An Ainslie sess

It's an arty locale and this Ainslie Session held at Ainslie Arts Centre was a corker.  Three acts.  First up, Lilly Morris, singer-songwriter from Braidwood.  Braidwood appeared a few times in her introductions.  At least one song was about the unexpected at the local IGA.  A decent voice and a dirty strummed Tele and a pretty low key presence.  I liked it, but of course missed most words for the purpose or intent of it all.  Perhaps an indicator is the one cover she sang, Billy Bragg Milkman of human kindness.  Then Sebastian Field.  I'd heard him earlier on Spotify: voice and meditative drones and effect.  Nice and I thought better on the night.  I loved his voice although he said he's moving more to guitar and effects.  So be it, but the voice was lovely.  Virtually all falsetto, nicely formed and sounding and some intriguing, unexpected intervals when he laid down a chord for his effects unit then sang against it.  I guessed he would have had choir training or experience, but no.  Then guitar played lightly, fingered or plucked, spaced notes grouping though looping and subtly managed effects.  Great stuff.  He performed a 30-min piece with time just floating satisfyingly.  Convincing.  The final was Pheno, Jess Green's modern pop outing.  I've heard Pheno live and online and enjoyed the cleverness, the convincing structure and commitment of it all.  Not flashy, even in the solos which, instead, are tellingly musical.  She plays for big pop acts and the clarity of her solos shows.  We were offered a singalong with the neo-Canberra-intelli-pop hit, We are the Skywhales.  It's one for all generations of, what, Ken Behrens (how I hate that term!).  Nobody sang, but it's an intriguing tune nonetheless.  And others, There are voices out there, Shadow in the water and the like.  And a gloriously personal but joyous and telling tune written in two parts, when each of her kids were in utero, called A little thing.  It takes a mother!  I guess the mention of baby beans on her CD cover are relevant.  Touching and truthful but still playful and melodious.  She played that song solo.  The others were backed by Annie McKinnon, mostly harmony vocals and some synth, and Lachlan Coventry, this day on 6-string Fender bass.  Nice harmonies and very apt and unpretentious bass.  And Jess, on guitar, on vocals, high and clear and telling, and just occasionally on various midi tools, keys and drums.  James Hauptmann was to play drums but Covid sent him into isolation.  Thus the pandemic.  All the musos mentioned how great it was to return to stage but James is just a reminder it's not over.  (For note, SM and DP).  So, in all, a small but appreciative audience, great sound, a wonderful array of musics and some of my fave pop tunes.  Great night.  BTW, there are other gigs in the series over coming days and weeks.  Check out the Ainslie and Gorman House Arts Centre website.

Lilly Morris (guitar, vocals), Sebastian Field (guitar, vocals, effects) and Pheno performed at Ainslie Arts Centre.  Pheno were Jess Green (guitar, vocals) with Annie McKinnon (keys, vocals) and Lachlan Coventry (bass).

A phenomenon around town

Early morning (moderately early) and a last minute run was my experience of Skywhale and Skywhalepapa.  Skywhale appeared in this blog years back and the recent arrival of hubby Skywhalepapa with his caring responsibilities has caused quite a stir.  I didn't bother to book tickets, but listening to the radio in bed, I heard a report from the Parliamentary Triangle of the good weather and the last flight before a 2-year tour of Australia and the possible takeoff time.  I had 45 minutes and it was just a 5 minute drive, so I went.  The dark was lifting.  The sky was glorious and the weather still.  When I arrived, the pair of Skywhales were jovial and inviting.  They are a strange pair, but that's their attraction.  Just look at Patricia Piccinini's other hyper-real unrealities and you know what to expect.  They are all diverse and deeply touching.  It's a strange encounter but positive and heartening.  Anyway, the sun gradually rose and the balloons were readied and the crowds waited calmly and ABC666 invited the artist to make a welcome and then Jess Green's Pheno performed their piece, We are the Skywhales, with a children's chorus and the pair departed, off to the west and then off to Australia.  Like kids leaving home.  This is emotionally satisfying art that says something to us; I'm not sure quite what, other than to be open and generous and welcoming and honest.  The skywhales have such lovely eyes, even if they are branded with a flight registration number.  It was a lovely morning.

