Breathtaking

The Evans  Robson Quartet were on tour and they are royalty in Australian jazz and I was lucky enough to be free for their Smiths gig.  This was the last of their tour and it showed.  They are always capable and correct but this was the neatest and most precise that I could imagine.  I was in awe, hearing tightness and accuracy that seemed above any norm.  I noticed a quiet start from Hamish on drums, exploratory and informed by rudiments and that was a theme to continue through the night, so bass was equally perfectly timed and intoned and adventurous in phrasing, and those two matched saxes, Sandy on tenor or curved soprano and Andrew on alto or bari, just spelling harmonies but not chords as in piano or guitar, and always aware and responding to the other.  One interaction just caught my breath, but many more deserved it.  This was the final night of their tour, so we heard skills and seriousness but also inventiveness combined to explain the perfection, all with a joyous stage presence.  Complex heads of interweaving lines, not showy and sometimes understated but always satisfying and telling.  Do I have to say I was enamoured by this concert?  Perhaps not.  Just beautiful works of a deep musical maturity.

The Evans Robson Quartet toured thei latest ablum Zenith and appeared for the final performance at Smiths for Geoff's Jazz.  Evans Robson Q comprises Sandy Evans (tenor, soprano saxes), Andrew Robson (alto, baritone saxes), Brett Hirst (bass) and Hamish Stuart (drums).

Penultimates

It was pretty much the ending but we had some seniors of the SIMA scene in the Sandy Evans / Andy Robson Quartet with offsiders Brett Hirst and Hamish Stuart.  Well, that's a mighty team and it showed with a range of original compositions in all manner of modern styles, latinish, dedications, ballads, memories of James Greening and Ornette Coleman, some simple and folkloric, some burning modernist, all done with grace and joy and immense competence and commitment.  It was a pleasure to see the interest and smiles from Andy at a Sandy solo and Sandy at an Andy solo.  Great and not unexpected but always appreciated and welcomely imbibed, melodious and entertaining, good mannered and inviting, stimulating and challenging and rich in references to other cultures.  And devastating with chops that were quick but purposeful.  Do no wrong; present no hype.  How can you not love this music?  They've all played together for yonks through all manner of bands and are now preparing for another album in this formation, I guess with these tunes.  One to get.

Sandy Evans (tenor, soprano sax) and Andy Robson (baritone, alto sax) led a group with Brett Hirst (bass) and Hamish Stuart (drums).

Happy

Happy is my favourite tune by Public Image Ltd.  Mr Ott didn't play Happy or anything like it, but they did produce it.  The Lord Anson was jumping within minutes and in ecstasy by the end of the set.  This was tight, infectious, classy, on top and joyous, with memories of Ethiopia and Sun Ra (to my ears and those of muso Darren beside me).  The whole place was dancing or tapping or, if not, looking out of place after a few tunes.  The tunes were tight, the movement were welcoming (Matt's steps and Ellen's claps), the band was hugely impressively ready to sit, and the solos by all were delightful and punchy and welcoming and playful and always apt and that bass could repeat and that's a skill in itself.  Jazz is all chops and serious study and we can too easily be serious and miss the joy.  Mr Ott does not do this and it's an infectious pleasure.  Loved it deeply.

Mr Ott entertained the Lord Anson as the last band on Saturday night.  They were Matthew Ottignon (tenor, baritone saxes), Ellen Kirkwood (trumpet), Dave Panichi (guitar), Daniel Pilner (keys), Jan Bangma (bass) and Hamish Stuart (drums).

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Next up was Andy Nelson playing singer-songwriter rootsy music with a cast of characters, guitar/vocals with violin, viola, e-guitar and bass.  An interesting sound with authenticity. 

Then This world again.  They were in the Holy Trinity Church with touchy sound, so not as enjoyable as the previous outing, but this is quality stuff with some drop dead gorgeous solos all round, especially sax and bass. 

