A CELEBRATION OF ALLAN BROWNE

Allan Browne

Allan Browne at the drum kit.

PREVIEW

Allan Browne Memorial Concert, 8pm Friday, September 23, Athenaeum Theatre, Melbourne.
A benefit concert for the family of Margie Lou Dyer and Allan Browne presented by the Melbourne Jazz Co-operative

When family, friends and fans of drummer Allan Browne mourned his loss and celebrated his rich life and considerable contribution to the  Melbourne jazz scene, I was overseas.

There was a huge outpouring of grief at his passing, culminating in a New Orleans-style street music procession that accompanied his hearse up Collins Street after his funeral.

I felt his loss from afar, remembering with deep appreciation the times when I had the opportunity to enjoy his company and his music.

I now deeply regret that I will be en route to Australia from Canada when a stellar line-up including Paul Grabowsky OAM, Barney McAll, Bob Sedergreen (Onaje), Andrea Keller, Tim Stevens, Julien Wilson, Brett Iggulden (The Red Onion Jazz Band) and Margie Lou Dyer takes to the stage at the Athenaeum Theatre for this memorial concert celebrating the musical life and legacy of Allan Browne, OAM — drummer/bandleader/composer and poet, who passed away, just short of his 71st birthday in June 2015.

 

Allan Browne

Allan Browne

 

This one-off concert will feature some of Melbourne’s finest contemporary musicians, almost all of whom performed with Al Browne over his long career. Between them the line-up of artists are the recipients of a six ARIAs, three National Jazz Awards, a Melbourne Music Prize, Don Banks Award and many “Bell” Australian Jazz Awards for album or artist of the year.

The list of pianists includes Paul Grabowsky, Barney McAll, Bob Sedergreen,
Tim Stevens and Andrea Keller, all of who recorded with Browne.

Saxophonist Julien Wilson, bassist Sam Anning and Barney McAll (all National Jazz Award and Australian Jazz Award recipients) performed on some of Al Browne’s last recordings will pay homage to these works.

Artists from many of Browne’s long-standing bands will perform, including the Allan Browne Quintet with Eugene Ball, Phil Noy, Geoff Hughes, Nick Haywood and emerging drummer Maddison Carter; and Onaje, one of Browne’s first ‘modern’ bands which features Richard Miller, Bob Sedergreen and Geoff Kluke. Other artists performing include Tamara Murphy, James McLean, Howard Cairns and Cam Robbins.

In the traditional jazz style, well-known trumpeter Brett Iggulden, OAM, from Browne’s first band, The Red Onion Jazz Band, will be guest artist with Virus, which features John Scurry – another Red Onion, Andy Ross and Lyn Wallis. Vocalist Shelley Scown will perform one of Grabowsky’s most beautiful compositions, Angel.

Browne’s widow, Margie Lou Dyer (daughter of late jazz great, ‘Wocka’ Dyer) will deliver some classic jazz and blues piano and vocals to conclude the performance in rousing New Orleans style.

Allan Browne

Allan Browne plays Uptown Jazz Cafe

Allan was a pivotal figure in Melbourne’s jazz scene, regarded by many as the personification of Melbourne jazz; a living repository for the history of jazz, possessed of an unquenchable creative spirit.  Conjuror, a collection of Browne’s poetry (including an accompanying CD) was co-released by extemporé and Jazzhead in 2012.

Profits from the concert will go Allan’s second wife, pianist Margie Lou Dyer, and five offspring who are all musical performers.

I urge everyone who can be there to come out and enjoy this wonderful opportunity to celebrate such a warm and wise man with the music that he loved.

Roger Mitchell

EVENT DETAILS:

Date:                          Friday, September 23

Time:                          8pm

Venue:                       The Athenaeum Theatre, 188 Collins Street Melbourne

Tickets:                      $40 / $30 concessions / $20 Student Rush at the Door

Bookings:                  Ticketek or phone bookings on 03 9650 1500

More information:    mjc.org.au

 

Allan Browne

Allan Browne

Allan Browne

Allan Browne

Allan Browne

Allan Browne

Allan Browne

Allan Browne

Allan Browne

Allan Browne

WE WILL NOT BE VOTING FOR TRUMP

REVIEW

Melbourne International Jazz Festival 2016

The dust has settled, my particularly nasty post-festival toothache — during which I utilised a sleepless night to write a long and meandering rave on the MIJFand subsequent never-ending plague of coughs, colds and sinus pain are fading from memory. It’s finally time to reflect on the remaining concerts I had the opportunity to attend during this year’s festival.