Patricia Piccinini (artist) created Skywhale and Skywhalepapa.  Jess Green (guitar, vocals, composer) wrote the associated tune and her band, Pheno, played it with a children's choir.  Pheno comprised Jess Green (guitar, vocals), James Hauptmann (drums), Alyx Dennison (synths, vocals) and Lachlan Coventry (bass, guitar).

Streams

Streams are the core of our recent experience. I would find it hard to count the Webinars I've taken part in. A few invited guests speaking of whatever (one webinar included Nobel-prize winner, Stiglitz, no less). But the key, for me, is twofold: people from outside our local area, so a meeting could feature Stiglitz or the like, perhaps from their bedrooms, and the interactivity of the associated chat. That's important in a webinar. You take part in a parallel discussion that can be picked up in the core discussion or can give commentary on that core. So this is an active experience. I don't so much enjoy streamed gigs. Early on, I viewed a few Berlin Phil concerts, ACO, Smalls jazz. But it's passive. So it was good to get out and play that gig at Molly recently and feel the live experience again. We may be waiting a while for a full return to that! Given limited attendance numbers and lack of income for the arts for several months, I notice gigs are dearer, perhaps payment per set, as is the NYC way. But I did see a recent gig that I enjoyed.

Pheno. I'd missed Jess playing the previous week but caught her solo pop set as Pheno. Loops and guitar and harmonies and synths and repetition and pop simplicity. Her experience shows in the calm simple poppy lines and grooves. And in the song structures. And in the catchy melodies and her capable hands on guitar. The tunes are poppy and immensely attractive. The lyrics suggest depth and personality, but I'm yet to follow them too closely. And interestingly, this was somewhat interactive. She was playing alone on stage at the Canberra Theatre so the experience must have been telling for her, but she did respond to a few comments in her chat screen and got several hearts and cheers for the gig. Not much interaction but maybe all we can expect these days. Whatever, I enjoyed it lots. Check out Pheno on the streaming sites. She's on Spotify, perhaps elsewhere, but expect a search. Much enjoyed Jess!

Jess Green is Pheno. She performed a live streamed set from the stage of the Canberra Theatre.

SOSat arvo 1-1

This was SoundOut 2020, Saturday afternoon session. As always, there was a mix of performers local and Australian an foreign. We all expect the ringins from OS to be the exciting ones, and they often are, of course, being the stars invited and presumably supported by their embassies. I was particuarly looking forward to Achim, Frank and Wilbert who had massively impressed me with a short informal perfomance in the workshop, but that was for the evening. I arrived to hear a trio of sax, sax and vocals/electornics from Rhys, Richard and Tony Osborne. Nice, flowing, nuanced with tones and noises. Then Peter Hollo, cellist with electronics. I checked out his web page: he records postfolkrocktronica as Raven, has played classical with AYO and more and pop with Deborah Conway, the Whitlams and more, os he has chops. It showed in his playing with an awareness of melody and traditional techniques, nicely embellished with electronics and loops and the like. I heard yearning, distance, lovely acoustic cello tone, and later some tongue taps and what seemed quite like a constructed compostion. Nice. Then on to a feature trio, Dylan Van der Schyff, Elisabeth Harnick and our own local, Jess Green. A power trio: high energy from the opening; exciting and varied; quick insectoid flourishes form Jess; all manner of tones from dismantled kit and standard techniques from Dylan; scrapes and noises from within the piano into effusive keyboard with indeterminate harmony from Elisabeth. A huge pleasure.

Rhys Butler (alto), Richard Johnson (soprano) and Tony Osborne (vocals, electronics) played first. Peter Hollo (cello, electronics) played second. Dylan Van der Schyff (drums), Elisabeth Harnick (piano) and Jess Green (guitar) played third. SoundOut 2020 Saturday afternoon at the Drill Hall Gallery.

