Being human

Just the other day I read an essay by Lera Boroditsky where she observes that language “is so fundamental to our experience, so deeply a part of being human, that it's hard to imagine life without it” (ref below). I agree. To me, words are more powerful than vague vision (why I tire of so many movies) or even seductive sound (despite my love of jazz). I listen to lots of instrumentalists and enjoy their invention and skills, but this truth comes to me when I hear vocals, words, direct and unmediated communication, sound without the machines: when I hear the voice.

It all came home to me again this evening while I was listening to three talented and very different singers in what was dubbed as a “Female Vocal Extravaganza”. Disregarding the spin, it was deep and fascinating and human and very, very diverse. I was particularly hoping to observe the differences and this was a wonderful opportunity. Matilda and Rachael and Marie were worlds apart, but all were communicating directly and intimately and so were a joy. And they shared one fabulously intuitive piano trio in support, so it was a concert to remember. They were each humble and wary to perform after the other, as is so often the way of performers, but each was superb in her own individual way. Matilda went first. Lower voice, perhaps alto; calm, pure, full but unadorned. Rachel told me another time that she admired Nina Simone. There’s that same simplicity and rich vocalisation, and restrained jazz freedom. She sang well aged standards, Polkadots and moonbeams, Moonlight in Vermont, and a few originals, like Spirals with its insinuative lyrics: “Hideaway … she will sing, she will try”. Rachael was second with such a different set. There were still standards, Alone together, Dindi, and originals in 3/4. She spoke of giving “a twist” to My funny valentine, but this was more a reimagining. Richly changed, a new work with hints of the original, quotes of the melody, snippets of the harmony. Improvised over with a high, presumably soprano voice, and intimately connected to the band. These were reworkings rather than re-performances. Taking standards and moving into big contemporary sound stages. Marie was last, and paid respect to her precedents. Again, the standards, although a different repertoire, and the originals: Afro Blue rearranged by Marie in 5/4 and with lyrics borrowed from Dianne Reeves; Wayne Shorter’s Fee fi fo fum with her own lyrics but a refusal to say who she’d written them for; Blue skies in memory of Eva Cassidy. Marie always seems to me so well trained: perfect intonation, richly inventive scat, a singer’s singer. I haven’t mentioned the band: Luke, Bill and Ed. Suffice to say a stunningly communicative and responsive trio that plays standards with ease but great inventiveness. See my other posts; they did wonders tonight. And Alex Raupach sat in for some tunes in Marie’s set.

James LeFevre is planning monthly extravanganzas like this at Minque: three guitars, three tenors, etc. and they will no doubt be intriguing. It’s an opportunity to explore an instrument in depth; to compare styles and approaches. But voice is something special, and this was special: three wonderful singers, with very different approaches and with a fabulous, but common, accompaniment. An absolute stunner.

The singers were Matilda Abraham, Rachael Thoms and Marie Le Brun. The accompaniment was by Luke Sweeting (piano), Bill Williams (bass) and Ed Rodrigues (drums). Alex Raupach (flugelhorn) sat in for some tunes with Marie.

How does our language shape the way we think? / Lera Boroditsky (viewed 11 July 2009)

Hot day, cool women

They may not have felt that way on such a sweltering day, but the second of the series of Women in Jazz was pretty cool. Hannah, Sally and Marie appear often enough in these pages. Hannah was griping about getting used to her new and very different Velvet strings, but it was smooth and steady playing, and there were many very nice solos from her. Sally looked worried in my pics, but it must have been the heat rather than the performance, because she was always clearly expressed and never effusive in her accompaniment and soloing. There were no drums on the day, but the beat was strong from two very reliable rhythm players. Marie sang with a high and pure voice. Mostly I love her scat: it’s truly a forte. It was great to hear an old favourite from the first incarnation of Return to Forever, 500 miles high. Marie’s voice suited really well as a cover for the original by Flora Purim. (My impression is that Spain and Teentown have now taken on the role as the unison-melody feature pieces, but 500 miles high remains a great little tune with its driving latin and feature unison fill). In my own sweet way was impressive, and a few other ballads that I can’t name.

The women would have enjoyed the cool change in the evening, but it came too late for them on that day. It should be easier going for next week’s Women in Jazz. BTW, this was also the weekend of the great fires in Victoria. We were learning of tens, then over 100 deaths, with temperatures of 48C and wind speeds of 120kmh. Canberra suffered losses in our great fire around 6 years ago, so we sympathise. Best wishes from CJ. We feel for you.

The Women in Jazz series continues each Sunday afternoon, 2-4pm, at Pangaea Bar in Manuka. Free entry. This week Marie Le Brun (vocals) sang with Sally Greenaway (piano) and Hannah James (bass) in accompaniment.

A project with strings attached

The studio was too full with seven players, so I ended up listening to the Sally Greenaway Project from home when SG and her crew played for ArtSound’s last Friday Night Live. The signal’s good at my place, and I listen with some classic studio monitors, but it’s not quite the same as being there. In fact, this loss of immediacy, despite the professional-level gear, is an eye-opener. Just proof of the magic of live music (and theatre … and life, really).

