Banjocularity

I’ve heard it called jazzabilly. Zoe and the Buttercups are an oddly named band (no guy could lead a band with this name) and the lineup is somewhat heterodox given its paired horns with paired guitars that can switch to banjo and acoustic. But it’s a fabulously entertaining and eclectic sound that’s postmodern in its irony and its habit of collecting titbits of style. I enjoyed the CD, was surprisingly taken by their performance at JU2010, and adored this latest outing at the CJP. This one was particularly intimate, being in a small, slightly muggy theatrical space with stage lighting and decent sound and Viennese mirrors and Parisian café tables with the band on the long wall and the audience arrayed closely around it. I loved it, and obviously the band did too.

This music is delightfully and unchallengingly lyrical with melodies that are simple and just plain lovely. Buttercuppin’ is a theme tune and it’s pure and played unadorned and with heart and it’s just plain beautiful. Gut for garters was Zoe’s pirate song (“every band needs a pirate song” says Zoe) and was mysterious like the giant squid or the white whale. Sludgebucket was the heavy rocker with screaming guitars. Zoe mentioned Mahavishnu, but this is heavy like Beatles’ I want you (she’s so heavy), not metal. The Buttercups have too much wit and love for genuine heavy (good on them). But great guitars! Brother Ben is a favourite of mine when he lets go, which he does on this tune, but I also noted some nicely restrained overdrive from Aaron. These guitarists are a feature of the band, with Aaron’s airy reverb behind so many tunes, and Ben’s banjo defining the rhythm on others. Banjo? It’s disconcerting but joyous and just one of the Buttercups’ little idiosyncrasies. The Buttercups don’t get together so often these days (Ben is in Melbourne; the others in Sydney), but you wouldn’t know it. The rhythms were tight and supple from Zoe’s easy bass and brother James’ sharp drums. The harmonies were sweet, from the horns, but also sometimes in unison with one or other of the guitars. If there were weaknesses in performance here, I didn’t notice it. The band was concentrated but relaxed and the tunes were genuinely song-like: rollicking good feels with those attractive melodies. Oddly, at one time there was even jazzy disjointedness as feel-good decayed to free and atonal then back again to sweet song. Clever - they are jazzers under the hat, after all. But the whole is joy and sonority. Everyone likes a sea shanty, and I can’t imagine that everyone wouldn’t like the Buttercups. As for me, they bring wit and joy with impressive playing and I thoroughly enjoy them for that.

Zoe and the Buttercups is a project of Zoe Hauptmann (bass). Zoe’s blokey Buttercups are Ben Hauptmann (guitar, banjo), Aaron Flower (guitar), Dan Waples (sax), John Hibbard (trombone), James Hauptmann (drums).

Buttercuppin’ hoe-down

Zoe brought her bumpkin Buttercups to town last night for a great night of whacky but intelligent, hick but danceable music. I’ve written of the CD recently, and many of the tunes were from that CD. This was a six-piece jazz-trained outfit, but playing across the styles of rockabilly, reggae and blues, but always with the tinge of the jazz influence, despite the ever-present 1-3 drum figures. I guess this is one of the options for where to take jazz in the new century. Whatever, it’s entertaining, infectious, and very different sounding. Perhaps the defining sound is the banjo, which brother Ben plays on most of the tracks. But Ben’s given it a strange twist, with this normally rhythmic and ostinato instrument played as solo modern jazz guitar. Weird, as it imparts a new choppy, staccato sound to a jazz guitar solo style. The drums are also key, with other brother James playing impeccably on the square 1-3 beats, and ably managing the growing intensities of rhythm section against solos. The sleazy front line of trombone and alto sax are perfect. John Hibard on trombone plays the part to perfection, with energetic gyrations on his lengthened instrument, and with the addition of a great rendition of the song from the CD. Dan Waples played perhaps the most jazz style on the night, but even so he seemed to forego wailing and screaming in a Coltranesque style, preferring an elegant, intellectual, probing style that to me was reminiscent of Chris Potter. There were several excellent blues solos from Aaron Flowers, who’s a guitarist of few but meticulously appropriate notes, and hot soloing by Ben ranging across rock and fusion styles when he did get on his guitar. Both guitarists played Telecasters, and the sounds were to die for. Zoe held it all together (in calling the tunes as well as on bass) and played a few of her own solos. She’s gloriously understated in her playing and always lyrical. Lovely stuff. It was a wonderfully quirky, joyful and entertaining night at the trying edge of the art.

