Looking bigger still (Moruya 5)

Large ensembles are big, loud, complex and supremely satisfying. Every jazz nut loves great soloing, but large ensembles are perhaps my favourite. The interaction of parts, the harmonic movements, the diverse tonalities, the rhythmic intricacy, and the unification of all this, which is the composer’s chart.

The ANUSM brings all three of its large ensembles to Moruya. This year, I only caught two: the Commercial Band and the Recording Ensemble. It’s an ongoing game for me to pick a favourite as the bands play each gig, or changes their members or repertoire over time. I loved the hot and sticky Commercials, but the Recording Ensemble got my vote this year. Last year, it was the Commercials. No matter; they’re all fabulous in their own ways.

The Recording Ensemble set had a lovely edge of student humour which partly set it apart. Sebastian McIntosh entertained with droll introductions and Miro was like the proud father at the end congratulating the band for its creativity, but there was seriousness in the original compositions and the performances. It’s clear these guys are friends, and this shows in the music, not just in the repartee. No doubt there’s some competition, but there’s also support for well stated solos and well arranged parts. I remember Nick Combe’s impressive Mingus-influenced composition from last year. This year, Sebastian joked it was the “Nick Combe Show” after the set started with a run of tunes by Nick. He’s impressing as a strong composer/arranger. Somehow, performing on the baritone sax just seems to fit this mold. Other tunes were an arrangement of Monk by Kayla Corlis and Matt Sykes’ original composition, River. I also noticed the doubled-up rhythm section. Two guitarists are common enough, but not two drummers and two bassists. And these instruments (even Chris Pound on electric bass and Hannah James on acoustic bass) often enough played together. It lends another level of complexity, especially to rhythm, and an extended and unusual palette for visceral tunes like River.

The Commercials were fast and exciting and hot and sweaty as they should be. This is fun music and challenging charts, and it had the audience braying for more. There was one original here: the band started with Kayla Corlis’ 8 o’clock traffic (a constant source of amusement for bandmaster Eric Ajaye, who’s experienced traffic in LA as well as our rather less challenging peak hour traffic in Canberra). But mostly these are covers or purchased charts. They did their version of Prince’s Thieves in the temple, Marvin Gaye’s spine-tingling classic, What’s going on, and Jaco’s Chicken as their high-spirited departure tune. Great fun, hot chops, funky and loud, as this style should be.

There was more to the festival than just these bands. I also caught snippets of various other bands, and missed many others. Mike Hallam’s Hot Six and Waiting for Guinness and Syncopators were professional and entertaining and drew the crowds. Spicey Fruit Chutney was folkey and lively and were well received. I just missed or caught just a few bars of old friends Mother’s ruin, and Pierre Kammacher in various outfits and Kooky Fandango. I sadly missed offerings by Lilly Henderson and her dad’s annual funk outing, Turner’s antidote, and Austin Benjamin’s trio playing their own music, and James LeFevre’s latest outfit, and Jo Lloyd’s quintet. Also Moondance, for whom I almost filled in on bass, and who won the audience choice award. I would have liked to have heard All the things you would be if Sigmund Freud’s wife was your mother. With a name like that, it’d have to be suitably experimental. But you can’t catch everything, even at the smallish Moruya Festival, so I take the philosophical approach that I also use when I travel: you should always save something for your return. It’s a much more relaxed way to travel or to attend a festival.

Thanks to the Moruya Festival committee for a pleasant few days, great weather, beautiful local beaches, and the loan of your lovely, intimate town as the backdrop for the music. The 12th was another successful festival of jazz and a locum of musical companionship. Thanks from your mates from the moderately bigger smoke, Canberra. Looking forward to next year.

Magical, that flute

Greetings to our classical mates at the ANU School of Music. I just went to their performance of Mozart’s Magic Flute and enjoyed it immensely. The dynamics, full range and clarity of a live orchestra, even this little chamber orchestra, were stunning. The pure voices, the beautiful melodies, and the harmonies between singers and instruments were luscious and pleasing. And a few extreme notes (both high and low) and occasional ostentatious passages by various sopranos were great fun. The story and its underlying culture are pretty old-school for us, despite some Enlightenment references, but that’s par for the course. Also greetings to Kayla of various Jazz School ensembles who performed on trumpet. To our extended operatic family, much respect and thanks from your jazz cousins.

