Valerie and more

I know Valerie. It's a song from Amy Winehouse and was the last tune of the first set of Movement 9's tribute to Amy. I'd wondered where it would appear. It's a great soft-funky piece with considerable life and deep emotion. I learnt it to play at the Casino and the chords were trivial but the groove was seductive and the response from the audience was surprising and immediate. It's obviously known and loved. So is AW more generally. She had a difficult and short life but her lyrics are her own and the messages are raw and honest.

Movement 9 came to the Street Theatre fronting Elly Poletti in the role of Amy W. This was their second visit. Both visits were full houses, last time in Street 2, this time in the larger Street 1. Larger and more formal, which was good for sound and space if not so much for intimacy. The music was great and the interpretations were also great. This was capable, careful, educated playing all round. Joe is the arranger and he did real justice. His approach was to respect and interpret rather than just mimic, so it's a tribute in the true sense of the word. This is a work of respect and, talking to Joe afterwards, it was clear he knew his subject and granted that respect. So, his arrangements were unintrusive and clear. But then I don't know the originals particularly well. I loved the curt and decisive drumming matched with bass funky syncopations and often choppy keys. Jordan knew well when to elaborate and he could do it at will but remained nicely restrained. Mostly 5-string electric bass, but double on a few tracks. Then the 6 horns (this is a nine-piece ensemble plus vocals): alto (leader Joe), tenor and bari saxes, two trumpets and trombone. They were discreet but I melted over some sounds: a two part trom/trumpet harmony; the three brass another time, in harmony or in hits; a delightful combination of flute with brass; the rhythmic phap of the bari at various times. And more generally, the intonation which I never noticed faltering. Then Elly over the top. I don't envy her this role: it's always hard to play the key central character, singer or otherwise. I heard some of Amy's desperation at times, her good will amongst distance and self-protection. Never easy, but well done. They all took solos, of course, and they were all good. I particularly noticed trumpet and tenor but that's the jazzer's take, not the essence of this show. As a mark of respect and a memory of a brilliant but troubled musician, this was a great work, and I loved every minute.

We may never meet again : the music Of Amy Winehouse was a tribute show by Movement 9 with Elly Poletti (vocals). Movement 9 are Joe McEvilly (alto, arrangements), Tom Sly (trumpet), Niran Dasika (trumpet), Patrick Langdon (trombone), Stephen Byth (tenor), Nick McCusker (baritone sax), Joel Trigg (piano), Jordan Tarento (bass) and James Milic (drums).

Revisiting the ninth movement

It’s not right that bands should be so mature at 22. Movement 9 played jazz, not pop or rock. This is a complex art form, so how can Joe McEvilly compose and arrange and lead a 9-piece band of such quality in just his second year of tertiary studies? It just goes to show he’s talented and committed and he’s had quality training. And I’m not the only one who thinks it. They were heard playing one of their first gigs at Canberra’s Floriade and were invited to perform at the Wangaratta Festival, Australian’s premiere modern jazz outing. It was in these auspicious circumstances that Movement 9 performed for the final student concert at the Jazz School.

What a blast it was: a melange of styles, mostly original compositions but also clever arrangements played by a great band of the most capable students. You may wonder when you listen to their skills, but they are students. This night they invited several mentors, Eric Ajaye on bass, Miroslav Bukovsky on trumpet and John Mackey on tenor. All experienced and renowned players and all at ease with a band like this. Coltrane’s Giant steps is a favourite tune of John Mackey and Joe’s arrangement was a tour de force. He hadn’t just written harmonies for horns, but he’d reconstructed the feel and time sense to twist memories and still present a joyous playtime for the duelling pair of altoist Matt and tenor John. This was both a blow and a blowout, but also an ingenious rethinking of this challenging standard. That was the end of the night. Before this there were a string of different feels and times and styles: attractive, theatrical, commercial. This was clever writing and the performers played up to the opportunity. Strings of solos, trombone, trumpet, piano, bass, several drum explorations, the best I’ve heard from Henry on drums. These were big, bold sounds and indulgent grooves and they were an inspiration. Tate was studied and expansive as always, even if undemonstrative in stage presence. The trumpet pairing of Ax and Tom were in friendly but serious competition. Matt is just a master, always lyrically clear and never a faked note despite exuberant flourishes. Raf was all smiles and groove and chops as the bass doubler. I only remember one solo from Oshein, fat and bluesy. Patrick’s trombone got quite a workout. Joe himself, led from the bottom, on baritonesax, but he’s equally comfortable on alto. I think of Mingus with his heavy baritone parts and his compositions and think this fits nicely.

