PM and all that jazz

Crickey.com doesn’t often venture into the jazz scene in Canberra, but it seems there’s a (very minor) controversy going on in its letters pages over the new government’s ways.

Simon Thomsen writes: Re. "Tips and rumours" (yesterday, item 8). Crikey published: "For his Australia Day diplomatic corps bash at the Lodge, Rudd or his office have chosen a jazz combo, replacing the old bush bands singing Aussie songs that Howard used to favour. And I thought Rudd was an Australian music fan!" Why would Rudd having a jazz combo for Australia Day (over a bush band) be incompatible with Australian music? Fair dinkum! Has your anonymous tipster never heard of Paul Grabowsky, James Morrison, Don Burrows, Renee Geyer, Kate Ceberano, Katie Noonan, Vince Jones, Grace Knight, Bernie McGann, The Necks, The Basement, Wangaratta, Galapagos Duck and their 90s album raising funds to save the hairy-nosed wombat... Strewth cobber, I thought we voted out that sort of cultural cringe last November.
(Crickey online, link, 25 Jan 2008).

I’m with the respondent. It’s obvious to me that Australia is a rich, educated and culturally diverse country. I don’t like to see pollies play the nationalist/Sons of Empire game. Howard excelled and revelled in just this sort of spin. Probably there’s spin in Rudd’s choice too, even if only for the local diplomatic corps: his war on education, and a more inclusive, more modern vision of Australia. I'm much more comfortable with this than the Howard picture. Given this is an ex-diplomat entertaining the local reps of other countries on our national day, this seems a particularly significant gesture.

I can claim a little part in this. When PM&C (Department of Prime Minister & Cabinet) found ANU closed for the holidays, they got onto CJ for names of Jazz School students who could play. Interestingly, they asked for students (note, not James Morrison or his ilk). I provided a few names, and James LeFevre got the gig in the end. Congrats to James. That’s memorable: playing for the PM at the Lodge on Australia Day. But congrats must also go to the PM for his support, awareness and interest. It’s a good sign.

Marie LeBrun sang with the James LeFevre Quintet. The Quintet comprised James LeFevre (sax, leader), Rob Lee (trombone), Ben Foster (keyboards), Phill Jenkins (bass), Evan Dorrian (drums).

To finish, let me recount my similarly memorable gig. I was playing with a Bush Band (quite a coincidence!) in the late '80s, the Bicentennial era. We played at Rupert Murdoch's property at Cavan for a party he staged for ~24 visiting US newspaper publishers and editors. All the local dignitories of the time were there: Keating, Wran and the like. Hawke arrived late and by helicopter. Impressive entrance? To us, maybe, but the world-weary editor we were chatting to just muttered "tinpot dictator". He'd obviously seen as much elsewhere.

Lethal outing

Perhaps summer is the time for blues/funky styles, out-and-out blowing, pentatonics, danceable grooves and the like. It sounds just the thing for warm nights. If so, then last night’s set by The Lethals at Hippo’s was on the money.

The Lethals is Leigh Miller’s band. Leigh has impressed me over recent years with hot, funky electric bass playing in the ANUSM Commercial band and at Moruya over recent years. I was surprised to learn that he has only just entered the Jazz School, and that he was previously a classical bass student. Quite a change. Leigh’s a powerful and funky player for someone out of the classical tradition. But then classical is a good source of chops, and he displays them. He also displays a penchant for effects, and a readiness to experiment. I only caught one set, but that included an extended solo bass piece with a bass drum sounding on the beat accompanied by heavily echoed bass playing chords, harmonics, string bends, wah and more. The other tunes were more simple blows and pentatonic melodies. Scofield’s A go go and Jaco’s Teentown (admittedly a pretty raunchy melody, and a punchy groove) and two originals, one by Leigh and another by Leigh with Damien Slingsby (a capable pianist and one-time Jazz School student).