Then a touch of Persian/jazz crossover with Eishan Ensemble.  The core player seems to be Hamed, playing Tar and composing.  Of course, these are different sounds to my ears and that was intriguing.  First up was a solo Tar piece, then into an ensemble piece with very simple chord structure and pretty simple melodies.  BTW, the Tar a lute-like stringed instrument from Iran with three pair of strings tuned unison C,G,C and a single bass string tuned G.  I need to hear more before I understand.  Nice to see Max getting around. 

Andy Nelson, This World and Eishan Ensemble played at the inaugural Orange Winter Jazz Festival.  Andy Nelson (guitar, vocals) was joined by a string of accompanists.  This World comprises Mike Nock (piano), Julien Wilson (sax), Jonathan Zwartz (bass) and Hamish Stuart (drums).  Eishan Ensemble comprised Hamed Sadeghi (tar), Michael Avgenicos (sax), Pedram Layegh (guitar), Adem Yilmaz (drums, percussion) and Maximillian Alduca (bass).

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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).

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Then some of the senior masters, This World.  Mike Nock, Julien Wilson, Jonathon Zwartz, Hamish Stuart: need I say more?  I'd missed them in Canberra and this was a key reason to attend OWJF.  Not disappointed.  This was glorious playing and hugely understated.  Jonathon floored me at times, seemingly pretty simple, then devastating, quick, expressive, always beautifullly toned.  So too with Julien, easy going and humourous and a powerhouse of casually stated blazing lines that tell stories and lay down phrases and melodies that just feel sweet and totally nice.  That's a great skill.  nothing strained, just right, but at the same time blazingly quick, that is, if needed.  What I particularly interested me was their self-description as a composers' collective, so all provided tunes  which were perused for performance.  Even Hamish, drums, with something that flowed beautifully with a simple melody and expressive rhythms and some unexpected longer bars.  Or Jonathon's dedication to Mike called Winter that started with a breathtaking bass solo (mmm, Jullien commented on someone starting their own tune with their own solo...but Julien was joshing).  But overally, this was all immense earthiness, sincerity, maturity and plain chops.  Fabulous.  Just one other comment is on my mind from Julien.  He was thinking all and the festival and made the comment "Lots of churches in orange ... not many pubs".  It came back to haunt me later that night.  I hope I don't end up missing one band by waking by the pub they were playing in!

For me, festivals have been an opportunity to play or a chance to survey respected, invited participants.  This is turning out to be a survey of the Sydney jazz field, I guess, perhaps with some ring-ins and hopefully an occasional bluesy/rootsy/folky performer who I should know.  I was amused to hear the expression "jazz coma" on a YouTube video to describe that all-embracing commitment to the intellectual and artistic heights which is jazz.  But it can also limit horizons so now I enjoy seeing people with projects that spread over styles.

So I went to Mahalia Barnes.  I know the connection to Jimmy, great singer and honost and outspoken person that he is.  And I have another connection there, too.  Not that anyone knows of it it but me.  So what to expect?  I actually walked in with Hamish Stuart and Jonathan Zwartz.  Mahalia was playing with just piano and apparently they'd offered ot drop in for a rhythm section.  Amusingly, I heard vocals/piano while they were setting up, then a full band.  You'd die for such a band.  For that matter, you'd die for some R7B/Soul/gospel as Mahalia belts out.  Belt can be the word, but that's alsp the role.  Great personality, talking to the audience, getting singalongs on I am woman.  Song favourites from Aretha Franklin, Rene Geyer and others.  She recounted a story of Rene Geyer before she sand her glorious Heading in the right direction.  What an album that was!  The church probably had its greatest attendance in yonks and they walked out singing to themselves.  Not jazz but that gospel exhuberance; fabulous.

This World and Mahalia Barnes played at the inaugural Orange Winter Jazz Festival.  This World comprised Mike Nock (piano), Julien Wilson (tenor), Jonathon Zwartz (bass) and Hamish Stuart (drums).  Mahalia Barnes (vocals) was supported by Clayton Doley (piano); Jonathan Zwartz (bass) and Hamish Stuart (drums) sat in during the set.

