Tag Archives: 2012

WANGARATTA JAZZ IN FULL VOICE

first reason

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1. VOCALS

Maybe the stars are aligned. Maybe the success of voices raised against broadcaster Alan Jones has set the earth back on its axis. Maybe the irresistible force of vocal talent which is about to gather at Wangaratta Jazz and Blues Festival from November 2, 2012 is exerting its magnetic power.

Whatever the reason, this reluctant enthusiast for vocals in improvised music has received some signs that a Kurt Elling experience may lie ahead for me in the wilds of Wangaratta this year. When Elling performed at this prestigious festival, I was initially reluctant, then so captivated that I went back for more. (Why reluctant? Well, I have often found that the when music includes vocals, I quietly and secretly wish that I could hear the (other) instruments — and that is not from any lack of respect for the talents of the vocalists.)

Gelah Reh

Gelareh Pour

So, what signs have I seen? Well, at two recent gigs I have unexpectedly warmed to the work of vocalists, albeit only one of whom will be performing at Wangaratta in 2012.

In a short set at the Make It Up Club in Fitzroy, Adam Simmons played shakuhachi in a duo with Iranian Gelareh Pour, who played the kamanche stringed-instrument and sang so effortlessly and with such purity of sound that I was entranced.

Louise Goh

Louise Goh

Since then, at Paris Cat, Sarah Holmes invited Louise Goh to the microphone in a set by The Outfit. Again, I was struck by how much wordless vocals added to the pieces.

Neither Gelareh Pour nor Louise Goh will be at this year’s festival, but you never know what the future will bring.

And, as if these were not sufficient signs of the earth moving, I have had the opportunity to be immersed in the striking and compelling contribution of Carl Pannuzzo to MAGNET, which is the quartet comprising the vocalist along with Stephen Magnusson, Sergio Beresovsky and Eugene Ball. The self-titled album just released will, I predict, make its mark. Pannuzzo really takes the listener into interesting territory and demonstrates the power of vocals, as I am sure he will demonstrate with MAGNET at Wangaratta.

So having heard the portents and read the signs, I await the vocal delights at Wangaratta with the expectation of a student beginning a new subject.

Most of the population of music lovers will be hanging out for the strong, soulful voice of Gregory Porter (pictured top left in this post), who grew up in Los Angeles, but has been based in New York for the past couple of years. Porter will play with Australians John McAll on piano, Nick Lester on saxophones, Zvi Belling on bass and Danny Farrugia on drums. Artistic director of the festival, Adrian Jackson, says Porter’s music incorporates soul and gospel elements, particularly his original material but that if you hear him do some the standards on his recordings, such as Skylark and But Beautiful (Jimmy Van Heusen/Johnny Burke) he’s a really superb jazz singer.

Also a drawcard at Wangaratta will be Cyrille Aimee (pictured top right in this post), a young singer from France with a creative, effusive and fun style. She won the Montreux Jazz Festival International Singing Competition in 2007 and was runner up in the Thelonious Monk Jazz Singing Competition in 2010. Based in New York, she often performs at Dizzy’s, Birdland and Smalls. Her Surreal Band, which features expatriate Australians Sam Anning on bass and Raj Jayaweera on drums, will be joined by guitarist James Sherlock.

Of course there will be a whole lot more vocalists featured at this year’s festival, including the 10 finalists in the National Jazz Awards. They are Aimee, 28, from France (currently based in New York); Kristin Berardi, 31, from Sydney; Briana Cowlishaw, 23, from Sydney; Luara Karlson-Carp, 21, from Brisbane; Kate Kelsey-Sugg, 23, from Melbourne; Joshua Kyle, 26, from Melbourne; Chantal Mitvalsky, 29, from Melbourne; Judith Perl, 23, from Melbourne; Liz Tobias, 28, from Adelaide (currently based in Boston) and Katie Wighton, 24, from Sydney. For Miriam Zolin‘s interviews with the finalists, visit Jazz Planet.

The 10 were chosen after the three judges (Mike Nock, Michelle Nicolle and Vince Jones) assessed over 60 recorded entries on a ‘blindfold’ basis. They will perform at Wangaratta with an outstanding band comprising Sam Keevers (piano), Sam Anning (bass) and Raj Jayaweera (drums).

