Cognisance

Gareth Hill was back in town with a band he called Slow Code, if only for the night. But what music! Since the virtual demise of jazz in Canberra following the virtual demise of the School of Music, touring visitors are increasingly rare and especially intellectual and musical challenges like this. It was difficult stuff - Jack Beeche was warning me of that before, as one of the performers. Gareth was launching his CD called Slow Code. It's a product of his PhD research into the music of Henry Threadgill, renowned contemporary jazz composer. I once caught HT in a workshop at the Jazz Gallery in NYC and reported it on CJ but I found it pretty metaphorical or maybe over-encompassing stuff. The spiel for Gareth's gig spoke of alternative harmonies, form modulation, improvised counterpoint. Jack showed me a chart and it comprised three staves of heavily syncopated lines for bass, guitar and sax. I had the impression Aaron on drums was also looking at some chart, perhaps that for the others. But this was a base only, a guide for playing or improvising at will. I think Gareth also gave advice on order of solos, etc, so that's the form modulation. He certainly spoke of HT changing tunes most time he plays them. As Jack joked, this was not a gig for after a few drinks. I might add, for the audience too. This was highly rich in harmony and dissonance, fleet of foot with change and improvisation, highly interactive with guides but also glances. Everyone played with great competence. Gareth, with his lovely rounded tone, not particularly speedy but wonderfully inventive in intervals and rhythmic play; Dan all speedy on guitar, dropping in harmonics or finger picking clusters; Jack with a wonderfully satisfying alto tone, sometimes quick, often slower and considered and thoughtful; Aaron strong but anomalous with unexpected hits and only toying with standard grooves. It was a stunningly inventive and difficult but satisfying exploration of rhythm and harmony and interplay. Mostly the tunes were Gareth's following HT, other than Dan's Sermon and Jack's Scooping and Monk's Ugly beauty, perhaps via Bernie McGann. A fabulous and enlivening detour through some of the most inventive of music.

Gareth Hill (bass) launched his album Slow Code influenced by the music of Henry Threadgill at Smiths. The band was Gareth with Jack Beeche (alto), Dan Mamrot (guitar) and Aaron McCoullough (drums) and was called Slow Code, if only for the night.

Gareth and the Demographix

Miro joked about the demographics when he introduced the tune, Old folks, at the Gods. There was a knowing chuckle that passed around the room as most people recognised themselves. Excepting Gareth. Bob made a few mentions of Gareth. This is bassist Gareth Hill, ex-Music School and CSO and now a successful player in the Melbourne scene. He was playing with Bob Sedergreen and Ted Vining in TV's trio and I've heard him with these players before. These are seniors of the artform but strong contenders still in the modern-mainstream scene. Gareth's long hair may contrast with some thinning in band and audience, but he joins in with verve and skills and some wonderfully busy and expressive solos. Bob, too. I call this mainstream because it's less dissonant, the tunes tend to American songbook more than jazz tunes (although they appear too) and there's a real melodic nature it all. Bob's a master of playing with these tunes, chordally but especially with his wonderful playfulness of twists and discoveries and quotes and even tones. One solo was scat pure and simple, from keys: never seen that before. No shortage of smiles. The music is a platform and he's diving with twists and turns but always with relevance if with wiggled paths. Great stuff. Ted lays down beats, divides the time. He soloed increasingly regularly into the second set, with cymbals and colour or toms and rhythm. The first set was the trio for Naima, Waltz for Debby, Secret love (bass laying down the A-section melody), a traddie, some originals and others. Then Miro sat in for the second set for Stella, Milestones (really nicely done and interesting, perhaps laying a query against my mainstream description), Old folks, Alone together, Footprints and a final blues. This was not all out and floating, but deeply capable and experienced. Mainstream as you like to hear it.

Ted Vining (drums) led a trio with Bob Sedergreen (piano) and Gareth Hill (bass) at the Gods. Miroslav Bukovsky (trumpet) sat in for the second set.

