Canb Jazz Fest 3

Day 1 was great if interrupted; day 2 will be the same.  First up a big band, the ANU Jazz Orchestra.  They played a string of tunes, maybe uptempo because MD Con Campbell observed that they'd finished early.  SO be it.  This was big, fat, horn heavy tones, solos passed around variously, some decent grooves.  They played 9 tunes, several by Sammy Nestico including Dvorak's theme which is an arrangement by SN of the Largo second mvt. from the new World Symphony.  But my fave was sponsored by a local for this band from composer Jenna Cave who appears in CJ frequently when studying at ANUSOM and last time I heard, was MD for her own jazz orchestra in Sydney.  What gives you hope was a lovely, rich piece with glorious harmonies rather than the sharp hits of many big band tunes, luscious harmonies and several movements.  Then a short quick drop-in to hear the Razzlers.  Dance worthy, period jazz that I know little of, but worthy. They had a few couples up on their feet and a very impressive presence!   Then Wayne Kelly with Ben and Mark in the bar upstairs.  Then Wayne Kelly with Ben and Mark in the bar upstairs.  This is the very trio that CJ first wrote up, in October 2005.  They look younger in that pic.  But what a band!  All originals, compositions from all members, sharp and beautifully played, mature and expressive all round, pizz and bow, sticks and brushes, plenty of excellent solos, rich in tones and harmonies and well arranged.  I noticed a post on FB with a pic of them in the ArtSound studio, I think 3 days before, so maybe this is a new album in train.  If so, it will be worthy!  Just one standard, I'm old fashioned.  Then Mereki Leten.  I've seen Mereki in various combinations in a few locations.  She's one to get out for the gig and that's great, and very often with Michael Larsen-Collins and sometimes with Greg Stott at her side.  This time that trio was grown with Gus Henderson.  Mereki had written a tune for this event and it was nice but her flute was playing up.  Thus played on tenor sax and with key change for her offsiders, but it went perfectly well.  Otherwise, a David Bowie tune on   flute, a lovely Stan Getz Sunshower, Nicola Conte and some standards.  Mereki plays with a lovely tone and confident although understated melody.  Nice.  Gus was also understated but took a solo or two and Michael was on a Bass VI, the Fender-designed octave-dropped guitar.  The Bass VI is having a run in town with Lachlan playing quite expertly, in Wanderlust and beyond.  And Greg, shredding here even beyond what I'd expected.  Just relaxed but expressive, quick and melodic.  What's not to like?  And a quick touch of Matthew Dennett and Robbie Mann playing CM Widor Toccata in F on two pianos in the Red Room.  I only caught a few minutes and really quite unexpected.  Then off for another family matter before a final return...

The ANU Jazz Orchestra performed under Con Campbell (MD, conductor).  Wayne Kelly (piano) performed with Ben O'Loughlin (bass) and Mark Sutton (drums).  Mereki Leten (tenor, flute) performed with Greg Stott (guitar), Michael Larsen-Collins (bass) and Gus Henderson (drums).  Matthew Dennett (piano) performed with Robbie Mann (e-piano).  They performed at the inaugural Canberra Jazz Festival at Smiths.

Gai Paris

C'est vrai!  Paris is strong on jazz and, as I understand, also on earlier jazz styles and we have our own authentic Canberra-cum-Australia reps in the midst of that scene.  This weekend they were home to visit family and we caught them at Smiths, upstairs, in McGregor Hall.  Leigh Barker is the leader and also the Canberra person but now in Paris with Heather; otherwise Melbourne, the Coast, another Canberran and Latvia.  Latvia?  Well pianist Max Teakle was genuine Latvian on tour and he recognised local sit-in Valdis Thomann for his Latvian roots.  Paris can also be quite mixed and bohemian.  Whatever, this was hugely fun, inviting, joyous music.  Leigh leading with his gut strung bass; Heather with the most apt voice for this style and a good bit of playful pleasure and, to boot, violin.  Eamon just the part with an Elvis lick and overall presence and wonderful trumpet and Valdis hugely impressive as the trom offsider so comfy he seemingly had had a life lived in this very band.  And not least, Mark down the back setting and syncopating the tempo.  Just lovely.  Often slow, always rock solid steady, sometimes toungue-in-cheek implications, through a string of standards of Ellington and Frankie Valli and Billie Holliday and June Carter Cash and plenty of originals from Leigh and perhaps others.  All from their album that Leigh was indulgently spruiking on the night, Cross Street, in all formats (although only 7 vinyls available on the night).  Just great fun and great entertainment from a very professional outfit playing the era.