Paolo Angeli

Paolo Angeli

Paolo Angeli (Sardinia), prepared guitar, Sunday 5 June 2016

I was unable to hear Voyage to Sardinia on June 3, at which Sardinian Paolo Angeli and Australian musicians launched Sardinian Liturgy (Jazzhead), recorded late last year  in Prato, Italy. But at the Bluestone Church in Footscray on Sunday afternoon a full house heard Angeli solo, playing his unique guitar built with 18 strings — six normal, eight transverse and four suspended — incorporating hammers, pedals, motors and pick ups.

Just as it was hard to categorise Angeli’s music (not such a bad thing), it was hard to resist the temptation to focus on his amazing guitar in an effort to work out how the sounds were produced and marvel at his adept familiarity with such a complex instrument. Not until he was well into the set could I properly listen rather than stare at the man before me using his bare toes to press “piano” pedals or crinkle a plastic bag, adjusting the tuning on the fly, artfully inserting the bow to play the lower set of strings without touching the elevated set, or activating the internal motors to produce vibrations before reminding us his instrument was “a work in progress”.

Angeli said he spent 10 years learning about traditional Sardinian music “and then I don’t play it”. He likes Bjork and his eclectic output includes “the ‘canto a chitarra’ tradition (singing with guitar), tasgia choirs, free jazz, punk noise, drum & bass, avant pop”. MIJF tagged Angeli’s music as “free jazz, post folk and minimal pop”.

I liked the fact that Angeli at times used his intricate instrument to create simple sounds, as when he played only two piano pedals. I was most taken by his distinctive throat singing — far less intense, but reminiscent of Korean artist  Bae Il Dong‘s vocals — and his third piece in the set, which was traditional. But his penultimate “athletic piece” — before the packed house demanded an encore — really took us into Sun Ra territory, flying through space aboard Angeli’s prepared guitar mothership orchestra. Needless to say, the crowd loved it all.

Paul Grabowsky introduces A Tribute to Allan Browne with Mirko Guerrini and Niko Schauble.

Paul Grabowsky, with Mirko Guerrini and Niko Schauble, pays tribute to Allan Browne.

A Tribute to Allan Browne, Monday 6 June, Bennetts Lane
Ithaca Bound, Monday 6 June, Uptown Jazz Club

For years on Mondays in the small room at Bennetts Lane,  drummer, philosopher and poet Allan Browne was at the drum kit with a changing group of musicians, bringing us some of the most rewarding and fun explorations into live music. Two gigs at this year’s MIJF  counted as tributes to Al, one named as such and the other a performance of the Allan Browne Quintet‘s suite Ithaca Bound. Both were moving and deeply satisfying experiences.

At Bennetts, Paul Grabowsky on piano, Mirko Guerrini on reeds and Niko Schauble on drums took us on a musical journey that kept touching base with Allan Browne. Another much-missed Melbourne musician who was especially close to Al Browne, bassist Gary Costello, who died suddenly in 2006, was also prominent as Grabowsky  spoke of freedom of expression, paying tribute to a tradition, musicians finding a place for their own voice and a dialogue with like-minded people. He mentioned Browne’s love of the unexpected, raves between songs and his roles as raconteur and stand-up comedian.

There was plenty of warmth and humour, but of course this was a tribute rather than any attempt to emulate an Al Browne gig. I found myself missing his whimsy, his flights of fantasy and his light touch. Yet Grabowsky, Guerrini and Schauble provided us with wonderful music that was in turn exhilarating, robust, swinging and spectacularly beautiful. When they played an all-time favourite of mine, Angel, I was in ecstasy that called to mind Keats’ Ode to a Nightingale.

DSCF8518_1500x

Geoff Hughes, Nick Haywood, Eugene Ball, Phil Noy and Lewis Pierre at Uptown.

