Clubbing trumpets ... what could possibly go wrong

The High Court was a hit during the C100 festivities with its acoustics, modernist magnificence and its Sunday afternoon concerts. All manner of performers performed there - plenty of choirs and smaller classical and world music ensembles. They will continue with fortnightly concerts in 2014 and Trumpet Club presented the first of this series. Trumpet Club are just that: trumpets (although a timpani and some occasional percussion sneaked into this concert). They play classical and jazz.
This was mostly classical, from Verdi fanfares through concerti and Lauridsen's O Magnum Magisteria to a few modern pieces, by Marlat and Lopresti. Then just a touch of jazz in one of two encores. The numbers varied for different pieces, but at most there were about a dozen trumpets, including one bass trumpet. They played form balconies high above the audience and I heard full, echoed sound of mediaeval halls. They on steps above, clear, and best right in front of the audience for the brazen blasts that are the nature of trumpets. It was a first concert after the Christmas break and Zach talked of embouchures needing a run-in. This is a factor of brass playing that others don't appreciate. But a satisfying concert that ranged from royal splendour to mystical and threatening and plain groovy with that jazz piece. I can't help but like this band. What could go wrong?

Trumpet Club varies in members, but on the day they were: Louisa Batts, Cameron Smith, Kate Walker, Matt Nichols, Brooke Zotti, Corey Booth, Kate Thompson, Alex Ross, Kevin Knapp, Zach Raffan, Farzana Choudhury, (trumpets), Michael Bailey (bass trumpet), Christina Hopgood (timpani)

Not just nobility

The Trumpet Club had me thinking of fanfares. Everyone loves a fanfare. I can’t help but think of Errol Flynn and Robin Hood and jousts when I think of massed brass. It’s such a wonderfully majestic and noble sound: big and brassy and celebratory and with such pure tonality. When I process recordings of brass, I notice a clear, simple image of the sound which must indicate a relatively simple sine curve and uncomplicated harmonic structure. Remember the long, straight trumpets of the mediaeval sagas?

The Trumpet Club are just that - trumpets - although they use modern, bent, piston models. They’ve got sick of waiting and counting at rehearsals and performances, so they’ve formed a trumpet-only group to play classical, jazz, blues, originals, whatever. Members are from the CSO and jazz school and local teachers and experienced students. These are capable players and they speak with billowy low notes and clear high notes and sharp harmonies. Trumpets can be luscious with good chops behind them, and especially with a good acoustic. They were. TC started at the top of the High Court ramp, as have several other performers, with the most fanfarish piece of the repertoire, by American Eric Ewazen, but then arranged themselves downstairs to play a lively Telemann and a heart-on-sleve Percy Grainger Bonnie Doone. Then two modern pieces. Firstly, Mike D’Ambrosio’s Ice Town, all spikey and dissonant, telling the story of a town caught in a severe ice storm. Then Suite for six trumpets by Dennis Horton. This is a work in three movements with a nicely modern vibrancy: firstly news themish, then soft and golden with rich harmonies forming from moving lines, then film action or thriller. These two pieces were my favourites. The music was mostly scored, but Cam did solo on the following piece, Bourbon Street breakdown, with bass-like ostinato and chordal accompaniment from the others. Then, to finish, a bit of chop-challenging corn, Rakes of mallow, all cute melody and unrelenting accellerando. I’m not sure why, but it always seems to me that brass players have a good sense of humour, although maybe more in the classical scene. There’s a certain desperation in counting bars.

This was their first concert and they were building their chops (no sitting back here). It was wonderfully well received and surprisingly more quiet than I’d expected. There were some noble sounds, but also just plain vibrant. I think the Club can be bigger, but on the day Trumpet Club were Zach Raffan, Cameron Smith, Corey Booth, Kevin Knapp, Louisa Batts, Kate Walker and Greg Stenning (trumpets)

Transit lounge

Jazz-trained players don’t just play jazz. Jazz training is a catch-all for a range of syncopated, modern styles and the forefront of jazz has always been a sponge for influences. Last night, I caught Dub Dub Goose and Los Chavos. DDG is a dub/reggae band, and Los Chavos is a latin outfit. Both play insinuating styles that appeal broadly and get the dancers on the floor, and both are seeded with local jazz training.

