Do

There are various thoughts I have with our Smiths visit by Matilda and Carl.  It's a return from Berlin, so international, probably somewhat delayed by Covid.  And a tour from throughout Australia, with input from Sydney and Perth.  It's a blast from the past, as I remember Carl and Matilda as students here at the ANU.  It puts a local and informal tinge on a devastating concert.  The immense skills but also the careful expression of them, so nothing seemed showy even as it was virtuosic.  I got taken aback or just amused by some overwhelming fills or licks from Carl or Hugh or that kick-heavy thump with complexity but inevitability from Ben.  And the wonderful richness of jazz applied to emotionally-rich lyrics from Matilda's first set, and even the raunchy and one somewhat comical expletive-laden rant (humour with a cutting edge, think Carl even if Matilda sang).  That last is one for an E-symbol in Spotify.  Hard to miss!  But I dearly love this interplay of pop and jazz with the breathtaking jazz-informed solos and the words to spread further, to speak to a newer listening cohort.  I remain in awe the next morning.  Just breathtaking.

Matilda Abraham (vocals, midi) led one set with Carl Morgan (guitar, bass, vocals), Hugh Barrett (keys, synth bass) and Ben Vanderwal  (drums, midi, vocals) at Smiths.  Carl led the second set with the same players as Dodo.

Processing

To me, jazz is fine music with groove; "classical" is fine music without that Afro-American inspiration; popular music is less fine, usually. But to say that it's all a melange these days is unexceptional. The music of Ben and Hugh's latest album is played on ABC jazz radio but it shares much with electronica and dance music. It's accompanied by electronics and tangles of cables, heavily processed, happens live through computers and Ableton, features loops and drones and pitch shifts and the like, and mixes it with jazz trumpet, easily reminiscent of Miles at times, and Rhodes and piano tones and lines and sequences that speak jazz languages. Do I need to say, I loved it? This sounds modern and relevant, fresh, contemporary as in the NPR Best 50 albums for 2018 that dropped in my email the other day. To some degree it's standard electronics but jazzers make it sparkle by adding that level of instrumental dexterity and harmonic knowledge. Ben and Hugh both have that in spades: Ben's fabulous, rich, tempered trumpet tone and melodic intelligence; Hugh's superb Rhodes and other tones (much fed from a laptop he had by his side) and his unerring and inquisitive harmonies and extended chops. These are two masters playing contemporary, sometimes minimalist, on occasion austere or exposed or flourished. The loops provide a bed for some stunning releases at times, long lines or consistent and insistent sequences. Manual sequences over computer sequencing. The concert was at CMAG (Canberra Museum and Gallery) as an event in the EuroVisions exhibition and it fitted perfectly with the colour and contemporary European art collected by the Sydney Goldbergs. Great music in and fitting an intriguing space.

Ben Marston and Hugh Barrett performed at the Canberra Museum and Gallery.

A visit from Graz

This was one of those times you realise it's good to have a music school nearby. In this case it was visiting saxophonist Julian Arguelles, professor of sax studies at the relevant jazz school in Graz. This was particularly interesting as we saw and heard a matchup of two master sax players, Julian with our own John Mackey. Two vastly different interpretations, different sounds, different approaches, both impressive and fascinating. They were joined the local jazz and jazz school community: Hugh Barrett, Brendan Clarke, Greg Stott, Hugh Magri-Bull and Alex Manjura. It was essentially a jam, these people just meeting Julian in recent days, I guess. The tunes were standards: After the rain, I hear a rhapsody, Sophisticated lady, Stella, Bye bye blackbird. But with such players we expect fireworks and/or depth. We got both at various times, highlighted by two tenors soloing in conversation at various times, or listening and responding otherwise. Then a delicacy of guitar in several solos by Greg and some laid out fours by Hugh and Alex and Hugh's intriguing explorations and Brendan's melodicity and plain virtuosity. It's not something people outside jazz really get - that these players can do it so neatly, impressively but immediately. I was about to say unpreparedly, but it isn't that. There are years of preparation and listening to be able to interact so easily and fluidly at first meeting: this is no trivial pursuit. The two tenors spoke and conversed, even if almost in different languages. Julian was fat, rounded, mostly tonal, fast, from bottom to top of range; John was more atonal or substituted (how? pentatonics?), more edgy-toned, again extended ranged, more bucking. Both master, but different. Two views of the same standards. But a great and informal community concert.

