Tapping and musing

We’re struggling with venues and audience for jazz in Canberra at the moment. Maybe it’s our cold winter nights, but poor Aaron McCoullough and his Elements Quintet were at the blunt end of it. There were some locals at the Front, but I reckon I could count on one hand the listeners who attended specifically for the gig: Gordon, and me, and a few other possibles. Too bad, because they missed a thoroughly entertaining and lively performance.

Aaron leads from the drum kit, but he’s a drummer with a sense of music beyond rhythm, and I like that. He provided several of the compositions, tunes that were standard in the modern sense of head and solos and chord progressions, but arranged into medleys and changes that sometimes surprised and left lots of room for solos. Aaron and the band play with real energy and drive, and it was mostly in this go-ahead vein that the solos were performed. Aaron himself took frequent solos, solos that arrived without warning and just naturally extended the driving and forceful style that accompanied all the tunes. To end they played a Branford Marsalis tune, In the crease, and I thought that Aaron must have seen Branford with that rabid drummer, Justin Faulkner, on his recent tour. Not as extreme, but Aaron had the same sort of hard and energetic approach. Daniel on piano and Pat on trumpet were similar in their full bore commitment, playing very fluent, long and sustained 8th notes runs, mostly sounding to me as diatonic, embellished with unexpected little rhythmic and melodic twists. Bassist Michael was grinning with glee at the energy and excitement of all this. I understand. Bass is such a big and involving instrument and I find myself similarly grinning at times when things are cooking. This side of things sounded to me of seventies jazz in the hard bop tradition: unison melodies and Rhodes accompaniment and driving rhythms. But there was also another side, which appeared when saxist Claire played. Claire had a very different approach, reminding me of the restrained expressions of Wayne Shorter. She variously played alto and soprano, with a tone that was soft and non-metallic, fitting with the malleable structure and effective dissonance of her solos. Much more the pensive note, the twisted fill, the torrential flourish. She was quieter, too, where the guys were loud and impulsive. All entertaining, all impressive and both sides worthy of the listen: tapping with the guys and musing with Claire.

There were originals from virtually all members, and a few non-originals: Travellers by Aaron Parks, a piano trio piece by Robert Glasper, and Branford Marsalis’ In the crease. There was busy syncopation throughout and just a little swing, and I counted at least one 7/4. This was a spirited performance and that little audience was very appreciative by the end. Let’s hope that appreciation is enough to keep the bands coming.

The Elements Quintet was led by Aaron McCoullough (drums) and comprised Aaron with Claire McCoullough (alto, soprano sax), Pat Thiele (trumpet), Daniel Gassin (piano) and Michael Story (bass) at the Front Cafe.

Something quirky this way comes

The Circus came to ArtSound again last night, ie, Lakeside Circus. It’s always a work of madness and extravagance, and some really interesting and searching playing. I’ve written on their last performance at the Front. Read that for more in depth comments. This time, I only caught some of the broadcast and got to the studio for part of the second set. Again I noticed those clever, Mingus-like arrangements, but was also taken by the soloing, which was not so much virtuosic as intervallically intriguing, and some strikingly contradictory piano playing at times from Jono that just clashed like the titan but resolved into new and satisfying themes. Jono is generous about his work in all this, although he takes an obvious and impish and committed leadership role while playing. His take is that he starts with an idea, and the arrangements develop from themes and lines played in practice, which he then further charts. Whatever, it’s very impressive writing. Another quirky saturnalia from Jono’s musical acrobats.

Lakeside Circus played for Friday Night Live at Artsound. The Circus is Jono Lake (piano, compositions), Shane Spellman (trumpet), Andrew Fedorovich (alto sax), Max Williams (tenor sax), Patrick Langdon (trombone), Alec Coulson (bass) and Mark Levers (drums).

Brass’ere too

I was down at the Kingston Markets to buy some cutesy, crafty pressies and there was Brass’ere. Not walking, but at least acoustic and loud and, well, brassy. A far nicer background than non-descript pop or a radio station. Just a few pics.