Other tunes? They open with a tight rollicking latin with Lola quotes and Cuban trumpets. Then a chart that could have come from variety TV, swinging lightly with a quizzical melody and cool solos. Then a blues-influenced medium tempo hard bop called Green dreaming. Then Wings with a Steely Dan influence that Joe admittedly that he garnered from his parents. Then Winter hymn, a touching secular melody. Then a blow on Supercollider, a favourite big band piece at the Jazz School, featuring the chops of much loved teacher Eric Ajaye. There’s another for composition teacher Miro, slow and with space for Miro’s trumpet and another drum feature. Then Cool change, a laid back cocktail bar latin. Then Pinoaks and that rebuild of Giant steps and a 7/4 groove and a final encore. This is clever and surprisingly mature and varied music. A fat and tight band sound and capable solos and some great writing. The band has done the dying jazz school proud. Eric Ajaye spoke to an assembled audience that students should live their dreams, despite the demise of our jazz school here in Canberra. These guys may be products of a dying institution, but they are proof that it was a success. This was a seriously mature and capable and involving band and I loved it.

Movement 9 is led by Joe McEvilly (baritone sax) with Ax Long (trumpet), Tom Sly (trumpet, flugelhorn), Matt Handel (alto), Oisin Smith-Coburn (tenor), Patrick Langdon (trombone), Tate Sheridan (piano), Raf Jerjen (bass) and Henry Rasmussen (drums). Eric Ajaye (bass), Miroslav Bukovsky (trumpet) and John Mackey (tenor) sat in for one tune each.

For Canberra’s 100th

I feel bereft and the final student concert at the Jazz School the other night had a sad, even teary, air about it. Eric Ajaye raised spirits with a dignified personal-recovery-from-adversity oration, and that’s admirable and true, at least to some degree. Joe McEvilly was leading the band and I was impressed by both his musical and personal maturity (he’s only 20!) as he avoided being overly political, recognising it was “too late for us” but maybe there was a future for others. I understand current students still don’t know what’s on offer next year. Some are leaving; some are staying to finish. One parent has told me of a student who had been offered a transfer but that it would extend his course by one year. Enrolments are down ~25% but the new Director expects full enrollment by the start of year. It’s a common expectation amongst the jazz community that no-one would come to Canberra for the new course. Perhaps students will pursue it as a second degree and that has some value and it’s cheaper. Good luck to the few worthy staff that remain (let alone those who have left). I imagine it will be a hard road to travel. This from an institution that been with us for half of Canberra’s 99 year life. I’m thinking that the Music School may have been the most popular cultural institution in Canberra. Certainly, tens of thousands of Canberrans signed a petition and all parties in the Legislative Assembly were disappointed with the ANU decision. Is this a 1975 Dismissal moment? The comparison sits easily with me. Remember the suddenness; remember the widely despised GG John Kerr; remember “Mantain the rage”; remember the rent to the Australian fabric. I can imagine an emotional void down Marcus Clarke St right now and some friends speak of it. My more cynical friends predict investments in high rise next to Llewellyn in a few years. I was terribly disappointed by the arguments presented, but the weakest must be to call up the conservative-bugbear of “elites”. How is this elite? Elite as in intellect and discovery like Nobel Prizes? Elite as in high university rankings? Elite as in musicians who are renowned and tour the world? Or elite as in Occupy’s 1% and $?m heads of corporations and too big to fail. With our whole society, even universities, taking the corporate path, it makes you wonder. Yep, the school was elite, but in performance not wealth and that seems perfectly admirable to me and Canberra was the better for its musical success. So, excuse the lack of a concert report. Suffice to say that it was very good. They are invited to play at Wangaratta, Australia’s main modern jazz festival, this weekend. That’s elite, stunningly so for a few students with original charts. But what more to say? Farewell.

Movement 9 played at the final ANU School of Music student jazz series of 2012. Movement 9 is a platform for arrangements and compositions by Joe McEvilly (baritone sax) with Ax Long (trumpet), Tom Sly (trumpet, flugelhorn), Matt Handel (alto), Oisin Smith-Coburn (tenor), Patrick Langdon (trombone), Tate Sheridan (piano), Raf Jerjen (bass) and Henry Rasmussen (drums). Eric Ajaye (bass), Miroslav Bukovsky (trumpet) and John Mackey (tenor) sat in for one tune each.

