Leading from the bottom

I walked in on Ben's Sextet playing some of the most authentic sounding Miles hard bop that I'd heard, given great playing but also the right format, a front line of tenor, alto, bari saxes and a rhythm section of piano, bass and drums.  It was Molly on a Friday night and the scene was good and standing room only.  I greeted Wayne and Con and Chris and we stood listening.  Then Bolivia, another stock and stunner.  Everyone was doing their part, solos up front steady but insistent groove behind, and I was taken first up by the supremely neat heads as spelt out by the horns.  On through a few other tunes I didn't immediately recognise but in a similar style.  I presumed Ben had done a good deal of work transcribing.  Some chatter that I didn't catch so I just thought I wouldn't know the titles.  Then taken by a neat, expressive, understated solo from Ben, and so lovely and apt.  You can trust Ben's solos.  And some shared fours on drums and interestingly, two solos of very different approaches from Micah that surprised me with his soloistic variety.  Most impressive.  Then a chat with Con at the bar and I heard that Ben had actually written many of these tunes.  And these unknowns were good!  I knew of his preparation for this gig, but a string of originals of quality had me floored.  He'd also mentioned some challenging tunes, one with the title Smile.  I didn't recognise it.    Then later a very complex tune with radically varying counts which I recognised but couldn't place.  Ben later confirmed Domi & JD Beck Smile and I'm stunned to hear it in Molly.  Thus the evening was a stunner and so glad I could get there given China tiredness and the likes.  Bassist Ben stared as leader.

Ben O'Loghlin (bass, composition) led a sextet at Molly with Aaron Michael (tenor), Justin Buckingham (alto), Tom Fell (baritone), Mic Knight (piano) and Connor Moloney (drums).

High peaks

I reckon hard bop is the fave, the high peak, of any jamming jazz instrumentalist.  I dropped in on Molly after the Cowboy Shakespeare and that's exactly what we got.  This was like a jam session but at the highest level.  Tunes I recognize but can't always name (lyrics help to remember song titles) but Salt peanuts (again, Dizzy's "Salt peanuts" refrain is exactly why I remember this tune), Caravan, Whisper not, Watermelon man and the like.  Plenty of cycles, delirious heads, 32-bar or blues-related forms.  The players were Con Campbell, Mic Knight, Ben O'Loghlin, Mark Levers, the Wednesday Pro-jam scene transposed to a Friday.  Ben sounded clear and purposeful and I was enamoured by a bass line (perhaps for Whisper not?) that was just the recorded take.  To my mind it indicated listening rather than transposition, this not being too difficult to recognize, but so nice a referral.  I got that from Con, too, with heads that were spelt like the originals, perhaps twisted a little to be slower or otherwise for the occasion and the players, but such close recognition to the originals.  Mark is always ready for a solo with his rudiment-rich precision that I love.  He can play a session with just a snare and it's still richly exploratory and interesting.  That's rudiments for you.  And Mic busy on scalar lines for solos, perhaps interrupted by chordal contrasts.  Back to Ben, fully over the fingerboard, studied in the thumb positions and with a setup that sounded so good up in the upper reaches.  And those patterns up the neck, consistent, perhaps scalar, into a thumb stratosphere, all clear and noted.  And the whole, changing, playful or thoughtful, sometimes sitting or alternatively driving walks or effective grooves.  All as the essence of a challenging jam session.  So glad I dropped in.

Con Campbell (tenor), Mic Knight (piaqno), Ben O'Loghlin (bass) and Mark Levers (drums) performed at Molly.

Songs of lament and reflection

They advise The Elegy Project is "a contemporary chamber music ensemble blending classical, jazz and folk".  It's strange, yes, but beautiful and deeply satisfying.  Think a vocal dectet (a nonet on this day) singing Megan Washington or Lonely woman by Horace Silver and Leonard Feather, or a solo pianist playing Rachmaninov or Chopin's famous Funeral march then joined by the choir, or Joni Mitchell Both sides now, a key song of the '70s, played by a jazz quartet (on this day a trio of piano, bass, vocals).  This is a new group, directed on the day by Kimberley Steele with a string of renowned locals.  It's not a small chamber group given 13 names are listed, but a fascinatingly broadminded and exploratory combination.  Full marks for the mix of musics.  And there were some seriously satisfying performances, too.  Kimberley on solo classical piano and voice; Rachael on jazz vocals, deeply effective and emotive, and also joining in the choir; Chris just that fabulous bassist that he is, but then picking up a Telecaster to back the choir on one tune; Micah impressively spelling tunes and improvising, unhurried and purposeful, on a much nicer piano than I'd heard him on recently.  And the choir, some lovely voices, well intoned on some challenging and well arranged harmonies.  Gus is the drummer to come and he can only add.  I was taken deeply by this concert, the breadth and emotional expression of it all.  Fabulous and still very new.  If you read this post promptly, perhaps you can catch them at Wesley 3pm Sat 13 or All Saints 3pm Sun 14 June.

The Elegy Project performed at Wesley and comprise Kimberley Steele (piano, musical director), Chris Pound (bass, guitar, synth, director), Rachael Thoms (vocalist), Micah Knight (piano), Angus Henderson-Mack (Gus Henderson, drums), Emma Griffiths (soprano), Petta Lindsay and Neille Williams (altos), Oliver Bruhl and Cody Christopher (tenors), Martin Magill, Lachlan Rankin and Daniel Westbury (basses).

