Playing for Paul

Tilt played a gig at Adore Tea and we were pleased when Paul dal Broi turned up. We were playing well enough so that's OK. It's a relaxed gig and its considerable fun. Nice to play a gig like that. And nice that Paul came to a gig like this. Paul was James' teacher for yonks so there's water under that bridge. Otherwise, Paul is a local jazz identity, much respected by me and others. G'day Paul. But what about the gig? Pretty standard: standards, latins, some pop numbers, a few originals. We are still developing consistent takes on some numbers, but the grooves are rock solid and the funk is bouncy and the swing is driving and all the grooves are tight as. I enjoy the space for numerous solos (what do they say about bass solos, again?) and playing e-bass is an indulgent release after practice and performance on double. Finger style can be so, so machine-gun rapid and so extravagant. Then there's the traded fours and more extensive drums solos and James ever leading with head and first solos. All nice and much entertainment for the band and we wish for the audience. All finished off with a few songs, some gloriously pretty Beatles and grungy Nirvana and stories of walking the dangerous streets of New Orleans. Jazz as taking life is ones' hands. In NOLA if not so much at Adore.

Tilt are James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums). Tilt played for Paul dal Broi and others at Adore Tea.

French luxe down south

I finally got to Gary France's jazz session at Tuggeranong. Just a trio playing standards but what a great trio and what a luscious location. In the cafe, at Tuggeranong Arts Centre, overlooking the lake. Intimate with low stage fronting a wide room, luxe seating (although I was at a cafe table rather than chaise lounge or curvaceous French settee; where did they find that furniture?). Paul dal Broi, Eric Ajaye, Gary France, three of our best musicians playing for their pleasure and ours. Out of nowhere, How insensitive, Dearly beloved, Tune-up, All the things you are, but also an original ballad by Paul and Coldplay's Pictionary and a discomfortingly heavy take on La Vie en Rose. Was Paul casting a black magic spell with this take? I've missed Eric over the last year, but now I've seen him twice in a few weeks and his luscious, searching, glissando lines were intriguing for the positional moves and guide tones. I was chatting with a classical player after and she was commenting on how much knowledge is required for improv at this level. Of course. This is dense theory and harmonic knowledge, and then enough skills to twist it out of recognition with substitutions and dissonance. Paul was again a master. I was taken aback by one or two particularly clever twists but he's a wealth of this internalised awareness. Gary is just a joy, no doubt as a colleague but also as the MC and outgoing, supportive rhythm machine, ever-present, light and swinging and ready to embellish. This was just a hugely pleasurable outing, intimate, swinging, amongst friends and anyone who attends is that. Enough to get the Inner South boy to make the trip to Tuggers. Gary's series will be recommencing monthly from February. BTW, Gary mentioned a new music service coming to Tuggeranong, the Groove Warehouse, for tuition, gear and more. Keep eyes out for that.

Paul Dal Broi (piano), Eric Ajaye (bass) and Gary France (drums) played mostly standards at the Tuggeranong Arts Centre.

Pre-dinner drinks

Rachel Thoms was singing with Paul dal Broi at the National Press Club and they are two of my favourite local performers. The NPC is a bar event so there's chatter at the end of the workweek and some dancing and the rest, but there's also a grand piano and a corner and weekly performances of the best around town. We heard a range standards sung with grace and ability. To my ears, Paul was unusually adventurous. I love his take on harmony - he can convert the most plebian of songs into performances of worth. Here he was busy and playful with all manner of variations, rhythmic, harmonic, stylistic, and it was an eyeopener. Rachel is never other than wonderfully controlled in voice, dropping into slurs and vibrato at will and always aptly, with that clear and firm soprano voice. This is just a note, but also a reminder that NPC has our most capable local jazz performers playing each Friday 6-8pm (and blues on Thursdays). Free entry for members and friends.

Rachael Thoms (vocal) and Paul dal Broi (piano) performed at the National Press Club.

