Reappraisals

Yep, the jazz at the National Press Club is just a lazy Friday evening outing if I have nothing else to do but  that's not to denigrate it.  After all, I know the players and they are some of the best in Canberra and many teach at the ANU.  But they are just locals and mates and it's just a relaxed gig for after work on a Friday.  Yes to all that, but I was still floored last night and by more than the new beer I discovered.  Wayne Kelly was leading in the absence of Greg Stott and Jason Varlet and Mark Sutton were his offsiders.  The music was not just standards and walks (did I hear a standard?  I don't think so although they started with a blues), but great grooves and often popular numbers, not least Strawberry Fields and Message in a bottle and Walking on the Moon.  Then a Poinciana -like groove and latin-ish something and others I recognised but couldn't put a title to.  So the grooves were a delight and contemporary.  Then the solos, Wayne reasonably restrained although always delightful, Jason lively and expansive on his Jazz bass and Mark just a dream at times, sharp and precise and totally unaffected; glorious.  I'm not the only listener even if there's plenty of clicking and chatter too.  That's how a bar gig should be; this is just a classy one with great musicians.  Some of the best in Canberra.  What a great indulgence for such a free local club outing.  As for the beer, it was a Capital All Night Long Dark lager, all rich and chocolate. Check it out soon.  The website says it's only available until September.

Wayne Kelly (piano) led a trio with Jason Varlet (bass) and Mark Sutton (drums) at the National Press Club.

Jazzing post-whatever

I was musing with a jazzer the other day about gigs around Canberra.  We have had a wave of losses over recent years from the changes to the ANU School of Music then the biggie from COVID but one modest venue has just kept on keeping on.  That's the National Press Club .  In fact, it's expanded, at least for jazz, as jazz has taken over from the thursday blues nights.  It's mild club jazz, but it can be exhilarating with some of the best players around town and occasional visiting mates.  So the other night I got to NPC for the Jason Varlet trio.  His offsiders were Greg Stott and Mark Sutton, both regulars at NPC.  I hadn't seen Jason for years.  He's a fluent, capable e-bassist and he was hot on the night, quick and fluently mobile over the neck with a boppy, chordal approach to solos and a soft tone.  Greg has his own speed, too, of course, but is more influenced by the melody (bassists tend to know chords and, despite best intentions, forget to learn the melody).  Greg is always a pleasure.  But tonight my eye was particularly on Mark, able and deliriously, pleasurably correct and so nice with some solos that were not so fast (well, sometimes in flourishes) as conversational, expressive, substantial.  One surprised me with mallets.  Otherwise, they were always fluent, working the various skins for expression, precise and consistent in attack and accent.  Not at all the rock star, but the eloquent and subtle virtuoso.  It was a particularly good night for Mark, I guess.  I could just chuckle  and give restrained applause.  Such a pleasure.  So, another visit to my local.  It's become a habit recently.

Jason Varlet (e-bass) led a trio with Greg Stott (guitar) and Mark Sutton (drums).

Something happy

So said the bass player: “Please can you write something happy”. And Peta Gammie wrote a lovely jazz-influenced ballad that swung lightly and with pathos rather than joy. But this was the only tune I heard that I recognised as jazz. Not that that’s a problem. She’s a good composer of soul or rock or funk songs on very personal issues of love and its consequences (if with a twist, like morning and non-morning partners living together). And Peta can carry the style off, with a strong mid-range voice that she uses capably and with evident and satisfying jazz-trained precision in pitch and note values. It was a friendly and sometimes amusing concert, if just a little nervous. The high heels that found the hole in the floor were an unexpected surprise. The relief felt by travellers returning home was evident in comments on the Aussie pronunciation of water (d for t)and the audience’s understanding of her patter between songs. Peta’s been in Geneva for the last 6 or 7 years, but comes from around Kiama and studied at the Jazz School here in Canberra, so this concert was somewhat a gathering of friends. The band was fitting, too. Mark beating such apt, flailing grooves and fills. Jason laying down busy, finger-funk bass lines with that middy, woody Warwick tone into a man-sized bass rig. Greg mostly strumming light, funk styles on strat but letting go for some devastating guitar solos culminating in sequences and sweeps. Ya have to love it! John leading on melody and soloing with some bluesy lines, but then insinuating sophisticated dissonances into busy grooves. And Luke on edgy Nord piano tones sweeping over the keyboard, and just one time at the end, introducing organ (I wished I’d heard more of this).

