Canb Jazz Fest 1

Thanks to Nigel and Beth and Bevan for the latest take on a Canberra Jazz festival.  They have the venue, a main stage and several smaller spaces, so this is very likely to be workable and the return next year had already been announced.  Great!  And Day 1 was a friendly, often inspiring outing.  First up was Tom Fell and his quartet which I raved about when I saw them recently.  Tom with Damian Slingsby, Nick McBride and James Luke on bass this time, so a classy and capable outfit playing music from Tom's new CD and at least one standard, Isfahan, with a plea for peace in our times.  Not the only performance that had such a theme appear.  I wrote sweet, correct, understated, adult, but there were some spots where it let go too.  Tom's soprano sax is his expansive, dirty, dissonant instrument: his tenor seems to pop up for more balladic numbers.  Then upstairs for Mic Knight trio, a reformation with offsiders who have now left Canberra for Melbourne given the ructions at ANUSOM, Evan Teece and Oliver Stott.  These were more let-go, unrelenting takes on standards, Almost like being in love, Green Dolphin St, Stella.  I like the unrelenting outlandish playing and but personally melted over James Luke's certainty and clarity with Tom.  Brett Hirst was to offer that later, too.  Then Wanderlust, Miro's fabulous, band of stars with the most delicious originals melodies out, not least Bronte Cafe, once regular star on ABCRN.  I had to leave towards the end.  I managed ~35mins and they had only finished their second tune.  This was Miro with James Greening, John Mackey, Alister Spence, Fabian Hevia and Lachlan Coventry.  Miro said they hadn't played together for 18montsh but you wouldn't know it.  Smooth, inventive, glorious harmonies on delightful melodies, almost casual passing of solos, with Miro looking around in admiration and joy.  It all started with a considerably free piano solo, then into the bass groove and head.  Solos from front line, Miro essential, James playful, John nicely developed but ultimately explosive.  Perhaps piano and maybe bass and drums, then to the head.  Then a joyous chatter and into Bronte Cafe.  It's a wonderfully joyous tune, again Miro and explosive John, but amusingly then James bringing it down with his communicative leading solo.  That really was a wonder, and perhaps then Fabian's solo.  Not sure.  But suffice to say I dreaded that I had to go, but some duties called.  

Tom Fell (soprano, tenor) performed with Damian Slingsby (piano), James Luke (bass) and Nick McBride (drums).  Mic Knight  performed with Evan Teece (bass) and Oliver Stott (drums).  Wanderlust comprised Miro Bukovsky (trumpet, flugelhorn) with James Greening (trombone), John Mackey (tenor), Alister Spence (piano), Lachlan Coventry (bass) and Fabian Hevia (drums).  They performed at the inaugural Canberra Jazz Festival at Smiths. 

Birthday

This was Geoff's Jazz at Smiths and it was a special celebration, of the wonder of the long-standing band Wanderlust, and also the long-standing trumpeter who brought it together around 35 years ago in Sydney, Miroslav Bukovsky.  Anyone who knows Miro loves him so this was a special event.  And Wanderlust is such a perfect name for the music they play.  The tunes virtually were all by Wanderlust, often by Miro himself, and they were expansive, with only 9 tunes over two sets totalling about 2 hours.   So there was time to explore, another aspect of good travel.  But most obvious were the tunes themselves that spoke of a wide world, one samba in 3, one mambo, one from Burundi, one speaking to South Africa and Nelson Mandela, a final one just called Peace please, which speaks to all time and very much to now.  There was one cover, astonishingly called Wanderlust by Duke Ellington, a far more relaxed, luxuriant tune with nothing like the exploratory quest of this band, but still superbly lovely, as Ellington just is.  The band was superb, of course, understated, easily spoken, intriguing in harmony and melody, and settling into the most immersive grooves.  Which reminds me of a discovery I made listening to Miro's compositions, that trumpeters play melody so beautifully and thus write lovely melodies.  I guess it's related to the harmonic series that's the nature of technique on brass.  If not recorded already (surely it must be!) I reckon there's a PhD in that.  So this was all good nature, a party surrounded by admirers and friends and wonderful good will.  It's a memory for the ages from a band lasting ages.  Dry wit and so much joy.  Happy birthday for Miro's 80th and long may Wanderlust and the wanderlust remain.

