FWIW

I've been too short on jazz gigs recently and even had to pass on a few due to travel and more.  But I did manage one little one with old mates Mike Dooley and his son Anthony and Richard Manderson.  Just standards but with some structure and guidance from Richard and some nice solos.  I have been somewhat unsure of soloing of late but it's a confidence thing.  I just settled this time and the grooves were good and the solos interesting and plenty of capable chops around so all was well.  So nice to to spend some time with this odd flame, jazz.  So just a pic.

Richard Manderson (tenor), Mike Dooley (piano), Anthony Dooley (drums) and Eric Pozza (bass) played a jazz gig.

Two gigs two towns

I think Mike called us Gateway to Queanbeyan although this was a return gig and the first was the week before in Ainslie.  So much for geographic precision.  But it was a great fun outing.  I used to play with Mike and Richard at the Casino and more but this was just a throwaway outing then a rehash.  Mike and Richard and Anthony and me.  Just standards but some of our favourites with Mike's expert grooves and often deliriously good solos.  His years of playing show clearly.  And Richard with his glorious Selmer tone, playing something special and nicely harmonically exploring.  I could hear the tone of John M and some hints of his delirious lines too.  Richard also has a history way back to the Sydney Con where he met Mike.  And Anthony who is a relatively new entrant on drums but, being Mike's son, with some decent guidance.  He took his share of solos or passed fours, too.  Our first outing last week was a gift to Goodwin Ainslie in honour of Richard's Mum who was once there.  This outing was Mike's request, at a fete at Qbn Presbyterian Church for their 150th anniversary.  It's so nice to visit an old stone church, view the timber decor and the touch-of-deco school house next door.  Our main churches in Canberra tend to the brick, although Ainslie All Saints has the stone aesthetic and significant history, even if borrowed from Sydney.  And to meet a former Pastor, Romeo, who had served three years in the area my family is from, in Italy, where the churches are even older still.  Whatever, a pleasure and some nice playing to boot.

Mike Dooley (keys), Richard Manderson (tenor), Anthony Dooley (drums) and Eric Pozza (bass) performed two gigs in two towns... And thanks to Lin for the pic of the band.

Spending Australia Day

This is Australia Day in the old sense meaning a holiday, some time to catch up with mates, not too much cultural hype.  In this case it was a few hours with Richard and Mike and some jamming to end it off.  For the afternoon, I'll have a listen to Mike's latest album of classical music.  Mike writes all manner of music.  I remember playing with him at Moruya Jazz Fest and one night he started playing his originals in the styles of Mozart, Bach, Beethoven and the like.  Impressive works that floored me in my pre-classical days.  Then later an album or two of witty jazz tunes.  Now this one, with his piano concerto that I remember playing with NCO at TheQ and a suite and a Celtic rhapsody.  This latest recorded under Maestro Max McBride.  That's for Australia day arvo, to listen to Mike's newest album.

Mike Dooley released another album of classical music, this one called Journeys.  Mike Dooley (piano), Richard Manderson (tenor) and Eric Pozza (bass) jammed on Australia Day.

Congrats Mike

It's always a blast to hear friends on the radio.  Normally I listen to BBC World Service late at night, but this was Sunday early morning and it's sports, so a scan of the stations.  Some interesting rap on Triple J and rap again and a wonderful jazz fusion thing on Double X, then a lovely take on a Handel oratorio on ABC Classic FM.  Now it's hard to identify music on stations at night.  I haven't been successful with Shazam from headphones and there are few DJs introducing tracks, but Classic FM has one and he announced Mike Dooley.  Then Mike's Epiphany performed by Ensemble Liaison.  All moving time signatures and effective repetition and four movements and a major quotation and very nicely played.  Lovely.  Congratulations, Mike.

Not for the first time, I heard a Mike Dooley composition on ABC Classic FM.

