Something happy

So said the bass player: “Please can you write something happy”. And Peta Gammie wrote a lovely jazz-influenced ballad that swung lightly and with pathos rather than joy. But this was the only tune I heard that I recognised as jazz. Not that that’s a problem. She’s a good composer of soul or rock or funk songs on very personal issues of love and its consequences (if with a twist, like morning and non-morning partners living together). And Peta can carry the style off, with a strong mid-range voice that she uses capably and with evident and satisfying jazz-trained precision in pitch and note values. It was a friendly and sometimes amusing concert, if just a little nervous. The high heels that found the hole in the floor were an unexpected surprise. The relief felt by travellers returning home was evident in comments on the Aussie pronunciation of water (d for t)and the audience’s understanding of her patter between songs. Peta’s been in Geneva for the last 6 or 7 years, but comes from around Kiama and studied at the Jazz School here in Canberra, so this concert was somewhat a gathering of friends. The band was fitting, too. Mark beating such apt, flailing grooves and fills. Jason laying down busy, finger-funk bass lines with that middy, woody Warwick tone into a man-sized bass rig. Greg mostly strumming light, funk styles on strat but letting go for some devastating guitar solos culminating in sequences and sweeps. Ya have to love it! John leading on melody and soloing with some bluesy lines, but then insinuating sophisticated dissonances into busy grooves. And Luke on edgy Nord piano tones sweeping over the keyboard, and just one time at the end, introducing organ (I wished I’d heard more of this).

But it was more than just a concert. CIT is a training ground for video and audio engineers, as well as musicians and the music business. So we had a mega production, with big PA, big lights, big screens. I loved the sound of the PA, running well below its capacity and totally unstressed. I didn’t always like the mixing. I found it sometimes too edgy and cluttered and unbalanced for my ears, but I’m the backseat driver here. Mixing is harder than it looks. I enjoyed the video. It gave a different view of some things, and I found myself watching it several times, even with the live act only metres away. But one thing was disconcerting: there was a slight but noticeable delay between the PA sounds and the projected video. I know they delay sound for speakers at different distances from stage at big stadium gigs. That wouldn’t have been feasible here, where we were seeing the life performer just metres away, but it was strange to observe.

Peta’s songs were all originals, other than one Elvis Costello tune, I want you. Annabelle Jones sat in with acoustic guitar and nice harmonies for one tune. Utopia Collective played the first set, with their highly capable fusion, finishing with a tune John had introduced to the band only 5 minutes before. As I remember, it had a rock groove, a busy but constant bassline, one or few chords, a devilish melody that John must have known, and otherwise five very capable musos who pulled it off with ease (if a few nerves).

I enjoyed the night, enjoyed the sound and the experience, and especially enjoyed Peta’s soulful music and personal lyrics with such a capable backing band. Peta Gammie (vocals) sang with the Utopia Collective. The Utopia Collective is Greg Stott (guitar), John Mackey (tenor), Luke Sweeting (keyboard), Jason Varlet (bass), Mark Sutton (drums).

My JU2010 / 2

The ANU Recording Ensemble is a favourite of mine and I was excited that they could perform. It’s not always easy to get such a large ensemble together. They had to squeeze on the Lowe/Milman stage (so named because drummer Aidan Lowe and bassist Simon Milman played virtually every set on this stage). I missed most of this set, but what snippets I heard seemed more minimalist and expressionist than I had heard from them before.

Utopia Collective was to feature excellent Sydney bassist, Jonathon Zwartz, but a software glitch at Virgin Blue ticketing detained him. Eric Ajaye sat in and did an excellent job, of course. I was to observe later just how different were the styles of these two wonderful bassists. Possibly because of the changed bass seat, Utopia played a more standards-based set than usual, although with its funky fusion soul always on show. This is steaming, ecstatic, extroverted music played by a supremely competent set of players: long solos, screaming guitars, speed and unapologetic excitement. Great playing and great fun.

Mates and JU committee members featured in Kooky Fandango. Cam Smith and Courtney Stark were on the committee for JU2009, and Cam was on again this year. This is a collection of mates (Sarah Nielsen sitting in for this performance) playing gentle funky tunes with a touch of blues, and interestingly without a chordal instrument other than Peter Barta’s 6-string bass. An unusual and gently funky approach.