Finally Merimbula 2

I listened to an interesting duo over a Thai dinner: baritone sax and violin. They introduced themselves as Richard and Anna Savery (Anna’s in the program as Anna Okunev in the trio Sweet and Savery). This was classical chops applied to jazz, easy sequences, extended ranges, long arpeggiated phrases, double stop string accompaniment. The classical training was clearly evident on violin. I’m not sure of baritone sax as a classical instrument, but Richard had chops too. Classical players don’t swing quite like jazzers, but they worked through the Real Book with ease and took requests. I suggested Out of nowhere and Bluesette and they did them both. I was entertained and most impressed. Richard Savery (baritone sax) played with Ana Okunev (violin).

I really enjoyed a set by singer Ketzia Wood supported by a piano trio. Her voice was raspy and she mentioned a recent cold. I noticed no spectacular control or technique but here was the stage presence of torch singers in dark bars and the era of Lady Day. This was simple melody perfectly phrased, undemonstrative but emotively deep, of the moment, shimmering movement and guiltlessly seductive. I’m not sure the women would have responded quite the same, but Ketzia had presence. She sang the likes of Embraceable you and I’m old fashioned. What else?

As good as the best were our Canberra mates, Angela Lount and the Fedoras. Perhaps this is no surprise. They are classy professional players who gig often and are deeply ensconced in the music scene as both performers and teachers. This was easy presence and informality with chops. Dan McLean and James Luke shred the tunes but I just await every solo from Paul dal Broi. He sits calm and thoughtful, deconstructing the tamest of tunes into obtuse and edgy re-harmonisations and occasional streams of melodic thought. You wouldn’t expect it from this playlist – Blue skies, Autumn leaves, Georgia – but these guys are hot and the outcome is downright interesting. Angela Lount (vocals) led the Fedoras comprising Dan McLean (flugelhorn), Paul dal Broi (piano), James Luke (bass) and Mitch Preston (drums) sitting in.

I caught the Wonderdogs and they are good. This is very well practiced trad-styled entertainment with considerable fluency. Tight, with modern presence and chops. Wonderdogs are Andrew Jack (trumpet), Ian Christensen (reeds), Greg Simmons (banko), Alex Wilson (bass) and Bill Lawler (drums).

Playing these gigs

It’s just a gig, but you gotta love it. I caught some of the best players around town playing a Sunday afternoon gig for families and lots of kids and the mothers down the back swilling a few wines. This was Ipanema and Basin Street and Georgia and even All of me and a touch of funky with Let’s stay together. Standard practice for a dinner dance or the like. But this was not at all uninteresting. Paul lets go with the most substituted solos that you can imagine on the oldie-songbook and James lays down outspoken and insistent blues licks in his fluent solos, and Steve and James play easy, reliable accompaniment that spells the chords against Paul’s colours, and Alopi is just an open personality with a smooth and often caressing voice. I liked these tunes. I liked Alopi’s original that touched on country and suited his voice so well, even if the key change stretched it. Sunday afternoon gigs like this don’t lay claim on great art, but these guys do the job with panache. Easy feels and entertaining and pushing the envelope with some devilish substitutions. Alopi Latukefu (vocals) led Intaploping with Paul dal Broi (piano), James Luke (bass) and Steve Crispin (drums).

Giant steps are what we take

It’s the first line of the classic pop tune, Walking on the Moon by the Police, but with an obvious jazz reference. The Raf Jerjen Trio played Walking on the Moon and they didn’t play Giant steps. Raf’s swinging trio can seem somewhat out of time playing heavy, dug in swing like Ray Brown and NHOP while students are busily exploring the universe of rhythms and strange scales and Raf mentioned this. Maybe that apocryphal quote of Newton’s, that we stand on the shoulders of giants, is a better quote here. I clearly heard Bill Evans fluency and interplay and there was a raft of dissonance and Bill remains modern. This band recognises and values the past but it also had a modern awareness and a placement in history.