Daniel plays our lost Parisan café

Daniel Hunter was back from Paris for several birthdays and a jazz wake for Smiths and perhaps more. The venue was full (I almost didn't get in and a few other regulars gave up) but that's life in the big smoke. Perhaps Smiths should have seen crowds more like this earlier and they may not have closed. Sad. But good to hear Daniel again, this time touring with a band of mates from Melbourne, the Longhairs (joke). Jokes were a topic of the night (joke). Really, the music was the topic and this was convincing stuff, reminding me of West Coast contemporary, perhaps Pat Metheny. Guitar music, changing bar lengths especially in the head, plenty of changes but few obvious cycles. I'd heard a few of these tunes from his CD and there were some new ones: one as yet unnamed; another called Asylum with an obvious theme and angry, 4 chord rock resonance. Another is Sco-feel with obvious references, and I could feel the Scofield dirty guitar edge here and elsewhere. I liked the echo that held after some tunes, too, although effects, certainly sustain, were not too obvious. Drummer Nick was a hit with much rock-influenced concept and conviction and confident execution. Bassist Gareth is an old hand and local favourite. He's showing great firmness and professionalism after several years in Melbourne. Tenor Jack built his solos nicely from evident to rabid fast passages. Really nice, and especially so in harmony with John Mackey who sat in for two tunes. John was the teacher of several of these students and deserves their obvious respect: he played a storm and read post-bop easily: admittedly fairly scalar lines but at presto speeds. This was Circulation, like the others a composition by Daniel. Born in the 80s was Daniel talking about his generation with a manic, discordant concurrent solo by tenor and guitar. But perhaps it was Quiet, a pretty, floating tune in 3/4 with melody syncopations that I most took to. But then, at the end, I wondered at the quality of these guys: the neat reading, spot-on timing, interesting charts, substantive solos. This is the product of our jazz education, now looking to me to be pretty much lost to Canberra. And our Parisian café, Smiths Alternative, along with it.

Daniel Hunter (guitar, compositions) led a quartet with Jack Beeche (tenor), Gareth Hill (bass) and Nick Martin (drums). John Mackey (tenor) sat in for two tunes. For the last Thursday jazz night at Smiths Alternative.

Studio to stage

Blow sounded more like a recording than a live band. The horns merged into notes like brothers and the whole was unhurried, unfrantic, even though there was plenty of energy and action. Peter's sax had a tone that was full and he'd sit long on notes then respond with a simple line or a flourish, but never, ever out of place. His phrasing was a lesson in modernity. Ian's flugelhorn could blow like bop and it did sometimes, but it could also drop into rubato and verge on free. The era suited this, modern cum post-bop, some fairly obvious changes, some ostinato-based tunes, some standards of the era, You don't know what love is, Naima. I immensely enjoyed a Jobim tune, known as Double rainbow or Childrens' games or Chovendo na Roseira (it appears under all these names on YouTube). Also a final tune that was floored me with understated beauty, a floating rubato feel with closely felt melody played by the front line. I've never called anything spiritual here (too new age for me), but this was pretty darn close. The first set was more solid, post-bopish, ostinato bass; the second more open and perhaps adventurous. Their You don't know what love is started as a tenor ballad with a bridge of Coltrane swells, then moved to flugelhorn playing fleeting staccato against drums and piano. Bass entered and the band moved through various feels - swing, cacophony, rubato, double time swing, some latin comping and more - finally into a final piano solo of octaves and another cacophony. All right on the night, I expect. All very comfortable but musically daring. Ian explained he had played with James for 25 years, sleeping on floors, playing daily for hours. Ted and Bob had played together longer. Our Canberra intern, Gareth, is the newbie but was neat and evenly solid toned and often unobtrusive and modally exploratory in solos. Ted's drums were deceptive; open your eyes and they seem unspectacular; close them and they sometimes writhe, otherwise sit with intent. Bob's piano was probably the most bubbling, irrepressible instrument on the stage, not so much with comping, which was wonderfully rich in colour and modal movement, but more in solos or some single note backings that were as much concurrent soloing played busy and mobile. I liked this band. It's an era I love and I could close my eyes and it sat with studio-like discipline but also artistic intrigue. It takes years to sound this comfy. These guys had it.

