Digressions

Jenna Cave returned to Canberra with her Divergence Jazz Orchestra for the final concert of the Capital Jazz Project. Jenna was Canberra-bred and a student at ANU a few years back and this was her first return with her big band. Big bands are not easy to travel but what a sound they have! DJO plays the music of Jenna and other Australian composers. This concert was a Jenna feature: all her own arrangements, mostly her own compositions. What a nice band! Plenty of dynamics, nice intonation and feel, plenty of decent solos. There were several tunes inspired by African rhythms, some tunes I'd heard before when Jenna was writing for student bands, a commission for WAJO (West Australian Jazz Orchestra) in 7, several with the feel of New Orleans recalling her trip there with a few muso mates. One was Jazz euphoria on Frenchman's Street and that rang a bell: I've also experienced the music in every shopfront on night-time Frenchman's Street. Another channeled the infectious rhythms of the NOLA brass bands. There were some more pensive charts, for a renewed sense of optimism, or dedicated to a friend on an early death. For Miro was a Basie swing chart inspired by her studies of Sam Nestico. And an arrangement of Miro's rollicking composition, For Woody. For Miro / For Woody: there's plenty of respect across the generations in jazz. Miro appeared for a few solos, including a New Orleans style duet with trombone, and I particularly enjoyed some solos on bari, alto, bass, guitar and drums. Plenty of decent players here, but the nature of a big band is communality rather than individualism, even if solos feature in virtually every tune. But it's community that makes the luscious tones and fascinating interactions and deep grooves. That's the beauty of the big band and this band has it. Much enjoyed.

Jenna Cave (compositions, arrangements, director) led the Divergence Jazz Orchestra with Miroslav Bukovsky (trumpet, flugelhorn) as guest. DVO are Paul Weber (co-Musical Director), Brendan Champion, Tim Coggins (trombones), Luke Davis (bass trombone), Paul Murchison, Rob Campbell, Paul Meo, Will Gilbert, Will Endicott (trumpets, flugelhorns), Justin Buckingham (alto, soprano, flute), Loretta Palmiero (alto, clarinet), Evan Harris (tenor, soprano, flute), Louis Klassen (tenor), Tim Clarkson (baritone/clarinet), Luke Liang (guitar), Andrew Scott (piano), David Groves (bass) and James McCaffrey (drums).

White Eagle on target again

White Eagle is always an anticipated outing. Usually, it’s a local band and an import. Both are interesting, often in vastly different ways. But they are always interesting. So, before I proceed, let me make a plug for WE. Don’t let the music die. Support White Eagle. It was not a big turnout last night. WE needs audience. Be there.

The local band for this latest event was one I’ve been awaiting, the Sally Greenaway Septet. It’s made up of very capable Jazz School graduates, but it was not this so much that interested me. What was interesting was the potential for original, richly orchestrated music, rather than hot blowing. We got quite a bit of blowing, too, but the sounds of a largish front line was the attraction. I was thinking of bands like Carla Bley’s or Dave Brubeck’s Octet. This is a band with multiple composers and comprises 7 players including a decent front line. Promising! We got Sally Greenaway and Jenna Cave, composers who impressed last year with their “Take it in colour” CD. Added to this were an original composition by Rob Lee and some covers of Stefon Harris, a favourite of Sally's.

On the night, the Septet comprised: Sally Greenaway (piano), Phill Jenkins (bass), Ben Braithwaite (drums), Jono Apps (trumpet, flugelhorn), Jenna Cave (alto, soprano sax), Alistair Clarke and Rob Lee (trombones). As you’d expect, the sound was frequently luscious. The clear, bell-like brass tones were bliss, most notably when the troms played with the softer flugel. The sounds were highlighted particularly on Sally’s compostion, Take a break, which featured the four horns twisting conterpoint lines with no rhythm backing. The tunes were mostly modern styles, but a final number used cut-time and sounded of early jazz. In all, 5 of 7 tunes were originals.

Solos were played all around. I was especially taken by Jonno, who just seems to improve his soloing with each performance that I hear. Both the troms did highly capable solos, but I must highlight Alistair’s playing on the night. He replaced Valdis Thoman at short notice, but you wouldn’t have known it. His reading was exceptional, and his solos lively and true. There were impressive solos from Sally and Phill, and I especially liked Ben's effort with unison backing.

The import for the night was Arrow out of Sydney. They seemed to be missing one member (vibes) but the remaining players performed brilliantly. I understood why when I noted the names, well known in the JazzGroove scene. Unusually, Arrow is led by a drummer. But this is a drummer who composes, so he’s a more musical style of player. His compositions were cryptic in titling, modern and quite melodic in style, and often displayed rhythmic changes or twists which we should expect in a drummer’s charts. Just for the record, the tunes included titles like: The Russian, Obtuse, Solipsism, Big C reprise and the like. Wayland was clearer in its dedication to Sean Wayland, the Sydney pianist now resident in NY.