2 of 3x2

Oh my god! How different can two piano trios be? I wrote of Alister Spence yesterday. Today I write of the Ben Winkelman Trio. There’s a city difference (Spence/Sydney and Winkelman/Melbourne) and maybe there’s something to that, but I heard this as a difference of period and generation. Spence was modern; Winkelman was post-modern. Both were fabulous, but hugely different.

Ben’s obviously classically trained, showing that light touch and ease that comes from exercises and etudes. He also based two tunes on themes from C20th classics that he’d been studying: Ravel and Messiaen. His trio comprised Sam Anning on bass (originally Perth, but now Melbourne) and Ben Vanderwal on drums. It’s a rhythm pairing I’ve long admired. But why the po-mo? Post-modernism is an ironic mix of genres and styles, as against the seriousness of the modern and its rational humanist belief in progress. Here the po-mo showed as a melange of styles that were combined with great competency, but also lightheartedness: stride, latins, tango, swing, brought together with odd and changing time signatures, and extensive, wildly syncopated arrangements. There was a lot of written work in this - unison lines, complicated ostinato passages, changing forms and themes - and the solos similarly held a style then moved on, aware of difference and toying with it. I think the tunes were all originals from Ben’s albums: Spanish tinge, Steppin’ 2, Vampires, Five Odyssey and Seven Odyssey, Dislocation, Maxine stomp, and others. The names mean little without the albums. Dislocation was a gloriously sparse ballad with a solo by Sam to die for. A few others grew with long crescendos. Otherwise, they morphed playfully. Ben was the leader. Well spoken as presenter, and well voiced on piano with a gentle touch and moderate volume. Ben was not overly rapid, but he explored ideas without technical restraint, coolly and thougthfully rather than heart-on-shoulder emotionally. Sam’s such a lovely player. Terrific fluency, tone that’s present and not edgy, long runs of long intervals and arpeggios over several octaves, sharp right hand syncopations that patter with 16th notes. And solos that glowed with purpose. Ben V’s another varied character. He’s not so much a groove merchant as a lover of jumbled sounds. It’s seldom that he maintains a steady groove; rather there will be rat-a-tats on woodblocks or cowbells, or rudiments on any of the standard kit. He’s got an intellectual approach, knowing his rhythmic options, but he also presents an earful, sometimes sounding of jazz history with even patterns to match the strides or stomps they accompany. I remember him similarly playing with tones of window ledges, glasses and the like years back at Hippo.

This night that was so different from the previous. 3x2 has been quite a revelation; a marvellously diverse and intelligent offering. Thanks to Street and the bands, and I hope they do similar things again. Ben Winkelman (piano) led a trio with Sam Anning (bass) and Ben Vanderwal (drums) at the Street Theatre 2.

1 of 3x2

It was a ride of great variety when the Alister Spence Trio played at Street Theatre. Alister was playing the first of two concerts by piano trios at the Street. It’s a worthy innovation. They will undoubtedly prove to be two high quality and challenging outings (the 3x2 series). The audience was not large, but reasonable, and the band was presented formally on the theatre stage. Alister was playing with Cameron Undy and Toby Hall. Cameron was sitting in for Lloyd Swanton who normally plays this gig.

The music started as avant-garde minimalist, one or few repeating chords with subtle changes: almost ambient: intriguing and inward-focussed; sparse bass and ringing tuned percussion. Within a few tunes we were in free territory, with richly dissonant piano going the clappers, with busy bass and drum kit. This was more my territory: grand piano moving easily through dissonances; wonderfully rounded bass tones well into very comfortable thumb positions; lovely cross rhythmic drumming. This was authentic to the form and very capable, powerful playing. Cameron was doing a wonderful job, reading some very complex lines and soloing with clear and purposeful lines. It was an obvious challenge. He showed it in his concentration. The performance was well worth the respect that Alister expressed. Then into a break, and a second half that changed again, to some delightfully lyrical pieces. Still the unexpected rhythmic patterns, but melodic lines that were very pleasing. This was chord running in a ballad sense, rather than bop. Their capabilities in this format were as impressive as earlier. Solos from piano and bass moved from the melody, but were always eloquently relevant to it. Piano and drum solos and grew and grew as long crescendos. Also interesting were the improvised introductions to some tunes against sampled glockenspiel or prepared piano. Alister’s piano were intellectually satisfying in free excursions, lulling in minimalism and expressive against the balladic styles. I also noticed his leadership, where the slightest of nods of glances introduced section changes. Cameron was wonderful in taking on some very syncopated unison lines and carrying them off, and his solos were eminently suitable for the context. I’m always impressed by drummers who know pitch as well as rhythm and Toby played pitch on glockenspiel. But it was really in the drum accompaniment that I most enjoyed his playing. I closed my eyes and found his rhythms and fills and grooves sat with ease with the rest.