Leigh Barker (bass) led his band with Heather Stewart (vocals, violin), Eamon McNelis (trumpet), Valdis Thomann (trombone), Max Teakle (piano) and Mark Sutton (drums) at McGregor Hall, upstairs at Smiths Alternative.

Mr Jones' offsider

Eric Ajaye hosted a Q&A with bassist Gene Perla at the end of his concert for the Jazz Haus at Tuggeranong Arts Centre and my ear particularly picked up at the mention of Mingus.  Amongst some questions about his technique, GP mentioned Mingus' influence after attending his gig.  As I understood it, it was to play more freely over the neck, more freely over positions.  I had noticed frequent playing of the E-string right up the neck, the use of longer intervals and 11th hand shapes in walking, an ease in all positions; John B mentioned the spaces left in walks.  GP advised to avoid open strings, presumably to promote this neck freedom up the neck and regardless of keys.  I'm not so sure of that one.  And one interesting quote caught my attention: "If I hear you, you're messing up [=not in the pocket].  I need to pay attention to me".  But this is bass chatter.  The music was a revisit to the classic Live at the Lighthouse album from the Elvin Jones band (Elvin Jones, Gene Perla, Steve Grossman, Dave Liebman), so hard bop, driving tunes, passed solos, some delicious harmonies on originals by all and more.  It was too loud at first but Gene insisted on a quieter bass in set 2 and the concert came alive to my ears.  Suddenly the piano was always there, the bass was more acoustic-toned although via the amp and easier to follow, the drums were more subdued and the two tenors clearer and more intimate in interactions.  Quite an amazing change.  But it was always going to be a hard-blown outing.  They played a range of hard bop tunes and two standards.  I drooled over some glorious harmonised written parts between the two tenors and great solos, Roger all range and light, flighty tone and beautiful lines and Andy just unrelenting hard eighth-note blowing , driving and expansive drumming from Mark, big sounding, full handed accompaniment and solos from Brett and of course that wonderful presence and drive from Gene, all over the fingerboard, always intriguing and personal and often referring the Elvin Jones band that I knew.  There were chats I would have liked to have with Gene but no luck, but to hear him remains educative, sometime breathtaking, just as Eric Ajaye was suggesting.  Truth is, we never spot learning.  I did a webinar just yesterday and they spoke of the same thing, that instruments demand this endless improvement, this time noting it can interfere with other paths in music, here,  the perfect pop song.  All paths, all valid I reckon.  But what a huge pleasure to see and hear these formative musicians in the flesh.  Oh, and one absurdist glasswork from an exhibition at TAC.

Gene Perla and band played music from the album Elvin Jones Live at the Lighthouse at the Jazz Haus at Tuggeranong Arts Centre.  Gene Perla (bass) led the band with Roger Manins and Andy Sugg (tenors), Brett Williams (piano) and Mark Sutton (drums).

Double shot

It was the opening night for Smiths Alt upstairs and I was interested.  But a quick look at NPC had Rafael Jergen in town playing with Greg Stott and Mark Sutton.  I caught the first set, all standards as is the style of NPC Fridays, and an awe-inspiring set all round.  Of course from Raf, who studied in Canberra, then in Luzern and now teaches at the HSLU Hochschule Luzern.  A story of commitment and the outcome is evident.  Wonderful playing.  Quick and correct but also relaxed and responsive.  So good.  Nice to see Mark back from the coast for some gigs, too.  Both he and Greg played effective and communicative solos, playful to Raf's ever-wide smile.  (OK, so I caught them in a moment of concentration!).  And I met Raf's family.  These visits for so many overseas-based players are family visits with some gigs thrown in.  Since COVID and those imposed music school antics, we haven't had the visiting players as before, so glad to see any and especially Raf.  Then a quick visit to Smiths upstairs.  It's been on the agenda for some time and now established.  Two decent rooms and a balcony upstairs.  One room is smaller with bar, upright piano and electric organ and a comfy hangout atmosphere.  The band on the opening night was Leisa Nicole (organ), Stephen Richards (drums) and Ben O'Loghlin (guitar).  Lovely tunes, organ tones, left hand organ bass.  The other room is more an upstairs concert-cum-events space, larger, with a stage, a grand piano (!), a pipe organ (?) and a small but decent PA.  It's early days yet, not too much furniture (despite a string of pianos throughout), but it bodes well for an extension of Nigel and Beth's lovely, laid-back and inviting, exploratory and bohemian atmosphere.

