Soulfull farewell

I hear the Soul Bar is closing its Friday evening gigs next week, hopefully just for the winter months. It’s a comfortable little venue and short evening gig for a Friday afternoon, to entertain the Woden APS consort who drop in for drinks at week’s end. I played there last night with Toucani, and it was memorable for me – a first gig on the double bass. Double bass is a lovely sound for jazz, and really much more true: softly spoken and deep. It was a pleasant night with Daniel, John and Mark Body who sat in in the absence Brenton interstate, playing standards and several originals by Daniel and me.

I missed the ArtSound live broadcast, but heard a little of Dave Rodriguez (guitar) playing standards with Bill Williams (bass) and Ed Rodrigues (drums), playing as the Dave, Bill and Ed Trio. They are a great little trio with a long residency at the Belgian Beer Café and so considerable experience in playing together. This is their band to honour and explore the standards, in the tradition of Bill Evans, or the band they mentioned as a current influence, Gilad Hekselman Trio. Lovely, soulful standards played with the close interaction that comes from a regular gig. Sorry I have no pics of the night.

Daniel Wild (piano), John Baczynski (tenor), Eric Pozza (bass) and visitor Mark Body (drums) played as Toucani.

Taking it easy (Moruya 1)

It was a tamer Moruya for me this year. Just one band to play in, although 3 sets, including our debut at the Air Raid Tavern. Michel was being generous. I was also staying with the band and a few wives (for a greater level of civilisation) at a holiday house at Tomakin. In fact, I was slack enough to only attend on Sunday for our gig at the Monarch. As your jazz journo in Moruya, I have to apologise, but it was fun and relaxing.

Firstly, reporting my own band. We repeated tunes for sets 1 and 2, and each version went off well. The second time was a bit more prepared, but following the explosive and virtuosic Lethals was somewhat harrowing. But our compositions are presentable, and I’m proud of them. Daniel wrote about 5 tunes, and I wrote three. We’ve discovered the import of composition, and also that it’s not so difficult. Miro inspired me at last year’s Moruya when he told me how he prompts students to compose: they shouldn’t worry if their compositions are not perfect first time around; if it works, OK, if not, drop it and write another. After all, you have to learn composition like you learn performance. It’s a liberating thought, and frees the mind to write something down and drop the Real Book. I always try to provide something unique at Moruya. Last year it was Giant steps and a Horace Parlan album. This year, it was a fully original set (played twice, because we weren’t sufficiently prepared), and some free jazz. We described the free as an indulgence, but it worked much better than we had hoped for, and perhaps got the most claps of the weekend (I was stunned). Congrats to Daniel for being daring enough to suggest it! My band is Toucani, and the members are: Daniel Wild (piano), John Baczynski (tenor), Brenton Holmes (drums) and Eric Pozza (bass).

There’s also education at an event like this. I learnt something new about modal bass playing, which has been on my mind for years. The influences were chats with Daniel, our pianist, over recent weeks and listening to, and thinking about, bassists Chris Pound and Eric Ajaye and Hannah James, and also John Mackey’s restrained but emotive performance on the Saturday night. Thanks to my mates for the help they didn’t even realise they were giving. We must discuss it sometime. Anyway, I put it into practice in a moderately paced version of Impressions on Sunday, and it worked. It’s such a deceptively easy tune, but so central to the modal style. The learning was satisfying.

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.

Slower cooking, many cooks

Joe Lloyd’s Quartet appeared as host band at a very busy Jazz@Folkus jam session this weekend. Busy with an array of different players, and sadly even a band that didn’t make it on. Very honourable of Cam who runs the show, because it was his band that missed out. The turnout was nothing special this week, so come to support Folkus so we maintain this open session.

