LA life

Is there no end to these Pots promos?  The latest is Freddy in LA.  The Pots music is seriously getting around.  The parsimonious listener counts must be wrong!  Some in power would query the numbers.  Whatever, check out the new cover and be seduced.  Thanks to Freddy!

By Big Ben

Now it’s Tom, partner to Chamberlain, parading The Pots in London.  Proof: Big Ben in the background.  How we get around!  But most notably, in a bar, presumably with an Irish music session in the background.  Maybe arguing the point for Potty electronica, or otherwise just enjoying a listen and a genuine British ale or Irish Guinness.  Dunno, but thanks Tom from The Pots in far off Canberra.

BTW, Tom has his own musical achievements, including many more monthly listens than The Pots and songwriting credits including for Lime Cordiale Pedestal. See/hear Thomas Aren on Spotify, YouTube, etc. as singer/songwriter/musician/producer based in Los Angeles.  Tom, I want to wear your t-shirt!

Thomas Aren on YouTube

Pedestal / Lime Cordiale

Our future

May Li played a Wednesday lunchtime concert in the midst of the Eisteddfod being held at Wesley.  Given her history with the Eisteddfod, as well as her other recognitions (AmusA no less) I guess she felt quite comfortable.  It at this sort of age many of us have played Chopin waltzes, although my skills were nothing like this.  Bach, Mozart, Chopin and Miriam Hyde, a very different style from the others which were different enough in themselves, and all played from memory, capably, quickly.  These were not trivial pieces.  A Bach prelude and fugue with that glory that is a Bach fugue, a Mozart sonata and that Chopin waltz and the Miriam Hyde which was far more impressionistic, all rising and falling passages, busy in notes and dynamics, imaging Brownhill Creek in Spring.  May is still at school but playing with considerable maturity.  We can be happy that such musicians exist around us in Canberra, and let's hope it stays that way.

May Li (piano) performed  Bach, Mozart, Chopin and Miriam Hyde at Wesley.

Being community again

There’s a certain desperation that goes with a Community Play Day with a challenging piece and this suffered from that. It’s a mix of people you have or have not played with, learning and then performing a piece on one day, perhaps not really adequately prepared despite best intentions, and when the main piece is a challenge like Tchaikovsky 1812 overture with its chromatics and variously 6 sharps or flats along with some other keys, and those explosions (although just drums for our outing) and various odd timings, you can be somewhat wary. Certainly, the first run through showed some work was needed. But by the end, with some warmth in Albert Hall and a small audience and more readiness, the performance was still a challenge but also a great joy. It’s such a good piece and luckily pretty well known although that awareness can be tricky; counting is ultimately safer. I chatted with Canberra visitor Stephen at the after-party and he was very positive, enjoying the intimacy of the small gig, perhaps 40 audience for 80 performers, the impressive performance, the informality of the event and the dress, with no performer dress codes. I recorded and I caught a final shouted audience quip after the 1812 “do it again!”. It was like that, playful and entertaining while deadly serious. Great fun and a terrific sometimes terrifying outing. The opening piece, Miriam Hyde Village Fair, was much more sedate and still much loved; just not feared. We were 3 basses, there were plenty of mates from Maruki and Alan who sat in on bassoon truly at the last minute. I think this is just the second NCO Community Play Day and not quite as large as the last, but plenty of fun and inviting for external players and much fun had, so I expect it will continue. And as for those ringing tubular bells at the end of the 1812 and the rousing melody, just fabulous.

National Capital Orchestra and guests practised then performed Miriam Hyde Village Fair and Tchaikovsky 1812 overture at Albert Hall for a Community Play Day. Shilong Ye (conductor) led the proceedings.

Girls out

It’s an annual outing to hear and record various group from the Canberra Girls Grammar School at Wesley.  The performers are many and the groups and works are equally extensive, instrumentals of various formations and music from brass to Bach, guitar, flutes, trios, a quintet and choir to Mozart to Shostakovich, Michael Jackson and Carole Bayer Sager.  Some tunes are obvious and popular and hugely inviting; others more obscure.  The guitar group did Billie Jean by MJ and the Gabriel Singers performed Let it be in a very successful, subtly edited arrangement of our own local John Black.  And then there's Handel, Boccherini and a few lesser names.  Some players were particularly impressive but no names and all were keen and involved and confidently led by their teachers on the day.  We must just hope that those who want to continue with their music studies still have a place to go.

