Tag Archives: Stonnington Jazz

HEY, HEY IT’S YOUNG TALENT TIME

Posted on May 20, 2012 | Leave a comment

Ausjazz blog reviews the opening of Stonnington Jazz 2012

Sarah McKenzie

Alex Boneham and an attentive Sarah McKenzie at Stonnington Jazz opening night.

It was a perfect setting for deja vu. It was the opening night of Stonnington Jazz, the venue was Malvern Town Hall, patrons were seated nightclub-style at tables across the dimly, but beautifully lit auditorium, and festival director Adrian Jackson was at the microphone. Sarah McKenzie was soon seated at the piano. It could easily have been a year earlier when the young singer opened Stonnington Jazz for 2011. But somehow the deja vu never arrived. This was different.

Generations in Jazz Big Band

Generations in Jazz Big Band

The big difference, of course, was a big band — the Generations in Jazz Big Band composed of talented young musicians nurtured by the esteemed saxophonist Graeme Lyall at Mount Gambier in South Australia. This band made a substantial difference not only because of their excellent musicianship, but because they altered the dynamic. Right from the start McKenzie was not just the performer on piano and vocals with her quartet of Hugh Stuckey on guitar, Alex Boneham on bass and Craig Simon on drums. She was now McKenzie the arranger and composer and musical director of a band, albeit in close collusion with Lyall. And from the start of this gig McKenzie was alert and attentive to what the band was doing — doing very well indeed.

Sarah McKenzie

Sarah McKenzie

With quartet and band, McKenzie performed The Wind Cries Mary (Hendrix) and At Last (Gordon/Warren), before giving us two numbers with the quartet and vibes — her take on Big Yellow Taxi (Mitchell) and Don’t Get Around Much Anymore (Ellington). But the highlight of the first set gave us a chance to see McKenzie sans piano and sans vocals in the role of composer and band leader.

Sarah McKenzie conducts the Generations in Jazz Big Band

Sarah McKenzie conducts the Generations in Jazz Big Band

Two things made this number special for me. First, Song for Maria was McKenzie’s tribute to American arranger, composer and big band leader Maria Schneider, of whom I’m a huge fan. This composition really worked well and really blew away any cobwebs of deja vu — we were seeing and hearing a new dimension to McKenzie as composer. Second, McKenzie handed the piano keys to Shea Martin (I hope that name is correct), who did credit to her work in a considered and compelling performance.

Shea Martin with the Generations in Jazz Big Band

Shea Martin with the Generations in Jazz Big Band

Graeme Lyall appeared to lead the band as the second set opened with Look For the Silver Lining (Kern/DeSylva).

Generations in Jazz Big Band

Generations in Jazz Big Band

It was obvious that Lyall has these young players well rehearsed and responsive. But, hey hey, some antics were about to begin.

Generations in Jazz Big Band

Generations in Jazz Big Band

There was no sign of an ostrich, but who should suddenly pop up but the inimitable showman Daryl Somers, who is a patron of the Generations in Jazz Program. He put the audience through its paces with some singalong.

Daryl Somers

No ostrich: Daryl Somers pops in to Stonnington Jazz.

McKenzie returned with the quartet for her version (“I can’t play a standard in a standard way”) of Nat King Cole’s Too Young, followed by Don’t Tempt Me, an original and the title track from her first album. The second album, Close Your Eyes, will be released soon. It should be said that the work of Stuckey, Boneham and Simon was exemplary, and Stuckey’s contribution on guitar in particular was appreciated by the crowd.

Sarah McKenzie

Hitting her straps: Sarah McKenzie

It was about now that it seemed McKenzie really started to hit her straps. I had the feeling she was just getting into her stride. Saying that she always tried to “do one dangerous thing every day”, she again handed the piano to young Martin and took the mic to perform only vocals in Irving Berlin’s Blue Skies.

Shea Martin on piano at Stonnington Jazz.

Shea Martin on piano at Stonnington Jazz.

I loved the work of the band, the pianist and Boneham’s bass in this piece, and again it was excellent to see McKenzie being a little dangerous.

One dangerous thing: Sarah McKenzie without piano.

One dangerous thing: Sarah McKenzie without piano.

But the singer returned to the piano for her most powerful number all night, an original blues titled Living Room Blues. I think McKenzie really felt relaxed at this point and could have gone on. She seemed to be just warming up. But the night ended with her alone at the piano for the ballad I Should Care.

It was a great festival launch, but more importantly it was a chance for McKenzie — with a huge dollop of help from Graeme Lyall and the big band — to show her potential as an arranger and composer. And there is much hope for the future of Australian jazz with young musicians being given such a great start.

At the opening of Stonnington Jazz 2012, the deja vu that might have happened was never missed.

ROGER MITCHELL

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IT’S ALL HAPPENING AT STONNINGTON JAZZ

Posted on May 16, 2012 | 2 Comments

Ausjazz blog previews Stonnington Jazz 2012 — May 17 to May 27

Sarah McKenzie

Sarah McKenzie at Stonnington Jazz 2011

Things are looking a bit bleak lately, with news of job cuts and continuing financial woes in Europe to add to any gloom induced by the grubby world of politics, with its inability to inspire. So what do we need? Well, it’s pretty clear — we need a good dose of music to lift our spirits, send our thoughts soaring with entrancing vocals, dancing to some hot Hammond B3, quietly revelling in Mozart or chuckling at the perceptive, wry humour of a drummer poet.