I floated to Uptown Jazz Cafe in time to hear all of Ithaca Bound, featuring Eugene Ball on trumpet, Phil Noy on alto sax, Geoff Hughes on guitar, Nick Haywood on bass and — in the Al Browne chair at the drum kit — Lewis Pierre, who was to my mind an ideal fit.

Hughes introduced this suite, which celebrates Allan Browne’s favourite poem, Homer’s Odyssey, by saying there would have been no music from this group without Al’s input, inspiration and urgings to explore the road less travelled. And then we explored some of that road in eight compositions by band members. As always from this ensemble, we were taken to some dark and even weird places as well as some of great beauty. I particularly liked Haywood’s The Suitors, which set up a series of duets with the drums, but the whole of Ithaca Bound was superb.

Shai Maestro Trio (Israel, Peru), Tuesday 7 June, Bennetts Lane

Often at festival time I look to musicians from Europe to offer something distinctively different from the established American jazz tradition. This year I was hanging out to hear Tomasz Stanko, but the trio of Shai Maestro on piano, Jorge Roeder (Peru) on bass and Ziv Ravitz on drums came highly recommended by Fairfax reviewer and ABC radio identity Jessica Nicholas. She was not wrong.

I loved this trio for many reasons. From the beginning I welcomed what I’d term “the enjoyment of the involvement” of these three players. Throughout there was a really strong sense of these players being engaged with each other and in the moment. They had no charts and each piece was a moveable feast or a non-linear progression, with changes building, developing and evolving as layers were added and subtracted. There was also lots of variation in the dynamics as well as rapid acceleration and deceleration.

Maestro allowed plenty of space and at times left notes hanging in stillness, while at others there were low barrages of sound or intricate, rapid runs of notes. I kept puzzling over which other pianists his playing brought to mind — Andrea Keller, Paul Grabowsky and the McAll brothers Barney and John were my guesses, but I find it hard to say why.

A standout for me was Maestro’s composition When You Stop Seeing (Other Human Beings as Human Beings), which he wrote out of frustration at the never-ending violence between Israel and Palestine and at the nationalistic voices calling for that violence. This was an enthralling, totally engrossing piece.

Here’s a YouTube link to this piece as played with Kurt Rosenwinkel and Avishai Cohen at Jazz in Marciac 2015.

Every festival has a story. This concert went a long way to building a narrative — this MIJF was gathering intensity and going to go places.

Keyon Harrold featuring Twi-Life (USA), Wednesday 8 June, Bennetts Lane

Given that in the Don Cheadle film Miles Ahead, the only trumpet player we hear, apart from Miles Davis, is Keyon Harrold, it would be reasonable to expect that the highlight of his gig with Twi-Life would be his facility with the horn.

This was saxophonist Marcus Strickland‘s band Twi-LifeMitch Henry on piano, Kyle Miles on bass and Charles Haynes on drums — playing mainly Harrold’s music. In the strength of his horn and in other ways, Harrold’s work invited comparison with Australia’s Scott Tinkler. The opening piece, Lullaby, started strong and got so muscular that babies were bailing out of windows everywhere.

But Harrold showed his serious side with MB Lament, a robust but beautiful composition recalling the fatal shooting of black teenager Michael Brown by a white police officer in St Louis, Missouri in 2015. The horn solo at the end provided one of the all-too-short bursts of wonderfully bent notes by Harrold, who mostly in this concert seemed to stay pretty much on the straight and narrow path, albeit with excellent execution. Another spell of twisted trumpet came at the end of Miles Davis’s Spanish Key.

The totally unexpected highlight of this gig came in Harrold’s Pictures, when he moved to the mic and showed his spectacular vocal skills in this evidently deeply personal lament for lost love (“Everyone can tell when they’ve f—ed up”). This trumpet player can sing. His talent at the mic was confirmed briefly later in the closing Her Beauty Through My Eyes, which also featured the only prominent bass solo.

So, surprisingly, I left this uplifted not so much by Harrold’s trumpet, although that was great, but by his vocal prowess.