The solos were satisfying all round. Carl and Ben blew us all away as they always do with good solo development, interesting ideas and occasional meanderings outside, and the balance was good so we could hear all the ideas. Sam slogged away with solid and heavy drumming which matched the style, and played a nice solo where he held the heavy beat but interpersed it with some rhythmically contorted fills. The bass had that soft and toppy modern sound which suits slap. It seemed to get lost in unison lines with the guitar, but it worked a treat on solos. It was interesting comparing this sound to Steve Hunter’s very punchy, hard, middy sound when he played Teentown with Carl only a week or so before. I also enjoyed the overall band sound on the night. It was not too loud for the venue (Hippo’s is not an easy acoustic space), and clear and well balanced. The audience was not large, but at least that meant less background noise, so it had a benefit. I only caught the first set but much enjoyed.

The Lethals were Leigh Miller (bass), Carl Morgan (guitar), Ben Foster (keyboards) and Sam Young (drums).

To the movies

It’s great to see jazz so involved the life around town. It’s an urban music, so it’s perfect for the new Civic. I caught the Flett trio playing at the Dendy tonight.

Yes, Dendy is a cinema, but it has a bar, and it’s got jazz to entertain cinema goers on Friday night between movie sessions. Despite the unusual location, this gig has been going for at least 6 months. Alison (Ali) Flett (vocals) plays with Phill Jenkins (bass). Normally the trio comprises Paul dal Broi (piano) but Julian Abrahams (guitar) was sitting in when I dropped in. It’s a standards and latin set. The PA is pretty weak near the players (although stronger at the entrance). Where I was, it was hard to catch some of the lyrics and Ali’s capable improvs. It was a shame because both were interesting. Many lyrics accompanied jazz tunes which I mostly knew as instrumentals, eg, Nostalgia in Times Square retitled as Strollin’ and sung with words from Honi Gordon. It was something new to me. Phill continues to impress. He’s playing such simple but solid walks (more panache than flash). I can understand why he gets the work. Julian played perfectly capably and comfortably despite just sitting in for the night. No surprise from trained players like this. It certainly adds to the enjoyment of a night out at the flicks, so thanks go to Dendy as well as the band.

London calling

The longstanding laid-back Trident gig had a London visitor this week, and I was lucky enough to attend. In case you don’t know, Trident have been playing a gig on Tuesday nights for several years (5+?) at Dickson’s Trinity Bar. Each week, they perform a few sets of quiet but intense funk/groove from 9pm. The tunes are based on well known tunes (on this night it was Footprints, Rhythmaning, All blues, Nostalgia in Times Square, Nica’s dream, and even Madonna’s Material girl) but the references to the originals are pretty obscure and flirting. It’s a style that is urgent but restrained, and still fresh and improvised despite numerous outings. And refreshingly laid back: set 1 comprised only 2 numbers: a reggae-infected Nica’s dream, and a 35-minute medley comprising 3 tunes (a groove on G, All blues and Nostalgia).

This week, Trident were joined by Mike Guy, keyboardist and ex-Jazz School student, who’s come home for a visit after 3 years in London. Mike sat in easily with his old mates, and played with conviction and involvement. His sounds were mainly Rhodes piano and Hammond organ, and both suited the soft and extended improvised tunes well. A fellow pianist commented on his melodic inventiveness, sense of space and control of tension. I liked the way he developed solos (an exercise in both tension and space) and his satisfying lines within the diatonic harmonies.

