Canb Jazz Fest 1

Thanks to Nigel and Beth and Bevan for the latest take on a Canberra Jazz festival.  They have the venue, a main stage and several smaller spaces, so this is very likely to be workable and the return next year had already been announced.  Great!  And Day 1 was a friendly, often inspiring outing.  First up was Tom Fell and his quartet which I raved about when I saw them recently.  Tom with Damian Slingsby, Nick McBride and James Luke on bass this time, so a classy and capable outfit playing music from Tom's new CD and at least one standard, Isfahan, with a plea for peace in our times.  Not the only performance that had such a theme appear.  I wrote sweet, correct, understated, adult, but there were some spots where it let go too.  Tom's soprano sax is his expansive, dirty, dissonant instrument: his tenor seems to pop up for more balladic numbers.  Then upstairs for Mic Knight trio, a reformation with offsiders who have now left Canberra for Melbourne given the ructions at ANUSOM, Evan Teece and Oliver Stott.  These were more let-go, unrelenting takes on standards, Almost like being in love, Green Dolphin St, Stella.  I like the unrelenting outlandish playing and but personally melted over James Luke's certainty and clarity with Tom.  Brett Hirst was to offer that later, too.  Then Wanderlust, Miro's fabulous, band of stars with the most delicious originals melodies out, not least Bronte Cafe, once regular star on ABCRN.  I had to leave towards the end.  I managed ~35mins and they had only finished their second tune.  This was Miro with James Greening, John Mackey, Alister Spence, Fabian Hevia and Lachlan Coventry.  Miro said they hadn't played together for 18montsh but you wouldn't know it.  Smooth, inventive, glorious harmonies on delightful melodies, almost casual passing of solos, with Miro looking around in admiration and joy.  It all started with a considerably free piano solo, then into the bass groove and head.  Solos from front line, Miro essential, James playful, John nicely developed but ultimately explosive.  Perhaps piano and maybe bass and drums, then to the head.  Then a joyous chatter and into Bronte Cafe.  It's a wonderfully joyous tune, again Miro and explosive John, but amusingly then James bringing it down with his communicative leading solo.  That really was a wonder, and perhaps then Fabian's solo.  Not sure.  But suffice to say I dreaded that I had to go, but some duties called.  

Tom Fell (soprano, tenor) performed with Damian Slingsby (piano), James Luke (bass) and Nick McBride (drums).  Mic Knight  performed with Evan Teece (bass) and Oliver Stott (drums).  Wanderlust comprised Miro Bukovsky (trumpet, flugelhorn) with James Greening (trombone), John Mackey (tenor), Alister Spence (piano), Lachlan Coventry (bass) and Fabian Hevia (drums).  They performed at the inaugural Canberra Jazz Festival at Smiths. 

Birthday

This was Geoff's Jazz at Smiths and it was a special celebration, of the wonder of the long-standing band Wanderlust, and also the long-standing trumpeter who brought it together around 35 years ago in Sydney, Miroslav Bukovsky.  Anyone who knows Miro loves him so this was a special event.  And Wanderlust is such a perfect name for the music they play.  The tunes virtually were all by Wanderlust, often by Miro himself, and they were expansive, with only 9 tunes over two sets totalling about 2 hours.   So there was time to explore, another aspect of good travel.  But most obvious were the tunes themselves that spoke of a wide world, one samba in 3, one mambo, one from Burundi, one speaking to South Africa and Nelson Mandela, a final one just called Peace please, which speaks to all time and very much to now.  There was one cover, astonishingly called Wanderlust by Duke Ellington, a far more relaxed, luxuriant tune with nothing like the exploratory quest of this band, but still superbly lovely, as Ellington just is.  The band was superb, of course, understated, easily spoken, intriguing in harmony and melody, and settling into the most immersive grooves.  Which reminds me of a discovery I made listening to Miro's compositions, that trumpeters play melody so beautifully and thus write lovely melodies.  I guess it's related to the harmonic series that's the nature of technique on brass.  If not recorded already (surely it must be!) I reckon there's a PhD in that.  So this was all good nature, a party surrounded by admirers and friends and wonderful good will.  It's a memory for the ages from a band lasting ages.  Dry wit and so much joy.  Happy birthday for Miro's 80th and long may Wanderlust and the wanderlust remain.

Wanderlust performed at Smiths for Geoff's Jazz and Miro's 90th birthday.  Wanderlust are Miroslav Bukovsky (trumpet, flugelhorn), John Mackey (tenor), Alister Spence (piano, keyboards), Jeremy Sawkins (guitar), Fabian Hevia (percussion) and Lachlan Coventry (bass, guitar) with guest Tom Fell (baritone, soprano saxes).  They were joined by Alex Raupach (trumpet) and Richard Johnson (bass clarinet) for some final tunes.