Throwing off chains

Spartacus was the gladiator who led the Third Servile war against the class-owning oligarchy during the Roman Republican era. Thus does Ronny model himself, the servile drummer at the whim of the overlords. As a bassist, I think he might have something there, but of course it's in some jest. The serious intent is to centralise the drums in this music, so the Spartacus Collective is a "quartet of solo drumset with instrumental accompaniment". Intriguing! They were to play at the Sydney Festival but that was canned. Lucky for us, because they played Smiths and it was intriguing and enveloping music, largely improvised although gathered within some indicative written lines or harmonic concepts (Two up, two down featured melody in two keys) or rhythmic grooves. It must have served Ronny well, because I think this is the most exciting I've heard him. Maybe in part because some of his drum influences got airings: To Elvin (as a verb) is an obvious reference but another to the "big, spacey, rich" drumming on Bruce Springsteen's Nebraska album is not so obvious). Each player had charts, but the improv was long and evident. Jess was excellent at setting the space for this, regular in form with occasional punctuations and embellishments, clear in tone and often quizzical in melody and often counting in changes or recurrences of a melody. John and Miro were their fully expected exploratory selves: thoughtful, informed, searching for relevance. The fairly rare "heads" featured harmonies between these two front-liners. My guess was John improvised harmony to Miro's melody, but not sure; maybe it was written. It was not a long night: Ronny had five charts and they added an improv leading to a mobile African groove from Jess, her song Jerboa, written about an animal that's shared between South Africa and Australia (and perhaps more widely: do extant animals date back to Gondwana? I must look that up). Interesting, too, that they played without PA. This was wildly exploratory yet not at all disoriented, improvised and clearly authoritative, responsive despite limited instructions. A great night that had me deeply absorbed. Lucky us for Sydney's cancellation.

Spartacus Collective is a project of Ronny Ferella (drums, compositions). The Canberra contingent comprised Miroslav Bukovsky (trumpet), John Mackey (tenor) and Jess Green (guitar).

catholics

catholic as in tastes. Jess half apologised that Pheno was not jazz but we knew that (I was there; Geoff wasn't) but then she went on to say the first track was jazzish. It started with a steady drum beat in 4, then moved to a syncopated guitar line accompanied with Jess on a unison vocal (George Benson?), then a synth wash in the background, some harmonies, some African-like crossing rhythms, a heavy synth bass line and layered lines from Jess' looper. Looking very good. Rock steady, unforced, easy to hear and a lovely intro: welcoming, insinuating. That one was called Little toys. Next up was There are voices, a long tune, some dirty 4/4 drums and distorted rock guitar, some relieving refrains, developing percussion from a stick claps then overlaid vocals, floating spaces, into 3/4 bars with drum fills to bar ends. There are just three players, but they sound big, what with unrelenting drums and synth shimmers and electronic bass and varied guitar effects and loops and the three layers of vocals. All women, which is nice to see. It's too infrequent in jazz; more frequent outside. I expect Jess writes all the music - as I understand, Jess is Pheno. I think I feel a woman's awareness of life, here's a discrete one: "I am old, I'm from the beginning, you were once a gill-beater like me ... come down deep where the secrets are living, I want you to return to the sea". Next up was Slingshot, heavy, guitary, less structured like the last. Little thing was a personal song from Jess alone on stage with guitar and mic, dedicated to daughter and coming son. Dragon year was a good old-fashioned rock tune in 4 with dirty guitar and singing against kick drum and punkish twisted phrases and a touch of beach. Jess is well trained and well experienced and the professionalism shows a mile, and she's got a deliciously understated but capable offsiders, Alyx and Bonnie. Wonderfully inventive pop, she calls it Afro-Sci. This was the tour for a new EP, presumably the tracks of the new EP, to be performed the following day at Cobargo Folk Festival and elsewhere. I'm sure it would have gone down a treat - it certainly did at Smiths. Folk? Jazz? Afro-Sci? We are all catholics these days and this was a huge treat. I loved it.

Jess Green (guitar, vocals) is Pheno. Pheno performed at Smiths with Alyx Dennison (keys, vocals) and Bonnie Stewart (drums, vocals).