It’s inevitable that you can’t catch everything when there are multiple stages. I caught just a few bars of Alex Raupach’s band, enough for a pic, but I remember them from an ArtSound broadcast. The outfit is a vehicle for Alex’s lyrical originals, where brass is wonderfully matched to Rachael Thoms’ lyric soprano voice.

In the meantime, a few school bands appeared on the Blackboard stage. Here are a few pics.

It’s getting later in the day by now, and we are starting to see some of the visitors. Firstly, the Hauptmann Trio. Zoe, Ben and James Hauptmann are well known in Sydney and equally known here in Canberra as local products. They are very well respected in various fields, but often seem to exude a feel of rock or blues or country that has obviously informed their playing. It’s an attractive and infectious sound. Here, in the family trio, Ben seemed to lead with his guitar defining so much of the melody and feel and providing the patter on stage. But the grooves were strong and steady (there’s an authority in the grooves from both Zoe and James) and Ben’s playing was looped and effected and his solos were rock hard and overdrive-screaming. I have enough rock background to love such indulgence! And the choice of Moon River for one of their reworkings was memorable. It’s such a lovely, sentimental tune.

As Famous as the Moon appeared without drums for this incarnation, playing as a trio of tenor, guitar and bass guitar. AFATM is perhaps the premier smooth jazz outfit around Canberra. I’ve played a few gigs with them and enjoyed them immensely. This outfit is so mature and easy going and liquid and well versed. This is one for the cocktail hours: smooth but in no way lacking in purpose or beauty or seriousness.

JU M-Base

Number 3 downstairs. Generally the funky stage, although shared with AFATM at the smooth end. Big area, food and bar. This is M-Base, a way of life, not just a musical style. I particularly noted some shredding from Utopia Collective and orchestrated horns reminiscent of Mingus from Lakeside Circus, and two Committee Cam and Courtney from the JU Committee played in Kooky.

Utopia redux

The Utopia Collective broadcast from ArtSound for last night’s Friday Night Live. Greg Stott and John Mackey have been expanding the old Greg Stott Band theme to be a looser collection of musos playing music by all members, so the Collective theme. It’s exciting and perhaps a little utopian, but always interesting with varying repertoire and players and interpretations and presumably also leadership for the different tunes.

This performance had Greg and John with Mark Sutton and James Luke. They are all players we see together in various settings, and who are all well known to each other, so it was comfortable. And the sound of this version of the band was very different: because it was in a studio with no audible audience, and because it was a different lineup. James seemed more mellifluous, less funky, more experimental, than Jason Varlet, their normal bassist. No comment on quality here; they are both very capable players, but they are different. So the style seemed more free-flowing, less defined; plenty of go-ahead energy, but less funk/rock power. And there was no keyboard, so the harmonic structure was more open. But that’s why the collective style is so interesting: different incarnations are different. In the studio it was obvious, as they passed solos around, that there was a good deal of looseness. We got powerful, racy solos as always from these guys. James won the prize for effects on the night with something outrageously audacious that sounded like a superior autowah crossed with octave pedal (Octavius Squeezer). The tunes were many that I recognised from earlier outings of this band, by Greg and by John. Strong and attractive and catholic in taste.

And congratulations are due to Chris Deacon and Lauren Black for ArtSound’s Friday Night Live. Apparently they are finalists in the National Programming Awards, with nominations in two categories: Excellence in Music Programming and Best Contribution to Local Music. The winners will be announced in a week or so at the National Conference of the Community Broadcasting Association. (Surprisingly, there are ~360 members in this association, presumably Australian. Community broadcasting is obviously much bigger sector than I’d expected. But then nothing really surprisies me about these guys after I learnt they have their own satellite!) It’s great work that Chis and Lauren do; winner or not. Many thanks and congratulations to our mates at ArtSound from CJ.

Just a short note to record a very satisfying broadcast. At least at this performance, the Utopia Collective comprised Greg Stott (guitar), John Mackey (tenor sax), James Luke (bass) and Mark Sutton (drums).

Octavius Squeezer

Visiting Utopia

I went to Utopia last night. Well, not THE Utopia, but I heard Utopia Collective, which is the lively, well-named and entertaining large ensemble led by Greg Stott. Greg had promised for some time to write big band charts, and he’s finally come good. It’s a big project; it’s well done, interesting, very competent, and it’s recorded.