Firstly, Dub Dub Goose. I hadn’t heard them since their first gig at Moruya a few years ago. The Goose is now much more developed, more purposeful and confident, and with a CD under its belt. The band has a firm lead from Beth Monzo, who plays guitar and sings out front. I presume she writes a good deal of the quirky, entertaining and (age-)relevant lyrics. The combination of a strident and uncompromising female voice, the vibrant horns and energy and good humour make this a thoroughly entertaining outfit.

I have also written here of Los Chavos, when they played at the launch of the Canberra Musicians Club. They were good then; they are now that much more alive and confident. Latin is perhaps the master beat of the rhythmic universe, so it’s no surprise to see the dancers pop up when they get going. Again, there’s a front line of horns, and inevitable percussion and interestingly a keytar (someone told me this is what this strange over-the-shoulder keyboard is called, as has been used by Chick Corea and Herbie Hancock and a string of boy bands). I expected simple melodic lines, but Alex Carder was playing some interesting chordal fills with bends, so the instrument defied my prejudices. Otherwise, I noticed the commitment and joy that Andy Jauregui sings with, and also drummer Amanda Waite. I was standing beside the stage when I was surprised by her competent introduction: clear and immediate, seeming to come from nowhere, and leading the band into an instant solid groove.

DDG and Los Chavos were playing at the Transit Bar. It’s quite different from most jazz venues, of course. These bars are more beer-spilled, younger places with pool tables, punchy PAs and DJs in the breaks that are louder than the bands. I liked it. I was there with my two sons, but I even came across an old mate from the Blues Club, obviously determined to grow old disgracefully. So should we all.

Dub Dub Goose were Beth Monzo (vocals, guitar), Nick Combe (bari sax), Reuben Lewis (cornet), Valdis Thoman (trombone), Matt Lustri (guitar), Ben Fowler (bass), Matt Sykes (drums). Los Chavos were Andy Jauregui (vocals), Valdis Thomann (trombone, vocals), Corey Booth (trumpet, vocals), Amanda Waite (drums), Simon Milman (bass), Alex Carder (keys), Matt Lustri (guitar).

Nearer, my God, to thee

Excuse a little blasphemous humour, but Miles is a god for many of us. Last night, I had a blissful evening basking in a recreation of Miles’ Second Great Quintet (the ESP Quintet) of the mid-1960s. Joseph Taylor led a surprisingly mature, lively and authentic set of players through the intense, sustained but malleable, modal style of this quintet. From the top, it was unbroken music interspersed with recognisable melodies, mutating through varying meters and deep dynamics, sometimes sitting on a lone piano or bass then launching into a rapid walk with explosive drumming or dropping at the end of ecstatic solos to periods of calming recovery. Congratulations to the whole band for the satisfying and authentic interpretation of an era we only hear on CD. I much enjoyed Corey’s characteristic sparsely melodic style of Milesian trumpet. Joseph played the Wayne Shorter role, the more restrained but harmonically inventive follower of another god in Miles’ sax seat, Coltrane. This is a less dramatic and less authoritative role than Miles’, and he played it with considerable harmonic sophistication. And even if you only listened with your eyes, Corey and Joe formed a characteristically cool and nonchalant front line. Very well done! Luke’s piano was endlessly responsive and supportive, with nice fourths tonalities and especially with lovely, falling modal chordal movements. Ed was heavier and more fiery in this context, responding to Luke’s rhythmic suggestions, and always pushing change and exploring meters and rhythms, and blasting out strongly accented fills. There were times the rhythm section seemed telepathic. I was stunned when they dropped into unison whole note triplets with seemingly no hint it was coming. Just that tap of the hi-hat, I guess. Bill was at his best: long, fast bass walks high on the neck; slightly buzzy tone that was so solid and of clear tonality; and some solo lines that had me grinning with his alacrity. Overall, the sound was a bit unbalanced, but it’s an odd little corner they play in. The tunes are well-enough known: Round midnight, Milestones, Footprints and the like. But the interpretations moved far from base, as it had done with the original quintet. This was no sauntering about or unguided search. This felt like solid exploration, intelligent, passionate and powerful, with an occasional return to the base which is the melody.