Spot the difference

There was something amiss on stage when Sandy Evans' Sydney Women's Jazz Quintet played at the Gods: Jess wasn’t wearing black. Of course, there were numerous differences you could identify. I particularly noticed that bassist Karl had a clean shaven noggin. I only noticed that Karl was the one bloke in the band because of the band’s name. Apparently Zoe and Hannah couldn’t do it, so Karl filled the spot. It was nice to appreciate that women on a jazz stage no longer seemed a big deal. Just recently I noticed the imbalance of the sexes, but that was when the band was all blokes. It was different in the past. In the ‘70s, I remember being surprised to see a single woman instrumentalist on stage. We’ve clearly turned a corner (admittedly after 40 years), even if women still remain as singers and are instrumentally outnumbered. Julia would know that it will take a bit longer to reach the prime ministership.

But what of the gig? It was a lovely thing. Sandy is a monster saxist but also such an inviting host, so the vibe was both purposeful and friendly. Given our recent loss of Bernie McGann, this concert also a dedication. Geoff Page was Bernie’s biographer and introduced the gig with a poetry reading. Then we heard various McGann tunes amongst originals by Jess and Alex and Sandy. There was modern post-bop with complex heads, an interesting airy, harmonised arrangement with voice from Jess, plenty of worldly feels and an inevitable Monk tune. No surprise that Bernie liked Monk. I loved the grooves, especially Jess’ clean and choppy Tele chords and Karl’s vigourous bass. The time was rock solid. Several people mentioned how easy and steady were the feels. Alex’ solos were explicit in intent and melodic form; very nice. Sandy’s were clearly structured but more turgid, busy, passionate with some searing streams of, I guess, 16-th notes. Jodie blasted through with an incendiary solo at one stage which I hadn’t expected. Some tunes reminded me of Dave Holland with loping grooves and crisp piano-free accompaniment and the trombone/sax counterpoint. With three Jazz Rutherford award winners and Sandy and Karl, this was a serious and intelligent gig, but it was also earthy and entertaining.

The Sydney Women’s Jazz Quintet comprised Sandy Evans (tenor, soprano sax), Alex Silver (trombone), Jess Green (guitar), Karl Dunnicliff (bass, honorary female for the night) and Jodie Michael (drums).

Collective variations

Sandy Evans returned with the Sydney Women’s Jazz Collective last night at the Gods. Sandy was loosely identified as a leader, but convenor would be a far better term, because this was truly a collective effort. It’s evident that they play together often enough, because there was a level of ease and informality that carried the night over with occasional chuckles and a sisterly good will, but they are not a formal band. Nonetheless, there were some original tunes that I felt were pretty intimately known by several members, such as the shared vocals in tunes by Zoe and Jess. Maybe they use the tunes as platforms at the SIMA Jazz Workshops for Young Women where they have all taught.

The good will on stage was both infectious and pretty unusual. Sandy exudes familiarity and supportiveness and it obviously carries over, with Jess bopping to the rhythms, and good humour all round. But musically, the collective label was also clear. Sandy introduced the band, but promptly passed the mic to whoever had penned the next tune for its introduction. There was that added familiarity of each muso talking to us so we know them as more than just performers. We felt knew these players as we know someone in a café rather than someone on stage: it’s a generalisation, of course, but women are good at that and I reckon it holds the world together. And the styles were very different. Jess with her intimations of Scofield; Zoe with her jazzabilly and pirate songs (“every band should have a pirate song”); Alex reincarnating hard bop in the tradition of Blue Note and Sidewinder sessions; Monique with a lovely bossa with those twisted chordal cycles and slightly unexpected intervals we hear from Brazil; Sandy with her searching modern style and stunning soloing. I was also taken in the second half by several pieces with vocals. It wasn’t song and it wasn’t scat, but vocal tones sung by Zoe and Jess (and others?) in harmony with each other and with instruments. It worked like a harmonised horn melody, but sounded very differently: intimate and clear and bell-like with the high female voices.

