Fight for the floor

Somewhere between Monteverdi and Miles is jazz of the '20s and '30s, variously styled as ragtime or Dixieland or New Orleans or trad, often played with banjos and sousaphones and plenty of brass (common instruments left over from the civil war) and with cut times and group improv and the like. Then into Satchmo solos and swing and big bands and off to bebop and the modern styles. But that early jazz, and later jazz played in a vintage style, remains immensely popular, not least with dancers, and Zackerbilks is a great local exponent. We caught them today at the Canberra Jazz Club's monthly event at Southern Cross Club, Jamison. It was packed. The dance floor didn't last 10 seconds before the swing dancers were up. Namesake Zach was in fine form, blowing a call of introduction (less sedate than his roles in CSO) then into song and dance. The dresses were full and bouncy, the guys wore waistcoats and the colour was on cheeks and lips but also in the lively, flouncy music. This is entertaining, fun, warmly welcomed. Not the steadfast seriousness of the jazz I normally attend, although still played with demanding skills. And was not just 2-feels. There was swing, too, but all pretty early in style, all bustling. Great fun from a great band. Much enjoyed by very many.


Zackerbilks played at Canberra Southern Cross Club, Jamison, for the Canberra Jazz Club. Zackerbilks are Zach Raffan (trumpet, vocals), Miriam Miley-Read (vocals, uke), Robbie Mann (piano), Christopher Harris-Scott (banjo), Thomas Manley (or Thomas Azoury , clarinet), Rob Lee (or Matt Ricketts, trombone), Scott Temby (bass), Simeon Staker (or Jamal Salem, drums).

Kimba returned

I missed Kimba and Ryan Griffith when they were at Smiths a few months ago but not this time at Hippo. The venue suited them - lively, chatty, social. Her music fits: standards although often lesser known ones. She mentioned 1958 as a key year for her. We mulled over that: post bop, hard bop, cool, R&R, youth, good post-war years, LPs, stereo. It was a great era for jazz and US popular culture. Kimba was leading a local Canberra septet for the launch of her CD. Nothing lost here with this band! These were amongst the best in town and the playing was awesome. Mark and James played the steadiest of grooves but let go for solos when on offer or called for. The horns were great. Dan, Tom, Rob read with panache and laid down colour behind vocals. Rob's solos were steady and melodic; Dan's were ecstatic, shredded but with trad growls; Tom was big toned, lyrical but ready to explore outside. Ryan was on guitar (and accompanying vocals for one particularly intimate song), all clean and uneffected and melodious and occasionally chordal. Kimba herself was lively, playful, expressive, rounded and not too high pitched, communicative with the audience. I just caught the first set. The songs were various shades of swing, blues-boogaloo and one intimate song, presumably original, sounding more Australian authenticity than American wit. I liked it and warmed to the personal honesty, of love amongst disappearing charms of youth and a challenging society. "With divorce rates high / we must be bold / Let's stay together / till we grow old". The title was Sickness and in health. All lovely ensemble playing, effective charts and charming interaction.

Kimba Griffith (vocals) led a septet to launch her new CD at Hippo, comprising Ryan Griffith (guitar, vocal), Dan McLean (trumpet), Tom Fell (tenor), Rob Lee (trombone), James Luke (bass) and Mark Sutton (drums).

Old and young guns, pt.1

The concert was entitled 21+75 because it marked the recent birthdays of each artist. Andy Butler was the junior; Bernie McGann the senior. If this expresses the quality of jazz in Australia as it has been and as it will be, I can only be proud. These were two seriously satisfying sets, and I was not the only one who left in thrall.