Rafael Jergen (bass) performed with Greg Stott (guitar) and Mark Sutton (drums) at the National Press Club.  Leisa Nicole (organ), Stephen Richards (drums) and Ben O'Loghlin (guitar) performed upstairs at Smiths.

What borders

I'd seen Hilary Geddes a few times before so I'm not sure why I was so surprised and impressed by her at Verity Lane the other night.  She was the guest, leading the band, mostly playing standards, perhaps one of two of her originals, playing with the house band, Chris Pound and Mark Sutton.  And John Mackey and Alex Raupach who sat in  later in the night.  Her presence was a clear influence, with abstruse solo lines and deliciously dissonant chords which twisted and distorted the backing, so what might be a standard solo just needed to be altered to fit.  Just what those were, I wasn't always too sure.  And she was such an influence despite a relatively low volume.  I thought too low, so sometimes a bit lost, but maybe that's another of her influences that made for a different music.  It all brought out strong, rudimentals-oriented drumming from Mark which is something I love to hear.  And Chris with a wonderfully strong, upper-mid-rich tone, quick lines, plenty of chordally aware playing through the range was a dream, even if he sometimes seemed a little reticent in the context, even while he was playing a storm with glorious tonality to my ears.  John responded too, although the colours and sheer speed of his cellular playing was an overwhelming storm of its own.  Alex was more lyrical as trumpets often are, but again explosive at times.  But that harmonic colour and abstruse soloing did it for me.  I spoke with guitar Greg after and we were musing over where the influences were from, from jazz but also from rock band exploits that Hilary indulges in.  I increasingly admire work across boundaries, within music and further afield, so I remain hugely impressed if a little perplexed about the whole, this night of standards in a noisy bar with a most intriguing new player.

Hilary Geddes (guitar) visited Verity Lane to play with the House Band comprising Chris Pound (bass) and Mark Sutton (drums).  John Mackey (tenor) and Alex Raupach (trumpet) also sat in.

Reappraisals

Yep, the jazz at the National Press Club is just a lazy Friday evening outing if I have nothing else to do but  that's not to denigrate it.  After all, I know the players and they are some of the best in Canberra and many teach at the ANU.  But they are just locals and mates and it's just a relaxed gig for after work on a Friday.  Yes to all that, but I was still floored last night and by more than the new beer I discovered.  Wayne Kelly was leading in the absence of Greg Stott and Jason Varlet and Mark Sutton were his offsiders.  The music was not just standards and walks (did I hear a standard?  I don't think so although they started with a blues), but great grooves and often popular numbers, not least Strawberry Fields and Message in a bottle and Walking on the Moon.  Then a Poinciana -like groove and latin-ish something and others I recognised but couldn't put a title to.  So the grooves were a delight and contemporary.  Then the solos, Wayne reasonably restrained although always delightful, Jason lively and expansive on his Jazz bass and Mark just a dream at times, sharp and precise and totally unaffected; glorious.  I'm not the only listener even if there's plenty of clicking and chatter too.  That's how a bar gig should be; this is just a classy one with great musicians.  Some of the best in Canberra.  What a great indulgence for such a free local club outing.  As for the beer, it was a Capital All Night Long Dark lager, all rich and chocolate. Check it out soon.  The website says it's only available until September.

Wayne Kelly (piano) led a trio with Jason Varlet (bass) and Mark Sutton (drums) at the National Press Club.

Unlocked

ACT is perhaps the most Covid-vaccinated population in the world (as they are saying) so it's not unexpected that we'd be opening up, and we are.  My first outing to a music venue was for commendable locals, the Greg Stott Trio, at National Press Club.  They played standards and latins and perhaps pop in jazz styles (we heard Eleanor Rigby) and they were just inspirational!  Greg is fluid and swift and inventive; Mark is our local drum gem, stunning me with an open sounding solo of such exhilarating and intellectually satisfying polyrhythms as to drool over.  Bass was Chris Pound on electric.  Chris was once a star student but I haven't heard him for years.  He bio says he's played in USA, England, Poland, Cyprus and Ireland since graduating from ANUSOM in 2009 but obviously now returned to Canberra.  Again, neatly expressive and melodic in solos, not flashy but satisfying.  The lineup at NPC is always impressive and this trio nothing less.  It gets an extra mark given the lack of live playing for a while.  We just caught one set, but mature and capable and wonderfully sharp playing.  Not NYC but it may as well be.