Premiere

I hold a spot in my heart for the Brindabella Orchestra because they were the first orchestra I played with.  I left down the track after playing Beethoven 5 with Maruki and I've moved further on since.  I like to play the big and challenging works, all the movements, the repertoire.  It's an incredible pleasure and challenge, but I still go back occasionally to Brinda and I did this weekend to hear them playing a world premiere, no less.  It was The old man who loved to sing, a children's book put to music by Mike Dooley, no less,  under commission by Brinda.  A mate and a capable composer.  This was a great pleasure with an intimate and attractive theme, some pretty melody and glorious orchestration and harmonies.  I was mightily impressed.  Brinda also did a run of smaller well-known works:: Saint-Saens Carnival of the animals, Bizet Carmen suite, Borodin Steppes of Central Asia, Nicolai Merry wives of Windsor and Strauss Sr Radetsky March.  There was great pleasure there, not least in the playful or boisterous themes, Radetsky, of course, but also The Elephant or Les Toerdors.  It';s the sort of thing that brings smiles to the faces of some players and I enjoyed watching a few like this isn the cello section.  So a memorable outing for a fine world premier by Michael Dooley and otherwise some popular and joyous works. 

Brindabella Orchestra under Shilong Ye (conductor) performed a world premiere by Mike Dooley along with Saint-Saens, Bizet, Borodin, Nicolai and Strauss Sr in Weston.

Of a martyred Roman and her slave

I've known Mike for quite a few years and it seems his compositional daring and chops just keep expanding so even though I was overwhelmed to think a mate had written an oratorio, I was not really surprised.   And I've heard his music.  The jazz is melodic with nice chords and satisfyingly witty lyrics.  Then his classical.  He put out a few albums of classical in the style of the greats, Mozart and Bach and the rest.  I first heard workings at our digs for a Moruya Jazz Fest.  Then I played in the NCO behind his piano concerto.  Now this.  An oratorio.  Think Messiah and the like.  Big works of song and choir and orchestration.  They presented religious themes at times when secular themes were not acceptable or suitable for performance in church.  It's a big work.  I was impressed by Mike, again.  It's big and costly to stage, so Mike presented a few public iterations of a video of the recording sessions.  21 or so players, from CSO and Coro and the cream of local vocal soloists; 9 hours recording over 3 days at Canberra Girls Grammar School concert hall, acoustically treated if still with some residual noise issues; 35-or-so mics.  And a religious story, of saints and martyrs from ~200CE, the Roman noblewoman Perpetua and Felicity, perhaps her servant, and several other free men martyred for their Christian faith.  Mike used her first person narrative, some Biblical quotes and some Latin from Ambrose for the text.  The music was variously influenced: Mike suggested baroque and early music and film music (he has also composed for several films).  I melted with the first introductory piece with a theme that recurs to end and sometimes during.  I was enamoured by the vocals, the clear soprano of Emma Griffiths as Perpetua, but her soloist offsiders were similarly impressive, Veronica Thwaites-Brown and Dan Walker and Andrew Fysh.  All hyper-known names in this field in Canberra.  They were chorally accompanied on some tunes by Coro, a blissful vocal collection of harmonists, and instrumentally supported by a string of CSO and related Canberra players.  Bassist Kyle was in line of sight with Emma/Perpetua so I got so watch him often, but there were lots of familiar faces to observe.  Suffice to say the music and singing really was of wonderful quality and often-enough spine tingling.  The whole work is one CD length, ~1 hour, 24 pieces.  Some were short and sweet, a father's imploring or a mother's lamenting or a martyr's injuries or a dream of Heaven and angels or a maid's protection given birth.  Interestingly, there are two key women and both have children here: Perpetua is 22 and breast feeding and miraculously loses her milk prior to her death and Felicity is with child, then gives birth, thus avoiding some form of death or other.  This is a story from 203CE Roman Empire in Carthage, of course, so we can observe how some things change and some things are forever the same.  The core martydom for emperor story may be of another world (although a speaker before the presentation would deny this) but the humanity of belief, family, conscience is common.  Mike has written a fabulous musical work and, as always, done it with love and purpose.  I am hugely impressed and often touched.

Mike Dooley (composer) presented his new oratorio called Perpetua as a video presentation of the recording session.  The performers were Emma Griffiths (soprano), Veronica Thwaites-Brown (mezzo), Dan Walker (tenor), Andrew Fysh (bass), Coro (choir) and members of Canberra Symphony Orchestra and others.

Rellies at Christmas

Great that Melbourne is open again because Richard M could have his distant family in town and with them came partner Jules Pascoe.  He's a professional player in Melbourne, playing in a band called The Conglomerate which includes two members of Cat Empire.  So decent players.  I'd lent my bass no.2 for a jam with Jules, Richard and Mike Dooley and in the end, I could get over for a short visit.  Jules was playing a storm and especially in his solo.  Lovely; very impressive.  Mike and Richard were doing admirably too.  It's a wondrous thing about jazz, that people can just name a tune they know or pull up a chart and play with anyone.  That's jazz training.  Nice to meet you, Jules.

