Fun all round

That was fun. I filled in for In Full Swing, the long standing Canberra Big Band playing in Dickson for the Swing Katz. One practice, lots of charts, a two hour gig featuring a string of tunes (~40) all dots and syncopated hits and too many repeats that weren't clear enough for this newbie with these charts. My excuse! But great songs from Sinatra and the rest. It was pretty voluminous. Why is it that fun and loud so often go together? My poor ears can't take it so well anymore. The band is perhaps 20 people in standard big band formation: rhythm section; three lines of horns: saxes, trombones, trumpets; male and female singers. It's normally led by Beth Way and was for my one practice, but she came down with the lurgie so various others managed it on the night. I was mostly too busy reading to watch the dancers, but the best, most committed, of the Swing Katz are a pleasure to watch, with their jazz Lindy hops and acrobatics and the rest. Thanks to the band and my ears are still ringing.

In Full Swing Big Band performed for the Swing Katz "Op Shop" social (appropriate attire requested). Beth Way (musical director) usually leads.

Music to watch tulips by

Lovely day for it. In Full Swing was playing at Floriade, Canberra's annual festival of flowers, more specifically, tulips. The band was on the big stage; the swing dancers were off to one side having a ball, looking all the world like the fifties; I recognised a few mates were on stage (I learnt later than had played with IFS but were filling in for this gig). The songs were standards and big numbers and some newer names (Shirley Bassey, Bette Middler, Natalie Cole) and a Sam Nestico chart and funk and shuffle and my favourite was Bacharach's brooding Look of love and the final Zoot suit riot was a blast. This is fun music and the band is big and strident. I drool over the ensemble sounds of big bands but less so for the solos, even from the best players (I think it's something to do with the short windows on offer) but I was blown out by Mitch Preston's urgent fours. Beth Way led the band as conductor and musical director. Singer Jace (?) sang firm and powerful with deep vibrato, perfectly fitting Big spender and the like. The enjoyment and energy was infectious, even at 10am on a bright spring day. What a satisfying band! Enjoyed it lots.

In Full Swing played on Stage 88 for Floriade under Beth Way (conductor, musical director).

Back to the fray

It’s been a few weeks since Jason Moran - a few weeks of contemplation rather than attending jazz. But I was invited to In Full Swing's 20th anniversary concert, and it was a gentle reintroduction but a joyful one. IFS are a local big band and they were celebrating their 20th anniversary. As musical director Nathan Sciberras noted, it’s still a baby next to Spectrum BB (was it 75 years?) but still impressive and they will be around for their 21st year of maturity next year. We were all invited. And “all” was the right term. This was a full house in a big room at the Southern Cross Club and it was sold out and 80 people were turned away. I could see why. There was real enjoyment in the audience. The tunes were renowned popular numbers from various decades, the dancers were the local swingers, the band was having a ball and the room was swinging. Being swing, these guys (here I include the guy-ettes with apologies to Simone de Beauvoir) played old numbers, but they ranged over 50 years and Nathan even mentioned more recent Matchbox 20, and the older numbers sometimes got the treatment. So what did they play? A St James Infirmary that was funked up and some Basie and Benny Goodman and Zoot suit riot - all swing and homebase for the K-Motion and Jumptown dancers. I liked the Motown tunes and they were true to style and arrangement, eg, Ain’t no mountain high enough although Superstition is not a favourite of mine. There were a series of cubed tunes: Quando quando quando, Perhaps perhaps perhaps and Benny Goodman’s Swing swing swing. There were some sleazy oldies that I squirm at but ya have to live with, like Danke Schoen (still going around my head) and You’re just too good to be true and Tom Jones and there was audience involvement with Minnie the Moocher. My favourites were Bacharach’s I say a little prayer with its odd timings and L-O-V-E (Love is for the way you look at me) which is corny but I love it. There were others too, but you get the picture. The band was swinging and the solos were short and shared, as is the way with BBs. I especially noted George Cora on drums and a sweet clarinet solos from visitor Tom Manley. The singers were commendable: Lauren Black, a friend of CJ, was in fine form with a voice that rang big and clear and was perfect for the role. A new one on me was male singer Tom Johnson. His first tune was a Tom Jones number and I was surprised by its authenticity. Then some decent belting out of Sinatra and Dean Martin and more left me with some admiration. This is all amateur work, but it was a comfortable and confident front line. The rhythm section was steady and swinging; the horns were nicely timed, too. There may have been too many encores but the band was having a great time and the audience was in perfect concordance. IFS are turning 21 next year but let’s face it, who wants to grow up when you’re having such fun? [Excuse the camera. My normal one needs repairs.]