Julian Arguelles (tenor) performed with John Mackey (tenor), Hugh Barrett (piano), Brendan Clarke (bass), Greg Stott (guitar) and Hugh Magri-Bull and Alex Manjura (drums, percussion).

Milano and more

Eamon Dilworth led his band in the new, larger room at Smiths. It's a good room. The music was good, too. I was thinking of Smalls in NYC and when I visited and when I watch on their video stream. No way this would have been any lesser. The room was great and just in its early days. The compositions, the playing, the authenticity were first class. I could hear that strain of NYC guitar in Carl's driven lines and Hugh was relentless and Mark only met Eamon that day but sat in easily as sideman and Hannah laying solid lines while absorbed with ceiling tiles and Eamon himself having written most of the music, clean and purposeful in composition and performance. He introduced his new album, Viata (=life, Romanian), speaking of purpose in music, relevance not mere cleverness. There's a maturity in his purpose even if joviality in presentation. Nice guy, Eamon, and easy on the mic between tunes. I could hear Miles often enough with his 70s jazz rock grooves, but also odd times and neat melody and written accompaniments, like Hannah's in Milano, a record of his year spent in Italy, or Carl's unisons on melodies. This was seriously satisfying music, wonderfully played, well written, with raison d'etre. I've talked of good music and musicians being everywhere and this night was just confirmation Great gig, intimate and capable and with purpose. A blow out.

And walking out, past PJ O'Reilly's, what did I see? Aron Lyon and mates playing an R+B jam session. It's a different world but it's fun; few chords but deep funky grooves. And Rachael Thoms singing made for a fabulous front line. I've since discoverd the Thurs eve R+B jam sessions as PJ O'Reilly's and some new names to listen to (Allen Stone and, of course, Pino Palladino) and an opportunity for some seriously funky grooves.

Eamon Dilworth (trumpet) led his (Canberra) band comprising Hugh Barrett (piano), Carl Morgan (guitar), Hannah James (bass) and Mark Sutton (drums) at Smiths. He was on tour to launch his new album, Viata.

Where samba's from

[Ignore all this discussion on samba: Gary was speaking of Salsa - see his post below. My apologies, but a great concert none-the-less / Ed.]. Gary France gave one answer: from a tune on Cal Tjader's album called Soul Sauce, thus Samba. Wikipedia locates it in NYC in the 1960s and mentions Johnny Pacheco, Celia Cruz, Ray Barretto, Rubén Blades, Eddie Palmieri and others, but not Cal Tjader. My trivia session the other day said Brazil and I knew that was wrong. Whatever, it's fabulous music that moves the body and soul and sounds a million and Gary led a CD release concert dedicated to Cal Tjader the other night at the ANU Pop-Up Bar. The band is called Vibellicious and it is delicious, on the CD and live. This was his Canberra version with Perth visitor Daniel Susjnar and our best locals, John and Miro, Hugh and Brendan and Sinuhé. The CD is mostly Gary with Daniel's Perth band but features one track with this Canberra collection. The grooves were to die for, the solos were inventive and modern, the feel was luscious and infectious. That mix of percussion is sensuous: deep complexity made from mixed syncopations. The regularity is also insinuating, like Hugh's montuno or Brendan's solo passage that was just a busy but angular bass clave. But then there were solos that thrilled with variation, again Hugh with right hand rhythms and left hand melodies and floating chords or Brendan's rapturous blow. And the front liners, John and Miro, snapping melodies and responses and passing solo passages or just laying down ecstatic runs and leader Gary comping with two or four mallets on vibes behind or soloing out front with immense authority. Then a percussion solo with swaps from drums to congas, snapping, chatting, and that sense to time and accent from Daniel's splash cymbal. All delightful for some joyful music. Perhaps too loud over that PA and sometimes not too clear and the piano wasn't great, but what a great night! A blow out.