But it was more than just a concert. CIT is a training ground for video and audio engineers, as well as musicians and the music business. So we had a mega production, with big PA, big lights, big screens. I loved the sound of the PA, running well below its capacity and totally unstressed. I didn’t always like the mixing. I found it sometimes too edgy and cluttered and unbalanced for my ears, but I’m the backseat driver here. Mixing is harder than it looks. I enjoyed the video. It gave a different view of some things, and I found myself watching it several times, even with the live act only metres away. But one thing was disconcerting: there was a slight but noticeable delay between the PA sounds and the projected video. I know they delay sound for speakers at different distances from stage at big stadium gigs. That wouldn’t have been feasible here, where we were seeing the life performer just metres away, but it was strange to observe.

Peta’s songs were all originals, other than one Elvis Costello tune, I want you. Annabelle Jones sat in with acoustic guitar and nice harmonies for one tune. Utopia Collective played the first set, with their highly capable fusion, finishing with a tune John had introduced to the band only 5 minutes before. As I remember, it had a rock groove, a busy but constant bassline, one or few chords, a devilish melody that John must have known, and otherwise five very capable musos who pulled it off with ease (if a few nerves).

I enjoyed the night, enjoyed the sound and the experience, and especially enjoyed Peta’s soulful music and personal lyrics with such a capable backing band. Peta Gammie (vocals) sang with the Utopia Collective. The Utopia Collective is Greg Stott (guitar), John Mackey (tenor), Luke Sweeting (keyboard), Jason Varlet (bass), Mark Sutton (drums).

Visiting Utopia

I went to Utopia last night. Well, not THE Utopia, but I heard Utopia Collective, which is the lively, well-named and entertaining large ensemble led by Greg Stott. Greg had promised for some time to write big band charts, and he’s finally come good. It’s a big project; it’s well done, interesting, very competent, and it’s recorded.

The night started with a small band, essentially GSB (Greg Stott Band). Greg (guitar) with John Mackey (tenor sax), Jason Varlet (bass), Mark Sutton (drums) and Sydney player fresh from touring with silverchair, Adam Sofo (keyboards). I’d heard this band several times with Wayne Kelly on keys before his departure for Macau. Adam was new (the band only formed at 4.30pm preceeding the gig) but performed with zest and capability on piano, organ and other keyboards. I liked the way the styles of playing changed with the different keyboard sounds. You can’t play a sustained organ tone like a percussive piano. He seemed to drop into whatever with comfort. John mostly led on melodies and took the emotional highs with some flaming jazz solos (we expect and get no less from John). Greg soloed with sheets of notes, clear and expressive, and edgier when he picked up his strat. Jason played some occasional slap and clearly intentioned solos on bass, but impressed mostly as solid, well-formed and ultimately reliable, as a bassist should be. But I was entranced by Mark this night. His playing was an object lesson in driving the band through different rhythmic feels, and his solos merged imperceptibly with his backing playing. Wonderful playing by Mark, and all round. The tunes were by Greg and John. Greg’s Body politics is a blues with a great funky jazz trio segment. John’s Shorter straw is a dedication to Wayne Shorter. Greg’s Grey sky is a slower 3/4 piece with cut-time country-style bass, which I had previously described as country ballad. It reminds me of Mark Knopfler and the Local Hero theme so I guess that’s country style. Greg joked of years working years to be a jazz nazi, but playing this and several other pop charts later in the night just convinced me of his maturity and catholicism of approach. I like John’s It’s the only thing to do, and they played several other original tunes too.

The second set was the Utopia Collective itself. UC is a platform for big band charts by Greg, but also an opportunity to play with a batch of excellent players, and to record and video and perhaps to tour. The charts were good, the tunes were mostly originals, and there was a pair of vocals tunes in there too. Campervan was a lively start, and a tongue-in-cheek reference to Caravan. Maybe tomorrow started with flute and continued as thoughtful, melodic and restrained. A beginner’s guide to brainwashing was a world premiere, as well as a hot funky piece that I particularly liked. The final piece was a down-home organ-based swing that gave the back line an opportunity for a blow. Gary France is a ring-in from the classical percussion school. He added layers of percussion and sound, using various instruments which he shook or hit, as well as the more substantial congas and vibes, and I enjoyed his display of virtuosity with a vibes solo at the end of the night. The large band also played two pop songs, a Donny Hathaway and another, with singer Imogen Spong sitting in. Imogen sang with an impassioned, inflected, soul style. It’s not jazz vocals, but in the style of the divas of current popular soul (perhaps now called R&B) world, think Christina Aguilera. She’s already well-developed stylistically, but I felt there’s loads of further strength and confidence to come. She’s clearly one to watch.