Overall the band is not so much harmonically out, as rhythmically complex (it is funk after all) and melodically abstruse. This is rhythm to die for. Chris was playing masterfully, with a big ear for all that was surrounding him, and constantly changing, very intense but superbly controlled grooves. No need for volume to express emotional intensity with this drumming. Always sharp, open and precise. Luke was in tune with a great sound on his active Fender fretless 5-string playing strong patterns but freely improvised. I particularly liked his chordal and harmonic work, his clear and well intentioned soloing, and one very syncopated walk against Nostalgia. But a highlight was some free rhythmic fills that left the groove then resolved, making playful mockery of the rhythm, but confirming it by its return. I saw it as a rhythmic version of going harmonically out then resolving. Lachlan was a steadying influence, bending melodies but soloing mostly diatonically and in a scalar form on a softly distorted guitar. There was lots of time taken to build and sustain grooves, and generally toy with subtle changes, considerable sitting out by various players, and easy passing of solos. This is playing in the pocket: very appropriate for a mid-week bar gig and a great pleasure. Like having a band in your living room; a gem of Canberra jazz.

Just some news from Mike to finish off. He seems to be enjoying his time in London. He leads the band Organum (which includes Niels Rosendahl), and has recently been involved in musical theatre, touring the UK with a Motown show and a Michael Jackson show that may reach London’s West End. He’s enjoying London and talks of a massive musical scene, with all forms strongly represented.

Mike Guy (keyboards) was sitting in with Trident. Trident are James Luke (fretless bass), Lachlan Coventry (guitar) and Chris Thwaite (drums).

Mike Guy on MySpace

Venturing out

Excuse the indulgence as I venture into other musical forms for a minute. The Australian Youth Orchestra is currently in Canberra for its annual National Music Camp.

I attended two concerts last weekend and was stunned by the capability and commitment of these young musos. The camps are open to students aged 14-24, and the current one has an attendance of about 300. Apparently, most of the professional classical players in Australia are graduates of these camps, which are currently in their 60th year. Students are tutored by professionals covering all manner of music-related matters. This obviously includes playing but ranges to composition and even writing about music. The feature instrument this year is the harp. I heard two concerts at the excellent concert hall at the Canberra Girls Grammar School. There were symphonic works by Richard Strauss, Dvorak, Lutoslawski, Stravinski and John Talbot (one of the tutors) and chamber orchestra pieces by Corelli, Barber and Tippett. It was all truly impressive.

If you read this in time, there’s a harp concert (including one work for 6 harps: presumably a very rare experience) in the National Library foyer 5.30-6.30pm Thurs 17 Jan, a performance of music composed at the camp to accompany silent films at the National Film & Sound Archive 7.30pm Friday 18 Jan, and final concerts at the Canberra Girls Grammar at 5-6.30pm (Beethoven, Bartok, Sculthorpe, Debussy) and 8-9.30pm (Dvorak, Prokofiev) Saturday 19 Jan. All free. Take a short break from jazz and dig this!

Australian Youth Orchestra website

Tribute to Zawinul

Joe Zawinul’s death on 11 September 2007 ended an illustrious jazz career at the highest level, including, of course, co-leadership of that quintessential fusion band of the 70s, Weather Report. Adelaide had a Weather Report retrospective called “Cucumber Slumber” in October. Canberra had its last night when Carl Morgan led a superbly capable band to perform tunes from the Weather Report and Zawinul songbook, and one original. This was hot, powerful, loud music, with the excitement we expect from Pastorius, the beauty we expect from Shorter, and the orchestral richness of Zawinul himself.

Carl Morgan (guitar) brought Steve Hunter (electric bass) and James Hauptmann (drums) from Sydney to play with him and Ben Foster (keyboards). Ben got the job at late notice and did a wonderful job on an exacting task, although he admitted he’d like a masters thesis to really get to grips with Zawinul’s complexities. He was sometimes overshadowed by an insistent (and loud) rhythm section, but did a great job. It was truly bliss at times when Zawinul’s sweet synth melodies appeared from amongst the rhythm makers. Carl himself was in great form, and I was surprisingly satisfied by role as the band’s Wayne Shorter. His collection of pedals and a guitar on the edge provided a screaming sound that went well with his ecstatic solos, funky accompaniment, and saxual melodies. Steve was a shocker! His fretted 4-string bass was a powerhouse, a machine gun fusillade of notes in the style of Jaco. Jaco’s strength was always in rhythm and melody with simple harmony. Steve played this admirably, roaming at speed over the neck, and with deceptively gentle fingerwork producing a massively hard and powerful sound. This was overwhelming playing. James held the drums side of the percussion section with an everchanging wash of rhythmic patterns and occasional solos.