Andy led a big band (and for one tune, an octet) performing a series of charts that he’s developed with sponsorship and mentoring from Steve Newcomb under an Australia Council program. I know the band is brought together for this performance, so I was mightily impressed by how easily the band took to the charts. They weren’t easy, with odd times and syncopated conversational passages back and forth between parts. There may have been a touch of hesitation from the horns but nothing at all from Mark on drums. I particularly noticed his solo, which was solid, even magisterial. And a mix on a decent PA made all the difference. You always hear the snakey reeds and the blasting trumpets, but the tuba can be lost with its bell pointing to the ceiling. Tonight it was here and proud and speaking with its own voice. There were solos all round, of course, but the excitement here is in the tone and the orchestration and composition. The first tune was as yet unnamed and I heard it in 7/4 but perhaps with 4/4 passages. Poco was a highly syncopated unyielding pattern over 16 with a buzzing bee swarm as resolution. I missed the third tune’s title, but it was sleazy and slow and arranged for octet. The big band returned for Ode to Skype, if I remember correctly, in triple time. Andy later told me he communicates with Steve (and his girlfriend) over Skype. The final tune was Tightrope. There as a lively buzz in the foyer after Andy’s concert: for the pride in achievement as well as for the beer line. This gig was joyously received and Andy was talking of other gigs. But how to do this with such a large outfit? We can only hope.

Andy Butler (piano, composer) led big band comprising John Mackey, Niels Rosendahl, Matt Handel, Tom Fell (saxes), Miroslav Bukovsky, Alex Raupach, Ax Long, Scott Temby (trumpets), Rob Lee, Valdis Thomann, Patrick Langdon (trombones), Peter McGovern (tuba), Max Alduca (bass) and Mark Sutton (drums)

Cyberhalides Jazz Photos by Brian Stewart

Words fail me

Everyone seemed to be excited at the interval but I was speechless. Bill Cunliffe led his trio with horns and it was very, very good. Stratospheric. But what did they play? Some originals but mostly standards, although with some arrangements. As a trio: My funny valentine, Just the way you are, Girl from Ipanema and a few originals. Hmmm. I do sets like that. (Think again: not quite like that). Then after the break, with four horns added to the trio and arrangements by Bill, it was Stolen moments and Hoedown and Recordame. I’ve done them, too (but not quite like that). He played an original Joe Henderson chart of Shade of Jade. When Bill played with Joe Henderson (yes, he played with Joe Henderson for a few gigs), he mostly played standards. Luckily John could supply that chart. John’s played on some Blue Note releases. I guess he had the chart from some outing or session with Joe Henderson. (I think: we are touching on jazz aristocracy here). I liked the tunes from Oliver Nelson; Blues and the abstract truth is a favourite album. Bill’s done a revisit CD for that. I tried to buy it but it was sold out: everyone was buying 5 CDs and there was nothing left when I arrived. In the break, everyone was talking about Bill’s party trick. He got the audience to suggest a jazz tune, a classical tune and a recent pop tune, then to vote on which he should play. In the end, the vote was Summertime, Rachmaninov’s Concerto no. 2 and Billie Jean. Then he played them, medley-like, interspersed and intermingled. Summertime blending in and out with Billie Jean; Rachmaninov too; then Summertime in a classical full-handed chord style, presumably à la Rachmaninov; then Billie Jean with Summertime fillers. No preparation; no charts. I’m awestruck. On stage, Eric and John were clapping with obvious respect. That’s when I decided words couldn’t do it. But words are all I have. Great trio; great visitors. The horns were great, too. Tight and beautifully intonated, and some great solos. Eric too. John without mention. Great night. Standards as they can be. Stunning and one for the memories. Words fail me.

Bill Cunliffe (piano, arrangements) led a trio with Eric Ajaye (bass) and John Riley (drums). For the second set they added four horns: Rob Lee (trombone), Miroslav Bukovsky (trumpet), Niels Rosendahl (alto, soprano saxes) and John Mackey (tenor sax).