There were other aspects of this night that impressed. It was held at the CIT auditorium. CIT trains in music and audio and video production. The sound was great, with a timbered chamber and a powerful, big-binned PA run at moderate volume, presumably with masses of headroom giving unstrained clarity over the full frequency range. I really enjoy an unstressed PA; this was a pleasure. There was a mixing station at the back of the room, with video screens and audio mixers and various processing toys. There were several video people peppered around the room. The stage was well laid out with depth and height and well lit with vibrant colours. It really was a great presentation. And there was an audience of friends and family at café-style tables, which always makes for a friendly and relaxed atmosphere at a gig.

So a very nice outing, interesting and very well played charts, and it’s all recorded for posterity. Greg’s planning an annual outing for the Utopia Collective. I hope they can tour or perform more often. I certainly hope to be at the next local gig. This is intelligent, entertaining music which crosses boundaries. Congrats to all.

The Utopia Collective comprised Greg Stott (guitar and leader), John Mackey (tenor sax), Mark Sutton (drums), Jason Varlet (bass), Adam Sofo (keyboards), Imogen Spong (vocals), Gary France (vibes, congas, percussion), Graeme Reynolds, Dan McLean and Ben Marston (trumpets), Rod Harding and Rob Lee (trombones), Matt O’Keefe (bass clarinet, baritone sax), Niels Rosendahl (tenor sax, clarinet), Andrew Hackwell (sax, flute), Lina Andonovska (flutes)

Saxessions (Too much on, 3)

John Mackey was the common element in his Saxessions evening at Street Theatre. What a mammoth event. An evening of John playing with three different groups was enough to make for a special event. But a live broadcast to ArtSound and a possible triple live CD just adds to the uniqueness of the night. I dread missing it, but I did manage to hear some snippets on ArtSound FM during the night. There were three sets, with the Austin Benjamin Trio, with Eric Ajaye and Mark Sutton, and with the Greg Stott Band (GSB). These all displayed obviously different characteristics. There were originals peppered through the night. The middle set had a freely improvised medley of four standards (Blue bossa, Footprints, Solar and Invitation). They had no idea how this was to happen, but as John said, with guys like Eric and Mark you can feel confident. The GSB set was a fusion style, with fast guitar and bluesier sax. Hearing it on radio made for a more dispassionate listen and I enjoyed everything I caught. It must have been an entrancing event for those in the theatre. There were listeners who were interviewed at the end, who talked of coming in, unplanned, on the strength of the broadcast. It was a marathon for John, but also for ArtSound who put together the recording and broadcast. Both John and Chris Deacon sounded wrung out at the end, but also buoyed by the achievement. I’m looking forward to hearing the totality when released.

John Mackey (tenor sax) played the full session. He played set 1 with Austin Benjamin (piano), Chris Pound (bass) and Evan Dorrian (drums). Set 2 featured John with Eric Ajaye (bass) and Mark Sutton (drums). John played set 3 as the fourth member of the GSB comprising Greg Stott (guitar), Jason Varlet (bass) and Mark Sutton (drums).

Feel free to add your comments below.

Bronte gumbo

By Daniel Wild

As soon as the music started, the patrons at the Hippo arrayed their square and circular stools to face the band. The avid listeners remained like this for the night, some nodding their heads, others with head on fist in contemplation. Couples whispered asides about a particular musical moment that had struck a personal chord.

The Miroslav Bukovsky Quintet opened the night with a high energy piece called Shuffle. Like many of the compositions on display tonight, this one opened with guitar, electric bass and drums setting a groove.

In his first solo Bukovsky announced himself like a bugler leading an infantry cohort. He then retreated behind a series of nuanced propositions, like a Greek philosopher enlightening his elect following with some seemingly matter-of-fact thoughts. Then he changed to more regular eight and quarter note lines, before building up the tension by combining regular rhythms with the freedom that had opened his solo. Bukovsky is an adventurous player. He’s not afraid to make occasional adjustments to his tuning valve in order to reach quarter tones and blues notes.