The highest quality of playing on music that ranged widely, from modern ambient minimalism to free to ballads. Intriguing and engrossing. Alister Spence (piano) performed with Cameron Undy (bass) and Toby Hall (drums, glockenspiel) at the Street Theatre.

Transit lounge

Jazz-trained players don’t just play jazz. Jazz training is a catch-all for a range of syncopated, modern styles and the forefront of jazz has always been a sponge for influences. Last night, I caught Dub Dub Goose and Los Chavos. DDG is a dub/reggae band, and Los Chavos is a latin outfit. Both play insinuating styles that appeal broadly and get the dancers on the floor, and both are seeded with local jazz training.

Firstly, Dub Dub Goose. I hadn’t heard them since their first gig at Moruya a few years ago. The Goose is now much more developed, more purposeful and confident, and with a CD under its belt. The band has a firm lead from Beth Monzo, who plays guitar and sings out front. I presume she writes a good deal of the quirky, entertaining and (age-)relevant lyrics. The combination of a strident and uncompromising female voice, the vibrant horns and energy and good humour make this a thoroughly entertaining outfit.

I have also written here of Los Chavos, when they played at the launch of the Canberra Musicians Club. They were good then; they are now that much more alive and confident. Latin is perhaps the master beat of the rhythmic universe, so it’s no surprise to see the dancers pop up when they get going. Again, there’s a front line of horns, and inevitable percussion and interestingly a keytar (someone told me this is what this strange over-the-shoulder keyboard is called, as has been used by Chick Corea and Herbie Hancock and a string of boy bands). I expected simple melodic lines, but Alex Carder was playing some interesting chordal fills with bends, so the instrument defied my prejudices. Otherwise, I noticed the commitment and joy that Andy Jauregui sings with, and also drummer Amanda Waite. I was standing beside the stage when I was surprised by her competent introduction: clear and immediate, seeming to come from nowhere, and leading the band into an instant solid groove.

DDG and Los Chavos were playing at the Transit Bar. It’s quite different from most jazz venues, of course. These bars are more beer-spilled, younger places with pool tables, punchy PAs and DJs in the breaks that are louder than the bands. I liked it. I was there with my two sons, but I even came across an old mate from the Blues Club, obviously determined to grow old disgracefully. So should we all.

Dub Dub Goose were Beth Monzo (vocals, guitar), Nick Combe (bari sax), Reuben Lewis (cornet), Valdis Thoman (trombone), Matt Lustri (guitar), Ben Fowler (bass), Matt Sykes (drums). Los Chavos were Andy Jauregui (vocals), Valdis Thomann (trombone, vocals), Corey Booth (trumpet, vocals), Amanda Waite (drums), Simon Milman (bass), Alex Carder (keys), Matt Lustri (guitar).

Gent again

Pics by Neal Gowan

I think he's coming home soon, but Neal's still at it. He's sent a few more pics of the Genste Feesten (Gent Festival), a music and arts festival in Gent, Belgium that runs for 10 days, July 17-26. Everything from classical, jazz, world, rock to hip-hop along with drama, dance, street theatre, puppetry and more. A number of the main stages are set up in the central city square underneath the Belfry and churches: very atmospheric. The sun sets around 10.30pm here the main acts often go to 3am. Apart from the stages here are many buskers plying their trade on the streets. The largest group was 30 musicians from the Netherlands Stroat Ensemble jazz band. The first jazz group here was the Bram Weijters Trio with Nicolas Rombouts, bass, and Steven Cassiers, drums, along with Angela Morris playing sax. The group got together at Antwerp Con.

