Tag Archives: Anthony Pateras


Saturday, June 4 — Monday, 13 June


Sonny Rollins. Photo credit: Denis Alix / Festival International de Jazz de Montréal

It’s eclectic. It’s like an octopus. Yes, just when you thought the word eclectic had become too hackneyed a term, there is really no better way to describe this year’s MIJF, which had its program launch at 6pm today.

The program devised by Sophie Brous is indeed wide-ranging, broad-based, extensive, comprehensive, varied, diverse, catholic, all-embracing, multifaceted, multifarious, heterogeneous, miscellaneous and assorted. Like an octopus reaching out in many directions, the MIJF seems to defiantly defy encapsulation, yet it must surely offer — to use a standard phrase — something to appeal to everyone.

Yes, parts of the program will invite the query “Is this jazz?” and others will provoke or irritate. But no one can deny that any line-up mixing Sonny Rollins and Jason Moran with the ironed-smooth Chris Botti (apparently it rhymes with goatee) and the krautrock of Faust, or the resonant scream of Korean Pansori singer Bae Il Dong with the minimalist drone of Tony Conrad is never going to be boring.

Ausjazz blog was there when Brous gave her usual impressive, lightning-fast briefing on what to expect, but there’s no other way to grasp the enormity of this program apart from just diving in and going with the flow. All the fine details are available on the MIJF website, but hang on for a roller-coaster ride through the main events — probably in a little more detail than is possible via print media.

The emphasis, says Brous, is on the playful aspect of improvisation and on encouraging participation, so there will be free activities in day in the city “so people can explore their inner creator”.

The Big Jam, which attracted 5000 people last year, returns to Fed Square at 2pm on June 4, hosted by 774 ABC radio’s Derek Guille and supported by “pied pipers” — musicians at rail stations across the suburbs who will encourage people to bring trumpets, violins, clarinets, sousaphones, kazoos and any other instruments to join in a mass music-making event. The event, if last year’s is any guide, will be less of a cacophony than many will expect.

The free Opening Celebration Concert follows at 3pm, with Melbourne’s fez-wearing 1930s swing ensemble Cairo Club Orchestra and international guests to be announced shortly before the festival opens.

Other free events include morning sessions in Fed Square entitled Sonic Showers in which trained and untrained voices will be invited to sustain a pitch in a bid to produce “beautiful harmonic clusters” that, according to Brous, will be like “the heavens opening” and a musical pick-me up akin to tai chi. On selected evenings acoustic ecologist Anthony Magen will host evening sound walks encouraging active listening without communication in the city centre. And there will also be jazz musicians staging mini concerts across the public transport network from early May and daily during the festival.


The heart of the festival’s large-scale outings are in this series of 15 musical events, which include a repeat of last year’s Overground six-hour extravaganza celebrating the city’s underground creative music culture at Melbourne Town Hall on Sunday, June 12.

The opener is Fly Me to the Moon, an evening of jazz standards “from Cole Porter to Irving Berlin and beyond” at the Palais on June 4 that carries on from last year’s Baby It’s Cold Outside, which Brous described as celebrating “that caramel-toned schmaltz we’ve grown to love from the great crooners”. This time the vocalists will be Tex Perkins, Paris Wells, Eddie Perfect and Kimbra, backed by the Sam Keevers Trio.

That concert won’t set my heart pounding, but on Sunday, June 5 it’ll be a different, surreal kettle o’ fish when original Sun Ra collaborator Marshall Allen leads the 10-piece Sun Ra Arkestra in two sets at the Forum — described by sources close to MIJF as “a bunch of old space invaders” keeping alive the spirit of pianist, composer and organist Sun Ra.

It gets better, with tenor sax great Sonny Rollins at Melbourne Town Hall on Monday, June 6 with Peter Bernstein on guitar, Bob Cranshaw on bass, Kobie Watkins on drums and Sammy Figueroa on percussion.

Mind you, if you feel a desperate need instead to be smoothed into a mood of mellow mellifluousness, Chris Botti will be at the Melbourne Recital Centre on June 5 and 6.

Botti lovers may not be so soothed by the eight brothers from Chicago who form the Hypnotic Brass Ensemble. Their father, Philip Cohran, played with Sun Ra in the 1950s. Inspired by hip-hop artists such as Public Enemy and N.W.A. (Niggas With Attitudes or Niggaz With Attitude), the brothers “sound like a live sample of a lot of hip-hop we hear and it’s really dense and well arranged brass music with a heavy drummer and eight brass players”, Brous says.