As well, Michelle Nicole and Vince Jones will perform with their bands, and Cyrille Aimee will open the Cup Eve concert before Vince Jones takes the stage.

ROGER MITCHELL

ON BERNIE’S BIRTHDAY, IN WALKED BUD

REVIEW: Bernie McGann Quartet — Marc Hannaford piano, Bernie McGann alto sax, Phillip Rex bass, Dave Beck drums — at Bennetts Lane, Melbourne, Friday, June 1 at 8pm for Melbourne International Jazz Festival 2012

Bernie McGann celebrates his 75th birthday at Bennetts Lane

Bernie McGann celebrates his 75th birthday at Bennetts Lane.

When you think about it, there’s a hell of a lot of saxophonists in this year’s MIJF. The revered Bernie McGann‘s 75th birthday celebration was the first of the Club Sessions at Bennetts Lane jazz club, followed by Jamie Oehlers in a quartet with US bassist Robert Hurst. The following night the Jazzgroove Mothership Orchestra would have the talents of tenor player Chris Potter on display, and back at Bennetts later there would be Eli Degibri from Israel in a quartet. As things turned out, I caught all of these players. It’s fascinating to see and hear the different approaches and styles.

I’ll be honest. Bernie McGann’s outing was the standout for me. On the other saxophonist’s performances, as they used to say on ABC radio, more on that story later.

Bernie McGann enjoys his band at work.

Bernie McGann gets into the swing of Hannaford, Rex and Beck.

I’ve never been so entranced by McGann’s playing as I was in these two sets. Of course appreciation of any gig is subjective and has a lot to do with what mood you’re in, the type of music played and whether the two gel. But I reckon there was some special magic happening from McGann on the night. Right from the opening rendition of Ellington’s What Am I Here For?, he seemed to produce that magic  so simply, without fuss. He stands, immobile, and delivers. Then he sits and listens, getting into the swing of the work being done by his fellow musicians.

Marc Hannaford

Marc Hannaford

And what a class band McGann had to help him celebrate. Paul Grabowsky was listed on the program, but Marc Hannaford was at the piano instead. Think about it … Phil Rex on bass, Hannaford on piano and Dave Beck on drums. A few minutes of listening was enough to show that these guys were on fire. Well, that’s a cliche. More specifically they were attentive, responsive and absolutely integrated, so that when McGann sat out for a time in each piece, no one missed the saxophone.

Bernie McGann

Bernie McGann

But we didn’t have to miss out on the sax. McGann’s interpretation of Monk’s In Walked Bud was something special. Sonny Rehe from Uptown Jazz Cafe has heard McGann perform many, many times and at the break he mentioned that the saxophonist had contributed something exceptional in Bud. I concurred.  All members of the band had superb solos in this, with Hannaford making deft touches. McGann played with a such ease throughout the piece, yet there was clearly focus and concentration. Beck was awesome.

Dave Beck

Dave Beck

I didn’t know all the pieces played on the night, but in the second set the second had McGann making minimalist, but effective contributions (I was reminded a little of Wayne Shorter at the Palais a few years ago, but this was much better), Hannaford contributing complexity and McGann finishing unaccompanied in spectacular fashion.

Bernie McGann

Bernie McGann

During each piece, McGann — possibly in a concession to his advancing years — took a breather on a chair on stage and seemed to just absorb the music.

Phillip Rex

Phillip Rex

The closing piece was faster and we were treated to great solos. The band was on fire (there’s that cliche again) and I swear the audience was bathed in sweat from just listening. It’s odd to say that, in hindsight, because the following session with Oehlers and Hurst was to be more full-on than McGann’s quartet. But the fire in Bernie’s belly was the smouldering sort that had really hot coals — no need for flames, but plenty of heat. I loved it.

Dave Beck

Dave Beck

I confess to being insular and biased, but every time I hear overseas jazz greats perform, particularly in larger venues, I think that our local performers stack up pretty well. OK, so in time we do lose many of our own to New York or other overseas jazz hot spots, and we reap rewards when they return on visits, but there is an originality here that is to be valued. I reckon Hannaford, Rex and Beck, not to mention McGann, are hard to beat.

Happy birthday Bernie McGann.

ROGER MITCHELL