Genste Feesten website

Stroat Ensemble

Inlays, velvet, timber

Ah … The Parlour. It’s a new one on me, but I loved it. Swish! Carved woods, inlaid tabletops, red velvets, chesterfields, table service. And perfectly suitable for classy music, like Damian Wright’s flamenco guitar and Miroslav Bukovsky’s quintet. It was a fabulous outing all round. But firstly, the venue. It was a surprise. I knew of the development and I’d heard of its support for good music, but I’d never gotten there. It was much more impressive than I’d expected. Truly salubrious; classy to the core. I remember the daggy, dingy but historical buildings that used to house local government services in this place. Now there’s a five star hotel, new aged foyers, art and Victorian elegance in the Parlour. I’ll be back.

First for me on the day was flamenco guitar with Damian Wright. I’d heard Damian several times with the Translators where plays a fusion style with Steve Hunter and James and Ben Hauptmann. That’s stunning in its own way, but I loved the authenticity of this performance. Damian has spent several years in Spain and continues his studies in Spanish guitar. This is blissful music: sharp fingernail tones; tabla-fast strums that drench you in tense rhythms; barred left hands with fingered melodies; rock solid beats in rhythms of huge complexity. Damian was explaining the accents to me on a 12/8 rhythm: 12-3-7-8-10 (yes, it starts on 12; no, I don’t understand either) and how maracas will concurrently play 4 or 3 to the 12 (I think that’s right) and dancers will perform over the top of all this rhythmic melange. I noticed his foot tapping a rock-solid 4 to the 12/8, but he disabused me of this simplicity. It’s much more fluid. And there was a discussion of how all 12 notes are available in the harmony, although I didn’t particularly notice this. Just fabulous music and a great eye-opener.

Second was an old favourite: Miroslav Bukovsky leading a quintet with John Mackey, Mark Sutton, Hannah James and Dave Rodriguez. I’ve heard these players and this music many times before, but it remains fresh. Miro’s tunes are a revelation of lyricism and indulgent grooves. This is half the songbook of Wanderlust: what’s not to love? John was again a revelation. I’ve not heard him for a while, what with family duties and loss of venues, so his statements were fresh and clear. He has such a rich sense of harmonic colour; he phrases with clarity and inevitability with phrases that cross barlines with ease; he toys with eighth and sixteenth notes. And his tone is so big: the Parlour and the volume suited him. Damian said of Miro that it was obvious that he was a composer. You could hear that melodic sensibility in his solos. Repeated patterns transposed a few tones; inevitable intervals, or tastefully challenging ones. Miro played the flugelhorn for most of this gig, so it was rural and inviting: such a lovely sound. Dave was his melodic self, with his heavy strings that fight a bent note, but give such a big tone. I most enjoyed his comping: modal chord movements that blended with the soloist to form a moving palette enriching the solo. He said after how he’s enjoying comping. And Dave’s judicious use of effects: not driven, but echoed. Hannah was fluent, rhythmically strong and steady, and well intoned. It was a soft but present sound, that would lift to solos that moved widely and easily across and up the fingerboard to the thumb positions. Sydney must be suiting her, for this was one of Hannah’s favourite performances for me. Lovely work. Mark was pushing from the back, with limited kit so limited tonalities, but not limited rhythmically. This was strong and forceful, and some short but expressive solos that insolently clashed against underlying rhythms with intelligent complexity and easy control. The audience had a treat. A wonderful performance of several enveloping tunes and a few ring-ins including Bolivia, Mal Waldron’s So nice and Bronte Café and ending on an ecstatic Tenor madness and Miro's beautiful and intriguing Peace please. Did I enjoy it? Does it show?

Damian Wright (guitar) played the first set of flamenco guitar. Miroslav Bukovsky (trumpet, flugelhorn) then led two sets with John Mackey (tenor sax), Dave Rodriguez (guitar), Hannah James (bass) and Mark Sutton (drums). They performed at the MusicArtFood mini festival at New Acton.