The night started with a small band, essentially GSB (Greg Stott Band). Greg (guitar) with John Mackey (tenor sax), Jason Varlet (bass), Mark Sutton (drums) and Sydney player fresh from touring with silverchair, Adam Sofo (keyboards). I’d heard this band several times with Wayne Kelly on keys before his departure for Macau. Adam was new (the band only formed at 4.30pm preceeding the gig) but performed with zest and capability on piano, organ and other keyboards. I liked the way the styles of playing changed with the different keyboard sounds. You can’t play a sustained organ tone like a percussive piano. He seemed to drop into whatever with comfort. John mostly led on melodies and took the emotional highs with some flaming jazz solos (we expect and get no less from John). Greg soloed with sheets of notes, clear and expressive, and edgier when he picked up his strat. Jason played some occasional slap and clearly intentioned solos on bass, but impressed mostly as solid, well-formed and ultimately reliable, as a bassist should be. But I was entranced by Mark this night. His playing was an object lesson in driving the band through different rhythmic feels, and his solos merged imperceptibly with his backing playing. Wonderful playing by Mark, and all round. The tunes were by Greg and John. Greg’s Body politics is a blues with a great funky jazz trio segment. John’s Shorter straw is a dedication to Wayne Shorter. Greg’s Grey sky is a slower 3/4 piece with cut-time country-style bass, which I had previously described as country ballad. It reminds me of Mark Knopfler and the Local Hero theme so I guess that’s country style. Greg joked of years working years to be a jazz nazi, but playing this and several other pop charts later in the night just convinced me of his maturity and catholicism of approach. I like John’s It’s the only thing to do, and they played several other original tunes too.

The second set was the Utopia Collective itself. UC is a platform for big band charts by Greg, but also an opportunity to play with a batch of excellent players, and to record and video and perhaps to tour. The charts were good, the tunes were mostly originals, and there was a pair of vocals tunes in there too. Campervan was a lively start, and a tongue-in-cheek reference to Caravan. Maybe tomorrow started with flute and continued as thoughtful, melodic and restrained. A beginner’s guide to brainwashing was a world premiere, as well as a hot funky piece that I particularly liked. The final piece was a down-home organ-based swing that gave the back line an opportunity for a blow. Gary France is a ring-in from the classical percussion school. He added layers of percussion and sound, using various instruments which he shook or hit, as well as the more substantial congas and vibes, and I enjoyed his display of virtuosity with a vibes solo at the end of the night. The large band also played two pop songs, a Donny Hathaway and another, with singer Imogen Spong sitting in. Imogen sang with an impassioned, inflected, soul style. It’s not jazz vocals, but in the style of the divas of current popular soul (perhaps now called R&B) world, think Christina Aguilera. She’s already well-developed stylistically, but I felt there’s loads of further strength and confidence to come. She’s clearly one to watch.

There were other aspects of this night that impressed. It was held at the CIT auditorium. CIT trains in music and audio and video production. The sound was great, with a timbered chamber and a powerful, big-binned PA run at moderate volume, presumably with masses of headroom giving unstrained clarity over the full frequency range. I really enjoy an unstressed PA; this was a pleasure. There was a mixing station at the back of the room, with video screens and audio mixers and various processing toys. There were several video people peppered around the room. The stage was well laid out with depth and height and well lit with vibrant colours. It really was a great presentation. And there was an audience of friends and family at café-style tables, which always makes for a friendly and relaxed atmosphere at a gig.

So a very nice outing, interesting and very well played charts, and it’s all recorded for posterity. Greg’s planning an annual outing for the Utopia Collective. I hope they can tour or perform more often. I certainly hope to be at the next local gig. This is intelligent, entertaining music which crosses boundaries. Congrats to all.

The Utopia Collective comprised Greg Stott (guitar and leader), John Mackey (tenor sax), Mark Sutton (drums), Jason Varlet (bass), Adam Sofo (keyboards), Imogen Spong (vocals), Gary France (vibes, congas, percussion), Graeme Reynolds, Dan McLean and Ben Marston (trumpets), Rod Harding and Rob Lee (trombones), Matt O’Keefe (bass clarinet, baritone sax), Niels Rosendahl (tenor sax, clarinet), Andrew Hackwell (sax, flute), Lina Andonovska (flutes)