Raf’s bass was fat and growling and his playing was fast and supple and fluent. There were some stunningly fast runs in the low positions and lengthy thumb position scales but I was particularly taken by the lyricism of long intervals across strings through the middle of the neck. I’ve always admired Paul’s piano which I hear as deeply cool and personal but also as an intellectual treat of dissonance and changing harmony. Paul’s not forward in performance, but I find his piano is wonderfully expressive and inventive. Raf commented on Paul’s found harmonies. He also nicknamed Gary as the semitrailer, always ready to come on strong in the next bar. That was so right, and this format suited Gary to a tee, open, rhythmically clear and tonally precise and with an exuberant joy in unexpected explosiveness. This is a trio that spans the history of the jazz school. Raf formed the trio and is a recently graduated student; Paul studied there in the ‘80s, during the early years of the jazz school; Gary has taught at the School of Music for a decade or more. This was a unity of friends and long term colleagues, bouncing off each other in the best traditions of jazz. Raf volunteered their policy as “Swing hard and keep it real”. It’s an older conception but still profound and too good to be forgotten. This is music to bathe in.

So if not Giant steps, what did they play? Raf provided a few originals and Paul an original and several arrangements. They also played a few standards. All the things you are is ubiquitous and Wayne Shorter’s Black Nile and the Police have caché as modern and sophisticated. Bye Bye Blackbird and Raindrops keep falling on my head don’t, but they were also satisfying as vehicles for vibrant, responsive and often adventurous playing. These guys are each strong in their own right. They don’t need one another to lay out the tune or work their way through variations on it, but the totality is stronger than the sum of parts as they bounce off each other or explore paths in counterpoint. I particularly noticed Raf’s sophisticated job of laying down unexpected intervals and movements within the chordal structure while Paul was playing through a range of dissonances. Bass usually holds the structure together while the lead explores alternate harmonies. Raf did this but he didn’t resort to the obvious. Good. One original by Raf was a quirky number called Happy Ahmad. It aptly matched Ahmad Jamal’s playfulness with parts of light melodicism, bouncing swing and extended bass fills. Strange but effective. Another was a slow and sombre dedication to bassist George Mraz. Paul’s original was a dedication to his family. His arrangements that I know are of modern pop songs, and some have a degree of syrup (think Raindrops… or Tie a yellow ribbon round an old oak tree) but he moulds them as cool rhythms and worthy jazz vehicles. Paul’s Raindrops features a drop into Monk’s Well you needn’t. There’s quiet humour but also seriousness and cleverness here. It’s almost a throwback olden times to hear Bye Bye Blackbird, but when it’s played like this, it’s a treat. A growling bass in a swinging piano trio is a thing of wonder and just enhanced by stylish dissonance. I enjoyed this concert immensely. Raf Jerjen (bass) led his trio with Paul Dal Broi (piano) and Gary France (drums) at the CGS Gallery.

Doing service

Paul dal Broi led a trio the other night at Hippo. I seldom get to Hippo these days because I usually don’t know who’s playing, but I had a free night. It was lucky I did because it was a great night. Paul is a favourite pianist of mine. I enjoy the way he takes popular tunes and turns them into authentic jazz vehicles: he does good service to a tune. I admire his respect for the composition in the way he expresses the head: it’s often embellished with parallel lines and substitutions but it retains authenticity. I enjoy his readiness to bend and distort it any which way, changing harmony or melody or time or density or whatever, but always with the tune obvious or at least implied somewhere below. I hear Bad Plus and Bill Evans and McCoy Tyner but I’m sure there’s more. Take this for a set: James Taylor’s Fire and rain with heavy rhythmic left hand diss-chords, then Tuneup as medium up, Walking on the Moon as uber-cool groove, Raindrops keep falling on my head with an interlude of Monk’s Well you needn’t. And Coldplay and a few originals and some lesser-known standards. This was a varied, personal repertoire with rhythmically aware arrangements and broad-ranging creatively and informed interpretation. The trio was shining too. I hadn’t caught James Luke on double bass for some time. Bass is never the harmonic changeling that piano can be, but this was energetic and tuneful and impressively capable and James played with a few substitutions of his own. I particularly enjoyed Mark Sutton’s drums on the night, too. This was Mark at his best: fluid with cymbals and kick, sharp with snare and dynamic with mutating grooves, and solos that were all the above and conversational. This is piano trio music that would stand anywhere. For the music and the venue size, this could be our own Smalls; for the cocktail-bar clinks and the gloomy lighting, it’s all our own. Paul dal Broi (piano) led a trio with James Luke (bass) and Mark Sutton (drums) at Hippo. Hippo Bar has the best local jazz every Wednesday night from 9-11pm; free entry.

