Brinda's best

>br> Brindabella was a different orchestra this time. I haven't played with them for a few years, but sat in for Geoff who was away for a while and then did the concert. The program was satisfying (starting with Mozart and working though Mascagni, Humperdinck, Saint-Saens, Holst and a few pop favourites, Ketelbey and Vangelis). We had a few members of NCO and Woden Winds filling out some positions. We had a decent room with space and the noisy aircon was mercifully turned off for the concert. I loved to start with Mozart Marriage of Figaro overture with its pleasures and quick runs. From the top I noticed that Brinda was playing satisfyingly tight. Craig Johnson, ex-head of Army Band, was up front. He was generous and pleasant in rehearsals, but had a good ear for advice and drilling and some effective exercises in intonation and harmony that did good. I always expect to play right on the night, and we displayed this here: much better than rehearsals. And the Elephant! We played selections from Saint-Saens Carnival of the Animals and the Elephant was our bass-end feature. It was accompanied by an amusing narration from seriously well-voiced Mike Goodman. Overall a great pleasure and the best I've ever heard from Brinda. Congratulations!


Brindabella Orchestra performed at Weston Community Centre under Craig Johnson (conductor). Mike Goodman (narration) introduced the menagerie movements in Carnival of theAnimals. The low end was provided by Geoff Prime and Eric Pozza (basses).

Sounding arty

That was fun! Tilt went into the ArtSound studio to record for Friday Night Live with Chris Deacon. We played mostly originals, but also a few standards. This is a thrill. The sound is tight and clear, the piano is a gem (Yamaha C6 in great condition) and it was quiet despite footy on Manuka oval next door. Suffice to say, this is the real deal, decked out for sound, provided with some serious gear (Neumann, Rode into Yamaha digital and dreamy studio monitors). We just heard a first take but it's a thrill to hear yourself thus. Maybe my bass really does sound so good? FNL is broadcast Fridays 8-10pm. Expect to hear Tilt Trio in 3/4 weeks, but tune in regardless. A few fluffs, yes, but that's part of a faithful record. And FNL itself is a fabulous record of current and historical music from at gigs or studio. Thanks again to Chris.

Tilt Trio pre-recorded a Friday Night Live session at ArtSound with Chris Deacon recording. Tilt are James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums).

Clarkey

Clarkey is for Rebecca Clarke, viola player and composer, born in Harrow, England, trained at the RSM and RAM and one of the first female professional orchestral players. Alina Zamfir and Ella Luhtassaari performed Rebecca's Sonata for viola and piano at Wesley and it was a seriously fascinating piece, variously impetuous, pensive, rife with demanding techniques, impressionist and romantic. They also played Ernst Bloch, oddly confused with RC as a woman composer wasn't thought capable of writing this Sonata, and Frank Bridge. Alina is here with the CSO in an inaugural Kingsland Residency. Both she and Ella are eminently well trained in Australia and OS so serious playing. The music was, too: nothing here for the fainthearted. This was technically challenging. I particularly noticed quick, breathing crescendos and de-cs, but there was plenty more for both instruments and they carried it off with ease and a serious level of concentration. Thanks to Alina and Ella for the concert but also for the introduction to some very satisfying works for the viola.

Alina Zamfir (viola) and Ella Luhtasaari (piano) performed Clarke, Bloch and Bridge at Wesley.

Adelaide

I was off to Adelaide for a few days; a family visit so little expectation of music. Except these. The Pulse played at the 70th anniversary ball of the SA Italian Association. The picture shows most of the band but not the keyboardist who was off to the side. A nice, lively dance band playing Italian, light jazz, bossas and the like. Tight and obviously enjoying their outing. Then a quick visit to Port Adelaide for some Sunday afternoon jazz with the Eric Marshall Quintet. They advertised as Frank Sinatra, Michael Buble and the like, so inviting to my Mum and fairly popular and with vocals. The sax was nicely lithe, the bass had a really decent tone, vocals/guitar/leader Eric had some funny jokes to fill time. Not the latest of contemporary jazz, not the best attended gig, but perfectly satisfying with a few beers. We passed the Entertainment Centre (10k seats?). Perhaps the audience was at Hugh Jackman's song and dance spectacular that was on there. Certainly the lines were long.

The Pulse played for the SAIA. Eric Marshall (guitar, vocals) led his quintet comprising Steve King (tenor, clarinet), Stewart Nevin (piano), Brian Gray (bass) and Terry Griffin (drums) at the Newmarket Hotel, Port Adelaide. Hugh Jackman was playing at the Entertainment Centre.