Tomasz Stanko Band (Poland/Finland), Thursday 9 June, Merlyn Theatre, Coopers Malthouse

Tomasz Stanko Band

Tomasz Stanko Band plays Coopers Malthouse

Polish trumpeter Tomasz Stanko was one of the key attractions for me to this year’s MIJF and he did not disappoint. This concert featured two Finns from his Scandinavian quintet, pianist Alexi Tuomarila and drummer Olavi Louhivuori, along with Polish bassist Slawomir Kurkiewicz from Stanko’s “old” quartet.

Stanko now lives in New York, where he has another quartet and has, according to the New York Times’s Ben Ratliff, shifted a little from “beautiful dirges, rubato soul-ache ballads” and “dark emotions”. That observation interests me because I found the tone of the Malthouse gig much brighter than anticipated. Energy and interplay was evident throughout the nine pieces played as Stanko roamed the stage, ripping it up or chipping in fiery horn bursts (for example in Yankiels Lid) or longer, characteristically air-cushioned passages that seemed to exude emotion (Ballad No.7). As an older musician who obviously thrives on working with younger players, Stanko brought to mind the great Mike Nock as he led this quartet in which it would be great to be a bass player, or pianist, or drummer, given the space and scope for exploratory excursions that the leader obviously welcomed.

In the closing Polin, the trumpeter’s body swayed as he responded to the beat in this fast piece. Stanko’s band may not have plumbed the darkest of his compositions, but this was a vigorous and deeply satisfying concert.

Angus / Anning / Hoenig (Australia / USA), Thursday 9 June, Bennetts Lane

Quentin Angus, Sam Anning and Ari Hoenig play Bennetts Lane.

Quentin Angus, Sam Anning and Ari Hoenig play Bennetts Lane.

New York may have been the connection that helped bring about this world premiere outing. It featured expatriate Australian guitarist Quentin Angus, now living in that city, in a trio with 2015 National Jazz Award winner for bass, Sam Anning, who returned not so long ago from there and Brooklyn-based American drummer Ari Hoenig.

Aside from Angus’s compositions, the trio interpreted songs by Goo Goo Dolls, Charlie Parker and Wes Montgomery. Angus won an ASCAP (American Society of Composers, Authors and Publishers) Young Jazz Composer award and a Downbeat Magazine Best Composition Award for his piece Happy, which seems appropriate for a young man whose smile never seems to leave his face as he shows mastery of his instrument.

Apart from Angus’s ease in executing intricate finger work, what struck me was how well the guitar integrated with Hoenig’s vigorous and surely unpredictable and at times explosive work at the drum kit — this connection was most exemplified in Kinship (Angus). Anning, who has often demonstrated his ability to link with other players at short notice, seemed to find the closest congruity with Hoenig in Sunday Blues (Angus), but at other times was a little apart from the vibe between guitar and drums.

Quentin Angus is certainly a name we will hear more of in future.

Stu Hunter: the migration, Friday 10 June, Merlyn Theatre, Coopers Malthouse

Stu Hunter's the migration

Stu Hunter’s the migration

Just as I found the Tomasz Stanko Band performance in Merlyn Theatre much brighter than anticipated, the live rendition of Stu Hunter‘s third suite — after the gathering and the muse — seemed to be more vibrant and less dark in its feel than the recorded version. Driven by the stellar line-up Hunter had assembled — many of Australia’s finest Sydney musicians not heard often enough by Melburnians, along with Julien Wilson — this was a substantial work. I came out of the theatre with words such as “monumental” or “colossus” in my head and making comparisons with Lloyd Swanton‘s war-themed work Ambon. Yet they are quite different. Ambon had a readily identifiable narrative that gave it cohesion, whereas the migration seemed to be a collection of disparate pieces, each capable of holding us spellbound.

Hunter describes this work as “a response to modern life, love, family, cultural complexity and the blurring of cultural identity within the global diaspora”. It is probably simplistic to say this, but because the gathering reflected a coming together and the migration a global breaking apart, perhaps the narrative in the latter suite was its fragmentation.

Despite the power of Tina Harrod‘s vocals, I found it hard to pick up the lyrics on the night. Reading them since, I realise it would be difficult to grasp their full import in one performance.

Hunter’s the migration is powerful, has playing of great beauty, yet is also unsettling.