Vibellicious was led by Gary France (vibes) with Daniel Susnjar (drums), Sinuhé Pacheco (congas), Brendan Clarke (bass), Hugh Barrett (piano), John Mackey (tenor) and Miroslav Bukovsky (trumpet).

Best of company anywhere

I was unavoidably late for Miro's amusingly named local band, the Burley Griffins, but was hugely gratified that I made it. The BGs are Miro with John and Hugh and Brendan and Mark. A local jazz supergroup if ever there was one. I amuse myself by wondering what some of the Indie acts or listeners think as they enter or pass by Smiths hearing this intense, virtuosic music in evidence. This is music that would comfortably grace any jazz festival stage and it's just a Thursday night in Canberra. I came as they were playing some simply structured bluesy hard-bop of '50s style. I was floored to hear this clarity and relaxation with intensity. Brendan settling the groove but with easy augmentation; Mark all percussive enumerations; Hugh adding restrained colour and rhythm; Miro's melody; John's intensity and overwhelming harmonic excursions. These days it's from another era but it's music all raw but hugely elaborated and deeply intellectual. Bird said it with his practice all day then forget it all and just play. Then one of Miro's originals of deep beauty, his meditation in 9/8 called Dakkar. Then some seldom-played masterpieces of the modern era, Zawinul In a silent way and Wayne Shorter Pinocchio. Then to end, the uber-common modern jazz standard, Footprints. I missed the adventure of the earlier tunes , but they played Footprints with a ravishing energy that again stunned me. So, a night with the locals. I know how good they are but it's still a surprise. Why is it so? Another stunner at Smiths.

The Burley Griffins were led by Miro Bukovsky (trumpet, flugelhorn) with John Mackey (tenor), Hugh Barrett (Rhodes), Brendan Clarke (bass) and Mark Sutton (drums) at Smiths.

Why every band needs a singer

I've said it before and I felt it again at this gig. Sally Marett was playing with the cream of our local players, Brendan Clarke, Hugh Barrett and Mark Sutton. John Mackey sat in for a few tunes, too. We could expect some incredibly capable and interesting playing and we got it. But beyond that, this was alive with the words of tunes we've all played from fake books knowing just the first line or so. These were songs not tunes. They were all standards, from the renowned American songbook, the popular music of the films and mid-20th Century US. We reel in response to some lyrics that sound so inane and yet there's depth and humour and subtly here. Rhymes, maybe, but we've learned that rhymes can express: no less than current uber-popular rap does that. The movies seemed all straight with defined roles and the rest, but there was depth expressed. I think of Romeo and Juliet as Maria and Tony but that's just my fave. "Beautiful love / what have you done to me"; "It's only a canvas sky / hanging over a muslin tree / but it wouldn't be make-believe if you believed in me"; "Flamin' with all the glow of sunrise / burning kiss is sealing / the vow that all betray". Words and themes the musos don't know. And the contact with audience that a singer creates. Words and thoughts are passions and immediacy. Far more than the indistinct, uncertain noises that are instrumental music. Not to put that down, but it's not so immediate, so shared, so understood. Play with a singer and experience the difference. Your playing is immediately just support, for the singer, the story and the emotions. Suffice to say I like that. Of course, Sally did a truly excellent job, up front, entertaining, great voice and contact. Of course, the band did a similarly excellent job, fabulously inventive and capable and quick and responsive and on top of it all, responding to each other and Sally. John sat in and did wonders, flourishing widely and busily and ingeniously on Softly. So all round, this was a massive treat. I sat with a smile on my face throughout. Sally mentioned the arts scene in Canberra as busy and satisfying. That night was just a dazzling example. Playful, fun, ruefully true in its period lyrics, a blowout and truly excellent entertainment.

Sally Marett (vocals) led her band comprising Hugh Barrett (piano), Brendan Clarke (bass) and Mark Sutton (drums). John Mackey (tenor) sat in for a few tunes.

