Bass awards

Bass is the instrument for the National Jazz Awards at this year’s Wangaratta Jazz Festival. I'm not there, but I’ve just listened to the finals on ABCFM JazzTrack. The finalists don't seem controversial: Sam Anning, Phil Stack and Ben Waples. All are worthy players. I know the first two from several performances in Canberra. I’ve heard Ben, but don’t feel I know him as well as the other two. The judges were Mike Nock with Craig Scott and Jonathon Zwartz. I’m interested to see if I agree with the results this year. I was at Wang last year and came to a different decision from that of the judges. But they were capable judges, so it just shows the personal nature of such things. I have various thoughts on this year's performances and I’ll only give the smallest summary here. For the record (written before I hear the results), I would give it to Sam Anning for intellectual adventurousness and harmonic richness, second to Phil Stack for exuberance and drive, and third to Ben Waples. I'm not too keen on competitions like this and all three are all capable players, but life is like that.

And the results are ...

First: Phil Stack, Second: Ben Waples, Third: Sam Anning.

Congrats to all three, irrespective of results, and to the seven others who performed over the weekend, and who we didn't hear on the radio. Also to the great accompanists, Sam Keevers (piano) and Simon Barker (drums).

Watching the watchers (Wang 6)

Wang 5

Obviously CJ’s reports have featured the performers: it is a jazz festival, after all. Wangaratta is a festival for the top players, so it’s a passive event for many musos who would play at lesser events, and also for those who just love the art and attend to listen. The Festival Office told me there were 25,000 attendees at this festival. I wouldn’t have guessed that number, although Saturday was a busy day in town. Good to see so many people attending jazz, but it did have its down side. The obvious corollary were the queues. They were long for many of the key performances, and sometimes late comers didn’t get in.

The prereserved seats were one answer. The festival pass cost $135, and you could prebook seats for certain high profile concerts for an additional $10 each. I found it was definitely worth it for Dave Holland, but not necessary for anything else. But it does avoid the queues and gives you prime, front- or second-row seats, where you can hear the stage sound, and take pics up close. But then, most of the reserved seats remained unfilled even after the gig started.

The public event was in Ross Street which was closed off for a session of food and wine and free entertainment, and there were loads in attendance there. Good food & grog too, this being a famed region for wineries. The ANU Recording Ensemble played in this space, as did various school bands and other performers. I just caught one band playing popular big band jazz, but very capably.

The late nighters congregated at the Hotel Pinsent for the jam sessions. I attended one night, but found it pretty predictable (all the standard blues and bop tunes) and too loud. But it was lively, and the beer went down easily at the end of the day. I heard plenty of people complaining of lack of sleep.

ABC broadcasted several sessions from the Town Hall, so we got to put faces to several presenters we hear regularly on FM or RN. The print journos were there too. I met Peter Nelson (Advertiser, Australian), Roger Mitchell (Herald Sun), Jessica Nicholas (Age) and John Shand (Sydney Morning Herald). Amusingly, they were to review the festival in 450, 600 or 1,200 words. 450? Impossible, but that’s the editor’s limit. At least it’s good to see the Festival getting written up.

As for the social side, I found it very friendly. Most people on the streets were there for jazz, and they were open and friendly, and you always had a topic for conversation: the latest gig or whatever. There was a considerable Canberra contingent, too. Given CJ’s Canberra-centricity, one thing I liked was the opportunity to hear Melbourne musos. We tend to get the Sydney contingent visiting Canberra, but Melbourne also has an active jazz scene to catch up on.

The venues were huddled together within a few paces, which was good given the rain. But there will be a major change next year. The Town Hall is due to be demolished, and a new cultural centre should be under construction. Perhaps the sound will be better, but I dread the formality of a concert-hall-like venue. And just what will be the main venue for the 2008 festival, while construction is underway, is not advised. Perhaps a marquee.

Accomodation is the other factor. The hotels and motels are booked out well ahead, and many stay in local towns and drive in. There’s also a home-stay on offer through the Festival Office. I took that, and got breakfast and a cumfy caravan within walking distance of the venues, at a cost well below that of a motel room. Also, it gives you an entrée to the locals, so it’s a sociable option, especially if the family doesn’t quite share your passions and decided to stay at home!

