Bassic matters

Two outings had me contemplating bass playing.  First up was a duo gig with James at Gundog Estate, playing a few hours and chatting with some of the visitors and staff.  The sound was so soft. I thought we were hardly hearable yet we were asked to turn down, but we were playing just feet from a table of ten.  The low volume was a pleasure and an opportunity to hear so softly, to contemplate melody and solos and passing ideas, to then talk of matters of performance, so this was wonderful and enjoyed and we played well on some James originals and a string of luscious standards.  Standards can be so beautiful and touching in an open, theatrical way, with fascinating intervals and lovely chordal movements and even opportunities to dirty things up with some dissonance.  A musical pleasure.

Outing no.2 was a three bass get together with Juliet and Jeremy before Jeremy's move to NYC to study bass.  It was a chat on technique from basic to advanced, cycles of arpeggios to upper octave pentatonics, exercises and training resources, mostly lesson-like with a string of interesting quotes (Jeremy is great on meeting renowned players and has fascinating quotes to share) and then a short spot of sharing instruments and jamming together.  Three basses with Juliet's Adam sitting in on piano for a bit.

It all may seem a bit incestuous, as are discussions in orchestral sections within and between sections (eg, basses often talk to basses and somewhat to cellos) but it is such a valuable self-led lesson experience.

James Woodman (piano) and Eric Pozza (bass) performed at the Wine cellar at Gundog Estate in Gundaroo.  Jeremy Tsuei, Juliet Flook and Eric Pozza (basses) talked and played bass, sometimes with Adam Hilhorst (piano).

Feel like a pro

Feel like a pro?  Nothing to do with money.  What I loved was a program that we could get together in a week, admittedly just for one half, but we had just one fairly short orchestral rehearsal, then a rehearsal with the choir, then a playthrough warmup on the day, on the mighty and very pro Llewellyn stage, then the gig.  We were a group of 19 strings from NCO invited to play with Qwire, our local LGBTQI+ choir, unauditioned but taking on significant complexity and very varied works with considerable competence.  The first half had Qwire on stage unaccompanied, singing a range of musics from 1100CE to today, a mix of renaissance, classical and well arranged pop.  Hildegard von Bingen and Jennifer Cook and John Tavener, through Arthur Sullivan to Dylan, Enya, Jake Runestad (there were some names I didn't know), Cyndi Lauper and kd lang, with an entrance song gifted from Aboriginal supporters.  You can feel the power and insinuousness of a great pop song: I'm singing some still.  The second half had us strings up on stage.  First with an intro of Elgar Serenade for strings mvt.2, very lovely and larghetto.  Then our major work, Ola Gjeilo Sunrise Mass, a modern work in four movements with latin text by the Norwegian composer.  Not difficult for the basses despite some powerful and driving lines and much counting but some very tricky string patterns working essentially as effects for strings down to cellos and some lovely solo violin from concertmaster Laura Lay.  It reminded me of The armed man that we played with CCS in 2025, modern and seemingly fairly simple while immensely powerful in the whole.   The concert was a pleasure, the choir members were inviting and thankful for our string presence and the audience response was resounding, so a very pleasureable outing of considerable artistic value.

Canberra Qwire performed at Llewellyn with strings from the National Capital Orchestra under Callum Tolhurst-Close (musical director).  Concertmaster was Laura Lay (violin 1) and the bottom end was Lizzy Collier, Mel Fung and Eric Pozza (basses).  

Artemis 2 Triptych

Artemis 2 - Earthrise

Artemis 2 - Dark side of the Moon

Artemis 2 - The search for water on the Moon

My Artemis 2 Triptych, after a visit to NGA and James Turrell "Within without" Skyspace.  As Artemis 2 circles the Moon.  Without excess seriousness.

Many happy returns

Once again our great joy to return to Red Hill Primary School with memories of kids and Sausage sandwiches without the politics.  But this only gets a post if we play with someone new.  This time, it was Gus Henderson and it all worked a treat, including a take in a New Orleans groove.  Always a pleasure.

Tilt Alt. comprised James Woodman (piano), Eric Pozza (bass) and Gus Henderson (drums) at RHPS.  Thanks to Lin for the pics.

Something else

James and I enjoy our occasional duos at Gundog at Gundaroo.  Piano and bass is such an open sound with such an opportunity to hear and respond and hopefully invent.  I guess because neither steps on the other in frequency and the lack of parts just allows concentration and comparison.  Whatever, I was a little surprised to have Ornette called, I thought pretty daring for such a venue, but this was The Blessing and we'd played it before and it's got a groove if interrupted that works.  So Ornette for comfy venues.  I checked the Allmusic review for Something else, the album The Blessing appears on and an old fave I haven't heard for a while and the argument is that "in its angular, almost totally oppositional way, it swung and still does".  Couldn't agree more!  As for the award-winning riesling, something special.