Greg Stott (guitar) led his trio with Chris Pound (bass) and Mark Sutton (drums) at the National Press Club.

Quality and quantity

I'll put it down to a matter of quality and quantity.  I am wont to feel the width, but my recent CJ posts have been infrequent after a total blowout at the last (classical bass) concert.  But John Mackey's Melting Pot playing his Wave Length suite was fitting as another blowout.  It was fabulous and I was in awe.  John had described it as an improvised series of movements based on skeletal scores and influenced by Covid. I heard a series of tunes with rock-based grooves (think '70s Miles) and nicely twisted heads with plenty of space for blows.  There were some floating segments, perhaps with electronics or glorious piano chords from Wayne, some ecstatic outbursts from Greg and wonderfully and reliably tuneful, melodic statements from the front line of John and Miro.  They can both explode with a flourish but openly spell melody and play with various degrees of dissonance at will, and that interplay can be blissful.  Miro's harmonising to John can be a thing of great beauty.  And they both played with an octaver or harmoniser to sound all the world like synths.  And there was electronics there, too, with Mark standing at a bench of electronics, perhaps a keyboard (not sure) but definitely a laptop with looping and more (probably Ableton, I guess).  Mostly it was lost to the audience but between tunes and in some floating segments, it was evident.  Greg had a laptop, too, but not sure how it was used.  He had a string of pedals at his feet, so not just for effects.  And the core of the rhythm section was Lachlan on his Bass 6, that unusual 6-string bass that I remember as a remnant from the '60s.  He plays with thumb-pick and finger-picking for some fabulously embellished rhythmic grooves and extensive solos.  It's a different, virtuosic approach to bass, both grooving and thrilling at once.  And Mark, Sir Mark of the late intros, just a gem with the most supple stick control creating glorious, sweet tone and endless insistent driving grooves with nothing out of place, no embellishment ever indulgent, just perfect, never erring.  Mark was way on top in the mix that I found not quite as I'd expect, with Greg somewhat lost or indistinct, as too was Lachlan (but bass is hard to clarify), as even were John and Miro although Wayne seemed to be there, crisp on grand piano, when I turned my ear to him.  Perhaps a function of where I was seated?  But I quibble.  I enjoyed this concert deeply, the playing was outstanding, the heads were a great pleasure and there was joy and even some fun, and that glorious snare-on-3 drumming throughout.  So, quality or quantity?  At least for my last few CJ outings, the call is outlandish quality!  BTW, I chatted with Mark and Greg after and suggested a release from this session.  I just hope it was recorded as multitrack.

John Mackey's Melting Pot played the world premiere of his Wave Lengths suite.  The performers were John Mackey (tenor, soprano sax), Miroslav Bukovsky (trumpet, flugelhorn), Greg Stott (guitar), Wayne Kelly (piano, keys), Lachlan Coventry (bass), Mark Sutton (drums) and Mark Webber (laptop).

PS.  Thanks to Abbey Mackay Budge of the Creswick Collective and Caroline Stacey of the Street Theatre for the pic.

Jazzing post-whatever

I was musing with a jazzer the other day about gigs around Canberra.  We have had a wave of losses over recent years from the changes to the ANU School of Music then the biggie from COVID but one modest venue has just kept on keeping on.  That's the National Press Club .  In fact, it's expanded, at least for jazz, as jazz has taken over from the thursday blues nights.  It's mild club jazz, but it can be exhilarating with some of the best players around town and occasional visiting mates.  So the other night I got to NPC for the Jason Varlet trio.  His offsiders were Greg Stott and Mark Sutton, both regulars at NPC.  I hadn't seen Jason for years.  He's a fluent, capable e-bassist and he was hot on the night, quick and fluently mobile over the neck with a boppy, chordal approach to solos and a soft tone.  Greg has his own speed, too, of course, but is more influenced by the melody (bassists tend to know chords and, despite best intentions, forget to learn the melody).  Greg is always a pleasure.  But tonight my eye was particularly on Mark, able and deliriously, pleasurably correct and so nice with some solos that were not so fast (well, sometimes in flourishes) as conversational, expressive, substantial.  One surprised me with mallets.  Otherwise, they were always fluent, working the various skins for expression, precise and consistent in attack and accent.  Not at all the rock star, but the eloquent and subtle virtuoso.  It was a particularly good night for Mark, I guess.  I could just chuckle  and give restrained applause.  Such a pleasure.  So, another visit to my local.  It's become a habit recently.