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Then old friends Wanderlust.  Now this was amusing as well as inviting and attractive.  Firstly, the tunes are to die for.  We hear a small number mostly at every Wanderlust concert, but I never tire of the colourful melodies and  insistent, somewhat international grooves and the three part front line and the solos.   They are in their 30th year but not playing too much, given Covid.  I imagined them flying by the seat of their pants but this is jazz.  Miro organising, passing or calling for solos, those unique feels, the amusements of James and all, really.  When do you see the saxist putting down his glasses on the stand, the trumpeter picking them up, the trombonist checking them out too, all while a delirious solo is taking place, with all in place for John when he's finished, you can only smile in collusion.  Then glorious startups from Fabian, all percussive rather than drum-styled, an unexpected solo started from Brendan when the audience didn't seem to want an end to the concert, and those delightful and expansive solos and fills from Alister.  Mightily musical but so much more; an intensely joyous event but also just lovely, inviting tunes.  How can you not love this outfit?

 And now for something completely different: The Morrisons.  This was classy country/roots/whatever.  Nice harmonies, up feels, fiddle and a string of stringed instruments, banjo, two guitars, a mandolin or similar and bass with slap-style playing. Someone mentioned Australian bluegrass and confirmed the lyrics and stories and compositions were local.  That's good.  I liked this outfit, capable and lively and happy.  Also nice was the location in the Lord Anson pub, so a chance to eat and have a beer.  A very different experience to the church-cum-concert hall events and a chance to chat with neighbours.

 Wanderlust and The Morrisons played at the inaugural Orange Winter Jazz Festival. Wanderlust comprised Miroslav Bukovsky (trumpet, flugelhorn), James Greening (trombone), John Mackey (tenor), Jeremy Sawkins (guitar), Alister Spence (piano), Brendan Clarke (bass) and Fabian Hevia (drums, percussion).  No names given in the program for The Morrisons.

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Next up was Andy Nelson playing singer-songwriter rootsy music with a cast of characters, guitar/vocals with violin, viola, e-guitar and bass.  An interesting sound with authenticity. 

Then This world again.  They were in the Holy Trinity Church with touchy sound, so not as enjoyable as the previous outing, but this is quality stuff with some drop dead gorgeous solos all round, especially sax and bass. 

Then a touch of Persian/jazz crossover with Eishan Ensemble.  The core player seems to be Hamed, playing Tar and composing.  Of course, these are different sounds to my ears and that was intriguing.  First up was a solo Tar piece, then into an ensemble piece with very simple chord structure and pretty simple melodies.  BTW, the Tar a lute-like stringed instrument from Iran with three pair of strings tuned unison C,G,C and a single bass string tuned G.  I need to hear more before I understand.  Nice to see Max getting around. 

Andy Nelson, This World and Eishan Ensemble played at the inaugural Orange Winter Jazz Festival.  Andy Nelson (guitar, vocals) was joined by a string of accompanists.  This World comprises Mike Nock (piano), Julien Wilson (sax), Jonathan Zwartz (bass) and Hamish Stuart (drums).  Eishan Ensemble comprised Hamed Sadeghi (tar), Michael Avgenicos (sax), Pedram Layegh (guitar), Adem Yilmaz (drums, percussion) and Maximillian Alduca (bass).

Wander at will

I did just see them passing by - I have a few times - but I was blown out as always. Miro got Wandlerlust together for a gig at the Jazz Haus and it was a stunner. From the first bars of a lengthy, adventurous piano solo from Alister to open up, through the renowned Wanderlust songbook and a few newbies and a delightful standard by Duke Ellington called Wanderlust, no doubt, this was a thing of wonder. Bronte Cafe is famed not just for the band but for its incarnation as a theme on ABCRN a few years back. Dakkar just sits luxuriantly. There a good bit of Africa here, with one from Jeremy (missed the title) and Miro's Pressure makes diamonds (a fabulous title dedicated to Nelson Mandela). And deep grooves with Delicatessence and the latin/New Orleans Mumbo Jumbo. And that deliciously beautiful tune, again by Miro, Peace please, which they played as an encore and profound ending. This was Wanderlust as lustful as I've ever seen them. Gloriously tight and intoned heads that sit over infectious rhythms; James with his ever-gleeful presence and deeply satisfying solos; John and Brendan as the local visitors and insanely effective; Alister as deeply, harmonically investigative, Fabian all infectious latin, Jeremy often unobtrusive then guitar clean and melodic. Megan asked about some of the background, where these overly capable musicians on riffs spelling complex African grooves. Backing solos or backing out completely for solo bass or drums or guitar to play genuinely alone. Just so good. Great players know when to talk and when to sit. And again, those perfect heads. Someone mentioned there's not much ensemble playing. No, not written. These are mostly infectious grooves with gloriously melodic heads and space for improv that they leave to these great players. Did I say I enjoyed it? Hugely enjoyable tunes from the best of players. What's not to like?