Manuka night and day

Pronounce Manuka with the wrong accent and all Canberrans will recognise you as a visitor. Manuka is Canberra’s original upmarket nightspot even if it dates back only 90 years or so, and it can be pretty lively on pleasant evening. I was down there for SCUNA and dinner and was surprised to see bands sandwiching the concert at the local outdoor bar, Charlie Black. I didn’t stop to listen, but suffice to say the Funky Fedoras took the afternoon shift, and Groovilicious took the evening. On the day, the Funky Fedoras were Angela Lount (vocals), Dan McLean (trumpet), Paul dal Broi (piano), Phill Jenkins (bass) and Chris Thwaite (drums). Groovilicious were my dear Monica Moore (vocals), Hugh Le (guitar), Tim Power (bass), Scott Temby (keys) and Dave Sheville (drums). Here are just two pics.

Raindrops

It was under threatening rainclouds that Megan and I caught Vertical and DeeJay Gosper at Lanyon. I’ve written about both here, so no need to write extensively.

Vertical doesn’t perform too often but it’s a pleasure when I catch them. Their music is inventive, both in Paul’s arrangements of classic pop tunes and original tunes by Eric and Niels. It gives the players a more challenging framework than the stock standards and you can sense the band’s response. Eric stunned with some fluent solos (nothing new!). I especially noticed one on Niels’ tune, Monday night at BMH, a straight-ahead post-bop reminiscing on London’s Bar Music Hall, with diminished double stops and a Stanley Clarkish pizz descending slide that ended with a few delicious articulated notes low on A- and E-strings. Niels always impresses me with a gentle lyricism that breaks into easy dissonance and speed. Paul explores and moves harmonies with ease, but I noticed it more in his comping this day. I also noticed how easily Chris and Eric moved underlying grooves throughout the two sets, holding steady then regularly changing for development or variation, all so clear and uncluttered and so well shared throughout the band. There were rearrangements of One hand, one heart from West Side Story (it’s such a beautiful song but does anyone else play it?), Beatles’ Blackbird, and of course Raindrops keep falling on my head, and a few originals including Eric’s pensive Homeward and Niels’ Monday night at BMH. This is a band of seriousness and easy competence that always rewards an attentive ear.

DeeJay arrived soon after with her crafted blues and light jazz. This is a different approach. Still careful and precise but a bit less mobile and embedded in an earthier blues tradition. The tunes were standards from both blues and jazz repertoires with a mix of originals that DeeJay has penned. Bass was covered by busy Mike’s left hand. Guitarist Damien Neil was new to me with well articulated country-cross soloing that added a tinkling air over the more earthy blues harp and vocals and piano/drums. I was also most impressed by the clarity of sound. This was outdoors so free of mushy reverb. The voice was louder but unusually free of colouration. I think the PA was HK Elements with a Soundcraft mixer. It was just a small bin and the thinnest stack of tweeters that stood about 5 feet high, but amazingly effective technology.