Various combinations of musicians and singers from Canberra Girls Grammar School performed at Wesley.

Our take on the Blues

I try to the get to monthly Canberra Blues Society jams at Harmonie German Club.  I seldom manage it but I did this last weekend and had a great time.  Its a good room, interesting German beer on tap, big tables to share with people you’ve not met before, a chance to play a few tunes with some really nice audio gear and an opportunity to use one of my e-basses.  My latest purchase is an ‘85 Fender Japan P-Bass to replace the ‘72 Fender Precision, fretted, sunburst, rosewood that I sadly sold long ago.  The host band started up the event, this month a youth blues group with considerable authenticity.  Gavel & Grace comprise 3 siblings and an invite: Sarah, Toby and Eli Foster(s) on key/vocals, drums and bass and Liam James on a truly blistering guitar.  The Fosters range from 19 to 14 yo and Lina is just 22, although an authentic senior in this outfit.  They are a product of the Candelo Blues Club Youth in Blues program.  Worthy and experienced at a ridiculous age.  Ones to watch.  Then a string of the local players in various formations, gathered through a blackboard list.  Great fun, some dancing, a sound man and that great bass amp power, plenty of tables with friendly, informed blues-styled peoples.  It’s a great, understated scene, considerable fun and all ages.  But one additional promo particularly surprised me: The Wooten Brothers feat. star bassist Victor are booked to play in this very room on 4 Feb 2026.  Wow!

Gavel & Grace were the host band for this month’s Canberra Blues Society jam session at the Harmonie German Club.  G&G comprise Sarah Foster (vocals, keys), Toby Foster (drums), Eli Foster (bass) and Liam James (guitar).

Euro Pots

The Pots reaches out to the world. Our intreprid promoter is now in Salzburg. Cheers to Chamberlain and thanks from BassistEP, MegSee and The Pots.  In the meantime, have a listen ...

The Pots linked from ePea

& Cheese

The cheese to the earlier chalk was Max Alduca’s rich and detailed and beautifully exposed compositions with his quintet touring his studio album.  I expected subtlety and training and musical intelligence and we got them in spades with understated presentation and beautiful, complex melody and pure solos, spelt variously simply or expansively or even ecstatically.  For me a bassist, sitting in the final available seats in the front row, literally sometimes resting beer or feet on stage, I could watch Max’s understated playing that could blast into a lovely quick mobile line or his bow that would play long notes then bounce below the bridge, or even bow a tone from the tailpiece.  I’ve been exercising this morning with long intervals and regular patterns that underlined one composition, but there were tons of fascinating harmonic concepts.  I didn’t think to ask Max but there must be piano in these composition and Hilary mentions his chats with pianist Luke.  Bassists work with chords but we don’t hear them like pianists do.  As I am wont to say, piano is an orchestra in a box.  Saxist Michael was understated and true to melody, just so nicely stated, but he could drop in devastating lines that were still just fitting rather than exclamatory.  Hillary provided tons of colour but did let go a few times with exciting guitar, dirty, driving and unrelenting.  That was a blast.  Luke could let go at times, too, but never without solo development so it was totally fitting.  James just got one solo that I remember, on the last tune before the break, short, plenty syncopated and snap-sharp but again not showy while wonderfully expressive.  The whole was like that  and the tunes were similarly so.  Rich melodies merging with restrained but authoritative solos throughout.

Max Alduca (bass, compositions) led a quintet with Hilary Geddes (guitar), Michael Avgenicos (tenor sax), Luke Sweeting (piano), and James Waples (drums) at Smiths.  They were touring their new album Monastery / Max Alduca.