Jason Varlet (e-bass) led a trio with Greg Stott (guitar) and Mark Sutton (drums).

Difference

My God, what styles there are in jazz!  Styles over eras.  I got to the National Press Club for John Mackie's band, with Greg and Brendan and Mark.  Anyone who knows these names will know these are superlative players.  Just a thrill to hear such ease and richness.  So different from just days back, at Molly.  Was it Messaien that Bird studied and held in reverence?  And what of Hendrix who died young, shortly before he was to play with Miles.  Different worlds but all music, just mightily diverse, or as Newton said, "standing on the shoulders of giants".  Like Hildegard von Bingen to Fanny Mendelssohn.  Difference but also all one.  John played some Bird Parker and it was stunning.  The whole band: sharp, relevant, correct, devastatingly quick.  As a bassist, I was especially awed by Brendan's alacrity, but also the lines that were so melodically true.  Much the same from the others, of course.  All referencing the source, a standard or bop or whatever, but giving it personal relevance and currency in interpretation, so John's lines started by spelling some unexpected intervals then developed with harmony and flurries to floor the listener.  More modern, perhaps, but referential.  Then a bossa that sat like a rock, sturdy but pretty and devastatingly emotional.  Not sure what else to say, but I was enthralled.  Years of practice distilled into a few sets in a bar, National Press Club, for some birthday guests, I guess, and others.  And they noticed.  It's hard not to notice such ability, unpretentious, there, in a modest setting.  Really quite a stunner, actually.

John Mackey (tenor) led a quartet with Greg Stott (guitar), Brendan Clarke (bass) and Mark Sutton (drums) at the National Press Club.

We are blessed

It was a family evening so Sandy Evans and Andrew Robson was out. What a loss; they are such a capable and inspiring group. But I managed an hour at the National Press Club for Greg's band, and I was blessed. Really, we are all blessed. I've travelled the world and found great musicians scattered throughout. We have our own and Greg and Lachlan and Mark are amongst them. They are not our only ones so we are doubly blessed. I just caught a few tunes (and a cheap beer at the happy hour). I recognised but can't name them, but I was inspired by the playing. Mark just dropped the slightest of solos, but it was bliss: first up polyrhythmic plays, then straighter and sharp as. Greg is out front, being guitar, and slithering through fast, crisp, intriguing solos and, of course, spelling out melodies. And somewhat the same for Lachlan. He plays bass on a Fender 6 and shreds it like a guitar and it's a blissful experience, again also with references to melodies and passing dissonant harmonies. So all round, I was just dumbfounded. These are not our visitors, not troubadours visiting from NYC or Berlin. These are just our locals in the NPC bar on a Friday evening and they are seriously capable and intriguing players. My God, how lucky we are. On the other hand, our pollies are ratshit, so not all is right in the world...

Greg Stott (guitar) led a trio with Lachlan Coventry (bass) and Mark Sutton (drums) at the National Press Club.

Contrasts

It was a fascinating contrast to be introduced to North and South Indian classical music in one week. I'd heard of the distinction but never chased it up. I guess this is indicative: Bobby Singh and tablas and ta ka di mi in the north; Tunji Beier and various tones and drums from the south. Both were playing with western musicians in a jazz context. I wrote of Bobby Singh with Sandy Evans a few days ago. This was Tunji Beier with the ANU Jazz Faculty band in the band room. To me it was like listening to an album, with tunes running one into another, perhaps with a connecting solo segment. Each tune nicely clear and purposeful with a minimalist few chords with a head from Paul Cutlan, visiting ANU and here playing bass clarinet. The feels were spacey or 8-to-the-bar grooves or even a final South African feel, so much repetition with rhythmic plays, modern and so much less harmonic than much jazz, bebop and the like. Truly inviting solos from bass and guitar and bass clarinet variously, playing with syncopations or playing tones, not least like didj from Paul at times, or just hugely effective bass solos, soft but more jazz-like. Not that this wasn't jazz but then bundaries are flued these days anyway. And the drums. Mark took a heavy mallet solo with unrelenting pulse, then to be joined by Tunji with his powerful complex Indian broken rhythms. Lovely and it worked a treat. And to open and close, sharply toned rocks dragged and clicked against a larger rock. And that tuned bowl. And somewhere that mouth harp. This was somewhat towards music for meditation but not there, minimalist to a degree but album-purposeful. I liked this one lots.

