Farewells

It was pot luck to catch up with Daniel Hunter and Victor Rufus playing at the Fyshwick market when I dropped in to shop on Easter Saturday. Especially good luck as they are both about to go overseas. In a stroke of happenstance, they both leave on Tuesday. Daniel's going back to Paris where he's resided for a decade; Victor's off to NYC for a several months. I joked I'd see him on the SmallsLive video feed sometime. (It happens: I recently saw a bassist I met in New Orleans on the Smalls feed). Their playing was a huge pleasure. I sat to listen to a few standards and a Daniel original. Such interesting guitar playing, sharing lead or comping or sometimes soloing together. Daniel the quicker and less distorted; Victor the dirtier and bluesier-edged; both finger picking for comps. Different but a pleasure together. I quipped we were losing all our guitarists on one day. Not quite (there are a few others...). It's a background gig and most just go about their shopping, but a cappuccio on such a nice day with such capable music is a great pleasure.

Daniel Hunter and Victor Rufus (guitars) played at the Fyshwick Market.

Paris on tap

Family matters had me caught up and I heard too little, but what I did hear was a huge pleasure. Just a duo, Canberra-sourced now Paris-based Daniel Hunter returning home with offsider Warren Walker. This was just a duo setting, intimate and restrained, but I was taken by the strong time from the two or just from Daniel playing alone and the sturdy and fat sonority of Daniel's guitar and Warren's delicate, light, even flighty lines (sometimes a little lost against the amplified guitar). The interaction was easy and close, with melody lines dropping together with great comfort or solos that just felt right together. I liked Daniel's big dirty presence if a mate preferred clarity and cleanliness. I thought the dirt gave a rockish, insurgent presence and I was pleased by Daniel's easy precision in setting time. The tunes were originals from Daniel's albums and his life, one following the Bataclan incident (it was a real connection: a guitar tech he'd known had been injured). This was an intimate concert in Sally Greenaway's new studio, with an opportunity to chat with audience and performers after, so a nice space and a pleasant event. Daniel plays again in quartet format, in Sydney and Canberra, but I can't make it.


Daniel Hunter (guitar) and Warren Walker (tenor) performed at the Greenaway Studio.

Thanks to fellow music-goer Bob Howe for the main pic

Daniel plays our lost Parisan café

Daniel Hunter was back from Paris for several birthdays and a jazz wake for Smiths and perhaps more. The venue was full (I almost didn't get in and a few other regulars gave up) but that's life in the big smoke. Perhaps Smiths should have seen crowds more like this earlier and they may not have closed. Sad. But good to hear Daniel again, this time touring with a band of mates from Melbourne, the Longhairs (joke). Jokes were a topic of the night (joke). Really, the music was the topic and this was convincing stuff, reminding me of West Coast contemporary, perhaps Pat Metheny. Guitar music, changing bar lengths especially in the head, plenty of changes but few obvious cycles. I'd heard a few of these tunes from his CD and there were some new ones: one as yet unnamed; another called Asylum with an obvious theme and angry, 4 chord rock resonance. Another is Sco-feel with obvious references, and I could feel the Scofield dirty guitar edge here and elsewhere. I liked the echo that held after some tunes, too, although effects, certainly sustain, were not too obvious. Drummer Nick was a hit with much rock-influenced concept and conviction and confident execution. Bassist Gareth is an old hand and local favourite. He's showing great firmness and professionalism after several years in Melbourne. Tenor Jack built his solos nicely from evident to rabid fast passages. Really nice, and especially so in harmony with John Mackey who sat in for two tunes. John was the teacher of several of these students and deserves their obvious respect: he played a storm and read post-bop easily: admittedly fairly scalar lines but at presto speeds. This was Circulation, like the others a composition by Daniel. Born in the 80s was Daniel talking about his generation with a manic, discordant concurrent solo by tenor and guitar. But perhaps it was Quiet, a pretty, floating tune in 3/4 with melody syncopations that I most took to. But then, at the end, I wondered at the quality of these guys: the neat reading, spot-on timing, interesting charts, substantive solos. This is the product of our jazz education, now looking to me to be pretty much lost to Canberra. And our Parisian café, Smiths Alternative, along with it.