Jules Pascoe (bass) jammed with Richard Manderson (tenor) and Mike Dooley (piano).

Mates

Mike and Rachel are mates who I played with in bands in the past, so it was both a duty and a pleasure to attend their third album launch.  It was a smallish event, Covid-limited, I guess, in a church but not at all small in application to performance.  This was 13 players - Mike, Rachel and rhythm and horn sections and strings, all being recorded for later ArtSound broadcast by Chris Deacon.  And that musical aggregation had plenty of friends in it, too: Richard and Miro and Steve and Phil and Con and I got chummy with Ilsa.  A gaggle of lovely, capable players performing Mike's joyous, purposeful, often witty music.  Mike's styles are not so much of today, but Michael Bublé made it big, so why not this clever music?  There were love songs, songbook-styled AABA standards, sambas and bossas and some funkier tunes.  Rachel's singing is always a huge pleasure and Mike and Rach harmonise as a lovely pair.  There's considerable piety, too, amongst the passions.  There's a market for that, but it's not for the market that it's felt, perhaps unlike some adherents.  One thing that I hadn't been aware of was Mike's writing of a musical, apparently themed around a scientist who discovers purpose beyond rationality when he meets a singer on a cruise liner.  It was a revelation as I listened and realised the inherent style of musical theatre and the different musical outcome.  It was lovely.   This is a music I recognise: turnarounds, grooves, melodies.  Same too with the solos, and there were some beauties there from some significant local players, although not given the chance to let go as in bop or jams.  And that cute old '20s two-feel.  All there, amazingly diverse if not particularly like the rap that's on the radio.  And done so well.  I was happy as Larry to buy my copy and get Mike's and Rach's signatures.  There's joy and love here, and they are both open to it.  We need a world more like this! 

Mike Dooley (composer, piano) and Rachel McNally (prev. Thorne) released their third album as In2Deep.  Accompanying musicians were Camillo Gonzales (guitar), Steve Richards (drums), Phil Dick (bass), Anthony Dooley (bongos), Miroslav Bukovsky (trumpet, flugelhorn), Darren Ormsby (trombone), Con Campbell (tenor), Richard Manderson (alto), Tim Wickham and William Dooley (violins),  Iska Sampson (viola), Alex Voorhoeve (cello).

Singing art

Art song is a style. I'd heard of it, but looked it up: mostly solo voice with piano, excluding arias and chamber music with song and the like. I think of mainly romantic styles and sopranos on stage, but no doubt other voices do it too. So I went to an ArtSound Canberra session, invited to record. Sarahlouise Owens sang soprano with Natalia Tkachenko accompanying on piano. Like much that I do these days, it had crossovers in style and more. Mike Dooley was page turning for Natalia. He was also the main composer for the session with a lengthy and intriguing collection called truth and bearty which put four poems of John Keats to music. They were renowned poems that kids of my days read as school and the source of many quotes: Endymion ("A thing of beauty is a joy forever"), To Autumn, Ode on a Grecian urn ("Beauty is truth, truth beauty - that is all / Ye know on Earth, and all ye need to know") and Ode to a nightingale. Mike did a great job, all rolling arpeggios and complex interpretations of iambic pentameters; even the sound of nightingales between stanzas. Then a strings of lesser known composers, often women: Linda Phillips with two Hebrew songs, Phyllis Batchelor with some love songs and more (love songs just have to be a staple of art song, as much other song to our days), Carl Vine and Horace Keats, two romantic males for this outing. It much have been a huge task to get this together, presumably for one concert. Sarahlouise was strong and firm, lively and entertaining. Natalia was more delicate, soft and responsive. So a lovely outing with my jazz mate Mike presenting yet another classical composition, this a song cycle and some wonderful performances. Just one last thing to note, not least on the subject of love. Mike's song cycle, his Keats poems put to music, were a commission by a man to his wife for their anniversary. More romance in song. We all liked that.

Sarahlouise Owens (soprano) sang artsong with accompaniment by Natalia Tkatchenko (piano) at Wesley. Mike Dooley composed the core song cycle to the words of Keats.