Wanderlust performed at Smiths for Geoff's Jazz and Miro's 90th birthday.  Wanderlust are Miroslav Bukovsky (trumpet, flugelhorn), John Mackey (tenor), Alister Spence (piano, keyboards), Jeremy Sawkins (guitar), Fabian Hevia (percussion) and Lachlan Coventry (bass, guitar) with guest Tom Fell (baritone, soprano saxes).  They were joined by Alex Raupach (trumpet) and Richard Johnson (bass clarinet) for some final tunes.

Contemplations

It's thanks to Covid that we have this album and this CD launch at the Drill Hall Gallery.  Mark Ginsberg and Ryan Grogan had worked together before but Covid brought the two to collaborate at a distance and ultimately this recording was born and this tour performed.  They recorded with Fabian Hevia and Brett Hirst and Brendan Clarke played this tour.  It's beautiful, contemplative music made up of frequently complex harmony and lovely, expressive melody, often played in unison on bass and sax or even bass and piano with an emerging sax, but perhaps the defining approach, expressed several times by  Mark, was the use of a percussion rather than drum kit for rhythm underlay, so we had cymbals and cajons and bells (I was entranced by one that rang forever and was gloriously clear) but not the push of kick or accent of snare, so the percussion just interweaved with the music and, again as Mark suggested, we the audience had to place the beat.  Well, yes, it was softer and Fabian is a wonder with mind-bogglingly complex interleavings and polyrhythms, but there was rhythm throughout and I thought it was clear for all.  Ryan mentioned later that their music also appeals to classical listeners, and I can see that.  This was not bop even if some melodies and even the lineup was somewhat in this space.  Mark even asked about the genre.  I dunno, but it was jazz and it wasn't at all like the tune they played in honour of Wayne Shorter.  Mark also mentioned the pleasure of playing the tunes daily even if not all aspects of touring are so pleasant.  I understand.  Their arrival here was to a small, integrated jazz world, if to a soft space which felt quite loud to my ears with only one (bass) amp.  But that's the Drill Hall.  It made for a unified if soft sound.  Otherwise, this was a great pleasure, wonderful reflective music, some fabulous playing and a warm atmosphere.  I loved this.

Mark Ginsburg (soprano, tenor) and Ryan Grogan (piano) launched their CD Oceans together at the Drill Hall Gallery.  Also on the album were Brett Hirst (bass) and Fabian Hevia (percussion).  Brendan Clarke (bass) replaced BH for the tour and this concert.

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Then old friends Wanderlust.  Now this was amusing as well as inviting and attractive.  Firstly, the tunes are to die for.  We hear a small number mostly at every Wanderlust concert, but I never tire of the colourful melodies and  insistent, somewhat international grooves and the three part front line and the solos.   They are in their 30th year but not playing too much, given Covid.  I imagined them flying by the seat of their pants but this is jazz.  Miro organising, passing or calling for solos, those unique feels, the amusements of James and all, really.  When do you see the saxist putting down his glasses on the stand, the trumpeter picking them up, the trombonist checking them out too, all while a delirious solo is taking place, with all in place for John when he's finished, you can only smile in collusion.  Then glorious startups from Fabian, all percussive rather than drum-styled, an unexpected solo started from Brendan when the audience didn't seem to want an end to the concert, and those delightful and expansive solos and fills from Alister.  Mightily musical but so much more; an intensely joyous event but also just lovely, inviting tunes.  How can you not love this outfit?

 And now for something completely different: The Morrisons.  This was classy country/roots/whatever.  Nice harmonies, up feels, fiddle and a string of stringed instruments, banjo, two guitars, a mandolin or similar and bass with slap-style playing. Someone mentioned Australian bluegrass and confirmed the lyrics and stories and compositions were local.  That's good.  I liked this outfit, capable and lively and happy.  Also nice was the location in the Lord Anson pub, so a chance to eat and have a beer.  A very different experience to the church-cum-concert hall events and a chance to chat with neighbours.

