Songs of lament and reflection

They advise The Elegy Project is "a contemporary chamber music ensemble blending classical, jazz and folk".  It's strange, yes, but beautiful and deeply satisfying.  Think a vocal dectet (a nonet on this day) singing Megan Washington or Lonely woman by Horace Silver and Leonard Feather, or a solo pianist playing Rachmaninov or Chopin's famous Funeral march then joined by the choir, or Joni Mitchell Both sides now, a key song of the '70s, played by a jazz quartet (on this day a trio of piano, bass, vocals).  This is a new group, directed on the day by Kimberley Steele with a string of renowned locals.  It's not a small chamber group given 13 names are listed, but a fascinatingly broadminded and exploratory combination.  Full marks for the mix of musics.  And there were some seriously satisfying performances, too.  Kimberley on solo classical piano and voice; Rachael on jazz vocals, deeply effective and emotive, and also joining in the choir; Chris just that fabulous bassist that he is, but then picking up a Telecaster to back the choir on one tune; Micah impressively spelling tunes and improvising, unhurried and purposeful, on a much nicer piano than I'd heard him on recently.  And the choir, some lovely voices, well intoned on some challenging and well arranged harmonies.  Gus is the drummer to come and he can only add.  I was taken deeply by this concert, the breadth and emotional expression of it all.  Fabulous and still very new.  If you read this post promptly, perhaps you can catch them at Wesley 3pm Sat 13 or All Saints 3pm Sun 14 June.

The Elegy Project performed at Wesley and comprise Kimberley Steele (piano, musical director), Chris Pound (bass, guitar, synth, director), Rachael Thoms (vocalist), Micah Knight (piano), Angus Henderson-Mack (Gus Henderson, drums), Emma Griffiths (soprano), Petta Lindsay and Neille Williams (altos), Oliver Bruhl and Cody Christopher (tenors), Martin Magill, Lachlan Rankin and Daniel Westbury (basses).

Canb Jazz Fest 3

Day 1 was great if interrupted; day 2 will be the same.  First up a big band, the ANU Jazz Orchestra.  They played a string of tunes, maybe uptempo because MD Con Campbell observed that they'd finished early.  SO be it.  This was big, fat, horn heavy tones, solos passed around variously, some decent grooves.  They played 9 tunes, several by Sammy Nestico including Dvorak's theme which is an arrangement by SN of the Largo second mvt. from the new World Symphony.  But my fave was sponsored by a local for this band from composer Jenna Cave who appears in CJ frequently when studying at ANUSOM and last time I heard, was MD for her own jazz orchestra in Sydney.  What gives you hope was a lovely, rich piece with glorious harmonies rather than the sharp hits of many big band tunes, luscious harmonies and several movements.  Then a short quick drop-in to hear the Razzlers.  Dance worthy, period jazz that I know little of, but worthy. They had a few couples up on their feet and a very impressive presence!   Then Wayne Kelly with Ben and Mark in the bar upstairs.  Then Wayne Kelly with Ben and Mark in the bar upstairs.  This is the very trio that CJ first wrote up, in October 2005.  They look younger in that pic.  But what a band!  All originals, compositions from all members, sharp and beautifully played, mature and expressive all round, pizz and bow, sticks and brushes, plenty of excellent solos, rich in tones and harmonies and well arranged.  I noticed a post on FB with a pic of them in the ArtSound studio, I think 3 days before, so maybe this is a new album in train.  If so, it will be worthy!  Just one standard, I'm old fashioned.  Then Mereki Leten.  I've seen Mereki in various combinations in a few locations.  She's one to get out for the gig and that's great, and very often with Michael Larsen-Collins and sometimes with Greg Stott at her side.  This time that trio was grown with Gus Henderson.  Mereki had written a tune for this event and it was nice but her flute was playing up.  Thus played on tenor sax and with key change for her offsiders, but it went perfectly well.  Otherwise, a David Bowie tune on   flute, a lovely Stan Getz Sunshower, Nicola Conte and some standards.  Mereki plays with a lovely tone and confident although understated melody.  Nice.  Gus was also understated but took a solo or two and Michael was on a Bass VI, the Fender-designed octave-dropped guitar.  The Bass VI is having a run in town with Lachlan playing quite expertly, in Wanderlust and beyond.  And Greg, shredding here even beyond what I'd expected.  Just relaxed but expressive, quick and melodic.  What's not to like?  And a quick touch of Matthew Dennett and Robbie Mann playing CM Widor Toccata in F on two pianos in the Red Room.  I only caught a few minutes and really quite unexpected.  Then off for another family matter before a final return...

The ANU Jazz Orchestra performed under Con Campbell (MD, conductor).  Wayne Kelly (piano) performed with Ben O'Loughlin (bass) and Mark Sutton (drums).  Mereki Leten (tenor, flute) performed with Greg Stott (guitar), Michael Larsen-Collins (bass) and Gus Henderson (drums).  Matthew Dennett (piano) performed with Robbie Mann (e-piano).  They performed at the inaugural Canberra Jazz Festival at Smiths.

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.

Elastics

The name was a little odd and to some degree so was the music.  Richard suggested Swamp jazz for a style.  And this mix of guitars and violin made for memories of Mahavishnu from tone if not from style.  Two crisp guitars, again of quite different sound and style.  Lachlan was hard and sharp, uneffected, with short bends suggesting heavy strings.  Dylan played lighter, fingers gentle and delicate and with softer tone, perhaps reverb, or chorus given his Roland jazz chorus amp.  Then that unusual instrument for jazz or later styles, the violin.  That was spacious with reverb and tight and fast with chops.  We wondered why there's not more violin in modern musics.   It's a great tone and there are tons of well trained players if not necessarily players with understanding of the styles.  Certainly El has solo chops but also an awareness of the context and accompaniment.  Lovely.  Arpeggiated sequences and scalar flourishes and all manner of bowed effects were common, but also tenderness as in her lullaby composition.  As for the back line, as a bassist I much admire Chris, his aptness and ease along with fierce chops when that's called on and that insistent while soft tone, and Gus on drums was tight and expressive.   We heard several guitarist tunes, from John Abercrombie and Pat Metheny, and a few originals, demanding or relaxed, always played with respect and understanding.  And this is just the opening band for the night?  Looking good.

Elastic Molasses comprised  Lachlan Coventry and Dylan Slater (guitars), Llewellyn Osborne (violin), Chris Pound (bass) and Gus Henderson (drums).  EM played at Smiths.

Yoof today

They come out of the woodwork. Talented new bands with talented new players. These were particularly young. I asked drummer and leader Gus and he said they mostly had just finished Year 12. Where do they get such seriousness at a tender age, so they are writing decently inventive tunes and sympathetically combining covers of Beatles (that beauteous song, Taste of honey) with Miles (Ghetto walk from the Silent Way sessions, no less) and Brad Mehldau. And the originals were from three of four players. Adam amused us talking of greenhouses that need watering (who'd'a thunk it!), and there were several from Matt and an interestingly one from Gus. Drummers write less often but then often write quite successfully. I particularly liked Gus' playing, sturdy and correct and tight but the whole band melded well, in funk or jazz idioms. They could be incredibly quiet then run long crescendos to quite loud (but not very loud). It was a little joke that Gus had announced them as "excellent for dancing". Noone got up but band and audience had a good laugh about it. So, an impressive introductory concert that bodes well for the future. I look forward to watching these guys over coming years.

Gus Henderson (drums) led a quartet with Matt Trigge (trumpet, flugelhorn), Adam Davidson (piano) and Jack Smythe (bass) at Smiths Alternative.