Vertical are Eric Ajaye (bass), Niels Rosendahl (soprano, tenor sax), Paul Dal Broi (piano) and Chris Thwaite (drums). DeeJay Gosper (vocals) led a band with Mike Dooley (piano), Damien Neil (guitar) and Michael Stratford (drums).

Brendan finally

It was the Wine, Roses & all that Jazz festival weekend in Canberra where the local wineries book bands and everyone tours around for tastings. It was a gloriously sunny and warm day, and I chose the Brendan Drake Trio at Lambert Vineyards. I’ve known Brendan for many years but not heard him sing for ages. Brendan leads on vocals, somewhere in the baritone/tenor range, I’d guess. But such lovely tunes, the standards of the jazz era: The very thought of you, Angel eyes, Let’s fall in love, Lullaby of Birdland, Stardust, How deep is the ocean. All these tunes we know, with the words and seldom performed introductions that we don’t. And Brendan has a sense of that timing that Sinatra is famous for. It’s seldom that you hear male jazz vocals, and after today, I’m convinced it’s a shame. I loved his timing, but also the long and jagged intervals which seem to me the essence of this style. The deep voice, obviously deeper than the women, that makes those intervals ring with luxuriance. Brendan’s offsiders were stalwarts of the local scene that I’ve featured here often: James Luke and Paul dal Broi. The warmth was lovely as was the Pinot noir, but it was also Paul’s blissfully cool but richly and intelligently substituted playing that had me delighted. Bass doesn’t support the same level of harmonic adventurousness, but James played plenty of solos along with maintaining a rock-solid feel throughout. These are both capable players with stable grooves and flowing walks. What better for a Sunday afternoon at a winery? There was a sit-in too. One of Brendan’s ex-students, Alexa Miller, was there with a party group, and got up to sing Fever. The day was like that – eminently pleasant. And for those out of town, look at the scenery from the deck of the winery and drool.

Brendan Drake (vocals) led a trio with James Luke (bass) and Paul dal Broi (piano) at the Lambert Vineyard for Canberra’s annual Wine Roses and All that Jazz Festival. Alexa Miller sat in for one tune.

Such a perfect day

Canberrans obviously don’t have a problem with a challenging harmony, because there were lots of both of them present when Vertical played for that quintessentially middle-class event, the Summer Series in the Australian National Botanic Gardens. It’s a gorgeous environment, in a dry Australian way, and the weather was perfect and sunny after several days of evening thunderstorms. The families with young kids and grandparents were out, everyone sitting back with picnics, variously chatting or listening or dancing or joking. The good Aussie cheeses and wines and a few beers made the show, but in a dignified and restrained way. Truly, an apt image of a comfortable modern Australia for an Australia Day weekend (which it was). We can agree to forget wars and financial catastrophes and indigenous disadvantage for the duration, and enjoy the pleasure which modern Australian life is for most of the population.

I’ve written up Vertical before. Eric Ajaye leads with his signature lithe, growling and fluent double bass, and sometimes switches to electric for funkier tunes. All the while defining rhythm with authority and harmony with transparency. Paul Dal Broi is an image of concentration and intent, in presence and in playing and there are some gloriously mobile dissonances amongst them, but only when it’s due. I think it was Hancock I heard in the funky tune, but he often spoke with recognisable jazz voices. Chris Thwaite is always carefully expressed, leaning towards understatement, but released some extravagant solos against riffs on the funkier tunes. Niels Rosendahl was sitting in. His playing expresses an experience and intimacy that his years belie. His is a metallic, clean, controlled sound. His is always the true melodic statement that so perfectly befits a piece, perhaps simple blues or balladic melody. But then the release into patterns that repeat through beguiling dissonance to a faithful resolution, or sheets of shimmering but moving harmonic clarity. You can hear his commitment and practice: the basics - scales, arpeggios, extensions, through all the keys - are just plain right, all the time. But it’s not just limited to that. Rather it’s held under musical control. As it should be.