Challenges

It was Geoff's Jazz@Lab outing, this time at AlterEgo, with the most incredible band comprising some of our most renowned Aussie performers: Sandy Evans, Andrew Robson, Lloyd Swanton and Hamish Stuart. Stars in their own right and a work of bliss together. The room wasn't the best - the smallest of stages split a long room in two - but the fabulous playing and compositions defeated all that. I was amused to watch passersby passing the door behind the stage where you could hear all pretty well. Some noticed and responded, perhaps challenged or perplexed; some just walked by; a few came in. This is not the stuff of commercial radio and this was the commercial heart of Civic. Andrew's compositions channelled Ornette to my ears: spiky and twisted but also an inevitable fit. Sandy's works went off, but in a different way. I was all smiles and admiration listening to the group dissolve into free then recompose itself just before the interval on one of Sandy's tunes. This was Sandy with Andrew's trio but these people are friends and have played together forever so it's a knowing coming together. As often, they featured one tune by Sydney jazz mentor Bernie McGann, Salaam, inviting Miro to sit in. His solo was different again. As were Hamish' and Lloyd's, on their different instruments, both setting down the most delicious and inevitable extemporisations. At this level, it all sounds so right, not fast or flashy (although speed makes its appearance when it fits) but with that feeling of continuity, inevitability, correctness that the great improvisers display. This was a great concert with intimacy despite a difficult room. Maybe that even helped, as challenges can. I missed Ornette at the Opera House so this will have to suffice, and suffice it will, with ease. A fabulous display. Many thanks.

Sandy Evans (tenor, soprano) played with Andrew Robson (alto, baritone) and his trio comprising Lloyd Swanton (bass) and Hamish Stuart (drums) at AlterEgo for Geoff Page's Jazz@Lab series. Thanks to Bob Howe for some pics from the night.

Glory in restraint

Jonathan Zwartz was in town for Geoff Page at Smiths and the room was full with Geoff's coterie and the music was to die for. Jonathan is renowned for his writing: three albums to date, superbly written, intriguing, rich and complex, nicely grooving and touching on real social concerns. But it's not just the writing, for the band was also to die for. Was it Geoff or Jonathan who introduced them as amongst the best in Australia? Doesn't matter: they were. So unforced, relaxed, tight, never an accent out of place, every embellishment a pleasure, a fabulous bass tone (a personal interest, but relevant), excellent solos nicely merged into heads. Some amusing banter between tracks, and that's worthy, too: "Being a bass player, you always do everything with one hand. It's a ... drag" (another thing I understand) or "It's kinda that vibe ... singalong it you want". Not that there was any singing to singalong with, but the groove was light and bluesy for that last tune. And generally the styles were varied. Emily was the one swinger, played medium tempo with walking bass, and dedicated to a friend's new child. Dollar Brand was a reference to Abdullah Ibrahim using his early name as the tune was originally called Dollar and "it's kinda that vibe". Milton was a bossa for Nascimento. Julien Wilson's sound of love was in the style of Ellington/Strayhorn and genuinely sounded that way, not least for one lovely, classic repeated turnaround. The tunes were mostly from JZ's latest/third album, Animarum. Phil took most lead and solo roles and blared in classic chordally-enunciated style. Hamish was varied in style and studio-sharp in interpretation. Carl was devastating from rapid runs to blues-rich bending. John joined for the second half: he used to play with these guys in Sydney before coming to Canberra for the ANU. He can be devastating but played fairly restrained and tuneful on this night. Always fabulous, either way. Matt McMahon can take tunes and explore them with rich calculations and investigations although I found him just a little distant on that piano on that night. Jonathan is restrained but big and strong with the greatest of jazz tones and fabulous sense of time and rhythms and grooves and some glorious runs when he lets go. But he remained the overseer and fairly restrained. And the music was just that: purpose before excess; art before skills. One of the best.

Jonathan Zwartz (bass) led his band at Smiths. The band Jonathan with Phil Slater (trumpet), Matt McMahon (piano), Carl Dewhurst (guitar) and Hamish Stuart (drums) and John Mackey (tenor) joined for the second set.