The playing all round was capable and professional. Sandy’s solos were all stunning: apt for the style of tune, clear analysis of the chordal structure, and flowing melodic statements. But not soft or easy or relaxed: she always seems to be testing herself, at the hard edge of her creativity, giving all. I’d just heard her latest CD, The edge of pleasure, with Brett Hirst and Toby Hall, and you hear it there too. She’s well renowned and with good reason. Jess is another identifiable soloist: a fabulous, edgy Telecaster tone that she uses for thoughtful, sharp soloing. She’s not a shredder, despite occasional fast runs, but these are solos built with unapologetic tone and unexpected intervals. The tone says blues emotion, but the concept says jazz thought. And she digs the music, too, bopping freely to the beat. Alex was typical trombone. It’s not the slashing instrument that sax or guitar is, but the slide seems to enforce a considered awareness of harmony for heads or melody for solos. It’s she of the hard bop tunes, and there was that vibrancy and simple joy in her style. Sandy joked that she and Monique had done their jazz studies together, “when was it, 1876?”. I particularly enjoyed Monique’s bossa. Piano lends itself to an ear for chords at a profound level, and this tune clearly displayed it. Zoe was her eminent presence on bass and in person, if a bit soft (Acoustic Image amps are true to the acoustic tone, but there's little punch or presence). She was always involved and propulsive in her bass accompaniment, did a lovely solo, and I love her quirky country-rockabilly take on jazz. Drummer Ali was less revealed than the others given she didn’t provide a tune or introduce one. But it was a capable performance with an outspoken solo later in the night. She’d played admirably quietly earlier on, so this took me back a bit. It shouldn’t have; after all, she is a drummer. Finally, a sit in. These players actively support young female jazz performers, so it’s not at all surprising that one of Sandy’s Canberra students, Stephanie Badman, sat in on alto to perform Sam River’s lovely ballad, Beatrice.

Women aren’t so rare in jazz these days, but women’s jazz ensembles are, so this had a bit of the sociological as well as the musical. Add that it was also a fascinating trip through a wide variety of jazz styles and an affable interaction with the musicians, and you can see why I found it such a wonderful outing.

The Sydney Women’s Jazz Collective was Sandy Evans (tenor and soprano saxes), Alex Silver (trombone), Jess Green (guitar), Monique Lysiak (piano), Zoe Hauptmann (bass) and Ali Foster (drums). Stephanie Badman (alto sax) sat in for one tune.

Out of Africa

Simon Milman returned last Friday with project and a capable trio to carry it out. This was Bamako 3. B3 is an acoustic trio investigating African music and its influence, and how it has changed to produce the blues and jazz that we know. Simon called it an “African journey”. I was surprised to find it pretty folky and also to hear the banjo appear. I was little taken aback by a lack of drums, although there was strong and insistent rhythm. I wasn’t surprised to hear pretty clear hints of the musics we know as black and American. The trio started with a long, unison melody by all players, and finished in a similar vein. In between were several originals including two ragtime tunes. One (Furniture polish crawl) had Simon playing the melody with a slide on his acoustic bass guitar. The other (Gut bucket rag) started with the long unison melody and featured Jess playing a meditative solo against a drone backing. No more signifying was another original; its title amongst the band members (Led Zeppelin) was surprisingly apt and reminiscent of early and heavily blues-influenced Zep. By this time, Simon had changed from acoustic bass guitar to banjo. They also played several tunes by Ali Farka Touré. I missed the title of the earlier one, but it was simple and sweet and lyrical. The later one was City groove, which was again very melodic. AFT is a Malian playing at the “intersection of traditional Malian music and its North American cousin, the blues”, and the Malian tradition is the “DNA of the blues” (Wikipedia, article on Ali Farka Touré, 2 Dec 2007). Clearly stating the African descent theme, there was a 1932 blues tune by Skip James with vocals by Jess. The relationship was a bit more obscure with a tune from Tuva . Tuva is a republic in the south of Siberia and is noted for throat singing. Arne performed the strange, otherworldy singing style. B3 were called upon to perform an unexpected encore. Arne came to the rescue with an authentic southern blues number on vocals and guitar, I wish I was a catfish. It was appropriate as a reminder of the connections the band was seeking on the night. Bamako 3 are Simon Milman (acoustic bass guitar, banjo), Jess Green (guitar, vocals), Arne Hanna (guitar, vocals).

BTW, this was my first visit to the Folkus Room. It's mostly a folk venue and not too salubrious as a club venue, but it's got one impressive sound system!