Children of the Light Trio, Friday 10 June, Bennetts Lane

Children of the Light Trio

Children of the Light Trio

From 10 musicians at Malthouse to three at Bennetts Lane was a large leap, but somehow three members of Wayne Shorter‘s quartet took me from the complexity and intricacy of the migration to what turned out to be complete involvement and total immersion.

This was one of those rare concerts that is so immediately and sustainingly captivating that all effort to be anything other than in the moment — so as to record impressions for future use in a review, for example — go out the window.

Danilo Perez on piano, John Patitucci on bass and Brian Blade on drums began playing — or should that be interacting — and I was hooked on the vibe. They listened, they responded, they celebrated this opportunity to work together “with imagination, precision and fearlessness”, to quote the MIJF program. And they had fun.

I can’t say what pieces they played. I can’t provide any details of their work. Yet I can still feel this concert bubbling away deep inside, like a spring filled with life. Surely that’s saying enough.

Monash Art Ensemble featuring Tomasz Stanko, Saturday 11 June, Merlyn Theatre, Coopers Malthouse

Tomasz Stanko and Monash Art Ensemble, conducted by Jordan Murray.

Tomasz Stanko and Monash Art Ensemble, conducted by Jordan Murray.

Out of Monash University’s Sir Zelman Cowan School of Music and the Australian Art Orchestra has grown the Monash Art Ensemble, which has become a feature of MIJF in recent years as students and teachers combine to present works with guest artists. On this occasion Jordan Murray took up the baton as the ensemble presented his arrangements of music created by Tomasz Stanko on the album Litania as a tribute to Polish film composer Krzysztof Komeda.

Murray not only transformed music written for a septet so that it would work exceptionally well with this ensemble, but in so doing he changed its feel significantly, drawing on the undeniable talent in the MAO. There were too many solos of excellence to mention individuals, but in this collaborative endeavour Stanko was one among many whose solos drew applause. Murray deserves special praise, but so do all members of this ensemble. Monash Art Ensemble surely provides the best of learning environments and yet delivers music that is always, to us in the audience, the best of teaching about how it’s to be done well.

Peter Knight’s Way Out West, Saturday 11 June, Merlyn Theatre, Coopers Malthouse

Peter Knight's Way Out West

Peter Knight’s Way Out West

I should say two things straight up: First, I love this band and have followed it since its inception.

Second, when I heard that this concert was to be a launch of Way Out West‘s fourth album — after Footscray Station, Old Grooves for New Streets and The Effects of Weather — and the first with its changed line-up, I hoped to hear material that I had not heard. That was not the case, as it turned out.

As recorded in my “rave with pics rather than a review” of Way Out West’s 2014 concert for MIJF, four new compositions — Latest and Breaking, The Birds, Nine Years Later (dedicated to Peter Knight’s son Quinn) and Anthony Blaise — were aired for the first time to an audience back then. On that occasion the band, in its present line-up that includes Satsuki Odamura on kotos and Lucas Michailidis on guitar as well as guest Sri Lankan drummer Kanchana Karunaratna, played Music For April and In the Moon from previous albums and treated us to a jaw-dropping rapid-fire Afro-Lankan drumming duo.

So, two years later the band, with James McLean at the drum kit, played exactly the same pieces. I have to be honest in saying I had hoped for some new material. But what these eclectic and highly inventive musicians create is carefully crafted so that the band’s myriad influences are woven together in a way that honours the various traditions and yet fashions something new. It’s a painstaking process and this band does not often perform together — each member has many commitments and Odamura lives in Sydney.

On the night my favourite piece from the eponymous new album was the atmospheric Nine Years Later.

The Merlyn Theatre outing this year simply confirmed how great it would be if Way Out West could gather more often, play more often and keep the magic happening. If they could find the resources to tour together nationally, that would be superb.

Wayne Shorter Quartet, Sunday 12 June, Hamer Hall

Wayne Shorter and John Patitucci

Wayne Shorter and John Patitucci

The vibe was good at Hamer Hall on the final night of the festival. People were excited to again — or for the first time — be hearing the great Wayne Shorter. After finding my seat high above the stage I thought that a pair of binoculars would have been a good idea. It occurred to me that I had my camera with a long lens, but had not obtained permission to photograph this gig. Perhaps I could use the camera merely as a telescope. In the end I decided to ask for permission to do that, but Hamer Hall staff were in on the good vibe. They arranged last-minute permission for me to shoot and, as the set began, I hurried down to take some photographs from up fairly close. That was pretty special.

