Kind of blue

Miroslav Bukovsky and mates presented a tribute to Miles a few months ago. I missed because I was overseas, so I was happy to see that it was to be reprised at the Alliance Francaise. The tribute was called Kind of Blue, but it was more a celebration of the late-50s Miles by one of his many admirers, Miro. They played all the tracks from Kind of blue, with occasional transcriptions and the addition of intros as on the album. But they also played three tunes from the Louis Malle film, L’Ascenseur pour l’echafaud, and a tune called MDD (Miles Dewey Davis) that Miro had written on the day Miles died, along with Milestones, that early modal piece from Miles’ hard-bop, pre-cool era. And very satisfying it was, too.

Most of the tunes from KoB have become jazz standards, and we hear them regularly when jazzers are blowing: So what, Freddie Freeloader and All blues. Blue in green is less common, as is Flamenco sketches. These later are lovely, pensive pieces with Bill Evans harmonies and both were a joy. It was nice to remember that even the common tunes were actually fairly slow and cool in the originals, while they are often now performed up-tempo and with verve. The horns up front were lovely, with those simple, stark but effective melodies to start each of these minimally composed numbers. The soloing was good by all throughout. John’s powerhouse tone and showers of notes and a bible of substitutions. Miro with his Harmon mute for the gentler numbers, or rapidly running the changes with blaring trumpet volume. Sebastian more bluesy then dissolving into dissonant lines and honks and interval studies. Joe Lloyd ever the emotional, passionate downhill run across the whole range of the alto. The rhythm section was another batch of local stars. Luke’s comping was imaginative and responsive and leading but also understated. Ed was the sharp and precise across the dynamic range, constantly changing tones and sounds on his kit with different sticks of mallets or brushes. Hannah was regular and solid throughout long, fast hard-bop walks, up into thumb positions and down to the low E-string. The rhythm section soloed with panache, too. Hannah’s solos were well-formed little gems that were especially memorable on the gentle pieces like Blue in green . Ed’s solos were also short, but strong and clear in intent. Luke’s were rich plays with harmonies as only a pianist can do, right hand working busily up and down the keyboard.

The three tunes from L’Ascenseur pour l’echafaud were new to me. Miles extended a visit to Paris and recorded the soundtrack for this film for release in 1959. Three tunes: the first was a classic, plaintive Miles melody with Harmon mute. The second was a rolling swing. The third was a fast swing, light and slightly unstable, careening, which appeared in the film behind a car chase. The final tune of the night was an elegy to Miles by Miro. A lovely tune played with feeling and sometimes funereal drums from Ed. So, a satisfying night. A few transcriptions, but mostly original playing influenced by the master from this masterful period of the last 1950s. Much enjoyed.

Miroslav Bukovsky (trumpet) led a band with Joe Lloyd (alto sax), Sebastian McIntosh (tenor sax), Luke Sweeting (piano), Hannah James (bass) and Ed Rodrigues (drums). John Mackey (tenor sax) appeared as “+1”.

Other side of the coin

Dave, Bill and Ed returned to ArtSound, this time with Sebastian, for an outing with their originals band, Quantum Theory. I wrote of the Dave, Bill and Ed trio broadcasting only two weeks ago. They played pure and refined sets of standards, as is their way at their Belgian Beer Café residency. They get lots of practice there, and it’s evident in their smooth, but worthy, interpretations of the standards repertoire. But the trio also reincarnates as Quantum Theory with Sebastian McIntosh on sax. They played a wonderful set at Jazz Uncovered, performing a transcription of James Muller’s album, Thrum. This night at ArtSound included a couple from that set, along with a few modern standouts, Wayne Shorter’s Fee Fi Fo Fum, Jerry Bergonzi, In a sentimental mood, and Miles’ Seven steps to Heaven. But the main features were originals, by Sebastian and Dave. I was amused by the first title, Dave’s Ambiguous stomach feeling. The tune itself was not at all upsetting, being a steady, unison melody dropping into blues solos. Sebastian’s M was a lively swing, which eminently suits Bill and Ed. Ang Street (?) was slow and thoughtful; Where is Mr Heisenberg was offered to Physics geeks (obviously University banter) and was lively and richly syncopated. Dave’s Where are we going was another modern melody-rich piece and a nice vehicle for bass. These are an easily identifiable outfit. Ed is busy and precise and committed. Bill is similarly committed, swinging with a solid groove and soloing with clear melodic intent. Dave is the distilled, clean guitarist, so unlike the many busy players on his instrument. Sebastian speaks intelligently on tenor, imploring and pleading and often falling into sprays of a-rhythmic notes and extended dissonance. Two sides of a coin: the standards trio, and the modern originals outfit. I really can’t claim to have a preference – they are both central to the styles that I love.