Studio

Chris said it was like listening to a band in a studio and it was. Jonathan Zwartz had brought his sextet to Canberra to play for Geoff Page's series at the Gods and the music was so relaxed and easy but virtuosic, distilled, crystal clear but inventive, exploratory. All the lines just seemed so perfect, so apt, but never trite; perfectly expected after they were played, but wildly inventively conceived before they were played. And with surging rhythms that were busy but settled, malleable but sturdy. Jonathan himself was all over the bass, smiling at the intensity, firmly in the pocket, never losing the essence of the groove, but moving through and around it with wonderful playfulness. Along with long-term drummer offsider, Hamish, rock solid times (he preceded several tunes with a few clave clacks on a metronome to settle the time), intriguing grooves and ready for the non-standard, like one tune played fully with hands not sticks, or one with not a kick amongst it, and the apt changes under solos. Matt was all studied Rhodes intrigue, ringing chords, neat fills and unpretentious solos. And the solos of Ben and the two horns, Michael and Phil, stunned me first up with thei r similarly light, lithe phrasing and varying attacks, in Ben's case, toying with picking and hammer-ons and the like. They played on somewhat that way, immensely discursive and investigative. I was floored by one trumpet solo from Phil, all melody and long, long phrases and chromatics then realised there was more, and under such control, a trumpet that merged imperceptively with tenor, could blat, but would so easily whisper. Not easy on that instrument. And the feel were all so defined, just right. That's also why I thought of the studio, where seasoned players can spell a tune with unrelenting clarity. And also, like a studio, they were playing without rehearsal. When Jonathan was giving instructions before one tune, they joked this was their rehearsal. And the tunes were diverse. They'd started with Seahorse, in triple time, with spritely melody. Then Milton, in honour of Milton Nascimento. Then a ballad called Billy. Then Scando, with a delicious Birth of the Cool-like walk. Then Soul sing, after a Donny Hathaway song. Jonathan commented that times are hard for musos, so "it's like a political statement just to get up and play". But they were enjoying it. Jonathan had a wide smile on his face at their superbly satisfying sounds. Then a second set, starting with a jungle bop and finishing with a pair, one openly beautiful, introduced as "like a hymn", and a bouncy tune to end. It's not often I've heard such precision and distillation of late or perhaps ever. A stunningly impressive outing. Need I say I was in awe.

Jonathan Zwartz (bass) led his sextet comprising Michael Avgenicos (tenor), Phil Slater (trumpet), Ben Hauptmann (guitar), Matt McMahon (Rhodes) and Hamish Stuart (drums) at the Gods.

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).

Glee

There was much glee around James Greening (there usually is). This time it was about his frequent gigs here recently in Canberra. It's too bad that Andrew Robson and the rest of the band haven't been here so often of late. This was an eclectic outing, intelligent and varied and unexpected. Several times Andrew's baritone sax gave a funky Mingus or New Orleans groove when he took that up. But then another time he played a trio with bari, bass and drums and this was smooth, sleek, melodious. He liked to vary the instrumentation, too. It wasn't at all surprising that the front liners played bari/alto, tenor/soprano and trom/pocket trumpet. But it was surprising that James or Sandy left the stage for various tunes, and even more surprising when bassist Steve left. That was on Flex, a Jackie Orszaczky funky-blues dedication, where the bari took the bassist's role. There were some other dedications, too, to musicians Andrew has played with. Two watch Bob was a dedication to fellow 10 Part Inventionist Bob Bertles from a quip by Miro Bukovsky. This was a slow, lumbering groove with a jauntily lyrical melody (played without Sandy). A march, Sound the trumpet ring the bells, was also introduced with a story of Jackie Orszaczky. I heard Jackie O too infrequently, but he's one of those musicians with immense admiration amongst his peers. John Pochée was recognised with the opening tune called The Alchemist. This one featured two solos, alto then tenor. Against the alto solo, the band dropped out to leave just drums in support before returning; against the tenor solo, the remaining support was bass. Andrew wrote something similar in the piece I found most impressive for the night, Texas Ranger, which was bluesy with some fast bop, and twisted and playful like Ornette. What little I've written has been most successful when I used an idea, even an arbitrary idea, as a formulation, so his palindrome doesn't surprise me. It's called Glenelg and it's a musical palindrome (spelt the same forward and backward). It's a busy 8-to-the-bar on bass with a slow melody over and solos that decay to free then to recover the melody with drums taps on 3,4. BTW, we learnt that Steve is a cryptic crossword filler and he'd recognised the palindrome immediately. Combover was a light take on early jazz with frequent changes. These tunes were from a new CD that this quintet has just released. Unlike his previous albums, this was unthemed; Andrew just wanted to record a group of favourite tunes, so the varied nature is no surprise. I reckon I'd heard a few before. It was a joyful band, too, led by Andrew's smiles and James humour and Sandy's good will. James has been a total pleasure to hear so often of late: wonderfully lyrical while playful and wearing dissonance so lightly. I enjoyed Steve's understated firm and restrained bass playing and Hamish's presence and sympathetic playing. Andrew's presence is light and friendly, but his playing is intelligent, as is Sandy's expressive sax; I especially enjoyed the soprano this evening. Andrew is a Cnaberra boy and we need to see more of him. This was a great outing with a varied repertoire of pleasurable performance and underlying intelligence.