As mentioned in the long, rambling post earlier, I enjoyed Shorter’s playing this time a lot more than when I heard him some years ago at The Palais in St Kilda, which is perhaps a sign that I had then been uneducated in what to expect — frequent changes of direction and very short bursts of sax. This time he did not play for too long in the set, but what he contributed was considered and just right in the moment.

And the Children of the Light guys, now playing as integral members of Shorter’s quartet — pianist Danilo Pérez, bassist John Patitucci and drummer Brian Blade — were as energetic and responsive as in their outing as a trio earlier in the festival. It was like watching an organism full of life rather than separate musicians.

If only the quartet could have performed at a smaller venue, that would have been mind-blowing. But far too exclusive to justify, of course.

Marcus Strickland’s Twi-Life, Sunday 12 June, Bennetts Lane

Marcus Strickland's Twi-Life

Marcus Strickland’s Twi-Life at Bennetts Lane

I was fading a little, but ending the 2016 MIJF outside Hamer Hall seemed way too tame.

My festival ended at Bennetts Lane with saxophonist Marcus Strickland‘s band Twi-LifeMitch Henry on keys, Kyle Miles on bass and Charles Haynes on drums, along with Keyon Harrold on trumpet. There was some pretty fiery stuff, including hot work on the Nord by Henry, some crash and bash from Haynes and big sax from Strickland. Harrold delivered passages of full-on trumpet as well as vocals and more muted passages. Haynes featured a little more than in the gig playing Harrold’s pieces, but I’d have liked more from him.

Strickland capped off the concert  by assuring us, “Yes, we will not be voting for Trump.”

It was a reassuring, if not too surprising, statement to wrap up the night and the festival. Roll on Melbourne International Jazz Festival 2017.

ROGER MITCHELL

Mirko Guerrini and Niran Dasika create sound portraits for MIJF patrons outside Hamer Hall

Mirko Guerrini and Niran Dasika create sound portraits for MIJF patrons outside Hamer Hall

 

UPTOWN’S WORTH CONSIDERING

Andrea Keller

Andrea Keller on piano at the 2015 Melbourne Women’s International Jazz Festival

PREVIEW

Album launch, Uptown Jazz Cafe, Sunday, July 3 at 8pm

Our perpetually smiling (currently caretaker) Prime Minister Malcolm Turnbull has exhorted us to help make this country “agile”, by which I have taken him to mean that we must be readily adaptable to all sorts of changes … such as “no cuts” meaning lots of cuts, or copper wire NBN rather than fibre, or jobs’n’growth being without penalty rates or superannuation.

But you may never heard more agile saxophone than Tim Wilson‘s on the new album, Consider This, that he and Andrea Keller will launch tonight at Uptown, presented by the Melbourne Jazz Co-op. And you may never have a more satisfying union (that’s to upset Malcolm) than this unity of piano with reeds.

Recorded live at Bennetts Lane in 2015, it features seven original compositions, captured in all their raw beauty. Here’s some video footage from the night of the recording.

Consider This is available through Bandcamp.

Bassist Chris Hale will join the duo for the second set.

Keller and Wilson say their project was “conceived in 2007 out of a mutual respect and love for open, interactive music making, and a desire to create and explore original compositions and improvisations in an intimate duo format”.

Tim Wilson

Tim Wilson

These musicians met when they were studying at Victorian College of the Arts and have been performing together for over 20 years in ensembles such as the Paul Williamson Sextet and the Bennetts Lane Big Band.

Keller is a three-time Aria Award winner, recipient of the Freedman Fellowship and also the Don Banks Fellowship. Wilson was a finalist in the 2006 World Saxophone Competition (held at the BBC Jazz Festival in London), the 2009 National Jazz Awards, and runner up in the 2013 Taichung Saxophone Competition.

Only a limited number of albums will be pressed because the musicians are  focusing on releasing the recording digitally.

ROGER MITCHELL