So Stonnington Jazz, now in its seventh year, is the go. Program details are on the website, but this is a cook’s tour of some anticipated highlights at what must be one of the friendliest of jazz festivals. Believe me, once this festival is in your blood, you’ll never overcome the addiction.

It’s a big year for vocalists, beginning with singer and pianist Sarah McKenzie, who not so long ago was landing by helicopter atop a waterfall in the Australian outback, taking a dip in the pristine waters (yes, they’re always pristine) before returning to take the microphone for another performance aboard a small, but luxurious cruise ship. For the second year running Sarah will launch this festival — this time playing her own arrangements for the 17-piece Generations in Jazz big band based in Mt Gambier and composed of students who study under the tutelage of saxophonist Graeme Lyall. With McKenzie at Stonnington will be Hugh Stuckey on guitar, Young Australian Jazz Artist of the Year Alex Boneham on bass and Craig Simon on drums.

McKenzie, 24, was hoping to release her second album in time for the festival, but a recent Melbourne Weekly article mentioned it would be out in August, so maybe there has been a delay. If so that’s a pity because albums usually sell like those proverbial hot cakes at Stonnington Jazz performances.

Sri Lankan-born vocalist Nilusha Dassenaike will join percussionist-composer Alex Pertout, originally from Chile, for a Chapel Off Chapel concert. Their contemporary world sound draws on their roots and many other global influences. Their album Moments in Time is a recent release.

One of the great successes of last year’s Wangaratta Festival of Jazz was a performance by frontman and primary songwriter for Aussie rock band Thirsty Merc, Rai Thistlethwayte. He wowed the audience at St Patrick’s Hall. At Malvern Town Hall Thistlethwayte will feature with another young vocalist, Josh Kyle, who went to Britain in 2009 and had great success after a chance meeting with bassist and producer Geoff Gascoyne. Kyle released his debut album Possibilities at the London International jazz Festival in 2011.

For fans of Nina Simone, singer/songwriter Ruth Rogers-Wright will pay tribute in Fabulous Diva: The Music of Dr Nina Simone at Chapel Off Chapel. Rogers-Wright is from the London suburb of Brixton, but has lived in Melbourne for 15 years.

But Stonnington is not all about vocalists. Drummer and passionate lover of poetry Allan Browne, who is also festival patron, will dedicate an afternoon gig at Chapel Off Chapel to classic New Orleans jazz and poetry, assisted by Geoff Bull on trumpet, Dave Hetherington on clarinet, Margie Lou Dyer on piano and vocals, and Mark Elton on bass. The concert will provide a preview of Browne’s poetry collection Conjuror, published by extempore.

Another highlight will be a Chapel Off Chapel evening featuring the McAll brothers Barney, now living in New York, and John. The elder brother — pianist, composer, arranger and producer John — released the album Black Money in 2009 to great acclaim. His set will include some material from his forthcoming album Alter Ego. The younger McAll, Barney, is known for venturing into new territory. For his set, he will explore his passion for Cuban rhythms in Chaos Lento: A Guajira Project, with Ben Hauptmann on guitar, Phillip Rex on bass, Craig Simon on drums and Javier Fredes on percussion.

Barney McAll

McAll the younger in reflective mood before the performance of Graft at Wangaratta.

And, for something completely different, Barney McAll will bring his suite Graft, which he presented at Wangaratta last year, to Malvern Town Hall.

Invenio

Gian Slater and the Invenio singers at Wangaratta in 2011.

The work explores “the ever increasing ambiguity between virtual and real” with the help of 16-voice choir Invenio, led by Gian Slater, as well as vocalist Sia Furler and drummer Dan Weiss. I found this suite a challenge at Wangaratta but possibly that is what McAll the younger had in mind.

Other gigs in the big space at Malvern Town Hall include Bob Sedergreen’s Milestones in Australian Jazz History performed by the octet Bob’s Southern Jazz Coalition, and Joe Chindamo Trio (Phillip Rex on bass, Danny Farrugia on drums) with violinist Zoe Black and a string quartet.

In my favourite festival venue, Chapel Off Chapel, there are delights in store. Guitarist Ben Hauptmann will feature two incarnations of his dream band BOB, opening with an unplugged set and ending the festival on a high note with a plugged-in set. On the previous night, James Annesley Quartet will bring us a taste of Dylan, Davis and John Sangster before (I have to check the order) Paul Williamson’s Hammond Jazz Party kicks off Tim Neal on the B3 to make me swoon.

Earlier, I’m keen to hear new soul jazz band Mad Men, with Ross Irwin on trumpet, Nick Mulder on trombone, Ash Gaudion on alto sax, Paul Williamson on tenor sax, Kim Kelaart on organ, James Sherlock on guitar and Andrew Swann on drums. What a great line-up. They will share the gig with Alex Pertout and Nilusha Dassenaike.

Tim Firth

Tim Firth on drums during the National Jazz Awards final at Wangaratta 2011

Big band lovers will want to hear the 19-piece Tim Davies Big Band — drummer/composer Davies is in LA these days — and on the night before there’ll be award winners on tap, with 2012 Young Australian Jazz Artist of the Year Alex Boneham featuring in the James Muller Quartet (let’s hope Muller on guitar lets fly for the folks) and 2011 Wangaratta National Jazz Awards winner Tim Firth on drums leading his band, which includes that Boneham fellow again.

One big bonus is a free daytime workshop on May 24 on “How to construct a meaningful jazz solo”, but you have to book.