The inventiveness doesn’t stop. On Wednesday, June 8, Jason Moran, who was a hit last year, brings his Bandwagon (Tarus Mateen on bass and Nasheet Waits on drums) to the Forum. An adventurous jazz pianist also influenced by J Dilla and rapper Nas, Moran brings sampling into his live performances. In a double bill, Bandwagon will be joined by Indian-born US-based Vijay Iyer (piano) and Rudresh Mahanthapa (alto sax), who view contemporary jazz, as Brous puts it, “through the lens of Indian and Asian musical influences”.

On Thursday, June 9, the Andrea Keller Quartet will open at the MRC for saxophonist and cool jazz exponent Lee Konitz, who played with Miles Davis on The Birth of the Cool album, accompanied by special guest Kurt Rosenwinkel and young New York players Dan Tepfer on piano, Joe Sanders on bass and Johnathan Blake on drums.

On Friday, June 10, Anthony Pateras’s Thymolphthalein will open at the Forum for the cult German krautrock band Faust, who Brous says “occupy a mythological space and only play when the situation’s right”. This “night of sensory overload” will feature original Faust members Werner “Zappi” Diermaier on drums and percussion, and the UK’s Geraldine Swayne on vocals, guitar, organ and visuals.

At MRC, Ron Carter, who Brous describes as “the grand poobah of jazz bassists” and who was a member of Miles Davis’s sixties quintet, will perform with Russell Malone on guitar and Mulgrew Miller on piano. Katie Noonan will also sit in (she worked with Carter on the Blackbird album of Lennon McCartney music)  as well as performing as Elixir with Zac Hurren on sax and Stephen Magnusson on guitar.

Rosenwinkel — who Gary Burton plucked from Berklee School of Music at age 19 and who later joimned Paul Motian’s bebop band Human Feel — is back at the MRC at 7.30pm on Saturday, June 11 with his Standards Trio (Eric Revis on bass and Justin Faulkner on drums) for an intriguing double bill with “beautiful, honey-toned but really contemporary” vocalist Norma Winstone, who will be joined by Glauco Venier on soprano sax and bass clarinet, and Klaus Gesing on piano to perform music from their Stories Yet to Tell album.

In the Forum from 8.30pm Australian group The Raah Project will perform “big band ensemble music moving into the realm of lounge”, with lighting design by Blue Bottle, known for Chunky Move visuals.

And from 9pm that night until 1am, minimalist drone music will fill the Melbourne Town Hall — expect sustained or repeated sounds, notes or tone clusters from mostly electronic instruments or processing, with slight harmonic variations. The stars will be composer, organist, pianist and visual artist Charlemagne Palestine, who will play the Grand Organ, and avant garde video artist, filmmaker, sound artist and composer Tony Conrad, who, with LaMonte Young and John Cale, was a member of The Theatre of Eternal Music, a mid sixties experimental drone music group that performed on the US east coast and in western Europe, known for using discordant, sustained notes and loud amplification.

I love this: most of the pieces performed by The Theatre of Eternal Music had long titles, such as The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer.

Conrad was allegedly indirectly responsible for the name Velvet Underground, because Lou Reed and Cale found a book of that title in Conrad’s old apartment in New York City.

Sunday, June 12 will see Charlemagne and Conrad headlining Overground, with many other performers taking over spaces in the town hall from 3pm to 9pm. Tim Berne, Mary Halvorson, Golden Fur and Sean Baxter are among the attractions.

And from 8.30pm at the Forum, the Paul Grabowsky Trio (Julien Wilson on sax, Frank Di Sario on bass, Niko Schauble on drums) will join a chamber orchestra to perform The Eye of the Storm, which Grabowsky wrote for the Fred Schepisi’s forthcoming film of that name. Grabowsky and Branford Marsalis recorded a live version of this work in October last year. This will be a festival highlight.

To wrap up the Modern Masters series of concerts, James Morrison and some of Australia’s swing greats will perform A Tribute to Australian Swing, taking the audience through our history as it evolved with influences from visiting American swing bands in the 1920s.


The Forum Upstairs and the Salon at Melbourne Recital Centre will host 10 Jazz Up Close concerts, beginning at 1pm on the opening Sunday, June 5, with eastern European melodies and contemporary jazz from the 3Cohens Sextet — a set of three Cohen brothers from Israel and the US — and US pianist Aaron Goldberg, who returns with Rueben Rogers on bass and Greg Hutchinson on drums.

