Scenes from JU2010

A runaway artistic success

Jazz Uncovered, JU2010, the second apparition of our local modern jazz festival, was a runaway artistic success. We’d fallen on a theme of variety in promoting the event in the run-up, and this turned out to be the key to the day. Modern jazz is a broad church and JU2010 was clear evidence of it: cool or smooth or experimental or hot, vocal or instrumental, duo or band or large ensemble, richly arranged or free, even circus music or rockabilly. There was variation and exploration everywhere, with both seriousness and joy. I can only bow to the level of creativity and skill shown by our local students and professionals and our visitors. We’d invited the performers with these words: “We are seeking a broad range of inventive modern jazz in varied formats, large or small ensembles, even solo artists if you have something special to offer. We are hoping for original compositions, special performances like replaying renowned albums, retrospectives of famous performers, cross-genre styles like NuJazz, jazz-poetry, breakbeats. We have a definite preference for original compositions, so get your pencils and manuscript paper to work and get in touch.” It was pleasing how eagerly and competently they responded. I know the local scene, but even so, I was floored to see and hear it all together, in one place, on one day, and I was overjoyed with the visitors and their contributions on the day.

The culture was reinforced with the dedication of committee and volunteers, the good will and easy interaction of musicians and audience, the recording prizes donated by ArtSound and Infidel (and the ACT Government’s funding support), the low-key but effective sound work by Guy, and of course the involvement of ArtSound throughout the event. ArtSound broadcast live to air early in the afternoon, then recorded most of the rest of the event. You’ll no doubt be hearing sets on Friday Night Live over coming months, and there’s even talk of a JU2010 sampler CD in the wind. Certainly the music deserved it.

But where was the audience? It was a meagre turnout. The committee will ponder the lessons learnt. Was it the long weekend, the two consecutive long weekends, Floriade, the warm spring weekend, school holidays, marketing, Canberra’s habit of pushing off down the coast when the weather’s good? Probably a bit of all those things, but audience is the sine qua non for events and JU2010 was sadly wanting. This is not unknown in jazz. I was chatting to Matt McMahon who observed that some of his favourite recordings are live and with an obviously small audience. It’s a common experience: fine art is a challenge. Not everyone’s up to it or interested in it, and perhaps no-one’s up to it every day. For now it’s over to the committee to discuss the outcome of the day. But on the positive side, here are a few pics. And thanks again to the committee: Brenton Holmes, Cameron Smith, Lauren Black, Reuben Lewis and Eric Pozza.

BTW, congratulations to Matt Thompson who won the ArtSound FNL/Mastering prize, and “lucky Luke” Sweeting and Rachael Thoms who won the Infidel recording session.

Students in flight

Last night it was the students from the other building that I saw, the classical students, playing a free concert as the ANU School of Music Orchestra. I remember there was some consternation at the Jazz School when it was moved from its Manuka campus (now ArtSound studio and Photoaccess). The parking was more difficult in Civic and the ambience was more formal and corporate. But I think they’d be pretty happy with the result. Now there’s a mutual awareness and respect, and some crossover of students for various classes. It can only be for the better for the music.

Orchestras are a wonderful indulgence that I’ve recently rediscovered. Sometimes deliciously detailed and subtle; other times blatant and loud; always educated and skilled. These were students, so not quite at the level of our CSO or AYO, let alone the great orchestras we hear on record. The dynamics seemed a bit timid, as if there was a lack of courage or confidence, and the intonation sometimes took a few notes to settle at the start of a few phrases. But that’s a quibble. We call them students because they are learning (not that anyone ever finishes learning in music). But this was a lovely and satisfying performance.

Megan and I both liked the modern Australian composition the best. Szeto’s Energy 1 was variously brooding, bombastic, involving and rhythmically exciting, with staccato and oddly timed orchestral hits, lots of percussion and bass drum, lengthy melodies that seemed unheeding of barlines and a great workout for the brass. The other pieces were Berlioz’s King Lear Overture Op. 4 (no, I didn’t pick the storm scene or Cordelia, but I did like the busy and deliciously contrasting accompaniment on glockenspiel, or was marimba?) and Tchaikovsky’s Symphony no. 1 op. 13 in D minor. These were satisfying, of course, with Berlioz sounding of his classical forebears, and Tchaikovsky more romantically inclined. Megan was disappointed with the thematic development of each composition. I also felt what seemed to me to be statements of themes rather than alterations. But I’m untutored in this field. Look up your Groves for a better review of the works themselves. (BTW, did you know the full Groves Encyclopaedia of Music is available free online to members of the ACT Library service? And the Naxos CD collection as streaming music. Link below.)