Daniel Hunter (guitar, compositions) led a quartet with Jack Beeche (tenor), Gareth Hill (bass) and Nick Martin (drums). John Mackey (tenor) sat in for two tunes. For the last Thursday jazz night at Smiths Alternative.

A return and an end

Daniel Hunter played the last concert in the Canberra Grammar Gallery jazz series. And what a wonderful little concert, well attended and well played. Daniel is back for a visit after leaving for Europe around 6 years ago. He’s been in Paris for the last 2½ years; I think it was Geneva before then.
I heard him once interviewed on the Net by French radio. He tells of playing the boisterous and hot Parisian jazz scene. I remembered it for seeing an uberhot bassist, Hadrien Féraud; Daniel’s played with him. Small world when you’re in a world centre. He returned to play with old friends: Phill Jenkins, who he’d played with over the long term; Aidan Lowe, a few years younger, who he’d met through Phill and has had his own European jaunt; John Mackay, teacher, mentor, blasting saxist admired by all. The tunes were all composed by Daniel and many were from the CD he was launching at the gig, called The Twentieth, for the 20th Arrondisement, Paris, end of the spiral. I heard Scofield often enough; that was easy. I was not so sure of his other influences, Jim Hall or Kurt Rosenwinkel. Phill was lanky, simple, beautifully toned, studiously steady. Aidan was aware, volume controlled, varied and rich in fills and colour. John was a blast and fresh with the new tunes; world class, thrilling. Daniel was a little muted in front of family and friends, but extensive in solos, stunningly toned with Fender valve amp and overdrive and a touch extra distortion for some solos passages, and nicely varied and coloured in comping. These a tunes worthy of a another listen, contemporary and instrumental and busy but tonal. It was a worthy concert to end the series and a nice opportunity to catch up with Daniel after some years away. I’ll expect to report again in a few years time. And here’s a pic of Pauline getting thanked for running the series.

Daniel Hunter (guitar) led a quartet with John Mackey (tenor), Phill Jenkins (bass) and Aidan Lowe (drums) at the last Canberra Grammar Gallery concert and the launch of his new CD, The Twentieth.

What a difference a day makes

Or maybe a few days or maybe a venue. Last weekend Daniel Hunter and his band broadcast from ArtSound. Last night it was Dan’s band live, with perhaps another practice, in the much more relaxed environment of the Loft. At least to me, the ease and comfort showed. From the top, they were calm, alive, committed and wonderfully musical in their approach to the charts. Not that the broadcast was poor, but there’s a tension in a studio that I didn’t feel at this friendly gig. Here the grooves were harder and more muscular; the solos were more irrepressible, and a few smiles showed the enjoyment by the band. Aidan later told me it was his third gig for the day and he was worn out, but there’s musicality in this exhaustion: the Round Midnight effect that is cheered and sought after. I certainly didn’t notice, savouring delicious rolls that just oozed like jelly from Aidan’s sticks. I was thoroughly enjoying his drumming: steady, informed and rhythmically and intellectually satisfying when the fours rolled around. Dan was leading with his often complex compositions. It’s a challenge to count some of these. I counted five and three and four and seven in one. I wondered if I’d got it right: I had, they were all there. I noticed Phill and Niels intent on the charts for this one. Dan had them down – no charts – playing the heads with ease and joy, then laying into a jagged and busy and turbulent guitar style, leavened with chordal fills and occasional blues or rock lines. One solo ended on a distorted rock scream that seemed to even surprise Dan. I just laughed. Niels was quite a contrast. Steady and lyrical, building solos from the most correct of lyrical statements with lovely tone and carefully formed notes, laying down eighth notes patterns that cruised through the changes, down then up to nicely formed high notes, and descending into devilish dissonance and speed and a return to the lyrical. I spoke to Niels about microtonality on the sax. I didn’t know of an established set of fingering for an additional 12 micronotes, almost like another instrument, but with new awareness I could hear them: not frequent, but effectively ending phrases or embellishing notes, always with that strange, unworldly (or should I say un-Western) effect. And bassist Phill. I always hear him as eminently solid and reliable: high praise, doubly so in a bassist. Great tone (Phill is known locally for his exploration of gear), always present with reliable grooves in the rich-sounding low positions and a frequent smile that confirmed my impressions on the night.