The tunes were mostly well-known ones from Weather Report (Palladium, Teen town, Black market, A remark you made), but there was one original from Steve Hunter’s new CD, and that classic Zawinul number from his time with Cannonball Adderley, Mercy mercy mercy.

I had a few thoughts as the night was ending. Firstly, I realised I was tapping my feet on the 1-3, and I wondered to what degree WR tunes provoked this, and whether it’s a defining aspect of jazz-rock/fusion (it probably is). Secondly, I remembered some of the extended single chord blows that were part of Weather Report’s repertoire, and that in the end left me a bit cold. But then I heard the summary call and response in repeated whole-notes that finishes Palladium. It was a great choice to end the night; Weather Report bliss returned and I ended the night beaming. Thanks to Carl and crew for a memorable review of a great and sadly missed artist.

Black noted in Adelaide

It was a visit to Adelaide for Christmas, and a chance to catch up on jazz in my hometown. I’d checked the Net before the visit. There seemed to be plenty of jazz in Adelaide, but not much at the time I was around. But I’d found an informative site that listed a young band playing “bossa to cool jazz and hard bop”. The band was the Christian Weber Quartet although it performed on the night as a drummerless quintet.

The CWQ were young players with connections through jazz studies at Adelaide’s Elder Conservatorium: some were current students, others met there but were now further afield. They played a well-known set of charts (Blue bossa, Alone together, St Thomas, Softly, Song for my father, All the things you are, Bird’s strangely lighthearted My little suede shoes and obscure Segment, etc) with just a few originals in the final set. The two originals were by the guitarist and bassist, and were perfectly presentable. I would have liked more. Ross’s “I can’t believe it’s come to this” was in the standards tradition, and Quentin’s “Cruisin’” was laid back groove. Both were decent tunes, and worth the outing. The core of the band were capable, smooth swingers. Chris Weber (trumpet, flugelhorn), Quentin Angus (guitar) and Ross McHenry (bass). They played with restraint and gentle volume: Chris was lyrical with a sweet tone and frequent falls to flat fifths and sevenths; Quentin was typically jazz guitar smooth, capable and fluid. Ross interested me with his 6-string electric bass, some occasional slaps and thumb work, but mostly fast and melodic solo lines high on the neck. This was quiet music suitable for restaurants and cocktails and perhaps a little too laid back for the venue (but maybe I’m just displaying my preference for a bit of raunchy, hard swing).

The ring-ins were Matt Sheens (piano) and Patrick Thiele (trumpet). The two trumpeters had played together some time back at the Con, but Chris had gone to Japan for work, and Patrick had departed to Melbourne for further study. Patrick played much hotter and tougher than Chris, free from bar lines and root notes, and frequently and comfortably moving in and out of tonality. His intro to Autumn leaves at breakneck pace was clear evidence of his approach. I particularly liked Matt Sheens (piano). Piano is an orchestra in itself, so lends itself to rich ornamentation, harmony, invention. Matt was confident and free enough to sit in or out, reharmonise and move through discordances, play through extended atonal sequences, anticipate and otherwise mangle time, switch from chords to lines and back at will. I also enjoyed what seemed to me to be a rich sense of the history of piano, as he played in various styles. This was an impressive display from a current student, and he’s obviously someone to watch.