Joe set the scene with a wonderful set that took us back to the early 60s and shades of Coltrane through a series of original compositions. Joe presented three movements of a suite he is writing, and which we may expect to hear recorded sometime next year, as well as Slow cooker, a response to the John Mackey tune, Pressure cooker. I could hear Trane in Joe’s phrasing and sense of dissonance, but apparently his major influence is Kenny Garrett. Luke accompanied with a matching style of the era: I heard phrasing and fourth chords reminiscent of McCoy Tyner, so the image was set. Hannah was strong on bass lines and steady rhythms, and even led with some melodic playing at one time, and joined Luke for some interesting duo passages. Matt was solid and responsive and occasionally explosive. He obviously enjoyed these outbursts, and I noticed several smiles on his face with the more brash crashes. Matt also provided two tunes which fitted neatly in style and presence with Joe’s, one called River and the other called Fleeting. Truly an agreeable set, and one which set a demanding level of performance for others to match.

Round Midnight followed. RM are a pair of players from Bateman’s Bay: Ian (missed his surname) on guitar, and Keith Joliffe on bass. I know Keith through emails as one of the organising committee for the Moruya Jazz Festival. RM played a set of jazz and popular standards with midi accompaniment. Nice to have out of town visitors.

Anton Wurzer followed with three tunes. Anton is a wonderfully competent piano accordion player. Now, that’s not an instrument you expect at a jazz session, but Anton has been a student at the Jazz school, and plays a truly solid, inventive, occasionally out style of playing. There’s always the hint of bandenonean and French street scapes, and the tonality of a piano accordion seems a bit thin to me, but he plays fabulously rich interpretations of the standards repertoire with rock solid rhythms, and even sat in comfortably on a Wayne Shorter blow later in the day. Anton is a powerful, solid, inventive player, even if on a jazz instrument of less common stature. Check him out. Highly recommended!

My jazz band Toucani got to present four tunes, all originals. We played pretty well, and better than last time, but still can develop. But I’m proud that we can do whole sets of original compositions of some interest and complexity. Daniel wrote two: a solid post-bop piece, That call, and straight eight, Bill Evans style, Maxim. I debuted a piece which is to be played very tongue in cheek, Snakes alive, and we played a favourite of mine in 5/4, Fifty four. All a bit rushed and unsettled, but OK.

The day ended with a short blow. Joe Lloyd and crew were the mainstay for a blues with Anton. Next was Blue bossa with Hugh Deacon sitting in on drums, Daniel Wild on piano, and Eric Pozza playing acoustic bass (my first public performance on the big bass ... thanks again, Hannah). Next I suggested Wayne Shorter’s Prince of darkness, and it went off a fast post-bop treat. To end, Hannah and Luke returned for a final tune.

It was a pleasant outing with some very interesting music at times, and a great range of styles. Get along, and support Jazz@Folkus on the third Saturday of each month. Free for musos.

Joe Lloyd Quartet comprised Joe Lloyd (alto sax), Luke Sweeting (piano), Hannah James (bass), Matt Sykes (drums). Round Midnight comprised Ian … (guitar) and Keith Joliffe (bass). Anton Wurzer played piano accordian. Toucani comprised John Baczinski (tenor sax), Daniel Wild (Piano), Eric Pozza (bass) and Brenton Holmes (drums). Hugh Deacon sat in on the jam.

Old Canberra out

It’s been a string of opportunities to hear Wayne Kelly before his departure. The last was Sunday afternoon at the Old Canberra Inn. The Inn is mainly a blues venue, but it’s relaxed and genuinely old with its timber slab walls, so good for a get-together of jazzers as well as an easy-going jam session. Wayne had been inviting people to this farewell session so there were lots of friends to join in, some unusual combinations to form, and some new names to meet.

The host band was Wayne with James Luke and Wayne’s brother Gavin on drums. James was playing his usual busy, playful style across a range of musical forms. Great playing from a local bass identity. Wayne was similarly spirited as he worked his way through blues and jazz and funky rhythms. Gavin played a laid back blues style and was obviously enjoying the outing. John Mackey and trumpeter Dan McLean sat in, along with Fedoran vocalist Angela Lount. A later combination took names from the local blues stable. Gaye Reid led a band with James Luke, Chris Thwaite on drums, Leo Joseph on piano and Chris Tomasyk on blues harp. There were several pianists there on the day who might take some of the work passed on by Wayne. Paul dal Broi didn’t play, but John Black was about to get up as I left (“too drunk to play, but not drunk enough to know it”). I understand my mate Daniel Wild got in a few choruses on piano before I arrived, too.