Lenny's last (for now)

NCO played its concert at Llewellyn Hall and it was Lenny Weiss's last concert before he treks to Baltimore to study with Marin Alsop. He'll be missed, but it's a great and necessary step and CJ can only wish Lenny well. That was essentially the message from NCO, too, last night when he was farewelled. But he'll be back, even if only next year in the northern summer break to conduct a few concerts. This concert was one that Lenny had hoped for for some time. It was only finally agreed by the NCO Committee at this late stage because it was a big challenge, more-so given the time taken during recent rehearsals to test for new conductors. Berlioz Harold in Italy was massively twisty and varied. Lucy Carrigy-Ryan soloed the viola part and was a dream. The work is real challenge that the orchestra pulled off with surprising ease on the night, although that various sections took advantage of some shared responsibilities for some particularly tricky lines. It's common amongst basses, to share the quicker lines with the more lithe cellos. I noticed the brass was particularly effective some times when I was struggling. It's a communal effort and NCO carried it off with aplomb. Also a world premiere, Dante Clavijo Images of obsession 0236, that played with intervals of 2,3,6 semitones through various inversions and the like; sparse, slow, varying harmonies in an intellectual carapace. And Respighi Pines of Rome. As an ex-Roman myself (3 years in my 20s), I could only look forward to this one, eventually enjoying the various roles allocated to various parks I've visited, Gianicolo, Catacombs, Villa Borghese and the stomping military march of the Via Appia. Interesting imagery.

National Capital Orchestra performed at Llewellyn Hall under Leonard Weiss (conductor). Lucy Carrigy-Ryan (viola) soloed in Berlioz. Dante Clavijo (composer) provided the world premier piece for the night. The low end comprised Roger Grime, Geoff Prime, Lizzy Collier and Eric Pozza (basses).

For starters

Tilt Trio played a lengthy gig at M16 ArtSpace. I was amused by a younger player recently querying a gig of 3 or 3.5 hours. Dave and I weren't fazed: we remember 4-hour gigs as standard. Those were the days... This was for the M16 gallery and artists' workshops open day, when the public can wander through the artist workshops, meet with the artists and discuss their works. We managed little other than playing although I did chat to one artist about painting beetles and attended a part of a session on perspective. This was our third annual outing at M16 and it's always a pleasure, but I was wary that this 4 hours of jazz preceded 1.5 hours of classical that night at Llewellyn. That's a day to dread and prospect and to enjoy in retrospect. Writing now, the day after, I'm quietly pleased. And the fact that I was using a new and satisfyingly mighty amp just adds to the pleasure. I took no pics so, to satisfy copyright, I've used this lovely public domain image, Francesco Botticini Head of the Virgin, from WikiCommons. It's art so close enough and it's drop-dead skillful and beautiful.

Tilt Trio comprises James Woodman (piano), Dave McDade (drums) and Eric Pozza (bass). Tilt played for the M16 Open day.

To end a week

The end of a truly great week of music: a concert with Michelle Nicolle and Palaver [Quintet]. Michelle is just a stunning master singer, detailed, developmental, improvisatory, wildly flexible in rhythm and richly embroidered. And lovely to boot. She was in Canberra for a few concerts interspersed with other travel. I caught them with Ronny and Geoff, her long-term offsiders in Melbourne, and our locals, Miro, John and Eric. Again, it was the perfection of the long-term rather than something of complex pre-arrangements. This was flexible and jammed, relaxed in style but delicious in performance. First up some tunes from the instrumentalists: Delicatessence and Stella; then Michelle with Green Dolphin Street and Footprints and "something in a major key", There will never be another you; then Miro's gloriously beautiful Peace please and an encore with Michelle on Softly. There are a few throwaway blowing standards in that list, but how well do they appear in this format! So good, so informed, such worthy explorations. I could only melt, what with Michelle's so-intriguing and such-enriching voice fantasies and her obvious engrossment (follow her hands and face) and the respect on stage (John's intent focus and Miro's open smile at one particularly inventive line by Michelle) and the deeply satisfying playing all round. So good and such a pleasure.

Michelle Nicolle (vocals) sang with Palaver [Trio/Quintet?] comprising Miroslav Bukovsky (trumpet, flugelhorn), John Mackey (tenor), Geoff Hughes (guitar), Eric Ajaye (bass) and Ronny Ferella (drums).