Tunji Beier (South Indian percussion) played with Mark Sutton (drums), Brendan Clarke (bass), Greg Stott (guitar) and Paul Cutlan (bass clarinet). Kim Cuneo (piano), ANU School of Music Director, sat in for the opening bars.

Diversity

Bob Sedergreen is a Melbourne jazz piano name that we know well but I've only caught hima few times. The latest was at Eric Agaye's Jazz Haus playing with Eric and Mark Sutton. Bob has a long history so it was apt that he presented a history of jazz piano. Well, really only a string of tunes by various pianists in jazz history with a little commentary and some very nice playing. The whole band was great. The style easily suited Mark and Eric. Fourteen tunes, one each from Earl Hines, Fats Waller, Monk, John Lewis, Horace Silver, Bobby Timmons, Duke Ellington, BIll Evans, Herbie Hancock, chick Corea, Keith Jarrett, Jo Zawinul, AC Jobim, Abdullah Ibrahim, and, as an encore, an original by Bob himself. It was a romp. Plenty of known tunes - 500 miles high, mainden voyage, Waltz for Debbie, Mercy3, Django, Jitterbug waltz, In a mellow tone, others. Some interesting stories, about Cannonball Adderley's pianists, Monk's Australian visit , Ellington's band selections, Herbie's interests in maths and engineering, Rocky Mountain music. Eric told a great story of meeting up with Stanley Clarke as a teenager and being invited to the first gig of RTF at the Scientology headquarters. I particularly enjoyed the story of Aldullah Ibrahim's (once Dollar Brand) music and how phrases have meanings. So a fascinating night for the stories and the great playing all round, especially from Bob who had to play such diverse pianistic styles.

Bob Sedergreen (piano) introduced and played the music of a string of famed jazz pianists with Eric Ajaye (bass) and Mark Sutton (drums) at the Jazz Haus.

Returns

I first encountered Carl Dewhurst when he was a student at the School of Music, then at Manuka, playing around town with Cameron Undy at bars and even a plant nursery. He was impressive even then; he's mammoth now. That's getting on 30 years ago. He left Canberra in 1990, stabled mostly in Sydney, but with time in London, perhaps elsewhere. He plays all manner of musics. I've heard experimental from him in the Opera House. This night was clean and clear and fabulously inventive with the standards repertoire, like All the things or Wes Montgomery or Out of nowhere. Of course, he was with the best, Brendan and Mark, so it was a shared inventiveness. Solid swings with crystal clear and hugely varied and easy improvs; melodies that spell themselves but easily extended; chordal play with melodies interpersed; just one time that I remember as dissonant, laying back with minimal notes; plenty of accompanying solos, especially from bass but drums in there too. All easy and rich while still tonal and clear. It's a mark of knowledge and experience. Masterful. Just a huge pleasure.

Carl Dewhurst (guitar) played standards with Brendan Clarke (bass) and Mark Sutton (drums) at the National Press Club.

Milano and more

Eamon Dilworth led his band in the new, larger room at Smiths. It's a good room. The music was good, too. I was thinking of Smalls in NYC and when I visited and when I watch on their video stream. No way this would have been any lesser. The room was great and just in its early days. The compositions, the playing, the authenticity were first class. I could hear that strain of NYC guitar in Carl's driven lines and Hugh was relentless and Mark only met Eamon that day but sat in easily as sideman and Hannah laying solid lines while absorbed with ceiling tiles and Eamon himself having written most of the music, clean and purposeful in composition and performance. He introduced his new album, Viata (=life, Romanian), speaking of purpose in music, relevance not mere cleverness. There's a maturity in his purpose even if joviality in presentation. Nice guy, Eamon, and easy on the mic between tunes. I could hear Miles often enough with his 70s jazz rock grooves, but also odd times and neat melody and written accompaniments, like Hannah's in Milano, a record of his year spent in Italy, or Carl's unisons on melodies. This was seriously satisfying music, wonderfully played, well written, with raison d'etre. I've talked of good music and musicians being everywhere and this night was just confirmation Great gig, intimate and capable and with purpose. A blow out.

And walking out, past PJ O'Reilly's, what did I see? Aron Lyon and mates playing an R+B jam session. It's a different world but it's fun; few chords but deep funky grooves. And Rachael Thoms singing made for a fabulous front line. I've since discoverd the Thurs eve R+B jam sessions as PJ O'Reilly's and some new names to listen to (Allen Stone and, of course, Pino Palladino) and an opportunity for some seriously funky grooves.