Zoe and the Buttercups were Zoe Hauptmann (bass, vocals), Aaron Flower (guitar), Ben Hauptmann (banjo, guitar), John Hibard (trombone, vocals), Dan Waples (alto sax), James Hauptmann (drums).

Zoe’s quirky Buttercups

Zoe & the Buttercups CD review. I don't usually do reviews, but just for this once. Zoe's Buttercups are playing at Hippo's on 12 Dec. Guaranteed to be a quirky po-mo musical experience. Recommended.

Listen to the last track and you’ll immediately recognise the humanity in this album. It’s alternately sweet and heavy, but it’s a Beatles heaviness. Not metal-heavy: this is joy and humanity talking. And it’s talking with the language of jazz, even if not in its dialect. The language of jazz because there’s the capability and sensibility of the player trained in improvisation and grooves. But the dialect is rockabilly, sometimes rock, sometimes country, only sometimes jazz, and then mainly in the solos. This is a challenge for the ears of the jazz lover, but bliss for the appreciator of the post-modern and indulgence. This is the Buttercups, and Zoe is our host.

Mum told me of Dad’s advice to Zoe: “If you want to play music professionally, play country”. Well, Zoe has indulged the sense of beauty and intellect which is jazz, but here she has done the turnaround and taken Dad's advice. She’s now released a heavily country-influenced CD with support of various brothers and friends. All trained; all capable; so much more than just country. This is a challenge to all ears. Indulge; you’ll love it. But don’t ask: is it jazz. Whatever, it’s music, and from the heart and the intellect.

But I have one note of concern. The one song on the otherwise instrumental album worries me: The creeps and the weezles. I can’t quite work out the philosophy and I’m not sure if I feel comfortable with it. Does it hint at nihilism and grunge superiority, or perhaps a tilt at an infestation of eco-rats? If it’s a chorus of us-and-them, I feel uncomfortable. We’ve had too much of that in recent years. I remain a little confused. Sad, as it’s so pretty in a ‘30s gothic cabaret style.

But otherwise, this is fun, with solid rockabilly grooves, and style-bending but capable solos on guitar, sax, trom, and occasionally on bass by Zoe. I have various impressions. Pigly wigly hoe down is soooo well named. Sludge bucket is a genuine launch pad for duelling guitars. Boom is a cool '70s funk with trom counterpoint and solos. Miscellaneous madness is edgy (detective Clouseau gets serious) featuring Zoe’s bass soloing against horn lines. There’s a train may have an Ellington reference, but the beat on the 1-3 and the banjo picking make for a very hick swing. The swapped and collective solos make for a satisfying although quirky tune. Buttercupin’ is the name Dad suggested, presumably so long back. It’s a hot, lazy, Sunday-arvo cut-time with sax melody and banjo response (who would have dreamed that up?) then a heavy, slow swing on the bridge. Feral and bed (where does she get these titles?) is Woodstock riffs and degraded, AM audio, then an 11/4 riff with great solos on guitar (obviously brother Ben) and sax. I’m thinking: this album has complex and rich grooves, always interleaved and multilayered. Nice stuff! Belly full o’ whiskey is a very short but lovely duo of sax and trom: cute and rollicking. Then comes The creeps and weezles. I’ve told you of my concerns here: a perfectly good song, but dubious philosophy. Sinchl (what is that title?) is a heavy boogie beat that you could hear at the local blues club when the hottest players get on stage, but with a nice twist in the turnaround and melody. Bill Frisell is a serene acoustic guitar ballad in trio format, with a countrified bridge and an acoustic bass solo by Zoe. Wednesday is a final ballad but with another Beatles-heavy interlude. It’s a humane finish to the album.

So is it jazz? It’s been asked, but is it an issue? How do we define jazz? Improvised music with a beat? Well trained musos who can play rhythm? Either way, Zoe and her Buttercups perfectly satisfy the bill. These are capable and groovy players who convince me, even if the beat is often on the 1-3 instead of the 2-4. I like it!

Zoe’s Buttercups are: Zoe Hauptmann (acoustic bass, vocals), Ben Hauptmann (guitar, banjo), Aaron Flowers (guitar), John Hibbard (trombones), Dan Waples (sax), James Hauptmann (drums) with guest Steve Appel of King Curly (vocals on The creeps and the weezles).

