Numbers

Jazz is undergoing a revival of sorts, with commentators foretelling a new "Golden Age" led by artists such Kamasi Washington and Thundercat, bringing together afro-funk, spiritual and acid jazz into the broad church of the genre. While there are still strongly traditionalist camps harking back to the New Orleans, enclaves of newer and more diverse musical influences are starting to emerge in Los Angeles and London, to less likely hot-spots such as Istanbul and Baku.

Sam Taylor sat down to interview pianist Jamie Rea, drummer Peter Campion and bassist Haris Hodzic, three young musician who have recently formed local contemporary jazz band, One Seventeen, to make their mark in this trend.

Q: What were your motivations behind starting one-seventeen? Can you tell me a bit about your backgrounds?

Peter and Jamie originally knew each other from their Newcastle schooldays and went on to audition together for their place at the ANU School of Music. They went on to play around with a few bassists, but Haris was the standout and they asked him if he wanted to commit to a musical project and see how it worked out. Stylistically they all meshed and decided it made sense to get together permanently. One seventeen was the number of the room they first formed in and played together as a trio

Q: What sub-genre of jazz would describe yourself as and why did that resonate with you?

We're a mixture of Funk, Fusion and Nu-Jazz. Stylistically, we draw from the stuff we listen to and try and build on that legacy. Jazz is a genre which is constantly evolving. The first jazz musicians were studying classical and romantic music. There was always a muse basis and that eventually developed into Jazz fusion. Now modern jazz is wanting to study and pay homage to the generation preceding it. It's always good to start from the ground up with the fundamentals and respect the traditional, but you don’t want to stay entirely the same.

Q: Who are your musical influences and inspirations?

Jamie describes one-seventeen ethos’ as a trying to achieve a "good representation of live moderns, with lots of energy, groove, but plenty of messing around with tricky rhythmic stuff". Variously the band takes inspiration from Weather Report, Herbie Hancock, Dave Weckl, Spyro Gyra, to more modern heavy weights such as Louis Cole and Hiromi.

Q: What do you think of the Jazz scene in Canberra?

Pleasantly surprised with the amount of jazz that’s happening in Canberra, but feel there could be more of a modern element. You have to move beyond standards and doing straight-up jazz because breaking out of that mould can bring the opportunity to define a niche within the Canberra Jazz community.

Q: What are you plans going forward and where can we find more of you?

While the band is currently focussed on their live performance schedule and securing places as supporting acts, they currently have two originals in the work. They also have the privilege of having renowned sax player John Mackey as a guest addition for some performances.

Sam Taylor interviewed the local contemporary jazz/funk band, One Seventeen, comprising Jamie Rea (piano), Peter Campion (drums) and Haris Hodzic (bass).

Thanks to Sam Taylor for the interview and the band for the pic

Follow @ jamie.rea.musicology and @_petercampion on Instagram for more info and upcoming gig details.

Uke beauty!

Text by Jason Lee; pics with permission by Stephen Taylor

When the ukulele is mentioned, one does not immediately think of jazz. Perhaps George Formby and his 1940s British music hall stylings come to mind, a la 'When I'm Cleaning Windows'. Perhaps Tiny Tim's 'Tiptoe Through the Tulips' come to mind. Younger people might recall Israel Kamakawiwo'ole's 'What a Wonderful World'/'Over the Rainbow' medley, Train's 'Hey, Soul Sister', or the rash of YouTube covers of Jason Mraz's 'I'm Yours' played on the ukulele. In this age of internet video, surely you would have come across Jake Shimabukuro's uke version of 'While My Guitar Gently Weeps'?

But I'm getting off track. I am, after all, talking about jazz. In the ukulele's history, it does have a connection. The little chordophone's first boom period was the 1920s Jazz Age, when many of the Tin Pan Alley tunes of the American Songbook were written. Of course, many of these were "Hapa Haole" (half-white) tunes with pseudo-Hawaiian lyrics.

Look, I'm getting off track again. Let's get back to talking about jazz. There have been a few players who have used the ukulele primarily to play jazz. Some names to mention are Lyle Ritz, Herb Ohta, Benny Chong and even Australia's own Azo Bell. Hmmm... I mentioned Benny Chong...

A week ago, I came back from Melbourne after four nights of ukulele excess: The Melbourne Ukulele Festival. Among the many and varied acts of the festival, from all over the world, from all sorts of genres, one stood out head over heels for me: Benny Chong.

He came on as the second last act of Saturday night, starting off with two pieces that he played solo. From the first note, one could sense a change in mood in the audience, with the "oohs" and "aahs" and stifled bits of applause, as Benny in his understated way brought out sound after sound after sound after amazing sound. This was not, by all means, a jazz audience, and they were frankly being blown away by what Benny was doing. When he started playing his ukulele in thumb position, in the manner of a bassist/cellist, the excitement in the room notched up another level... I've seen many ukulele players and he is the only one I know who plays in thumb position, pulling out intervals about two octaves wide. This was probably the first time many in the audience had experienced, rapid-fire chord-melodies, in extensions and substitutions waaaayyy beyond common triads; the first time they had their ears assaulted, nay treated, with live melodic sounds of the bebop, diminished, lydian dominant, diminished-whole-tone kind.

Then he introduced the audience to bassist Ben Robertson. You dear reader, would probably know who Ben Robertson is, but I don't think many of the audience did. I certainly didn't. They proceeded to play through standards like 'The Nearness of You', 'My Romance', 'I Remember April' (with a quote from 'Tequila' for good measure), 'Cherokee' and 'Cheek to Cheek'. You talk about cranking the dial to eleven. This was to twenty and beyond. The night was about cutting one notch after another above what had just been cut a moment ago. As Ben and Benny traded solos, you could tell that they were really enjoying themselves and cooking. They audience was j**zing itself. I know I was. It was multiple audio orgasm for me. My non-jazz-fan mate sitting next to me was laughing at me, saying "Hey man! I've never seen you this excited before at a gig..."

When Benny and Ben finished their all too short set, the applause was wild! A standing ovation that was very rare throughout the whole festival. Even though they were running over time, Benny was the gentleman and explained that there was an act to follow... But Ben and Benny gave us an encore... again, thrilling the audience.

When the MC came on, he raved on about how Benny and Ben had just met five minutes before the gig.

Anyway, Benny happens to have a sister in Canberra. And Benny happens to be staying in Canberra till mid April before he returns to Hawaii. And Benny will be playing a very cheap last-minute gig at the Front Gallery and Cafe in Lyneham on Sunday the 1st of April, 7pm. $10 cover charge. Children under 12 free.

He played the Vanguard in Sydney with Craig Scott, Chair of jazz at the Sydney Con before Melbourne and apparently got rave reviews there too. Don't miss Benny in Canberra!