James Woodman (piano) and Eric Pozza (bass) played at Gundaroo.

Country but close

James and I have done a few duo gigs and we had another, again at the Cork St Cellars, Gundog Estate at Gundaroo.  It's a busy little winery outlet and bar and we got to play for a few hours and it was seriously good fun.  There's a clarity without drums; perhaps a case of less is more.  Every note, every idea, (every slip-up) is crystal clear.  We just played a string of standards and more up-tempo blues and the like and one original and the audience appeared oblivious but we had several people coming up for a chat after.  It's not a scene where response is immediate and ecstatic (not pub rock!) but there was awareness and understated appreciation and that's a pleasure.  And Gundaroo is actually surprisingly close despite its very rural demeanour.  Now, we just need a name for this little combo.

James Woodman (piano) and Eric Pozza (bass) played at Cork St Cellar at Gundog Estate, Gundaroo.

Busy-ness

It was a busy musical weekend, what with 2 jazz gigs and a Beethoven 7 rehearsal and later a concert and a committee meeting.  No pics for the two gigs, but a big thanks to Hugh who sat in on drums for one and who was playing the second when I was sitting in.  My sit-in was with Simon Halabi at Blue Eyes, that intimate cocktail bar.  Simon sings, too, so not just the standards as instrumentals but also a few borderline jazz songs, like Peggy Lee's take on Fever.  Nice and well received.  Not an easy lug and only more demanding given ongoing works in Garema Place (more ongoing works...) and rain and a very confusing parking station.  But two gigs much enjoyed.  But no pics on either night...

Tilt Alt played Dickson Taphouse on Friday night with James Woodman (piano), Eric Pozza (bass) and Hugh Magri-Bull (drums).  Simon Halabi (piano, vocals) played Blue Eyes on Saturday night with Eric Pozza (bass) and Hugh Magri-Bull (drums).

The Pots+ 16 Aug

The buzz is beckoning!  Nice to see Chamberlain proudly promoting The Pots in currently warmer climes, on the waters around Rhode Island, no less.  Thanks Chamberlain!  In the meantime, the buzz is on, at least at my house, with the release of The Pots - Flesh on Saturday 16 August.  It's not quite as explicit as you may surmise despite MegSee feat. as Sappho!  In summary, The Pots joins with MegSee to consider the themes of love and desire through the writings of several historical authors, Sappho and Euripedes, Dante and TS Elliot.  But so as not to not limit our vision, we also hear of Hoodies and 18yo experience and the inevitable political rant and throw in some tortured Renaissance song.   You'll find The Pots on all the major streaming platforms and Bandcamp or just follow the link below to the ePea page on CJ.  And to Chamberlain, enjoy the swim and thanks again.

ePea on CJ

Our annual songs meet

I love my jazz and other gigs but my longed-for favourite each year has to be NCO with CCS.  That's a full orchestra and choir at Llewellyn; 120 or more on stage and some fabulous music.  I've played a string of these including Beethoven, Carl Off, Monty Python (?!), Haydn, Brahms... Playing in such orchestral strength with a capable massed SATB choir is a huge thrill.  This year was perhaps more modern, story-telling, filmic with 2 modern pieces.  First up was the occasionally jovial recounting of the experience of migration to Australia and the surprises and loves of process and outcome created by 2 immigrants, composer Elena Kats-Chernin and librettist Tamara-Anna Cislowska, telling stories from Chinese migration at the time of the gold rush, post-WW2 migrants, Vietnam refugees and more.  The lyrics were lengthy and not always so easy to catch but suffice to recognise an ode to Vegemite and an immigrant's surprise at topless bathing at Bondi.  How Aussie!  The bass could be repetitive, other than for one fiendishly tricky quick movement, so perhaps the voices defined the pleasures, but I languished in the pleasure and good humour of it all.  Then an interval and surprisingly similar approach (repetitive accompaniment, filmic accompaniment, more complex lyrics with inviting melodies) from a one-time member of Soft Machine and now composer of a British Classic FM Hall of Fame no.2 hit.  This was the Kosovo-inspired mass for piece, The Armed Man by Karl Jenkins.   Again inspiring if mostly for the voices, but quite touching and apt for out times.  Suffice to say, this was again a deeply thrilling outing and another for the diary.  And as for the post-concert party and Martin's dip, well, that's another story of joy.