Blow are a Melbourne institution. Ted Vining (drums) leads with Bob Sedergreen (piano), Peter Harper (tenor), Ian Dixon (flugelhorn) and Gareth Hill (bass).

Happy Birthday Harry

The music for Harry’s birthday was jumpy and oblique. Tim Willis was the guitarist and composer for The End and Harry was Tim’s nephew. I’m not sure how this music fitted a sixth birthday (this is not the Wiggles) and also not sure how you contemplate modern jazz that produces these sounds. This is such a different music from Miles or, it seems to me, even one of their cited influences, The Bad Plus. I thought perhaps there was surf music in it or rockabilly and even metal. Tim just called it jazz and I was admonished by a mate for seeking categories. Whatever, I find all this refreshing, and this no less than other new forms. There were solos, especially against long crescendos. There were some very complex unison ostinatos, behind drum solos but also elsewhere. There were passages of immense quietness which surprised me given a quintet lineup with two horns. The music wasn’t really loud, even if there were some spots that were. There were drums that were immensely controlled or alternatively explosive. There were guitar and sax solos that were malleable or even purposely indecisive in pitch and richly changing in perverse harmonies. There were melodies that went with and against harmonies, and ones that responded to rhythm section calls. There was guitar that was woody and echoing and dirty as but also simply melodic, even in keys that clashed dissonantly with underlying chords. There was repetition in the rhythm section, with e-bass clarity on Fender Jazz, yet there was also zestful simultaneous soloing on two horns with guitar. There were lots of odd time signatures and changes despite an unnerving apparent simplicity. There was all this, over entertaining melodies that spoke of simplicity and humour. But this is not simple. Not really like The Wiggles.

Great show. There’s a huge variety of jazz happening these days with all historical forms existing together in a formless postmodern quantum realm with influences from wherever. This music that embraces the quirkiest to the most serious and the endless combinations they make. What is jazz? Who knows, but ya gotta love it.

The End comprises Tim Willis (leader, guitarist, composer), John Felstead (tenor), Jack Beeche (alto), Gareth Hill (electric bass), and Nick Martyn (drums).

Western Cultural Icon live

It was the Canberra Symphony Orchestra Gala last night and Megan and I got early tickets and close seats. I‘d expected something special, but was nowhere near ready for 300 performers and Beethoven’s Ninth. Reading in preparation, I realised just how central it is to modern European culture, so much so it’s taken as the anthem for the EU. And it’s so filled with quotes that it’s locked into our consciousness.

I was dumbfounded. Powerful, passionate, intense, moody, emotionally dense and overwhelming. I spoke to several people who talked of tears in their eyes or goose-pimples. Certainly, it’s something different and new to hear it live, with that upwelling of 300 voices, or counterpoint of bassoons against cellos and basses, or that renowned horn section, or those overwhelming orchestral hits. It’s the length of a CD (in an apocryphal story, the reason CDs are 74mins in length), but the time just flew. Orchestral tuning intro, then full-on orchestra in flight and volume, then the oddly placed scherzo cum march of the second movement. It all seemed so well played, with comfortable timing and harmonies sitting sweetly with good intonation. Then the third, pensive movement. I felt slightly uncomfortable here; the orchestra felt just a little wary. But then the massive fourth movement, with its restatements of themes, again those presto bass lines that floored me, the SATB frontline (perhaps a little unbalanced, although not unlike the version I have at home) and that massive SATB choir in echo. I was head back, eyes closed, stunned by the power and the ecstatic passages of melody passed around the orchestra, horns or violins or brass or that mediaeval-sounding pair of bassoons that sat upright behind the violas, in front of the massed rows of female SAs and male TBs. I most experience music with my eyes close, but I had a great view of the bassists, and I marvelled at some of the phrases. Classical/jazz crossovers Gareth Hill and Leigh Miller were in bass seats 2 and 3 following Max McBride. And along with many others in the audience, I had mates in the choir: five women I had sung with in Healthy Voices, the Department of Health Choir: Annette Quay, Jill Buckley-Smith, Janet Wardman, Julie Carmody and Catherine Ryan. I caught my singing mates after the show, and they were similarly excited and reported big emotional responses from this most perfect of classical/romantic-cusp statements. BTW, the conductor was Nicholas Milton, the vocal soloists were from Opera Australia and the choir was the Canberra Combined Choir.

