To end the academic year

It was the end of recitals for the year, and there was a good humour and a buzz in the studio when Fourth Degree Byrnes played for ArtSound on Friday night. There were nerves (to be expected at a live studio broadcast) and some seriousness, too, but the mood was pretty light otherwise. Neveen Byrnes led a team of fellow final year students for an end-of-week outing.

They played several originals by Neveen, Lost and found, Ignorance is bliss and one that was not named, one original by Andy Campbell, Milk (amusingly followed on the night by that well known Stanley Turrentine swinger, Sugar), as well as several standards: Jobim’s Triste, Invitation, Wayne Shorter’s Juju, and interestingly, a funky, bass-heavy Miles Davis/Marcus Miller tune from the Amandala album, Hannibal. This was home for Stu, the bassist, who I’ve mostly seen slapping and popping with the Commercials. He’s an excellent slapper, and perfectly capable in this more traditional environment, but I’d guess fingerstyle isn’t his first love.

This got me thinking of musical personalities. Our musical personalities are formed from what we hear, what we learn, as well as being an expression of our broader personalities. Musical and general personalities may seem to others to be in opposition or in harmony, although I expect they will always be related somehow. Excuse the amateur musical psychology, but I saw Neveen’s musical presence as more reticent and steely, somewhat introspective, and quite a contrast from the buoyant, perhaps jubilant and overflowing style of Andy’s guitar. These were different takes on the music (both valid but clearly different), and I could hear the changes as the solos passed from one to another. Stu was more restrained in this context than his slappy, funky self (I noticed real concentration on his face during Invitation) and Hugh displayed quite an quietly outspoken style when he broke into blatant tom rolls and fills that featured richly in some solos.

It was an entertaining and artful show and a fitting end to the musical year. You have a chance to catch the band again this coming Tues at 9pm in the Trinity Bar, Dickson. The Trinity Tuesday scene sounds great (I haven’t got there yet during this incarnation). Do yourself a favour and go down for the free night and discount drinks.

Fourth Degree Byrnes is led by Neveen Byrnes (tenor sax) with Andy Campbell (guitar), Stu McKnown (bass) and Hugh Deacon (drums).

Large ensembles coming out

About this time each year, the large Jazz School ensembles perform on home turf for family and friends. This year, last night, it was the turn of the Recording Ensemble and the Commercial Ensemble. These are competitive entry bands; they are open to anyone in the Jazz School. Auditions are held each year, and a hot first year can replace a long term player. So there’s an element of pride the outfits, and a go-ahead edge to their performances. This night is like their annual coming out performance. Otherwise, there are gigs at various festivals and a planned recording for the Recording Ensemble, for these students to make their mark and impress outside of Canberra.

The first set was by the Recording Ensemble, led by Miroslav Bukovsky. The band started with a tune written by Miro called 10 Part Invention Blues. Right from the start, we heard the rich tonal and harmonic colours of this orchestrated, recorded style of music. It’s a blissful sound, and is the reason people hanker after bands of this size. It just doesn’t come with small outfits; it’s dependent on capable orchestration and numerous instruments to play the parts. The band played six tunes in the set. There were several written or orchestrated by Miro, including numbers for his band 10 Part Invention and a version of Oliver Nelson’s classic, Stolen moments. Jenna Cave provided a chart dedicated to Wayne Shorter called Little Shorter. The playing was typically competent all round. Carl impressed, as always, with some blistering solos. I took particular note of solos by Alistair, Jonno and Sebastian, but the performance was a group effort, and these weren’t the only notable soloists. The rhythm section was superb. We’re seeing lots of Bill and Ed around town, and there’s good reason. They play well together, they each play with great delicacy and responsiveness, they hold a rock solid steady swing, and they solo with panache. Lovely stuff.

The Recording Ensemble is Ed Rodrigues (drums), Bill Williams (bass), Carl Morgan (guitar), Dave Rodriguez (guitar), Kayla Corlis (trumpet), Jonno Apps (trumpet, flugelhorn), Alistair Clarke (trombone), James LeFevre (alto, baritone sax), Jo Lloyd (alto sax), Sebastian Macintosh (tenor, soprano sax), Nick Combe (tenor sax), Miroslav Bukovsky (leader).

The Commercial Ensemble provided the second set. There was quite a deal of overlap in membership in the horn section, but otherwise this was a different experience. This is the Letterman-style band. Bold and brassy, playing hot, funky charts. Where the Recording Ensemble gives us sublimity and colour, the Commercial Ensemble gives us beat and life. It’s not a matter of better or worse, although it can be a matter of preference. Eric Ajaye leads this band. They started with a great version of Wayne Shorter’s Footprints, with Sophie singing her own original lyrics. This was followed by a funky blues number by Bill Cunliffe with a great unison intro. Then a laid back, New Orleans-style chart by Les Sabrina dedicated to basketball and called Shoot the hoop; a Pat Metheny-style tune (which Eric introduced with a glimpse at the geography of Oregon and Washington State); a hard, funky Bob Mintzer chart called Go-go; a ballad by Matt Harris in the style of Michael Brecker; and to finish the night, a fast latin piece also by Matt Harris, called Bacio innocente. Again, there were capable solos all round, and again Carl lifted the roof. As a bassist, I particularly liked the great sound Stu pulled when playing slap on a Musicman bass, with Eden amp and speakers – smooth and balanced, with a lively but sweet top end.

The Commercial Ensemble is Ben Foster (piano), Evan Dorrian (drums), Stu McKnown (bass), Carl Morgan (guitar), Kayla Corlis (trumpet), Jonno Apps (trumpet, flugelhorn), Alistair Clarke (trombone), James LeFevre (alto, baritone sax), Sebastian Macintosh (tenor, soprano sax), Sophie Leslie (vocals), Eric Ajaye (leader).

So, a great night of rich and funky playing. I’ll look forward to hearing more of both these outfits over the rest of the year.

White Eagle jammers

Here are the four jamming groups for the last White Eagle Jazz session. Don’t miss the next session. These sessions are off to a great start. There were about 30 people at the first event, and about 120 at the second. Some work’s required on the PA, but it’s a great night and interesting food and drink on tap. It opens at 7.30 and starts promptly at 8pm, so get there early for the full show.

Afro Blue. Played by Mike Azzopardi (piano), Carl Morgan (guitar), James Luke (bass), Andrew Swift (drums), Sebastian McIntosh (tenor sax)

Nostalgia in Times Square, Oleo. Played by Julian Banks (tenor sax), Daniel Hunter (guitar), Wayne Kelly (piano), Andrew Swift (drums), Brendan Clarke (bass)

Things ain’t what they used to be. Played by Hannah James (bass), Jono Apps (trumpet), Al Clarke (trombone), James LeFevre (tenor sax), Ben Foster (piano), Dave Rodriguez (guitar), Sam Young (drums)

My romance. Played by Hugh Deacon (drums), Madeleine Hawke (vocals), Stu McKnown (bass), Sebastian McIntosh (tenor sax), Andy Campbell (guitar)