 Wanderlust and The Morrisons played at the inaugural Orange Winter Jazz Festival. Wanderlust comprised Miroslav Bukovsky (trumpet, flugelhorn), James Greening (trombone), John Mackey (tenor), Jeremy Sawkins (guitar), Alister Spence (piano), Brendan Clarke (bass) and Fabian Hevia (drums, percussion).  No names given in the program for The Morrisons.

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And then to finish day 1 I attended two concerts and stayed throughout.  First up was The Vampires.  They are favourites from some time back and no less today even if they started a little wary on the day.  They've changed and interestingly, as drummer and sole original member on the night, Alex, said, there are many Vampires out there.  This time three of four were unavailable, two overseas and one with Covid.  Noel was new to me on bass but apparently he'd filled this role often enough and looked comfortable.  Tom had some warning of his call so seemed pretty prepared.  Tessie had very little, being a last minute Covid cover.  So it was a tentative start but by the end they were blowing with relative comfort and great joy.  The Vampires are like that.  The grooves are steady and lively and even mesmerising and the heads are genuinely attractive melodies with playful twists.  Tom played with effects which gave a studio feel.  I much enjoyed the interplay of Tom and Tessie and their capable listening on collective improvs.  Collective improvs are not too common, being  trad-styled, but I like the sense of danger and throwing caution to the wind and the challenge to players.  I also enjoyed how Noel approached his solos, not so much creating melody or counterpoint, but exploring and emboldening the rhythm.  Nice playing, increasingly settled and that sense of playfulness that I enjoy from The Vampires.

And finally, The catholics.  Note the spelling, of course.   Here's another band that's been around for yonks.  And another band that entertains, playing attractive tunes with virtuosity but keeping the pleasure in the listening.  But I was somewhat surprised by a meditative, pensive band this night, less excitable than I remember.  Just gloriously soft and pensive to start, although they wound up to Wes Montgomery later.  Hilary Geddes was sitting in and her inventiveness and versatility were self-evident.  Sandy was her eternal joyous and virtuosic self as is ever our venerable James on trom.   Fabian and Hamish lay a more rich rhythmic underlay given drums and percussion and it's always pleasant and strange that more don't take this path.  I guess there's more to pay, though.  Gary mostly played accordion but took to the grand piano beside him occasionally.  Lloyd oversaw the group as host and bassist.  There is always joy in a catholics concert and this also had a pensive side.  Lovely.

The Vampires and The catholics played at the inaugural Orange Winter Jazz Festival.  The Vampires comprised Alex Masso (drums), Noel Mason (bass), Tom Avgelikos (trumpet) and Tessie Overmeyer (alto).  The catholics comprised Lloyd Swanton (bass), Sandy Evans (tenor, soprano sax), James Greening (trombone), Gary Daley (piano, accordion),  Hilary Geddes (guitar), Fabian Hevia (percussion) and Hamish Stuart (drums).

Venerable at 30

Wanderlust is 30yo.  That's quite an achievement for a band.  Miro's group that has changed a little but not tons over the years.  Still that delightful sweetness, that glorious sense of melody, that easy virtuosity with no pretense or hubris.  This is music to delight in.  They played their 30th anniversary show at Street Theatre 1.  The sound was a delight: I noticed when I tried to track each instrument, guitar, bass, drums, piano, perhaps sax soloing, and they were all there, clear and ringing, but nothing in the way.  Then the playing.  Of course, Brendan was a blast, but from a bassist that is without saying.  And his offsider, Fabian on drums, also a blast and an intriguing opening to the music of South America.  I hadn't realised he'd escaped Pinochet; I knew of Miro's escape from Russian tanks entering Prague.  It was a different Australia then.  Then Alister blew me out with the most alacritous jazz lines but also roguishly-perpetuated dissonance.  That is serious harmonic chops.  And working across the front line, John has those harmonic chops too, that we know, but my bliss was hearing his solo on Wanderlust, a tune by Duke Ellington.  I knew the tune, of course, but not the title.  John played the most unexpected and melodically glorious solo, so much in the tradition of the originators.  Bliss.  He told me later he'd been thinking who he would emulate and reeled off a string of Ellington's performers, what, Johnny Hodges, Harry Carney, Ben Webster?  That's listening.  Then Miro, of course, gloriously melodic on flugelhorm, more stretching on trumpet.  I was noticing the sound helped me experience these guys more than I remember.  James is always a blast and an amusing stage presence, and his playing this night was overwhelming at times, deliciously tonal but also playfully quick and lithe playing to the trombone's strengths.  And finally Jeremy, always certain and clear and crisp, not so fast as certain and tuneful.  Fabulous band.  They played only 7 tunes in their 90 minute allowance, so plenty of solos shared around.  The audience delighted in it all.  They were mostly compositions by Miro.  Miro's melodies are delicious and this band plays the heads with authority, sweetly tuned but also expressive.  Bronte Cafe, Delicatessence, Mumbo Gumbo,  Pressure makes diamonds.  Mumbo Gumbo felt like a 12-bar at first, but I ended up counting 16+1.  An interesting structure.  Fabulous tunes that even found an outlet on radio as program themes (Bronte Cafe on ABCRN).  And that Ellington tune, Wanderlust, and one each from Alister and Fabian.  Then an end.  But an invitation for drinks to celebrate.  Great night of music and even a beer to finish off.  Other than the difficulty getting a pic (yeah, I know, it shows above!), all was well with the world.