And more (Wang 5)

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You hear loads of music at a festival. I didn’t take notes so all I can give is some remaining impressions rekindled by looking at pics of the various outfits. Here are some of those favourite pics, and perhaps some short comments on the various outfits. Apologies to the worthy bands I missed, but you have to leave some for next time.

Sean Wayland (piano) played a quartet set with James Muller (guitar), Matt Penman (bass) and Jochen Ruckert (drums). Sean is much respected, and I’ve heard at least one tune dedicated to him by other players. He’s now based in New York. This gig presented his NY trio with the addition of James Muller. Always a pleasure to hear guys like this. James is never a disappointment. Matt was a common sight on stage at this festival. It’s interesting watching players at this level, especially bassists. They don’t necessarily impress with chops, but more with style and substance. This was deceptively simple playing with real class.

Dan Rader presented straight bop and post-bop using very competent players and led by a performer with a long history. The Quintet was Dan Rader (trumpet), Willow Neilson (tenor), Gerard Masters (piano), Brendan Clarke (bass) and Tim Firth (drums). I was particularly taken by some more modern, out soloing by Gerard. Obviously, so was Don as he looked on with respect. Some originals and plenty of known tunes.

Judy Bailey is a blast from my vinyl past. I’m sure I have an album from the 70s by JB. Capable, post bop playing in a trio with equally competent Craig Scott (bass) and Tim Firth (drums).

Jex Saarelaht (piano) led a quartet with Julien Wilson (saxes), Sam Anning (bass) and Danny Fischer (drums).

Julien Wilson (tenor sax) reappeared with Stephen Grant (accordion) and Steve Magnussen (guitar) in the Elana Stone (vocals) Quartet playing sea shanties and similar songs.

Doug DeVries (classical guitar) played a solo session on nylon strung guitar in the local Holy Trinity Cathedral, and benefitted from the acoustics.

At the more challenging end of the scale, Ren Walters (guitar), Chris Bekker (bass guitar), Niko Schauble (drums) appeared as Tip with guest Tony Hicks (sax). Tip is a improvisational trio for frameworks provided by Ren. Challenging, yes, and very addictive as complex emotions and interplay grow before your eyes. And the first electric bass I saw for the event. Good, solid, middy tone which matched the music well.

The Pascal Schumacher Quartet featured all-Euro players: Pascal Schumacher (vibes), Jef Neve (piano), Christophe Devisscher (EUB=bass) and Jens Duppe (drums). This was a competent outfit playing original music, as I remember, with considerable variations in time signatures and grooves and quite a deal of arrangement. The grooves were in the Euro style, which always seems to me to be softer and less frantic than the US counterpart. I put it down to the influences of folk and classical music that are often so strong in Euro jazzers.

Another Euro band was actually an international collaboration between Melbourne and Denmark: Jakob Dinesen-Eugene Ball Quartet. This one displayed more raunchy US-style rhythms and harmonies. Danes Jakob Dinesen (tenor) and Guffi Pallesen (bass) and Melbournites Eugene Ball (trumpet) and Rajiv Jayaweera (drums) have played together several times in recent years. I liked this more anglo style, with good hard swings and attractive ballads.

Mark Isaacs (piano, composer) performed with James Muller (guitar), Matt Keegan (sax), Brett Hirst (bass) and Tim Firth (drums) as Resurgence. Mark is a significant Australian musician with considerable classical/jazz crossovers to his credit, having composed works for orchestra as well as playing with major jazz artists including Dave Holland and Roy Haynes. I found the music interesting in a fairly soft, arranged, Deodato style. Solos were mainly on one or two chord structures, and it was all done superbly professionally with excellent players.

Gest8 (as in gestate): only a woman could lead a band with this name. And so it was. Gest8 played the final concert of the festival program on the Sunday night. Gest8 is a musical vehicle of Sandy Evans and Tony Gorman, with Sandy up front leading on stage. It involves some interesting, new, experimental sounds and approaches. As well as more traditional jazz instruments, there’s a koto player and a computerist cum programmer on stage. The computer (Mac, not PC) was obviously processing sounds with echo and the like in real time. Interesting, but only obvious to me on one trumpet solo passage. I was amused by the tune Kaleidoscope, which is more in a straight modern jazz style. It’s a melody overlay over the chords of Giant Steps, so now it seems we have Giant Steps changes to match Rhythm changes. Gest8 comprises Sandy Evans (tenor, sporano saxes), Paul Cutlan (saxes, bass clarinet), Phil Slater (trumpet), Satsuki Odamura (koto), Carl Dewhurst (guitar), Steve Elphick (bass), Simon Barker (drums), Greg White (computers), with compositions and shared leadership by Sandy and Tony Gorman. Interesting, often gentle, always fascinating, frequently experimental jazz.