Jazz comes to Wesley

It was an unusual concert at Wesley. This was music of the jazz era sung by a jazz choir with piano accompaniment. I just don't expect rhythmic rhapsodies at Wesley, but there they were. They were short a few sopranos who had come down with colds, but this was a lovely satisfying thing anyway. I was entranced from the top with a fascinating and neatly constructed intermingling medley called Rhapsody in rhythm, featuring Crazy rhythm, Fascinating rhythm, I got rhythm and Rhapsody in blue, not just as a simple run of tunes, but nicely overlaid and interspersed. That was some great arrangement. This one was not by a band member, but others were. Musical director Camilo Gonzales writes and arranges and provided one tune, a version of Cry me a river. And Mike Dooley, piano accompaniment, writes prolifically and featured three songs from a gospel CD he has written and RS is recording. So, quite a range, here: from jazz era to Carole King and Cry me a river which was performed by many but which I first encountered by Joe Cocker, of all singers. There was life and pleasure in this group, some great arrangements and harmonies and nice, tricky rhythms and some excellent accompaniment from Mike, not least some insinuating and perfectly timed ostinatos and a few little opportunities for solos. So a great pleasure with some foot-tapping tunes.


Rhythm Syndicate performed at Wesley under Camilo Gonzales (musical director, conductor) with accompaniment by Mike Dooley (piano).

Fine romances

It was NCO again and this was exciting. We were playing the world premiere (in full symphony orchestra format) of Mike Dooley's first piano concerto. I'd heard it before in a smaller format but this was the full thing, beautifully melodic and inviting and played so well by Andrew Rumsay. Mike gave an excellent pre-concert talk, talking of his preference for consonance, or at least resolution of dissonance, complex with examples on piano. The work had some complex counts, too. Mike joked that he had a coffee cup with a caption of difficult counts - 11/16 and a few others - and apparently that's what we played. I'd missed playing Sally Greenaway with NCO so I was glad I didn't miss this one. Andrew is a Kawai artist, and Kawai had shipped in a new 8' grand for the event. And after interval, one of my most difficult but favourite plays, Rach 2. Madly romantic, teeming with ideas that are combined with sudden crossovers, slow to rabid times. Great fun and sweepingly attractive. The third movement is famous as providing the theme for the pop hit, All by myself / Eric Carmen. So, a great program with Mike's alluring new piano concerto played by Andrew combined with the romantic bliss of Rachmaninov Symphony no.2. What a great afternoon and a satisfying challenge.

National Capital Orchestra performed Mike Dooley (composer) and Rachmaninov under Leonard Weiss (conductor) with Andrew Rumsey (piano) as soloist. BTW, the bottom end was Roger Grime and Eric Pozza (basses). National Capital Orchestra, Mike Dooley, Leonard Weiss, Andrew Rumsey

Endurance 1

We were "on the mountain", meaning Mt Stromlo and it was bitter cold. It put a freeze on virtually all the music, even inside but particularly in open domes and on an exposed hilltop. This was one CIMF event that demands little walks between venues and offers diverse performers. This is a seriously varied experience and for that it was very good. I ignored the cold, as best I could. For my group, first up was a welcome from astronomer Brad Tucker and some genuine, original, 1930s, 78rpm recordings of Albert Schweitzer playing Bach on organ (saved from various Stromlo fires). It matched with a few other pieces of Stromlo trivia, not least a photo of observatory director and wife, Geoffrey and Doris Duffield, toting a double bass to play in their Stromberra Quartet (sometime before his death in 1929: you can still find his grave on the mountain). And in contravention of CP Snow's two cultures, Rosalie Gascoigne, artist of found materials, who lived on the mountain from 1937 with her astronomer husband, Ben. Then on to the first major performance which happened to be an Australian premier. This was Dan Tepfer, NYC jazz pianist. He played his work Natural machines on Disklavier. Disklavier is the digital player-piano made by Yamaha. Dan played with the automated Disklavier performance. Dan's website describes the process. In summary, his improvisations are processed and responded to through Dan's pre-programmed computer, so Dan leads but also follows, both musically and through an artistic projection of the playing. Fascinating and very nicely played. He played, perhaps 4 movements, and one without the computer interactions. It had some audience befuddled, Disklaviers not being so known or understood. Truly a work of future thinking and artistically satisfying. Then on to the open Yale-Columbia dome. The two violinists were fretting about the cold (understandable: 11degC but a cold wind so ~4degC apparent temp) but played a worthy set anyway (I did wonder how!). This was the World premier of Mike Dooley's violin duet The Heavens declare. As I remember, three movements with a first movement divided into parts (inviting some untoward clapping); several passages of bowing against pizz; a slower middle movement and lively final. A lovely work and one I'd be pleased to hear again in more comfortable circumstances, for audience and players. The work was played by two members of Quatuor Voce, Cecile Roubin and Sarah Dayan.