Thanks to the ANUSM for another wonderful concert. This is a gem of an institution to have on our doorstep. But then Canberra’s full of such gems. The ANU School of Music Orchestra performed at the Llewellyn Hall with Dominic Harvey as conductor.

ACT LIbrary Service Online collections

Visiting Roper Bar

It was quite minimal, quite droney, quite miasmic, quite intuitive and internal. Crossing Roper Bar was a combination of Paul Grabowski’s Australian Art Orchestra and four aboriginal performers, the Young Wagilak Group. The work was Crossing Roper Bar. It was sponsored by the HC Coombs Creative Arts Fellowship. It lasted 40-minutes and comprised a series tunes/grooves, largely without a break. I earlier noticed strains that I recognised (was it Hancock or jazz-rock Miles?), then there were clear grooves that were predetermined, and signals leading change, as well as constant taps of clapsticks in various simple, cutting rhythms, and less common didjeridu accompaniment. The rhythms were king, so bass and drums were key. These were Philip Rex and Nico Schauble, so very capably presented. There were colours and textures and occasional solos from reeds and trombone and violin, tinkling piano and keyboards making appearances but not prominent, and guitar also tinkling or texturing. Then the front line. This was obviously very different: those incessant claps, droning vocals that touched on Western scales but moved and bent into a very different sense of tonality, sometimes vocals in some sort of harmony that sounded satisfying but not understood by my ears, the didj, of course, but also that sharp, animal- or bird-dancing, the heels and toes that rock and tap and slap so precisely, the body and arms that snap from position to precise, repeated position. It’s something white Australians know of and even feel to some degree, but not something we make. The joyous but incongruous juxtaposition of bodies and cultures at the curtain call made this painfully obvious. But the good will was also obvious and welcomed. This is a cross cultural event, even if it’s a product of one country. We need it, although I for one don’t particularly understand it.

Australian Art Orchestra performed with the Young Wagilak Group from Ngukurr, Arnhem Land. The AAO performers were Paul Grabowsky (piano, keyboards), Tony Hicks (saxes, flute), Niko Schauble (drums), Philip Rex (bass), Steve Magnussen (guitar), Errki Veltheim (violin), James Greening (trombone, pocket trumpet). The Young Wagilak Group were Benjamin Wilfred (yidaki [didjeridu], bilma [clapsticks], vocals), Roy Wilfred (bilma, vocals), David Wilfred (yidaki), Wesley Wilfred (dance, vocals).

Now Cognac Lounge

I always enjoy gigs but I was concerned. I’d been away for over four weeks and hadn’t touched a double bass. Double bass is a demanding instrument, requiring stamina and exactness, thus practice. But in the end all was OK after a few days of considered practice, and doubly so as I resuscitated my glorious Yamaha TRB-6P. So it was a good day. The weather was generous, Adore Tea had a decent crowd that enjoyed Monica’s singing, and the band was in good humour (and covering a few mistakes pretty well). The music was jumping by the end with tight grooves and plenty of solo space (and lots of bass solos). Sounds like a good gig to me. Thanks, guys, nice one.

Cognac Lounge is the new name of this line-up. CL comprises Monica Moore (vocals), Peter Kirkup (keys), Eric Pozza (bass) and Brenton Holmes (drums).

A different ship

The Captains came for Floriade, ie, Katie Noonan and the Captains. Not all the Captains, because Katie usually uses a bassist and ex-Canberran Stu Hunter on keyboards. Today, it was just two guitars and drums with Katie on keys, glockenspiel and vocals. But the Canberra connection was maintained given one of those guitarists was Ben Hauptmann (who’s also returning for Jazz Uncovered next week). In addition, Katie included a string quartet which I think was local (I’m sure I’ve seen one of the violinists in the Canberra Symphony Orchestra). So the ship was changed, but the destination was the same, and the voyage was interesting and worthwhile.