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JazzGroovin' (Wang 4)

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I love the sound of interweaving harmonies and varying tonalities that you get with large ensembles. So the JazzGroove Orchestra and composer/arranger/pianist Florian Ross were highlights for me. But JazzGroovers also appeared in a number of smaller band performances.

The JazzGroove Mothership Orchestra is a collection of musos from the JazzGroove stable in Sydney. They have realeased two albums: one comprising music of Mike Nock, arranged by members of the band and Mike Nock himself, and another performing the music of the German composer/arranger/pianist, Florian Ross. They have toured these sets in the past, and I’ve heard both of them in Canberra. This time, I got to hear both sets performed at one festival.

These are very capable, professional, working musos so the solos are authentic and effective, but what most impresses is the beauty of the collective work. The smooth tones of saxes, the blattering honks of troms and trumpets, the cascading patterns and textures, not to forget the driving rhythm section. James Muller is always a stunner when he plays, and it was no different here, but there were great solos all round by the likes of Roger Manins, David Theak (proud leader of the pack), Phil Slater, Matt Keagan and Jeremy Borthwick. The rhythm section was particularly satisfying, both in support or when featuring. Brendon Clarke and Evan Mannell were solid and sustained and driving. Evan’s drums fills were greatly satisfyingly driving despite occasionally having to fiddle with large charts. Guitar and piano comping was all apt and subtle. The band was largely unchanged between tunes and sets except for the pianist (Sean Wayland played the Mike Nock set, and Florian Ross played his set), and the swapping of a sax for a flute for one tune. These guys are always a knockout, and I wasn’t diappointed by either set. The Mothership are: David Theak, Murray Jackson, Matt Keagan, Roger Manins, Nick Bowd (saxes), Darryl Carthew, Phil Slater, Simon Ferenczi, Tim Crow (trumpets), Jeremy Borthwick, Danny Carmichael, John Hibbard, Colin Burrows (trombones), James Muller (guitar), Brendan Clarke (bass), Evan Mannell (drums), Florian Ross or Sean Wayland (piano).

Perhaps my favourite session for the whole festival was Florian Ross’s 8 Ball. This was a smaller ensemble playing arranged music for 5 saxes and rhythm section of 3: eight players. The complexity and interactions of Florian’s music were still there, but the sax section gave a different, smoother and more languid sound. The performers were taken from the JazzGroove Orchestra, with Florian Ross himself on piano. Lovely. David Theak, Roger Manins, Richard Maegreith, Nick Bowd (saxes), Brendan Clarke (bass), Evan Mannell (drums), Florian Ross (piano).

Alcohotlicks were an odd combination (drums and two guitars) playing a pretty odd set for a jazz festival (somewhere amongst rockabilly, blues and fusion). Strange lineup too (no bassist): Zoe Hauptman lost the gig when she went off to China for a few months, and they (respectfully I’m sure, as only a brother can do) discovered they didn’t need her. But this was a little bunfight of a gig. Loud, fun, different, and much enjoyed. Alcohotlicks are James Hauptman (guitar), Aaron Flower (guitar) and Evan Mannell (drums). There was at least one other alt-jazz outfit (one with a turntablist) but I sadly missed it.

Slightly less challenging for the audience, but plenty challenging for the bassist, was 20th Century Dog. This is Cameron Undy’s compositional vehicle, but his place was taken on the day by Zoe Hauptman, as Cameron’s wife was giving birth any day. (Best of luck from CJ). Anyway, Zoe had one rehearsal, and they carried it off. These players are perfectly capable, so it’s not unexpected. Zoe seemed a little reticent but also enjoying the ride. I like these players. These were solid grooves and sharp soloing in a more rocky vein. On the day, 20th CD were Matt Keegan (tenor), Carl Dewhurst (guitar), Gerard Masters (piano), Simon Barker (drums) and Zoe Hauptman (electric bass). Just to highlight the Canberra connection, Zoe, Cameron and Carl are all Canberra born, bred and trained, although now resident in Sydney.

