Tag Archives: Barney McAll

LONG LOOK AT A SHORTER FESTIVAL

PREVIEW

Melbourne International Jazz Festival, June 3 – 12, 2016

Tomasz Stanko

Tomasz Stanko

SOME of the main drawcards at this year’s festival are well-known knowns — Wayne Shorter, Esperanza Spalding, Gary Bartz — but it’s a big program with plenty of other artists to be excited about.

Stats don’t put flesh on the bones, but over 10 days the festival will stage 74 events involving 335 artists (75 international and 260 Australian), 22 free events and heaps of club sessions at Bennetts Lane Jazz Club, Uptown Jazz Cafe and Dizzy’s Jazz Club. The larger venues will include Hamer Hall, Melbourne Recital Centre, Forum, Malthouse and The Channel at Arts Centre Melbourne.

On the final three days Riverside Bar at Southbank will host Hamer Jazz Bar each evening from 6pm as a rendezvous for festival patrons.

As usual, the main program is divided into Modern Masters, Explorations in Jazz and the three sets of Club Sessions, plus five Jazz Out West events, seven Close Encounters and two Artist Workshops at Monash University.

Gary Bartz

Gary Bartz

All good festivals come with a clash or two not emanating from a drum kit and MIJF 2016 opens with a big one. Our own flamboyant pianist and composer Barney McAll has had a hand in bringing jazz great Gary Bartz from the US to play Melbourne Recital Centre on opening night, with Andrea Keller’s Transients I as support.

This clashes head-on with PBS Young Elder of Jazz Commission winner Joe O’Connor on piano in a quartet at Bennetts Lane to perform Confrontations. In six dialogues, O’Connor’s work will balance “tonal and non-tonal harmony, regular and irregular rhythm, delicate lyricism and impressive density”. That sounds pretty damn interesting. These two gigs present a tough choice.

Esperanza Spalding

Esperanza Spalding

There’s no need to say a lot about Esperanza Spalding, who will play the Forum at 9.30pm on opening night, because she will draw crowds. Marcus J. Moore on Pitchfork described her album Emily’s D+Evolution thus: “Using a dissonant guitar riff, thumping drums, and lurching time signature, it almost feels like a dare to stick around. The album has the feel of a nervy gauntlet throw, seething with the sort of ferocity that only comes from time spent alone, far away from the limelight. These are exuberant, confrontational songs, amplified in the same sort of rock/funk hybrid style that brings Prince and Janelle Monae to mind. Gone is the Afro, replaced with long braids, wide-rimmed glasses, and ornate outfits.”

Wayne Shorter

Wayne Shorter

Wayne Shorter also needs no promotion. He plays Hamer Hall on the festival’s closing night with Danilo Perez on piano, John Patitucci on bass and Brian Blade on drums. Enough said, although I’m hoping for some longer bursts of saxophone magic from the great player than we heard at the Palais when he was last here.

Perez, Patitucci and Blade will play two gigs at Bennetts on Friday, June 10 as Children of the Light Trio. Surely this must be one not to miss.

While on the subject of bass players, Hawthorn luthier Benedict Puglisi is making acoustic bass instruments specifically for Spalding and Patitucci to play while they are here. That suggests his work is pretty special.

The international artists include some who were popular on previous visits to the festival. Genre-crossing Robert Glasper Trio (US), who performed in 2012, will return in an acoustic trio format with new album, Covered, on June 4 at MRC with Ross McHenry Trio supporting.

Mulatu Astatke

Mulatu Astatke (Image: Nick Pitsas)

And the “father of Ethio jazz” Mulatu Astatke (Ethiopia), who played the festival in 2010, will join the local band Black Jesus Experience at the Malthouse on Wednesday, June 8 to give the world premiere of The Cradle of Humanity.

Hiromi

Hiromi

Also returning is the pianist from Japan who sold out three shows in 2012, Hiromi. She who joins Simon Phillips on drums and Anthony Jackson on contra bass guitar at Hamer Hall on Thursday, June 9.

Tomasz Stanko

Tomasz Stanko (Image: Caroline Forbes)

And I don’t care what clashes with Polish trumpet maestro Tomasz Stańko‘s band featuring Alexi Tuomarila on piano, Slawomir Kurkiewicz on bass and Olavi Louhivuori on drums. I’ll be at one of their two Malthouse concerts on Thursday, June 9 at 6.30pm and 9pm.