Jam jar

I got to the second Jazz at the Folkus jam session on Saturday. It was not quite what I had expected. The music was fairly mainstream, rather than out-there modern, but jazz has a history, and it’s made up of a rich tapestry of historical styles. These were some that I love, but don’t always indulge in.

The host band for the event was the In Full Swing big band. It’s a community band based in Belconnen. It’s made up of about 20 players and is led by Nathan Sciberras. This is swing, the popular music of the 40s or thereabouts: think Benny Goodman, Duke Ellington and the crooners, but with some popular modern classics. I love this stuff, and it’s become very popular again with the emergence of Sinatra-stylists like Michael Buble. The repertoire ranged from Cry me a river and Fever, through Lady is a tramp, Georgia, Night and day and Take 5, to Song of the Volga Boatman. All good stuff and the playing was satisfying. There was a very reliable beat from a capable rhythm section, and some good swing and interplay from the horns. The intonation was a bit sus at times, but the charts were professional, the dynamics were strong and the enjoyment was obvious. I took note of Samantha Seckold on bass and several solos, Lauren Black on vocals and Nathan himself as leader. It was a nice one all round and much enjoyed. Congrats to the band. I’ve grown to admire such community activities in recent years. Oh brave new town that has such things in it!

Next came my band, Toucani. We were Trio Toucan, but we recently added a sax so the small name change. We chose to do an originals set, but did sneak in our theme-tune standard, the lovely and slightly kitsch Out of nowhere. Most of our originals are penned by Daniel, who writes harmonically rich tunes as only pianists can. I wrote two others, and these are typical bassist tunes: latin and rhythm-based but with reasonably complex call and response melodies. I like to think we introduced a harder post-Coltrane edge to the proceedings, and hopefully our mistakes just appeared as early-60s explorations. Toucani are Daniel Wild (piano), John Baczynski (tenor), Brenton Homes (drums) and Eric Pozza (bass).

Kooky Fandango followed with a very different set. KF seem to me a bridge to more popular and bluesy styles, which makes them a sellable proposition, only enforced with the female vocals up front. The players are good, the style is clean and precise, the levels are restrained. This is quite a professional outfit and was popular with the audience. Peter is a well-known local player on his 6-string Alembic bass. I especially noticed one massively fast, flamenco style solo. Cameron is classically trained so his intonation is always good and Nathan Sciberras (leader of In Full Swing) reappeared on baritone sax giving some interesting counterpoint. Courtney has a strong and deep female voice, which suited the blues-influenced style. Kooky Fandango are Courtney Stark (vocals), Cameron Smith (trumpet), Nathan Sciberras (baritone sax), Peter Barta (bass), George Cora (drums).

A jam session ended the day with players from the In Full Swing small jazz ensemble. The tunes were obvious ones of the period: Summertime (hate it!), Caravan (love it!), Don’t bug me, hug me (more 12 bar jump blues than jazz), and Don’t get around much anymore. It was a bit too subdued for me, but I warmed to the head of Caravan, which seems to be impossible to play without passion.

I hope to see a wider mix of players at future jams, including a smattering from the Jazz School. James LeFevre might bring a few along when he provides the host band in a few months time. The venue is roomy; the beers are club prices; the entry is free for musos; there’s a very impressive PA and a big car park just out the door.

Jazz at Folkus jams are held the third Saturday every month, 2-5pm. Entry free for players; otherwise $12/$10. Folkus Room, Serbian Club, Mawson. Queries contact Cameron Smith 0422 842 605