Quantum Theory comprises Sebastian McIntosh (sax), Dave Rodriguez (guitar), Bill Williams (bass) and Ed Rodrigues (drums). They broadcast from ArtSound’s studio for Friday Night Live.

Busy night

I’ve been busy, but with few gigs, so I enjoyed getting out last night. This one cost me a chance to sit in on Joe Lloyd’s band at ArtSound, at least for the full session, but your dutiful reporter managed a few pics anyway.

First, the gig. This one was a quartet pulled together at the last minute to fill an offered spot. I’d named the outfit The Crispians expecting it to be made up of members of my commercial band, Crisp, but only pianist Peter was available in the end. Neveen from the Jazz School filled the tenor role and Robert Nesci of Kooky Fandango filled in on drums. We chose from the Real Book, had a great time, and even played with considerable liveliness. The gig was on the pavement at King O’Malley’s, with plenty of drinkers and passers-by, and later a big band in competition (Blamey Street BB started playing towards the end of our gig on the Garema Place stage). That just brought out the aggro, and we all turned up and played with that much more vigour. Much enjoyed and thanks to fellow Crispians.

Neveen Byrnes (tenor) played with Peter Kirkup (piano), Robert Nesci (drums) and Eric Pozza (bass) as the Crispians.

I caught Joe Lloyd’s Quintet on ArtSound’s Friday Night Live on radio, then another a few minutes in the studio for some pics. They play music of an era that I love immensely. I think Joe had written all the charts. I’ve heard this band once before and was hugely impressed both times. They play a modal style with pretty simple underlying harmonies, thoughtful heads, and intriguingly dissonant solos. To me, this is bliss. There were three saxes out front (Joe leading on alto, with John Mackey and Sebastian Macintosh on tenors) and a piano trio rhythm section (Luke Sweeting, Hannah James and Ed Rodrigues). Ed was sitting in for Matt Sykes for the night, and John was a featured extra. Listening on car radio is fraught, so I didn’t manage the subtleties. But all horns were playing an exploratory, open, harmonically inventive style. I noticed Joe and Seb drop into screaming outbursts, while John tended to hold more within (always mobile) harmonic statements with nice historical leanings. Luke was masterful with modern fourths sounds and jagged lines. Ed was pushing the band with incredible energy, and I felt the style suited Hannah, because it was a very comfortable and solid bass underlying the solos and melodies. JLQ is playing at Jazz Uncovered so catch them if you can.

Joe Lloyd (alto) led a quintet with John Mackey (tenor), Sebastian McIntosh (tenor), Luke Sweeting (piano), Hannah James (bass) and Ed Rodrigues (drums).

Honorary alumnus for the night

I guess I got invited as a friend, because I definitely haven’t studied at ANU (although I do have a sandstone university in my past). The event was the annual Canberra Summer Reception for ANU Alumni and Friends. Ian Chubb spoke, and it was held at the ANU Arts School, of which the Music School is a part. I’d expected to find lots of the ANU jazz scene there, but in the end, there was just Dave Rodriguez’s quartet playing, and a few hundred not too recent graduates. Anyway, Dave’s band was good, I met a few old friends and one current student who I know, and had a few free beers, so it was pleasant enough.