Chalk &

I was off to hear old mates playing jazz at Smiths, or at least upstairs in McGregor Hall but I noticed a fascinating touring band from Perth that was downstairs and starting an hour earlier. Why not make it a night? I was glad I did. This was a fascinating, perhaps odd and challenging outing. I only caught the first set and there was sadly a severely limited audience, but glad I did. What would you expect: “One of a kind Freak Opera Dothlife bring their National touring Theatrical Act of Original music from Western Australia. Celebrating their 66song debut album and feature film release.” The stage was a leafy cage and a few synth boxes. No drums. They sometimes play with cello, viola and the like. I chatted with Corey Marriot beforehand, synth and vocals, presumably author and composer. I never met or even saw the face of offsider Elsa Tseng who was the friendly beast in the cage through the show, if I got the story right, the developing love interest of Corey’s hairy and leaf ridden presumed caveman presence. I didn’t count tunes, but 66 is feasible, all short themes and lyrics played attacca (excuse my classicals) for an hour before I had to leave, all played with two boxes/synths and effects and samples and a mic. Would love to have investigated the gear but no opportunity. Would love to have listened more closely to lyrics to get the story. But the pop melodies and absurdist theatre were fascinating of themselves. Corey talked of the tour with art gallery spaces and the like: it fits. Desperate words and an unexpected, perhaps prehistoric, love opera. Touching and authentic and absurd in trammy Canberra. “Everyone’s wasted on love”. Intense and pained. Quite a fascinating outing, unexpected, and much enjoyed.

Corey Marriot (vocals, electronics) and Elsa Tseng were Dothlife on tour from Perth and performed at Smiths.

Flesh launch

The Pots' new album Flesh (no.10) is now launched. Have a listen. Here’s my description “The Pots joins with MegSee to consider the themes of love and desire through the writings of several historical authors, Sappho and Euripedes, Dante and TS Elliot. But so as not to not limit our vision, we also hear of hoodies and the 18yo experience and the inevitable political rant and throw in some tortured Renaissance song.” And feel free to investigate the other 9 albums by The Pots and two others from Musica da Camera Canberra string orchestra while you’re there. See the CJ ePea page, linked below, for track notes, links, lyrics and more.  Flesh appears to be missing from Spotify for now, but available at Bandcamp, YouTube Music and more.

ePea (Productions)

Too few organs

I attend organ concerts too infrequently. This was a lunchtime concert at Wesley, but in the church with the organ. It’s not a big organ by international standards but worthy by Canberra standards. It’s bliss to sit and hear those deep weighty pipes contrasting with with diminutive whistles. Those tones, absolutely not percussive, fat and weighty, flighty or playful. It’s common enough to hear Bach in this context, and that’s always a pleasure regardless. In fact, this concert was called Bach and beyond, starting with a Bach organ piece and ending with his famed Toccata and Fugue in Dmin. We all know that one. In between were various pieces, Graeme Koehne To his servant Bach God grants a final glimpse and Louis Verne and Dulcie Holland. All worthy and interesting pieces related or otherwise to the Bach theme. But the tones got me and do as I listen back to my recording. The huge sharp tone of Louis Verne Carillon that matches in tone with the opening bars of the T&F Dmin. The pensive and gentle tones of the Koehne and much of Dulcie Holland Arioso. It feels like an indulgence to close eyes and listen to such organ, lovely and inviting but also with consternation at times.

Callum Tolhurst-Close (organ) performed in the church at Wesley.

Confusions

What could possibly go wrong was asked in the play bill for Spider’s Web. It’s a play by Agatha Christie performed at Theatre 3. It’s also described as “Classic Christie” and it fits as Classic Canberra Rep at their classic venue, Theatre 3. This takes me back in so many ways: the School of Arts buildings, art deco and once the first high school in Canberra; the low rise sprawl out the back bu the entrance to Theatre 3; Agatha Christie herself, one of a period, and challenging and jokey in a way that’s also dated; the Canberra Rep, founded in 1932 and with 550+ productions to its credit. There’s a joyous atmosphere in the place, a tiny entrance and an intimate performance space although with a generous stage, rotating to boot although not tonight. The performers are committed, the characters evident, the complexities were clear if tortuous. Suffice to say there’s a dead man found and eventually a murderer identified although any earlier hints at that bypassed me. But that’s the fun of the whole thing and it was fun and it was done perfectly well. Clever stuff if inconsequential. Nothing unexpected other than a murderer.