At 6pm that day, AlasNoAxis drummer Jim Black will join Chris Speed (who with the Claudia Quintet last year was a highlight),  Hilmar Jensson on guitar and Skuli Sverrisson on bass to “explore elements of post rock in the context of improvised music”, to quote Brous. And an arresting set from Chiri, comprising Scott Tinkler on trumpet, Simon Barker on drums and the amazing Korean Pansori singer Bae Il Dong will complete the gig. Bae Il Dong sang beside a waterfall for 18 hours a day for seven years, building up scar tissue on his vocal cords and developing a deep, rumbling resonance.

New York drummer Ari Hoenig will join Perth-based saxophonist Jamie Oehlers in a double bill on Tuesday, June 7 with Vijay Iyer, who will perform solo.

And The Forum Upstairs is also the venue for a June 10 concert on the Friday night of the festival’s closing weekend. It should be something special, with Jason Moran joining Scott Tinkler and Simon Barker, before Tim Berne (who featured in his exciting Adobe Probe Melbourne at Bennetts Lane) ushers in his Los Totopos (“corn chips”) band with Oscar Noriega on clarinet, Matt Mitchell on piano and Ches Smith on drums.

In an Australian premiere the following night, New York’s guitarist Mary Halvorson — who has been likened to composer and instrument creator Harry Partch — will bring her trio to the Forum Upstairs in a double bill with Japanese pianist Satoko Fuji in “Ma-Do” (the silence between the notes”) with husband, trumpeter Natsuki Tamura.

Bell-Award-winning Coco’s Lunch vocalist Lisa Young will form a quartet on June 12 at 1pm with Stephen Magnusson on guitar, Ben Robertson on bass and Dave Beck on drums to perform her song cycle The Eternal Pulse, with south Indian vocal percussion. And Magnusson will then unveil his Magnet project with Eugene Ball on trumpet, Sergio Beresovsky on drums and Carl Panuzzo on vocals to complete the gig.

And at 6pm pianist Joe Chindamo will join Phil Rex on bass and Rajiv Jayaweera on drums in a double bill with the energy and allure of Sarah McKenzie‘s trio (David Rex sax, Sam Zerna bass and Craig Simon drums).

Jazz Up Close sessions in the MRC Salon will comprise Albare (Dadon), Anthony Pateras’s Thymolphthalein and Jim Black with students from Monash University.


There will be some really exciting gigs in this series of 14 concerts, but I reckon it’s best to start another post to deal with what’s in store therein.

It seems that the involvement of Australian musicians in this eclectic and octopus-like festival may not be as great as in last year’s, at least in the sense of supporting  international drawcards. But the Bennetts Lane series will help make up for that.

Look for another post soon on the At The Club series and free masterclasses.

My laments? I always wish that the Melbourne’s regular jazz haunts such as Uptown Jazz Cafe, Bar 303 and Paris Cat, and also Jazz Vibe on Smith, would be included among the festival venues. And I am sorry that there will not be any sessions at the Wheeler Centre in which visiting and local musicians can chew the fat and respond to audience questions.

Now it’s time to post. Apologies for any errors. I may add some images later.




Charles Lloyd

What a joy it was to spend a peaceful hour in a small group at BMW Edge for Charles Lloyd‘s masterclass. A few times Lloyd asked whether anyone wanted to play something, but no one volunteered and he talked about life, his life and mentors, and music. I had intended to take a few notes, but instead it seemed right to relax, listen and take many photos. Lloyd’s face is lively and changeable. When a topic really takes his fancy, his face glows with enthusiasm.

It was a privilege to meet Charles Lloyd, shake his hand and chat for a while.

Here’s another picture, but the colour balance is a bit odd:

Charles Lloyd

A tribute by Paul Grabowsky and the Australian Art Orchestra

ON Wednesday night Miles Davis returned, but The Prince of Darkness did a quick costume change at Melbourne Town Hall, emerging after interval a changed musician. Grabowsky and the AAO were never going to offer a pedestrian tribute to Davis, but adventurous compositions by Anthony Pateras and Phillip Rex must have sent some fans home clutching at remnants of their comfort zones.

Grabowsky, always the consummate host, ushered us into three pieces from 1949 arranged for Davis by Gil Evans and played on this occasion by a Birth of Cool nonette. They opened with Boplicity, then Eugene Ball sounded iridescent in the luminous Moonbeams, followed by the sharp, electric Move, on which James Greening‘s trombone was spot-on.