Bukovsky warmed up on his Harmon mute before the first piece began, but hardly used it for the rest of the evening. Not that he needed to. He has a full dynamic range, can play soft, assertive and sharp, wistful or robust. He also spends a lot of time playing the mellower flugelhorn.

Nor does Bukovksy limit himself to his two horns. Spurred on by Evan Dorrian’s gutsy drumming, Bukovsky keeps two percussion instruments on hand. One is a cowbell and the other some type of large maraca covered in beads. If anyone knows their exact names then please post as comments at the end of the article. Bukovsky doesn’t grab these instruments to have a bit of fun between solos – he gives the rhythm section that extra bit more vitality and encourages cross-rhythmic dialogues with Dorrian. With Bukovsky keeping a steady beat, Dorrian has extra space to extrapolate some slightly ‘out’ drum motifs.

The second piece offered a complete contrast to the high octane performance of the first. It was a slow ballad by Greg Stott. Bukovsky said it proves Stott to be a sensitive type. In other pieces Stott certainly shows that he has the chops of Charlie Christian or Tal Farlow, but he is more than just a semi-quaver machine. His produces a large range of tonal effects on his semi-acoustic guitar, along with quartal harmonies and rhythmic devices. This piece demonstrated that he can play ballads and craft convincing compositions.

John Mackey’s solo in the ballad was particularly refined. His use of space and choice of notes ensure his lines are melodic without being sentimental. The sixteenth-notes are not overdone, but rather ripple the waters. Dorrian’s astute interjections on the crash cymbal emphasise and heighten, rather than intrude. His tremolo on the ride at the end of Mackey’s solo signalled the end of a journey and the awakening of new planes of consciousness.

Only when this new level of awareness was reached did Dorrian break out into ecstatic cross-rhythms in a pseudo-drum solo, beneath the reiterated head played by sax and flugelhorn. We were returned to Earth by a ritardando when Dorrian struck the thicker ends of the drum-sticks on the rims of the toms and cymbals.

The ante was upped again with Dorrian opening the next number with African inspired drumming. The guitarists joined him, Jason Varlet on bass creating a steady ostinato which provided the foundation on which the horns built vast edifices. John Mackey’s solo exemplified hard bop tenor playing and really sparked the audience. Fresh from his Coltrane tribute last year, comparing him to the master is stating the obvious. The rich sound he achieves and his ability to conjure rapid runs at will has to be listened to and cannot be described. Sydney saxophonist David Theak has similar versatility. Mackey’s solo was fast and vigorous and went out like a candle burning to the end of its taper.

The settings on Varlet’s guitar and amp were just right – a hard, round lower tone with softness in the upper registers. His ability to sit on a single chord and imbue it with variety, quick passing notes and dramatic modulations inserted at the right moment makes him ideal bass player for hard modal jazz. It was late in the first set when he got his first solo and it had panache. Varlet communicates well with Dorrian and when either of them sense they’ve gone too for out, a nod and a smile reassures.

Greg Stott’s modal sliding doesn’t change the implied chord but alters the colour and can lend different slants and angles to the solo lines. Dorrian always provides a steady beat at the beginning, but as the tune progresses his underlying rhythms almost become compositions themselves. Great use of texture was made in the openings of these songs. The way Bukovsky’s group can enliven a progression based on a single chord or familiar blues progression should give bands an idea of how to compose simply yet effectively.

Although these were original compositions, executed with precision and vibrancy and played effortlessly, this is easier said than done. The second set displayed similar styling to the first, with added intensity. Compositions by Bukovsky, Stott and Mackey included Bronte Café, Maybe Tomorrow and Mambo Gumbo. There were forays into free jazz during the openings of tunes, rhythmic influences from electronic music, guitar comping reminiscent of seventies fusion. Whether Stott is comping or soloing, his playing is harmonically rich and without boundaries.

At one stage it appeared as if John Mackey had had a haircut and grown shorter, but it was Niels Rosendahl stepping in as guest. When Mackey returned from the shadows the tenors navigated a complex head in unison, note for note. Miroslav Bukovsky has assembled a fine entourage. If and when they tour Melbourne, Sydney (or the world) Canberra’s reputation for producing accomplished jazz musicians is in good hands.

To CGGS & the nation

John Mackey’s quintet played for ABCFM today for a live to air broadcast on ABCFM. It was the last of four weekly concerts out of Canberra, and the one jazz outing amongst them. There was a keen crowd; family and friends, I’d guess, along with a smattering of local ABCFM listeners. The band has otherwise appeared as the Greg Stott band. Today it was the John Mackey Quintet.

