chris Pound (bass) and Nick McBride (drums) performed Wayne Shorter's album Speak no evil at Smiths for Geoff Page's Jazz series.

Jamming another way

Well the other way is obvious and it's jazz and it's there virtually adjacent on a Wednesday night: the Pro Jazz Jam at Molly.  The hosts are a blast and the sit-ins are no slouches either, or a t least most.  I came in with James Luke and Con Campbell with sit-ins on drums and guitar and another guitar.  I sat in a little later, then Greg Stott and Steve Richards came back to end the night.  Both guitar and drums sitting in were classy acts; students I guess, but reliable, interesting, knowing the expectations.  The second guitar was an earlier style but again capable.  There was an e-bassist too, but I was chatting.  The final few tunes when Greg and Steve fell in were stunning.  Tight, quick, classy, all the lines clear and apt, some explosive tenor and blurting guitar and bass that was clear in intent and might quick and into the stratosphere, although only when it worked.  It just did.  The tunes were pretty standard; the performance was exemplary.  Did I mention I was impressed?  I was.

The host band at Molly's jazz jam was Con Campbell (tenor), Greg Stott (guitar), James Luke (bass) and Steve Richards (drums).

Converted by Covid

I guess it was Covid that caused Sydney drummer Dave Goodman to be off the program at NPC.  It's the standard way in these pandemic times.  But the guy who walked by me, I guess seeing me alone and listening, the guy who said "excellent music", said it all.  This was a blast regardless and with no drums!  Just jazz blowing on standards and latins and bop with tenderness to curb exhuberance.  Brendan and Greg were on the bill; Con replaced sticks with a tenor reed.  This was truly a thing of beauty.  Not too loud or insistent but gloriously expressive from all three.  Greg works hard taking both solo and accompanist parts, but never a hesitation.  Brendan was just a smooth speedster playing soft but deadly lines throughout his solos, then nonchalant accompaniment with equal finesse.  Dave's ring-in was Con, on tenor.  The role was different but mellifluous, sometimes, explosive, always melodically satisfying.  I could hear the lyrics and lines of many players, from bop to latin, presumably a measure of his transcriptions, or maybe just listening.  Transcriptions is my guess.  Lovely.  So a different experience but a deeply satisfying one.  Just locals, but just excellent, in the words of my passing mate. 

Con Campbell (tenor), Greg Stott (guitar) and Brendan Clarke (bass) played at the National Press Club.

Some like it hot

Obviously Con Campbell does.  At least that's how I hear him and it was no different last night.  It's a quiet week but I wandered into Molly and there was Con's band, with Greg and Brendan and Mark.  Playing bebop.  It mostly stayed that way for the night, or if not bop, treated that way.  Not that Brendan would slow it down.  He's a machine gunner with delightful melodicism so raring and ready for the quick stuff and he plays with the application and effort that the big bass needs and sounds great for it.  Greg is more restrained: blindingly quick but clean, not the bluesy dirt that the others were indulging in.  I tapped one time on my metronome: 274.  Quick but not into the stratosphere.  Brendan had worried that he'd maybe settled the time, but I doubt it.  There was reliable drive here and his double timed phrases didn't lag a millisecond.  Con led with the tunes and heads and walked through the fours and the rest.  Lovely, expressive solos and a big earthy tone.  The alto player I was sitting with commented on that.  Mark was bright in the lights and delightfully steady and unintrusive but took the feature when the fours came around and they were inventive and easy.  Such a lovely outing, if "outing" is the right word for the bebop and uptempo swingers and latins that we were hearing.  Maybe stunner is a better word.  I got into chatter with Brendan's family (cheers, Mel) and that was interesting, if necessarily shouty given the volume, so I missed a good bit of the music.  But every peek at the band was another stunning line from someone.  This was still the quiet week after Christmas, not yet New Year's Eve, but this was alive.  Great stuff.

Con Campbell (tenor) led a band at Molly with Greg Stott (guitar), Brendan Keller-Tuberg (bass) and Mark Levers (drums).