JazzGroove's website

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Trombones a close second (Wang 3)

Wang 2

It seems trombones are having their place in the sun at the moment. I’ve noted that in several CJ articles recently. Wang also provided its share: Robin Eubanks from Dave Holland’s Quintet; a pleasant surprise in Root 70 with Nils Wogram; and the busy young female trombonist, Shannon Barnett.

Dave Holland was the star international import and much awaited. He played on the Friday evening at the very start of the Festival. It was a high point of the festival, but thankfully didn’t end in an unhappy denouement. Robin Eubanks (trombone) was stunning and along with Chris Potter (tenor, soprano sax) were a formidable front line. Robin was stunning with clear, accurately intoned melody, solo and contrapuntal lines with minimal movement of the slide. His technique interested me. Apparently you can play full scales using high harmonics on a trom without moving the slide. Presumably it’s possible on every brass instrument. Robin was a master, with melody pouring out at speed with only occasional slide movements. The normally clumsy trom became a thing of unusual celerity. Stunning playing; and all so musical. I especially loved his counterpoint with Chris Potter. Chris is another renowned player. I found him intellectually satisfying, but less so emotionally. This was harsh and challenging playing, but so capable. Again, great counterpoint: this return to collective improvisation seems to be a theme in today’s modern jazz. Nate Smith (drums) is the newby in the band, but is a key member, and was much raved about. Steve Nelson (vibes, marimba) provided a wash of harmony with these relatively soft chordal instruments. Dave Holland (bass) played his deceptively simple, syncopated style on that stubby bass, and smiled as the proud father throughout the gig. Mostly Robin and Chris were stony-faced. I was sitting in the front row and just caught Chris ask “Twice?”. Robin replied with a nod and a smile. So these guys also play it just a bit roughly at times – not that you’d notice otherwise. Another thing to note was the fabulous mix on this gig. I hear Dave brought his own mixer. The sound was crisp at adequate volume, and every instrument was clearly defined, so the PA itself just disappeared from consciousness. Truly a lesson in how jazz should be mixed.

An unexpected surprise by most listeners was Nils Wogram’s Root 70. The band is made up of two Germans: Nils Wogram (trombone) and Jochen Rueckert (drums), and two New Zealanders: Hayden Chisholm (alto sax, bass clarinet) and Matt Penman (bass). This was light, airy, perfectly articulated music, harking back to swing and pre-bop styles, with collective and solo improvisation and some humour. It was lovely, sweet stuff which enchanted an unexpecting audience.

The other notable trombonist was Shannon Barnett. She seemed to pop up in several places, and played with considerable confidence and audacity. I heard her in two sets with Barney McAll’s septet. She was reading complex charts and burning through solos. She’s a notable player and apparently young to boot, so she’ll be worth watching over time. She also appeared with Barnett-Saarlaht-Browne, but I missed that set. Mostly Barney McAll’s complex, composed, latin-based was lost amongst poor sound engineering, along with Kurt Rosenwinkel. Barney McAll’s Septet comprised Barney McAll (piano, leader, composer), Jurt Rosenwinkel (guitar), Sam Lipman (tenor), Danny Fischer (drums), Shannon Barnett (trombone), Philip Rex (bass) and Javier Fredes (percussion).

I didn’t miss the Allan Browne Quintet performing his suite modelled on, and dedicated, to the poet Arthur Rimbaud, The Drunken Boat. This was a complex and rich thematic piece made up of short snippets of varied time signatures and tonalities, with final haunting singing by Stella Browne. I found it memorable and satisfying, but a mate thought it was inconsistent. Definitely it was varied. The band was Allan Browne (drums), Eugene Ball (trumpet), Phil Noy (alto), Geoff Hughes (guitar), Nick Haywood (bass).

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The guitars have it (Wang 2)

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Guitars were a big theme at this year’s Wangaratta Jazz Festival. Firstly, and most obviously, because it was this year’s instrument for the National Jazz Awards. Secondly, because of the visit of the renowned New York guitarist, Kurt Rosenwinkel. Thirdly, due to the presence of those Australian masters of the instrument, James Muller and Stephen Magnusson.

