Di-vers-atility

I was about to comment on the many styles that Carl Dewhurst plays, when I overheard someone say just the same thing: “How versatile. He plays everything”. It was the end of the second set, and Carl and Chris Pound and Hugh Deacon had just finished a jumpy blues number, after a beauteous solo guitar version of Moonlight in Vermont. Before that, Wes Montgomery’s Full house was played with a dense and extended chordal solo. All the things you are was the base for a modern interpretation with contrasting rhythmic structures throughout. Baggy green was an original by Carl with a lovely bouncing bass and intriguing melodious chords. Well you needn’t and Summertime are common throwaways, but this time done with a modern freedom that we heard in All the things… There was another unnamed original that had Carl toying with tone, rough distortions with deadened sustain, and autowahs contrasting with sweet jazz guitar styles. I noted Chris’s ear here when he mirrored a few of Carl’s less furious melodies.

Carl’s a master of the guitar in Australia, appearing in a string of influential outfits in Sydney. He strides with fluent and fast guitar runs and alluring melodic work that explores the attributes of each scale, starting on any degree and finishing on ever-changing beats after runs of ever-varying length. But I was also taken by his clashing chords and tonal investigations, which seemed so unique and personal. Then again, his versatility shows in sweet, mainstream guitar and even chordal solos. None of this was short and bounded; his solos are long and intriguing explorations, and this just confirms his craft. Chris continues to blow me out. This was searching playing with considerable rhythmic and scalar freedom. There are walks but the essence is more open and free, and there’s a good deal of ear to guide this freedom, and a great sound to carry it over, clear and rounded with short sustain. Decent chops, too, but that’s taken for granted. Hugh is playing punchy and clean, moving rhythmic patterns around, soloing with sharp tones and exploring repetition, and I noted a lovely snare snap.

Trinity just keeps getting better at the moment. This is where the local jazz school crowd hangs out, with intriguing music, a comfortable environment, free entry and reasonable drink prices. One major local jazz club is a bit on the nose at the moment with complaints about pay and volume and noisy patrons. Trinity seems to do this well, with different areas for chatting and listening, and a decent listening audience. The stage is in a strange little corner, but it’s a good night and Candy’s doing a great job as organiser. A visiting master like Carl just adds to Trinity’s reputation. Recommended.

Carl Dewhurst (guitar) led a trio with Chris Pound (bass) and Hugh Deacon (drums) at Trinity Bar, Dickson. Carl plays again at the Belgian Beer Cellar at 6.30pm, Thurs 19 March. It’s late notice, but if you read this in time, get down there to catch one of Australia’s best jazz guitarists. Again, free entrance.

Nearer, my God, to thee

Excuse a little blasphemous humour, but Miles is a god for many of us. Last night, I had a blissful evening basking in a recreation of Miles’ Second Great Quintet (the ESP Quintet) of the mid-1960s. Joseph Taylor led a surprisingly mature, lively and authentic set of players through the intense, sustained but malleable, modal style of this quintet. From the top, it was unbroken music interspersed with recognisable melodies, mutating through varying meters and deep dynamics, sometimes sitting on a lone piano or bass then launching into a rapid walk with explosive drumming or dropping at the end of ecstatic solos to periods of calming recovery. Congratulations to the whole band for the satisfying and authentic interpretation of an era we only hear on CD. I much enjoyed Corey’s characteristic sparsely melodic style of Milesian trumpet. Joseph played the Wayne Shorter role, the more restrained but harmonically inventive follower of another god in Miles’ sax seat, Coltrane. This is a less dramatic and less authoritative role than Miles’, and he played it with considerable harmonic sophistication. And even if you only listened with your eyes, Corey and Joe formed a characteristically cool and nonchalant front line. Very well done! Luke’s piano was endlessly responsive and supportive, with nice fourths tonalities and especially with lovely, falling modal chordal movements. Ed was heavier and more fiery in this context, responding to Luke’s rhythmic suggestions, and always pushing change and exploring meters and rhythms, and blasting out strongly accented fills. There were times the rhythm section seemed telepathic. I was stunned when they dropped into unison whole note triplets with seemingly no hint it was coming. Just that tap of the hi-hat, I guess. Bill was at his best: long, fast bass walks high on the neck; slightly buzzy tone that was so solid and of clear tonality; and some solo lines that had me grinning with his alacrity. Overall, the sound was a bit unbalanced, but it’s an odd little corner they play in. The tunes are well-enough known: Round midnight, Milestones, Footprints and the like. But the interpretations moved far from base, as it had done with the original quintet. This was no sauntering about or unguided search. This felt like solid exploration, intelligent, passionate and powerful, with an occasional return to the base which is the melody.

I’ve missed a few good shows recently after perhaps too much of a good thing. But this return to the source was just the medicine. Thanks to Joe and mates for a refreshing visit to one of the lifebloods of modern jazz. It was a blowout. And thanks also to Candy Amble and mates who organise the Trinity jazz sessions on Tuesday evenings. It’s a comfy venue, the music cycles weekly through various interesting bands associated with the jazz school and it’s free entry. This was the final Tuesday Trinity for this year; watch the CJCalendar for a startup in the new year. It’s an excellent development and highly recommended.

Joseph Taylor (tenor sax) played with Corey Booth (trumpet), Luke Sweeting (piano), Bill Williams (bass) and Ed Rodrigues (drums) on a tribute to Mile Davis’ second great quintet of the mid-1960s.

Tuesdays @ Trinity (Facebook group)

Trinity Jazz

Trinity Jazz
Originally uploaded by petelawley.

Thanks to Pete Lawley for this pic from the Trinity Bar Tuesday evening sessions. Found on Flickr.

Trinity Bar keeps on keeping on

CSM Jazz School students continue to play regularly at Trinity Bar in Dickson. I understand this is a standing event over the last 2 years or so. Varying members, but originally Charlie Meadows (guitar), Chris Thwaite (drums) and James Luke (bass). Great little trio playing open and creative modern interpretations of standards and more. They appeared recently at Hippo's as The Coverts (great name). I don't know the current lineup. If anyone has any info, please enter in a comment to this post. Jazz continues every Tues night, and alternate Fridays (tonight, 24 Jun 2005, then fortnightly). Alternate Fridays is a DJ. Free entry and atmospheric surroundings.