Arrow was Paul Derricott (drums), Mike Majkowski (bass), Simon Ferenci (trumpet) and Hugh Barrett (Rhodes/piano). Missing on the night was Dale Gorfinkel (vibes). Every player performed with excellence, and the band itself displayed that energy, commitment and passion that I’ll put down to a big city buzz. Whatever, it was hard and inspired from the top. I loved Simon’s long, sinuous and always correct solo lines. Great playing! Paul played with power and grace, pushing the tunes but also playing with considerable but subtle chops. A perfect match for Mike. Mike’s visited Canberra frequently over recent months. He’s always hugely committed and perfectly capable: an excellent rhythmic support, but also a capable soloist. Amusing at times too, as he strums or whacks or drums the bass. It’s not done for humour, of course, and often it forms a perfect, unexpected climax to his solos, but you can’t deny a certain tongue in cheek aspect. Hugh performed well too, variously octave solos or more mainstream, in our out of the harmony. This was occasionally quirky but mostly hard and committed modern jazz with an attractive melodic component. Very nice stuff.

So, another night that hits the mark at White Eagle. Let’s keep it going. Keep music live. Make a date with each White Eagle.

Jenna Cave recital, 17 Nov

Jenna Cave has advertised her Graduation recital at the Jazz School, so it seems we're welcome to attend. Jenna will present her compositions played by the ANU's Big Band and Recording Ensemble and also perform on alto. This may be the last time to see these bands in their present formation. Band Room, Peter Karmel Bldg, ANU School of Music, 2pm, Fri 17 Nov.

Women fused in concert

I don’t understand the “Fused” theme, but a concert featuring this group of women from the CSM was a great idea, and it provided a varied, fascinating and entertaining evening of considerable musical depth.

From left, Anna, Ruth, Sally, Jenna

Ruth Lee Martin is a musicologist and MC for the night. I understand she gathered the concert together after hearing the excellent CD “Take it in colour” (see the CJ recent review). There’s a bit of feminist pride here, and good on them. There aren’t as many women as men in jazz or at the Jazz School, and perhaps they can be overlooked. Jazz can be pretty blokey and it’s a highly individualistic art, which perhaps advantages the guys. But it’s also intellectual and highly respectful of excellence, so the paths are there for the best to shine through. And there are some great female role models to show the way (some personal favourites are Joanne Brackeen, Carla Bley and Sandy Evans). Knowing the CD, I came with anticipation and high expectations, and went away very satisfied. So congratulations for this highly successful celebration of some of our local women of jazz.

Let’s not forget this was a “composition showcase”, so all the tunes on the night were originals. We have some considerable compositional talent here, and mostly from women who are students or only very recently graduated. It bodes well for the ongoing development of the art, and pulls the rug from the feet of the conservative traditionalists.

Anna Thompson (violin) started the night with the Straight Up Trio, Eric Ajaye (bass), Michael Azzopardi (piano) and Chris Thwaites (drums). Anna is influenced by some names that I haven’t heard of for a while (Jean Luc Ponty, Didier Lockwood) and it showed in her playing. Violins are strung in fifths, and I was trying to identify whether the lines she plays in solos are different from guitars, basses, etc, which are strung in fourths. I didn’t hear a difference in melodic lines played, but the double stop work was harmonically different from guitar chords. And I really noticed the different control of sound in the violin: the bowed attack and ability to control a sustained note. Anna played very capable solos, led well, and provided an interesting mix of jazz rock, funk and Caribbean/Calypso. Straight Up performed their usual excellent set, with solos all around, and great, solid, inventive rhythms. I’m still wondering about one song title, “Yollop & the Trollop”, but it was a nice start.

Ruth Lee Martin (vocals) followed with a set of original tunes in the Scottish folk idiom. This was quite a change from the jazz normally played in this room: a new musical approach, and intriguing sounds. Words with serious intent: telling stories of poverty-stricken families evicted from Scottish villages, migrant experiences, boats and seas, and of course whisky and freezing temperatures. Also different were the fiddle (rather than violin) styles, the mono-chordal, world-music structures. Ruth was accompanied by her band Eilean Mor: Bill Grose (guitar), Chris Stone (fiddle), and several “ring-ins” from the Jazz School, Bill Williams (bass), Ed Rodrigues (drums) and Anna Thompson (fiddle, in this context). For me, an eye-opener and much enjoyed.

Sally Greenaway (piano) followed with a diverse range of pianistic styles. She opened with a piano/percussion piece with Phoebe Juskevics (percussion; also a composer on the “Take it in colour” CD), then played a larger format piece off the CD, called “E11eventy” and finished with a largely improvised solo piano piece. The first and last pieces exposed more classical and soundscape approaches to playing, as well as being more inward-looking. But I’d loved the bigger piece on the CD, and enjoyed it immensely live. The band for E11eventy was Sally, Phoebe, Gareth Hill (bass), Sam Young (drums), Anna Thompson (violin), Rob Lee and Valdis Thoman (trombones) and Jono Apps (trumpet).

