Composition is key

Composition is key to me. I love the standards and they are a great pleasure and terrific vehicles for the individual statement that is the solo but original compositions are special. Calum Builder presented his quintet at Smiths and the music was all freshly composed, virtually all by Calum but one co-composed with pianist Tate. I heard references to floating Coltrane and Jazz Messengers and '60s/'70s so it was grounded in history. This is not music that's unexpected. There are comfortable and satisfying references but it's an individual statement none-the-less. I was impressed. They played 8 charts, including a "suite" (Calum doesn't like to call it that, but he forgot to offer an alternative title) which extended for 23 minutes and ran through a series of conceptual segments. The other tunes were shorter, perhaps 8-10 minutes, often with a core of obligato bass groove and passed solos. The heads were nicely stated by trumpet and alto, or sometimes just by sax or by piano and sax. Tate provided introductions and solos of deep intent and exploration and I'm trying to place the fabulous comping. Tate is noted locally for good reason. I liked Brendan's bass. I've heard it described as melodic by a respected source, and he certainly impressed me with a freedom over bars and through chords. The whole band was a little uncomfortable to start, but settled through the first set and were sitting comfortably into that set. It says nothing to give the titles - Serpent or Narcissus or My Lord or Nebraska. I really enjoyed a beautiful ballad dedicated to Bernie McGann, What if I called again. Apparently Calum spent considerable time on the phone to Bernie. Tate's floating introduction to Narcissus with a backing of bass octaves on 1-3 was lovely. Despite his busy accompaniment, Sean's drum solos surprised me when they stepped out. Eddie provided trumpet parts for heads and laid some effective solos, even hinting at New Orleans in the first blues. This was some capable writing, some superb piano, and when the band settled, some effective ensemble work.

Calum Builder (alto sax) led his quintet with Eddie Bernasconi (trumpet), Tate Sheridan (piano), Brendan Keller-Tuberg (bass) and Sean Connaughton (drums) at Smith's Alternative Bookshop.

Farewell

Simon Milman has hands in many pots. And it's not just that he's part of them. Someone mentioned to me at Simon's farewell event at Smith's that he will be missed, not just for his playing, but for his leadership. Simon's active; he creates things - music, combinations, events, lots of CDs - and these things range over a broad field. I've mostly caught him doing jazz things, in the jazz scene, but he's active with the Canberra Musicians Club, which is more indie and JJJ, in Afrobeat and Latin and more. I first caught him playing Ornette on acoustic bass guitar in a trio. His playing is well influenced by these sounds, so his standards take on a sophisticated, harmonically indistinct flavour. But he also plays I-V in its place, and there was a bit of apt simplicity in his playing with Nick Combe's Nonet at the farewell event. There was some of the free improv too, in a short appearance as Erebis ("Australia's number one [Japanese] free improvising Elvis"). He introduced Properties of two particles with a bowed first particle lasting 1m8s and a pizz second particle lasting 47s; micro, virtually subatomic. I missed a gig where Erebis performed macro, apparently playing an hour with Miro Bukovsky. FWIW, I preferred the second particle with some harmonic movement, but mainly diatonic with large intervals. Nice. Erebis was followed by obviously close friend Alice Cottee, voice and guitar on some interestingly constructed songs of passion and intriguingly revealing metaphors. She spoke of meetings of creatives and this fitted the part: both fascinating and, I can only guess, searingly honest. It's so often the woman with the guitar who does just this for personal matters. Then some jazz that's close to my heart: Nick Combe's nonet playing five of Nick's charts. Bluesy and Mingus-inspired; five horns out front for plenty of interesting solos and the interplay of solo and accompaniment and the enhanced richness of melodic statements. Quite blissful to my ears. They played a slower break-up song; a lighter 8-to-the-bar song of joy and running in parks; one of rolling arpeggios speaking to a poem by TS Elliot; a quieter one called Shoosh (perhaps Shh...); a final upstart blues stated last time around with charted dissonance. The solos were intelligent and searching throughout which is also a tribute to Nick's charts. Then another SM alter-ego: Coolio Desgracias appearing with Housemouse. Local rap in kimono: driving in Queanbeyan, jazz clap, local themes. Amusing, clever, rhythmically insinuating and neat with triplets, although this seemed a pretty casual performance for friends with a degree of laxity. Rap's somewhat a return to memorised epics, so it has unexpected traditional roots amongst its irony and quips. Much enjoyed. I didn't stay for the later DJ set. Simon will be much missed by wide span of the Canberra musical community but movement is life. Best of luck to Simon but he's a local, so he'll be seen again.

Simon Milman performed Erebis (bass). Alice Cottee performed solo (vocal, guitar). Nick Combe (baritone sax, compositions) led a nonet with Tom Fell (tenor), Josh Hart (trombone), Alex Raupach (trumpet), Eddie Bernasconi (trumpet), Matt Lustri (guitar), Damien Slingsby (piano), Simon Milman (bass) and Aidan Lowe (drums). Simon Milman (Coolio Desgracias) and Matt Lustri (Housemouse) rapped.