That’s it for the Ausjazz highlights and of course the preview has ended up covering just about all the gigs. But the ones I’m really hanging out for, if pushed, are Allan Browne’s Poetry of Classic Jazz, the Muller/Firth combo, the brothers McAll displaying their sibling rivalry, Mad Men, the Hammond Jazz Party gig and hearing BOB go from unplugged to plugged in.

ROGER MITCHELL

Stonnington Jazz program and booking details are on its website.

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VERSES FROM THE PAST

Posted on May 25, 2011 | Leave a comment

Allan Browne Quintet and Trio, Chapel Off Chapel, May 22, Stonnington Jazz 2011
Allan Browne drums, Eugene Ball trumpet, Phil Noy saxophone, Geoff Hughes guitar, Nick Haywood bass, Marc Hannaford piano

Given Allan Browne’s love of poetry and whimsical sense of humour — often displayed at Bennetts Lane on Monday evenings — I was expecting quite a bit of humour and maybe some of the stream-of-consciousness outpourings of that ilk at this gig. Instead we were treated to a trip down memory lane in quite a serious vein, with a fair amount of emotion amid the recollections, and some concise and deeply expressive verse. As well, the musical responses to Allan’s words were some of the most expressive compositions I’ve heard, though that was no surprise given the calibre and imagination of these musicians. Marc Hannaford, Eugene Ball, Geoff Hughes, Phil Noy and Al Browne were the originators of the music played in two sets that seemed to race past. Luckily, these evolving works will be recorded, and they should rank with suites such as The Drunken Boat, Une Saison En Enfer and Stu Hunter’s works The Gathering and The Muse (both of the latter to be played during this festival on Wednesday and Thursday this week).

Allan Browne

Allan Browne and Marc Hannaford

The pieces were tributes to artists Browne had played with and who had visited Australia. Marc Hannaford’s Suite for Swing Street was for pianist Teddy Wilson, who recalled for Allan the era of 42nd street and Kansas City big bands. His verse included the lines “The sound of art changing the brain, And the quip of course, It’s confectionery”.
I think the suite carried on into For Art Hodes, a late twenties pianist with whom Browne enjoyed “great kinship”. Hughes and Haywood had top solos in this. Eugene Ball’s A Short Verse for A Tall Man was for vibraphonist Milt Jackson, who AB described as “a tremendously swinging person”. After the piece he described Ball’s composition as having “an Ellington sound … lush”. Marc Hannaford’s solo stood out for me in this.

Eugene Ball, Geoff Hughes, Phil Noy

Eugene Ball, Geoff Hughes, Phil Noy

Before the break the ensemble played Firefly, Geoff Hughes’ tribute to Emily Remler, a “truly inspiring young guitarist” with whom AB said he had a similar close relationship apart from the music, but who “didn’t make it back to America”. She died at age 32 while on tour in Australia. One of her sayings was that despite her tiny frame “inside I’m a big black man”. This piece began with Hughes playing behind the words. Then came solos from Hughes, Ball, Haywood and Browne. Moving stuff.

Nick Haywood and Geoff Hughes

Nick Haywood and Geoff Hughes

After the break came Browne’s Wild Bill, for trumpet player Wild Bill Davison. AB recalled playing in the 100 Club in London when Davison came in, and launching into one of his pieces, Hysterics Rag. Davison played at the Limerick Arms in Melbourne with AB’s New Orleans band, but asked to sit in with his quartet, which was a lot different, and was happy because “normally I have to play with tubas and banjos”. Ball and Hannaford had solos in this.

Al Browne attentive to a Marc Hannaford solo

Al Browne attentive to a Marc Hannaford solo

The highlight of the night for me was Hannaford’s The Flooding, for pianist Mal Waldron. AB told of going to Sydney with bassist and close mate Gary Costello, very nervous about playing with Waldron and asking what they would be playing. “When I nod my head, just play”, was Waldron’s response, so they did — for more than an hour and then for another set after the break. “It was all completely different and a great introduction for me to playing free”, AB recalled. Marc Hannaford’s solo in this was a delight, and the following cacophony superb.

Marc Hannaford and Eugene Ball

Marc Hannaford and Eugene Ball

Phil Noy’s piece Johnny Griffin was a tribute to the tenor saxophonist AB described as “an amazing cat” and “totally happening”. He recalled playing Just Friends with Griffin, Paul Grabowsky and Gary Costello and Griffin “starting so far ahead of the beat that we ended up playing the whole thing at double time”. At the end, Griffin must have said, “Phew, that was not the tempo I expected.” AB said Griffin had influenced him tremendously and that being able to play Cherokee for 20 minutes was “handy these days when playing with (saxophonist) George Garzone“.

Allan Browne and Marc Hannaford

Allan Browne and Marc Hannaford

As soon as the applause died away to close the gig I wanted to have the band start all over so that I could hear Al Browne’s verses and again marvel at the strength of these compositions, which are so evocative and full of interest. We do have not only really talented musicians in this country, but composers overflowing with originality.

Geoff Hughes

Geoff Hughes (the red lighting was too much so I turned it off)

So that’s enough waxing lyrical. Another top Stonnington gig. Vastly different to the youthful vigour of Sarah McKenzie‘s opener, but deeply satisfying. It’s just a little sad that not more people get to hear this material, but as Allan Browne would point out, it’s available at gigs in Melbourne most nights and not only during festivals.

ROGER MITCHELL

Marc Hannaford

Marc Hannaford ... Look Mum, one hand.