National Capital Orchestra and Canberra Choral Society under Louis Sharpe (conductor, NCO MD) and Dan Walker (CCS MD) performed Human Waves and The Armed Man at Llewellyn with soloists Jillian Halleron (soprano) and Liam Meany (cello) and Bilal Berjaoui (vocals) performing the Call to prayers.  The bottom enders were Henry South, Juliet Flook, Mel Fung, Jeremy Tsuei and Eric Pozza (basses).

CJ's 20th

It was just a week or so ago when I published CJ's 3,000th blog post.  Today I/we celebrate CJ's 20th birthday.  20 years!  Tons of time and energy and a decent record of my musical journey over those years and how it crossed with Canberra and the Jazz School and travels and my later interests in classical and recording.  I write up most of my musical events and some other public events that I might attend other than some Tilt jazz gigs which are not too common but would be too seriously indulgent.  Sadly, CJ has missed my recent mix/mastering of multitracks from Bevan at Smiths because those home-based duties don't quite fit as an event although they are a fascinating task, a revealing way to attend a gig ("All about the bass") and a nice gift to the performers.  I notice the seriousness of my commentary has declined over time given I've said most things many times, but the effectiveness of the record persists and the list of performers just keeps growing.  I always referred to these posts as reports rather than reviews anyway.  As for records, CJ has 6,787 index entries as I write this, including band names, performers' names, locations outside Canberra and various other items.  And there's Canberra Jazz Group on Facebook which sat a few years after its creation in 2018 then took off as a gig promotion site and today has 2,437 members.  Thus it goes and it goes on.  I can't imagine life (or remember gigs) without it.  I hope you enjoy it as much as I do.

Repertoire

Then Maruki performing more repertoire.  I love Maruki for its brave approach to repertoire, the full programs, the unflinching takes on the hardest works.  Again a threesome of overture, concerto and symphony: Mendelssohn Midsummer Night's Dream overture, Beethoven Piano concerto no 2 Bbmaj and Tchaikovsky Symphony no.1 Gmin.  Never flinch, even with the demands of this Tchaikovsky symphony.  This was a doozy, all chromatics and glorious melody, not least on bass and quick lines and odd timings and frantic stringendos and ever trustworthy brass who saved the day for me a few times.  This was not easy and I'd not managed too many rehearsals.  Next to the Tchaiks, the Mendelssohn seemed trivial if exciting and the Beethoven, played by Cornelia Dragusin, was beautiful with a Mozartian delicacy and danceability.  But as ever, to reach the end of such a program and such a demanding composition as the Tchaiks is a pleasure and satisfaction.  We are a welcoming unauditioned community orchestra and this is as hard as it comes but just having learnt this and the rest of the repertoire that we work through is a great satisfaction and an opportunity to get into the guts of a work and know it in a way that listening just doesn't provide.  And the size of the orchestra just confirms I'm not alone in this pleasure. PS.  The pics are from the warmup, not the concert, of course.

Maruki Orchestra preformed Mendelssohn, Beethoven and Tchaikovsky at Albert Hall under Kristen Simpson.  The Beethoven concerto featured soloist Cornelia Dragusin (piano).  Bottom enders were Owen Livermore and Eric Pozza (bass).

Six strung

Tilt is going increasingly Alt.  This time, James was off for Easter and it was Mark and Jeremy, in this case playing guitar rather than Shostakovich bass.  It was pretty quiet, even in Dickson, given a double holiday weekend and Good Friday.  Even this heathen feels Good Friday may be an unusual night for a jazz gig but there are plenty who won't recognise it.  And guitar was quite a change from piano, so this was a different gig.  All standards which we both recognised or knew and a desire for dirt, as in effects, but maybe we ended up pretty mainstream clean.  Jeremy's solos and accompaniments were great but quite different but it brought out some melodic solos on my part that I really enjoyed.  Whatever, a great and much enjoyed night out.  We'll do it again sometime.  And great chatting to a surfeit of trombonists, one local (TraXion?) and Sophia.

Tilt Alt. was Jeremy Tsuei (guitar), Mark Levers (drums) and Eric Pozza (bass).

Good out

Good to get out for some jazz.  I'm busy with all manner of classical music, which I love and some of which I play, but jazz remains a long love and this was a corker.  A corporate gig with a contented and welcoming audience and we play our music, standards and James', and the sound is good and we are playing well.  Relaxed, welcoming and a nice beer and some nibbles.  Such a nice night out, playing, if too rarely listening these days. Close to home, too.