Floored

I haven't felt this was about an orchestral concert since the Berlin Phil. But it's a longish story. As we entered Llewellyn, I was amused to find performers in tails chatting in the various foyers at Llewellyn. Max holding shop; various others; probably the women too, but their garb was not so obvious. 15 mins to the event and I ran into one tails wearer and asked his instrument: "double bass". I congratulated the orchestra on their relaxed presence and got a selfie for a joke. This was Timothy Dunin, now Double bass professor in Graz and once of Vienna Phil. I asked how many double basses: 8. I was surprised. So relaxed, this family affair, but so big. We took our seats. The orchestra bulged over the Llewellyn stage. First up was Nigel Westlake and it was a dream: sharp, dynamic, clear, precise intonation and shared phrasing. For once, a sound that filled the cavernous Llewellyn. Desks behind desks of violins; those 8 basses all whipping phrases in parallel. Then Janacek Taras Bulba. There were claps between movements. This was a different crowd: strange, that. Not my favourite music, but we were in raptures. The principals shifted at the interval: Max for Damien Eckerlsey (?); Daniel Dodds for Natalie Chee as concertmaster; perhaps others. Then Sibelius Symphony no.2, Dmaj. We sat back in appreciation and awe. Plenty of applause. Then, before departing, the orchestra hugged (never seen that before and my camera wasn't ready). Then the lower foyer with everyone milling around, performers moving through, admirers and relatives waiting. There was a private function for the orchestra in the ante-room (what's it called? The ex-Library) which you could easily crash but we didn't. Everyone smiling and this seeming to be a great fun homecoming and mates' gathering. Waiting, I had a chat with the Mum of another of the bassists (Andrew Sinclair). How are the bassists so omni-present? Perhaps because they are so essential. Or perhaps because I find them; they seldom carry an instrument and they are late out. It was a whirlwind and an orchestra of such effectiveness that it floored us. Wow! Don't miss the AWO if it returns.

The Australian World Orchestra played Llewellyn Hall under Alexander Briger (conductor). The basses were: Timothy Dunin, Damien Eckersley, Max McBride, Robert Nairn, Phoebe Russell, Andrew Sinclair, Ciro Vigilante and Dusan Walkowicz.

Melting hot

John Mackey called together his monthly Melting Pot at Makeshift and it was a huge pleasure. Nothing unexpected there. It's a jam, but with the best of our musos and a guest. This month, the guest was Steve Sedergreen gathering with locals John and Miro Bukovsky, James Luke, Greg Stott and Peter Campion. Peter was new to me: apparently a student replacing Mark Sutton for the night. He did a great job with funky firm sometimes challengingly syncopated drumming. Steve was busy as, moving things around with abandon, very prominent and influential although fairly sparing on solos. James is a local hero and easily deserved. I play bass so he'll always catch my awareness, but his space matched with alacrity, tonal variety (the most delicious 6-string tone augmented with various effects) and moving underlay just floored me. He, too, was very influential on the path of the jam. Then John, of course, exhilarating and adventurous from the first notes: a giant. And Miro sounding his synth-best with some harmoniser pedal. And Greg, clear on his first semi-acoustic, then dirty and deep with his e-guitar. I dare say there was little immediate preparation here, other than several lifetimes of listening and practice and experience. Miro played some electric Miles in the breaks and this just mimicked some of this band. They are masters and this was a huge pleasure and no doubt an indulgence for them, too. Perhaps some tunes were fully improvised, some were stock standard blow charts (So what, Footprints) and just one glorious standard (You don't know what love is) which got a firm, rocky treatment from Peter with some suggestions of swing from others. Then another one or two head that I didn't know. Some hugely satisfying playing: hot although not hot as in swing - this was much more funky and contemporary. And some laughs with those harmonised Darth Vader voices. Just a blast from the best. BTW, if you plan to go, pre-book online.

John Mackey led a session at Makeshift bar in New Acton with guest Steve Sedergreen (piano) and locals Miroslav Bukovsky (trumpet), James Luke (bass), Greg Stott (guitar) and Peter Campion (drums).