Dan Tepfer (disklavier) played compositions from his Natural machines collection and Cécile Roubin and Sarah Dayan (violins) played a violin duet by Mike Dooley, all at St Stromlo.

Mike 2

Mike 2 should really be Mike 1. This was a concert by Andrew Rumsey and friends at Wesley leading up to AR's visit to the US - a visit that includes performances at several festivals and Carnegie Hall. The feature, longest, last programmed work was Mike Dooley's first piano concerto. It's scored for small forces at this stage, somewhat like a sonata for quintet, but what a successful, attractive work. Mike explained that it contrasts 4 against 3, symbolically grace against truth, moving through 3 and 4, combining, eg for 7 (although I seemed to count 5 for most of the second movement), moving through keys with 4 sharps or 3 flats and the like. I found it wonderfully convincing and satisfying. That's not all, AR also played a short piece for solo piano earlier in the show, by Mike, called Le Torbillon (=The whirlwind). This is the one Andrew will play at Carnegie Hall. So, from Canberra to Carnegie: today's small world. But otherwise the show was a series of shorter pieces, mostly solo piano or piano with one of two other instruments, and one solo guitar and one quartet. And it was a seriously interesting collection: Poulenc Novelette in Bb minor, Rachmaninov Moment musicaux, through a flute duet by Ibert, several by Ian Clarke, a clarinet duet with Jewish themes from Bela Kovacs and a slightly jovial film theme by John Williams, and some Piazzola, Milonga del Angel and Vuelvo al Sur. Then Paul McCartney Yesterday arranged for classical guitar and Speigel im speigel for a quartet of violin, cello, clarinet and flute. Then Mike's piano concerto and an encore of Saint-Saens La cygne for piano and cello. The playing throughout was hugely impressive with dense concentration, keen ears and hot chops, but there was also humour, if mainly from host Andrew, so this was a wonderfully entertaining but also challenging and satisfying outing. And Mike's fabulous, serious, impressive works were an absolutely core component. I can only be in awe all round. And Mike had another world premier for a song cycle sung by Louise Page the next day: sadly I missed that one. I am in awe.

Andrew Rumsey (piano) performed with Laura van Rijn (flute), Thomas Azoury (clarinet), James Larsen (cello), Mia Stanton (violin) and Matt Withers (guitar) at Wesley. They performed Mike Dooley's first piano concerto (world premiere, scored for chamber group) and Mike's Le Torbillon, as well as a string of other modern composers.

Mike 1

Good to have another play with Mike and Richard as Aloft at Muse. All standards, latins and the like. Solid work for double bass played with no amplification. I noticed that getting on to 3 hours. But some very enjoyable playing. But there was more from Mike this weekend.

Richard Manderson (saxes), Mike Dooley (piano) and Eric Pozza (bass) played as Aloft at Muse restaurant.

Musing

Mike and Richard are currently playing fortnightly on Friday nights at Muse Restaurant in the East Hotel, Kingston, so I took the opportunity to visit and sit in for a few tunes. Luiz, one bassist at this weekend's SoundOut Festival, was staying with me so they got 2 bassists for the price of none ($0). But it was fun. I played some jazzers and perhaps one bossa. Luiz played bossas and one or two jazzers. Luiz is Brazilian born and raised so this was interesting. I got some hints on playing bossa more true-to-style (less driving, more relaxed, play the anticipation, perhaps meaning less samba) and all round the outing was a pleasure. Strange to see Luiz, who I know as an experimental player, performing bossa, but then he is Brazilian. Nice. Interesting also to play jazz without amplification. Hard work.

Mike Dooley (piano) and Richard Manderson (saxes) play fortnightly as Aloft at Muse Restaurant. Luiz Gubeissi and Eric Pozza (basses) sat in.