Phil Slater plays Miles
Phil Slater plays Miles

Then came a festival highlight that was a rival to the Charles Lloyd New Quartet experience. Grabowsky conducted the talent-laden AAO in the first part of Joaquin Rodrigo’s Concierto De Arunjuez from Sketches of Spain, arranged by Gil Evans and orchestrated by Eugene Ball. Percussion and a sweeping orchestral passage ushered in soloist Phil Slater as Miles in a beautifully measured performance. Adrian Sherriff on bass trombone provided fantastic depth, Scott Tinkler and Paul Williamson joined Ball on trumpets and Stephen Magnusson on guitar seemed to find just the right time to play a few significant chords. The orchestra created magnificently sweeping vistas, and Ball’s muted horn was light and ethereal.

Any Miles fans would have been convinced of his return, on this night, in this place.

Tony Williams — drummer with Miles Davis Quartet from the mid to late sixties — composed Black Comedy (from Miles in the Sky), which Grabowsky, who was the arranger for this outing, said “changes meter constantly”. This was a change to punchy, spiky music. Erkki Veltheim on violin and Sandy Evans were featured, and there were solos from Paul Cutlan on sax and Simon Barker on drums. Energetic stuff, but no real preparation for what was to come after interval.

Tomlinson, Tinkler and Veltheim
Tomlinson, Tinkler and Veltheim

First up was a world premiere of Anthony Pateras’ composition Ontetradecagon, which he said arose from the idea that at the time of On the Corner being released in 1971, Miles was exposed to electronic pieces by Stockhausen. Pateras saw the album as having “the sound of someone going outside their comfort zone”, so he set out to feel “as unsafe as possible” in this project. He cut sections of On the Corner tracks to make 70 loops on a Revox B77 tape machine, considering these “plunderphonic” and drawing on James Tenney’s Blue Suede, which also used tape.

(The term plunderphonic had been new to me until last week, during the Melbourne Jazz Fringe Festival, when the NMIT Laptop Orchestra played Adrian Sherriff’s Study No. 2 (For Jan Stole Who), the title an anagram of John Oswald, of Plunderphonic fame, whose work it plundered.)

Pateras worked the loops into a 20-minute tape, then made sure the pitches from the loops matched what he was calling on the ensemble to produce, so that both live music and tape input were of equal importance. Pateras had six sub-groups of players, so that some were playing from the sides and back of the space.

So how did it work in practice? Vanessa Tomlinson, Scott Tinkler and Erkki Veltheim launched the piece in almost complete darkness, offering subdued growls, blaring notes and high-pitched spikes. Later reeds came in from the right, and tuba with trombones from the left. The reeds and ‘bones echoed Tinkler’s high spikes, and Veltheim contributed a similarly high-pitched shimmer. I was wishing for lower pitches.

At one stage the hall seemed to be full of chattering monkeys, agitated insects. A bass clarinet started munching before more lush chatter and then machinegun runs of sound. There was agitation, wailing, sirens or mournful wails — a sense of urgency before some slow, sweeping brass took over. Clearly conveyed in the dark came a sound akin to masticating for us to chew on. The agitation continued. There was bustle and unrest and mayhem.

The piece finished. Was Miles still in the audience, or had he left the building?

Phillip Rex as DJ Davis
Phillip Rex as DJ Davis

Maybe he had slipped out to a rave party, or to find some drugs. That would have suited the final contribution for the night, Phillip Rex’s work Black Satin, which he led from his laptop in centre stage. He had the facility to bring in instruments at will and vary their input from the laptop live as the musicians on stage made their contribution. Rex acknowledged after the gig that this piece would probably work better in a setting where people could dance or move freely to the music.

Paul Williamson and Elliott Dalgleish
Paul Williamson and Elliott Dalgleish

There did not seem to be a direct or indirect connection to Miles, but Grabowsky did say it was appropriate to ask “If he were alive, what would Miles Davis be doing now?” Maybe hip-hop and rave parties would be his scene.

I like to be stretched and these works after interval did that. I found Pateras’s work easier to warm to than Rex’s piece, mainly because more happened and it never lacked interest. But my pick of the night by far was the music from Sketches of Spain.

A final comment: What a fantastic array of talent was on stage for this gig. Everywhere you looked in the rows of musicians were the faces of great musicians — not imported musos, but locals. We should value them more, whatever occasional pain they cause us on the stretching rack.