Tag Archives: Genevieve Lacey

ISN’T IT GRAND, NORWEGIAN BAND

REVIEW

Ausjazz blog picks some highlights from the 2012 Melbourne International Jazz Festival:

Haaken Mjasset Johansen with Motif

A festival highlight: Haaken Mjasset Johansen with Motif from Norway.

All up, Ausjazz went to all or part of 15 MIJF gigs this year. This is an attempt to pick out some highlights, though there will be posts about individual concerts when time permits. A few explanatory notes: First, I chose not to review the Opening Gala: The Way You Look Tonight or the final evening’s Dee Dee Bridgewater Sings, because those concerts were not my cup of tea. That is not any reflection on the musicians involved.

Second, for reasons beyond my control I could not make any gigs from Monday, June 4 to Wednesday, June 6 inclusive. Again, that had nothing to do with the calibre of the music on offer. Third, I did not make it to any of the master classes, though I have heard from many who did that these were definite highlights.

Of the concerts I attended, there were none that I did not enjoy — perhaps I am easily pleased, but I believe this festival followed the usual rule by delivering more delights than may have been anticipated upon first glance at the program. It was not too adventurous — certainly not as “out there” as recent years under the direction of Sophie Brous. I did miss that aspect. The most experimental outings were Peter Knight‘s Fish Boast of Fishing and Andrea Keller‘s work with Genevieve Lacey and Joe Talia — both at the Melbourne Recital Centre’s Salon and both involving Australian artists. From overseas, the Robert Glasper Experiment strayed from the conventional, as did the Norwegian quintet Motif, but the latter was the standout of these two for me.

Before I discuss highlights, it’s probably worth exploring the value or otherwise of reviews. Unlike reviews of opening night stage productions, with MIJF commentary there is in most cases no season ahead in which potential punters can decide to go or not go on the basis of what’s written. Most concerts are unrepeated or already sold out before reviews hit the airwaves, streets or online haunts. I see reviews as one way to build an archive or record of what a festival has succeeded in delivering. That record may provide some context to those who attended various concerts or merely arouse the interest of readers who may seek out that music in some form later, possibly even live if the artist or band returns.

So, in consecutive order by date rather than any (futile) rating, my highlights were as follows: I found Bernie McGann‘s quartet at Bennetts Lane on the opening Friday night deeply satisfying, not only because of McGann’s saxophone work, but because of what the other players in the band — Marc Hannaford, Phillip Rex and Dave Beck — contributed.

On the following night, at the same venue, Murphy’s Law impressed with Tamara Murphy‘s suite “Big Creatures Little Creatures”. At The Forum later that evening, the Jazzgroove Mothership Orchestra showed its class with visiting saxophonist Chris Potter, but the standouts for me were the Andy Fiddes composition Gathering Momentum, some trumpet excellence from Phil Slater in the third piece (the name of which I did not catch) and Potter’s darker sax in the encore Rumination. Later still, back at Bennetts Lane, the Eli Degibri Quartet from Israel had a smooth fluidity and swing that definitely had me wanting more, especially from the 16-year-old pianist Gadi Lehavri.

What can I say about McCoy Tyner‘s concert on Sunday in the Melbourne Town Hall? The only basis I have for comparing the pianist now with his illustrious past playing is via recordings, and on that basis he is not quite in that league now. And I think Jose James could not act as a substitute for Johnny Hartman. I enjoyed the outing, and I don’t see much point in comparisons when you have a chance to hear a musician of Tyner’s stature. But this was not a festival highlight for me.

By contrast, Terence Blanchard‘s quintet on Thursday at Melbourne Recital Centre was a real standout. It’s definitely no criticism of Rob Burke, Tony Gould, Tony Floyd and Nick Haywood, who opened this gig, but I did think as Blanchard’s band opened with Derrick’s Choice that a band with a local trumpeter such as Scott Tinkler or Phil Slater would have been ideal.

