Tag Archives: 30/70 Collective

A WARM VIBE THAT JOY RADIATED

Allysha Joy

Allysha Joy performs with 30/70 Collective at The Reverence Hotel, Footscray

REVIEW

A Brother Scratch and 30/70 Collective, The Reverence Hotel, Footscray, Saturday 4 June, 2016 at 8pm for the Melbourne International Jazz Festival

I’m always keen to support live music in the western suburbs of Melbourne and the fact that Michael Tortoni, artistic director of the festival, has links to this part of town has brought a welcome stream of MIJF gigs over the past few years.

The program promised an evening of “gritty and soulful tunes” and “signature hypnotic grooves”, which pretty much turned out to be accurate. I was sure I’d be the oldest person there by some decades, which also turned out to be true.

As thoroughly uneducated in this style of music, I can’t give an informed review. There were certainly elements of hip-hop, rap, soul and jazz, so that the beat wasn’t everything and there was plenty of variation to make this interesting music.

The first set, which I assumed was 30/70 Collective, turned out to be A Brother Scratch, featuring Henry Hicks on electric bass, Ziggy Zietgiest quite prominent on drums, Thhomas Mansfield on guitar, Joel Trigg on keys and Pataphysics on trumpet and vocals.

Pataphysics provided most of the vocal input, at times using a second mic to alter his voice, but Allysha Joy sat in on vocals for a few songs, giving us a taste of the sparkle to come later. Zietgiest took a leading role, delivering “heavy set padded strolling-paced beats” — a description that I’ve pinched from a more informed reviewer (it fits). Trigg on keys made sure this set had some lively bursts.

 

The Reverence Hotel grooves to 30/70 Collective.

The Reverence Hotel grooves to 30/70 Collective.

The line-up for the second set utilised others from 30/70 Collective — Jarrod Chase took over on keys, Reuben Lewis (known in jazz circles) on trumpet, Nathaniel Sametz added trombone and Allysha Joy set some smoke drifting up before moving to the mic.

My previous meandering and fairly inconsequential post referred to the “group hug” by this group before the second set. It really did set the scene for a warm vibe that soon had the room moving as one.

I slightly preferred the second set. The horns worked well, there was at times a distinct flavour of Sun Ra and his Arkestra — it was definitely otherworldly — and on vocals Joy brought exactly what her name suggested. Her work at the mic radiated fun, energy and enjoyment, conveyed with her great voice.

In some strict sense of that ill-defined term “jazz”, this music did not fit in a “jazz festival”, but I really don’t think that matters. I was reminded strongly of the vibe at Bennetts Lane when Snarky Puppy first played to sellout audiences in 2013. The audiences loved them and here, in this packed room at The Reverence, a room full of appreciative young music lovers were having fun and grooving to this band.

ROGER MITCHELL

Some of my pics from the gig are below:

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OF JAZZ HEROES AND HIGHLIGHTS

Wayne Shorter

Wayne Shorter at Hamer Hall … surely one of the jazz heroes.

REVIEW / RAVE

Melbourne International Jazz Festival, June 3 to June 12, 2016

One of the most interesting conversations I’ve had during this jazz festival — and I’ve had a few, before and after attending 15 concerts — was about the jazz hero.

The person I spoke to was a musician who said he wanted to move away from that approach or model in bands in which he played. In this context I recalled a wonderful concert in Melbourne in which a band gradually swapped players while the music continued, morphing into a new group as newcomers quietly joined in and then others moved off stage during the set.

On the second night of this festival, June 4, I went to The Reverence Hotel in Footscray to hear 30/70 Collective make “future soul and hip-hop meet in the middle via jaunty boom bap”, to quote the program. As they say in some news programs, more on that story later.

After the first set by members of the collective who formed A Brother Scratch, the 30/70 Collective band members did something I have never seen before at a gig — they went into a huddle.

30/70 Collective

30/70 Collective in a huddle before performing.

Already feeling the warm glow from the first set of music that was out of my familiarity zone, so to speak, I was quite taken by this musical group hug, which seemed designed to engender team spirit. It was not long before the packed room was moving to the hypnotic grooves — myself included.