Double header: set 2

John reappeared with the band he got together to perform his compositions for his recent Recital at the Jazz School. They had performed for the recital, and presented one ArtSound Friday Night Live (which I sadly missed), and this was their one gig. But what an gig! I always love the complexity of interwoven written horn lines. Here, the bell-like clarity of two trombones and trumpet/flugelhorn rang through, with Jo Lloyd’s impassioned alto fills. Wonderful, goodebumps material, this. Then time for solos all round. I noticed the diverse guitar styles, at least in solos: Andy’s rapid lines; Matt’s minimalist explorations. Raf especially commented on their accompaniment; I missed most behind the horns but noticed some single note counterpoint that was fascinating. Raf was involved and entertaining as he inevitably is, with slap and solos on his Yamaha. Grey did another minimal but melodic solo, accompanied by unison voice. Jo always excites, and was no less here, sounding increasingly professional in style and comprehension. Rob’s solo was melodic and rich; Valdis’ was more simple but strong and emphatic. Bari always reminds me of Mingus bands, and I enjoyed Tom’s solo. John was leading so more out front, the smiling leader, again more outspoken in this context than in the Boys. They played a version of Freddie Freeloader, but otherwise it was originals with lush front line harmonies ringing with the clarity of brass over a range of changing rhythms and grooves – funk, rock, jazz, 12/8, 6/4, well varied. There was some intonation that wasn’t perfect, but this is not a regularly performing band and the music is not trivial or constant. But it was was vibrant, alive, informed music. Truly impressive stuff.

Three By 3 was led by John Milton (drums) and played charts compased and arranaged by him. The rest of the band was Jonty Hall (trumpet), Joe Lloyd (alto saxophone), Rob Lee (trombone), Valdis Thomann (trombone), Tom Fell (baritone sax), Matt Lustri and Andy Campbell (guitars), Grey Milton (piano, vocals) and Rafael Jerjen (bass).

Earthy and with a history

I’ve been writing up James LeFevre quite a bit lately, what with his Minque gig and his graduation, so just a short note and some pics. James led his new Quintet for an ArtSound broadcast last Friday. It was a mix of old and new. Old like the Gary Bartz tune, Eastern blues, that they’ve been playing forever. It’s a favourite arrangement of mine, with a line that insinuates with earthy simplicity but unexpected , oddly truncated repeats. This bluesy feel and some funk and grooves are standard for the band. James observed that their first CD, Point A, didn’t have any II-IV-I turnarounds and not even any swing passages. The band’s like that. Kay Chinnery is new on drums, and introduces a “dirty”, down-home feel. Guitar also replaces keyboards, with Matt Lustri playing funky and sometimes spacey. Chris Pound was not the first bassist, but he’s been around a while. He’s always reliable and sweetly toned and grooves well. Rob Lee is the perennial, along with James. Trombone seems such a popular instrument with musos, despite its low awareness for many listeners. It’s fat and brassy-clear and honey-like and seems to complement other instruments so well. I enjoyed watching over Rob’s shoulder as he played written lines, observing how he dropped some notes and interpreted quavers and triplets with considerable flexibility and personality. This is the jazz approach, of course, but it’s interesting to be watching it in real time. A nice, earthy outing of a band with local history.

The James LeFevre Quintet featured James LeFevre (tenor), Rob Lee (trombone), Matt Lustri (guitar), Chris Pound (bass) and Kay Chinnery (drums).

Support Jazz @ Folkus

It was a poor showing at the Folkus jam session this month, despite having James LeFevre’s interesting and involving band as host. Folkus will need more interest and support if it’s not to go the way of the sadly missed White Eagle. So, form your jamming groups and come along. Perhaps try to organise a jam band for an upcoming session using CJ on Facebook. Whatever, get along and support this initiative.

I arrived late, so missed most of James’ set. What I heard was worldly, relaxed and inventive. Kane was missing on bass, so Ben had a doubly demanding job having to cover the bass lines on piano, but even so it was comfortable and capable. The band will be playing for JazzGroove in the next few months, and they’ve described themselves thus: “original material drawing upon a smorgasbord of influences encompassing Jazz, Dance, Blues, Funk, Latin, Hip Hop and gypsy music of the Balkans … characterised by its contrast of intricate, extended arrangements with open, loose blowing sections”. Nicely put. No wonder I like it.

Kooky Fandango also did a short set. They impress me as having a pure, light, precise tonality. Their music is a mix of jazz and latin, and even some blues at times, and is precise and flowing and open. Peter plays a hugely clear tone on his 6-string Alembic (Series 1, no less!), and even takes on a guitar-like accompaniment role at times, and I think that’s part of the open sound. They play a sweet and pleasant, but grooving and interesting music; just perfect with white wines on a warm Sunday afternoon.