But the Ninth was not all. The night included a more important performance before the interval: Australian music and world premiere. This was orchestral selections from Richard Meale's 1986 opera, Voss, based on the Patrick White novel. There were no voices here, so none of David Malouf’s libretto, but there were impressionistic images of desert and animals that seemed eerily correct to my ears (and were mentioned to me by others without prompting), but this developed to a richly volumed end which was presumably the espressionist statement of the doomed Voss expedition. But it was still more restrained than the bombastic Beethoven. I felt the orchestra struggled more with this one. I guess the harmonies were more challenging and the tunes wouldn’t have been anywhere near as ingrained as the Ninth.

But I cavil, for this is our poorly funded, part-time orchestra that has to get by with part-funded rehearsals. They do an excellent job, doubly so given the circumstances, and this was a fabulous night and will be a very special memory.

Godly tuba

Gareth and his mates performed last night at the Gods as the Gareth Hill Quartet. It was a return performance of the Sam Young Quartet which performed at Hippo’s a few weeks back, this time without Miroslav Bukovsky sitting in. As sometimes happens with jazz players, this band appears under different names when the bookings call for it. When they go incommunicado, they can also appear as Lookwell, a name taken from a favoured, but very short-lived (single episode?), TV program. Confused?

The performance was not so confusing. This was a quieter and more attentive environment for the band, and it highlighted the interplay and good natured friendship between the players. The playing was much as observed at Hippo, but it was all clearer and more evident in this listeners’ environment. Aron’s guitar was malleable, sometimes dirty, and often intriguingly indeterminate in pitch. Valdis played some lovely, often simple but always tasty solos and backed with interesting counterpoint or ostinato lines. Sam watched the others studiously, and played well structured solos and responsive support. Gareth is a keystone, at one time holding a 6 feel across 4/4 for a lengthy passage of melody and solos, and at various other times soloing and backing with comfort and solidity.

I caught more of the names and composers of tunes this time. They played Scofield’s Cool and Ellington’s African flower. African flower is a lovely, unforced Ellington melody (aren’t they all?) and it was a treat to hear it played on a sultry and sinuous trombone. The other tunes were all originals, roughly equally shared between Aron, Sam and Gareth. I heard post bop, New Orleans marches, fusion, lullabies, Wunderlust and more amongst the styles, so there was variety.

It was a worthy return performance, another satisfying concert at the Gods, and another recording to listen out for on ArtSound over coming weeks or months.

The band comprised Gareth Hill (bass), Aron Lyon (guitar), Valdis Thomann (trombone, tuba) and Sam Young (drums).

Tubal Hip

Trombone is having its place in the sun in small as well as large ensembles. But tuba remains a rare instrument, despite its outing when the Sam Young Quartet played last night at Hippo. Valdis Thomann (trombone, tuba) was the player who revived this big and impressive brass horn for us. His partners in the quartet were Sam Young (drums), Aron Lyon (guitar) and Gareth Hill (bass). And the quartet became a quintet when Miroslav Bukovsky joined in for later sets.

The tuba was fun. Big and clumsy, with a deep and sweet brass sound. Valdis played it both as a rhythm instrument (at times in unison with the bass), and as a pretty slow solo instrument. Nice to hear (and very difficult not to see) but totally obscuring the player below the bell.

But the night was more than tuba. The band started with John Scofield’s tight and simple tune, Cool. Then on to a range of originals by various band members. They varied in time and rhythm. There was 6/4; there was an occasional walk, but the bass lines were mostly syncopated and funked up. There was sharp and open and expressive drumming from Sam; good solid, ever-reliable bass lines from Gareth; dirty and distorted, middy electric guitar solos and some lovely airy soundscapes from Aron using wah and echo. Valdis pulled tuneful and fairly bluesy baritone sounds from the trombone, performing with real physical involvement. The tenor of the night changed somewhat when Miro joined in. The melodies obviously displayed richer harmonies, with that lovely sweet tonality of a brass front line. Miro’s solos were fast and challenging, and the band sounded just a bit harder and tighter and more intense. The tunes they played with Miro also seemed longer and more composed/arranged. For me, these were the highlight the of night. These were more worldly and meditative; I thought here of storytelling and even magic realism.

