Out is not easy

The two sets by the Callum G’Froerer Quintet at the Loft were very different. I found the first was dreamy and meditative; the second had more groove, even some walking bass and rock and jazz rhythms. That’s not to say this was not still a challenge to the ears. I had a good chat with bassist Sam after the gig and he wised me up on the approach of the band. This is not for the faint-hearted musician.
Firstly, there’s lots of listening and considerable risk: these guys are not satisfied with playing the tonics. The tunes were all by Callum, other than one by saxist Andrew. The tunes may be a melody and an underlying chord structure, but all 12 notes are valid here. We chatted about how you make valid those notes that you’ve chosen. You play them with conviction and you play them in response to the other band members, but that’s only part. Sam talked of practising a simple major triad, in all inversions, paired with the triad a major third below, eg, C with Ab. It’s a common movement in jazz composition. I mentioned pentatonics to guide note choices against different chord types, so against C7 you might play a major pentatonic on C, D, Eb, F, Gb, G#, A or Bb and all have their distinct colours which are really extensions with relationships. It’s the relationships that that are important. All notes are not equal; different groups of notes are equal in defining different tonalities or levels of dissonance. Exciting stuff. My interest was also piqued when Callum introduced Andrew’s tune as “constructed” by him. Sam told me afterward how it was “constructed”: each musician selects a phrase that can be looped, then plays that phrase with whatever delay between repeats. It was like the chart I saw for a composition at SoundOut. So how to describe the result of all this? Harmonic understory from guitar and bass with busy percussion only hinting at a rhythm and a slow, often unison, melody overlaid. Not all tunes were like this, but it was a core structure. One tune had a rock groove (totally unexpected here and late in the night). Another had a jazz drum groove with a fast walking bass; Sam explained he fought against muscle memory and standard phrases on this one. The looped tune was all spacey and indeterminate. Another had a four chord pattern. Silver platter was a call and response melody over a 6 x 6/8 pattern. Rocky Mountain had a jagged melody that was the genuine sound equivalent of rocky mountain tops and craggy valleys. So, there was variation but overall this sense of atonality. And maybe one thing left to mention. The stage presence was very moderate, softly spoken; the bass was acoustic and sounding great even if sometimes lost against drums; the overall volume was very restrained, in a fit with this presence. This is a band of seriousness and inventiveness and considerable harmonic skills. The other day a mate said playing out is easier than playing in. I’m not sure I agree, especially after my discussion with Sam. Finding the formally wrong note which is actually right is no small feat. Confidence alone isn’t enough.

Callum G’Froerer (trumpet) led his Quintet’s at the Loft with Andrew Brooks (alto), Brett Thompson (guitar), Sam Zerna (bass) and Hugh Harvey (drums) to launch their CD City speaks.

Paper art

Adam Simmons had CDs for sale in origami covers. How could you choose a standard cover? It’s so apt. The band is called Origami and it’s got Japanese simplicity in its chordless sax-trio format. I like this format lots. It’s open sounding, leaves space for counterpoint, it’s less defined, There’s plenty of opportunity for inventiveness and yet it has the rhythm section to groove. My feeling it that it must put lots of responsibility on the bassist, but Howard did it so comfortably. The other aspect that hints at Japanese asceticism is Adam’s choice of instruments. He plays all manner of instruments that you can blow. I remember a broadcast on ArtSound where he played an extensive range of reeds and flutes. In this band, he limits himself to alto sax and bass clarinet. Origami were playing to a small and committed audience at the Front. I noticed they (or I should say, “we”) weren’t young. That’s a worry. The Gen-Y locals were outside looking in and they got a treat. I saw no-one from the young jazz scene, but that’s going through busy times with changes at the ANU (best of luck to those who have the task of resuscitation). Coming to gigs like this could be part of it but days are young on that front.

Origami is an adventurous crew in terms of music as well as CD cover design. The first set was jazz takes of various Australian rock/pop tunes. Adam volunteered that he didn’t expect these to reach the songbook, but this is exactly how tunes get there. At least Prince and Stevie Wonder got into the books. It would be satisfying if more pop music was sophisticated enough to justify inclusion. Adam said he picked tunes that he grew up with, or just was attracted by, from melody or the groove; these days, the harmony is nothing special. So we got Gotye and Overkill and Michael Hutchens and The Reels. We also got a tune by Adam’s son’s music teacher. The band has recorded these on the CD Karaoke. I heard this as unpretentious, stepwise, cerebral alto playing from Adam, wonderfully full sounding and firm bass that lays an indelible foundation from Howard and colour and cymbals and movement from Hugh. Then Adam finished the set with an original called The Blues of joy, all Ornette-like alto bluesy melody and energy. This was from an earlier CD and suggests a very different side of this band. The second set was immensely different again. Adam took up bass clarinet and started with a lengthy section of circular breathing to start a suite called the Usefulness of art. He introduced it by talking of Rodin’s essays of the same name and of research showing increased empathy of kids raised with music. The Usefulnes of Art was a work of spirituality and intensity, with unison lines, features for each instrument and meditative repeating themes and long sustained passages of bass and clarinet and cymbals. I heard this as spirituality in the style of Coltrane’s Love supreme. So this was a concert of variation: pop, free blues and a spiritual suite … and a unique album cover. Origami were Adam Simmons (alto sax, bass clarinet), Howard Cairns (bass) and Hugh Harvey (drums).