Tilt were James Woodman (piano), Mark Levers (drums) and Eric Pozza (bass).

Bass alt.

It feels a strange outcome for me to be bass in the string section assisting at a jazz big band gig.  But there I was.  Nice that the jazz bassist, Evan, did a great job, and I could enjoy a listen in.  I liked the role of providing colour and hits and tonal washes against the drive and excitement of 13 or so wind instruments and a 5 part rhythm section.  This was ConneXion Big Band and we were playing the return gig of their 64-Bit Big Band Videogame Music Night.  So there were costumes and music very unlike the clicks and buzzes I remember from Asteroids.  Games are different now: sophisticated and complex and filmic with some great composition.  We played two sets, mostly all in, about 1/3 with just the big band, several tunes with singers.  It was a load of fun and, at least earlier on, a challenge for the syncopations which can be a job to read.  I was blown out by sax and brass hits, some blaring guitar solos, some great bass, nice drums and percussion, a few memorable solos from all manner of horns not least from Justin B upfront.  Interesting, too, to see the mix of ages, with some very capable players of little ages, not least Nicole who sat in front of me.  And it all sat together in the end and the audience and band enjoyed it all and I was perfectly happy to sit in the accompanying strings.

ConneXions Big Band performed computer games music at the Belconnon Community Theatre under Aaron Michael (MD) with singers Zanelle Ramsay-Daniel (vocals) and Justin Buckingham (vocals, alto, MC).  Bottom enders were Evan Teece and Eric Pozza (basses) and Nicole Philipse (cello) approached the bottom end.

Doing the drum rounds

I'd played with Hugh Magri-Bull but it was only at a jam session and a jam session is just a few tunes on different gear and nothing like a decent gig over three hours.  This was a Tilt outing at the Dickson Taphouse and it's a great place to up the energy for essentially jazz musicians.  Most of the DT bands are blues or rock so the background is noisier and the audience is involved.  At least the audience that's close in and there are spots throughout for eating, listening, sunning and more.  We had some recurrent listeners from pervious gigs and some musos and dancers to please and even a few staff of Better Music.  Otherwise, a little quiet given Enlighten Festival but much enjoyed.  Hugh was our latest invitee in the drum stool and a worthy player, inventive in solos and responsive in ensemble.  A great night even if I forget a pic until too late.  And many thanks to Hugh.

Tilt performed at Dickson Taphouse comprising James Woodman (piano), Hugh Magri-Bull (drums) and Eric Pozza (bass).

Planets and other pleasures

I haven't played too much jazz recently, but when I have it's been satisfying and hugely pleasurable.  Maybe some time away makes you hark for the steady swing.  Dunno, but my walks have been more interesting with nice voice leading and the like, so great.  This was our long-standing gig at Red Hill Primary School.  It's a visit to the past for me, having had two boys at the school, now capable professionals, and not just a year or so out.  It's history for James, too, as this was the 10th anniversary of our first gig together, here, at RHPS.  We played with sit-in drummer Somesh Putcha and he plays with another bass mate, Jeremy.  This is so Canberra jazz, actually, being a small world.  Jeremy is our man in NYC right now, and Somesh is off sometime soon after several previous visits.  World jazz is also quite a small world.  But we enjoyed some intriguing takes on standards and some very rhythmically sharp drum solos and a few of James' originals and sausage sandwiches and beers and active kids and chattering parents.  Such a good night, especially without threatening rain (we've had some very wet nights here in the past) and with some clear skies for one or two planets (Venus and Jupiter are bright in the West and East and Saturn's there too at the moment).  So all was well and much enjoyed at this always-pleasant community event. Obviously we forgot the selfie.

Tilt Trio performed at the Red Hill Primary School end-of-year gathering.  Tilt were James Woodman (piano), Eric Pozza (bass) and Somesh Putcha (drums).

FWIW

I've been too short on jazz gigs recently and even had to pass on a few due to travel and more.  But I did manage one little one with old mates Mike Dooley and his son Anthony and Richard Manderson.  Just standards but with some structure and guidance from Richard and some nice solos.  I have been somewhat unsure of soloing of late but it's a confidence thing.  I just settled this time and the grooves were good and the solos interesting and plenty of capable chops around so all was well.  So nice to to spend some time with this odd flame, jazz.  So just a pic.

Richard Manderson (tenor), Mike Dooley (piano), Anthony Dooley (drums) and Eric Pozza (bass) played a jazz gig.