Last chance saloon

It was something of an act of en-couragement and succour to attend the Molly jam. I hadn't got there before and it's an impressive outing and a bit intimidating for a local player who might be expected to sit in. The room was packed and I didn't expect that. I had a few words to the band and got a beer and sat with decent separation, not being there to party and aware of virus guidelines. The band was fabulous, not unexpectedly. Like the previous night, driving from the top, clear in intent, aware and inventive, fabulous solos. Not sure I've quite felt this before, but host Con spoke through his tenor in wonderful expressive lines but also with a body and internal dynamics like speech. Wayne was a blowout as always; Mark was intelligent and snappy and always unpretentious; James spelt solos with such clarity and vibrancy that I was in awe, nicely constructed super-evident lines and quick chromatically moving frills and fills. Quite awe-inspiring. And with a great sound: fat and omnipresent in support and beautifully woody and clear when unaccompanied. There's a list for players who want to sit in; I was no.2. I got up with the band for Alone together and Caravan and then through various sit-ins, drums and flute and vocals and Lisa Keen taking over from Wayne on piano and sometimes vocals. James wiped/disinfected his bass before and after I played (sensible in these times but I've never seen that before!). Then a few final tunes by the core band to a shrinking audience to end. It can amaze me that we have such players here. They are not just in NYC or Berlin, but I've found that's the nature of jazz: it's truly international and great players are everywhere. Even if they go into remission for the occasional virus.

Con Campbell (tenor) led the band with Wayne Kelly (piano), James Luke (bass) and Mark Levers (drums) for the Molly friday night jam. Various musicians sat in including Lisa Keen (piano, vocals).

Hot jam

It was hot. Australia has been sweltering with some of the highest temperatures ever recorded. 48.9, 49.0; Canberra was just 41C that day and there was a cool merciful breeze outside at the Old Canberra Inn. John Mackey was there with Leisa, Ben, Mark, Peter, Hugh and more; interestingly also Con Campbell, who now teaches in Chicago but went through the Jazz School in its Manuka days. I have him on CJ only once before playing with Wayne Kelly at ArtSound. I got to sit in on three or four tunes, mostly with Hugh and Con. And interestingly, later to try out Peter's EUB, a wonderful Eminence very comfortably and effectively fitted with Corelli and a Realist copperhead. And throw in some good beers and good company, and it's a great night out. Recommended. The weekly jam session at Old Canberra Inn, each Wednesday night 6.30-9pm. Free entry.

Wayne’s world

Wayne Kelly took control of the studio at ArtSound for this week’s Friday Night Live. It was pretty much the last opportunity to hear Wayne before he departs for a stint at the Venetian Macao, a 5-star resort/casino. I checked out the website. The Venetian is one of those mock-casino affairs, with its own Ponte Rialto and Campanile. But then, given that the original Campanile di San Marco collapsed in 1902 and the current replacement was completed in 1912, perhaps we can think of Macao’s version as almost as authentic. The entertainment is similarly impressive, with Cirque du Soleil bookings now open. We’re losing our local master pianist to the commercial glitz, but I’m sure he’ll do a great job in good company. Wayne will be playing with local Jazz School graduates drummer Nick McBride and bassist Scott Dodd and a US sax player.

Back to the studio. Wayne played two sets of original tunes that he had penned, and he’d gathered an excellent quartet to perform them: Eric Ajaye, Con Campbell and Sam Young. Eric arrived with minutes to spare after his regular gig at the Kurrajong. He was in top form with his smooth, glissando-rich, driving style and melodic solos. Con Campbell is a Jazz School graduate from the time when the school was at Manuka, in the very buildings currently used by ArtSound. He’s now based in Sydney and the experience shows. There were some expressive melodies and he let go for some blaring and harmonically adventurous solos on the up pieces. Sam was tight and swinging and kept a watching eye on the others throughout. He took a few solos too, passing around choruses on swing or taking charge against repeated motifs in a more modern style.

If you know Wayne’s CD, you’d recognise several of the tunes. There was hot swing (Dr Kirkland blues, So what’s the number), afro-latin grooves in a modern jazz setting (For the time being), arabic scales (King of kings), ballads (Mt Conder, Alone, In my quiet hour). There were also several stylish dedications to pianists: one was a quirky Monkish piece named for the time it was composed (1st of Feb 2004, 3.35 A.M.); others were obvious from the titles, hard swung Dr Kirkland Blues and sweetly melodic Mr Hank Jones. This was a strong set of satisfying compositions that Wayne has built up over the years.

Wayne introduced the sets with tongue-in-cheek humour in the jazz style. There was restrained laughter in the studio at times, and good and satisfied thanks all around at the end of the session. This was a good natured crew, and the comfortable but challenging playing just brought out the good will.

Best of luck to Wayne for this adventure, and thanks for the excellent broadcast. And remember to check out ArtSound if you’re free on a Friday evening. Eric Ajaye has a broadcast coming up in August, and many of the best student bands are playing over the coming months, as well as local live recordings from the ArtSound collections and some European concerts.