I got the call from James Luke to sit in, so got to play a few tunes with John Mackey, Gavin Kelly, Jim Latta and Wayne. It was solid swing and I was adjusting to a different instrument, but I played OK and got in one solo which was a bit extravagant (not inappropriate for such a session). Off to the side, I could hear a cavalcade of notes from John working his way through (pre-)Coltrane changes on the bridge of Have you met Miss Jones. Good fun.

Niels Rosendahl was there too, although sadly without his sax. He’s just recently returned from London. Such is life; we come and we go, I guess.

It was a relaxed and entertaining outing for lots of the jazz scene around town. Much enjoyed. Wayne’s not off for few more weeks, so maybe you’ll catch him somewhere around town before then. Report your sightings to CJ :->

Two can with mates

Toucani (my old Trio Toucan with a sax) played a few sets with some friends for a birthday bash at the Soul Bar. It’s a lively place at 5.30 on a Friday, just after work, so quite fun, although I don’t recommend it to musos who want to earn a few pennies. It was a favour for a friend who was celebrating a birthday bash there, so that was OK, but you can easily feel a sucker.

The friend was Tony, and he sat in for a few tunes on trumpet. Nice to hear some horn harmonies on the very common tunes we played with him: Song for my father, All blues and Tenor madness. Toucani had started the night with a set of mainly originals. We’ve decided to make something a bit fresh, so I’ve penned a few latin originals and Daniel is being prolific with weekly new tunes in a modern post-bop style; good hard swing. Brenton has one on appro, and we’re waiting! Anyway, we’re pretty happy with them, and now they take most of our sets. A venue with busy and noisy drinkers gives an easier and more relaxed performance. We played well, the punters gave the requisite applause, and we managed some (moderately) indulgent solos, so all was well.

The final set was with other mates, two vocalists who perform as Ancient Mariners, Brad and Leanne. Their tunes are mostly jazz standards, but done in a cabaret, rather than as jazz, style. Both are competent singers; Leanne is particularly confident and poised. It’s always a pleasure backing competent vocalists, and you notice the difference voice makes in the responsiveness of the crowd. So, overall a much enjoyed evening.

Toucani are John Baczynski (tenor), Daniel Wild (piano), Brenton Holmes (drums) and Eric Pozza (bass). Tony Edwards (trumpet) sat in for his birthday bash. Toucani backed the Ancient Mariners, who are Leanne Dempsey (vocals) and Brad McDonald (vocals).

Jam jar

I got to the second Jazz at the Folkus jam session on Saturday. It was not quite what I had expected. The music was fairly mainstream, rather than out-there modern, but jazz has a history, and it’s made up of a rich tapestry of historical styles. These were some that I love, but don’t always indulge in.

The host band for the event was the In Full Swing big band. It’s a community band based in Belconnen. It’s made up of about 20 players and is led by Nathan Sciberras. This is swing, the popular music of the 40s or thereabouts: think Benny Goodman, Duke Ellington and the crooners, but with some popular modern classics. I love this stuff, and it’s become very popular again with the emergence of Sinatra-stylists like Michael Buble. The repertoire ranged from Cry me a river and Fever, through Lady is a tramp, Georgia, Night and day and Take 5, to Song of the Volga Boatman. All good stuff and the playing was satisfying. There was a very reliable beat from a capable rhythm section, and some good swing and interplay from the horns. The intonation was a bit sus at times, but the charts were professional, the dynamics were strong and the enjoyment was obvious. I took note of Samantha Seckold on bass and several solos, Lauren Black on vocals and Nathan himself as leader. It was a nice one all round and much enjoyed. Congrats to the band. I’ve grown to admire such community activities in recent years. Oh brave new town that has such things in it!

Next came my band, Toucani. We were Trio Toucan, but we recently added a sax so the small name change. We chose to do an originals set, but did sneak in our theme-tune standard, the lovely and slightly kitsch Out of nowhere. Most of our originals are penned by Daniel, who writes harmonically rich tunes as only pianists can. I wrote two others, and these are typical bassist tunes: latin and rhythm-based but with reasonably complex call and response melodies. I like to think we introduced a harder post-Coltrane edge to the proceedings, and hopefully our mistakes just appeared as early-60s explorations. Toucani are Daniel Wild (piano), John Baczynski (tenor), Brenton Homes (drums) and Eric Pozza (bass).