In the quintet’s set I would have been satisfied just to hear Fabian Almazan‘s contribution on piano, but Blanchard’s playing was inventive, fluid and piercingly penetrating, with sampled audio from Dr Cornel West and some echo among the special effects. Blanchard’s tone did not really dig into the guttural until shortly before the inevitable encore and his sound was not as fat as I’d expected. Brice Winston on tenor sax was superb in the Almazan piece Pet Step Sitter’s Theme.

In terms of musicianship, Renaud Garcia-Fons on bass with the Arcoluz Trio at the MRC on Friday night stood out. I’d regretted having to miss the solo bass gig at Bennetts Lane mid week, but in a way this trio concert was a vehicle for Garcia-Fons to show his amazing talents. On his five-stringed instrument Garcia-Fons uses a range of techniques with and without bow, recalling Barre Phillips‘ solo performance at Wangaratta Jazz last year, but it’s a totally different experience. I could only marvel at Garcia-Fons’s skill, but, by contrast with Phillips, his music lacked the tension and resolution (or lack of it) that is so compelling in jazz improvisation. Also, I would have liked to hear more from Kiko Rulz on flamenco guitar, who in brief bursts only whetted my appetite to hear more. I could not help but wish that Pascal Rollando on percussion would contribute more fire and inventiveness. That said, this concert was a highlight.

Even more so was Dr Lonnie Smith in his trio with Jonathan Kreisberg on guitar and Jamire Williams on drums at Bennetts Lane late on Friday. I love the Hammond B3 and Smith was enjoying every moment of his time on Tim Neal‘s beautiful instrument. This was a therapeutic experience and just what the Doctor ordered for me. Kreisberg’s playing was exciting and intense, and the organ was just a thrill and a joy to hear. The notes from a Hammond can be felt deep in the body and seem to free the spirit. I’ll be hanging out for Smith’s new album, Healer, due in a few weeks. But an album is not the same as being there and feeling the B3 vibrations at close quarters.

OK, I’m waxing too lyrical. On the second Saturday of the festival I made it to four gigs. Peter Knight and his ensemble’s Fish Boast of Fishing at the Salon, MRC, took me out of my comfort zone and into an emerging, growing, developing experience in which I felt there was a contradiction of sorts. There was definitely tension. There was complexity and coordination in the way sounds were produced, but when I closed my eyes the experience was of something organic, almost living and breathing. Perhaps that was the point.

Norwegian band Motif

Norwegian band Motif

Next came another real highlight for me and I would have missed it if I had not had a recommendation from ABC presenter Jessica Nicholas. The Norwegian outfit Motif was a standout. I always think European bands can be counted on to bring something significantly different to their music and Motif was no exception. This was intelligent, quirky and engrossing jazz, with extreme variations in dynamics and pretty well anything you could imagine. There was ferocity and solemnity. There was pandemonium and space. What a hoot! This was the night’s highlight. There was another great set to follow I’m sure. It was hard to leave.

But Tarbaby at the Comedy Theatre — with Oliver Lake on alto sax, Eric Revis on bass, Orrin Evans on piano and Nasheet Waits on drums — served up a set of take-no-prisoners hard-driving jazz. This was a top rhythm section that took me full circle back to the Bernie McGann concert at the festival’s start. Apart from Lake’s robust playing, what I loved most was Evans’s command of the piano in Paul Motian‘s Abacus. This set would have topped the night for me, but I still had Motif ringing in my consciousness and I wasn’t letting that go in a hurry.

I did queue up for a long, cold wait to hear some of the Robert Glasper Experiment, but it was too hi-tech for me. I just wanted to chill and listen to Glasper on piano, but the crowd at Bennetts Lane was all fired up. They probably had a highlight at this outing, but not me.

On Sunday, the final night, I caught the first set of Sandy Evans with Toby Hall and Lloyd Swanton. It was the perfect wind-down.

All in all, there was plenty to get excited about in the MIJF 2012. The crowds were out listening to live music and many venues seemed to be full.

Next year? Well, maybe a few more European bands and a little more experimentation. But, after all, there is the Melbourne Jazz Fringe Festival for that.