Eamon Dilworth (trumpet) led his (Canberra) band comprising Hugh Barrett (piano), Carl Morgan (guitar), Hannah James (bass) and Mark Sutton (drums) at Smiths. He was on tour to launch his new album, Viata.

Best of company anywhere

I was unavoidably late for Miro's amusingly named local band, the Burley Griffins, but was hugely gratified that I made it. The BGs are Miro with John and Hugh and Brendan and Mark. A local jazz supergroup if ever there was one. I amuse myself by wondering what some of the Indie acts or listeners think as they enter or pass by Smiths hearing this intense, virtuosic music in evidence. This is music that would comfortably grace any jazz festival stage and it's just a Thursday night in Canberra. I came as they were playing some simply structured bluesy hard-bop of '50s style. I was floored to hear this clarity and relaxation with intensity. Brendan settling the groove but with easy augmentation; Mark all percussive enumerations; Hugh adding restrained colour and rhythm; Miro's melody; John's intensity and overwhelming harmonic excursions. These days it's from another era but it's music all raw but hugely elaborated and deeply intellectual. Bird said it with his practice all day then forget it all and just play. Then one of Miro's originals of deep beauty, his meditation in 9/8 called Dakkar. Then some seldom-played masterpieces of the modern era, Zawinul In a silent way and Wayne Shorter Pinocchio. Then to end, the uber-common modern jazz standard, Footprints. I missed the adventure of the earlier tunes , but they played Footprints with a ravishing energy that again stunned me. So, a night with the locals. I know how good they are but it's still a surprise. Why is it so? Another stunner at Smiths.

The Burley Griffins were led by Miro Bukovsky (trumpet, flugelhorn) with John Mackey (tenor), Hugh Barrett (Rhodes), Brendan Clarke (bass) and Mark Sutton (drums) at Smiths.

Prodigals

Great to hear Wayne at Smiths with Brendan and Mark. Wayne's our own driving, informed pianist. I remember first hearing him in a room at the Canberra Theatre back in the '80s and the memory remains. We lost him for a time to various venues and casinos in China, but he's been back for several years and playing the storm we know. There's intensity in Wayne's playing, informed, varied, modern with a blues influence, and that intensity and drive that comes with such ease and a good ear and informed listening. He was with that great rhythm section that's getting such a workout recently, both also Canberra products from pretty much the same era. Mark has been around town mostly over the years, but Brendan was lost to Sydney for 18 years but now returned. So, a blessed trio. They played a few Wayne originals, the mesmeric and mallet-drum-fenced King of Kings and the homage to his great piano influence, Mr Hank Jones. The others were common enough, but brought to life with some stunning solos all round and a deep understanding between the participants: Four, Monk Think of one, Cedar Walton Clockwise, In your own sweet way. Also two from Bird, Relaxing at the Camarillo and Yardbird suite. And my fave, Alone together, introduced with a solo bass extravaganza. And Wayne playing solo piano for Ellington prelude to a kiss. Some great tunes with a few originals. These three are local stars and the audience obviously holds them close, too, chatting back and forth from stage and whooping with amiable intimacy. Another vision of NYC coming to Canberra.

Wayne Kelly (piano) performed with Brendan Clarke (bass) and Mark Sutton (drums) at Smiths.

Who needs NYC

Yeah, it's a big call and somewhat in jest, but there's great music in any decently sized city that I've visited and I saw some truly great music the other night at Smiths. It was Warwick Alder, Sydneysider, with our local cream, Brendan Clarke, John Mackey and Mark Sutton. Suffice to say, this was stunningly good and presentable on any stage anywhere. The style was somewhere around hard-bop-cum-post-bop with a touch of free from John. The skills were exemplary. The clarity of vision and inherent humour and good nature along with the awareness of history and a deep personal history of all players were evident. These guys just play like gods and I could just sit and smile. There was a certain bluster, not least as Warwick joked with the audience, but clear was the immense knowledge and long experience of all the players. Just stunning solos all round. Fabulously easy harmonies thrown out by the front line. Strong shared eights and fours from Mark. Blissful solos at all time from Brendan. Clarity of intent from Warwick and yearning sheaves of colour from John. Warwick was the melodic one, but trumpeters always are. There's something about trumpet that makes for melody. On the other hand, sax is all flourishes and screeds and colour and John does that with consonant or easily dissonant chops at will. Brendan just plays the most easy but adventurous embellishments and the most deceptively simple solos. And Mark who lays busyness and washes over settled grooves and then takes eights and fours with ease and variety. And this is over the most standard of American standards: I'll be seeing you, Darn that dream, Quasimodo. Interestingly, starting the first set with a trumpet trio (trumpet, bass, drums playing I'll be seeing you) and the second set with a duo (trumpet and bass playing Falling in love with love). Plus a fast blues (an Ellington gig requirement) by Warwick and a funkier, distinctly '70s jazz tune called Message song by a influence of Warwick's (Dave van Kriedt, mate of Brubeck and Paul Desmond, who had visited Australia to lecture at Wollongong when jazz studies started up here) and Brownsville, by Warwick's long-term bandleader and national jazz elder, Bernie McGann. What to say other than that this was a world-worthy night in our intimate venue. We were blessed.

