Enlightening

We were off to a classical gig but the ANU was enlightened for the Enlighten Festival and we ended up snacking outside listening to As Famous As The Moon. This was opportune as Tilt was to play there the next night, so I could survey the joint. But best was their playing, of course. These are seriously satisfying players. Dirk was on leave so Joseph Taylor was filling in for the night, with the standard drummerless pairing of Lachlan and Graham. These guys have played innumerable gigs (actually, they are counted and AFATM are well over 3,000) and continue to do so, regularly, as a local institution. The tunes are standards and the playing was exemplary. Lachlan's quick 6-string bass work and Graham's crisp guitar and Joe's exploratory and often insouciant and lithe tenor and soprano. This was some stunning playing and just another proof of the potential of the standards repertoire (as if we need that). AFATM may serve a lovely background but it's worthy of some intense listening, too.

As Famous As The Moon appeared at ANU Enlighten festival with Joseph Taylor (tenor, soprano saxes), Graham Monger (guitar) and Lachlan Coventry (6-string e-bass).

Temptation

Bella Groove have been playing around Canberra frequently of late. I finally got a gig to find the band is a string of mates from the jazz scene, fronted by singer Elise. Elise, at least, was new to me. Bella Groove play the jazz standards and more with a funky, rocky, electric twist. Take standards and some favourite rock and pop tunes, add electric bass and choppy guitar, drums and tenor, and a voice over with flute for a softer colour. It's a good night out and these are nice players. John sounded all fat and punchy, very satisfying, improvising and walking and taking plenty of solos. Stew cut through all choppy and clear and edgy with sharp comping chords and blues-tinged solos. Noddy was just plain effective, soloing at will; not needing to read this stuff, although they tell me he can read fly specks on the wall when he needs to. Joe on tenor was the most adventurous, but that's a sax trait: starting his solos with melodic interpretations but soon vearing out in harmony and rhythm; his solos were also the longest. And Elise, firm voiced singer and comfortable leader, stood the front line when not taking flute melodies or solos. I'd missed Beatrice, but I heard Tom Waits' Temptation, CC Rider, Dindi, Old devil moon and Stolen moments. I was sorry to have to leave early. I was bopping. A comfy band playing great tunes making for a night out and a few drinks.

Bella Groove are Elise Walsh (vocals, flute) with Joseph Taylor (tenor), Stewart King (guitar), John Burgess (bass) and Noddy Brassington (drums) and they were playing at Hippo.

Playing the Diplomat

It was a night of many concerts in my CJCalendar and I had to give up my ticket to Australian Haydn Ensemble to play, but that's OK. I had a great time. I gigged with Joe Taylor and Alex Carder. I had been expecting to play with Dirk and Graham. Either way; these are all fine musicians. This was a cocktail gig, playing background jazz. Joe blew me out with calm professionalism, lovely melodies and some devastating flourishes. Alex laid out lively and light solos and the swing was easy and strong and he was open to communications and smiles. This was just standards, but with lots of solos, often extended (I don't always take three of four choruses. Remember the joke about how to get people talking: start a bass solo). Two sets. Communications were good and most tunes felt clean and ended neatly. Most tunes. I had a great time. Thanks to Joe and Alex and to Dirk for the initial invitation.

Joe Taylor (tenor), Alex Carder (piano) and Eric Pozza (bass) played at the Diplomat Hotel.

Resolve it on the 1

The QSCollective was out again for a pleasant Adore Tea gig. This time it was the core of Peter, Brenton and Eric with Joe Taylor sitting in on tenor. Joe’s inventive soloing was intriguing for the band, and I guess was considerably challenging for the audience, but was well received. Peter noted that it changed the way he played on the day. The dissonant lines called for clear harmonic definition at times, but also taunted us to respond in kind. I, too, like to break away on bass lines. In this context it’s satisfying and rooted just to state the changes, but also an aural extreme sport to go feral with chromatics or pentatonic substitutions. It can be like walking a vibrating pathway, but it works (can work?) when you resolve on the 1, and it certainly provides an alternative to diatonism. But it wasn’t all so out. There was some sublime swing with a gently paced standard, There will never be another you. I rediscovered the lovely ballad, Bewitched, and put a name to Rollins’ angular tritone blues, Blue seven. And I enjoyed the opportunity to replay an old favourite modal latin piece, Little sunflower. On the other hand, our Beatrice never really settled, despite its being pretty interesting and pretty, and I liked God bless the child with the 12/8 bluesy feel but Peter wasn’t so sure. I enjoyed the open sound of a sax trio for Blue bossa, and the ostinato line that Joe requested for bass on Softly as a morning sunrise opened up a new, if obvious, line of exploration for me. And I got to introduce Joe to a cute old favourite, Bluesette. Thanks to Joe and Peter and Brenton for a very enjoyable gig.

The Quiros Street Collective (QSC) comprised Peter Kirkup (piano), Joe Taylor (tenor), Brenton Holmes (drums) and Eric Pozza (bass) and played at Adore Tea House.

JU Bley

Bley was number 2 stage upstairs. It was well isolated sonically, a neat size, although could have done with some decoration or curtains (next year). But it got a series of capable contemporary jazz bands, and represented the women in jazz via Carla Bley.

Nice little gig

It was no big deal, but it was a nice gig yesterday when I got to play with Joe Taylor, Olivia Henderson and Brenton Holmes at Pangaea. Thanks to all; much enjoyed. And good on Pangaea for booking jazz on Sunday afternoons in this great weather.