By now you’ll have realised this is more of a rave than a hard-nosed review. But there is a point. The musician mentioned who wants to move away from dependence on heroes in jazz described 30/70 Collective as being like a family. That certainly fitted with my impression from the vibes in the pub.

I decided to try applying the idea of avoiding heroes to the reviewing of a festival. Bear with me.

Reviewers often mention their list of standout gigs or highlights during a festival. I have often done that. And I’ve often asked other patrons and other reviewers to name the bands they’ve most enjoyed. It’s a natural thing, especially if there is limited space in a review, to pick the standouts.

But what if a festival review was more like a collective of gigs? Then I could value each for its special qualities — what worked well and even what didn’t. That’s how I feel about the mix of very different MIJF concerts that I went to this year.

Children of the Light Trio

Children of the Light Trio at Bennetts Lane

On night eight of the MIJF I went to Bennetts Lane at 10pm to hear Children of the Light Trio consisting of Danilo Perez on piano, John Patitucci on bass and Brian Blade on drums — Wayne Shorter‘s band without the hero, if you like.

That’s laughable, you’ll say, because each member of this trio is a hero in their own right. True, but — and I’m already breaking with the “no highlights” approach — that band’s performance without Shorter that night was the gig I’d have to say has stayed with me and will do so for a long time to come.

On the final night of the festival I did hear Wayne Shorter with the members of this band. Afterwards I heard snippets of opinion, including comments that he did not play for a great portion of the set, that some say he’s too comfortable with Perez, Patitucci and Blade, and, notwithstanding, that this hero of jazz is on a different plane from any of the great players still alive.

Wayne Shorter

Wayne Shorter plays Hamer Hall

Hearing Shorter at Hamer Hall was special. Getting relatively close to record some images was pretty special.

Hearing him in conversation with Jon Faine, Wilbur Wilde and Kristin Berardi on ABC radio 774 was also special — and at times hilarious. His refusal to get bogged down by labels and his wish to think so broadly about life made me wonder whether Wayne Shorter would want to be put on a pedestal.

I enjoyed his playing on this occasion 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.

That said, after reflection, I took more away from his quartet members’ gig as a trio in the much smaller venue. Of course it would be far too exclusive to have Shorter perform to such a limited audience.

Anyway, my search for a hook or a story on which to hang reflections on this year’s Melbourne International Jazz Festival has ended — albeit in way too meandering a fashion — at that strong image of 30/70 Collective in a huddle. To that image I add some showing large ensembles featured at this festival at the ends of their concerts.

the migration

Stu Hunter and musicians after “the migration” at Malthouse Theatre.

We’ve seen some big projects come to fruition on stage this year — Stu Hunter‘s the migration, the Monash Art Ensemble‘s performance with Tomasz Stanko, the release of a new album by Peter Knight’s Way Out West.

Jordan Murray and Tomasz Stanko with Monash Art Ensemble

Jordan Murray and Tomasz Stanko with Monash Art Ensemble

All of these have involved a lot of work and huge collective effort.

Keyon Harrold with Twi-Life

Keyon Harrold with Twi-Life

And of course in smaller ensembles such as Andrea Keller’s Transients, the Allan Browne Quintet performing Ithaca Bound at Uptown Jazz Cafe, Keyon Harrold with Twi-Life, Shai Maestro Trio, the Tomasz Stanko Band and the Tribute to Allan Browne trio of Paul Grabowsky, Mirko Guerrini and Niko Schauble, we have heard the results of collective interaction.

Even in the solo gig by Paolo Angeli at the Bluestone Church in Footscray we saw how his instrument’s many parts worked together to produce different styles of music.

Interaction is what makes the diverse music that makes up jazz so engrossing, inventive and wonderful. And each musician brings to the stage the formative background that has shaped them — influences that interact and find expression in changing ways as they practise and play.

Some of us will love, like or not like some of the music we hear from improvising musicians, but at its core is that interaction. We see and delight in it as we watch the faces of the musicians at work.

End of rave. In the days ahead I will add a few, much shorter, separate posts — with pictures — to cover concerts I attended as part of this festival.

In the meantime, musicians will be playing live in lots of venues around Melbourne, so get out there. You won’t regret it.

ROGER MITCHELL