These are top players around town, and they played mostly original charts, so it was an interesting outing. And well controlled to fit within the allowed 55 mins of the program. John was in good form, amusingly welcoming applause between tunes, and offering praise for jazz in Canberra. It annoys me that it is even an issue, but it always is. The big towns expect they rule the roost, and so they do, but that’s not to say there are not capable and interesting alternatives in the localities, and doubly so when we have a quality Jazz School like the local one at ANU.

The band played original music for all but the last tune, Elllington’s unmatchable In a sentimental mood. I’ve heard John play this solo sax intro at other times, and it’s always an impassioned and expressive piece. It’s truly lovely: every bit the lone saxist hanging from a loft window in NY. The originals were penned by John and Greg. John also talked of integrating tunes from the other members. I know that at least Wayne writes some capable compositions, so there’s more opportunity there. The tunes we heard were clearly identifiable with the different members. John’s were relatively simple and impulsive, a la Trane. Greg’s were more West Coast US, with images of Hollywood and soundtracks, and Pat Metheny came to mind. These are very different eras; both were entertaining and interesting, although maybe the mix was a little incongruous. It will be interesting to hear Wayne’s charts added to the mix.

The Canberra Grammar Girls’ School (CGGS) has a fabulous auditorium, with plenty of room for a large orchestra (I’ve seen several hundred on stage there for a performance of Polovtsian Dances, what with musicians and choirs), and a little phased array PA to boot. The sound on the day was very wet with reverb and some delay, and quite unbalanced, but I guess the techo was concentrating on the broadcast feed rather than the live mix. [See my italics below - apparently the PA wasn't even in use!] I lost much of the piano solos along with the guitar; the bass/drums combo was huge, and the sax was strong and rich. Listening to the more fusion-style tunes, I realised the power and richness of John’s tenor tone. I know he practices for tone and his accomplishment was evident with these more simple melodies. His tone was to die for: big and rounded, tight and clear.

I’ve since got an email from Andre, a music producer at the ABC. Apparently, the PA was only used for announcements on the day, so the sound which I heard as “wet with reverb” was a product of the room, or at least something other than the PA. I rechecked with some musos I know who were there. We had discussed poor sound on the day, and one had a good memory of it, so there was something wrong. One suggested a large door left open at the back of the stage and which opened onto a concrete storage area may have sucked in the sound and allowed it to reverberate. My apologies to the ABC. I am a constant listener to ABCRN and to me it’s a key civilising institution in Australia, so I’m fully in support. It leaves me wondering what the problem was, though. It’s a mystery as I can’t imagine the room itself isn’t well designed for audio. But again, my apologies to ABCFM. Eric, 7 July 2008

I enjoyed Wayne’s piano, especially fourths playing against some of the more straight-ahead jazz tunes. He mostly played grand piano, but it was often lost in the live mix. I also missed most of his synth solo on a nice fusion tune given the lack of balance, but it seemed promising from the snippets I heard. Perhaps I should have taken my radio! Greg played some lovely, comfortable and complex jazz solos. These were totally satisfying in the tradition of the guitar, but also displayed some of the newer styles, including some massive sweeps, which are themselves closely associated with Canberra. (The current international master of sweeping is Frank Gambale, who is Canberra born and bred. He’s the guitarist on about half a dozen Chick Corea albums: another secret of Canberra). I enjoyed Jason Varlet, a local bass player who is known and respected in the circles. He played some capable solos, some solid funk, and some interesting freer styles on his JB. Mark Sutton was the solid and reliable and ever capable drummer behind the whole event. He mostly took an involved but supportive role, but there were some hard snaps and lovely brush work in there too.

The tunes were originals, so the titles won’t mean much: Body Politics, Maybe tomorrow, and Grey sky by Greg; We’ll see what happens, It’s the only thing to do, and Contemplation by John. And In a sentimental mood by Ellington.

This was an interesting and very professional concert although just a little restrained. You have to be when you’re broadcasting to the millions (or thousands?) on ABC radio. Hopefully there were many more who got an earful of jazz on a Sunday afternoon out of Canberra.

The John Mackey Quintet were John Mackey (tenor sax), Greg Stott (guitar), Wayne Kelly (piano), Jason Varlet (electric bass) and Mark Sutton (drums).