Wandlerlust played their 30th anniversary concert at the Street Theatre.  Wanderlust were Miroslav Bukovsky (trumpet, flugelhorn), James Greening (trombone), John Mackey (tenor), Jeremy Sawkins (guitar), Alister Spence (piano), Brendan Clarke (bass) and Fabian Hevia (drums).

Wander at will

I did just see them passing by - I have a few times - but I was blown out as always. Miro got Wandlerlust together for a gig at the Jazz Haus and it was a stunner. From the first bars of a lengthy, adventurous piano solo from Alister to open up, through the renowned Wanderlust songbook and a few newbies and a delightful standard by Duke Ellington called Wanderlust, no doubt, this was a thing of wonder. Bronte Cafe is famed not just for the band but for its incarnation as a theme on ABCRN a few years back. Dakkar just sits luxuriantly. There a good bit of Africa here, with one from Jeremy (missed the title) and Miro's Pressure makes diamonds (a fabulous title dedicated to Nelson Mandela). And deep grooves with Delicatessence and the latin/New Orleans Mumbo Jumbo. And that deliciously beautiful tune, again by Miro, Peace please, which they played as an encore and profound ending. This was Wanderlust as lustful as I've ever seen them. Gloriously tight and intoned heads that sit over infectious rhythms; James with his ever-gleeful presence and deeply satisfying solos; John and Brendan as the local visitors and insanely effective; Alister as deeply, harmonically investigative, Fabian all infectious latin, Jeremy often unobtrusive then guitar clean and melodic. Megan asked about some of the background, where these overly capable musicians on riffs spelling complex African grooves. Backing solos or backing out completely for solo bass or drums or guitar to play genuinely alone. Just so good. Great players know when to talk and when to sit. And again, those perfect heads. Someone mentioned there's not much ensemble playing. No, not written. These are mostly infectious grooves with gloriously melodic heads and space for improv that they leave to these great players. Did I say I enjoyed it? Hugely enjoyable tunes from the best of players. What's not to like?

Wanderlust appeared at the Jazz Haus. Wanderlust were Miroslav Bukovsky (trumpet, flueglhorn), John Mackey (tenor), James Greening (trombone), Alister Spence (piano), Jeremy Sawkins (guitar), Brendan Clarke (bass) and Fabian Hevia (drums).

Another day, another suite

And here I am thinking jazz suites are rare. This was Lloyd Swanton's composition, mostly music, but with accompanying and explanative spoken word and projected photographs. Again, with a collection of some of Australia's best jazz-oriented musicians and even a classical mate of mine, James Eccles, of the Australian Haydn Ensemble and Noise and more. The Ambon suite told the story of Lloyd's uncle, Stuart, who was sent with Gull Force to Ambon Island in WW2 to protect against Japanese invasion. It was a woefully inadequate response, a doomed action, and Stewart and Gull Force ended as prisoners of the Japanese, enduring harsh treatment for several years, Stuart dying of beri-beri just the day before the end of the Pacific war. Tragic and sad for family. Interestingly, while researching, Lloyd found webs of connections, not least that the father of legendary Melbourne jazz drummer, Brian Brown, had also been prisoner and died on Ambon. It's a small jazz world. We have heard much of military matters recently as the Abbott Government lavished on the centenary of WWI, and I just hope this worthy project got some of that funding.

