Onyabike

I hadn’t heard of Pan Francis, but I knew I’d like them. They were a visiting band from Melbourne. They were in a favourite configuration: sax trio with that open, unbordered sound that comes from not having a chordal instrument and with the strong and more equal role for each player. They had interesting and varied backgrounds, including National Jazz Awards and classical training and even Big Day Out. They had a promotional pic that was wonderfully amusing and sharp and primary colourful. Talk of collective improvisation, quirky melodies, thumping beats and deconstructions of rock and pop classics had me sure to be in the audience. When the first tune was from Bad Plus, I was sold. These guys are busy and vibrant and well versed in their instruments. But also playful and aware of music of their less jazz-obsessed peers and they are having a good time. Not that it’s an easy listen, but it’s capable and interesting and contemporary and aware and I like that.

Jon played alto sax, which fitted nicely for a lighter, more flighty sound than would a tenor. He’s classically trained and a finalist at the National Jazz Awards and an Arts Council grant recipient, so he’s got chops. You could hear it in the extended range and the sequences that spoke of a harmonic awareness at the level of each note he played, but there were also squeaks and screams for the passion. I was intrigued by long intervals of solos in whole note triplets, one time with a bass playing on 1-3- for a strangely floating effect. Michael was strong and edgy on bass with a lovely rig borrowed from Phil Jenkins (Acoustic Image & EA). His role is bliss for an adventurous bassist: free to improvise as an equal, often holding the groove, but also passing it to drums or even sax for ostinato lines, and lots of solo time. He’d busily range rapidly over the fingerboard with nice intonation, but equally drop to the quietest of repeated notes for effect. Very nice, and he was so obviously having a great time. Also busy and inventive was drummer Nick. He’s the one with history at Big Day Out, so has a rock heritage. I certainly felt it: matched grip on the sticks and some rock-style rolls and fills. There was a clear jazz sensibility there in his freedom, but it was not gentle and subdued from jazz training but more loud and grubby. It was a nice blend for a gritty band crossing over into pop deconstructions.

I mentioned Bad Plus’ Bugs (or more fully, Keep the bugs off your glass and the bears off your ass [sic]). Other non-originals were a Bud Powell bebop called Wail, which sounded very contemporary and un-‘40s although hinting at its history. I was searching for the reasons here: the alto that was more fluid and indefinite or the bass lines that seemed more 2 note patterns rather than bebop 4s and that avoided the obvious statements of chords. Then a fabulously complex Paul Williamson tune with a complex time feel and unison staccato melody, and a funky 12-bar feel from band Fly. Then Spiderbait’s Buy me a pony and Pink Floyd’s Bike [obscure title alert] which I particularly enjoyed for its jolly, melodious tune with deceptive twists. There were originals by both Michael and Jon. Jon’s Loneliness was balladic. Jon’s Untitled (and due anytime now) was a dark ballad with a film noir flavour. Michael’s J’s track was a slow rocky feel with latin accent. I think I got the title wrong, because Michael’s Obituary didn’t feel to me at all funereal, but more light and cloudy with a contemporary melody that reminded me of Ornette.

All round, an interesting journey from capable players in a this open and adventurous format. Not easy, but I enjoyed it immensely. Jon Crompton (alto sax), Michael Story (bass) and Nick Martyn (drums, percussion) played as Pan Francis at the Loft.

Tapping and musing

We’re struggling with venues and audience for jazz in Canberra at the moment. Maybe it’s our cold winter nights, but poor Aaron McCoullough and his Elements Quintet were at the blunt end of it. There were some locals at the Front, but I reckon I could count on one hand the listeners who attended specifically for the gig: Gordon, and me, and a few other possibles. Too bad, because they missed a thoroughly entertaining and lively performance.

Aaron leads from the drum kit, but he’s a drummer with a sense of music beyond rhythm, and I like that. He provided several of the compositions, tunes that were standard in the modern sense of head and solos and chord progressions, but arranged into medleys and changes that sometimes surprised and left lots of room for solos. Aaron and the band play with real energy and drive, and it was mostly in this go-ahead vein that the solos were performed. Aaron himself took frequent solos, solos that arrived without warning and just naturally extended the driving and forceful style that accompanied all the tunes. To end they played a Branford Marsalis tune, In the crease, and I thought that Aaron must have seen Branford with that rabid drummer, Justin Faulkner, on his recent tour. Not as extreme, but Aaron had the same sort of hard and energetic approach. Daniel on piano and Pat on trumpet were similar in their full bore commitment, playing very fluent, long and sustained 8th notes runs, mostly sounding to me as diatonic, embellished with unexpected little rhythmic and melodic twists. Bassist Michael was grinning with glee at the energy and excitement of all this. I understand. Bass is such a big and involving instrument and I find myself similarly grinning at times when things are cooking. This side of things sounded to me of seventies jazz in the hard bop tradition: unison melodies and Rhodes accompaniment and driving rhythms. But there was also another side, which appeared when saxist Claire played. Claire had a very different approach, reminding me of the restrained expressions of Wayne Shorter. She variously played alto and soprano, with a tone that was soft and non-metallic, fitting with the malleable structure and effective dissonance of her solos. Much more the pensive note, the twisted fill, the torrential flourish. She was quieter, too, where the guys were loud and impulsive. All entertaining, all impressive and both sides worthy of the listen: tapping with the guys and musing with Claire.

There were originals from virtually all members, and a few non-originals: Travellers by Aaron Parks, a piano trio piece by Robert Glasper, and Branford Marsalis’ In the crease. There was busy syncopation throughout and just a little swing, and I counted at least one 7/4. This was a spirited performance and that little audience was very appreciative by the end. Let’s hope that appreciation is enough to keep the bands coming.

The Elements Quintet was led by Aaron McCoullough (drums) and comprised Aaron with Claire McCoullough (alto, soprano sax), Pat Thiele (trumpet), Daniel Gassin (piano) and Michael Story (bass) at the Front Cafe.