It was a disappointingly small audience, but I met several local jazz supporters. Ross Spain is a music writer and reviewer for the Australian Jazz Scene and the South Australian Jazz Archive. Yacek Szocinski of the Yacek Jazz Agency is the promoter of the Black Note Club. Chris (missed her surname) is on the committee of the longstanding Jazz Action Society in Adelaide. It was also interesting to hear news of the current course at the Adelaide Conservatorium and to compare notes on names from the past (Schmoe, Ted Nettlebeck, Ralph Franke, Hal Hall [all still around] and Dave Dallwitz and the Creole Room [sadly departed] were mentioned). There was also talk of a big band run by Mike Stewart, a teacher at the Con and the local Jazz Coordinator. They play monthly at one of the pubs around town, and sound like a local gem.

JazzAdelaide

AdelaideJazz

Elder Conservatorium

Nice to get out again

It’s nice to be out gigging. It’s been a long while between drinks, but I’ve managed a few gigs recently and there are good chances of more coming up. The pic is Trio Toucan playing a few days ago at JusQytly restaurant in Manuka. We got in a several originals along with better known Real Book tunes, so that was a double plus. Hopefully there’ll be many more gigs, but I’ll do my best to keep up CJ over the next year and promise not to feature my own bands too often.

Please keep me informed of gigs for the CJCalendar, regular or one-offs, and if there are any budding authors out there, get in touch. I’m happy to publish articles and pics on jazz in Canberra and break the tedium of Eric’s ongoing musings. For now, have a great Christmas and New Year, and looking forward to another year for jazz in Canberra.

Jazz can at UCan

I particularly like it when I’m out and about and unexpectedly come on some nice jazz. It makes me feel the jazz scene is bigger and more invasive than I know of. I was out at the University of Canberra on Thursday and happened on Aron Lyon (guitar) playing with Sam Young (drums) and Gareth Hill (bass). It was just a short set as part of a celebration for the end of year. It may have been a throwaway set, with tunes like All blues, but it was not tame. The guitar was fluent and fierce at times. The bass gave some effective solos, and Sam was observant and responsive. It was also interesting to see that Aron was playing a guitar from a notable local luthier, Ray Berketa. Ray’s a nice and helpful guy and produces a magnificent product.

Berketa guitars

ArtSound update

Just got a message from Mike Champion at ArtSound, and he included a list of jazz-related programs on our great local community radio station. ArtSound transmits on FM 92.7 and also FM 90.3 in the Tuggeranong Valley. Keep up the great work.

Soundspace - 10am-noon, weekdays

The Music Works (mostly jazz) - 2-4pm, Sat

Jazz Made in Australia - 3-4pm, Wed

Swing Time - 4-5pm, Wed

Down in the Basement (mostly jazz) - 8-10pm, weekdays

Jazzwaves - 8-10pm, Sun

Jazz Nice’n Easy, Tom Parker, NY - 10pm-midnight Thurs

After Hours - Midnight-7am, Sun to Thurs

Chris Deacon also tells me they are planning on restarting live jazz broadcasts from their new studio in Manuka. Looking forward to it.

Buttercuppin’ hoe-down

Zoe brought her bumpkin Buttercups to town last night for a great night of whacky but intelligent, hick but danceable music. I’ve written of the CD recently, and many of the tunes were from that CD. This was a six-piece jazz-trained outfit, but playing across the styles of rockabilly, reggae and blues, but always with the tinge of the jazz influence, despite the ever-present 1-3 drum figures. I guess this is one of the options for where to take jazz in the new century. Whatever, it’s entertaining, infectious, and very different sounding. Perhaps the defining sound is the banjo, which brother Ben plays on most of the tracks. But Ben’s given it a strange twist, with this normally rhythmic and ostinato instrument played as solo modern jazz guitar. Weird, as it imparts a new choppy, staccato sound to a jazz guitar solo style. The drums are also key, with other brother James playing impeccably on the square 1-3 beats, and ably managing the growing intensities of rhythm section against solos. The sleazy front line of trombone and alto sax are perfect. John Hibard on trombone plays the part to perfection, with energetic gyrations on his lengthened instrument, and with the addition of a great rendition of the song from the CD. Dan Waples played perhaps the most jazz style on the night, but even so he seemed to forego wailing and screaming in a Coltranesque style, preferring an elegant, intellectual, probing style that to me was reminiscent of Chris Potter. There were several excellent blues solos from Aaron Flowers, who’s a guitarist of few but meticulously appropriate notes, and hot soloing by Ben ranging across rock and fusion styles when he did get on his guitar. Both guitarists played Telecasters, and the sounds were to die for. Zoe held it all together (in calling the tunes as well as on bass) and played a few of her own solos. She’s gloriously understated in her playing and always lyrical. Lovely stuff. It was a wonderfully quirky, joyful and entertaining night at the trying edge of the art.