Also at the Malthouse and not to be missed on Saturday, June 11, will be Stańko and Paul Grabowsky leading the Monash Art Ensemble at 6.30pm to explore the music of Krysztof Komeda, who scored Rosemary’s Baby and Knife in the Water. Not to be missed.

Latin jazz titan, pianist Eddie Palmieri (US) will spend five days with Monash University student musicians before their Jazz Futures performance at the MRC Salon on Thursday, June 9 at 6pm. Palmieri’s Latin Jazz Septet will set feet tapping at Hamer Hall on Friday, June 10 at 7.30pm.

Singer José James will pay tribute to the music of Billie Holiday in Yesterday I Had the Blues at Hamer Hall on Saturday, June 11 at 7.30pm.

And to complete the Modern Masters concerts, Vince Jones and Matt McMahon will join the Astral Orchestra to bring us Van Morrison’s Masterpieces at 7.30pm on Friday, June 10 at MRC.

Snarky Puppy

Snarky Puppy (Image: Philippe Levy Stab)

As part of the Explorations in Jazz series, guitarist Lionel Loueke (US) will join Sydney group The Vampires for two Bennetts Lane gigs on Saturday, June 4. And crowd-pleasers Snarky Puppy (US), who wowed crowds here in 2013, will be in the Forum at 9.30pm on Thursday, June 9.

The Coopers Malthouse has great beers on tap (I’m not paid to say that) and it may suit many to spend Friday, June 10 there to hear Stu Hunter‘s suite The Migration (a fantastic line-up) at 6.30pm and then Kristin Berardi Band (also a top line-up) at 9pm. You could not possibly go wrong with these two performances by Australian bands.

The Malthouse also hosts Peter Knight’s Way Out West on Saturday, June 11 at 9pm, featuring koto virtuoso Satsuki Odamura and Ray Pereira on fun and fiery African-influenced percussion. This gig will showcase new material and is sure to be a knockout.

And anyone who can remember the Chris Dave and the Drumhedz festival gig in 2014 should recall multi-reedist Marcus Strickland. Twi-Life is set to deliver soul, jazz-funk and R&B in two shows at Bennetts Lane on Saturday and Sunday, June 11 and 12, at 7.30pm and 10pm (they must be expecting a crowd — that’s four concerts).

If all that music’s not enough, there are club sessions. Can’t mention them all, but here are a few likely highlights.

Guitarist Paolo Angeli (Italy) will join local musicians at Bennetts Lane to bring us jazz influenced by Sardinian folk songs (June 3). He will also play solo guitar at Bluestone Church Arts Space in Hyde Street, Footscray at 4pm on Sunday, June 5. Westies must come out to this and other MIJF gigs at Dancing Dog Cafe (Wallace), Reverence Hotel (30/70 Collective) and Footscray Community Arts Centre (Jazz-a-Bye Baby).

Get close up and personal with Robert Glasper Trio at Bennetts on June 5. Hear a tribute to our maestro of Mondays and much besides, drummer Allan Browne, on June 6. If you fancy trumpah, as Scott Tinkler would put it, don’t miss Keyon Harrold and Twi-Life musicians in two gigs on June 8. And for fans of drummer Ari Hoenig, there are two gigs on June 9 at Bennetts featuring guitarist Quentin Angus and bassist Sam Anning.

Uptown Jazz Cafe has a ripper line-up of gigs during the festival. Don’t miss Mark Fitgzibbon Trio (June 3), Paul Williamson Quartet playing Monk (June 3), Andrea Keller’s Transients IV (June 4), Stephen Magnusson Trio (June 5), Ithaca Bound suite, music of the Allan Browne Quintet (June 6), Jamie Oehlers/Paul Grabowsky Quartet (June 9) and Sam Keevers’ Red Fish Blue (June 12). These and the other Uptown gigs are delivering seriously good jazz.

Dizzy’s Jazz Club in Richmond also has eight festival gigs, so look these up on the festival website.

Time’s almost up if I’m to post this as the embargo expires. Apologies for any errors. Other events of note include the free opening concert at Fed Square on June 4 at 1.30pm featuring Brazilian and Latin ensembles led by Alistair Kerr and Sam Keevers respectively.