A different experience

Our experience of the Choir of Kings College, Cambridge, was different from that of many others, and there were many others at Llewellyn Hall for the concert. It was pretty much packed, upstairs and downstairs. The choir huddled in a square on stage, younger singers in the two first rows; older choristers in another two rows behind. In front were conductor Daniel Hyde, an organist, and accompanists Alice Giles and Umberto Clerici. Alice also performed solo (Cavalli). The choir mostly performed in full, although there were pieces in the first half for the young'uns and for the King's Men, as the seniors are called. The King's Men perform and record separately. The choir consists of 16 boys from age 7 and 15 male Cambridge University students. The boys sing treble; the students sing alto, tenor, bass, split approx 4/6/8. Singers generally remain with the choir for 3 years and it's hard work. They perform evensong 6 nights per week during term, as well as practice and tours. The seniors also perform as the King's Men. This, in addition to a heavy academic workload over short 8-week terms. Not sure how many terms per year. So, how was our experience different? We billeted two students, Trojan and George. Trojan was studying music and sang bass; George was studying classics and sang alto (also bass?). But what of the concert? Canberra got program no.2 covering a range. The early works were from Bach and Byrd, Tallis and Gibbons and Monteverdi. Then through Britten and Vaughan-Williams to contemporary. Ross Edwards provided the Australian relevance with a new commission, Singing the love; Weir and Wallen provided contemporary English compositions. Wallen's Pace (=Peace) was introduced as "hear a pin drop" material and it was true: beautifully soft with unexpected dissonances that resolved (perhaps too early for this jazz lover) then reformed. Lots of harmonic colourations with staggered breathing. Funnily enough, someone did drop something tinkly and needle-like near where we sat during that tune. That was my favourite for the night but I was enamoured by the clarity and also strength of sound of all the works by the choir in that big Llewellyn space. The second half especially had me in raptures. So, a memorable concert of precise and historical voices and an interesting interaction with Cambridge, the university. This visit will just have to suffice until we get to Evensong in the chapel, when next in Cambridge.


The Choir of Kings College, Cambridge, performed in Llewellyn Hall. We billeted George Gibbon (alto) and Trojan Nakade (bass).

Travelling tales

For an instrument so big and imposing and even clumsy, pipe organs are a strangely well travelled thing. I'm told Canberra has about 30 pipe organs (I guess those in church and of significant size; we may have more small, boxed chamber organs) and I've heard the history of several of them. They were proud possessions of churches that lost congregations and closed so they got passed on or sold, perhaps internationally, mainly from the UK. I just heard Trevor Bunning playing on the 1920 CW Leggo organ at the North Belconnen Uniting Church, Melba. That one was reconstructed and rededicated in 2008 after an earlier life at the Singleton Methodist Church. It has 610 pipes housed in the original cabinet complete with finials and in a church designed to house this very instrument. I'd seen but not heard this organ in the past until it appeared as a monthly concert of the Royal Society of Church Music, ACT Branch. Trevor Bunning was a leader in the restoration of this instrument, so is closely attached to it. He played a program of different cultures and different countries, from Bach and Buxtehude through Zipoli and Couperin and Stanley, renowned for his blindness and in English organ history, reaching the position of Master of the King's Band. Then more modern, with a Mendelssohn massive hit song from the earliest days of acetate recording and a Tuba tune and Amazing Grace complete with passing bagpipes. We did just see him passing by, but we heard him easily enough. So, an interesting contemplation on the pipe organ and a pleasing performance.

Trevor Bunning (organ) performed on the CW Leggo organ at North Belconnen Uniting Church.

Jazz comes to Wesley

It was an unusual concert at Wesley. This was music of the jazz era sung by a jazz choir with piano accompaniment. I just don't expect rhythmic rhapsodies at Wesley, but there they were. They were short a few sopranos who had come down with colds, but this was a lovely satisfying thing anyway. I was entranced from the top with a fascinating and neatly constructed intermingling medley called Rhapsody in rhythm, featuring Crazy rhythm, Fascinating rhythm, I got rhythm and Rhapsody in blue, not just as a simple run of tunes, but nicely overlaid and interspersed. That was some great arrangement. This one was not by a band member, but others were. Musical director Camilo Gonzales writes and arranges and provided one tune, a version of Cry me a river. And Mike Dooley, piano accompaniment, writes prolifically and featured three songs from a gospel CD he has written and RS is recording. So, quite a range, here: from jazz era to Carole King and Cry me a river which was performed by many but which I first encountered by Joe Cocker, of all singers. There was life and pleasure in this group, some great arrangements and harmonies and nice, tricky rhythms and some excellent accompaniment from Mike, not least some insinuating and perfectly timed ostinatos and a few little opportunities for solos. So a great pleasure with some foot-tapping tunes.


Rhythm Syndicate performed at Wesley under Camilo Gonzales (musical director, conductor) with accompaniment by Mike Dooley (piano).

Indulgence

Excuse the indulgence, but Tilt Trio finally has a YouTube channel. Search "Tilt Trio Canberra" on YouTube or follow the link below. Check out your host's jazz venture here. Tilt is James Woodman (piano), Eric Pozza (bass) and Dave McDade (drums). And an informal thanks to Luke Sweeting for the introduction.

Tilt Trio Canberra on YouTube

or shorter, https://bit.ly/2M2Ca6s