Sylvie's sidekicks (NJWC3)

The third of CJ's three reviews for the National Jazz Writing Competition

Gig review
Sylvia Mitchell Trio
Sylvia Mitchell (alto sax), Jess Green (guitar), Zoe Hauptmann (bass)
Jazz at the Gods Café, ANU, Canberra
7 August 2007
537 words

Canberra is a hidden gem in jazz in Australia. This was a night to savour the influence of the national capital, and especially of Canberra’s Jazz School, on the life of jazz in Australia. For these were three significant women of Australian jazz who played for a homecoming crowd at Geoff Page’s annual Jazz at the Gods series. They were billed as the Sylvia Mitchell Trio, but appeared on the night as Sylvie & the Sidekicks: Sylvia Mitchell (alto sax), Jess Green (guitar) and Zoe Hauptmann (bass). They are from slightly different eras in the life of the Jazz School: Sylvia followed her sidekicks by a few years. They are dispersed now: Jess and Zoe to Sydney; Sylvia moving from Melbourne to Sydney. Two (Jess and Zoe) have already released CDs of mirth and considerable compositional originality on the JazzGroove label, and now Sylvia is planning a release. So these are competent players, with educational connections and female pride to boot.

From the top, it was smooth, melodically rich, harmonically complex and always rooted in the groove. Zoe’s the essence of the bassist: harmonically clear, driving grooves, fitting fills and falls. There were some solos, but her strength is in laying down that beat. In this, she’s a master. But the rhythm was greatly enriched by counterpoint from Jess’ guitar: small dissonant chords and note clumps, syncopated across Zoe’s backbeats. A rich tapestry of rhythm, and a full harmonic underlay for solos. So full and interpretive with just two players. On this bedrock was Sylvia’s horn. She’s younger than Zoe or Jess, and the lesser experience is evident, but there’s a full range, considerable chops to take on Bird bop, a good ear for musos like Dave Holland, wide experience, and compositional skills as well. In addition, Jess’ solos were wonderful, restrained explorations of consonant and frequently dissonant melody: truly beautiful and thoughtful. And she added the pleasure of a surprisingly satisfying voice: unexpected but gladly received. Voice is truly a messenger of the gods.

The performance ranged widely. There were standards. Jess sang “What is this thing called love”. There was a guitar/bass duet on “Willow weep for me” featuring a Mingus-inspired gliss-full bass solo, and hard swing and fast unison lines on Monk’s “I mean you”. Sylvia selected Bird’s “Au privave” and “Confirmation”, but also “Four winds” and “African Lullaby” from Dave Holland. And there were some wonderfully capable original compositions. Jess provided several from her CD, “Singing fish”. Zoe gave us a riff-based tune called “Guts for garters” (“think of pirates and ghost ships”) with a dissonant, chromatic, Djangoesque cut time accompaniment by Jess. There were several tunes by Sylvia from her music to Geoff Page’s poetic theatre piece, “Drumming on water”.

But perhaps the sound was the surprise for me for the night. Without drums, Zoe’s bass displayed its clear, sharp attack, and soft decay. Jess’ Fender thinline seduced with its woody throated tone filtered through Fender valve distortion. A perfect match for her Scofield sensibility. And Sylvia’s tone and range was equally discernable above the understory.

Like their respectful presentation, this was not a manifest display of virtuosity. There was far more sincerity than that. That’s why it was so, so satisfying.

Previous photo-essay for this concert

BTW, the second place winner in the NJWC, Keith Penhallow, is a Canberran and also reviewed this concert. Read it on the NJWC site

Sylvie's sidekicks

This time a photo essay. The Sylvia Mitchell Trio appeared at The Gods Cafe as Sylvie & the Sidekicks. A beautiful, considered performance, with intense grooves, on standards and originals by all members. An intimate, cerebral experience. Sylvia Mitchell (alto sax), Jess Green (guitar), Zoe Hauptmann (bass).

The review fromt his concert was entered in the National Jazz Writing Competition, and is now belatedly published as Sylvie's sidekicks (NJWC3). Ed. 10 Nov 2006