Tag Archives: Big Creatures & Little Creatures: The Modular Suite



Murphy’s Law premieres “Big Creatures Little Creatures: The Modular Suite”, written for MIJF by PBS Young Elder of Jazz Competition winner Tamara Murphy — Jordan Murray trombone, Nashua Lee guitar, Tamara Murphy bass, Joe Talia & Daniel Farrugia on drums and percussion — at Bennetts Lane, Melbourne, Saturday, June 2 at 8pm for Melbourne International Jazz Festival 2012

Murphy's Law

Murphy’s Law plays “Big Creatures & Little Creatures: The Modular Suite”

It’s the sign of a good festival, I’ve been told, when there are gigs you’d love to be at that clash with others you can’t miss. Tamara Murphy‘s suite clashed with visiting saxophonist Chris Potter‘s appearance with the Jazzgroove Mothership Orchestra at The Forum and I had decided on the big band — until I realised that fast footwork could allow a visit to Bennetts Lane before catching Potter in the second set.

Nashua Lee

Nashua Lee

I was really glad that I’d opted to hear the Australian (and world) premiere of Murphy’s work, because it was entrancing. It was also, to my surprise given the modular nature of the suite (referred to by Murphy in an interview with Miriam Zolin before the work was complete), not at all fragmented, but rather seemed to be compellingly cohesive.

Tamara Murphy

Tamara Murphy

But how much was improvised on the night and how much was scripted? None of the musicians appeared to be using any charts, and there was a level of concentration and intensity that usually accompanies spontaneous improvisation. Clearly the musicians were highly attentive to what the others were up to, but it was almost as if they were following a script that was not written down, yet was in their heads. Surely there must have been hours of rehearsal for this suite to work so well, but I do not know whether that’s the case.

Daniel Farrugia

Daniel Farrugia

The suite came across as an exploration of timbres and textures in a way that was tonally and percussively rich — even luxuriant at times. Some pairings of instruments worked extremely well — Murphy’s bowed bass with Murray’s muted trombone, Lee’s guitar with Murphy’s bowed bass — and Farrugia’s intensity on drums contributed significantly.

Tamara Murphy

Tamara Murphy

Big Creatures Little Creatures was relatively subdued until the latter stages, when that changed as the work ended in a real climax. The tight playing at this point emphasised the musicians’ synchronicity, especially as exemplified by Talia and Farrugia, who worked faultlessly together on drums in a way that was hard to believe.

Daniel Farrugia

Daniel Farrugia

I would definitely like to hear this suite performed again, perhaps at a Stonnington Jazz or Wangaratta Jazz festival. It deserves a wider audience than there was space for in the large room at Bennetts Lane, though that was packed.

Daniel Farrugia & Tamara Murphy

Daniel Farrugia & Tamara Murphy

With this work, Murphy and her colleagues have added to the growing list of important and engrossing suites created in Australia, such as those by Allan Browne et al (The Drunken Boat, Une Saison en Enfer) in Melbourne and Stu Hunter (The Muse, The Gathering) in Sydney.




Hiromi is among artists who will fly Qatar Airways to Melbourne. (All About Jazz image)

Ausjazz blog previews the Melbourne International Jazz Festival 2012, which was launched on March 13:

The hubbub on level 24 of The Langham in Melbourne gave way to attentive silence yesterday evening as Murphy’s Law treated the assembled multitude to about four minutes of Big Creatures & Little Creatures: The Modular Suite.

The music was a welcome relief from the necessary formalities of the official launch of this year’s Melbourne International Jazz Festival, which will run from June 1 to June 10.

If the fragment of this commissioned work by Tamara Murphy was any indication, its full performance at Bennetts Lane as part of the festival’s Club Sessions will be compelling.

And if the question on everybody’s lips as program details emerged was how the festival’s focus under artistic director Michael Tortoni would differ from its direction under Sophie Brous, the real story of the night was about a key sponsorship.

