Moruya 2009, farewells

There’s always a theme that you take from a festival. For me, Moruya 2009 was a farewell for some mates I’ve watched develop over recent years at the jazz school. Now senior and finishing students, they are off to Sydney and will be missed around town. I treat this report with some imprecision, because only some of those below are moving on, but the group plays together and can be discussed together.

Bill Williams (bass), Ed Rodrigues (drums) and Hannah James (bass) are the three leaving for Sydney. We wish them well, and they certainly deserve it. The three of them all played impressively, even stunningly, over the weekend. Perhaps the best I’ve heard them, certainly amongst the most memorable.

H.E.L. is an acronym for Hannah, Ed, Lily. Hannah James (bass) with Ed Rodrigues (drums) and Olivia Henderson (piano) played a wonderfully busy and involving set early in the day. There was an original by Olivia, but also jazz standards: Oleo, Invitation, Fee-Fi-Fo-Fum and Horace Silver’s Nica’s dream. Jo Lloyd (alto) also sat in for some screaming, outlandish playing which always thrills. It was a great start for the day, and a challenge to the bands that were to follow (including mine!) I missed Hannah, Ed and Jo reprising some of these in unplanned set later in the day, but it was also well spoken of.

Luke Sweeting (piano) plays regularly with Bill and Ed, the three being Masters students at the Jazz School this year. Luke’s truly a harmonically rich and intelligent player. A pianist mate was commenting on his voice leading and counterpoint and harmonic alterations. Luke played an unusual duo set with Rachael Thoms (vocals) with a feature tune by Paul Grabowski recorded with Katie Noonan. Contemplatory and sedate, but with vocals flying into the stratosphere and complex interplay between the piano and voice. This tune was especially complex and a challenge but generally so was the rest of the set: unexpected and satisfying.

But the star event of the day for me must be Edmirobilluke. The name says it all: Ed Rodrigues (drums), Miroslav Bukovsky (trumpet), Bill Williams (bass) and Luke Sweeting (piano). The last set of the night is always the product of a busy day and a good warmup and some tiredness and is awaited with expectation. This was a stunner. The band was all playing at their most exhilarating level. Solos merging through melody, consonance and dissonance and complexity on call. All merged into a set that little distinguished heads or solos or ensemble playing. Original compositions that were heartfelt, unforced: powerful and stylish vehicles for open playing. Superb dynamics that just flowed between and through and amongst instruments so no-one took prominence yet everyone was essential. Gentle, busy, pushing, moving through feels and emotions with ease and inevitability. A stunning and worthy display of original improvised music. My last report on this band at the Gods did not do this gig justice. An excellent performance by Ed, Miro, Bill and Luke.

To finish off, I have just one little observation of jazz and its adherents. Someone mentioned to me in passing how pleasant are the jazz crew, and it’s true. There’s a confident, snappy air about them. Sometimes there’s a gruff exterior on the guys, but anyone who commits themselves to such a demanding and profound pursuit has to be an admirable type. So I thought as I was looking around the Air Raid on Saturday evening. But jazz isn’t always surrounded by such types and has a colourful history of associations. I’ve experienced several post-gig threats of violence: at Wagga JF, in London, recently in Prague and locally after Hippo. And this time, as I left Moruya, I caught sight of a smashed car windscreen that spoke of small-town anger and frustration. And then another on the drive back, somewhere outside Bungendore. I’ll stick to the jazz, thanks.

Best of luck to Bill, Ed and Hannah in Sydney.

Moruya 2009, bis

More from the Air Raid at Moruya Jazz Festival.

Fourth Degree Byrnes is Neveen Byrne’s platform for original tunes. She plays with several of the mature players from the school. I only caught one short tune from the band this day. It was their last piece: a moody original with keyboard and guitar solos and gave and weighty melody overlaid by Neveen on tenor. Intense and interesting stuff; I wish I’d heard more. Neveen Byrnes (tenor) played with Andy Campbell (guitar), Andy Butler (piano) and Hugh Deacon (drums).

I also just caught a snippet of Matilda Abraham’s Quintet (festivals are for socialising, too). It’s an impressive group of players, although a few seemed less prominent this year. This outing was pretty much heads down in concentration, although was leavened by Matilda’s singing and some of her original songs. Matilda Abraham (vocals) led a quintet with Andy Butler (piano), Carl Morgan (guitar), Chris Pound (bass) and Aidan Lowe (drums).