Nearer, my God, to thee

Excuse a little blasphemous humour, but Miles is a god for many of us. Last night, I had a blissful evening basking in a recreation of Miles’ Second Great Quintet (the ESP Quintet) of the mid-1960s. Joseph Taylor led a surprisingly mature, lively and authentic set of players through the intense, sustained but malleable, modal style of this quintet. From the top, it was unbroken music interspersed with recognisable melodies, mutating through varying meters and deep dynamics, sometimes sitting on a lone piano or bass then launching into a rapid walk with explosive drumming or dropping at the end of ecstatic solos to periods of calming recovery. Congratulations to the whole band for the satisfying and authentic interpretation of an era we only hear on CD. I much enjoyed Corey’s characteristic sparsely melodic style of Milesian trumpet. Joseph played the Wayne Shorter role, the more restrained but harmonically inventive follower of another god in Miles’ sax seat, Coltrane. This is a less dramatic and less authoritative role than Miles’, and he played it with considerable harmonic sophistication. And even if you only listened with your eyes, Corey and Joe formed a characteristically cool and nonchalant front line. Very well done! Luke’s piano was endlessly responsive and supportive, with nice fourths tonalities and especially with lovely, falling modal chordal movements. Ed was heavier and more fiery in this context, responding to Luke’s rhythmic suggestions, and always pushing change and exploring meters and rhythms, and blasting out strongly accented fills. There were times the rhythm section seemed telepathic. I was stunned when they dropped into unison whole note triplets with seemingly no hint it was coming. Just that tap of the hi-hat, I guess. Bill was at his best: long, fast bass walks high on the neck; slightly buzzy tone that was so solid and of clear tonality; and some solo lines that had me grinning with his alacrity. Overall, the sound was a bit unbalanced, but it’s an odd little corner they play in. The tunes are well-enough known: Round midnight, Milestones, Footprints and the like. But the interpretations moved far from base, as it had done with the original quintet. This was no sauntering about or unguided search. This felt like solid exploration, intelligent, passionate and powerful, with an occasional return to the base which is the melody.

I’ve missed a few good shows recently after perhaps too much of a good thing. But this return to the source was just the medicine. Thanks to Joe and mates for a refreshing visit to one of the lifebloods of modern jazz. It was a blowout. And thanks also to Candy Amble and mates who organise the Trinity jazz sessions on Tuesday evenings. It’s a comfy venue, the music cycles weekly through various interesting bands associated with the jazz school and it’s free entry. This was the final Tuesday Trinity for this year; watch the CJCalendar for a startup in the new year. It’s an excellent development and highly recommended.

Joseph Taylor (tenor sax) played with Corey Booth (trumpet), Luke Sweeting (piano), Bill Williams (bass) and Ed Rodrigues (drums) on a tribute to Mile Davis’ second great quintet of the mid-1960s.

Tuesdays @ Trinity (Facebook group)

Musos clubbing

The Canberra Musicians Club launched this weekend with a 12 hour gig featuring numerous different musicians and numerous different styles. The weather was warm and sunny (too sunny early on, but more on that later). The Club has been formed so musos can gather to assist each other, eg, it can provide PAs for hire at reasonable rates, and very interestingly, provides legal indemnity for events held under their banner. That really is an interesting concept and should support independent, grass roots events. I expected a folk and indie scene, but there was a decent jazz contingent, thanks to Cam and the Folkus Room crew. My band, Toucani, played one set in the mid afternoon, under a scorching sun that everyone was complaining about.

I heard a mixture of bands over the afternoon, but couldn’t stay for the evening. Black Hat Band is a blues outfit including a mate from work, Dave Grey (guitar/vocals). The band featured several of the Kooky Fandango crew who were to appear later in the day. Kooky Fandango are stalwarts playing a smooth, sweet jazz style, with an interesting crystal clear chordal role for Peter Barta on his 6-string Alembic Series 1 (no guitar here). Otherwise, it’s Cameron Smith (trumpet), Tom Fell (alto sax), Nathan Sciberras (tenor and baritone saxes), Mario Gordon (congas) and led by singer Courtney Stark. My Toucani played a set of 4 originals (2 by Daniel, 2 by Eric) along with Sam River’s beautiful ballad, Beatrice, and Wayne Shorter’s hard bop Prince of Darkness. Mark Body (drums) filled in given the absence of Brenton, and played with Daniel Wild (piano), John Baczynski (tenor) and Eric Pozza (bass). I really enjoyed this gig, despite the radiant heat. We played fairly relaxed and expansively, I think with the assistance of a comfortable, informal atmosphere, and there was a double bass player doing the mix, so I could trust his work. And in the open air you never have balance problems: you can always hear, although it can be a bit thin at times. Most enjoyed.

Then a lovely cool jazz set by the Joseph Taylor Quintet. Joseph Taylor (tenor) commonly plays with Corey Booth (trumpet) and John Cohen (piano) and was joined for this gig by Bill Williams (bass) and Chris Thwaites (drums). Truly a lovely, cool set, harking back to Miles in the 50s, with the same instrumentation, some of the same tunes, and a similar feel and approach. I love a good cool set when I hear it, and they performed it with panache. Tunes included some originals, but also All of you and Wayne Shorter’s Backstage Sally. Great stuff.

To finish my day off, I finally caught up with Los Chavos. They are a lively latin band with some very good players and an entertaining front man, and they deserved the audience which they got: young, even very young (as in children), happy and dancing. Very enjoyable, tight, and capable. I also caught the Cashews in the underpass near Albert Hall for one of their famed guerilla gigs, but only for a few minutes. Well done, and entertaining, but not really my style.