The tunes were mostly ones I’ve heard from this band before. Paul arranges a number of interesting popular tunes, and they are transformed into jazz expressions of complexity and sensitivity. They fit like a glove: One hand one heart, True colours, even Raindrops keep falling on my head. Lean was a new one for me, a medium paced funky number which ended with a heartbeat groove. Paul composed another that I recall, a lovely tune called Three for Rose, dedicated to his deceased grandmother. It was a gently swinging number, with an ascending call and a descending response.

So, a fine performance, and a fine view of modern, cultured, easy-going Australian life. And ArtSound were broadcasting live to air, so just one more confirmation, if needed, of the nature of the Canberra lifestyle. I’ve included a few pics to expand on my word picture. Fine performance; fine and relaxed little society.

Big enough (Moruya 4)

Eric Ajaye brought his trio Vertical. Eric made reference to his last trio, Straight up, by saying that his direction remains the same, but this is a different sounding outfit. I’ve hugely enjoyed them both. Vertical has Paul DalBroi (piano) and Chris Thwaite (drums) playing with Eric (bass). It’s a more cerebral, considered, controlled outfit, with some sweet and thoughtful playing on both originals and covers. Paul provides arrangements of some unexpected popular songs, from West Side Story or Cyndi Lauper, and even that 60s pop hit, Raindrops keep falling on my head. It’s an unlikely choice, but a jazz sensibility can convert the most obvious to the most profound. This just proves it. Eric played his visceral, glissando style on 5-string acoustic; Paul was quiet and considered, with well chosen melodies, occasional flourishes and exemplary control of dissonance. I was sitting near Chris and hugely enjoyed his receptive, dynamic, even symbiotic performance. This is a band to savour: for their inventiveness and skill, but mostly for their emotional honesty and connectiveness. A lovely set.

Eric stayed around for a very different set in the Mike Price trio. This band is honed after 10 years of weekly performances at the Kurrajong pub, which have sadly ended in recent weeks. It’s the end of an era, but hopefully they’ll find another venue. This is mainstream, swing, ballads and standards with exemplary skills. Mike (guitar) plays a woody, unaffected sound with the most competent swing-sensibility . Think Wes Montgomery and the like. In fact he played Roadsong by Wes, along with Kenny Wheeler and standards like I should care, Please send someone to love and Crazy she calls me. Eric Ajaye (bass) melds with his stylish, swinging grooves and rapid, gliss-full and sure solos, and Col Hoorweg (drums) provides rhythm from the most basic of kits (his “Kurrajong kit”) comprising snare, a few cymbals and various sticks, mallets and other percussive tools. This is sound experimentation applied to standards … and a very easy drum lug at a gig. Their set ended with a complex samba, and left an audience joyfully swinging. Very nice, very capable; entertainment with intelligence.

Another wing of the ANUSM faculty when John Mackey appeared with Miroslav Bukovsky as a Saxession. I missed the first Saxession, but the Saturday night one featured John and Miro with star students, Austin Benjamin (piano), Chris Pound (bass) and Evan Dorrian (drums). John introduced a set of stock standard tunes from the era of Coltrane and Miles and Shorter. Stock standard, surprisingly restrained, and superbly expressive. It was unusually laid back in style and tempo, but John can’t remain laid back in emotion. His sinuous and virtuosic tenor is a thing of wonder. You could hear him listening, as his long pauses made space for Austin’s comping. Every student has played these four tunes (Impressions, All the things you are, Footprints and Oleo) but this was the result of years of hours of study and it showed in fluency and melodic integrity. Miro brought the hard and ravaged edge of brass and the melliflousness of occasional harmonies on the heads. Austin, Chris and Evan are a capable trio in their own right, with an excellent recent album of original style. But they performed the post-bop and cool swing with integrity and oneness. I particularly liked Footprints played in its original, quiet style. Atypically temperate, informed and wonderfully expressive.