It was the end of recitals for the year, and there was a good humour and a buzz in the studio when Fourth Degree Byrnes played for ArtSound on Friday night. There were nerves (to be expected at a live studio broadcast) and some seriousness, too, but the mood was pretty light otherwise. Neveen Byrnes led a team of fellow final year students for an end-of-week outing.
They played several originals by Neveen, Lost and found, Ignorance is bliss and one that was not named, one original by Andy Campbell, Milk (amusingly followed on the night by that well known Stanley Turrentine swinger, Sugar), as well as several standards: Jobim’s Triste, Invitation, Wayne Shorter’s Juju, and interestingly, a funky, bass-heavy Miles Davis/Marcus Miller tune from the Amandala album, Hannibal. This was home for Stu, the bassist, who I’ve mostly seen slapping and popping with the Commercials. He’s an excellent slapper, and perfectly capable in this more traditional environment, but I’d guess fingerstyle isn’t his first love.
This got me thinking of musical personalities. Our musical personalities are formed from what we hear, what we learn, as well as being an expression of our broader personalities. Musical and general personalities may seem to others to be in opposition or in harmony, although I expect they will always be related somehow. Excuse the amateur musical psychology, but I saw Neveen’s musical presence as more reticent and steely, somewhat introspective, and quite a contrast from the buoyant, perhaps jubilant and overflowing style of Andy’s guitar. These were different takes on the music (both valid but clearly different), and I could hear the changes as the solos passed from one to another. Stu was more restrained in this context than his slappy, funky self (I noticed real concentration on his face during Invitation) and Hugh displayed quite an quietly outspoken style when he broke into blatant tom rolls and fills that featured richly in some solos.
It was an entertaining and artful show and a fitting end to the musical year. You have a chance to catch the band again this coming Tues at 9pm in the Trinity Bar, Dickson. The Trinity Tuesday scene sounds great (I haven’t got there yet during this incarnation). Do yourself a favour and go down for the free night and discount drinks.
Fourth Degree Byrnes is led by Neveen Byrnes (tenor sax) with Andy Campbell (guitar), Stu McKnown (bass) and Hugh Deacon (drums).
Fourth Degree Byrnes is Neveen Byrne’s platform for original tunes. She plays with several of the mature players from the school. I only caught one short tune from the band this day. It was their last piece: a moody original with keyboard and guitar solos and gave and weighty melody overlaid by Neveen on tenor. Intense and interesting stuff; I wish I’d heard more. Neveen Byrnes (tenor) played with Andy Campbell (guitar), Andy Butler (piano) and Hugh Deacon (drums). 
I also just caught a snippet of Matilda Abraham’s Quintet (festivals are for socialising, too). It’s an impressive group of players, although a few seemed less prominent this year. This outing was pretty much heads down in concentration, although was leavened by Matilda’s singing and some of her original songs. Matilda Abraham (vocals) led a quintet with Andy Butler (piano), Carl Morgan (guitar), Chris Pound (bass) and Aidan Lowe (drums). 
Chris and Aidan reappeared with the Recording Ensemble. I really enjoyed this performance. It was lively, engaged with the audience and the band was obviously having a great time. The Recording Ensemble plays original music and arrangements by its members like Reuben Lewis’s arrangement of a Zappa tune and Nick Combe’s Shhh…. I was particularly taken by Luke Sweeting’s composition Sound canvas. I’d listened to the modern remake of Gill Evans, Re-Birth of the Cool, on the drive down to Moruya, and I felt it was reminiscent of the charts, with voice leading and harmonies and melodic organisation harking to that era. The ANU Big Band was also at Moruya and I missed them, but I didn’t miss the ANU Commercial Ensemble. Big, bright, brassy, funky, cocky. All those things, and danceable and lively too. The large ensembles are always highlights.
The ANU faculty was also represented. Two sets struck me as calm, controlled and from the mind. Mike Price (guitar) led his trio with Eric Ajaye (bass) and Col Hoorweg (drums). Mike plays some originals but also re-envisioned standards, with admirable and very cool interpretations. This is thoughtful and intellectual fare, not for the dancefloor, but for savouring some perceptive soloing. Matt Thompson (keyboards) led an organ trio in another controlled and minimalist performance. This was left hand organ lines, revisioned and leisurely bebop, slow but melodically challenging right hand lines. John Wilton (drums) accompanied, along with Max Williams (tenor) who matched with lines where every note felt individually selected.