So what of the performance, of itself and inevitably with some comparison to yesterday's jazz suite by Stu Hunter? There were spoken words but not singing; music that was both more traditional (mirroring the music of the time) but also noise, of dismantled wind instruments and tapping various other instruments and bass with rattling metal attachments; the playing on all was impeccable; I drooled over the silver sheen of Michel Rose's pedal steel guitar (more complex than I'd imagined: 20 strings, 9 pedals, 8 knee levers? I have loved this instrument since hearing MR with the catholics - he told me that was early '90s; he'd left to play with Lee Kernaghan); I enjoyed the classical and authentic touch with James E playing uncle Stuart's actual viola; I was entranced by yet another solo by James G played with his uncommon abandon; I enjoyed some heavy beats in the second half, although these were not common, and some exquisite four part wind passages, and otherwise some delicate percussion; a passage of tunes by the strings was lyrical, just bass, viola, pedal steel, ukelele and guitar; I was intrigued by the uncannilly authentic sounds of tropical birds and forest in one passage; I was blackly amused by some stories, like the unknown brother flying low over Ambon Harbour for sheer bravado and surviving Japanese ack-ack, or of the meat-case bass. This was aural colour and historical song, religious faith and humour in adversity all in a true family story. There were even pics of Stuart's gravestone, now updated with military honour, and of his diary now resident at the War Memorial. This was touching, educative and musically satsifying, so a great success all round from a wonderful set of mature, communicative musicians and a emotionally touched composer. A second wonderful jazz suite.

Lloyd Swanton (bass, composer) led the band in the Ambon Suite at the Street Theatre. The band was Lloyd (bass), Paul Cutlan (saxes, clarinets, recorder), Sandy Evans (saxes), Alex Silver (trombone), James Greening (trombone, cornet, tuba, baritone horn), Fabian Hevia (percussion), Ron Reeves (kendang, percussion), Hamish Stuart (drums), James Eccles (viola), Michel Rose (pedal steel guitar), Jon Pease (guitar), Sam Lemann (ukelele).

Real adults

James Greening and mates came to Canberra and it was obvious the adults were in charge for the night, at least at the Gods. This was Greening from Ear to Ear. All light and jovial but supremely skilled and in command and well prepared. I wrote notes: respectful of tradition, deeply skilled, open, unpretentious, respectful, communicative (everything other Canberra- visiting adult-pretenders are not). But back to the music. The Gods is undergoing renovation, so we were in the Arts Centre foyer. More square, damply reverberant but nicely fat sounding with the audience. The band was close in one corner. This was a 7-piece band with three horns in front and the writing showed, as did the excellent musicianship. These guys are top of their trade and the harmonies were blissful and the grooves sat with precision, unstressed, seemingly so easy, but that's the skill showing. Playing music as it should be played is deceptively easy, but it takes years to master. These guys had it. These are Sydney masters and I was entranced. The first set was James' Tam O'Shanter Tales suite. He wrote the suite while in Tasmania and it's dedicated to the musical influences in his life: his family, Monk, his wife, Jackie Orszaski, with some less obvious insertions, like Parallel lines (a fabulous little big band chart) and Hazara (of more political relevance). I was stunned by the ease of interaction and perfection of the harmonised sound. These were not easy charts, but always played with easily but sweetly. Then the solos. I loved the Hammond tone from Gary and the fabulously twisting percussion from Fabian. James' solos were perfectly formed and Andrew's were a lesson in melodic statement, embellishment and development. I have admired his sax playing for years and I learnt something here on the night. Paul was more abstruse, less a matter of formal development than an emotional journey. Steve Elphick was sitting in for Brett Hirst and set some firm grooves and was nicely considered in his solo. I don't remember Hamish taking a solo, but every bar was rich with variation and connection. Another lesson. The second set was a few tunes from band members. Fabian played guitar on Domingo, simple descending chord changes over a medium tempo 4 with an Euro street vibe imparted by lovely accordion from Gary. Andrew's 22 degree halo featured Fabian's percussion solo that floored me with its delayed beats and falling rhythmic complexity (Latin training required). Then another then Lowdown, again from Andrew, funky with an odd count. There were changes of instruments: Rhodes - Hammond - accordion, or bass clarinet - tenor, or alto - baritone, or trombone - sousaphone - pocket trumpet (that's an odd combination and quite a challenge of sizes) or double - electric bass. All fabulously played, tight as, perfectly harmonised and blended. This was fabulous and about as good as it gets.