How good was that

Canberra has had a minor influx of players in the last year or so and we've been well served by it. Barrett, Clarke & Sutton are amongst the best anywhere and we had it, just a trio, mostly playing jazz written by others, but with a level of ability that was stunning. This is Hugh Barrett, Brendan Clarke and Mark Sutton. All three renowned throughout Australia and now resident here. There were a few originals; there was lots of hard swing and passed fours and bass solos and vamps. All the standard take on jazz tunes, but with such facility, such immense awareness and fluidity. I was laid low by Brendan's solos, gasped at Hugh's earlier dissonances developing into flowing waves of notes, grinned at the ease of Mark's telling stories on drums, not least surprised by those extra bars at the end of I remember Hugh/you. They mostly played music by others but the tunes weren't too obvious. There was Coltrane but it was a blues called Just for the love; there was a string of tunes by pianists: Mulgrew Miller, Benny Barron, Kenny Werner, Bud Powell, Stephen Scott; there were a few by Cole Porter and Billy Strayhorn. Hugh provided two: Big staircase and his take on I remember you which easily took the nickname I remember Hugh. And I was floored by Hugh's solo intro to Lush Life: just right, in style and harmony with just a tasteful touch of dissonance with some diminished fills (if I heard right). Floored all round by some incredibly capable playing mixing seriousness with good cheer. Barrett, Clarke & Sutton just floored me. It wasn't totally unexpected.

Hugh Barrett (piano), Brendan Clarke (bass) and Mark Sutton (drums) performed at Smiths Alternative.

Night off

It was my Wednesday night off so off to OCI for a beer and chat and jam. Wayne, Ben and Mark S have been running this now for several years and it's quite a scene. On a cold winter's night, it's cosy in the genuine old slab hut pub, the beers are good and the gastropub food is on. But most interesting is the playing. Hugh sat in for Wayne this night. Either way, this is a hot and supremely capable and swinging band. The tunes are standards and jazz tunes, but there's no tiresome commonness here. They are great musos and play with invention and communication. A huge pleasure. Hugh and Wayne are different styles, but equally capable. Ben was just a master last night, soloing on German bow or pizz, all the time interesting, melodic, phrased rather than scaled. And Mark is always sparkling. And it's a welcoming gig with Ben knowing everyone on the scene and always inviting anyone to play. Peter played with Mark L and Hugh, then Tim; I played with Tim and Hugh then Brendan (using Peter's 5-string NS with high-C, then Ben's bass); Tim played with Alec and Hugh. Maybe others? All manner of tunes from various fake books, mostly memorised. I particularly noticed some fine jazz tunes from the house band, not least Moment's notice. The beers was good and the scene busy and the room warm. It's a great night out for musos and mates. If you're free on a Wednesday, 6.30-9.30pm.

Hugh Barrett (piano), Ben O'Loghlin (bass) and Mark Sutton (drums) were the host band at the OCI jam session. Siti-ins included Mark Levers and Tim Butler (drums), Brendan O'Loghlin (piano), Peter Barta, Alec Coulson and Eric Pozza (bass).

Classics all

These were Miro's classic hits, and classic they are. Just seven tunes, but every one hugely attractive, all different, all locking into a groove and spelling a hugely inviting melody. Also from somewhere, referencing something or someplace. Bronte gets in there. Bronte Cafe is a famed piece, having been used on Radio National for some program theme tune (was it Landline?). It's about a local cafe when Miro lived in Bronte by the sea in Sydney and it drives with the greatest of infectious grooves. Then there's one about Mandela and South Africa with the perfect title, Pressure makes diamonds. Wow! Again a work of mastery with an amusing story that Miro can recount for you sometime. The mysterious, caravanserai-relaxed Dakkar, all slow tones merging to form a long pensive theme against the unshifting regularity of an underlying groove. Or Delicatessence, somewhat similarly, thoughtful and gentle and inquisitive in melody and gently insistent in drive. Mambo Gumbo is a street-wise New Orleans beat and For Woody is a driving swing with a quintessential syncopated jazz melody overlying it. And Miro's masterpiece, Peace please, a ballad of optimism confronting sorrow. All great tunes, all heard often enough but never enough for me. And the playing was equally satisfying. Miro leading the lineup with John up front, always stunningly inventive and effective. Newcomers to Canberra, Hugh on piano and returnee Brendan on bass, both stunners, in solos and accompaniment. And Col again welcomed on the scene. I loved the African percussion colours in his intro and outro on Dakkar on a slit percussion box. In all, a intimate and communicative outing with Miro's great music and this hugely satisfying local band.