We can expect interest from Katie Noonan. She sings songs with a complex and mobile voice. The songs are written by her, the band, also in conjunction with the best Australian songwriters (Don Walker, Paul Kelly, Neil Finn). And the songs are wholesome if exposed with songs of family and husband (challenging jazz tenor saxist Zac Hurren). The arrangements are anything but jazz or rock or most pop, even. Then reminded me at times of Beatles, with sheets of music, rock drums with guitars providing harmonies and colours, overdriven and sustained, texture rather than solos, laid back tempos. It’s not a music of individuals, other than the singer, but of an ensemble. The string quartet easily fitted the approach. There were dynamics and crescendos and sustained loud passages that were emotionally intense, almost anthemic. I loved the pretty glockenspiel that Katie often played in place of keys. I’d gone looking forward to hearing a big PA in an open space. I find it a pleasure these days, when sound is good. This wasn’t. It was a dirtier, boofy PA, more suited to rougher rock than something with this detail, harsh, edgy and indistinguishing. Heavy on bass, so the drums were quite unbalanced: heavy kick and floor toms, and ride cymbal and high hats that got lost. Strange, really, when the clear glock and strings call for something so different. It’s the modern linear arrays that I like: I’ve heard some lovely PAs like this with power and also detail and a crystalline, clear sound. This was a professional show, and impressive, but there was little audience response, and no encore, and the end came somewhat with a whimper. Sad, because this was very impressive popular music.

Katie Noonan (keyboards, glokenspiel, vocals) led the Captains comprising Cameron Dale (guitar), Ben Hauptmann (guitar, mandolin) and Declan Kelly (drums, percussion). They were accompanied by a string quartet comprising Pip, Catherine, Liz and Martin (Katie didn’t give the full names).

Venice on a Wednesday

Sketch by Francesca Sciarretta

Francesca told me that Wednesday is a good night for music in Venice. So it’s not surprising that I found Franca Pullia performing with her quintet at the local bar, Osteria Poppa in Santa Croce, where they perform each Wednesday.

I first heard a latin tune, so expected jazz, but although there were some jazz tunes, and a clear jazz influence in the sax, this was more a pop/funk band, playing Stevie Wonder and similar worthy and popular and funky material. What’s not to like in this repertoire? The Beatles’ Come together, Nancy Sinatra’s Bang bang, an interesting mix of Fly me to the moon sandwiched by Walking on the Moon, Sonny, Higher ground, Superstition. All very popular and perfectly good entertainment to go with your beer (except perhaps for All of me, which I prefer not to think of as jazz anyway). The bass and sax and drums set a nice and steady groove, if sometimes a little rushed. The acoustic bass guitar tone was very satisfying; the keys changed to organ and clavinet as required; the drums were effective despite the small kit although I would have liked to hear the snare switched in more. I noticed that the band didn’t carry much equipment, but given transport in Venice, I’m not surprised. Franca sang in English with a good, strong voice and a lovely latin accent that said Brazil to me, although Italy is really the latin country par excellence (after all, where is Latin from if not from Rome). Aldo was sitting in for the normal sax player Guglielmo Pagnozzi, and did a great job on soprano, adding a jazz sensibility in the mix with its complexity and richness. I particularly liked his playing on the final number, Superstition, where he took the single chord and soloed in some Middle-Eastern scale that gave unexpected, unresolved tones that were a joy to my ear.

I was also pleased to meet Francesca who was sketching the band. Her daytime role is in civil engineering and preservation of buildings (she’s currently working on the Palazzo Ducale) for which there’s a real need here in Venice, of course. But she also does a good line in band sketches. I’ve included a link below to her Facebook site with more sketches of Venetian bands. This one is a finished sketch of a local blues band. The one above is Francesca's finished sketch of Franca's band playing at the Poppa. Nice one.

It’s been an interesting night in Venice. I enjoy the depth of cultural time here in Europe and everyone falls in love with this place. I sometimes feel the old world is a place stuck in its history and that the new world is actually where change is happening. But I’d eaten at a very good and less traditional restaurant (another local, La Zucca), found a lively bar, and enjoyed local live music: this is quite like my local Canberra experience. But the babies in the bar and the busy, familial air and mix of generations in the local Piazza di San Giacomo d’Orio seem different. So although we share many common experiences these days, there remain differences that justify travel. And despite increasing corporatisation and globalization, hopefully it may ever be.

Franca Pullia (vocals) led her resident quintet, Frankie Back From Hollywood, at the Osteria Poppa in Venice with Max Bustreo (keyboards), Loris Tagliapietra (acoustic bass guitar) and Giovanni Natoli (drums). Aldo Via (soprano sax) sat in for Guglielmo Pagnozzi. Francesca Sciarretta was sketching.

Francesca Sciarretta's FB site with sketches