Greening from Ear to Ear played at the Gods. GfE2E are James Greening (trombone, sousaphone, pocket trumpet), Andrew Robson (alto, baritone sax), Paul Cutlan (tenor sax, bass clarinet), Gary Daley (accordion, organ, piano), Steve Elphick (bass), Fabian Hevia (percussion, guitar) and Hamish Stuart (drums).

Big night out : indie

There’s been so little jazz recently so I was annoyed to have conflicts. We’d had tickets for the CSO concert for some time so I expected I’d miss Lucian McGuiness, but his gig started late and I managed at least one set (and a few bars of the first).

I really liked this. Lucian lives in Amsterdam these days, but wrote and arranged a set of tunes with Sarah McCallum (aka Miss Little) over the Net. There’s a lovely mix of influences here, rockabilly, jazz, indie / folk, so I could imagine all sorts of audiences. It would be as presentable on JJJ as it is on ABC RN and perhaps insinuating itself onto Dig Jazz. And beyond all this, there’s also a gentleness with the two percussionists in place of drums: much softer, less insistent, although I also heard some heavy deep kick-equatable thumps from the cajon at times. Sarah’s voice is not one of power and there’s no scat. To my ears, this is the indie influence, that soft, folk-influenced style that’s so popular these days. But she also takes an intriguing harmonic role, often spelling chords with the two horns, virtually taking an instrument. The song titles, and what lyrics I heard, suggest some fairly serious personal messages shared through story-telling, but I didn’t catch much. I loved the guitar solos of chunky tone and indeterminate pitch, all country licks and vibrato chords, although like everything here, always with a jazz awareness and training. Zoe and the rest of the band sits into this gentle country-presence over a sea of percussion which was present and underlying but not at all prominent. These are capable but unassuming musicians. OF all the players, the two horns said jazz to me most of all. Both played solos of complexity although not abandon, and their written lines were sweet and of one mind and comfortable in the context. It might sound simple and relaxed and even playing at hick at times, but there’s a good deal of sophistication to do just this. I enjoyed the gig immensely. The instrumentals I heard were a touchingly beautiful take on Leonard Cohen’s Hey that’s no way to say goodbye as a slow shuffle and Bowie’s Oh you pretty things. The storytelling originals included Suzanne (not Leonard Cohen’s) and Victoria and This train (you rode). Tom Fell joked that Tom Vincent would return the Loft’s jazz cred when he played there the following week, but jazz is a many splendoured thing these days. Music is all just 12 notes anyway (admittedly a simplification) and it’s all merged together these days; all part of the luscious sounds we call music. This is a very attractive and amenable and subtly sophisticated branch. Loved it.

My Goodness McGuiness was led by Lucian McGuiness (trombone) with Sarah McCallum / Miss Little (vocals), Dan Junor (alto), Julian Curwin (guitar), Zoe Hauptmann (bass), James Hauptmann (percussion) and Fabian Hevia (percussion).

Bringing the world together

There were many representatives of the Australian world jazz community at the Loft when the Vampires came to play. Normal Vamp bassist, Alex Boneham, was not available so the catholics were represented by Lloyd Swanton and Wanderlust by Fabian Hevia (who happened to be in town). So we could expect reggae and Latin American pulses. I hadn’t expected Stanwell Park. I love the eclectic crosses of styles that we call world jazz - this blend of jazz sensibility with rhythms and grooves and melodies from beyond the Euro traditions. The visitors did a great job. I was floored by Lloyd, lightly played and fed by profound reading and easy playing chops. These were not easy charts to sit in on. Fabian mentioned 13 and 7 and perhaps 9 and I heard some very complex and unexpected syncopations and contorted ostinatos. Lloyd pulled them off with relaxed glances at the charts; stunning. Drummer Alex is all eyes, watching with a blank face and spelling out understated but nicely contorted rhythmic responses to the front line. Fabian was restrained. He’s never too overstated, and a few passages on cajon were richly defining of the tunes and enhancing of the grooves, but he seemed pretty unobtrusive this night.