Zoe and the Buttercups were Zoe Hauptmann (bass, vocals), Aaron Flower (guitar), Ben Hauptmann (banjo, guitar), John Hibard (trombone, vocals), Dan Waples (alto sax), James Hauptmann (drums).

Kingston’s funky these days

Kingston is alive these days. Thursday nights on cool, calm evenings are no exception. I was down there for other reasons (so no camera and little time), but I caught the funky trio that plays each week at the Belgian Beer Cellar. The trio comprised that satisfying combination of Bill Williams and Ed Rodrigues, who we see so regularly playing around town these days, with a guitarist who was new to me, Andy Campbell. I’ve admired both Bill and Ed for some time, and written frequently of them here. This context was more blues-based funky than the laid back jazz they play here on Sunday afternoons. They did it proud. Bill is wonderful on the double bass with syncopated funk lines that would be more at home on electric. Not an easy ask but he plays it convincingly. Ed was his usual responsive self, but in this context more insistent and percussive. Nice stuff. Andy was a fitting partner in these surroundings. What I heard (just a few tunes) was blues-scalar lines (perfectly apt for this style) on a blond semi-acoustic with some nice chordal soloing thrown in. The place was lively and the clientele were largely ignoring the players, which allows you a nice, self-indulgent outing. I wish I had more time to listen. I didn’t have the camera with me either, so no pics. Andy Campbell (guitar) played with Bill Williams (bass) and Ed Rodrigues (drums).

Meeting of the generations

Geoff Page’s 2007 jazz series ended with a meeting of young and old. Ross Clarke and Terry Wynn are jazz names with considerable history in Canberra. They played together at The Pendulum, an early modern jazz venue in a basement in Garema Place in the 60s and 70s, and have been local names ever since. The newer generations were represented by James Luke and Mark Sutton.

The event got me musing on issues of changes in jazz. Most obviously, the experience of living through such years of jazz change, say from the mainstream of Oscar Peterson and Ray Brown, to the modern of McCoy Tyner and the post bop of Benny Golson. All these composers featured in the concert, and they are so different although all members of a family. Also, the changes in education, from old school listening to new school academic training. And memories of old jazz clubs and touring solo artists and local house bands in clubs just like the Pendulum must have been. Individual international players don’t seem to tour that way these days. And specifically for me, memories of 70s Adelaide and the Creole Room, and local names including Geoff Kluke, Schmo and Ted Nettlebeck.

It was an interesting concert with some great playing. Terry played a range of horns. He started on clarinet. It’s a workhorse from the past, but now relegated. Geoff Page mentioned it was the first time clarinet had appeared in 5 or so years of his jazz concerts, and this just confirmed the fact. Terry also played a range of saxes at various times: soprano, alto and tenor. Interestingly, I felt his tone on sax was reminiscent of the clarinet sounds that he started the night with. Ross played all styles, but I could feel the formative influences of the mainstream in his more modern playing. James excelled himself on the night, with simply structured but lyrical and expressive solos, good solid swing in backing, and a great, growling tone. This was very mature playing from the baby of the pack. Mark was responsive and aware and swinging, but came into new focus with the McCoy Tyner tunes. It was clear there was a real comfort with the Elvin Jones style.