Miroslav Bukovsky (trumpet, flugelhorn) led a band with John Mackey (tenor), Hugh Barrett (piano), Brendan Clarke (bass) and Col Hoorweg (drums) at the Canberra Grammar School Gallery.

Sundae jam

Another drop in to the Sunday afternoon jam session at Smiths. Again with house band Josh Buckler, Hugh Barrett, Anthony Irving and Andrew Howard. Today's visitors included singers Erissa and Claire, a guitarist (sorry, forgotten your name), Tom on guitar, Geoff on drums and two bassists, Phil Dick and me. Given recent visits by Brendan Clarke and Ben O'Loghlin, there seem to be a session, a six-string, a collective of bassists around. This was great fun. I got two tunes in, with bassist Anthony doing a quite decent job on piano. Sunday afternoons suit me: it's a quiet time. Just one of two regular jazz jams in town. The other is Wayne, Ben and Mark at Old Canberra Inn on Wednesday nights. Both are capable and welcoming. Get to one or both when you can, to play or just listen.

The Smiths Jazz Jam house band was Hugh Barrett (piano), Andrew Howard (drums), Anthony John Irving (bass) and Josh Buckler (tenor). Sit-ins included Erissa and Claire (vocals), Tom Sherringham (guitar), Geoff (drums), Phil Dick and Eric Pozza (basses). (Names updated, thanks for the comment / Eric)

Daily duties

It was an orchestral practice interrupted to set up for a Tilt gig. I was sorry for the first, enjoying Mendelssohn and missing a Tchaikovsky symphony (no.2 - it's great). But duty calls in the form of a gig at Mercure Canberra, long known as the Ainslie Pub, for the Canberra Truffle Festival. Truffles in an adjacent room; bar through another door. We had the stately lounge for jazz and it was a blow from the first. Busy, some dancing, easy chatting and a few listeners. We played jazz and standards and blues and some modern with substitutions and polyrhythms and the like, and also some jazz-twisted pop tunes, not least a new one from Daft Punk. At least new to me. I'm a great believer that everyone should have something they recognise: when they do they come onside and are open to standards, Shorter, Miles, whatever. I sometimes wonder how we can get paid to do this, but they like it and so do we.

Then next day, the Smiths jazz blow. Strong on bassists. Brendan Clarke was playing as I arrived. Eric Ajaye was inside to play a gig after the jam session. The house bassist was Jace Henderson with fellow bandsters Josh Buckler, Hugh Barrett and Mark Levers. I played a few tunes with a singer, not least Honeysuckle Rose, then Beatrice again to finish off. Thanks again to Josh and co.

Cool jam

The sun was out but it had been -7degC overnight, so it wasn't hot. Nonetheless, the Smiths jam session was outside on the footpath using the public piano with its keys missing a few ivories. Cool out of the sun but it was a great session. The standard tunes. Josh leading with the house band. Sit-ins included recently relocated Brendan Clarke and Wayne Kelly for Miss Jones. I sat in for Beatrice with Hugh and Mark and Josh and others. Anthony Irving is the house bass: first time I've seen him and I was impressed. He's a leftie playing a bass set up as right-handed; think Hendrix. Some really nice music and good cheer and pleasant in the sun, until it got low and the cold set in. Then it was the end. Much enjoyed.

The Smiths Jazz Jam house band was Hugh Barrett (piano), Mark Levers (drums), Anthony John Irving (bass) and Josh Buckler (tenor). Amongst other sit-ins were Brendan Clarke (bass), Wayne Kelly (piano), Eric Pozza (bass).

Mulling on jamming

All of a sudden there seem to be jazz jams around. I'm mulling this at the moment. Why, the multiple jam sessions when the performance scene is otherwise so dilapidated. The ructions at the jazz school reduced the numbers of students around town; the regular touring bands have mostly disappeared; the lively jazz experimentation seems lacking or maybe it's underground. But we have these jazz jams. There's still a desire to play with others and to find colleagues. Maybe it's the disruptions that lead to this scene. Whatever, I attended the Smiths Sunday session to find a great host band and a few sitters in. A comfy scene, good music and some obvious appreciation from the non-jazz followers. So worthy, entertaining and enjoyable. Keep it up.