They may be old mates, but after years out of town, this is now a pickup band for Daniel’s interesting original music. I don’t know to what degree the music is Geneva- or Paris-influenced, but it’s mature and effective: bluesy grooves, modern swings, revisited bops, seductive ballads. This was a very enjoyable and satisfying night at the Loft. Daniel Hunter (guitar) provided the music and led the band comprising Niels Rosendahl (tenor, soprano sax), Phill Jenkins (bass) and Aidan Lowe (drums).

Chrissie, family time

Geneva-based guitarist Daniel Hunter is over for a family Christmas. It’s great when the local jazz family returns. The old bands reform with old off-siders coming out of the woodwork and maybe a few interlopers to replace unavailable players. The old tunes are revisited, more mature and developed in the mind of the leader, along with a swag of new numbers in the genre. Daniel’s outing was just this. Niels and Phill were of Daniel’s era. I think Aidan is a later invitee. The Daniel Hunter [Canberra] Group were performing for a Friday Night Live broadcast for ArtSound.

Phill was outside as I arrived at ArtSound. I commented on the original material. He mentioned the counting. Daniel’s tunes can be like that. Not contorted, but presumably led by melody, so the bars change with the flow of the tune. It makes for a direct and true relationship with the melody but it can be a cad to read. But there’s also plenty of space for solos. The formats are still head-solos-melody, although not obviously, and they still break out in solos and swap fours and the like. Daniel’s got a dirty sound, with an obvious bluesy, gritty Scofield influence (Daniel’s tribute Sco-feel gives this away). It’s earthy and authentic: not shredding, but true in form and lyricism and with comfy rhythmic sense. Niels is a lovely, strong and often understated player, but so reliable and honest and always ready to bend the harmonies to good effect. Rufus Reid says a bassist must be “at home, minding the store”, meaning he must independently state the pulse and the harmony. Phill may have played a solo during the set (I didn’t hear a solo but I didn’t hear both full sets) but I feel comfortable when he’s minding the store – he’s solid and capably reliable, not fancy notes but right ones. Aidan is the go-to drummer around the jazz school and his solidity and aptness showed with precise fills against up bop swing on Circulation, or mallets on the more pensive L’alchemiste.

This was a very nice get-together with original tunes in a sophisticated but earthy guitar-based style. Very nice. Daniel Hunter (guitar) led Niels Rosendahl (tenor, soprano saxes), Phill Jenkins (bass) and Aidan Lowe (drums) as the Daniel Hunter Group. Catch them this coming Thursday (16 Dec) at the Loft.

Of families and tentacles

Canberra may be a small hub in the world of jazz, but Canberra jazz and its jazz school puts out tentacles: in Melbourne and Sydney, where there are influential groups of players, but also outside Australia, to Europe, Asia, the Americas. We occasionally get jazz tourists from NY and far afield, often with Australian or Canberra connections. Look at the Canberra Jazz group on Facebook, and you’ll find members throughout the world keeping in touch with their roots. I bought my double bass from an ex-Canberran who’s now in Shanghai. The world is massively smaller now than it was only 20 years ago. Money moves instantaneously with just a card; air travel is much cheaper in real terms; communications are trivially easy; we share so much with similarly wealthy people around the world. We also share jazz.