Large ensembles coming out

About this time each year, the large Jazz School ensembles perform on home turf for family and friends. This year, last night, it was the turn of the Recording Ensemble and the Commercial Ensemble. These are competitive entry bands; they are open to anyone in the Jazz School. Auditions are held each year, and a hot first year can replace a long term player. So there’s an element of pride the outfits, and a go-ahead edge to their performances. This night is like their annual coming out performance. Otherwise, there are gigs at various festivals and a planned recording for the Recording Ensemble, for these students to make their mark and impress outside of Canberra.

The first set was by the Recording Ensemble, led by Miroslav Bukovsky. The band started with a tune written by Miro called 10 Part Invention Blues. Right from the start, we heard the rich tonal and harmonic colours of this orchestrated, recorded style of music. It’s a blissful sound, and is the reason people hanker after bands of this size. It just doesn’t come with small outfits; it’s dependent on capable orchestration and numerous instruments to play the parts. The band played six tunes in the set. There were several written or orchestrated by Miro, including numbers for his band 10 Part Invention and a version of Oliver Nelson’s classic, Stolen moments. Jenna Cave provided a chart dedicated to Wayne Shorter called Little Shorter. The playing was typically competent all round. Carl impressed, as always, with some blistering solos. I took particular note of solos by Alistair, Jonno and Sebastian, but the performance was a group effort, and these weren’t the only notable soloists. The rhythm section was superb. We’re seeing lots of Bill and Ed around town, and there’s good reason. They play well together, they each play with great delicacy and responsiveness, they hold a rock solid steady swing, and they solo with panache. Lovely stuff.

The Recording Ensemble is Ed Rodrigues (drums), Bill Williams (bass), Carl Morgan (guitar), Dave Rodriguez (guitar), Kayla Corlis (trumpet), Jonno Apps (trumpet, flugelhorn), Alistair Clarke (trombone), James LeFevre (alto, baritone sax), Jo Lloyd (alto sax), Sebastian Macintosh (tenor, soprano sax), Nick Combe (tenor sax), Miroslav Bukovsky (leader).

The Commercial Ensemble provided the second set. There was quite a deal of overlap in membership in the horn section, but otherwise this was a different experience. This is the Letterman-style band. Bold and brassy, playing hot, funky charts. Where the Recording Ensemble gives us sublimity and colour, the Commercial Ensemble gives us beat and life. It’s not a matter of better or worse, although it can be a matter of preference. Eric Ajaye leads this band. They started with a great version of Wayne Shorter’s Footprints, with Sophie singing her own original lyrics. This was followed by a funky blues number by Bill Cunliffe with a great unison intro. Then a laid back, New Orleans-style chart by Les Sabrina dedicated to basketball and called Shoot the hoop; a Pat Metheny-style tune (which Eric introduced with a glimpse at the geography of Oregon and Washington State); a hard, funky Bob Mintzer chart called Go-go; a ballad by Matt Harris in the style of Michael Brecker; and to finish the night, a fast latin piece also by Matt Harris, called Bacio innocente. Again, there were capable solos all round, and again Carl lifted the roof. As a bassist, I particularly liked the great sound Stu pulled when playing slap on a Musicman bass, with Eden amp and speakers – smooth and balanced, with a lively but sweet top end.

The Commercial Ensemble is Ben Foster (piano), Evan Dorrian (drums), Stu McKnown (bass), Carl Morgan (guitar), Kayla Corlis (trumpet), Jonno Apps (trumpet, flugelhorn), Alistair Clarke (trombone), James LeFevre (alto, baritone sax), Sebastian Macintosh (tenor, soprano sax), Sophie Leslie (vocals), Eric Ajaye (leader).

So, a great night of rich and funky playing. I’ll look forward to hearing more of both these outfits over the rest of the year.