The host band at Smiths Sunday session was Josh Buckler (tenor, convenor), Hugh Barrett (piano), Barney Briggs (bass) and Mark Levers (drums). Sitins were Andrew Howard (drums), Mitch Preston (drums) and Eric Pozza (bass).

Mothers' day

My Mothers' day this year will be remembered for a 4 hour gig in a shopping centre. There's a solidarity amongst performers, musical or otherwise. The pic is of fellow employees serving lollies for the last shopping session before Mothers' day. It was a long gig but straightforward, playing fake book standards and latin and jazz tunes. Lots of comfy tunes but it's busy when you are just playing as a duo. Bass solos in every tune: good for chats with Mum. Again a great pleasure to play with Hugh Barrett. He's such a strong and certain player. Also a pleasure at public gigs like this is the visitors. Rachel Thoms and her mum rocked by for a chat; so did Bill Sweeting, father of Luke. The shopping centre: our update on the Roman Forum.

Hugh Barrett (piano) and Eric Pozza (bass) played for Mothers' day.

Mothership lands

What a thoroughly hot outing. Tilt was playing at the Tradies but James was otherwise engaged (ask him: it's all a very happy event) so Hugh Barrett filled in for the night. Hugh has been in town for a few years for study and he has a history in Sydney, with Mothership Orchestra and various other notables. Suffice to say, he's a strong player who knows charts, has a good ear and strong on tonality but also on plays with dissonance and substitutions. To me, that adds up to much fun. So it was. Mostly standards, including some I haven't played for yonks, some very comfy latin grooves, some nicely driving funky and rock grooves, even an Elvis as a request. Some laughs there. But much fun. Thanks to Hugh and Dave.

For this night at the Dickson Tradies, Tilt trio comprised Hugh Barrett (piano), Eric Pozza (bass) and Dave McDade (drums)

Apricot?

A new jazz jam session for Canberra. I have known of Sunday Sessions at Smiths for some time, but they've recently been taken over by jazz jammers. It was run short for another event this weekend, but I got there for an hour. These were some very good players. Hugh Barrett, convenor Josh Buckler, Jason Henderson and Mark Levers. Sitting in we Suhasini Sumithra, Andrew Howard and Eric Pozza. Mark likes it hot, so there was some pace here, not least Stella with stellar effort. Otherwise, standards like Black Orpheus, Footprints, There will never be another you, Beatrice, blues. Not surprising the playing was nice: Hugh plays sequences through dissonance with ease; Jason is an army reserve player, big chops and well versed; Josh is quick and clever in his lines and melodicism; Mark was just driving it hard; Sumi sang a lovely Manhã de Carnaval / Day in the life of a fool / Black Orpheus. Nice company and good fun all round. I got to play Beatrice and Stella on speed. Thanks, great fun.

The Sunday Session at Smiths featured host band Josh Buckler (tenor, convenor), Hugh Barrett (piano), Jason Henderson (bass) and Mark Levers (drums). Sitins were Suhasini Sumithra (vocals), Andrew Howard (drums) and Eric Pozza (bass).

Family affairs

This was great fun, like a family get-together. Elise Walsh out front, releasing her new Bella Groove album. With her regular band of Victor, John and Steve. With various guests invited for her CD and to play at the release, John, Miro, Eric, Hugh and backing singers Francine and Juanita and Sharon who doubled on vocals and keys. A big performance of a series of tunes from Elise's CD including some originals. Should we (dance) was a love song; City of yes was an ode to politcal involvement; Open your mind was an affirmation; City lights celebrated city life. Also original lyrics to modern jazz tunes and some borrowings from Mike Murphy and even some funky Motown originally from the Messengers. Eric apparently grew up listening to that one on the radio. Nice to hear an old favourite that's not too common, Coltrane's Naima. But this was like family. Everyone knew someone or many others, so some good cheer. So much so, the red wine expired and the local pub was mentioned for afters. And a lovely twist: included with entry was a copy of the CD. What a great idea to get your work out. There was some seriously good playing, too, from some seriously good players. There was good sound and a video recording, but mostly the good cheer of Elise and her wide jazz family having a good time. I'm looking forward to sitting down with the CD. Until then, good cheers and some very nice music.