Last night at Trinity was just an example. Daniel Hunter is temporarily returned from Geneva. He led a quartet with some strong locals including Niels Rosendahl, who has also recently spent several years in London/Europe. The band played originals and a few standards including uber-standard All the things you are. Daniel’s originals were in a few different styles: guitar-styled and chordally rich arrangements, some funky blues rhythms, a clear post-bop walking number. I noticed Phill Jenkins here, with a joyous and heavily swinging walking bass. Phill strikes me as a very competent and reliable working player (high praise). He confirmed it this night with rock solid playing and a lovely sound that cut through clearly: strong on midrange but with no honk or harsh edge. Ed, of course, was his masterly, dynamic, expressive self that I’ve been writing about for just about every gig recently, given I’ve heard him so often. He’s fabulously controlled and impressively responsive; like when he stunned me by instantly morphing from loud and emphatic to the softest and most precise cymbal work. Niels struck me first with his strong and ringing tone up and down the range, then those pleading high notes that give the sax such emotional effect. He’d play simple and obvious lines (Niels understands the beauty in simplicity) but then unexpectedly fall into long, sustained lines of chromatic extravangance. One of these had me wondering if he would ever end it; so much startling contrast, but not a thought of it being out of place. Daniel’s approach was very different. He uses a clear, percussive, ringing jazz guitar tone that doesn’t lend itself to wallowing in seductive tonality. So he’s fast and busy, expressing harmony with showers of notes rather than counterpoint, sometimes with a big-city feel of enthusiasm and some little disjointedness despite some pretty cool original tunes. So, cool in composition and accompaniment, but more vivid in solos.

Canberra jazz is somewhat like a family. Pretty small, with cousins passing through town, kids off to test themselves in the big, wide world, always someone keeping the hearth warm. Octopi and families are contrasting metaphors, but they both fit to some degree. Daniel Hunter (guitar) led a quartet at Trinity with Niels Rosendahl (tenor, soprano sax), Phill Jenkins (bass) and Ed Rodrigues (drums).

Your editor at Moruya (Moruya 6)

Moruya 5

Moruya was a big event for your editor. And for CJ’s new writers, who played with the editor as Trio Toucan. I organised two bands for the event, then got asked shortly before to sit in with another, and also got a unexpected invitation on the Saturday for another two sets. So I was busy. I enjoyed the playing, but sadly missed a few events I would have liked to attend.

Pics by Rita and Brenton

Parlay Parlan was my first outing. It was a tribute to the pianist Horace Parlan. We played Horace Parlan’s most notable post-bop album, Happy frame of mind. It wasn’t a note-for-note replay, but the tunes were in order and there was some some reference to the style of the original. Parlan is most known as a pianist on two Mingus albums, Mingus Ah Um and Root and Blues in the late ‘50s, as well as some later duo recordings with Archie Shepp. He’d suffered polio as a child, so had a clustered right hand style along with a heavy R&B influence. He recorded about 15 albums for Blue Note; this is his best known. We finished with Fables of Faubus, an infectious and renowned Mingus tune from Mingus Ah Um. The gig went off nicely, with some lovely front line work, although my leadership was a bit sus and our communication was not the best. But overall it was fun, and very pleasing when it clicked. And it was nice to play my fretless Maton again after years in a cupboard. Thanks to a band of great players: Michael Cleaver (saxes), Alistair Clarke (trombone), Daniel Hunter (guitar), Liam Wilson (piano) Yen Nguyen (drums), Eric Pozza (bass).

Trio Toucan was my other band. TT is a contemporary cum modern piano trio We played a fake book set. First was Elvin Jones’ Mr Jones, which is a minor blues that I’ve wanted to play for many years. Ballads by Wayne Shorter (Ana Maria) and Miles (Blue and green). Some obvious choices like Footprints and All the things you are. And there was a Coltrane theme in there too, with Invitation and enough cockiness to attempt Giant steps, although at a gentle pace. We had virtually no audience (Recording Ensemble, Mike Hallam, Psycho Zydeco and Spectrum Big Band were playing at the time), but it was a good outing, and we enjoyed it immensely. Lots of space and the opportunity for solos to fill it. Daniel’s classical training and Evans ear make for interesting harmonies. Brenton’s also got classical training from way back, and an energetic push to his playing, and I like the open space for bass to take both a creatively rhythmic and soloistic role. This is the first band I’ve played with where discussion is more on WB Yeats and Rachmaninov than beer and jazz (but not to say we’re wowsers). I’m looking forward to more gigs with this crew. Trio Toucan are Daniel Wild (piano), Brenton Holmes (drums) and Eric Pozza (bass).