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SARAH McKENZIE SEXTET

Posted on May 22, 2011 | 1 Comment

Stonnington Jazz opening night at Malvern Town Hall, Thursday, May 19, 2011
Sarah McKenzie piano and vocals, Eamon McNelis trumpet, Carlo Barbaro saxophone, Hugh Stuckey guitar, Alex Boneham bass, Craig Simon drums
Guests: Julien Wilson saxophone, Phil Bernotto percussion

Sarah McKenzie

Sarah McKenzie

She’s vivacious, she’s engaging, she’s spirited and she can woo an audience as if she’s been doing it for years, but Sarah McKenzie is only 22. She was an ideal choice by artistic director Adrian Jackson to open Stonnington Jazz 2011 with two concerts at Malvern Town Hall, and I’m willing to bet guests at tables and in the balcony seats  loved this lively performance by McKenzie, her sextet and guests. It was also perfect timing for McKenzie, whose newly released album Don’t Tempt Me was selling steadily to queues of patrons during the break and after the concert.

Sarah McKenzie

Sarah McKenzie

McKenzie’s appeal is not hard to understand. As an advertisement for jazz, she is just what the doctor ordered. So what’s her appeal? Obviously she looks just a tad better than most jazz musicians who have been around the block a few times, so photographers are keen to snap images that could be used to boost the ratings of jazz. But this young artist’s attraction derives primarily, I believe, from the fact that she is — despite her youth — a born entertainer.

Sarah McKenzie

Sarah McKenzie

Her animated facial expressions and gestures, which are so ideal for the cameras, also appeal to the audience because they communicate McKenzie’s enthusiasm and sheer love for what she’s doing. It’s contagious. When she talks about how she discovered jazz or tells us that, at 16 when she wrote Love Me or Leave Me, she didn’t know it was a standard, we are caught up in her passion for the music. There is a frankness, an openness and honesty to McKenzie’s approach as a performer that is refreshing and appealing. But she also has a natural talent for working an audience that belies her years.

Sarah McKenzie

Sarah McKenzie

Sarah McKenzie

Sarah McKenzie

In this respect McKenzie is similar to her mentor, James Morrison, who has that ability to captivate an audience and impart his enthusiasm for whatever he’s playing and whoever he’s playing with. So, this opening night concert raises a broader issue: Is jazz or improvised music these days often less about entertainment and more about musicians pursuing their particular paths? Are audience numbers down because there is less of the “entertainment” aspect to performances? Well, to play devil’s advocate, I believe many hold the view that jazz would have more bums on seats with more artists like James Morrison, while that view would be anathema to musicians who believe in moving into exciting new territory regardless of audience appeal. It’s an interesting question.

Sarah McKenzie

Sarah McKenzie

Sarah McKenzie

Sarah McKenzie

So, now for a review of the concert. I loved the engagement with the audience and McKenzie’s infectious passion. She was clearly enjoying herself and that helped the audience to enjoy her performance. As well, she sang mostly standards or audience favourites, such as You’d Be So Nice to Come Home To, The Way You Look Tonight, Cry Me A River, I’ve Got the Blues Tonight, Summertime, Bye Bye Black Bird and, for an encore, (Get Your Kicks On) Route 66. For good measure, she added interpretations of Love Me Tender (which succeeded) and St James Infirmary (which was a too jaunty for this bleak song in my view). So she was not pushing any boundaries.

Sarah McKenzie

Sarah McKenzie

I wished a few things to be different. I would have liked to hear more original songs, such as McKenzie’s version of Love Me Or Leave Me. I would have liked her to try some much more adventurous material, some songs with the potential to go into more edgy territory.

Julien Wilson

Julien Wilson

Eamon McNelis and Carlo Barbaro

Eamon McNelis and Carlo Barbaro

Hugh Stuckey

Hugh Stuckey

And I would have loved to have heard members of the sextet, and the guests, being given more room to move and time to take some serious solos. McKenzie had a talented band — which she clearly recognised —  but we heard solos from Eamon McNelis, Hugh Stuckey, Carlo Barbaro and Julien Wilson that were so brief as to be frustrating. They whet our appetites and then stopped after a tiny entree.

Alex Boneham

Alex Boneham and (bottom left) Craig Simon

Finally, and this is a longer term wish for this young artist, I’d like to feel moved by her singing rather than enticed by her youthful exuberance. That is possibly unfair and a bit like asking her to suddenly become many years older and tap into the deeper feelings and angst that can come with life’s tough times. But it is also a fervent wish that Sarah McKenzie digs deep and stretches herself so that there are risks in her material and in the way she performs. In short, I would like to see McKenzie vying for a commission concert at Melbourne’s Jazz Fringe Festival in years to come.

For now, this young artist left plenty of happy punters filing out of Malvern Town Hall.

Sarah McKenzie

Hugh Stuckey and Sarah McKenzie

Sarah McKenzie

Sarah McKenzie

Eamon McNelis with improvised mute

Eamon McNelis with improvised mute

ROGER MITCHELL

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WYNTON MARSALIS SENDS HIS APOLOGIES

Posted on May 11, 2011 | Leave a comment

Ausjazz blog previews Stonnington Jazz 2011 — May 19 to May 29

The days are suddenly much colder and the nights have that stay-at-home chill. Many of us are suffering from sore throats, persistent coughs and similar energy-sapping afflictions. So what’s the incentive to venture out to hear live music? During the past few nights I’ve had some of the worst coughing bouts in years, so I sympathise with anyone wanting to hunker down at home. But there are some real spirit-lifting performances coming up at Stonnington Jazz (May 19 to 29) and that’s exactly what we need as winter sets in. So, why not decide to catch one or two of these gigs over the 10 days of this festival? Go on, (to use an expression doing the rounds at our house), you know you want to.