A nice night of restrained volume and comforable, worldly music. It will be interesting to compare the performance in few weeks when they appear as the Gareth Hill Quartet at the Gods.

Jazz can at UCan

I particularly like it when I’m out and about and unexpectedly come on some nice jazz. It makes me feel the jazz scene is bigger and more invasive than I know of. I was out at the University of Canberra on Thursday and happened on Aron Lyon (guitar) playing with Sam Young (drums) and Gareth Hill (bass). It was just a short set as part of a celebration for the end of year. It may have been a throwaway set, with tunes like All blues, but it was not tame. The guitar was fluent and fierce at times. The bass gave some effective solos, and Sam was observant and responsive. It was also interesting to see that Aron was playing a guitar from a notable local luthier, Ray Berketa. Ray’s a nice and helpful guy and produces a magnificent product.

Berketa guitars

Ivory and apoplexy

White Eagle offered another double bill last night. This is obviously developing as the nature of the event, with audio provided and recorded by ArtSound, and a local band and a local or visiting band as a main act. Tonight’s show featured Ivory Hunter, Daniel Hunter’s band, and the return of Sydney’s Trio Apoplectic.

Ivory Hunter is led by Dan Hunter (guitar), with Yen Nguyen (drums), Gareth Hill (bass) and Munro Melano (keyboards). I hadn’t heard of Ivory Hunter before but I assume the musos have been playing together for years at the Jazz School. I’ve reported on these players several times on CJ, but mostly they were playing the standards repertoire (very capably). However, Ivory Hunter is a platform for originals. The tunes were penned by various band members and covered a range of approaches. There was one bordering on hardbop, but mostly they were more melodic and tuneful. I particularly liked a couple of tunes from Gareth, a ballad and another tune with a very convulsive melody leading into a hard swing. Daniel’s Act of will was an interesting piece with a sustained quarter-note melody that had my mind drifting. And I have to mention Dan’s Scofeel. It’s an obvious take on Scofield, with indefinite timing, sleezy down-South solos, bluesy organ in the background, and Chambers-style drum patterns crossing the bar lines. So there was quite a range of styles here: floating and relaxed, bluesy, out. I had the feeling these guys were beyond simple exuberance, and were seeking more musical statements.

Daniel always plays in a restrained and careful way, and he did so this night. He plays occasional flourishes but lots of well-considered melodic lines. Gareth also led as melodist on several tunes and played some excellent solos. He’s a strong player, and his tone is also strong: good muscular fingers dragging the strings for a clear, woody tone. Munro played synths at times, along with piano and organ sounds. I particularly liked his comping, especially following his responses to Dan when he played outside. Yen held it all together and played several expressive solos, not least on his own compositions.

As for the band name, Hunter is an obvious reference, but is there some other message? Perhaps. The smooth surface and alabaster colouring of ivory seems to fit the music.

Trio Apoplectic were quite a change after the more relaxed Ivory. Right from the top, they played with intensity, energy and intelligent interaction. I’ve written about TA before; they played at the first White Eagle session. Their return was quite triumphant. This was modern jazz of a high order. Intellectual, emotionally demanding and satisfying, great playing with great, clear sounds, exploratory. I love this style and I was trying to place it. Perhaps Joe Henderson? I asked them about their influences. Interestingly, they offered Bernie (McGann) and when I further inquired, they suggested other players around Sydney.

TA are Dave Jackson (alto sax), Abel Cross (bass) and Alex Masso (drums). They play a mix of standards and originals. Originals come from the pens of Alex and Abel, especially Abel. They played Monk’s Boo Boo’s birthday. Originals included the oddly named Details of how to get apoplectic on your licence plate (apparently a renowned title at Sydney’s Birdland records). There were soundscapes and free styles, hard swing and balladic styles, bowed bass reminiscent of didjeridoo and sax harmonics. Several of these tunes are on the CD, and were played at TA’s last White Eagle concert. I feel they’ve explored the music much further, and this was the source of such a satisfying performance.