Cocktails

Bands are unique as each player is unique. I noticed this particularly with James Annesley’s band when it played at the Gods. The second tune was the lovely old Bye bye blackbird and it started with Tom on bass accompanying James on soprano sax. I could hear the strains of an authentic ‘50s jazz bar here. More Shorter than Coltrane (although I heard strains of Trane in other tunes) and a simple but nicely taut bass. Then Hugh came in on drums, maintaining the feel of the era, even visually as he sat over the kit, toms forming a pretty flat surface with the snare and the cymbals laid low. This feel faded but the individuality of the band firmed when Other Hugh came in. Other Hugh is Hugh Stuckey on a guitar that sounds more recent with searing fusion solos of long lines softened with digital echo. So I heard mixed eras but what else is music these days? The tunes, too, varied over eras. The first set had several covers: early and modern standards like Bye bye blackbird and Impressions and a funky Tutu to end the set. The second set was heavy with originals and these floated with colour and landscape: mostly single chord grooves, some with odd times or contorted turnarounds. The band played through these charts, almost as a medley. I caught few titles when listed later. I think one original was called Erin’s enthusiasm and I could really feel a kid’s enthusiasm in the 7/4 groove and occasional contortions and endless inquisitiveness in the sax solo. I liked the way the band was busy but gentle: busy with Other Hugh’s forthright guitar against Tom’s doggedly solid bass but there was also obvious Coltranesque spirituality from James on soprano. I enjoyed the drum solos, too. First Hugh cut time into triplet feels and rolls that just dropped out of the rhythm. There was colour in the choice of drums, but mostly this feeling of falling through the skins and through the tempo. The overall feel of the night for me was modern with delicious band dynamics: often quiet, reserved, moving with colours and landscapes, but also outspoken with that forceful guitar and its broad sweeping arpeggios and dissonant sequences. This was comfortable and inventive playing with a really solid, steady underlay. Modern, occasionally brash sounds that spoke also with the language of a swing era. Somewhat like the cocktail of this title.

James Annesley (tenor, soprano saxes) led a quartet with Hugh Stuckey (guitar), Tom Lee (bass) and Hugh Harvey (drums).

Cyberhalides Jazz Photos by Brian Stewart

Motion underscored

I thought the three piece format - drums, sax, keys; no bass - was intentional, to underscore a different mix of players and a different sound. But _motion usually performs with a bassist; he’s just not been well and had to drop out of the tour. Their music, though, still ranged widely. They mention influences from jazz, contemporary classical, experimental rock and minimalism. The music was clearly from the jazz world, but there was evidence of more, especially the minimalism. The first tune on the ArtSound broadcast sounded common enough – a lively up swing of the 60s era with nicely striding solos from sax and piano then into thoughtful sax against a piano pedal, then out on a melody. Very nice. But then a minimalist balladic piece, and another piece with sax and melodica out front and soloing together. There was some bass backing here, perhaps a left hand on the Nord, but lack of a bassist was evident here. Then a few with piano that said 20th Century classical to me. The first was an original, but then a rendition of You are my sunshine, with a very nice, unadulterated melody on sax. Lovely. The second set returned to open balladism then a lively rocker called “Liberty stole my shoes” (interesting title). I was in the studio for this, and the band and especially drummer Hugh was obviously letting go on and there were some cheers of encouragement within the band at the end of this one. Then another ballad, and some impressionist piano to finish, clearly benefitting from the Yamaha grand in ArtSound’s studio. Pianist Berish commented on the piano, noting that it was nicely in tune. Knowing my battles with an acoustic piano at home, I can appreciate his pleasure.