Jenna Cave (alto sax) finished off the night with several of her impressive and complex compositions played by the Recording Ensemble. Jenna’s compositions really are impressive. I hear she may be continuing these studies overseas, so good on her, and best of luck. Jenna led the band from the middle of the horn line. She only led 2 tunes, but they were profound, and well named: “My life, a work” and “Odd time in Mali”. Both have odd timing: the first has bass playing 4/4 bass lines against 6/4 swing on drums; the second alternates 5/4 and 4/4 bars. Interesting! The players Recording Ensemble comprised Jon Apps and Julian Barker (trumpet), Al Clarke (trombone), Michael Cleaver and Jenna Cave (alto sax), Jo Taylor and Bill Williams (tenor sax), Carl Morgan (guitar), Luke Sweeting (piano), Garther Hill (bass), Sam Young (drums), and Phoebe Juskevics (percussion) sat in.

So, a great night and well received by a moderately large attendance. Congrats to these four women, and I hope there are more of these.

Colours of young Canberra women composers (CD review)

A CD is more a challenge than a live gig. It’s a statement. It doesn’t disappear into the ether like a gig, so you need to produce a worthy work, and be proud enough to promote it. So hearing one impressive track on ArtSound when this CD was the feature of the week raised my interest, and then getting an email from Sally Greenaway to promote it was doubly interesting.

Take it in colour is satisfying for several other reasons. Firstly, it highlights the work of women in jazz; in this case, four young but very accomplished women. Secondly, these are not just women performers blowing a set of standards, but four composers with a range of styles (most important). Thirdly, it’s a diverse mixture of formats – big band, large ensemble, various smaller combos, with and without vocals, and solo percussion. And fourthly, perhaps as an aside, it’s a product of the CSM’s recording studio. So I found this album fascinating in its diversity and accomplishment but also just plain entertaining.

Jenna Cave opens the set with big band and large ensemble pieces. Jenna is an alto sax player, majors in composition, and is a member of the CSM Recording Ensemble. She offers three tunes with richly orchestrated arrangements with surprising maturity. The first, Cardinal Lemoine, recalls Jenna’s time in Paris. The second, Journey, is a complex, more composed piece, with four parts of distinctly different rhythms and feels, including fast modal and 6/4 swing. Jenna also reappears later on the CD with a song, Through the sky, where the voice part is strangely horn-like. The large intervals are ably handled by Madeline Hawke, and the balance (including the voice being occasionally lost in large horn sections) confirms the impression of an instrumental part.

Sally Greenaway follows Jenna’s opening with three tunes. Sally is a piano player, and the one player I knew of before this CD. Sally’s is a quite different set: it’s more restrained, matching the nature of her solo playing. She starts with Sequira, a piano trio (piano, bass and percussion) with an Egyptian theme. I heard Asian, at least in the keyboard sound, but the harmony sounded more Middle-Eastern. Percussion rather than drum kit gives the tune a different flavour. A big band tune, E11eventy, follows. Again I heard echoes of Bill Evans’ Sketches of Spain (I’d heard it earlier in Jenna’s Journey). This is a fairly simple tune with parallel harmonies, but it has an unforced nature that is wonderfully self-evident. I liked it. Sally’s third tune, Lymph node, is another complex piece, this one dedicated to her father.

Fionna Tamin offered another change: she writes and sings two songs, Coffee song and I’d live better in my dreams, and performs them in a standard small combo format. These are in a popular style, but they are engaging. The first mulls over a lost, but imperfect, love while sitting with a coffee. The second tells of a series of dreams she had in her home of Jakarta. They reminded me of US West Coast styles, especially Michael Franks. Guitar-based, light but entertaining and interesting.

Phoebe Juskevics finishes off the set. Firstly with a tune with a disconcerting title, Beautiful hate. It’s a trio improvisation with piano, bass and percussion in two parts. Interestingly, her second offering, Freedom, is a percussion solo at the end of the CD: a great and unexpected twist to round off the session. Sadly, Phoebe was overseas so she’s missing from the cover pic.

If you’ve got the feeling that this is a good outing for lots of the students (given plenty of solos and big band arrangements), you’re right. Twenty-four players appear on the CD, and the names I know are virtually all students. I was impressed by the quality of the ensemble playing. I felt a few solos lacked confidence in the studio environment (it’s a hard call to turn on your improvisation on call in that environment), but the band playing was really good – the rhythms were solid and tight, and the harmonies were well pitched. Congratulations are definitely due here to both students and their teachers. I’ll single out Michael Azzopardi (piano) and Neils Rosendahl (saxes) for their solos – these really are players of note, and the quality of their solos is no surprise. I also liked Sally Greenaway’s solos, which are expressive and introspective, and Ben Roger’s bass playing and especially his lovely jazz bass tone.

So, Take it in colour is a very satisfying CD and a most impressive effort for these four women (and their colleagues), doubly so given it's their first outing.

Take it in colour website