The full program is online at the Stonnington Jazz website, so this preview is merely picking out some highlights — essentially what Ausjazz blog fancies as the gigs not to miss.

One thing to keep in mind about Stonnington Jazz. This is all home-grown talent and there is plenty of it. International artists can be a thrill, but this festival’s strength is that these musicians are ours — inventive and able and with the freedom that comes from being so far from the big names in the United States.

Sarah McKenzie Sextet
Sarah McKenzie at Stonnington Jazz 2010

The artists who are likely to feature in print media publicity for the festival are probably pianist and vocalist Sarah McKenzie, who will open the festival on Thursday and Friday nights (May 19 and 20) with her sextet; vocalist Katie Noonan, who will perform on May 22 with Elixir (Zac Hurren on sax and Stephen Magnusson on guitar); and Vince Jones & Band plus guests (May 21).

McKenzie is an engaging performer who delivers swinging standards and originals in a forthright and spirited manner that recognises the long history of jazz vocalists. She wowed crowds at Chapel Off Chapel during this festival last year and will return — this time at the Malvern Town Hall — with award-winning Eamon McNelis on trumpet (replacing Pat Thiele) and Alex Boneham on bass (replacing Sam Anning). Julien Wilson will be a special guest on sax. This venue will be larger and acoustically tougher, but McKenzie has the power to fill the hall. She will be launching her new album Don’t Tempt Me (ABC Jazz).

Allan Browne

Festival hopping: Allan Browne performs at Melbourne Jazz Fringe Festival.

Ausjazz blog’s list of anticipated highlights begins with drummer and Stonnington Jazz Patron Allan Browne, who on May 22 at 2pm presents a program of musical portraits and poems inspired by some of the great jazz artists he has played with, including Johnny Griffin, Milt Jackson, Art Hodes, Wild Bill Davison, Emily Remler, Buddy Tate, Teddy Wilson, Mal Waldron and Jay McShann. Joining Allan will be members of his quintet — trumpeter Eugene Ball, saxophonist Phil Noy, guitarist Geoff Hughes, bassist Nick Haywood — and trio (Haywood and pianist Marc Hannaford). All those names may look like a laundry list, but Al Browne and his crew have been trying out this new material at some Bennetts Lane gigs on Mondays and, though I have not made it to these gigs, I am certain the result will be moving as well as lots of fun. Jazz and poetry may not always work, but the Browne Quintet suites The Drunken Boat and Une Saison En Enfer are evidence enough that these guys know what they’re doing.

Any opportunity to hear Sydney’s Jazzgroove Mothership Orchestra is to be valued. You may be surprised at how a big band can do much more than merely blast away. Under the direction of saxophonist David Theak, JMO is a sensitive, expressive beast. And the finals of the National Big Band Composition Competition will add interest to this outing at Chapel Off Chapel at 7.30pm on Monday, May 23.

Anyone who heard Lost and Found at Wangaratta Jazz some years back, when Paul Grabowsky, Jamie Oehlers and Dave Beck played a standout set of unscripted improvisation, will value the chance to hear Grabowsky and Oehlers. Their 2010 album On A Clear Day explored their take on some standards. These two musicians will show the depth of their musical understanding in a Chapel Off Chapel double bill with Nat Bartsch Trio on May 24.

Stu Hunter

Sweet suite: Stu Hunter at Wangaratta

How suite it is that pianist / composer Stu Hunter‘s two magnificent suites — The Muse and The Gathering — will be played at Chapel Off Chapel on succeeding nights (May 25 and 26). The second work won Contemporary Jazz Album of the Year at the Bell Awards and Best Independent Jazz album in the Independent Music Awards in 2010. Both were huge hits at Wangaratta. I marginally prefer The Gathering, with the larger ensemble adding Phil Slater on trumpet and James Greening on trombone and pocket trumpet to quartet members Julien Wilson (on sax rather than Matt Keegan this time), Cameron Undy (instead of Jonathan Swartz on bass) and Simon Barker (drums).

But the deal is so good it’s hard to believe, because each gig has a substantial other half. Along with The Muse, tenor saxophonist Andy Sugg will fuel controversy over whether jazz stays tied to its apron strings or is let off the leash to explore (apologies for the mixed metaphors). Sugg, with help from Shannon Barnett on trombone, Natalia Mann on harp, Steve Magnusson on guitar, Kate Kelsey-Sugg on piano, Ben Robertson on bass and James McLean on drums, will endeavour to link John Coltrane‘s music with British punk, and use some technologically up-to-date devices to give Coltrane’s later music “radically new contexts”. I understand Wynton Marsalis has sent his apologies.

Scott Tinkler on fire at MJFF Big Arse Sunday 2011

Scott Tinkler on fire at MJFF Big Arse Sunday 2011

The other half of the The Gathering gig will feature four names to strike terror into their instruments and evoke frenzied adulation from their fans: Ian Chaplin, Scott Tinkler, Philip Rex and Simon Barker. On sax, trumpet, bass and drums respectively, these “daring and potent improvisers” (as the program notes put it) will be fathering children … no, sorry, creating a storm of fiery improvisation that will delight body and soul. (I know this because I heard Tinkler with bass and drums on the final night of Melbourne Jazz Fringe Festival this year — he’s in great form.)