ROGER MITCHELL

QUITE A PROPER A WAY TO START A FESTIVAL

Review: Three Lanes — Genevieve Lacey recorders, Joe Talia Revox B77, electronics & percussion and Andrea Keller piano, The Salon, Melbourne Recital Centre, Friday, June 1 at 6pm for Melbourne International Jazz Festival 2012

Keller, Lacey, Talia

Three Lanes — Keller, Lacey, Talia

The Salon has an air of refinement or gentility about it, even when hosting musicians willing to push the boundaries a little. It seems quite a proper space, in which patrons sit quietly without much chatter, possibly absorbing the beautiful feel of the room. As Andrea Keller, Genevieve Lacey and Joe Talia filed in to present material from their album Three Lanes, the Melbourne International Jazz Festival opened with grace and dignity.

Andrea Keller

Andrea Keller

The trio played six pieces from the album before Keller took time to explain how the project grew from the gathering of the musicians and a wish to explore their talents, including Talia’s skill with anything electronic. As she said, the music is varied in its approach and “in the concepts behind it”. The brief Little Sweet Pea is a merry dance, whereas Between Six and Six employs simple patterns and pauses to build tension, topped with a squirt or two of attractive static.

In Nine Variations, Lacey delivered fine vibrato and Talia dragged on his thin recording tape to create surges and seemed to sample then play back Keller’s piano as if it was woozy or slightly drunk, and even discordant. Dial-twiddling sounds  Talia managed in Little Perisher, again produced by dragging the tape (I kept worrying it would break) worked surprisingly well with Lacey’s recorders.

Genevieve Lacey

Genevieve Lacey

Probably the most effective combination of tape, electronics and the other instruments came in On A Hill, which Keller explained was a “slightly composed” piece inspired by a workshop in which improvisation was compared to a cow bell ringing as a cow eats grass, in that there was no thinking involved and there were just responses or reactions occurring in the moment. It was an intriguing piece, with Talia creating busy sounds that did not prevent a peaceful feel from the slow piano and recorder.

Joe Talia works his magic.

Joe Talia works his magic.

During the playing of extra Collage pieces and Sweet Pea II, I felt that Talia was producing something like electronic versions of “prepared” piano and recorders, with sampled bits of Keller and Lacey’s playing reworked on the fly, but in a way similar to what Erik Griswold, for instance, does with a piano he prepares.

The evening finished, ironically, with an engrossing piece entitled Stay.

I’m not sure what the audience made of this combination, but I think it worked well. Throughout it was evident that Keller and Lacey were attentive to developments emerging as Talia worked his magic. And Keller’s presence on piano was often compelling.

ROGER MITCHELL 

KELLER, LACEY, TALIA — THREE LANES

CD review

Three Lanes

4 stars

Self-released (AK001)
Genevieve Lacey (recorders), Joe Talia (Revox B77, electronics & percussion) and Andrea Keller (piano)

A sizeable dollop of gratitude is due to the two-year Australia Council Fellowship program that has allowed composer Keller to create what she describes as “new music” with two “broad-minded” musical colleagues. It’s not surprising that this foray out of Keller’s comfort zone works so well — after all, her work is always lit brightly by the spark of originality, and that must be said also of Lacey and Talia.

All 14 pieces show cohesion and a sense of progression that reflect the musicians’ awareness of each other’s voices as well as a commitment to the journey and destination. Acoustic, electronic, prepared, improvised and composed elements are interwoven with subtlety, so that there is no feel of artificiality or domination by devices.

In the most compelling compositions — Far Away Here, Between Six & Six, Interlude, Collage IV and Stay — piano remains a powerful presence. Talia’s work on Revox B77 and electronics is discreet and evocative throughout. Lacey — in Nine Variations, Stay and Diddy Ditty for example — shows the versatility of her instrument in mood and affect.

This is experimental music, but the experiment works so well that any tentative hypotheses are subsumed by the successful outcome.

A standalone work, Boy, is available exclusively by digital download.

File between: Gest8, Origami

Favourites: Stay, Far Away Here

ROGER MITCHELL