For a full report on the concert rather than a paean over the jazz school, see Revisiting the ninth movement

Cyberhalides Jazz Photos by Brian Stewart

More chalk and cheese, pt.2

Joe’s band went second. I say I was formed by jazz of the ‘70s but perhaps the classic voluble swing of Oscar Peterson and Ray Brown and the like have influenced my playing more. I still love a swinger and I love the standards. Joe started with a piano trio, with Max and Luke – a quintessential jazz format - and the two opening tunes were classic standards of the American songbook that have reached into the lounges of the world: Cheek to cheek and Out of nowhere. Joe’s masterful in this style: fluent, inventive, playful, responsive and with big ears. This was just confirmed later when the larger band was playing and the solos were being passed around. Joe would mimic or paraphrase a player, and they would respond. Joe’s particularly good at it, taking ideas and changing key or underlying scale or intervals within the shape and repeating as a sequence. The later tunes were originals, mostly by Joe: Yesterday street, Yet to be named, Sleepless days about continuous daylight in the Norwegian arctic. The band also played Siberia by saxist Joe, a tune in 7/4 that maintained the temporary frosty theme. I heard the writing as filmic, especially after Bennie’s grooves, and at least one tune was from a film score: more melody, more harmony, more open sounding; less earthy movement, less bump and grind. There were some decent solos here, too, but I particularly noticed one guitar solo from Jack with a scratchy, staccato roughness and hints of Scofield. But I remain intrigued by the title of the session: Freshbace. Fresh is obvious; …bace?

Joe Chindamo led student group comprising Joe McEvilly (alto), Miles O’Connell (tenor), Scott Temby (trumpet), Rachel Cummings (trombone), Jack Palmer (guitar), Max Alduca (bass) and Luke Keanan-Brown (drums).

Cyberhalides Jazz Photos by Brian Stewart

Back from the Coast

Jazz Quest text by Nevin Temby; Merimbula pic courtesy of MJF

I missed the Merimbula Jazz Festival and the Exceptions playing at the Loft, but I caught McEvilly / Tarento / Kim / Moore at Hippo and it was decent consolation.

Firstly, the Merimbula reference, from my mate Nevin:

Merimbula Jazz Festival marked the first Open Jazz Quest, where non local under 25s could compete for $500 first prize, $300 second and $200 third prize. The Lakeview Hotel hosted the event and generously provided the prizes. The competition aims to promote excellence in jazz performance by offering not only a highly competitive performance platform but also cash and contra prizes to help young musicians further their musical careers. Fourteen entrants from around Australia performed to a very receptive capacity audience during the festival, with the modern jazz ensemble ‘The Exceptions’ catching the adjudicators interest on the night. First prize went to Tate Sheridan (paino), second to Joe McEvilly (alto) and third to Scott Temby (trumpet). / During the photo shoot the following day, the organiser explained to the guys that the current board is very interested in promoting the modern genre for the festival. Great news for festival goers.

Congrat-ulations to the band. As for the Hippo gig, I very much enjoyed their detailed, busy and skilled take on the standards. Joe surprised me with some rich substitutions and chromatic sequences, but he also performed with a lovely melodic sense. Sometimes playing slow and setting themes, one time stunning me with the most subtle intervention against Daniel’s excitable guitar. Daniel’s playing truly sets a scene. He’s physically frisky and it shows in his playing: busy, jumpy, contorted, inventive, over-provided with ideas. It’s intriguing and anything but relaxing, so I was a bit taken aback (although very pleasantly) by his complex but gentle guitar chordal intro/outro to Darn that dream. Jordan was on electric and I loved his hard tone and expert chops. He’s got easy knowledge to the highest frets and great fingerwork and an easy ability to drop into and out of solos and off times and fours with Rohan. I’d only seen Rohan play in a more restrained context. Here he was still serious and steady, but often enough busy and fun, like his few bars of melody played with tuned elbow on snare skin. It’s a great party trick that I’d seen from Ari Hoenig and he did it with confidence and panache. But this outfit also had an impressive presence as a band. I noticed in the way they moved grooves together, passed solos, understood conventions. These guys are presumably playing together every day and it shows. I particularly noticed when a blues degenerated into an undefined one-note holding pattern then fell back into a walking swing at the end of the 12 bars, but I’d seen the same mutations elsewhere. It was obviously improvised and very neat work.