That this list of highlights is growing too long and in danger of leaving out little is testament to the quality of the programming by artistic director (and trophy-winning golfer) Adrian Jackson. So I’ll gloss over some gigs (Tina Harrod; Bloodlines: Dave Macrae, Joy Yates & Jade Macrae; Joe Chindamo Trio and guests) to mention three more.

Bassist Leigh Barker and The New Sheiks, flush with Jazz Bell Awards success (and cash), will keep things swinging at Chapel Off Chapel on Friday, May 27, giving patrons a chance to catch Eamon McNelis on trumpet. And sharing the stage for another set will be the collectively led Bopstretch, with McNelis, Rajiv Jayaweera (is there anywhere he’s not playing?) on drums, Ben Hauptmann on guitar and Mark Elton on bass. This band will play classic 1950s BeBop era material, with tunes from some famous names.

On the festival’s second Saturday, May 28, Chapel Off Chapel patrons will be treated to a top double bill. Paul Williamson (the saxophonist version) will add to his Hammond Combo guests Geoff Achison (blues fans will be there) on guitar and vocals, James Greening on trombone, Gil Askey on trumpet and vocals, and Bob Sedergreen on keyboards. Get ready for jazz with an R&B flavour. At the same gig, trombonist Shannon Barnett will perform with the quartet that released the album Country in 2010 and toured nationally after being awarded a contemporary music touring program grant.

James Greening

James Greening at Wangaratta in 2010

Finally, Ausjazz blog’s highlights list ends with a combination I would not miss for quids. On Sunday, May 29 at 2pm, in a quartet of revered musicians (Sandy Evans saxophones, James Greening trombone & pocket trumpet, Steve Elphick bass), saxophonist Andrew Robson will perform his arrangements of hymns by Thomas Tallis. And Greening, forming The World According to James with Elphick, Robson and Toby Hall on drums, will perform original compositions. What a way to finish a festival.

As these highlights demonstrate, there is a lot of class to this festival. Because the program revisits some bands and works aired previously either at Stonnington or Wangaratta, I was initially inclined to think there was less breaking of new ground than in past years. Perhaps so, but for anyone who has not had an opportunity to hear these musicians before, and for all those who have heard and want to listen again, Stonnington Jazz has a power of Australian music in store.

ROGER MITCHELL

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FIVEWAYS — JEX SAARELAHT QUARTET

Posted on July 24, 2010 | 1 Comment

CD REVIEW

Jex Saarelaht Quartet

4 stars

MOVING forward could be the phrase to describe the propulsion provided by Niko Schauble (drums), Saarelaht and Jonathan Zwartz (bass) in Five-nineteen, which the band leader wrote for the late bassist Stuart Speed.

Recorded live at Chapel Off Chapel for Stonnington Jazz 2009, this outing lacks only the lyrical Resignation from the original set.

It’s a standout concert brilliantly captured, with Julien Wilson superb on sax — breathily gentle, hauntingly surreal and deeply comforting on Thirteen/Two Minds, but whistling sparely on the staccato Pepperman. Unhurried Poorly is rich in repose.

Fiveways is a testament to the quality of the original gig and under-promoted pianist Saarelaht’s accomplished quartet.

Download: Thirteen/Two Minds
CD launch: Bennetts Lane, July 27, 9pm

ROGER MITCHELL

This review published in the Sunday Herald Sun on July 25, 2010

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STONNINGTON JAZZ 2010 — DAY 10

Posted on June 2, 2010 | 2 Comments

SARAH McKENZIE SEXTET at Chapel Off Chapel

Sarah McKenzie Sextet
Sarah McKenzie

The first set was my last for this year’s Stonnington Jazz. A family commitment meant I had to leave before Paul Williamson and Friends, and could not make it to the Sunday gig with David Jones and Friends. I was not all that happy with my photographic efforts for this “last” gig. I was probably already switching out of festival mode and into family mode for my dad’s 90th birthday bash next day.

Sarah McKenzie Sextet
Sarah McKenzie Sextet

The sextet line-up was Sarah McKenzie on piano and vocals, Pat Thiele on trumpet, Carlo Barbaro on tenor sax, Hugh Stuckey on guitar, Sam Anning on bass and Craig Simon on drums.

Sarah McKenzie Sextet
Hugh Stuckey and Sam Anning

Sarah McKenzie Sextet
Pat Thiele

Sarah McKenzie Sextet
Hugh Stuckey and Carlo Barbaro

They played McKenzie originals Blues for Monty, Don’t tempt me and I got the blues tonight, as well as Cole Porter’s You’d be so nice to come home to, Sammy Fain’s That old feeling, and Duke Ellington’s Solitude.

Sarah McKenzie Sextet
Sarah McKenzie

McKenzie graduated from WAAPA with a Bachelor of Jazz (Composition) and has won a string of awards — the Jack Bendat Scholarship, the Hawaiian Award for “Most Outstanding Jazz Graduate”, the Perth Jazz Societies Award for the “Most Outstanding Group of the Year for 2008” and the 2009 James Morrison Scholarship for vocals (after being a finalist in the scholarship for six years).

Sarah McKenzie Sextet
Pat Thiele and Sarah McKenzie

As I’ve said previously, vocals are not my first preference when it comes to improvised music, but I regard each vocalist I hear as an opportunity to be educated. So what can I say about McKenzie’s performance? I think it is a big plus that her renditions of her original pieces had the same feel as the Cole Porter and Ellington classics, because the heritage of Ella Fitzgerald and Billie Holiday do seem important to this 22-year-old singer. Close your eyes and listen to McKenzie and it could be a much older woman singing, there is such power, depth and maturity in the voice. There is also warmth and conviction — when McKenzie sings “You’d be so nice to come home to”, she sings as if she has someone in mind. You know it’s not you, but you wish, in that moment, that it could be. That is a sign of how well the singer is projecting the feeling. And clearly McKenzie, as was evident when she sang In My Solitude, is not scared of emotion. She seems to be quite an open person, at least in her stage persona, and that is engaging.