Chris and Aidan reappeared with the Recording Ensemble. I really enjoyed this performance. It was lively, engaged with the audience and the band was obviously having a great time. The Recording Ensemble plays original music and arrangements by its members like Reuben Lewis’s arrangement of a Zappa tune and Nick Combe’s Shhh…. I was particularly taken by Luke Sweeting’s composition Sound canvas. I’d listened to the modern remake of Gill Evans, Re-Birth of the Cool, on the drive down to Moruya, and I felt it was reminiscent of the charts, with voice leading and harmonies and melodic organisation harking to that era. The ANU Big Band was also at Moruya and I missed them, but I didn’t miss the ANU Commercial Ensemble. Big, bright, brassy, funky, cocky. All those things, and danceable and lively too. The large ensembles are always highlights.

The ANU faculty was also represented. Two sets struck me as calm, controlled and from the mind. Mike Price (guitar) led his trio with Eric Ajaye (bass) and Col Hoorweg (drums). Mike plays some originals but also re-envisioned standards, with admirable and very cool interpretations. This is thoughtful and intellectual fare, not for the dancefloor, but for savouring some perceptive soloing. Matt Thompson (keyboards) led an organ trio in another controlled and minimalist performance. This was left hand organ lines, revisioned and leisurely bebop, slow but melodically challenging right hand lines. John Wilton (drums) accompanied, along with Max Williams (tenor) who matched with lines where every note felt individually selected.

Moruya 2009

It’s time for my annual run to the Moruya Jazz Festival. I got to play and I heard the Canberra locals get together in various combinations, some I hadn’t heard, most I had. I’ve reported on them often enough, so just a few comments. Obviously my gig is vital for me, so I take the liberty to start with that!

I got together a few mates for the festival, and we appeared at Deja Two. Deja Two was Cameron Smith (flugelhorn), Peter Kirkup (piano), Mark Body (drums) and Eric Pozza (double bass). Just some standards, but: Cam reads easily and plays a stylish and correct solo with a lovely flugel tone; Peter knows his jazz history and music theory and is a pleasure to play and chat with; Mark is jazz school so well trained and possesses a broad swing (so says Peter); and I continue to struggle with my change to the big, acoustic bass, but I’m enjoying the challenge. We rushed a bit and were harmlessly messy on a few starts and finishes (it’s just a blow, after all) but indulged in some extended solos, got some decent band dynamics happening and pleasingly held the audience. So we enjoyed the outing.

The Air Raid Tavern added a second stage in the Bar this year. It’s been the modern end of the festival and the home of the ANU Jazz School for years and remains so. I was only down for Saturday and didn’t manage to move beyond these two stages.

The morning started with the Kade Brown Trio. It’s a young local (Eurabodalla Shire) outfit led by Kade Brown (piano) with Josh Freestone (drums) and Mishi Stern (bass) playing a standard repertoire of jazz tunes.

Angela Lount and the Fedoras played the soft pop/jazz (read working) end of the jazz spectrum with supple smoothness and some interesting playing. They are classy and you can see why they get the corporate gigs. Angela Lount (vocals) sings with the Fedoras: Paul dal Broi (piano), Dan McLean (trumpet), Hannah James (bass, sitting in for James Luke) and Chris Thwaite (drums). I noted a classy solo from Paul and a wonderful growling plunger mute solo from Dan.

I just caught a few bars of my mates Kooky Fandango. They play a bluesy-jazz style, without a chordal instrument (other than Peter when he plays chords on his crystalline 6-string Alembic bass). It was a fore-shortened KF with only 4 players on the day, but they are entertaining and well rehearsed and it shows. Courtney Stark (vocals) fronted Cameron Smith (trumpet, flugelhorn), Peter Barta (bass) and Robert Nesci (drums).

As Famous as the Moon is an institution around Canberra. Dirk Zeylmans (sax) leads a very smooth, stylish band with Graham Monger (guitar), Lachlan Coventry (bass) and John Milton (drums). Dirk is a renowned local sax technician, so you can expect wonderful tone along with his pleasant and very direct and personal patter. This is cool jazz in the ilk of Stan Getz. Graham played some lovely blues-scale infested lines which fitted like the glove; Lachlan is a well-trained guitarist who plays a supple electric-bass style; John Milton played understated but steady and observant drums.