Andrew Robson (alto, baritone) led a quintet with Sandy Evans (tenor, soprano), James Greening (trombone, pocket trumpet), Steve Elphick (bass) and Hamish Stuart (drums).

Knowing time

Jazz may have some rough edges (which it loves), but it’s a serious art so it ages gracefully. Dave McRae and Joy Yates were just that. An authentic link to an admired past, but one which we now seldom hear with such authenticity. In jazz, you become what you listen to, and that’s usually somewhere near the state of the art at the time that you are entering the field, so authentic representations of bop and Monk and that era are getting rarer as the era recedes. To my ears, Dave and Joy were wonderfully authentic in performing Bird and Diz and Monk and Lady Day. There was intensity along with a comfortable control of the medium and a decided pleasure in languishing behind the beat and so holding the band alive with tension. This was leadership with easy authority, all the while performing as entertainers as well as artists. For Dave, there was an comfort in toying with substitutions, moving through long, sustained eighth note lines then falling into descending chromatic chords or arpeggios or sixteenth note triplet chromaticism, seemingly rough or discarded, but really knowingly informed and played for the emotional strength. I heard the boppers in his playing, of course, but also the wiley and witty rhythmic games of Monk, and considerable Bill Evans exploration. I thought his stylish insights might end with the early ‘60s, but an original tune later in the night harked to later decades with echo-based effects and grooves over one chord with an oddly timed fill. Hamish mentioned how easy it was to play with Dave. I wasn’t surprised; he was clearly strong and authoritative despite the immense playfulness. Joy was somewhere in this vicinity, channelling Billie Holliday with the most soulful of singing, including a doleful blues of Billie’s that was unexpectedly added to the repertoire. Again, I could feel the presence of the jazz past, as a singer takes control, singing of tragedy and joy with jazz-era perceptiveness. For this was an era when jazz was popular music, an era of mid-century wars and depressions and racism: a time for languishing awareness, not feckless consumption. Joy had an arm-waving involvement, and sang with heartfelt simplicity: soulful rather than embellished, improvising with pitch and time rather than notes or substitutions.

Their support was no less capable. Lloyd Swanton played with often-closed eyes and concentration, reading the dots on several charts, and dropped into the most effective of solos at a wink from Dave. Clean and expressive lines and jazz solos that run up and down the fingerboard with clear expression and sharp intonation. I lost him a little in accompaniment given a low volume, but his solos were obvious in intent and beautifully precise. Hamish was similarly professional, reading charts, effecting feels with panache and dropping into solos and swapped fours on command. I particularly remember a latin solo played with hands, and more-so, fours swapped with Lloyd where the bass was a treasure of quotes, riffs, chords, plays on harmony and rhythm, and Hamish followed as a percussive echo. Very neat playing by highly experienced professionals.