Moruya 7

More of your editor at Moruya (Moruya 7)

Moruya 6

Pics by Sue and Rita

Mother’s Ruin was departure for me. It’s also quite a mix: a ragtime band which also plays several traditional South American charts. It’s led by Oliver Hague and has a following on the local festival scene. Lots of reading arrangements and Scott Joplin, and some pretty odd and challenging time signatures in the Peruvian tunes. Ragtime is part of our jazz history, so it’s interesting in that aspect, and I enjoyed playing the role of a tuba cum sousaphone. This was good fun, and I found real pleasure in the styles. Mother’s Ruin were Oliver Hague (saxes), Margaret Hancocks (flute), Leonie-Ruth Acland (viola), Dave Gibson (guitar), Brenton Holmes (drums), Eric Pozza (bass).

This was unexpected, but Pierre Kammacher was short a bass player, so I got to sit in with Pierre’s Hot 5. Pierre is a past teacher in jazz at Canberra College, and he regularly finds capable players for his outings. The Hot 5 are a mainstream band, playing a range of standards with an early-style (swing era?) approach and sound. There’s clarity in his playing and he’s got great tone on an array of excellent instruments (only Selmer, I think). I always learn something from his accuracy, and I enjoy the exercise in sight reading the charts. Pierre still owes me a beer; I mustn’t forget. On the day, Pierre’s Hot 5 were Pierre Kammacher (saxes), Rod Harding (trombone), Mark Bolsius (piano), Daniel Hunter (guitar, first set), John Marshall (drums), Eric Pozza (bass).

That’s a total of 6 sets, with 5 on Saturday. It cost me most of Catherine Hunter, most of John Mackey, the Big Band and more, but it was fun. When travelling, I’m convinced you can’t see it all; you have to save something to come back to. It’s the same with festivals.

Hot and cold (Moruya 1)

A cold front came in on Friday afternoon. Short sleeves and t-shirts were in abundance and lots of musos were chilled out. Then Sunday morning was hot and the Canberra inlanders disappeared to the beach for a spot of sand and sunstroke. Changeable weather perhaps, but inside was pleasant, and the music was hot, or at least warm, so the weather havoc was easily forgotten.

There were a few name bands at Moruya, but this is really an outing for the Jazz School, and somewhat like a family get-together. Especially given that, for some, it was the final fling for the year, or even for the degree. So there was chatter and commitment throughout.

As for the featured acts, Mike Hallam is a regular and he was back, but perhaps the most notable name was Catherine Hunter. She’s an ex-Canberran and Jazz School graduate who’s made a name for herself in Sydney. In her band were two Hauptmans (Zoe on bass, and James on drums) who have a similar history, so this just continued the Jazz School theme. And there were the Jazz School faculty, who are names in their own right: Eric Ajaye, John Mackey, Miroslav Bukovsky, James Greening, Col Hoorweg.

As always, the Jazz School’s large ensembles were there. For some, it was the last performance in the current line-up. These bands are reformed annually with auditions early in the new year. The Recording Ensemble is playing Wangaratta, but the Commercial and Big Band were perhaps doing their last performances. I missed the Big Band, but the Commercial played a great last set to see off several of the front line from their studies.

I heard lots of music, but also missed lots, because of conflicts, especially as I played 6 sets over the weekend, and 5 on Saturday, which was the major day of the festival, but here are some of my recollections.

How could you not be interested in a band called Erogenous Tones? ET are a piano trio with several stalwarts of the Jazz students: Ben Foster (piano), Hannah James (bass), Ed Rodrigues (drums). Ben’s a lovely player, with a rich, calm approach, and very satisfying chordal work and long, richly textured solo lines. Hannah is playing better than ever, with a sweet tone and thoughtful, true solos. Ed is always busy but subtle, and richly interpretive. These are students who play together frequently rather than a standing band. The set included some known standards (Miles’ Solar and Nardis, How deep is the ocean, even C-Jam blues), but also some lesser known ones (at least for me: Elsa as played by Bill Evans and Lullaby of the leaves) and some originals. This was the first band I caught and it set a high standard. Congrats for an excellent set, and congrats to Ed for a very appealing name!