Post-hol civ

Nice to hear some civilisation and see a mate in Civic. This was Mile Dooley playing outside the upstairs entrance to DJ's. I caught him before Christmas. He's had a break for some Christmas family camping, but was there again on Friday. Nice solo piano on a nice Yamaha grand. Standards like Autumn leaves and suchlike, nicely embellished and twisted. I stood over him and caught some great piano bass work on Night in Tunisia. Very nice. Jazz is seen as the undemonstrative tinkling of the bourgeoisie by some and pop and rap has the politics and affinity. Not sure I totally agree, but, whatever, Mike does it well.

Mike Dooley played solo piano at the Canberra Centre.

Mike's history of music

Mike Dooley played me a take on Mozart a few years back at the Moruya Festival. It was mightily authentic to my ears and I guess a start on what turned into a composer's journey though music. We heard the full panoply the other night at All Saints. Mike had written pieces in various styles - baroque, early classical, late classical, romantic, modern - and gathered a string of excellent local players to perform and it was a stunning achievement. A Suite in A minor in 4 movements for the baroque, a Sonata in C major in 3 movements for early classical and so on through time. You get the idea. A folly, perhaps; a training exercise, probably; a tour de force, certainly. These were all works written for piano. The players were amongst the best in town: James Huntingford, Emily Leong, Aaron Chew, Andrew Rumsey, Sally Greenaway, Mike himself. I see my tastes changing as I'm playing and learning this music. I may have preferred baroque in the past but my faves for the night were late classical (Emily Leong) and Russian romantic Pilgrim fantasia (Aaron Chew). But the others were all well constructed and well played. I have a recording from the night but I wasn't alone: the conglomeration of mics and video was amusing. We can look forward to a video or clips, an ArtSound broadcast, a CD and perhaps more. Don't miss it. A stunning achievement of composition matched with admirable performances all round. All this at All Saints one Saturday evening late in November. Mmm, that suggests CDs under the Christmas tree.

Mike Dooley (composer) presented his original compositions in various "fine music" styles as Anachronisms : a composer's journey through time. Compostions were performed by James Huntingford, Emily Leong, Aaron Chew, Andrew Rumsey, Sally Greenaway and Mike Dooley (piano).

Goosebumped

Mike Dooley writes seriously good songs and not just out of the American songbook, even if he introduced one as "written in 2012, should have been written in 1942" and a bloke beside me said the music is timeless. They are both right. Mike has imbibed the styles and capability of the era, the changes, the lively grooves, the lyrical melodies, the witty rhyming lyrics. These tunes just sound right, never forced into a straightjacket by an ill-considered chord or uncomfortable line. Even when the words are slightly tortured, the phrasing twisted into a melody, it works, it's humourous, it's clever. But beyond the songbook, Mike's also written the mystical-sounding mid-Eastern Across the Gulf, several heart -on-sleeve sentimentals, Incurable and the immensely gorgeous Soliloquy, the funky Zymergy (the last word in the dictionary, to be the final tune in some future fake book), the latins Symbiosis and Kiss the sunrise, the ever-rising spine-tingling goose-bumping Upward spiral (a killer amongst gun-toters) and the immensely wistful theme (picked up for the local film, Locks of love) Edge of time. I've played these tunes and love them, but they took on a new life as I listened, with a mix of great support musicians: piano, guitar, bass, drums, a horn section for some tunes, a string quartet for others. And Rachel at the heart of it all, who has sung with Mike as the duo, In2Deep, for several years. She's such a good singer, lively, capable, interesting, great voice with long-term experience. And she and Mike make a great vocal pair, sweet harmonies over a satisfying musical conversation. I was not the only one tapping along. One couple danced with the excitement of it all, despite unlikely surroundings. This was a CD launch and Mike was chuffed that even the barman bought a copy. After all, this is not Sia's writing for Rhianon and Beyonce and Katy Perry; the writing may be timeless but not quite so pop-commercial current. But the crooners are still touring and there are winning songs here for more than just their ilk. This is the real deal. Mike, great writing; Rachel, great singing; band, great support.

In2Deep launched their new CD at the Dickson Tradies. In2Deep are Mike Dooley (piano, vocals, compositions) and Rachel Thorne (vocals). They were supported on the night by Camilo Gonz (guitar), Philip Dick (bass), Steve Richards (drums), Dan Bray (tenor, soprano), Rouslan Babajanov (alto, soprano), Mark Du Rieu (trumpet, flugelhorn), Rob Clements (trombone), Timothy Wickham (violin), Anne Horton (violin), Iska Samson (viola), Alex Voorhoeve (cello)