A look at the history of Dave and Joy just obviates why it was a great night. Between them they can boast residencies at Ronnie Scott’s, touring with Dizzy and Mingus and MJQ, supporting Art Blakey and Elvin Jones, dancing with Danny Richmond, fill-ins by Joe Sample, singing alongside Anita O’Dea, performing with Buddy Rich and Chet Baker and Gil Evans, appearing at Monterey with Ellington, recording with Allan Holdsworth … and more. Breathtaking! Lloyd and Hamish have a few names in their past, too, of course. It was a great night of music, but also of entertainment. Dave McRae (piano) led a trio with Lloyd Swanton (bass) and Hamish Stuart (drums) and Joy Yates (vocals) sang for half the night.

Cyberhalides Jazz Photos by Brian Stewart

Sea breezes

The Sea is Jonathan Zwartz’s recent album. It was also the first tune when Jonathan Zwartz presented his sextet at the Gods. I’d been awaiting this concert. Jonathon is a wonderful bassist who has impressed whenever I’ve seen him; playing a strong and muscular bass with John Mackey at Jazz Uncovered 2010 and an insightful and tender one with Tina Harrod sometime earlier. His performance of The Sea got great reviews at Wangaratta, so this gig was anticipated. The Sea was the first tune. Mystical and minimal with (German) bowed double bass setting a gentle ostinato background and the horns blowing and squealing and seagull wheeling up front. I looked around and people were mesmerised. So was I. Somewhat to my surprise it didn’t stay this way, despite John Shand’s mentions of minimalism. There were just six other tunes over the two sets but they were generously long. Several were slow with plaintive melodies, but there were also grooves that were rich and steady (one reminded me of Herbie’s Headhunters) and a finale that channelled Mingus with an intensity and ornery-ness that was the closest I’ve come to the great man. There was minimalism but more than that there was solidity and presence and sheer capability that oozed from a mature group of musicians at the top of their craft. The way a groove would sit for a few seconds, busy with lots happening but also supremely relaxed, before the simplest of lines stated a theme for a solo. This is what masters do and this was masterful. James Greening entered his solo that way, and I was thinking of him. Simple statements that became clear solos, developing and moving, all structured with visually lyrical thought, and being James, with humour and quirkiness and audience contact. Phil Slater was different in style: a formal presence but with rabid speed flying over structures with virtuosity and density and a pitch that was slippery and precarious, colouring the tune with consonance and dissonance alike. Richard Maegraith was initially the considered search: a few full tones seeking perfect notes to follow, slow and intent, especially on the bass clarinet. But at other times, often on tenor, he was most harmonically challenging, breaking into dissonant sheets of notes. Matt McMahon was clear concentration, his Rhodes piano fitting perfectly in this sound, calmly concentrated, defining and enriching grooves when comping and, in solos, wildly moving themes and bars and harmonies with uncluttered but incongruous lines. He’s a unique voice, intensely demanding but quizzically satisfying. As the night wore on, I was closer to Hamish Stewart and noting his easy and flowing but busy style. His grooves were to die for, relaxed but full and interesting. Lovely. And Jonathan. He was leader and composer of most tunes: soulful tunes with grooves that were settled, strong and rich. There were some smiles later in the night, but plenty of strained concentration and Mingus-like supportive yelps and grunts. He played two strong solos, but the night was really moody grooves, richly embellished but reliably steady. The quieter tunes were The Sea, a tone picture with wailing gulls and sea breezes, and two slow but melodic pieces: Epic and the touching Icelandic which told of the experience of a stroke. Icelandic was memorable for some delicious timing and gentle hits that sat in time so correctly. Curtis was an obvious dedication to soul-singer Curtis Mayfield and highlighted one stylistic influence. Science experiment was a blowing tune with Headhunters grooves. The Mingus tune was Wednesday Night Prayer Meeting, a boisterous blues that finished off the night. Jonathon invited local student Matt Handel to sit in on alto for this one. A great and memorable concert. Jonathan Zwartz (bass) led a sextet with James Greening (trombone), Richard Maegraith (bass clarinet, tenor sax), Phil Slater (trumpet), Matt McMahon (Rhodes) and Hamish Stuart (drums). Matt Handel (alto sax) sat in for the last tune.

Cyberhalides Jazz Photos by Brian Stewart