Dave played with Bill, Ed and Sebastian. I only caught a few tunes, but they were smooth as silk, beautifully played standards. This band now has a long history of performances in this style, and they do it with panache. I particularly liked Recordame, and heard a few others I don’t remember, then mingled and visited the various galleries and workshops. Then a beer and the VC, Ian Chubb. The weather was good, so the evening was pleasant. Nice enough way to wile away a few hours.

Sebastian McIntosh played with Ed Rodrigues, Bill Williams and Dave Rodriguez at the ANU School of Arts.

Looking bigger still (Moruya 5)

Large ensembles are big, loud, complex and supremely satisfying. Every jazz nut loves great soloing, but large ensembles are perhaps my favourite. The interaction of parts, the harmonic movements, the diverse tonalities, the rhythmic intricacy, and the unification of all this, which is the composer’s chart.

The ANUSM brings all three of its large ensembles to Moruya. This year, I only caught two: the Commercial Band and the Recording Ensemble. It’s an ongoing game for me to pick a favourite as the bands play each gig, or changes their members or repertoire over time. I loved the hot and sticky Commercials, but the Recording Ensemble got my vote this year. Last year, it was the Commercials. No matter; they’re all fabulous in their own ways.

The Recording Ensemble set had a lovely edge of student humour which partly set it apart. Sebastian McIntosh entertained with droll introductions and Miro was like the proud father at the end congratulating the band for its creativity, but there was seriousness in the original compositions and the performances. It’s clear these guys are friends, and this shows in the music, not just in the repartee. No doubt there’s some competition, but there’s also support for well stated solos and well arranged parts. I remember Nick Combe’s impressive Mingus-influenced composition from last year. This year, Sebastian joked it was the “Nick Combe Show” after the set started with a run of tunes by Nick. He’s impressing as a strong composer/arranger. Somehow, performing on the baritone sax just seems to fit this mold. Other tunes were an arrangement of Monk by Kayla Corlis and Matt Sykes’ original composition, River. I also noticed the doubled-up rhythm section. Two guitarists are common enough, but not two drummers and two bassists. And these instruments (even Chris Pound on electric bass and Hannah James on acoustic bass) often enough played together. It lends another level of complexity, especially to rhythm, and an extended and unusual palette for visceral tunes like River.

The Commercials were fast and exciting and hot and sweaty as they should be. This is fun music and challenging charts, and it had the audience braying for more. There was one original here: the band started with Kayla Corlis’ 8 o’clock traffic (a constant source of amusement for bandmaster Eric Ajaye, who’s experienced traffic in LA as well as our rather less challenging peak hour traffic in Canberra). But mostly these are covers or purchased charts. They did their version of Prince’s Thieves in the temple, Marvin Gaye’s spine-tingling classic, What’s going on, and Jaco’s Chicken as their high-spirited departure tune. Great fun, hot chops, funky and loud, as this style should be.

There was more to the festival than just these bands. I also caught snippets of various other bands, and missed many others. Mike Hallam’s Hot Six and Waiting for Guinness and Syncopators were professional and entertaining and drew the crowds. Spicey Fruit Chutney was folkey and lively and were well received. I just missed or caught just a few bars of old friends Mother’s ruin, and Pierre Kammacher in various outfits and Kooky Fandango. I sadly missed offerings by Lilly Henderson and her dad’s annual funk outing, Turner’s antidote, and Austin Benjamin’s trio playing their own music, and James LeFevre’s latest outfit, and Jo Lloyd’s quintet. Also Moondance, for whom I almost filled in on bass, and who won the audience choice award. I would have liked to have heard All the things you would be if Sigmund Freud’s wife was your mother. With a name like that, it’d have to be suitably experimental. But you can’t catch everything, even at the smallish Moruya Festival, so I take the philosophical approach that I also use when I travel: you should always save something for your return. It’s a much more relaxed way to travel or to attend a festival.

Thanks to the Moruya Festival committee for a pleasant few days, great weather, beautiful local beaches, and the loan of your lovely, intimate town as the backdrop for the music. The 12th was another successful festival of jazz and a locum of musical companionship. Thanks from your mates from the moderately bigger smoke, Canberra. Looking forward to next year.