The Vampires front line comprises the two composing horn players. Jeremy, on alto, had written most tunes; Nick, on trumpet, several others. They played 12 tunes in two sets. The tunes were short and purposeful but also richly embroidered and worldly attractive. Life in the fast lane could have been written by Ornette, and thinking back, Ornette’s influence was clear elsewhere, in rabid free, unison calls and a bluesy perception. The first tunes were warm-ups: few chords, easy changes, lovely simple and attractive melodies. I’d been surprised by the first tune starting with solo bass, given Lloyd was sitting in, but he is a master. The third tune was all Dave Holland to my ears: slower, less bouncy, thoughtful and opening up with rich solos and a counterpoint melody. Chellowdene was a bouncy uptempo 2-feel. Chellowdene is a street in Stanwell Park. I don’t know the reference but the patter suggested it’s shared, at least by Fabian. Euro schmarp was a take on adopting Norwegian fashion. Heston was rich with collective improvisation in the front line over a call-response bass line. On through the second set to the Ornette references. Jeremy’s alto was embroidered, frequently running solos with chords that moved chromatically, sidestepping the harmony, so plenty of dissonance. Nick was less dissonant but fast, clearly spoken and passionate. Trumpet and sax each lend themselves to their own statements and melodic inventions.

The Vampires were on tour for their third CD. I’m on tour as I write this, the day after the gig and on the XPT to Melbourne. The Vampires seem a long way away, but the world is all around us and the melodies and sympathy of this music, and the sheer skills and musicianship are still in my ears. This was wonderfully attractive music, wonderfully played, but also with skills to dream of, to luxuriate in the grooves and dream with the melodies. How deceptively easy it all is.

On this occasion, at the Loft and on this tour date, the Vampires comprised Jeremy Rose (alto), Nick Garbett (trumpet), Alex Masso (drums) with Lloyd Swanton (bass) and Fabian Hevia (percussion).

Headhunters

Headhunters must be one of the most famous names in the last 50 years of jazz. It was a big day in Canberra when the Headhunters and Marc Mittag came for a workshop and some gigs. Sadly, Canberra didn’t quite recognise the opportunity. The workshop was pleasantly attended but by no means full, and the story was the same for the first of the two gigs. The small numbers gave us an unusual chance to interact with the band, but made work harder for the musos who had to make it all happen with less audience vibe. But nonetheless, the playing was fabulous: granite-solid groove with a rich texture of rhythmic and melodic improvisation threaded through the infectious beats.

The Headhunters played on several albums with Herbie Hancock in the 70s. They were controversial at the time and are still doubted by the legionnaires of the jazz tradition, but some of their tunes are amongst the most played in the jazz repertoire (eg, Chameleon and Watermelon man). The current Headhunters comprise two members from that period: Mike Clark (drums) and Bill Summers (percussion). Jerry Z (keyboard, bass) is a recent member, and Marc Mittag (guitar) is an Australian who admired them from afar, and has recently come to record and tour with them.

The workshop included several tunes, as expected, and these impressed from the outset with this fabulous, solid, melange of rhythms that merge into that trademark relaxed and rock-solid groove. The workshop was a chance to ask questions and converse with the band members; about listening, technical issues, why they do it, that sort of thing. Here are some things I learnt. “I’ll stay home” means to play really straight when noone else is solid enough on the groove. That was new to me. “Why play the music they do?”, “Because I couldn’t get a job in a bank” (or playing pop music in Madonna’s band … “everyday you get the pay”). Techniques of playing bass on organ footpedals: heel & toe technique; doubling up on keyboard for sustain, bass bombs for percussive effect. Use of jazz and matched grips on drums. Solos as conversation: listen, respond, instigate.