Kooky Fandango followed with a very different set. KF seem to me a bridge to more popular and bluesy styles, which makes them a sellable proposition, only enforced with the female vocals up front. The players are good, the style is clean and precise, the levels are restrained. This is quite a professional outfit and was popular with the audience. Peter is a well-known local player on his 6-string Alembic bass. I especially noticed one massively fast, flamenco style solo. Cameron is classically trained so his intonation is always good and Nathan Sciberras (leader of In Full Swing) reappeared on baritone sax giving some interesting counterpoint. Courtney has a strong and deep female voice, which suited the blues-influenced style. Kooky Fandango are Courtney Stark (vocals), Cameron Smith (trumpet), Nathan Sciberras (baritone sax), Peter Barta (bass), George Cora (drums).

A jam session ended the day with players from the In Full Swing small jazz ensemble. The tunes were obvious ones of the period: Summertime (hate it!), Caravan (love it!), Don’t bug me, hug me (more 12 bar jump blues than jazz), and Don’t get around much anymore. It was a bit too subdued for me, but I warmed to the head of Caravan, which seems to be impossible to play without passion.

I hope to see a wider mix of players at future jams, including a smattering from the Jazz School. James LeFevre might bring a few along when he provides the host band in a few months time. The venue is roomy; the beers are club prices; the entry is free for musos; there’s a very impressive PA and a big car park just out the door.

Jazz at Folkus jams are held the third Saturday every month, 2-5pm. Entry free for players; otherwise $12/$10. Folkus Room, Serbian Club, Mawson. Queries contact Cameron Smith 0422 842 605

Nice to get out again

It’s nice to be out gigging. It’s been a long while between drinks, but I’ve managed a few gigs recently and there are good chances of more coming up. The pic is Trio Toucan playing a few days ago at JusQytly restaurant in Manuka. We got in a several originals along with better known Real Book tunes, so that was a double plus. Hopefully there’ll be many more gigs, but I’ll do my best to keep up CJ over the next year and promise not to feature my own bands too often.

Please keep me informed of gigs for the CJCalendar, regular or one-offs, and if there are any budding authors out there, get in touch. I’m happy to publish articles and pics on jazz in Canberra and break the tedium of Eric’s ongoing musings. For now, have a great Christmas and New Year, and looking forward to another year for jazz in Canberra.

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

Camembert flowing freely

By Daniel Wild

From Puccini to Rheinhardt, Italy to New Orleans, Monsieur Camembert's arrangements are free flowing and how the leader keeps it all in check is anyone's guess. Each song forms a narrative but leaves space for improvisation, allowing each voice to speak.

Pic borrowed from the band's webpage

The audience was unusually quiet during the first set. At first the band seemed to wonder why they weren't responding or dancing, for this music infuses the body and gives elan to the soul, causing it to dance in the eternal embrace of the bacchanal.

Only after the second set, when bellydancers Gypsy Noir and the Canberra Dance School whirled like dervishes by the stage did the ambience heat up. Rita Markwell, Min Mae and Fiona MacPherson impressed the some band members sufficiently to perhaps hint at future events in a similar burlesque vein.

The group's tone palette varies. Silveresque piano runs converse with eastern European guitar lines. Mark Harris steals the show with his brilliant parodying in tenor. Matt Ottingnon on sax puntuated the air, and swapped to flautish whispers and musings on the clarinet. He is proficient on an array of wind instruments, and was surrounded onstage like a footsoldier with advanced weaponry.

The blend of culture in Monsieur Camembert bestows on this music a refreshing vitality and universal appeal. My only groan is with the Southern Cross Club's reticent attitude to standing capacity. But ultimately the club is to be commended for sourcing fine gigs. Mike Nock was a similar success for them. The venue's acoustics are excellent and the lighting and stage setup is fine. I look forward to more great performances here.

M. Camembert's homepage

M.C. on MySpace (listen)