Sixteenths

It's a fling back to a comfy past to hear Hugo Lee's band playing funky 16ths-note patterns. This is '70s funk as I remember it, before a descent into its pop-disco incarnation (which was itself entertaining enough if lighter and perhaps less pretentious). I haven't heard that same insistent bass, the odd rhythms, the infectious moves for ages. I was trying to transcribe a rhythm as I listened and realised how difficult it can be. It all fell out when I counted in 8 rather than 4: it was the odd leading 16th notes that caught me out. So the bass was key; interestingly Jack on a 6-string Ibanez for some funky solos, too. Then over this, a melody from Hugo's alto and calm, at times almost meditative, but sharp, snappy drums and edgy guitar chords that would sometimes move to solo with unassuming swirling effects, perhaps accompanied by another of the '70s innovations, an EWI, a synth controlled by wind and sax-like keys but sounding, this time, all the world like an organ. All a throwback in some ways, but satisfying and brought to date by current-gen players. Not just that. There were two originals by Hugo, one rock solid, one another funk outing. And a few standards. Ladybird done quickly but otherwise straightforwardly, and Caravan rearranged for time and hits and double-time walks. And a Kenny Garrett (as we were reminded, not Kenny G) tune to end. I enjoyed it all, grooved with the 16th notes, expecially drooled over the superbly neat and apt drums. Another great little lunchtime outing at the Ainslie Arts Centre.

Hugo Lee (alto, EWI) led his band with Ben Forte (guitar), Jack Schwenke (bass) and Alec Brinsmead (drums) at the Ainslie Arts Centre.

To two greats

Mingus and (Joni) Mitchell. Both greats of their fields and friends who wrote for each other and recorded together. The ANU Jazz Collective presented a concert to give due recognition to these two. They played a series of tunes from each and two originals influenced by them. Rhythm section, four horns, vocals. The Mingus tunes: Haitian fight song, Fable of Faubus, Goodbye pork pie hat; the Joni Mitchell songs: River, Both sides now, and the lyrics she added to Mingus' Goodbye pork pie hat; the two originals, Collective jazz by Brendan Keller-Tuberg and Fields by Andree Thompson. I could easily feel the relationship to Mingus in Brendan's composition given the switches to double time, the bass features and drum hits and collective improv and blues melodies. Brendan did a good take on Mingus throughout in his playing, too. Fields was more open, odd timed, perhaps more Joni-contemplative. I loved the ensemble sound of the four horns throughout: trumpet, trombone, tenor and alto saxes: nicely intoned and some decent solos. Rose Costi took the vocal role and did the Joni songs with considerable panache and involvement. One listener reported tears (Both sides now, I think) and another said she was close to it. I didn't quite feel this, and I was uncomfortable with the slow pace on River, but the singing was very impressive. I could not but love a concert dedicated to these two masters: bluesy, earthy and true. A great pleasure.

The ANU Jazz Collective presented a program called Mingus meets Joni at the Band Room. Performers were Rose Costi (vocals), Anthony Cotter (trumpet), Jack Schwenke (trombone), Hugo Lee (alto), Andre Thompson (tenor), Ben Forte (guitar), Brendan Keller-Tuberg (bass), Alec Brinsmead (drums) and Johannes Luebbers (piano).

Finally Merimbula 3

I caught one of two sets of the ANU Big Band under John Mackey. Big it is: 30 performers including eight singers. As you’d expect, it was lively and well turned out. I felt comfy from the first vibrant chords of a Bill Liston chart, and it was a roller coaster ride from there. Woody Herman played on bass clarinet and clarinet; a vocal choir performing Easy to love; a Bach cello suite performed on 6-string e-bass by Jack Schwenke. The Music School now joins students from jazz and classical backgrounds, so we get an idiosyncratic performance. Strange, yes, but also interesting.

Mark VI included several players I was to perform with in my own band, so I had to catch them. They are led by trumpeter Mark Durieu, performing hardbop and the like: David Sanborn, Scotch & soda, Sugar. It’s entertaining music and hardly profound, but I’m sure it doesn’t claim to be. These are good musos: good readers, good soloists, correct and capable. You can see the Army Band connections in the reading and accuracy and occasionally in the haircuts. I particularly enjoyed Noddy’s drive, Baba’s fluent solos and Barney’s easy reading. Barney had to do the set on double after he’d left his guitar strap in the car, but I didn’t notice anything lacking. Mark VI were Mark Durieu (trumpet), Rouslan (Baba) Babajanov (sax), Douglas Hill (piano), Richard Manning (guitar), Scott Temby (guitar – not sure he was playing this set), Barney (Benjamin) Briggs (bass) and Derrick (Noddy) Brassington (drums).

Don’t tell Megan, but I went to a jazz service. Well, actually an ecumenical gospel service, as I was informed by someone leaving a local Anglican church. It was in the Catholic church, an unfortunate ‘60s A-frame construction with a priest who mentioned Parsifal and his preferences for other than jazz. He railed against ideology and at one point even questioned Papal modernism. I can respect tradition, but I felt a chill breeze of Pellucid conservatism about this man. The readings were Psalms 158-160, all praise to the Lord. Some lines from the “responsive prayer” sounded like piffle to my ears: “Let us raise to the limits of time / And behold Your eternity / Let us run to the edges of space / And gaze into Your immensity”. I prefer words like “Blessed are the peacemakers”. I often hear music in churches these days; they can be some of the best spaces for music. This was jazz and gospel singing. Rhythm Syndicate was choir; Pippa Wilson was singer with a decent, mature, traddie band. The songs were Swing down chariot (what is it about chariots in gospel music?), Amazing Grace, God bless the child (lovely!); I believe (credulous pap to my ears); Leonard Cohen’s Hallelujah (deeply uncertain and earthy and a paen for our times); He ain’t heavy, he’s my brother (unfortunate); Put your hand in the hand (lively) and When the Saints go marching in (inevitable). I enjoyed this. I sang along and searched for harmonies, no doubt annoying the couple in front of me, but it was fun and it loosened the vocal chords.