There’s plenty of humour with these guys, and this showed later in the gig as well: about spiders and kangaroos, about birthdays, about those Headhunter mega-hits. But hidden amongst this humour there was a serious side, too. Bill Summers talked of companionship and support and running the world at a personal level, with not too much time for politicians (but then who in the US would have in recent years), and Katrina, and some issues of spirituality. I felt this spirituality at various times: a sweet voice singing African song later at the concert; the immense beauty of Afro-Cuban rhythm which he so capably displayed by playing a string of snippets (songo, rhumbas, etc) on congas as a demonstration. I didn’t know this, but there are over 500 of these rhythms, they have to be learnt in an order, and they all represent things in the natural world, like ocean or grasses or mountains. This was a stunning glimpse of these profound rhythms that we know too little of. This little display by Bill Summers was worth the day for me.

The gig was more polished, but still retained the interactions, the humour and the spiritual side. There were some hits of the 70s. There were plenty of tunes by Marc Mittag that took advantage of this groove. There was even a “Happy birthday, Mama” blues to celebrate Mark’s birthday, and his father-to-be status (due in a week or so … best of luck from CJ). More humour introduced the blues: “What key, Mister Z”, “G”. Funk physician, Dr Groove, Mike Clark has apparently played with everyone (except Tiny Tim and Boy George). He talks of asking Elvin how he did such and such, being around when the ride took its role in modern jazz, and the like. This guy was there at the start of funk/jazz (specifically Oakland funk, out of California). I heard complex syncopation, sharp rudiments cutting across and within the beat. Bill had talked of him playing 7,4,9 against the beat, and unexpected counting against complex patterns. Certainly all that. It was a masterful display and got me thinking of this master touring with Hancock, then playing at Top of the Cross. It’s so lucky to hear such a master at close quarters, but also so like the unsparing market system which is musical performance that he was there rather than the Opera House. Bill was the other side of this percussive avalanche. I know too little of Afro-Cuban rhythm structures so they seem deceptively simple. But the earthy hits of the variously pitched congas and cowbells appeared through the more prominent drums to complicate and enrich the rhythm, and this was blissful. Bill also sang a few tunes with a surprisingly sweet and satisfying voice, and was truly profound on an African song where he was accompanied by Fabian Hevia. Fabian was travelling with the band and sat in on percussion for this tune. A pianist-friend of mine was at both sessions and spoke highly afterwards of Jerry Z and the independence that was needed for his organ/bass role. He’d never seen better. The tone of the bass pedals is big and fat and soft, not like an acoustic or electric bass, and was boomy for the first part of the gig, but it was perfectly expressive and effective. I lost some of the synthesiser solos, because the balance seemed a bit low after the organ passages, but they were both insidiously involving and intelligently exploratory. There were simple repeated lines, and out discordant lines, and they fitted smoothly into the groove and within the structure of the solos. Structure was an issue raised by Marc during the workshop, and was demonstrated clearly in the concert. Start understated, leave style and speed and space for development, build a solo. Like those wavy lines in books that talk of solo development. It was this that was on view along with Mark’s catholic background of country and rock and various other styles he’s played. It’s the nature of a working and session musician that he’ll have this background, and this is what I heard, along with his unpretentious, unaffected tone. He was obviously enjoying this time with the masters, and doing a capable job on his own part.

Two other items of note. Firstly, this was a generous concert. The guys played 2 sets of 90 minutes each, reaching into the morning hours. Chick Corea was like this when I heard him many years ago. It’s a level of energy and application which overwhelms. Almost too much. No shirking, and always with that intensity which is clear in the masters. Secondly, this is the first concert I’d attended where you could buy a copy of the concert straight after the gig. Bill Summers had a portable digital recording rig sitting behind him, and two large diaphragm condenser mics at the front corners of the stage, and was burning autographed CDs of the first set after the gig. This is musos taking back the business.

There’s something really true to this groove. It’s got ebb and flow; it’s got levels of interaction and learning and listening. It’s more than what the few underlying chords might imply. This is rich and satisfying groove, and I’ll long remember this day of immersion in the Headhunters.