Repeats

It was the second time I'd played Beethoven 5 and the program was a blast.  The first time was my second classical concert, playing with Maruki, and coincidentally, the first outing with Maruki for Kristen, then cellist, now conductor/MD.  That was 2005.  As for the program, it was a typical Maruki onslaught: Elgar Pomp & circumstance 1, Holst Jupiter, Mozart violin concerto no.5 Amaj with Georgina Chan as soloist and B5.  Interestingly, Georgina also has a history with Maruki and John Gould, Maruki's creator, now deceased.  She started lessons with him at age 4, and has played variously with the orchestra and how now completed degree and masters at the Qld Con. Whatever, this was a large outing, around 60.  I just managed to sit-in at the last minute, given travel and other, and wasn't quite prepared enough.  There are tricky lines in all those pieces, not just Beethoven.  Mozart had its slick fills; Holst various odd timings and Elgar just ecstatic and immediate.  But that's why these are so intriguing and welcoming.  We did it with some success if not perfection, but also immense pleasure and lots of, as they say ugly-ly these days, "learnings".  There's an understanding of a work that comes through the preparation and performance that I find deeply satisfying and transformative of how you hear it.  I've mentioned this to others and it's a common awareness.  At least for me, following the dots on the page while listening, then repeating those tricky parts and, from some jazz training, noting the diminished lines and the like, is the most you can do to get close to a piece.  And every one of these was a work of some genius.  Just wish I'd had more preparation.

Maruki performed Elgar, Holst, Mozart and Beethoven at Albert Hall. under Kristen Simpson (conductor) and soloist Georgina Chan (violin) for the Mozart concerto.  The bottom enders were Owen Livermore, Jeremy Tsuei and Eric Pozza (basses) with assistance from the bottom-end brass sitting adjacent, Karren Crosthwaite and David Hodgkinson (tubas).

no.9 no.9

The Pots album no.9 is released today, 25 October, on Spotify, YouTube, Apple etc and my fave Bandcamp.  The title is Indulgences and it aptly features a somewhat decrepit angel on the cover.  The reference?  "The damnably bad government is gone but its replacement has little imagination and small ambitions. So what to write about? That's the challenge and, thus, forgive the indulgences".  Six tunes of which two with lyrics; five from my hand and one fabulous Bach counterpoint to settle the journey.  Please have a listen.  The full album is streamed on most sites.  Special thanks to Annabel who innocently prompted this new album.

Indulgences / The Pots is the ninth album by The Pots. Have a listen...

The Pots on ...

• Bandcamp > https://thepots1.bandcamp.com/
• Spotify > https://tinyurl.com/2p9252z4
• YouTube > https://tinyurl.com/ym2zj9t5
• Amazon Music > https://tinyurl.com/ssp43jv4
  

Also on Apple Music and many other streaming sites

In the meantime, I got a press release for the launch of Remind Me Not To Forget / Tamara Murphy and The Golden Tone Retrievers released 18 Oct 2024.  Just for fellow bassist Tamara I promised to mention the launch here.  So .... Featuring Tamara (bass, vocals) with Fran Swinn and Theo Carbo (guitars) and Maddison Carter (drums).  Not strictly jazz but heavily jazz influenced pop/rock/electronica/folk. Launch gig (for those in Melbourne) is at Northcote Social Club, 1pm, Sun 27 Oct.  Best of luck, Tamara.

Released

I've worked with Alan Hinde and Stuart Long for many months to achieve this album and then I was in Japan when the release happened.  Too bad but unavoidable in the circumstances.  Nonetheless we remain pretty chuffed with the outcome.  Alan is a composer and has released considerable music before.  This album comprises the first 12 of 24 preludes in all the major and minor keys, plus one added tune.   Another album is coming (mostly already written) with the remaining 12 preludes/keys.  Stuart performed the preludes and I recorded, mixed and mastered.  The delay was a function of Stuart's time to practice the tunes amongst his other matters.  And they were not all so easy; some were positively challenging.  But they came into being, the CDs have been printed, the preludes are in the process of being made available as printed music and the recorded versions are about to be distributed to a music-hungry world.  Perhaps a music-hungry world with a surfeit of calories.  CDs are available from Alan and the album will soon be available on the various streaming services.  Check it out.  Stuart describes Alan as our local Chopin and he's the one who'd know.  A lengthy and satisfying project. 

Water Works (album) is a series of 12 preludes (and an additional odalisque) composed by Alan Hinde (composer), performed by Stuart Long (piano) and recorded by Eric Pozza (mix/master).