Barney McAll is going to play about with the Federation Bells and anything could happen with that. Keep an ear out at noon on June 4 in Birrarung Marr.

And the Queen Vic market will groove to Los Cabrones on June 8 at 6pm to warm up the Winter Night Markets.

And at noon on Sunday, June 12, at The Channel, 100 St Kilda Rd, Southbank you may find out how many festival artistic directors it takes to change … well … a light globe, a set list, a door gig, a minor key … you name it.

ROGER MITCHELL

For further details and full program visit the festival website.

Note: Many images posted above are supplied by MIJF.

 

 

I DO LIKE MONDAYS

Stephen Byth

Stephen Byth on alto with Barney McAll’s Non Compliance Mondays

REFLECTION

Barney McAll Non Compliance Mondays, Bennetts Lane Jazz Club, Melbourne, 8pm on February 15, 22 and 29.

Mondays at Bennetts Lane were Allan Browne‘s night. He brought philosophy, poetry and humour to many evenings of wonderful music, ably assisted by many musician friends and colleagues. He also brought much warmth.

I’m no one will try to replace Al Browne, but a week ago on Monday evening it was a delight to see and heat pianist Barney McAll join a bunch of talented young musicians in two sets so full of life and fun that surely our much-missed occupant of the drum kit would have heartily approved.

In the youthful line-up with Barney was Paul Cornelius tenor, Stephen Byth alto, Chris Vizard trombone and Keiren Rafferty drums. Phillip Rex provided his usual exemplary input on bass.

I loved the vigour and enthusiasm, along with the obvious talent, of these young musicians. I was also impressed by McAll’s passion as their guide and mentor — he was attentive and eager to offer praise and to push members of the group to show their skills.

Above all, Barney McAll’s Non Compliance Mondays just seemed to be a natural fit for the start of the week, kicking us off with energy and propulsion. And lots of fun.

Tonight (February 15) the line-up includes Flora Carbo, Sam Anning and Luke Andresen.

After that, who knows? But we know they won’t be compliant.

ROGER MITCHELL

A few images below:

 

 

A SANDWICH OF FOOD FOR THE SOUL

Mike Nock at The Wheeler Centre

Mike Nock at The Wheeler Centre

REFLECTION:

A Conversation at The Wheeler Centre and three concerts at The Malthouse on Saturday 7 June 2014 for Melbourne International Jazz Festival

1pm: A Conversation with Mike Nock

Improvising musicians are always listening to the others in the band, on the lookout for something they can pick up on and take somewhere. Journalists are always on the lookout for the angle — the unifying aspect that can help make a collection of events into a story.

Mike Nock handed me the angle to this post about his Wheeler Centre conversation and the three gigs to come later, although I did not pick up on how it would work until the evening. He spoke about a lot of aspects of music in this hour, including the fact that he once sang at the London Palladium, but more about these topics later if time permits.

I want to highlight a couple of Nock’s statements about jazz. He said jazz is “about connecting with people emotionally”. Later he said, “It is food for the soul — that’s what jazz is.”

I was happy to hear a musician of Nock’s stature say this, because I am at times moved to write food-for-the-soul-type comments about the music that moves me, although I am wary of slipping into sentimentality and aware of reactions to what’s played being subjective. If I do write thus about a musical experience I seem to be nagged by an inner voice wanting to dismiss this sort of talk as emotional claptrap and asking what it really means to say something “feeds” the “soul”.

That’s a topic for later, perhaps, but as it turned out, the Malthouse gigs later that evening — ironically, perhaps, the two before and after Nock’s gig with Laurence Pike — prompted me to want to use that emotive description.

Mike Nock at The Wheeler Centre

Mike Nock at The Wheeler Centre

7pm: Hunters & Pointers

First on stage were members of Hunters & Pointers, who had not performed together for 21 years. They were John Hoffman on flugelhorn, Graeme Lyall on saxophone, Tony Gould on piano, Ben Robertson on double bass and Tony Floyd on drums. How much talent can you fit on one stage?

From the opening notes I just wanted to find better words than smooth to describe this quintet’s work. Like a well-oiled trombone slide these luminaries of Australian jazz just let the notes slip into the auditorium and hang there in space.