Andrew Brooks played with watery alto tone that fitted nicely with the ballads and the introspection. Berish Bilander had Nord and the grand piano at the ready. I particularly enjoyed his gentle solos that took advantage of the clarity of the grand. Hugh Harvey was more widely interpretive than I’ve heard him before and also let go with rocky energy on a few tunes. Interestingly, the band has Perth connections. I think I’m right to say they all (other than Hugh) met while studying at WAPA in Perth. They are now resident in Melbourne, and doing a short tour to promote their first CD, Presence. They return for two concerts next week: Tuesday at Front Café with Austin Bucket, and Wednesday at Trinity. These concerts feature Abel Cross of Trio Apoplectic filling in on bass. Catch them if you can. It will be interesting to hear, this time with bass.

For the ArtSound broadcast, _motion were Andrew Brooks (alto, soprano sax), Berish Bilander (keys) and Hugh Harvey (drums). Normally they include Nick Abbey (bass).

Branford thereabouts

The support act for Branford Marsalis’ tour was Hobart pianist, Tom Vincent with Leigh Barker and Hugh Harvey. I’ve written this band up several times on CJ. They are an interesting trio with real historical jazz leanings, a readiness to play loose and improvise readily, and a great feel for an easy swing. Tom leads whole gigs with no charts and no set list, moving freely through medleys of standards and playing outrageously with the tunes, arbitrarily syncopating and reharmonising as the muse takes him. It’s a rare experience. Despite the location (Sydney Opera House, no less) and the environment (supporting Branford Marsalis), he presented a set with the same degree of reckless immediacy, although he seemed to have a clear Monk theme on this outing. It was brave (he could have taken a safer path) but it worked and he was well received. Well enough for the trio to be called out to play with Branford as part of the encore. Congrats to Tom, Canberra boy Leigh and Hugh.

I've indulged myself with some other pics of the local scene. One is of a small outfit (sax, congas, turntables) playing a bar in the concourse below the Opera House, and some other pics of Sydney.

The Tom Vincent Trio was support band for the Branford Marsalis Quartet tour. The trio comprised Tom Vincent (piano), Leigh Barker (bass) and Hugh Harvey (drums).

Presence of the past

Tom Vincent played the Band Room last night, the night following Sean Wayland. Within minutes of the Tom’s start, I realised how much I’d enjoyed them both, but also how the gigs were hugely different. It was a fascinating juxtaposition. To me, Tom speaks from the history of jazz. One of my mates heard the 1950s, and there were clear references to the era before cool, with a sensibility that said bop but a control and earthiness that was post-bop, but there was also solid and comfy swinging bass and a drum style that spoke of an earlier era still. Jazz history is rich and full, but the modern world can have a short memory. I remember being struck by the strength of this past when I heard Michael McQuaid’s Red Hot Rhythm Makers playing 1920s dance hall music at the Wagga festival a few years back. I still don’t go out of my way for early jazz, but I can enjoy it when it’s well played and it’s not just nostalgia. Tom’s band plays history with an awareness of modernity, thus doing our history justice.

Tom leads the band with considerable fluidity. Last time I heard him, he played unending improvised medleys that challenged his offsiders to stay with him. This time he played a repertoire. But he moved rhythms and tempos radically at times, taking the band in sometimes unexpected directions. And he led with calls or imploring gazes or solo piano introductions to set the scene. His playing can be whimsical and obtuse and there’s plenty of dissonance, and these are modern sensibilities. So although it speaks to the past, this music is not a museum piece; rather, it touches an earlier era with respect and intelligence and a modern consciousness. Eamon McNelis on trumpet was a wonderful foil to Tom’s piano and I enjoyed his playing immensely. He was formal, with nary a note or arpeggio or scale out of place, for harmony or pitch or tone. I expected he was classically trained, but he corrected me. He’d had 2 years of classical training, but it was other influences that formed him: he mentioned Eugene Ball and Wynton Marsalis. His tone was pure and classical: accurately formed and pitched and bell-like in texture. Here was the calm and measured formality to respond to Tom’s elusive and elastic lines. Ex-Canberran Leigh Barker provided the bass line, and it was fully acoustic, meaning unamplified. Tom noted this, and said it changes the presence of the whole band. Certainly playing double bass without amplification is rare. It must limit the volume of the band, although I didn’t notice it was particularly quiet. Leigh gets impressive volume, perfectly adequate to match drums and trumpet and the Yamaha grand. And it was a rounded, soft bass that lent support with well chosen lines. Hugh Harvey on drums was the stylist that most said pre-bop to me, with soft kicks highlighting infrequent accents, and shuffles and brushes and steady snares. It fitted nicely and avoided prominence.

I think they played a few originals: some unexpectedly short, just a melody and that’s it. But mostly it was the standards repertoire: Willow weep, Cottontail, Cherokee, Straight no chaser, Foggy day, Ellington, Monk and the like. They played Coltrane’s Resolution in an interpretation which was challenging by being out of era. But I felt their strength was these earlier materials that they played with an understanding and vitality and approachability that brought them to life and was free of nostalgia. It was an uncommon pleasure. Tom Vincent (piano) led a quartet with Eamon McNelis (trumpet), Leigh Barker (acoustic bass) and Hugh Harvey (drums).