Ivory Hunter is Daniel Hunter’s outfit for presenting original music. IH is Daniel Hunter (guitar), Yen Nguyen (drums), Kane Watters (bass). The program includes Ben Foster, so maybe this is not the normal, full band. This was largely guitar-instrumental, in a US West Coast style, perhaps reminiscent of Pat Metheny with an Eagles influence? The Eagles? There seemed to be a country twang, with fully strummed chords merged with sophisticated, effected guitar lines. Nice to hear some original music. It seems to have been a theme recently, with several people talking to me of making new music. It’s a good development. On this theme, Miroslav Bukovsky highlighted that pieces don’t need to be permanent. They can be experiments that work or not, but it’s important to originate. He’s a good example, having recently written a piece called Tilba for Carl Morgan’s home town. The message seems to be: just do it, and if you don’t like it, just do another.

Red Barron was comprised of some of the next generation of students, along with some older stalwarts. RB were Matt Sykes (drums), Matt Lustri (guitar), Chris Pound (bass), James LeFevre (sax), Jonno Apps (trumpet). They played a psychedelic style: soundscapes, heavy and successful guitar effects, mesmerically rhythmic. It seems like the ‘60s are fashionable again, for this was music with references to that era, and two of the three musicians even sported afro haircuts. (Obviously it’s a time to revisit, with Iraq as our new Vietnam). Again, this was original music and it was impressively played. Chris is obviously a new bassist to note. I praised him with the Recording Ensemble recently. He was equally impressive here, and also got the gig with John Mackey on Saturday night. Matt S impressed me with several good compositions, including one that James Greening played at a concert at the Gods a few months back, as well as a great feeling for overlaying complex rhythms with subtly moving colours. Matt L was reliable and believable with pedals. Jazz players go light on effects; they can corrupt otherwise good solos. But Matt’s use was apposite and effective. Nice work. James and Jonno are strong, mature players and added complexity to the ‘60s theme.

Moruya 2

Ivory and apoplexy

White Eagle offered another double bill last night. This is obviously developing as the nature of the event, with audio provided and recorded by ArtSound, and a local band and a local or visiting band as a main act. Tonight’s show featured Ivory Hunter, Daniel Hunter’s band, and the return of Sydney’s Trio Apoplectic.

Ivory Hunter is led by Dan Hunter (guitar), with Yen Nguyen (drums), Gareth Hill (bass) and Munro Melano (keyboards). I hadn’t heard of Ivory Hunter before but I assume the musos have been playing together for years at the Jazz School. I’ve reported on these players several times on CJ, but mostly they were playing the standards repertoire (very capably). However, Ivory Hunter is a platform for originals. The tunes were penned by various band members and covered a range of approaches. There was one bordering on hardbop, but mostly they were more melodic and tuneful. I particularly liked a couple of tunes from Gareth, a ballad and another tune with a very convulsive melody leading into a hard swing. Daniel’s Act of will was an interesting piece with a sustained quarter-note melody that had my mind drifting. And I have to mention Dan’s Scofeel. It’s an obvious take on Scofield, with indefinite timing, sleezy down-South solos, bluesy organ in the background, and Chambers-style drum patterns crossing the bar lines. So there was quite a range of styles here: floating and relaxed, bluesy, out. I had the feeling these guys were beyond simple exuberance, and were seeking more musical statements.

Daniel always plays in a restrained and careful way, and he did so this night. He plays occasional flourishes but lots of well-considered melodic lines. Gareth also led as melodist on several tunes and played some excellent solos. He’s a strong player, and his tone is also strong: good muscular fingers dragging the strings for a clear, woody tone. Munro played synths at times, along with piano and organ sounds. I particularly liked his comping, especially following his responses to Dan when he played outside. Yen held it all together and played several expressive solos, not least on his own compositions.

As for the band name, Hunter is an obvious reference, but is there some other message? Perhaps. The smooth surface and alabaster colouring of ivory seems to fit the music.

Trio Apoplectic were quite a change after the more relaxed Ivory. Right from the top, they played with intensity, energy and intelligent interaction. I’ve written about TA before; they played at the first White Eagle session. Their return was quite triumphant. This was modern jazz of a high order. Intellectual, emotionally demanding and satisfying, great playing with great, clear sounds, exploratory. I love this style and I was trying to place it. Perhaps Joe Henderson? I asked them about their influences. Interestingly, they offered Bernie (McGann) and when I further inquired, they suggested other players around Sydney.

