Tag Archives: Callum G’Froerer


Tuesday, March 22 at 9pm, Bennetts Lane, Melbourne


Callum G'Froerer

Callum G'Froerer at Wangaratta 2010 with Johannes Leubbers Dectet

Perth-based trumpet player Callum G’Froerer leads a new quartet featuring Brett Thompson (Perth) on guitar, Alex Boneham (Sydney) on bass and Hugh Harvey (Melbourne) on drums.

We had two glimpses of Callum G’Froerer in 2010. In July he was with the Mace Francis Orchestra at Bennetts Lane, his solos featuring in There’s Nothing to Say, The Preacher is Broken and Pine Tree Blisters. Then, with the Johannes Luebbers Dectet, he played St Patrick’s Hall in the opening night of Wangaratta Jazz in October. The dectet’s performance was a highlight of the festival, and I noted at the time the “richly expressive trumpet” of G’Froerer and that his solo in Just Ripe was “capable of melting the hardest of hearts”.

For more details of G’Froerer’s musical journey so far, which has include time last year at Banff Centre Workshop for Jazz and Improvised Music, visit his website.

I’m looking forward to hearing this quartet from Perth, Melbourne and Sydney play compositions inspired by a trip to the US and Banff, as well as selections from G’Froerer and Brett Thompson’s collaborative work from 2009 based on the life of Robert Johnson.

As well as the performance on Tuesday, the quartet will play on March 24 at 8.30pm at Vibe On Smith St for a “Special Thursday” show. Entry: $10.

Callum G'Froerer

Callum G'Froerer (trumpet) in Mace Francis Orchestra


Luebbers Dectet

Finesse: Johannes Luebbers urges restraint during a Callum G'Froerer solo.

GIG: St Patrick’s Hall, Friday, October 29, 9:30pm

Emily Thomas flute, Steph Nicholls oboe, Ben Collins clarinet and alto sax, Sean Little tenor sax, Callum G’Froerer trumpet, Wendy Tait french horn, Tillman Robinson trombone and bass trombone, Chris Foster piano, Nick Abbey bass, Ben Falle drums, Johannes Luebbers conductor

WILD the west may be, but this dectet, under the “baton” of Johannes Luebbers, was all about restraint and finesse. I was reminded of Maria Schneider Orchestra albums, which I love, and Luebbers studied with her and admits she has been an influence. But we were treated to exquisite original compositions — The Exquisite Corpse of Beethoven, Til Death Does Me Part, Eternity, Everything for Brod, Just Ripe and Rumour Has It — from Luebbers’ two albums Make Some Noise and The Exquisite Corpse of Beethoven.

This was a highlight of the festival and it had only just begun. We heard intricately crafted layers of exquisite timbres, with the varied instruments never seeming to be overwhelmed and each having a chance to feature. Luebbers was attentive to his dectet, at times indicating restraint was in order from the richly expressive trumpet of G’Froerer. Steph Nicholls was another standout on oboe, but this was not about individual virtuosity. There was delicate interplay as the dectet explored varied, detailed landscapes.

Some passages were sombre, others showed energy and fun. Highlights included a horn solo in Til Death Does Me Part, with flute floating at the edges, and the soulful oboe in Eternity. In Everything for Brod the piano chords were appropriately muted and flattened, which seemed to ground the rich harmonies in the piece. G’Froerer’s horn solo in Just Ripe was capable of melting the hardest of hearts. Rumbling and rasping from piano, horns and drums in Rumour Has It preceded a soaring oboe before a slow, stately interlude that evolved into cinematic drama. In all, there was a sense of development.