Warwick Alder (trumpet) led a quartet with John Mackey (tenor), Brendan Clarke (bass) and Mark Sutton (drums) at Smiths.

Why every band needs a singer

I've said it before and I felt it again at this gig. Sally Marett was playing with the cream of our local players, Brendan Clarke, Hugh Barrett and Mark Sutton. John Mackey sat in for a few tunes, too. We could expect some incredibly capable and interesting playing and we got it. But beyond that, this was alive with the words of tunes we've all played from fake books knowing just the first line or so. These were songs not tunes. They were all standards, from the renowned American songbook, the popular music of the films and mid-20th Century US. We reel in response to some lyrics that sound so inane and yet there's depth and humour and subtly here. Rhymes, maybe, but we've learned that rhymes can express: no less than current uber-popular rap does that. The movies seemed all straight with defined roles and the rest, but there was depth expressed. I think of Romeo and Juliet as Maria and Tony but that's just my fave. "Beautiful love / what have you done to me"; "It's only a canvas sky / hanging over a muslin tree / but it wouldn't be make-believe if you believed in me"; "Flamin' with all the glow of sunrise / burning kiss is sealing / the vow that all betray". Words and themes the musos don't know. And the contact with audience that a singer creates. Words and thoughts are passions and immediacy. Far more than the indistinct, uncertain noises that are instrumental music. Not to put that down, but it's not so immediate, so shared, so understood. Play with a singer and experience the difference. Your playing is immediately just support, for the singer, the story and the emotions. Suffice to say I like that. Of course, Sally did a truly excellent job, up front, entertaining, great voice and contact. Of course, the band did a similarly excellent job, fabulously inventive and capable and quick and responsive and on top of it all, responding to each other and Sally. John sat in and did wonders, flourishing widely and busily and ingeniously on Softly. So all round, this was a massive treat. I sat with a smile on my face throughout. Sally mentioned the arts scene in Canberra as busy and satisfying. That night was just a dazzling example. Playful, fun, ruefully true in its period lyrics, a blowout and truly excellent entertainment.

Sally Marett (vocals) led her band comprising Hugh Barrett (piano), Brendan Clarke (bass) and Mark Sutton (drums). John Mackey (tenor) sat in for a few tunes.

How good was that

Canberra has had a minor influx of players in the last year or so and we've been well served by it. Barrett, Clarke & Sutton are amongst the best anywhere and we had it, just a trio, mostly playing jazz written by others, but with a level of ability that was stunning. This is Hugh Barrett, Brendan Clarke and Mark Sutton. All three renowned throughout Australia and now resident here. There were a few originals; there was lots of hard swing and passed fours and bass solos and vamps. All the standard take on jazz tunes, but with such facility, such immense awareness and fluidity. I was laid low by Brendan's solos, gasped at Hugh's earlier dissonances developing into flowing waves of notes, grinned at the ease of Mark's telling stories on drums, not least surprised by those extra bars at the end of I remember Hugh/you. They mostly played music by others but the tunes weren't too obvious. There was Coltrane but it was a blues called Just for the love; there was a string of tunes by pianists: Mulgrew Miller, Benny Barron, Kenny Werner, Bud Powell, Stephen Scott; there were a few by Cole Porter and Billy Strayhorn. Hugh provided two: Big staircase and his take on I remember you which easily took the nickname I remember Hugh. And I was floored by Hugh's solo intro to Lush Life: just right, in style and harmony with just a tasteful touch of dissonance with some diminished fills (if I heard right). Floored all round by some incredibly capable playing mixing seriousness with good cheer. Barrett, Clarke & Sutton just floored me. It wasn't totally unexpected.

Hugh Barrett (piano), Brendan Clarke (bass) and Mark Sutton (drums) performed at Smiths Alternative.