They all played with intense energy and commitment throughout the show. Noone played too obviously, or displayed the chords too evidently. The harmonies and counterpoint were fascinating. They were also all very balanced, each player providing an essential ingredient and contributing equally to the complexity and richness. This is just highlighted by the open sound a chordless trio. Dave plays alto, and it fit so well: smooth and sinuous, but also intriguing and exploratory. Abel played hot from the top, and played some excellent solos. The underlying chords were interpreted so subtly I wondered if the tunes were modal. A lovely modern style. Alex was mobile and varied on drums: brushes or sticks, cymbals or drums, sparse or dense.

Another great night at White Eagle, in expectation of White Eagle’s debut as an international venue next week, with the bassist Senator Eugene Wright.

Aron’s trio out for Harvest

I caught Aron Lyon and his trio playing at Mount Majura Vineyard for the Wine Harvest Festival. The day was fine and sunny and the wine was good (I had the Pinot and enjoyed it). And I enjoyed the music. The Aron Lyons Trio is Aron Lyon (guitar), Gareth Hill (bass) and Ben Braithwaite (drums). They are all stalwarts around town and graduates from the Jazz School. There were some environmental contrasts at times, as a tractor passed behind the band, or a plane flew low to land at the local Canberra “International” Airport. But mostly it was a lovely, relaxed style of standards, with a quiet, late-night intensity, played to a coterie of amateur wine tasters.

Aron told me how he enjoys returning to the jazz standards after venturing into R&B and other styles. And he does standards so well. These were richly interpreted, intuitive renderings with complex substitute harmonies and inventive melodies. He often strayed well away from the tune, but there was always a hint of the underlying structure, and always a natural return when he chose it. And the rest of the band was equally strong and comfortable behind him. Gareth moved easily with the Aron’s changes. I chatted with Gareth too, and he was also talking of opening his mind to the music and the rest of the band; how it’s an intuitive rather than logical process when it’s well played. Gareth and Ben formed an unwavering rhythm section in calypso and swing styles, and they each soloed in most tunes. Gareth was fast and comfortable across the full length of the fingerboard with displayed great dexterity and interest. Ben mostly traded 8s, and did one longer solo towards the end.

I only caught a few sets, and these were of the standard repertoire: St Thomas, Foggy day, Straight no chaser, Stella by starlight and the like. But they were so comfortably played and in such an intelligent and inventive manner. Really an excellent aural backdrop for a very nice viticultural drop!

Sam Young, Wayne Kelly, White Eagle

It was another successful outing at the White Eagle last night: two bands, several jams and another ArtSound recording.

The Sam Young Quartet opened the night with a guitar-based sound that you seldom hear in the jazz scene. That’s a shame, because this was an interesting and involving set, reminiscent to me of the 60s/70s electronic jazz of Miles (the era of Bitches Brew and Jack Johnson). SYQ comprised Sam Young (drums), Jarrah Jones (guitar), Aron Lyon (guitar) and Gareth Hill (bass). They played originals, variously by Gareth, Sam and Aron, as well as Wayne Shorter’s “Mascalero”. The music was mostly intense and pensive, but there were occasional dramatic flourishes (for example, Sam’s opening for his original, “The breaks”) and the final tune by Aron was more upbeat. Most guitar solos and melodies were played by Aron, accompanied by Jarrah’s chordal work. I’ve been impressed by Jarrah’s chordal work in several performances. His interesting voicings and free movement over rhythmic structures generally loosen up a band. They particularly suited this era. Aron was playing with rich effects and the combination with Jarrah made for a modern sound with complex heads and solos. Sam and Gareth are both highly capable players in their own rights, both as accompanists and as soloists, so the performance was a joy (if you can say “joyful” for this style of music). The sound was a little muddy at times, and there were some problems with hum, but otherwise much enjoyed.