Sarah McKenzie Sextet
Sarah McKenzie

McKenzie’s style of piano is expressive but forceful and that goes well with the hard-driving energy of the sextet. This is robust jazz and it will appeal to audiences who like strong grooves and a swingin’ vibe. McKenzie has the appeal — often people make a point of saying that she has the talent to match her looks — to be an ambassador for jazz. But should that burden be placed on a young musician who simply loves to perform?

Sarah McKenzie Sextet
New York Bound: Sam Anning

McKenzie announced after her first song that Sam Anning — who was not playing at quite all the Stonnington Jazz concerts — has won a full scholarship to the Manhattan School of Music in New York, NY. Congratulations to Sam. His departure will leave a huge gap in Melbourne and many bands will miss him. The Sarah McKenzie Sextet will be one of those.

Sarah McKenzie Sextet
Sarah McKenzie

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STONNINGTON JAZZ 2010 — DAY 9

Posted on May 29, 2010 | 2 Comments

ZAC HURREN TRIO at Chapel Off Chapel

Zac Hurren Trio
Hurren, Anning and Bates

It would have been a great way to end a festival, but on Friday night there was still one night to go. I chose to break the rule about not switching gigs midstream. Usually it’s hard to acclimatise to a change of venue and leaving in a rush to catch another band can be a big mistake. This time it worked out. But it left me with a burning question: How could Sam Anning have played bass with Zac Hurren (saxophone) and Sam Bates (drums) at the Chapel, and then dash to Malvern Town Hall for a complete change of mood, playing with Joe Chindamo‘s ensemble? I’d have liked to ask him what went on inside his head as he moved from one gig to the next.

Zac Hurren Trio
Hurren, Anning and Bates

Anyway, I have no time to beat about the bush, so this is the gist of it: Zac and the two Sams were faaannnnntastic! Absolutely on fire. Brilliant. Hurren said he usually stands by the trees and plays by himself, and that was how he wanted to start. It was a short warm-up solo and then the trio was off and running.

Zac Hurren Trio
Hurren and Anning

What was so good about it? It’s still in my head, but I’m not sure I can easily explain. It was cathartic. It was a physical experience. But I don’t want to give the idea that Hurren just blasted away and filled the Chapel with noise, or that Bates smashed and crashed on the drums, or that Anning drove his bass notes remorselessly through the audience. There was an element of that, but all three displayed much more sensitivity than that. They played as a unit and were totally cohesive. The result was primal and managed to penetrate deep into the body and into the soul. Bates displayed great finesse and sensitivity, Hurren and Anning were a tangible force brimming with emotion.

Zac Hurren Trio
Hurren, Anning and Bates

They played Hurren’s compositions Joffra, Conveyance (written the night before the funeral of saxophonist and teacher Tony Hobbs ), a newish track the name of which I did not catch, and Mark’s Mansion (written to represent saxophonist Mark Simmonds‘s defence of jazz against the forces of evil). They wanted to play more, but had to stop. I wanted more but had to go. And of course Sam Anning had to slip into the Stonnington stretch limo and wind down for a few minutes before joining Joe Chindamo on stage for the second set at Malvern Town Hall.

Zac Hurren Trio
Hurren, Anning and Bates

A quick note: The gigs I missed — Ted Vining‘s Impressions and Tina Harrod — deserve mention, but I could not make it. And I’d heard Tina Harrod at Bennetts Lane recently. She was great there, so I’m sure her set was enjoyed by all. On to the town hall …

JOE CHINDAMO’S COEN BROTHERS PROJECT
at Malvern Town Hall

Chindamo
Joe Chindamo

I can’t do this concert justice either, but a few sentences for now. It was the inaugural performance of the Coen Brothers material, and an album launch for Another Place, Some Other Time. Chindamo has assembled Lucky Oceans on pedal steel guitar, Geoff Hughes on guitars, Kristian Winther on violin, Sam Anning (again) on (yes) acoustic bass, Raj Jayaweera buried behind on drums and Alex Pertout also in the back on percussion.

Winther
Kristian Winther

Geoff Hughes
Geoff Hughes

Winther was exquisite on violin, Oceans added something special on pedal steel and Hughes was, as always, most expressive. Chindamo’s piano has the presence and sense of space, as well as a classical feel, to capture and hold us in a moment (or many) of beauty.

Chindamo, Oceans
Joe Chindamo and Lucky Oceans

Lucky Oceans
Lucky Oceans

In the seconds before I fall into a coma from lack of sleep, the standouts for me were the theme from Fargo (as interpreted by Chindamo, of course), Man of Constant Sorrow (from O’ Brother Where Art Thou?), Lujon from The Big Lebowski, and the theme from Miller’s Crossing. Later, You Are My Sunshine was divine, with Chindamo on accordion and Oceans on pedal steel. Earlier Oceans played slide guitar on Hotel California (The Big Lebowski), but you had to wait for the familiar melody to drift through.

Winther
Kristian Winther

After the theme from Blood Simple, Joe played a solo piano encore, Goodnight Sweetheart (I should have known, but had to be told).