Agatha Christie Spiders web was performed at Theatre 3 by Canberra Rep featuring, amongst others, Sian Harrington (Clarissa), Adele Lewin (Mildred Peake), Terry Johnson (Sir Rowland) and Leo Amadeus (Inspector Lord) under Ylaria Rogers (Director).

Visiting the theatre

I first heard some tunes as I was setting up to record and the melodies just about brought tears to my eyes, even from Sound of Music.  That's when you realise just how good can the music in musical theatre be.  This concert was called Musical theatre songs - a journey and it was just that, a few songs here and there from 1938 on.  I was delighting in the beauty of these melodies and the clever emotional needles of the lyrics and then, to end, Madeline sang an opera aria, O mio bambino caro from Puccini Gianni Schicchi and I could see the similarities of musical structure and heart-rending stories and finally get the connection with opera.  Otherwise it's seemed a distant pairing to my ears.  Anyway, this was Madeline Anderson and with Hilda Visser-Scott and three of their vocal students, Aria Wallace, Laura Green and Ruby Holden.  The students were all capable even if the voice of the day was obviously the more-experienced Madeline.  Some things, including voices, take time, but there was presence and pleasure throughout.  Each student sang 2 tunes and as a vocal trio accompanied Madeline on The sound of music.  Otherwise there were tunes from numerous musicals, Moulin Rouge to Pal Joey, Les Miserables to Phantom of the opera, Carousel to Grease and a few others beside.  All fabulously well written and very nicely performed.  There's a reason that Rogers and Hammerstein and the like are famed.  And a reason why musicals are so popular.  Opera for our times.  Very much enjoyed.  And thanks to Hilda for the classic pic.

Madeline Anderson, Aria Wallace, Laura Green and Ruby Holden (vocals) were accompanied by Hilda Visser-Scott (piano) at Wesley.

Fresh jam

It was a strange entry to John Mackey's new jam night at Smiths.  I expected it was upstairs in McGregor Hall (as advised online) and innocently walked in on a life drawing session but was hussled out very quickly.  The jam was downstairs this week.  Then a few greetings and a few jam bands and a chance to play a couple of numbers with new jammers, Night in Tunisia and Misty.  The bass was pretty heavy work to my ageing hands but you adjust.  More to the point, there was no bass pickup so the music was limited in volume.  Our tunes were OK if somewhat a struggle to settle on Misty.  Strange that!  John didn't play but some local stars did and they were truly impressive, as expected: Tom, Chris, Matilda, Simon and others.  Then through more players and more who might have played but didn't.  I caught up with Alysa but she didn't sing this evening: singers have the added issue of changed keys, although chords, if not melodies, are pretty well handed with tech these days.  Perhaps not the hottest jam I've attended, partly for the bass volume, but a good outing none-the-less.  Thanks to John for the new session and the chance to meet some new players.  PS thanks to John for the pic of my jamming band.

John Mackey runs a jam session each Tuesday evening at Smiths.

The Pots+ 16 Aug

The buzz is beckoning!  Nice to see Chamberlain proudly promoting The Pots in currently warmer climes, on the waters around Rhode Island, no less.  Thanks Chamberlain!  In the meantime, the buzz is on, at least at my house, with the release of The Pots - Flesh on Saturday 16 August.  It's not quite as explicit as you may surmise despite MegSee feat. as Sappho!  In summary, The Pots joins with MegSee to consider the themes of love and desire through the writings of several historical authors, Sappho and Euripedes, Dante and TS Elliot.  But so as not to not limit our vision, we also hear of Hoodies and 18yo experience and the inevitable political rant and throw in some tortured Renaissance song.   You'll find The Pots on all the major streaming platforms and Bandcamp or just follow the link below to the ePea page on CJ.  And to Chamberlain, enjoy the swim and thanks again.

ePea on CJ