Wanderlust appeared at the Jazz Haus. Wanderlust were Miroslav Bukovsky (trumpet, flueglhorn), John Mackey (tenor), James Greening (trombone), Alister Spence (piano), Jeremy Sawkins (guitar), Brendan Clarke (bass) and Fabian Hevia (drums).

When Simon met wonder

I'm listening to Reina De La Pileta a as I write this. It's the album launched the other night at the Street Theatre by Simon Milman with Wanderlust. Simon composed the music. it's strongly influenced by his latin background and interests, and it's very good. I've admired Simon's compositions and performances for some time. Whether Ornette-influenced or Latin or whatever, his work has purpose. The launch was in the Street Theatre 2, an intimate performance space, with a few wide rows of seating and a good PA and an upright piano. Fabian was unavoidably absent and ably replaced by Steve Marin. Otherwise, this was the Wanderlust we know and love. James and Miro up front, forming perfect harmonies and Miro in some of the best form I've heard with clarity and perfectly formed notes and inevitably correct phrasing and sweeping scalar responses. James seems to be playing more trumpet these days, so he was on trumpet, pocket trumpet and trom and a few beats on cajon. Again, always impeccably phrased and intoned lines. Alister withheld his playing with some immensely simple but well placed small chords that fit latin and one reggae feel, but then laid out some solos that floored me and that we mates talked about after the performance, delving into syncopations and sequences and then into a delicious free jazz of colour and magnificent in conception and performance. This was not a gig of solos, although everyone had at least one - the horns had plenty - but from the relaxed grooves, these solos just emerged with intent and energy and they all were lessons in melody and structure. Then Jeremy, who mostly played supportive parts and also laid out at times, but took a few driven Scofield monster-solos and I think one on nylon strung acoustic, but his playing that floored me was some richly dissonant chording in one of the tunes that said Bitches Brew to my ears. Very prominent and just fabulous. Simon, too, was mostly supportive (he could have been louder in the mix) rather than flashy, but his solo was a lovely melodic statement with real connection and no phony flash or flourish, more than just a bop overlay over the changes. Drummer Steve was sitting in, apparently at short notice, and he did the job admirably, laying rhythms and nicely snapping the snare, and his solo was a cracker that not just Miro and ever-supportive James were admiring. Wanderlust is a band of long standing with mature musicians and an engaging repertoire. Simon's compositions did them justice and vice-versa. The first set comprised tracks from the album and the second had more album tunes and some Wanderlust classics and Simon's take on Cold Chisel's Khe Sahn. After the intro, I guessed this would be Khe Sahn (I knew Simon had arranged this tune) but even then I only caught one phrase in a 10-minute rendition. James' comment at the end was "Where did that come from?" It wasn't at all obvious, but it was another goody. Congrats to both Simon and Wanderlust for an enticing evening of exceptional playing. Truly impressive.

Simon Milman (compositions) launched the album Reina De La Pileta / Wanderlust meets Simon Milman. The performers were Miroslav Bukovsky (trumpet, flugelhorn), James Greening (trumpet, pocket trumpet, trombone), Jeremy Sawkins (guitar), Alister Spence (piano), Simon Milman (bass) and Steve Marin (drums).

The family according to James (DHJF-6)

No jazz scene around Australia is so large that you don’t see common faces. Perhaps the most common face on the Sydney jazz scene is James Greening, although that may just be my Canberra-centric view (he visits Canberra to teach at ANUSM). Phil Slater, Jonathon Zwartz, Matt McMahon and others popped up several times during the DHJF. It’s like a family round here.

Ten Part Invention was the very first band I caught over the weekend. They’ve been around for decades and I’d only heard them in their first years. They are a largish ensemble committed to playing Australian music. Their repertoire on the day was mostly by Sandy Evans and Miroslav Bukovsky, both members of the band. I was particularly enamoured by a chart from Roger Frampton called Three mothers which was a richly orchestrated blend of early bop and heavy syncopated hits. John Pochée and a few others of this era always mention Roger Frampton; he’s obviously held in considerable awe. I always love a jazz orchestra and this one is inventive and mature. Great playing and much enjoyed. Ten Part Invention are John Pochée (drums), Steve Arie (bass), Paul McNamara (piano), Paul Cutlan (baritone sax), Andrew Robson (alto sax), Matthew Ottignon (tenor sax), Sandy Evans (tenor sax, flute), Miroslav Bukovsky (trumpet), James Greening (trombone, pocket trumpet), Warwick Alder (trumpet).