There were a range of styles. From a St Louis blues clone with a bass-played melody, through McCoy Tyner tunes, Contemplation and Changes, the standard Softly as a morning sunrise, Spyrogyra’s Shaker song, Benny Golson’s Killer Joe, Gershwin’s Soon and There’s a boat that’s leaving soon for NY, Oscar Peterson’s Smudge and Ray Brown’s Bam bam bam, and an encore of that beautiful ballad, The very thought of you. There were originals, too, presumably from Ross’s pen. He talked of influences leading to several compositions and it hinted to me again of the aural nature of the craft at the time. For instance, how he’d composed Flyaway after hearing snippets of a Dusty Springfield tune. I heard it as harmonically reminiscent of There will never be another you (not sure if Ross agrees).

The band was Ross Clarke (piano), Terry Wynn (clarinet, saxes), James Luke (bass), Mark Sutton (drums). It was a good night for recollections, history and generational interaction and a suitable way to end another season of Geoff Page’s Jazz at the Gods. Listen to ArtSound for snippets from the recording of the night, and look out for Geoff's 2008 jazz series when it starts next year.

Brian Stewart's Photo gallery of this concert

Out of Africa

Simon Milman returned last Friday with project and a capable trio to carry it out. This was Bamako 3. B3 is an acoustic trio investigating African music and its influence, and how it has changed to produce the blues and jazz that we know. Simon called it an “African journey”. I was surprised to find it pretty folky and also to hear the banjo appear. I was little taken aback by a lack of drums, although there was strong and insistent rhythm. I wasn’t surprised to hear pretty clear hints of the musics we know as black and American. The trio started with a long, unison melody by all players, and finished in a similar vein. In between were several originals including two ragtime tunes. One (Furniture polish crawl) had Simon playing the melody with a slide on his acoustic bass guitar. The other (Gut bucket rag) started with the long unison melody and featured Jess playing a meditative solo against a drone backing. No more signifying was another original; its title amongst the band members (Led Zeppelin) was surprisingly apt and reminiscent of early and heavily blues-influenced Zep. By this time, Simon had changed from acoustic bass guitar to banjo. They also played several tunes by Ali Farka Touré. I missed the title of the earlier one, but it was simple and sweet and lyrical. The later one was City groove, which was again very melodic. AFT is a Malian playing at the “intersection of traditional Malian music and its North American cousin, the blues”, and the Malian tradition is the “DNA of the blues” (Wikipedia, article on Ali Farka Touré, 2 Dec 2007). Clearly stating the African descent theme, there was a 1932 blues tune by Skip James with vocals by Jess. The relationship was a bit more obscure with a tune from Tuva . Tuva is a republic in the south of Siberia and is noted for throat singing. Arne performed the strange, otherworldy singing style. B3 were called upon to perform an unexpected encore. Arne came to the rescue with an authentic southern blues number on vocals and guitar, I wish I was a catfish. It was appropriate as a reminder of the connections the band was seeking on the night. Bamako 3 are Simon Milman (acoustic bass guitar, banjo), Jess Green (guitar, vocals), Arne Hanna (guitar, vocals).

BTW, this was my first visit to the Folkus Room. It's mostly a folk venue and not too salubrious as a club venue, but it's got one impressive sound system!

Real estate jazz

Some friends of mine were selling a house up the road, so Dirk and his crew appeared for the third time in recent years in my street. Dirk has a busy little sideline of playing in the lead up to house auctions around town, presumably most Saturdays. I guess it relaxes the bidders. It’s certainly a civilised twist to the event. Anyway, it was a short set of standards (rhythm changes in Bb, St Thomas and the like) and very nicely played. Solid, stable rhythms, some lovely, twisted sax lines, and an idiosyncratic, black-hatted presence amongst the house-buying bourgeoisie. Short but sweet. That is, until the guys had to pack up and rush off to the next auction. Who’d have thought Saturday mornings would be such a busy time for jazz players? Dirk Zeylmans (tenor sax) played with Graham Monger (guitar) and Phill Jenkins (bass).