I got to play a few tunes, initially with James’ band, then with the addition of the horns from Kooky Fandango and a nice bongo player for a solo and some additional rhythmic complexity. It’s easy to play with such trained players; it all just falls together. I especially enjoyed Evan Dorrian on drums. He offered smiles of encouragement along with some very smooth drum solos that were very clear expressions of the underlying tunes. I also noticed how James worked as a leader. Having a leader can really pull things together. He’d just casually lean over and say a few words like “sit on that”, and the form of the piece just fell into place. Nice one.

I think the next session will have original music from Dan MacLean and I’m hoping for my Toucani to be there for a short set. Looking forward to it already. Get out and support Jazz @ Folkus.

Jazz at Folkus jams are held the third Saturday every month, 2-5pm. Entry free for players; otherwise $12/$10. Folkus Room, Serbian Club, Mawson. Queries contact Cameron Smith 0422 842 605

The Fevre at Hippo

By Daniel Wild

As I had to catch the last and “relatively late” bus at 11:25pm I was unable to catch the third set of this gig – the time when a band usually breaks loose and you may even see a few loose dancers rise from the audience.

The first two sets had a mixture of west coast and bebop styles, mostly originals. It is refreshing to hear a trombone as it can really bolster the depth of a small group and hint at a big band sound. Rob Lee’s trombone was restrained and inventive, adding another layer to the heads of tunes and a mellow contrast to Le Fevre’s more cerebral solos. Lee seemed fully in control and created good space and rhythmic freedom while exploring the trombone’s murky registers.

James Le Fevre built up his solos nicely, both in an individual sense, and as the evening progressed. By the second set he was emitting some adventurous squeaks, squeals, anguished wails and grunts reminiscent of Dizzy Gillespie. Evan Dorrian did a good job backing Le Fevre’s syncopated melodies on drums. Most of the first two sets had driving straight-eights beats and Dorrian didn’t get distracted by Le Fevre’s intrepidity, managing some well timed flourishes. His drum solos had taste and tonal interest, with varying attacks and good use of the high-hat and side drums. He might have overused the drum-roll and could think about taking the beat further out during his solos.

The bass was fine with Kane Watters swapping between an electric bass and what appeared to be a five string acoustic bass, although my eyes may have deceived me. The fusion nature of the music wasn’t suited to bass soloing so there weren’t many of these. Also, perhaps the electric bass was a touch too loud – it had a good clear percussive attack though.

Ben Foster was cool and refined on keys, using mostly Hammond organ effects. I wouldn’t have minded an occasional use of piano but that could have destroyed the continuity of the electric ambience. My only wish to hear piano stems from being a bit of a jazz piano purist and wanting to see someone with Ben Foster’s skills show off his chops.

The first piece had a decidedly Herbie Hancock feel with a funky bass and laid back organ flavourings. Later Foster made use of “wah-wah” synth effects, and, as the second set slowed pace, watery electric piano accompanied LeFevre’s musings. The second piece had interesting harmonic content as eastern scales were explored and blended with a jazz sensibility. The Coltrane influence is here: Le Fevre likes to achieve the dry sound, jagged scalar patterns and eastern influences of Coltrane’s later years.

Apart from Hancock, that other doyen of electric jazz, Sun Ra, was also in evidence. One piece began with spacey, pulsating synth effects and the interplay between trombone and sax was well balanced during looser improvisations while maintaining tension.

The audience enjoyed the evening. People of all ages jostled for sitting room while Canberra jazz school students such as drummer Mark Body and trombonist Sophie were in attendance. John Mackey arrived during the second set and watched appreciatively from the bar. James leads his band well – his quintet contains a promising group of growing local musicians.

Pics coming soon

James LeFevre Quintet's website

PM and all that jazz

Crickey.com doesn’t often venture into the jazz scene in Canberra, but it seems there’s a (very minor) controversy going on in its letters pages over the new government’s ways.