Niels & Greg

It was another excellent night at White Eagle. It’s really turning into a great performance outlet for intriguing, challenging modern jazz forms. This night had two parts. First was the launch of a CD by Niels Rosendahl, one of our most capable recent students and now an international export. And a very different performance in a groove-based, fusion style by Greg Stott’s band.

Niels Rosendahl presented the CD launch. The band was virtually the same as that which appears on the CD: Niels Rosendahl (tenor sax), Michael Azzopardi (piano), Eric Ajaye (bass) and Chris Thwaite (drums), joined on odd tunes by Anna Thompson (violin) and Jono Apps (trumpet). The CD adds Jonno’s brother, Luke Apps (trumpet) on one track. Niels played six tracks from the CD. They were all quality compositions, in a variety of modern acoustic jazz forms, ballad, latin, straightahead post-bop and the like.

Niels’ soloing displays a mature melodic intent these days. Solos seem to grow naturally from the underlying tune, rather than being forced over the top of a chord progression. It’s not surprising that his writing is also strong: melodic, unforced, satisfying. So his playing shows beautiful and fitting melodies with lovely use of intervals; flourishes and fast passages which are not infrequent but never forced; full use of the range and tonality of the instrument. In summary, it was a polished performance with considerable musical depth.

Michael played piano, rather than keyboard, in this context. It was rich and varied and inventive, as we always expect of him. Michael is always harmonically mobile, and his backing harmonies enrich the music no end. Eric is a master, defining and playing with grooves or laying down a fast, rock-solid walk, or soloing with real intimacy and relevance. Chris listens intently and interacts richly with the other players. He seems to set up a rhythmic and percussive sound scape in support of the others, but also solos freely on his own behalf. Anna joined in on two tunes, one where she plays response to Niels’ call. Violin is not a common jazz instrument, but she plays with a jazz sensibility, and it’s hard to avoid reminiscences of Jean-Luc Ponty, especially given her effected tone. Jono joined for a good, solid latin tune, where one or more trumpets was a necessity. It fitted fabulously, created an infectiously danceable salsa beat, and played a good solo to boot.

I bought the CD. First impressions are very positive. I’ve been immediately impressed by the maturity of both the composition and performance, the good sound, and the general competence all round. Apparently, copies will be available from Abels, or you can contact Niels through his MySpace site. BTW, Niels is returns to London in a few days.

The second set of the night was very different. Greg Stott is a jazz graduate, and is involved in the music training at the Jazz School and TAFE. He’s impressed me immensely in the past, so I was looking forward to this show with anticipation.

Greg Stott (guitar) led a band comprising John Mackey (tenor sax), Wayne Kelly (keyboards), Jason Varlet (bass) and Mark Sutton (drums). From the start it was full on, fast, capable and fun. The tunes were challenging. The blowing passages and the underlying rhythms were repetitive, but I find that’s the nature of this style. But the playing was supremely competent and the tunes themselves had interesting and well-played heads. This was a first gig of this combination with this music, so the sharp performance was doubly impressive. The tunes were all originals by Greg, including one very altered version of Ellington’s Caravan which still displayed some well-hidden evidence of its ancestry. I loved the title: Campervan. There was one tune that sounded to me like nothing less than a country-blues waltz (although a very sophisticated version). I heard Metheny melodies and West-Coast sounds in there, too.

The musicianship was of the highest order. Greg plays fast lines which generally seemed diatonic, but with variation and interest, and a sweet, pure Strat sound. John played his normal style of intensive solo, although I thought it was a bit less discordant than usual. Interestingly, when I started hearing some more discordant sounds, it seemed to me the band lifted and interacted more. Jason played fast, solidly and proudly on bass, using the whole panoply of modern electric bass styles (slaps, fingerwork, chords). His sound was great, too. His Warwick bass growled with a fat, middly sound and a clear top end twang. I could understand why Jack Bruce played the Cream comeback with a custom Warwick: it’s very much a modern version of the Gibson e-bass sounds of the sixties. Wayne soloed and backed with his normal panache and ease in groove styles. Mark played his role well, as he always does, although his parts were pretty simple and repetitive, but that's what this music calls for.

So there was great playing all around and it was obvious that it was well received by lots of musos and others on the night. They clearly are wonderfully competent players, do fusion fabulously well and play solid original tunes. Fusion's not my cup of tea but this is well done, so don’t miss an opportunity to hear them.

Niels Rosendahl on MySpace

Greg Stott on MySpace