Sally is fresh from her composing/arranging win at the National Big Band Composition Competition, where she wrote for the Jazzgroove Mothership Orchestra, and led the orchestra in performance on ABCFM. So I expected a night of fresh compositions. What surprised me was the depth of writing talent in the room. The tunes were originals except ones by Stefon Harris (Sally is a fan of SH), somewhat unexpectedly, by Grieg and Tom Waits, and another I didn't catch. Niels, Raf and Marie each provided two tunes, very interesting and capable ones at that, and presumably Sally penned the others. Niels’ were moody and passionate; I remember one of Raf’s as pretty free and challenging at the start, then blues influenced but still plenty discordant. Marie’s were a twisted love song written for a local film noir movie, and one that used voice as an instrument, singing lines rather than words; not strictly scat, but not spoken.

I loved Niels’ mature tenor sax. He’s recently back after several years working in London and Europe. It shows. Just listen to the sweetness of his sax tone; the authority and aptness of his soloing; the emotional honesty of his ballad lines; the clarity of his solo statements. Really very satisfying and a treat to hear. Sally played some lovely solo lines of her own, in a restrained rather than virtuosic style, and again with appropriateness. She also seemed to enjoy chordal soloing, and this style appeared regularly. Raf surprised me double bass. I’d only heard him on Warwick electric in the past, but now it’s Steinberger and the busy bassist’s switch to acoustic. Nice one. Marie sang a few songs, and they had nice twisted meanings, esp her film noir tune, but mostly she was reading instrumental lines of some complexity: impressive. Hugh made his reappearance in the ArtSound studio, not so much with solos this time, but sweetly apt and often understated accompaniment. Again, nice one. Unusually, we had cello and violin out of the classical school (Tim on violin; Liam on cello) and they added a written accompaniment to tunes in the first set which gave an orchestral bowed richness that is rare in jazz.

So it was a very nice outing with plenty of interesting and capable original music, and some impressive solo statements. Much enjoyed.

The Sally Greenaway Project was Sally Greenaway (piano), Hugh Deacon (drums), Raf Jerjen (double and electric bass), Marie Le Brun (vocals) with special guests Neils Rosendahl (tenor sax), Tim Wickham (violin) and Liam Morrissey (cello).

PM and all that jazz

Crickey.com doesn’t often venture into the jazz scene in Canberra, but it seems there’s a (very minor) controversy going on in its letters pages over the new government’s ways.

Simon Thomsen writes: Re. "Tips and rumours" (yesterday, item 8). Crikey published: "For his Australia Day diplomatic corps bash at the Lodge, Rudd or his office have chosen a jazz combo, replacing the old bush bands singing Aussie songs that Howard used to favour. And I thought Rudd was an Australian music fan!" Why would Rudd having a jazz combo for Australia Day (over a bush band) be incompatible with Australian music? Fair dinkum! Has your anonymous tipster never heard of Paul Grabowsky, James Morrison, Don Burrows, Renee Geyer, Kate Ceberano, Katie Noonan, Vince Jones, Grace Knight, Bernie McGann, The Necks, The Basement, Wangaratta, Galapagos Duck and their 90s album raising funds to save the hairy-nosed wombat... Strewth cobber, I thought we voted out that sort of cultural cringe last November.
(Crickey online, link, 25 Jan 2008).

I’m with the respondent. It’s obvious to me that Australia is a rich, educated and culturally diverse country. I don’t like to see pollies play the nationalist/Sons of Empire game. Howard excelled and revelled in just this sort of spin. Probably there’s spin in Rudd’s choice too, even if only for the local diplomatic corps: his war on education, and a more inclusive, more modern vision of Australia. I'm much more comfortable with this than the Howard picture. Given this is an ex-diplomat entertaining the local reps of other countries on our national day, this seems a particularly significant gesture.

I can claim a little part in this. When PM&C (Department of Prime Minister & Cabinet) found ANU closed for the holidays, they got onto CJ for names of Jazz School students who could play. Interestingly, they asked for students (note, not James Morrison or his ilk). I provided a few names, and James LeFevre got the gig in the end. Congrats to James. That’s memorable: playing for the PM at the Lodge on Australia Day. But congrats must also go to the PM for his support, awareness and interest. It’s a good sign.

Marie LeBrun sang with the James LeFevre Quintet. The Quintet comprised James LeFevre (sax, leader), Rob Lee (trombone), Ben Foster (keyboards), Phill Jenkins (bass), Evan Dorrian (drums).

To finish, let me recount my similarly memorable gig. I was playing with a Bush Band (quite a coincidence!) in the late '80s, the Bicentennial era. We played at Rupert Murdoch's property at Cavan for a party he staged for ~24 visiting US newspaper publishers and editors. All the local dignitories of the time were there: Keating, Wran and the like. Hawke arrived late and by helicopter. Impressive entrance? To us, maybe, but the world-weary editor we were chatting to just muttered "tinpot dictator". He'd obviously seen as much elsewhere.