PS, After writing this, I listened to Tom Vincent’s Blood red CD, and I find it’s different again from this performance. It’s a trio set recorded live for the ABC, with mostly short, original tunes, and a very modern piano trio sound. From the first tune with the fourths of McCoy Tyner, it was unexpected. Tom is certainly an interesting and varied player.

Moody giraffe

Text by John Baczynski, pics by John & Neal Gowan

In direct contrast to the frosty weather outside, the James Annesley Quartet from Melbourne delivered a warm and thoroughly entertaining performance to the delight of a very appreciative audience. The physical layout of the Gods Café also encouraged a fabulous intimacy, often lost in larger venues, making the night even more enjoyable.

Opening with a Bob Dylan cover, "Girl from the North Country", Annesley (tenor and soprano sax) calmly and confidently played evocative floating solos. The rest of the night consisted mostly of originals, with a couple of standards thrown in (Tutu and You Don't know what Love is) all played in an expressive modern jazz style. A stand out was the original "Idle hands do the Devils Work" which not only showcased many of Annesley's abilities on the saxophone, including circular breathing to extend a trill, but also gave Hugh Stuckey the chance to demonstrate his great talent on guitar. Stuckey clearly enjoys his playing and is a delight to listen to as he constructs clean, precise, and fast expressions throughout his solos. Rhythmically, Hugh Harvey (drums) provided a solid foundation to all of the pieces. Hugh created a particularly trance-like mood during his solo for "Giraffe" in which he effortlessly produced an array of fascinating sounds from his cymbals and then shifted back to a organic feel by playing his kit bare-handed. Tom Lee on Bass was flawless throughout the night and his playing was given prominence during the sax and bass duo "Claustrophobia".

As a whole, the quartet displayed an intimate understanding of each others musical vocabulary and technical ability which resulted in a lush, layered and varied sound that was interesting, considered and precisely executed. It was also great to see a group clearly enjoying what they do. Well worth seeing next time they come back to Canberra (hopefully soon).

Teen spirit

It was a quiet night at Folkus and not too well attended, but the music was mostly original and the playing capable and interesting all round. James Annesley was visiting Canberra on tour from Melbourne and he was supported by a local student band led by Andy Campbell.

Firstly Andy. I hadn’t heard his band before, but I knew they’d been performing recently. The music turned out to be all original material penned by Andy himself. Sometimes meditative, often restrained; mostly straight eight feels although there was a rapid walk in there which was more boisterous; deliberate and dynamic rhythm playing by Hugh on drums and Chris on bass, constantly responsive to long melodic and solo lines. Again, we hear current students playing interesting, complex, original tunes: it bodes well. Andy Campbell (guitar) played with Austin Benjamin (piano), Chris Pound (bass) and Hugh Deacon (drums).

The James Annesley Quartet was the feature band on tour from Melbourne. From the top, they were louder than Andy’s band, and more confident with a brasher style of music and some terrific playing. Again, the tunes were mainly original, other than the Marcus Miller/Miles Davis Tutu, and the last tune of the set, the one they didn’t introduce, Nirvana’s Smells like teen spirit. Teen spirit has a strongly insinuating melody line that just clicks in the jazz idiom, and they did it justice. James played tenor and soprano saxes, but was more commonly on soprano. His playing was clear and incisive and fluent throughout. Hugh Stuckey was also a blast. He reached the finals of the National Jazz Awards for guitar at the last Wangaratta Festival, so it was not unexpected. He was fluent, subtle, elusive. It was fast playing with a lush background echo, so modern sounding. Rapid lines often merged with chords; generously spaced; open and searching for a response to the surroundings; resting between passages with a flourish of his left hand. Tom Lee played a strong and regular line on bass. He moved with his bass lines: more than anyone else I remember seeing. It’s interesting to see how musos respond to what they hear: variously cool and unmoving or mobile and expressive. Hugh Harvey combined with Tom for the steady, go-ahead bedrock rhythm, and played some nice solos of his own. I doubt my description does them justice. I thoroughly enjoyed the confident, capable performance in a modern post-bop style. There’s still a chance to catch them at the Gods next Tuesday. Well worth the outing. James Annesley (tenor, soprano sax) played with Hugh Stuckey (guitar), Tom Lee (bass) and Hugh Harvey (drums).

And remember to support music like this! Folkus is increasingly providing the venue for comfortable, intelligent, listening jazz. Use it or lose it.