TA are Dave Jackson (alto sax), Abel Cross (bass) and Alex Masso (drums). They play a mix of standards and originals. Originals come from the pens of Alex and Abel, especially Abel. They played Monk’s Boo Boo’s birthday. Originals included the oddly named Details of how to get apoplectic on your licence plate (apparently a renowned title at Sydney’s Birdland records). There were soundscapes and free styles, hard swing and balladic styles, bowed bass reminiscent of didjeridoo and sax harmonics. Several of these tunes are on the CD, and were played at TA’s last White Eagle concert. I feel they’ve explored the music much further, and this was the source of such a satisfying performance.

They all played with intense energy and commitment throughout the show. Noone played too obviously, or displayed the chords too evidently. The harmonies and counterpoint were fascinating. They were also all very balanced, each player providing an essential ingredient and contributing equally to the complexity and richness. This is just highlighted by the open sound a chordless trio. Dave plays alto, and it fit so well: smooth and sinuous, but also intriguing and exploratory. Abel played hot from the top, and played some excellent solos. The underlying chords were interpreted so subtly I wondered if the tunes were modal. A lovely modern style. Alex was mobile and varied on drums: brushes or sticks, cymbals or drums, sparse or dense.

Another great night at White Eagle, in expectation of White Eagle’s debut as an international venue next week, with the bassist Senator Eugene Wright.

With soul @ The Soul

I caught Daniel Hunter’s trio at the Soul Bar on Friday night. It was the end of the week, wind down time for local office workers, time for a few beers, time to liven up for the weekend. This was the background, and I thought Daniel and co did the job wonderfully. The trio was Daniel Hunter (guitar), Bill Williams (bass) and Kay Chinnery (drums) and Max Williams (tenor sax) sat in from the second set.

The first set was a series of standards played gently and capably at low volumes to match the early evening spot. The tunes were well known and eternal favourites like There will never be another you, Someday my prince will come, Footprints, and the like. The second set was much different: funky, bar-lively, louder and clearly upping the excitement level in the venue. I didn’t recognise many tunes here. There was a rocky, very changed version of All blues, and the others may have just been grooves. All were interesting. They sat in the groove well, the players interacted well, and the tunes moved and developed as they should.

Daniel’s jazz education to honours level clearly showed. He plays a restrained style, accurately and with care. His melodies are crisp, and his tone simple and unaffected. But he easily and frequently ventures into harmonic substitutions with a clarity and purpose that confirms the fit of the excursion. And he equally easily dropped into funky mode with wah and such effects that so make that style. It was professional and satisfying, and often intellectually captivating. Bill played great, fat walking and syncopated lines behind the standards set, and plenty of capable solos. His playing is always convincing: sometimes simple, sometimes more difficult, but always appropriate. During the funky set, he easily dropped into the syncopated rhythms, and, as often as not, was the one to set up the tune with a funky solo bass line. Kay played solidly, and underscored this complexity with simple but correct and solid drums lines, and played several solos or interludes of his own. Max is Bill’s brother. I guess he’s a younger brother, but he played with considerable ability. (The Williamses are obviously a capable musical family). When Max arrived, the music changed (this was the start of the funky set). The sax provided another lead line, and Daniel was freed to join the rhythm section at times. To be expected, the excitement level rose along with the volume and the sound got a little more muddy. But all this is as it should be, and the joint was humming as I left.

It’s refreshing to have such good quality music available as background in the bars in own. Let’s see more of it. Keep music live. Great stuff, and thanks to Daniel.

Pierre's Dream Team

Pierre's Dream Team played Thredbo over Easter. Now here's a handsome group! Pierre Kammacher (various saxes), Rod Andrew (drums), Eric Pozza (bass) and Daniel Hunter (guitar). It was cold at times, and fingers suffered from winds coming off the mountains, but the views of fresh snow on the hilltops was impressive, the days were sunny, and people were relaxed and enjoying themselves.