The Wayne Kelly Quartet followed with a very different style of music. This was more straight-ahead rhythmically, harmonically more defined, instrumentally less effected and with more clear distinction of solos. So, it seemed more structured or patterned than the fluid style that SYQ played (although really it wasn’t). But these guys were so professional. They played tight, over complex tunes, and passed great solos around. The music was original – plenty of tunes from Wayne’s recent CD, and a few by Mike. WKQ were Wayne Kelly (piano), Brendan Clarke (bass), Mike Price (guitar) and Mark Sutton (drums). There were tons of high points to note. Amongst others, I remember: excellent accompaniment by Brendan (he’s a great bassist, with an unusual sweet and rounded tone); an excellent solo at the end from Mark; a very appropriate tune by Mike called “Young guns” (he’d see lots as the head of the Jazz School) with a very appropriate solo (including sweeps, patterns and sidestepping, which are outside Mike’s normal style); Brendan’s charts falling from his new music stand and him organising them with his feet while playing (funnier than most jokes you commonly hear on stage); Wayne’s great tunes from his recent CD. Wayne gave away some of his influences in the names of a few tunes: “Mr Hank Mobley” and “Dr Kirkland Blues”. Overall, highly professional and highly swinging.

The night finished with a few student jams. The next White Eagle session features the Jess Green Sextet with Neils Rosendahl on 7 Dec.

http://myspace.com/jazzatthewhiteeagle

John Mackey Quintet

Hippos hosted John Mackey’s band last night, and it was another demonstration of talent from the CSM Jazz School. The band comprised John Mackey (tenor sax) as leader, Miroslav Bukovsky (trumpet), Michael Azzopardi (piano), Gareth Hill (bass) and Sam Young (drums). John and Miroslav are teachers at the school, and come with considerable reputations. Michael, Gareth and Sam are students, but highly capable.

John is a strong and emotive player in the Coltrane, early-60s, avant-garde mode. He will reliably blow complex and impassioned solos with a hard tonal edge, and lots of out playing; often long and demanding; often frantic or wailing, but always intense. He didn’t disappoint this time, and the tunes were suited to his style. They played several originals, and some covers, by Nat Adderley and others.

I have written before of Miroslav as a local Miles, in the sense that he gathers great musos to work together. In this case, he played the trumpet part in a 50s/60s-style small combo. He played melodies in harmony or unison with John’s tenor, and blew strong and well formed solos. He displayed more of a soloist bent in this formation than in Wunderlust or his own combos, and it was very impressive playing: few fluffed notes (common enough with the best of trumpeters), some harmonic backdrops, good internal structure and development in solos, occasional flourishes and fast runs.

Michael Azzopardi is everywhere these days, but he’s a great player and well worth the frequent listens. He played wonderfully as always, providing excellent backing with ever-changing rhythms and harmonies. He led a rich and changing rhythm section, often breaking into cross rhythms, or whole-note triplets, or similarly challenging the underlying rhythm. But he also provided numerous impassioned solos. I remember one especially when he followed one of John’s long solos. He told me after that he decided against trying to match this flurry of outside notes, so he played a lovely, rippling surface of steady, arpeggiated notes, which then developed into a softer and more thoughtful solo. It was a brilliant change of tack from the band, displaying a considerable competence in producing different styles on demand.

Gareth struck me from the start with a fast post-bop walk, and he held that throughout the night. He has a soft but present sound, and provided a steady, reliable undercurrent. He did several nice solos, too. Not flashy, but well conceived, tasteful and capable explorations of the harmonies. I especially liked some chordal double-stop work with accompanying drums and piano in the second set.

Sam kept the steady beat through the night, responded well to Michael’s explorations to the rhythm, and provided interesting changes and fills to underlie the heads and solos.

I only stayed for the first and second sets. To me, the second set was the more satisfying. It felt more settled, less frantic, generally more “musical”. But what I saw was a pleasure. Much more challenging than relaxing, but that’s how I like it.

This was classic 50s/60s avant-garde: John in his trademark long, leather overcoat, Miroslav cool beside him, Michael hunched over his keyboard; Gareth and Sam thrusting away underneath it all. Another great night of local jazz.