As Melbourne’s music glitterati watched a promotional video about the delights of the Middle East state of Qatar, it was dawning on us all what a coup it was to bag Qatar Airways as a festival sponsor. The benefit is obvious — it will be much cheaper to fly in international artists, thus countering to some extent the isolation of Australia from the jazz hotspots of the United States and Europe.

So who are the big names and what is the flavour of this festival? Tortoni described the focus as “jazz royalty alongside the voice of a rising generation” and said MIJF 2012 was “all about what jazz is when the talking stops and the music starts”. Well, every festival has to have its catchphrases, but to take up his theme with another well-worn phrase, the proof of the pudding is in the eating.

An initial glance at the program shows it is not overly adventurous, and represents less of a challenge — or an enticement — to audience groups on the fringes of more straight ahead jazz. The very popular multi-stage day of music madness and mayhem at Melbourne Town Hall will not take place this year, due to an absence of sponsorship and most likely of Sophie Brous. That’s a pity, because that gave the recent festivals a welcome edge that it must now fall to the Melbourne Jazz Fringe Festival to fill.

The main international artists include pianist McCoy Tyner revisiting the 1963 John Coltrane and Johnny Hartman album, this time with vocalist Jose James and saxophonist Chris Potter.

Potter will also perform some of his own material with Sydney’s Jazzgroove Mothership Orchestra as well as some commissioned Australian material. This should be exciting.

James will also feature in the Robert Glasper Experiment, “an Australian premiere event that smashes stylistic boundaries to reshape the future directions of jazz” by “taking hip-hop, R&B, soul and post-modern jazz to never-before-seen places”.

For lovers of Billie Holiday and Sarah Vaughan, US vocalist Dee Dee Bridgewater will visit Melbourne for the first time, and also from the ‘States’, Patti Austin will perform a tribute to Ella Fitzgerald with one matinee and one evening performance.

The familiar vocal extravaganza at the Palais this year is entitled “The Way You Look Tonight” featuring Katie Noonan, Vince Jones and Kristin Berardi in an opening night gala.

Likely to attract a much younger audience will be keyboardist-composer Hiromi (Japan/USA) who blends jazz with progressive rock and classical styles. Her first concert will open with US bassist Robert Hurst joining locals Jamie Oehlers and Dave Beck.

Hiromi’s second gig will be a double bill with the Israeli Eli Degibri Quartet, featuring 16-year-old prodigy Gadi Lehavi on piano.

A film-themed package will feature five-time Grammy Award winner and cinematic composer Terence Blanchard on trumpet (in a quartet with Brice Winston on tenor, Fabian Almazan on piano and Kendrick Scott on drums), Australia’s Joe Chindamo performing his arrangements of Coen Brothers film music and an ACMI Jazz on Film program.

The Salon at MRC will host three concerts with Monash University under the Jazz Futures banner featuring the Terence Blanchard Quintet, The Fringe (with George Garzone on sax) and Tarbaby (with Oliver Lake on alto sax).

The Fringe and Tarbaby will also perform at a new venue for this festival, the Comedy Theatre. These outings should keep us awake.
From Europe will come bassist Renaud Garcia-Fons, appearing in the Arcoluz Trio at the MRC after a real highlight opener of pianist Luke Howard with Janos Bruneel (Belgium) on bass.

Samuel Yirga Quartet from Ethiopia will feature the piano prodigy at the Comedy Theatre, opened by locals The Black Jesus Experience.
For lovers of the Hammond B3 (and I’m one), Dr Lonnie Smith (USA) will perform at Bennetts Lane.

In the Club Sessions, Motif from Norway will feature along with Robert Hurst and the Luca Ciaria Quartet from Italy.
Allan Browne Sextet will celebrate the launch of Conjuror — a collection of his jazz poetry — in two sets which should be a festival standout. Sandy Evans will join Lloyd Swanton and Toby Hall for a special closing night celebration presented with the Melbourne Jazz Cooperative.

The Melbourne International Jazz Festival opens on June 1.