The Awards were a fascinatingly attractive thing for me. I attended late on the first day of the semi-finals to hear the two Canberra entries: Ben Hauptman and Carl Morgan. But the sessions were strangely addictive, so I was back next morning to catch the five remaining players. The ten semi-finalists were chosen blind from CDs sent by applicants, so these were all worthy entrants. Each player performs three tunes (a blues, a ballad, a composition by Bird or Scofield) with common accompaniment. Three entrants are chosen to perform on Sunday for the final. Strangely, the finalists performed the same three tunes for both performances. Not strangely, given it was the final, in the main hall, and going live to ABC Radio, they each looked pretty nervous, and clearly all made some minor fluffs. But it was capable playing all round and a fascinating few days.

What got me most was the diversity of the entrants. There was straight-ahead jazz, fast and slow, post-modern, blues and rock influences, clean and effected. It was all there. I didn’t envy the judges, although the criteria would have helped markedly. I didn’t always share the decisions of the judges, but that’s part of the game, and a common topic for conversation on the streets.

The winner was Aaron Flower who performed two simple, blues/rockabilly tunes with notable accuracy and a superbly lyrical version of the lovely ballad, You don’t know what love is. My guess is the ballad won it for him: it was truly sumptuous. Second place went to Ben Hauptman. Ben’s Canberra born and bred and a product of the jazz school and now resident in Sydney, along with his talented siblings, Zoe (bass) and James (drums). He played a more rock-influenced set. I loved his starter on Ellington’s Caravan. Then an original ballad in a trad vein, Unity Hall, and a highly effected Billie’s Bounce. I had missed Hugh Stuckey of Adelaide at the semis, but he was the talk of the streets before the final. He played a straight-ahead clean jazz style with panache, so he was also a good chance.

I also heard several other semi-finalists of note. Carl Morgan is our local flash at the jazz school (viz, his nickname is Nuke as in nuclear bomb). Carl played a Scofield tune, It is written, along with My foolish heart and an original blues tune in the fast, flashy style that we know him for. Carl was the youngest of the semi-finalists (only 19 and only in his second year of tertiary jazz studies). The relative lack of experience showed, but he’s likely to be around for the next guitar awards and should be a force to be reckoned with. I also enjoyed Nashua Lee’s highly effected and blues-rock influenced set, Matt Smith’s sweet and stylish modern jazz playing and his choice of tunes (including a lovely Charlie Haden ballad, Spanish love song), and the confident, otherworldly sound and approach of the Japanese born, Brisbane-based Yusuke Akai. I didn’t hear all performers, but I sympathise with the judges.

For me, perhaps the stars of the whole show were the rhythm section accompanists: Sam Anning (bass) and Ben Vanderwal (drums). I’ve written of each of them several times on CJ, and they are both excellent. Here, they accompanied in numerous, radically different styles both appropriately and supportively and soloed freely and on command. Admittedly they had the advantage of being continually warmed up, and not having the spotlight on them, but nonetheless they were superb. Theirs were stunning performances in their own rights.

The panel comprised the venerable Mike Nock and the two guitarists who shared the Award in 2000: James Muller and Stephen Magnusson. These are a very different pair. I have heard James numerous times, and several times at this festival. He’s cool, sharp, professional and controlled in his playing, but his lines are fast and clear and rise with massive passion and often huge denouement. James may be a local, but he’s clearly a world-class exponent of the instrument. I’ve only heard Stephen at this festival, and don’t really know him, but what I heard seemed more fluid, soft and sweet. Definitely his presence is very different. Usually we think of Sydney as brash and Melbourne as cultured. This pair presents a challenge to those stereotypes.

The other guitar highlight was the highly regarded New York exponent of the axe, Kurt Rosenwinkel. He’s renowned as perhaps one of the greats of the present time. My guitarist friends seem lost in description and comparison, so he’s got a unique approach. I didn’t attend his solo concert, which got some very positive comments, but I heard him in two performances with Barney McAll’s band. The PA sound was abysmal for the first and only reasonable for the second, although I felt his first performance was the more interesting. It was obviously competent, interesting and sometimes searing, but I need more time and better sound to form my personal opinion (with a world great, my expectations are more demanding). But it seems I missed something, given this reference from Scofield: “one of the finest and most creative jazz guitarists playing today”. I’ll just blame the lousy PA mix!

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