Simon Thomsen writes: Re. "Tips and rumours" (yesterday, item 8). Crikey published: "For his Australia Day diplomatic corps bash at the Lodge, Rudd or his office have chosen a jazz combo, replacing the old bush bands singing Aussie songs that Howard used to favour. And I thought Rudd was an Australian music fan!" Why would Rudd having a jazz combo for Australia Day (over a bush band) be incompatible with Australian music? Fair dinkum! Has your anonymous tipster never heard of Paul Grabowsky, James Morrison, Don Burrows, Renee Geyer, Kate Ceberano, Katie Noonan, Vince Jones, Grace Knight, Bernie McGann, The Necks, The Basement, Wangaratta, Galapagos Duck and their 90s album raising funds to save the hairy-nosed wombat... Strewth cobber, I thought we voted out that sort of cultural cringe last November.
(Crickey online, link, 25 Jan 2008).

I’m with the respondent. It’s obvious to me that Australia is a rich, educated and culturally diverse country. I don’t like to see pollies play the nationalist/Sons of Empire game. Howard excelled and revelled in just this sort of spin. Probably there’s spin in Rudd’s choice too, even if only for the local diplomatic corps: his war on education, and a more inclusive, more modern vision of Australia. I'm much more comfortable with this than the Howard picture. Given this is an ex-diplomat entertaining the local reps of other countries on our national day, this seems a particularly significant gesture.

I can claim a little part in this. When PM&C (Department of Prime Minister & Cabinet) found ANU closed for the holidays, they got onto CJ for names of Jazz School students who could play. Interestingly, they asked for students (note, not James Morrison or his ilk). I provided a few names, and James LeFevre got the gig in the end. Congrats to James. That’s memorable: playing for the PM at the Lodge on Australia Day. But congrats must also go to the PM for his support, awareness and interest. It’s a good sign.

Marie LeBrun sang with the James LeFevre Quintet. The Quintet comprised James LeFevre (sax, leader), Rob Lee (trombone), Ben Foster (keyboards), Phill Jenkins (bass), Evan Dorrian (drums).

To finish, let me recount my similarly memorable gig. I was playing with a Bush Band (quite a coincidence!) in the late '80s, the Bicentennial era. We played at Rupert Murdoch's property at Cavan for a party he staged for ~24 visiting US newspaper publishers and editors. All the local dignitories of the time were there: Keating, Wran and the like. Hawke arrived late and by helicopter. Impressive entrance? To us, maybe, but the world-weary editor we were chatting to just muttered "tinpot dictator". He'd obviously seen as much elsewhere.

Open at ArtSound (AS1)

ArtSound ran its annual radiothon over the weekend. This year, the radiothon was dubbed “88 keys to happiness”. 88 keys; sounds familiar. ArtSound was collecting to fund its recent purchase of a new Yamaha grand piano (C6?) for its recording studio. I hear the sound of the Yamaha grand through $15,000 of Neumann mics is superb, so the studio just gets more attractive. Keep it in mind if you are seeking a moderately priced, professional studio with top mics and 48 channel digital tracking, pleasant surroundings and capable engineering. On the day, it was nice to see a solid level of support for the radiothon during the morning. And you can put your name to a piano key if you wish to be remembered.

The radiothon featured an open day at ArtSound’s studios at the Manuka Arts Centre studios on Saturday. There was coffee, grog, snags, politician visits (it being an election campaign), and 5 bands playing live to air from the courtyard amongst switches back to the studio. As always, this was an interesting and very professional day run by the mostly volunteer staff of the station. We are lucky to have such a resource, especially as it’s so knowledgeable and supportive of the jazz scene in Canberra.

I caught three bands of the five: James LeFevre Quintet and Quantum Theory, both from the Jazz School, and Kooky Fandango, made up of amateur players around town.

James LeFevre played a similar set to that at Moruya. Well played, bluesy, entertaining, with a fine collection of players. They play a wonderful arrangement of a piece from Gary Bartz, Eastern Blues. This locates the music: rootsy 70s jazz-funk. Great stuff. It’s a style I love, and one that I reckon is eminently sellable. And the players do it so well. They set up and sustain grooves, but more involving is the way the develop intensity, from quiet and searching to raging solos, then sudden decays to almost subliminal. There’s a drum solo in Eastern Blues which says it all: instruments playing a unison line (common enough) supporting the solo, but arranged so the unison line changes time signatures and intensifies over the solo. The front line of tenor (sometimes baritone) and trom is a nice one, and the rhythm unit of acoustic/electric bass (Kane has a job with frequent changes), Evan’s excellent drums and Ben’s wonderful keyboard fills and choppy funky styles works a treat. A very entertaining and capable band with original arrangements and charts. James LeFevre (tenor, baritone sax) plays with Rob Lee (trombone), Kane Watters (electric, acoustic basses), Ben Foster (keyboard) and Evan Dorrian (drums).