Canb Jazz Fest 1

Thanks to Nigel and Beth and Bevan for the latest take on a Canberra Jazz festival.  They have the venue, a main stage and several smaller spaces, so this is very likely to be workable and the return next year had already been announced.  Great!  And Day 1 was a friendly, often inspiring outing.  First up was Tom Fell and his quartet which I raved about when I saw them recently.  Tom with Damian Slingsby, Nick McBride and James Luke on bass this time, so a classy and capable outfit playing music from Tom's new CD and at least one standard, Isfahan, with a plea for peace in our times.  Not the only performance that had such a theme appear.  I wrote sweet, correct, understated, adult, but there were some spots where it let go too.  Tom's soprano sax is his expansive, dirty, dissonant instrument: his tenor seems to pop up for more balladic numbers.  Then upstairs for Mic Knight trio, a reformation with offsiders who have now left Canberra for Melbourne given the ructions at ANUSOM, Evan Teece and Oliver Stott.  These were more let-go, unrelenting takes on standards, Almost like being in love, Green Dolphin St, Stella.  I like the unrelenting outlandish playing and but personally melted over James Luke's certainty and clarity with Tom.  Brett Hirst was to offer that later, too.  Then Wanderlust, Miro's fabulous, band of stars with the most delicious originals melodies out, not least Bronte Cafe, once regular star on ABCRN.  I had to leave towards the end.  I managed ~35mins and they had only finished their second tune.  This was Miro with James Greening, John Mackey, Alister Spence, Fabian Hevia and Lachlan Coventry.  Miro said they hadn't played together for 18montsh but you wouldn't know it.  Smooth, inventive, glorious harmonies on delightful melodies, almost casual passing of solos, with Miro looking around in admiration and joy.  It all started with a considerably free piano solo, then into the bass groove and head.  Solos from front line, Miro essential, James playful, John nicely developed but ultimately explosive.  Perhaps piano and maybe bass and drums, then to the head.  Then a joyous chatter and into Bronte Cafe.  It's a wonderfully joyous tune, again Miro and explosive John, but amusingly then James bringing it down with his communicative leading solo.  That really was a wonder, and perhaps then Fabian's solo.  Not sure.  But suffice to say I dreaded that I had to go, but some duties called.  

Tom Fell (soprano, tenor) performed with Damian Slingsby (piano), James Luke (bass) and Nick McBride (drums).  Mic Knight  performed with Evan Teece (bass) and Oliver Stott (drums).  Wanderlust comprised Miro Bukovsky (trumpet, flugelhorn) with James Greening (trombone), John Mackey (tenor), Alister Spence (piano), Lachlan Coventry (bass) and Fabian Hevia (drums).  They performed at the inaugural Canberra Jazz Festival at Smiths. 

Good Knight

 

Not sure how many music students are leaving Canberra given changes in the ANUSOM but here were two.  Tragic, that: Canberra will suffer mightily.  I got to one band having its last fling at Smiths the other night.  Evan and Oliver, bass and drums, setting off, to Melbourne, leaving pianist Mic behind.  MacGregor Hall, upstairs at Smiths, was teaming with listeners.  Mic, Evan and Oliver were playing a storm of intriguing, complex, often obtuse, sometimes playful, improvs.  They were also promoting their album to be released the next day entitled Blues. I listen to that and it's perhaps even more abstruse, a glorious loose improv adding Miro and John and guitarist Oscar to the mix for a very worthy listen.  I was intrigued by Evan's lovely, soft, effective tone, his flexibility and improv across the neck and into the highest reaches.  Oliver soloed less but very strong and established and explosive across the kit when he did.  I later sat behind Mic enjoying his harmonic daring, his expressive lines, his wrist and hand spreads that excited and didn't feel at all uncomfortable, dissonant and daring as it must have been.  Mic apologised at one stage for playing ballads, for All of me and later I fall in love too easily,  but it was a lesson in going out of the staid, safe walk.  Loved it!  Otherwise it was mostly originals with lengthy explorations.  The album is confirmation and a pleasure.  And this gig was recorded so perhaps a final live album is coming.  Let's hope this level of daring is not lost to Canberra, but despair comes too easily these days.

Mic Knight (piano) led his trio with Evan Teece (bass) and Oliver Stott (drums) at Smiths.

Mic Knight Trio - blues

Another Tuesday, venue 1

Tuesday can be a great night for jazz in Civic and this was one example.  First up was the ANU Jazz Society Open Mic night in the upstairs bar at Smiths.  This is not just a collection of Jazz School students, but they obviously make a significant part of it.  And it was very much ANU students and not at all an older crowd.  First up was a karaoke session featuring one bloke, Paco, singing two songs by a recently deceased Taiwanese R&B singer.  Interesting; finally I see karaoke and the voice and choice was decent.  Then presumably ANU jazz students, the Oliver Djurkovic Quartet, playing Coltrane's Love Supreme album, at least the four tunes with recognisable improvs if shorter than the original.  I did enjoy this one and I wondered how comfortable any following bands would be feeling after this.  Very impressive.  Then an older female singer-songwriter, Rowley?, singing with guitar about a lost love, as singer songwriters often do, but obviously a emotionally charged tunes.  Then the Aidan Herstik Octet shrunk to a trio on the night doing a take on Cissy strut.  And a final few tunes with changing female singers fronting the House Band.  Entry was cheap and free pizzas were generous, so a very different outing.  The ANU Jazz Soc has a page on Facebook with a string of posters for various events, jam sessions, open mics, jazz'n'paint, trivia, karaoke and more over the last year or two.  Nice. 

I didn't get all names, but Oliver Djurkovic (tenor) led his quartet with Mic Knight (piano), Shivi (Shivansh) Vachaspati  (bass) and Oliver Stott (drums).  Aidan Herstik (guitar) led a trio with Connor Moloney (drums) and Shivi (Shivansh) Vachaspati  (bass).  I didn't get names for the House Band.