I’ve missed a few good shows recently after perhaps too much of a good thing. But this return to the source was just the medicine. Thanks to Joe and mates for a refreshing visit to one of the lifebloods of modern jazz. It was a blowout. And thanks also to Candy Amble and mates who organise the Trinity jazz sessions on Tuesday evenings. It’s a comfy venue, the music cycles weekly through various interesting bands associated with the jazz school and it’s free entry. This was the final Tuesday Trinity for this year; watch the CJCalendar for a startup in the new year. It’s an excellent development and highly recommended.

Joseph Taylor (tenor sax) played with Corey Booth (trumpet), Luke Sweeting (piano), Bill Williams (bass) and Ed Rodrigues (drums) on a tribute to Mile Davis’ second great quintet of the mid-1960s.

Tuesdays @ Trinity (Facebook group)

Musos clubbing

The Canberra Musicians Club launched this weekend with a 12 hour gig featuring numerous different musicians and numerous different styles. The weather was warm and sunny (too sunny early on, but more on that later). The Club has been formed so musos can gather to assist each other, eg, it can provide PAs for hire at reasonable rates, and very interestingly, provides legal indemnity for events held under their banner. That really is an interesting concept and should support independent, grass roots events. I expected a folk and indie scene, but there was a decent jazz contingent, thanks to Cam and the Folkus Room crew. My band, Toucani, played one set in the mid afternoon, under a scorching sun that everyone was complaining about.

I heard a mixture of bands over the afternoon, but couldn’t stay for the evening. Black Hat Band is a blues outfit including a mate from work, Dave Grey (guitar/vocals). The band featured several of the Kooky Fandango crew who were to appear later in the day. Kooky Fandango are stalwarts playing a smooth, sweet jazz style, with an interesting crystal clear chordal role for Peter Barta on his 6-string Alembic Series 1 (no guitar here). Otherwise, it’s Cameron Smith (trumpet), Tom Fell (alto sax), Nathan Sciberras (tenor and baritone saxes), Mario Gordon (congas) and led by singer Courtney Stark. My Toucani played a set of 4 originals (2 by Daniel, 2 by Eric) along with Sam River’s beautiful ballad, Beatrice, and Wayne Shorter’s hard bop Prince of Darkness. Mark Body (drums) filled in given the absence of Brenton, and played with Daniel Wild (piano), John Baczynski (tenor) and Eric Pozza (bass). I really enjoyed this gig, despite the radiant heat. We played fairly relaxed and expansively, I think with the assistance of a comfortable, informal atmosphere, and there was a double bass player doing the mix, so I could trust his work. And in the open air you never have balance problems: you can always hear, although it can be a bit thin at times. Most enjoyed.

Then a lovely cool jazz set by the Joseph Taylor Quintet. Joseph Taylor (tenor) commonly plays with Corey Booth (trumpet) and John Cohen (piano) and was joined for this gig by Bill Williams (bass) and Chris Thwaites (drums). Truly a lovely, cool set, harking back to Miles in the 50s, with the same instrumentation, some of the same tunes, and a similar feel and approach. I love a good cool set when I hear it, and they performed it with panache. Tunes included some originals, but also All of you and Wayne Shorter’s Backstage Sally. Great stuff.

To finish my day off, I finally caught up with Los Chavos. They are a lively latin band with some very good players and an entertaining front man, and they deserved the audience which they got: young, even very young (as in children), happy and dancing. Very enjoyable, tight, and capable. I also caught the Cashews in the underpass near Albert Hall for one of their famed guerilla gigs, but only for a few minutes. Well done, and entertaining, but not really my style.