ArtSound FM 92.7

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The beat goes on (Moruya 2)

Moruya 1

James LeFevre followed Red Barron with a down-to-earth jazz set heavily influenced by down South, New Orleans gumbo. Organ, keyboard effects, bluesy riffs and funky rhythms. Lots of fun, and very impressive. Again, there were originals, at least one by Rob on trom. I particularly liked a Gary Bartz tune, Eastern blues. This was salty music; right for getting the audience moving, and well played. James is organising a tour for this band, so good luck and have fun. James was his entertaining self, both for his patter, and has sax playing. He’s one of few who play the baritone sax, which is always good for a touch of humour with its earthy bottom end. Kane played capably on both instruments, but had the unenviable job of frequent changes. Rob is a stalwart, playing heads and soloing with some panache. Ben is a fabulously clean and capable. This gig featured keyboards and organ, uniquely different keyboard skills and he did the job wonderfully. I loved his ring modulated solo later in the night. It was that type of gig. Evan Dorrian is another upcomer. His drumming is strongly driving and richly interesting. He’s another one to watch. The JLeF Quintet was James LeFevre (saxes), Rob Lee (trombone), Ben Foster (keyboards), Evan Dorrian (drums), Kane Watters (acoustic and electric bass).

I just managed a few minutes each for the Catherine Hunter Quintet at the Golf Club and Fionna Tamin’s band. Catherine H was supremely professional but pretty mainstream. Not unexpected for these professional outfits: they need to entertain to eat, after all. I heard the gig at the Air Raid Tavern the next night was great, but I missed that one. I didn't hear much of Fionna’s band, but it included some original tunes by Fionna herself, and capable singing.

I missed the ANU Big Band this weekend, but I did hear the Recording Ensemble twice, and in surprisingly unusual circumstances. They’re playing a treat, in preparation for the Wangaratta Festival and the end of this year’s band. There was a power blackout for one performance (as Australia sinks to third world, resource dependent status), so we had the unusual opportunity to hear the Rec Ens unplugged. The harmonies were sweet, but it lost a good deal of the verve and vigour, with guitar reduced to chank-chank and the bass struggling to be heard above naturally loud horns. When the power came back on, there was an unruly rush to get Carl Morgan on the job, and play this the way it’s meant to be. I reported on a recent Rec Ens performance, and the charts were largely similar, except a new one by Nick Combes called Portrait of the artist as an angry (young) man. It’s a dedication to James Joyce (obviously) and Charles Mingus (obvious enough when you hear it). I heard it twice in two concerts and loved it. An intro bass solo by Bill Williams is followed by a rhythm set up by the baritone sax, then layered over by various horns. All in blues scales reminiscent of Mingus. Lovely stuff. Congrats to Nick; well done.

I also caught the Commercial Band. This was their final performance in this incarnation and perhaps that’s why they played with such verve. I had heard of a great performance the night before that I had missed, but this last one excelled. The intro was an extended (60sec+) cacophony of all instruments, leading into Footprints and Sophie Leslie singing her original lyrics. Hot from the top. Thereafter came Tower of Power funk, power guitar, trumpet and sax solos, a fabulously hot rhythm section from Evan Dorrian, Stu McKnown and Ben Foster (let’s face it guys, a rhythm section like this makes it so easy for the rest of you). Eric Ajaye was lounging in the corner proudly surveying his handwork. The day was warm, the band was hot, and the sun was out. This was bliss. Like all things, it had to end, but the next version of the Comms will have quite a reputation to match after this performance.

I did just catch one traditional big band: Spectrum Showband. This is a long-standing group of amateur players around Canberra, and a great training ensemble. I only heard a tune, so not enough to comment, but they were sweet and capable and I’ve got a pic.

Moruya 3