Anning, Winther
Sam Anning and Kristian Winther

It was not my favourite Stonnington venue, but this was a beautiful concert and a fitting tribute to films in which music plays a big part. Chindamo’s take on the Coen Brothers’ film music was entrancing. There was no need for any moving images.

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STONNINGTON JAZZ 2010 — DAY 8

Posted on May 28, 2010 | 2 Comments

TEN PART INVENTION at Chapel Off Chapel

Ten Part Invention
Bertles, Robson, Evans, James

It was fantastic to have this Sydney ensemble in Melbourne, though the band’s obvious enthusiasm at having come south was tempered a little by the absence of the bandleader, Bell Awards Hall of Fame member John Pochee, and by departure of saxophonist Ken James, who has settled in Hamilton, Victoria. It is to be hoped Pochee recovers quickly and can make it next time Ten Part Invention returns to Melbourne — which must be soon. James is expected to be able to play with the band occasionally, but was given a send-off during the Chapel Off Chapel gig.

Filling in at very short notice on drums — he is making a habit of it — was Ronny Ferella, with virtually no rehearsal and without having played with the band previously. He did not have stories to tell, as Pochee likes to do, but he did a great job.

The line-up on the night was Paul McNamara on piano, Steve Elphick on bass, Warwick Alder and Miroslav Bukovsky on horns, James Greening on trombone, Bob Bertles on baritone sax, Sandy Evans on tenor sax, Ken James on soprano and tenor sax, Andrew Robson on alto sax and Ronny Ferella on drums.

Again, time is hampering my ability to add a review of the gig at this stage. Suffice to say it was exhilarating. The musicians seemed to be having a lot of fun and this came through to the audience, which disappointingly was not as large as expected given Ten Part Invention plays in Melbourne so rarely. We do seem to have a habit of not turning out in large numbers when a bunch of talented Sydney musicians come to town, but you’d expect this band to be well known.

For now, here are some images. In time I will add a few words about the concert.

Ten Part Invention
Ferella and Greening

Ten Part Invention
Robson, Evans, James

Ten Part Invention
Greening and James

Ten Part Invention
Greening, Bukovsky and James

Ten Part Invention
Robson, Elphick and Evans

Ten Part Invention
Evans, Ferella, James and Greening

Ten Part Invention
Bertles, Robson, Evans and James

Ten Part Invention
Greening, Bukovsky and Alder

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STONNINGTON JAZZ 2010 — DAY 6

Posted on May 26, 2010 | Leave a comment

BERNIE McGANN TRIO
AND GUESTS MARK FITZGIBBON AND JULIEN WILSON
at Chapel Off Chapel

Bernie Mcgann in the groove
In the groove: Bernie Mcgann

As usual, Adrian Jackson creates added interest by nudging artists into new situations — e.g. Vince Jones adding lyrics to Australian instrumental compositions — or facilitating meetings of musicians that ought to have occurred, but have not so far.

McGann and Wilson
New combo: McGann and Wilson

I was convinced that I had seen alto saxophonist Bernie McGann play with Julien Wilson at Stonnington Jazz previously, but of course it was McGann with Jamie Oehlers in May 2008, also at Stonnington and also at Chapel Off Chapel, that was niggling at the edge of my failing memory.

McGann and guests
Fitzgibbon, Anning, Wilson and McGann

One of the larger-than-life figures of Australian jazz, McGann had not played with Wilson until Tuesday night. The program suggested Wilson would be invited to join McGann and the ensemble — Sam Anning on acoustic bass, Allan Browne on drums and Mark Fitzgibbon on piano — for the second set, but Wilson came on for the second piece of the night, the ballad Wendy by “late, great sax player Paul Desmond“, as McGann put it.

Allan Browne
On fire: Allan Browne

In a short set — it seemed so — that began with Monk and ended with McGann’s Spirit Song, the trio and guests treated us to a no-frills exposition of energetic and elegant, rhythmically rich grooves that were an ideal way to showcase the two saxophonists. There was no fuss, just accomplished playing that carried each piece forward in a way that was totally engrossing.

Anning and Browne
Anning and Browne

Browne seemed to be on fire from the start, if that can describe his apparent ease — he denies it — and evident joy. Add Fitzgibbon’s drive and Anning’s warmth and you have music that is deeply satisfying.

McGann and Wilson
McGann and Wilson

And what of the saxes? They are quite different stylistically. McGann does not move much as he plays, managing nonetheless to break out in those moments we all wait for in any solo, but without much more than a twitch or a slight incline of the instrument to show what the sound is saying so clearly. Wilson’s emotional input is more overt, which I like in any musician, but when listening is paramount — closing the eyes helps — the difference is inconsequential. Both players can express so much, but they don’t fuss about it. Here is Wilson, playing with a fellow saxophonist who he has long regarded as an inspiration, and he is just getting on with it. Playing with Bernie McGann seems to rule out anything overly dramatic.

McGann and Wilson
Together at last: McGann and Wilson

The second set began with Tin Tin Deo, by Dizzy Gillespie and Cuban Chano Pozo, with Browne and Fitzgibbon driving forward to meet melodic contributions later from McGann and Wilson, followed by two ballads, The Talk of the Town (featuring McGann) and Laura (featuring Wilson). Browne was full-on in McGann’s Brownsville, which was exciting, and the set closed with another McGann composition, D. Day.

This may have been just another night for a musician with the experience of McGann, but surely it must have been uplifting for him to play with a younger saxophonist of Wilson’s calibre. It was for the audience.

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