The catholics are always a joy to hear with engrossing grooves and rich percussion and comfortable solos. This time they had to laugh off a suddenly disappearing audience that ran for cover when the rain set in and left them playing to a Darling Harbour wall of cafes and eateries well in the distance (the Floating stage was not my favourite – too distant). I was interested to hear a Barney McAll tune and also a 9/8 from Sandy Evans called Floating on an emerald green sea, and Doin’ the Darwin walk with an infectious, dancy, trancy bass groove and a solo of soprano sax and pocket trumpet. Always a pleasure. The catholics were Sandy Evans (saxes), James Greening (trombone, pocket trumpet), John Peace (guitar), Gary Daley (accordion), Lloyd Swanton (bass), Toby Hall (drums), Fabian Hevia (percussion).

Wanderlust are another favourite world-jazz fusion ensemble with those incredibly popular and infectious grooves and simple but satisfying melodies. I don’t see how anyone can sit inert to tunes like Samba nova, and there’s humour around too, as in the title Year of the pig that Miro was jokingly apologetic for. Wanderlust are Miroslav Bukovsky (trumpet), James Greening (trombone), Alister Spence (piano), Jeremy Sawkins (guitar), Zoe Hauptman (bass) and Fabian Hevia (drums).

Jonathon Zwartz presented his ensemble early on Sunday, and such a pleasure it was, starting with mystical, watery tones of his CD the Sea, and progressing through a funky Curtis Mayfield tribute with sweet harmonies reminiscent of New Orleans. Jonathon’s writing is spare in melody with bass-aware grooves. This was quite a highlight, and the rain held off for a decent and appreciative audience. The Jonathan Zwartz Ensemble comprises JZ (bass), Matt McMahon (piano), Hamish Stewart (drums), Fabian Hevia (percussion), Phil Slater (trumpet), Richard Maegraith (tenor), James Greening (trombone) and Jonathan’s daughter, Martha Zwartz (vocals), premiered with pretty pop tune.

Vince Jones didn’t use James but I think of him in the same circles, so I’ll report him here. Vince is touching and always purposeful. His passions are on his shoulder and I admire him for it, although I dare say some might not. This is touching, careful, understated music with lyrics that mean something and are anything but post-modern irony. He described them as grafitti for the soul and I can only concur. Songs about the cost of housing (Can’t afford to live, can’t afford to die) or family tragedies out of WW1 (Rainbow cake). This is touching and empathetic in more than just a musical sense. Beautiful songs with a reason. Vince Jones (vocals, trumpet) played with Matt McMahon (piano), Aaron Flower (guitar), Ben Waples (bass) and Simon Barker (drums).

Open mic: Wanderlust

I missed Wanderlust at the Band Room on Monday so I’d like to hear your comments on the gig.

I didn’t miss them a few weeks ago at Jazz Uncovered. It was a superb gig. There was a good crowd, comfortably ensconced in a large hall with a very good PA, everyone a bit weary after a solidly music-rich day. Wanderlust performed a 90 minute set, so there was no rush. The grooves were steady and evolving, the melodies were those simple but insinuatingly ones that we love from this band. The players were close and interactive, keeping eyes open and smiling freely, and the solos expressed this aurally. John Mackey sat in towards the end, playing his explosive style but perfectly in synch. It was a memorable gig, so it was with some disappointment that I didn’t catch this visit.

But it wasn’t a wasted night. Megan and I went back 400 years to Ben Johnson’s comedy of conmen, The Alchemist, performed with energy and masses of patter, by the Bell Shakespeare and Queensland Theatre Companies. It's a very different experience and quite out of time, despite the claims of relevance in this time of the GFC. And what got me was how verbal plays of this era were. There was just such a massive amount of text: over two hours of rapid fire, non-stop patter. I enjoy language (I’m no film buff; they are too often too visual) and this had one lengthy script. Quite an effort on everyone’s part, but worth a chuckle.

Just click on the comments link below and have your say on Wanderlust, or even The Alchemist if you so desire.

JU Mingus

Mingus was stage number 1, with the best PA, the homebase for ArtSound, the venue for Wanderlust and the biggest room. There was no particular hierarchy of bands, but I guess everyone wanted to play here. It was a big space, so could lack intimacy. But it worked wonders for Wanderlust, when everyone was there together, and the room didn’t seem so big any more. Wanderlust was the one band I sat down and just enjoyed, and they were the best I’ve heard them. A magical outing.