I often prefer tension-filled music that’s prickly and sharp-edged. But this was sublime stuff that I knew would draw out that stuff about “food for the soul”. Luckily, I had Mike Nock’s words to provide support.

After Just Friends, my favourite vocalist Kristin Berardi joined Gould for Body and Soul, then the band for a vivacious rendering of Tea For Two. In I’ve Grown Accustomed to Her Face, Lyall delivered some super smooth alto sax that was fat and furry, Floyd’s work on brushes and mallets was superb, and Gould’s solo was a treat. This piece drew a loud “Yes” from the audience and justifiably so.

In mid concert there was some horseplay and even a joke, before the set’s highlight, for me — Berardi’s performance in Spring Can Really Hang You Up the Most. Her vocals in this were eloquent, sensitive and yet not sentimental at all. The audience forced an encore, It Could Happen to You, that featured a solo with Robertson really jumping and evolved into a really swinging number.

This was food for the soul part one.

Tony Floyd and John Hoffman

Tony Floyd and John Hoffman

Kristin Berardi with Hunters and Pointers

Kristin Berardi with Hunters & Pointers

Kristin Berardi with Hunters and Pointers

Kristin Berardi with Hunters & Pointers

Graeme Lyall

Graeme Lyall

Tony Gould

Tony Gould

Tony Floyd

Tony Floyd

Ben Robertson

Ben Robertson

John Hoffman

John Hoffman

9pm: Mike Nock and Laurence Pike

As mentioned, this set had a different sort of appeal. Immediately I was struck again by Nock’s ability to create an air of reverence that is totally engrossing, yet does not require many notes to be played.

Pike was extremely busy at times on drums and percussion, playing almost as if possessed — but in a muted fashion. (What is conveyed comes as much from what he holds back as by what he actually does, if that makes any sense. An example is the vigour with which he goes to hit with brushes, yet hardly any sound emerges.) I was reminded of a Cannonball Adderley live gig in which you can hear the audience respond to what’s hinted at by the rhythm section.

Nock built tension and focus, commanding attention. As the set progressed, both Pike and Nock were tinkering at sounds, producing electronic static along with rattles and the shaking of bells, plus short flurries of piano notes between pauses. I thought there was a lot in common with the Alister Spence Trio‘s set of the previous evening.

I was not moved to describe this as food for the soul. My appreciation of the set was more dispassionate. The appeal lay in the fascination of a changing landscape.

Laurence Pike

Laurence Pike

Laurence Pike

Laurence Pike

Mike Nock

Mike Nock

Mike Nock

Mike Nock

11.20pm: Julien Wilson Quartet

The finish of this narrative is probably fairly obvious by now. Julien Wilson on clarinet and tenor sax joined Barney McAll (over from New York) on piano, Jonathan Zwartz on acoustic bass and Allan Browne on drums and cymbals to complete a dream line-up.

I had lost any urge to dash off to Bennetts Lane to hear Django Bates Beloved play Charlie Parker. Another time. I wanted — wait for it — food for the soul, and this was the quartet to provide exactly that.

They began with Ellington’s The Feeling of Jazz, then Deep Night followed by a new ballad, Bernie, in honour of the late great Bernie McGann. Weeping Willow followed as a tribute to recently departed Gil Askey. There were great solos by Browne and McAll in this. In particular I loved how the quartet ended this and the previous piece, allowing them to gradually slip away. It was appropriate, I thought, to have such peaceful departures for these two characters of jazz.

From the opener, Wilson showed again that he continues to play with assurance and to draw on deep inspiration that is clearly a sustaining force.

They played another new piece, Rain Man, and ended with Farewell off the album This Is Always as an encore.

McAll seemed attentive rather than flamboyant on the night. He later said how much he appreciated Browne being so zen at the drum kit.

This concert was good for the soul. It was the perfect ending to the penultimate day of MIJF 2014.

ROGER MITCHELL

Jonathan Zwartz

Jonathan Zwartz

Barney McAll

Barney McAll

Barney McAll and Julien Wilson

Barney McAll and Julien Wilson

Allan Browne

Allan Browne

Julien Wilson and Jonathan Zwartz

Julien Wilson and Jonathan Zwartz

Barney McAll

Barney McAll