Zoe Hauptmann on MySpace; listen to some tracks from this CD

Keith Penhallow's review for NJWC

Jess & Niels

Last night’s White Eagle was a night of maturity in several ways. In the musical sense, it was a homecoming for two wayfarers and ex-Jazz School students, and both presented mature, developed music. In the performance sense, it was a big night at the White Eagle, with perhaps 150 people in attendance at the last show of 2006.

The crowd celebrated the end of a great first year for the White Eagle sessions. Earlier this year, several jazz students took on the task of presenting themselves and developing their own venue. Like Jazzgroove in Sydney, they’ve taken control of their own art through a cooperative venture. It gives Canberra a venue for performances by its own peripatetic offspring jazzers, and gives the current crew of developing musos a venue to perform, meet and jam. And the big turnout included the families of some of the visiting players as well as lovers of the art. So congrats to Ed, Phill and Hannah for the White Eagle success.

The first players of the night were the Niels Rosendahl Quartet. Niels has just arrived back after a year travelling in Europe and SE Asia, and further studying his tenor sax. He instantly impressed me with a new calmness and sureness in his presence; with clear and purposeful improvisations; with understated but nonetheless fast and complex lines; with clear and impassioned articulation. What he played was necessary, not just impressive. Niels had recommended a book to me the previous night, “Zen guitar”, as a good read, so it was no surprise that exuded a zen-like bearing on the night. He’s obviously developed immensely after time in SE Asia and Europe, mostly in Edinburgh. From the rubato start of “God bless ye merry gentlemen”, to another rubato section on the final tune, “Silent night”, the selections were apt and the performance was convincing. Otherwise the band played various original tunes by Neils and Michael A.

From left, Niels, Michael, Ed and Bill

The band was an impressive unit: Michael Azzopardi (piano), Ed Rodrigues (drums) and Bill Williams (bass) accompanied Niels Rosendahl (tenor sax). Michael played with incredible energy and commitment as always; Ed was connected and interpretive; Bill was a rock with strong walks, and intriguing solos with a hard, clear tone. Ed told me afterwards that he felt all was inevitable and correct while playing with Neils. It showed. Niels finished the night by inviting John Mackey up for a minor blues, so it all ended with the local tenor masters at play. Niels continues to improve and impress; watch him.

The Jess Green Septet was totally another proposition. Jess composes and leads a band with a broad, inclusive, world style. There were infectious rhythms borrowed from all over the place (rockabilly, blues, garage bands and reggae were in there, and she has a connection with, and influence from, Ghana). There were varied time signatures (7/4, 5/4, lots of triple times, 3/4 or 6/4, as well as the old standard, 4/4). There were varied harmonies and counterpoint in the 4-part horn section. So this was orchestrated music, of a modern, global style, with jazz leanings, and plenty of improvisation. What got me about the improvisations was the appropriateness of the solos to the musical context. As well as actively leading the band, Jess plays guitar. She did several wonderful, understated solos with soft picking and a bell-like tone on her Telecaster Thinline (the semi-acoustic model with humbucker pickups), as well as holding lots of rhythms with riffs or even simple chordal work. All the horns played solos, as did drums and bass. In one spot, there was an unusual combination of trumpet soloing against drums, then becoming more standard as the bass joined the action. Zoe Hauptmann is a great bassist, and I loved her immensely fitting solos on two tunes. Her match with the rhythm and groove and horn-based harmonies, and the spaces she left for the horn parts, were immaculate. I was taken by her great, solid tone, too. She works the strings hard, and the resulting sound is solid and dirty and endlessly reliable. I also particularly liked the varied harmonies from the horn section. The writing was good, and the players combined beautifully. And Chris T, sitting in for the night of drums, did a great job. So this was another mature offering; this time of original, contemporary, world-style music.

Jess Green with her Dad and brother

The Jess Green Septet were: Jess Green (guitar, composer, leader), Matt Keegan (tenor sax), Dan Junor (alto sax), John Hibbard (trombone), Simon Ferenci (trumpet), Zoe Hauptmann (bass), Chris Thwaite (drums, replacing Evan Mannell).

It looks like there’s no White Eagle session in January, but expect a return in February.

Jess Green's new CD, "Singing fish"

Niels Rosendahl's MySpace site