Elise Walsh (vocals, flute) released an album under her band name, Bella Groove, at Ainslie Arts Centre. With here were her normal band, Victor Rufus (guitar), John Burgess (bass) and Steve Fitzgerald (drums) and guests John Mackey (tenor), Miroslav Bukovsky (trumpet, flugelhorn), Eric Ajaye (bass), Hugh Barrett (piano), Francine Minjoy and Juanita Cucinotta (vocals) and Sharon Robinson (vocals, keyboard).

Collectives

A contagion of basses sounds about right. Whoever arrives at the weekly OCI jam session is a matter of conjecture. This week it was 4 (four!) bassists, along with 2xdrums and one each of guitar, trom, vocals. I got one tune - fair enough given some dithering over a beer. On the other hand, it was particularly interesting to hear so many bassists in one outing. The bass sound was not so big and fat this night: more edgy and toppy, sharing an amp with the piano, but fun nonetheless. I played Recordame, and others did various songs with Rachel Thorne (a great local singer) and Stella and Blue bossa and others. The imports were Sam Dobson, ex-Sydney Con playing with Geoff Bull, Cope Street Parade and others: nicely relaxed, easy-going, on top of the charts. Paddy Fitzgerald, student at Monash, nicely intoned thumb positions and good choppy solos, playing with fellow student guitarist Harry Tinney. And the locals: Alec Coulson with a nice take on Blue bossa and me, on Recordame. Moving Paths had turned up, too (including Max, bassist #5) but too early to jam; they left to play Hippo. The band this night was Ben, Hugh and Steve.

The Old Canberra Inn jam session was hosted this week by Ben O'Loghlin (bass), Hugh Barrett (piano) and Steve Richards (drums). Sit-ins included Sam Bolton, Alec Coulson, Paddy Fitzgerald and Eric Pozza (basses), Harry Tinny (guitar), Mark Levers (drums) and Rachel Thorne (vocals).

Ripping up the place

I was amused at a comment about deconstructing the place. Someone had taken down a pot plant for better sightlines, then he'd responsibly replaced it at the end of the night. The jazz scene is like this. Likeable people who study complex things that pay little for arts-sake with a relaxed dress sense. Like one player who's in Canberra for his Philosophy PhD at ANU on a topic somewhere in Ethics. It's a quiet time for musos after the rush of Christmas. A few are back home to visit rellies: Aidan Lowe was back from Berlin for a time. Otherwise, it's good times and good beers and some excellent music. Hugh Barrett was filling in for Wayne Kelly; Aidan Lowe for Mark Sutton; Ben O'Loghlin was coordinator, calling in various players for the second, jam set. Ben Marston, Tom Fell, Steve Richards, some others. The tunes for the first set were less the obvious blow numbers - Blue in green, Nica's dream and the like. The jam set was more commonly known tunes, starting with Stella then Blue bossa. I got a go on Alone together then Blue Monk. The playing was excellent all round. Aidan's playing a storm, if lamenting his kit that's sat in a shed the last year (fair enough). Hugh smoothed through various harmony colours with extensions or substitutions or whatever and laid down sweet, unassuming solo lines: all the piano's role and done with great skill. Ben O'L floored me, interesting and varied, right on top of the beat and driving with a firm, full sound. Then the horns, Ben M and Tom, soloing nicely, spelling heads with ease but also harmonising melodies and accompaniments to hint at arrangements. Tom commented it's a great lineup for that (rhythm section plus sax and trumpet), but no surprise there, it's the quntessential bop-modern lineup. The last tune was a raging Rhythm changes: so much for deconstruction, this was ripping up the place in a more positive light. And there were chats and beers as jazz is. Much enjoyed. Thanks to all.

Ben O'Loghlin (bass), Hugh Barrett (piano) and Aidan Lowe (drums) were the support band for the jazz jam at Old Canberra Inn. Tom Fell (sax), Ben Marston (trumpet), Steve Richards (drums), Eric Pozza (bass) and others sat in. The OCI jazz jam is at Old Canberra Inn, every Wednesday, 6.30-9pm, free entry, good beers on tap.