A treat on a cold Sunday arvo

The recording and an accompanying YouTube video feature John Patitucci, no less, but this performance left me feeling not the slightest bit harking for the big smoke of NYC. Matthew Sheens played with a quintet of Australian musicians to launch his new CD at Ainslie Arts Centre and it was a musical triumph. The compositions were fabulous, complex, purposeful things with twists and development and lovely interplays; frequently intense, sometimes even dark. The first tune spoke of a deceased friend and the second quoted the last poem of Auschwitz inmate; Names was a recitation and vocal layering of names of (some) blacks killed by US police over a few days of recording; another detailed the feeling of a lack of place as expressed in French. And, somewhat strangely, two dealt with clouds (Cloud Appreciation Society and Cumulo-numbus society). Amusingly, Matt told us of an actual Cloud Appreciation society attending the Melbourne concert. And, just one standard for history, Like someone in love. And the performance was stunning. Why would we think "just locals" when locals play like this. I've been listening to the Smalls video feed recently, and it's good to very good but seldom a match for this beautifully formed and developed and blended group. So tight, so powered when call for, or detailed and light when required, all dynamic and crisp and precise. Hugh's guitar solos were expressive blasts, not overly busy but sometimes quick, clear with an echo trail, speaking as the new wave of jazz guitars. Tim Firth was a stunner, not that I expect any less from him at any time; he's always so in touch and ready to drive at a moment's notice and sharp as a tack and he was all that to perfection this day. Lyndon's bass was firm and clear, sitting beautifully in the mix: earlier I thought understated, but there were some easy and wonderfully effective quick fills but the purpose and drive of the bass was never forgotten. Matt's piano was all harmonic richness that spelt out his compositions and led his band and fairly frequent solos alternating with Hugh. Gian, the true local, being a Canberra product, sang as words but also as tones, layering those names through a Boss RC-30 looper, singing pitched lines that not once spiraled into the stratosphere sounding every bit like a pure-toned analog synth. Massively effective. Not a long concert, at a strange time, being mid Canberra afternoon with a bitter cold outside. This concert was a stunner! To some degree any such statement is a personal preference, but I found this as good as it comes, for composition and for performance. A rare treat.

Matthew Sheens (piano, compositions) led his quintet to launch his new album, Cloud Appreciation Society, at Ainslie Arts Centre. The band comprised Matthew with Gian Slater (vocals), Hugh Stuckey (guitar), Lyndon Gray (bass) and Tim Firth (drums)

Adel-NYC connections

Australians are everywhere in the jazz world and plenty are in NYC. The Quentin Angus Quintet played at CGS Gallery the other night. Three of five are Adelaide sourced, two of these are currently resident in NYC. I’d actually heard the NYC pair sometime back in Adelaide, so they even have a history on CJ. But any visit from a famed jazz city is exciting to local jazzers and this certainly was.

Quentin leads from guitar, writing most of the tunes and leading the band. They have played widely at festivals around the world, and its shows in their tightness and easy responsiveness to arrangements, all the starts and stops and changing feels, and in the easy responsiveness of the players to each other. It’s a very accessible, attractive music. It reminded me of West Coast guitarists with easy feels and lyrical melodies and some rock influences. John Abercrombie isn’t West Coast, but he is of the fusion camp and I’m pretty sure that Quentin has been studying with him. Quentin’s attractive compositions and echoed tone and crisp runs reminded me of that scene. So did US drummer Kenneth Salters. I asked about his take on technique, playing ride with left hand, not crossing the snare hand. He told me he’s left-handed playing a right-handed kit. I didn’t quite confirm if that’s by preference or loan (the kit was on loan) but his technique didn’t seem to suffer at all. [PS. I checked YouTube later and Kenneth is regularly playing a right hand kit]. It actually seemed that this uncrossed form lent itself to a driving, less riffy/repeating style rich in toms and fills and responsiveness and implied rhythms. This was subtle and colourful playing with dynamics that moved easily with surrounding solos and drum lines that fell effortlessly from his sticks. Chad on soprano and tenor saxes was the major soloist, even if everyone had their spot in the sun. Geoff remarked on the power of his soprano, and it was a satisfying tone. He’s a lanky man and he strangely rocked and cavorted and stepped but his long unstoppable lines moved through tonality and dissonance with structured fours and were a wonderful display of modern-cum-contemporary jazz. Matt on piano was more impressionistic, presumably with classical references. I missed most of his comping because the small grand was not a match for this band in flight, but this was softer, flowing with large scale and range and arpeggiated colours. Bassist Lyndon was the only Australian resident, out of Adelaide and presumably touring with returned mates but no chops lost here. He was strong, fast, responsive and quite an eye-opener in thumb positions. They mostly played originals by Quentin, but there were some standards: takes on Rhythm’a’ning and A weaver of dreams and Ornette’s Turnaround and well altered arrangements of Nardis by Matt and another of All the things you are featuring drums. But the essence of this band was driving and powered jazz with a good deal of post-bop influence and attractive compositions. Great stuff. Adelaide done good here; no doubt about that. Much enjoyed.

Quentin Angus (guitar) led his quintet at the Canberra Grammar School Gallery to launch their new CD, Perception. The Quintet comprised Quentin with Chad Lefkowitz-Brown (soprano, tenor sax), Matthew Sheens (piano), Lyndon Gray (bass) and Kenneth Salters (drums).