Joe McEvilly (alto), Jordan Tarento (bass), Daniel Kim (guitar) and Rohan Moore (drums) played standards at the Hippo Bar.

An autumn serenade

I was late, but it was a buzzing crowd at the CGS Gallery when I arrived during Liam Budge’s set break: confident, friendly and chatty. Somewhat like Liam himself.

Singers do have a way, they have a presence, and Liam has it strongly. He emotes every word, bending knees, moving about the stage with the rhythms, leading strongly as a front man and percussing in support with nonsense vocal sounds. There’s a lot of his mentor, Vince Jones, in his presentation, the overt emotion and the hands crossed behind his back. Not so much the politics. At least at this stage, his presence is more simply musical and, when he writes, more personally emotional. So he performed Bye bye blackbird, but richly rearranged by Luke Sweeting in 7/4, and Autumn serenade, again re-imagined. One original was of lost love, forever a topic of music and also of youth. But his covers weren’t just the old standards. There was a Tom Waits and also a funky George Michael in the mix. This was rich variety, of performers and styles and grooves and sounds. His basic support was a piano trio, Luke, Jordan, Henry, but he augmented that for various tunes with Joe on alto and/or Tom on trumpet. I melted with some of Luke’s solos, but that’s to be expected these days. He is immensely strong, varied in improv, easily consonant or otherwise, and the piano gives him the most orchestral of instruments to play with. Henry introduced one tune with an attractive solo of percussive gentility where I noticed the thuddy tones of a floor tom damped with jacket over skin that contrasted nicely with a mildly played but sharply tuned snare. Jordan took the opportunity of the Tom Waits tune to let go with a fluent bass solo, and we consoled each other later about the clumsiness of the lovely-sounding double bass against the fluency of the middly-toned but easily-spoken electric. Bass doublers have it tough. On another tune, I noticed some lovely unexpected harmonies from Tom on trumpet against Liam’s vocal lines, and lifting fills with Joe on alto. But the voice is closest to human expression in music, and Liam is an overt, emotional, attractive character on-stage and off. Male singers aren’t too common on the ground and Liam, with his presence and depth, has convinced me they have a place. This was a very nicely presented and emotionally rich performance form Liam and his capable offsiders.

I must also mention the venue. The Canberra Grammar School Gallery may be short on lighting but it’s a wonderfully comfortable and even indulgent space, with grand piano, nice wines on tap and art to peruse in the breaks. Currently on display is the Mortimore Prize touring exhibition of realist art works. It’s not a large exhibition, but there are some decent painting skills (and impressive prices) on display.

Liam Budge (vocals) led a band at the CGS Gallery with Luke Sweeting (piano), Jordan Tarento (bass) and Henry Rasmussen (drums) and Tom Sly (trumpet) and Joe McEvilly (alto) sitting in on various tunes.

An exception

I don’t remember why I missed last year’s Exceptions gig at the Jazz School, but I was glad I got to this one. The Exceptions are a new generation of students. I like to watch each generation as it comes through, with its different interests and skills and influences. I knew some of these players from previous gigs but what interested me was, as Eric Ajaye said in introduction, that they compose so they have something to say. And their compositions were impressive. When they started up I first heard latin, then a Tom Scott-like attractive commerciality, but as I listened there were altered jazzy blues and Scandinavian minimalisms and funk and rock feels. These were convincing tunes and well arranged even if the variation in styles suggested they might be still finding their musical way. The playing was capable, too. Scott and Jordan were fairly well known to me before this gig. Scott’s trumpet impressed me with considerable maturity in his melodic solos, sometimes simple and bluesy, but authoritative. Jordan’s an impressive bassist; his slap is tight and sharp, his electric solos are fluent and mighty fast, and he’s now added the double bass to his stable. I particularly enjoyed Tate’s piano. I heard tonal and scale running, smooth and loquatious, and occasionally northern Euro meditative. Joe was thoughtful in alto solos and and neat in melodies and was worthy of more dynamism. Rohan took a few solos, but was mostly neatly supportive. These were capable compositions that bode well for an expressive but also attractive and sellable band sound. Well enjoyed.

The Exceptions performed at the first of the annual series of student gigs at the Jazz School. They are Joe McEvilly (alto sax), Scott Temby (trumpet, flugelhorn), Tate Sheridan (piano), Jordan Tarento (electric, acoustic bass) and Rohan Moore (drums).