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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

 

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SLIP OUT OF THOSE COMFORT ZONES

PREVIEW PART 2: Melbourne International Jazz Festival, May 30 to June 8, 2014

An earlier post mentioned some of the gigs that will attract the big crowds at this year’s festival, which artistic director Michael Tortoni has described it as “the broadest, most inclusive ever”.

Before mentioning some concerts that are a little less mainstream, it’s important to highlight the successor to a major hit of last year’s festival, which is sure to again fill Melbourne Town Hall with dancers having the time of their lives.

Swing Noir

774’s Swing Noir will be a hoot                            (Image supplied)

This year, 774’s Swing Noir concert will offer gypsy swing and hot club jazz as Swing Patrol dancers provide the inspiration and help with classic steps of the Charleston, and two bands — Ultrafox and Swingville — delve into the world of Django Reinhardt and the Hot Club of France. The festival invites the energetic to “slip on your dancing shoes, dress to kill and join us at the dawn of European jazz”. And for fans of ABC radio’s 774, the host will be Hilary Harper, who will apparently be “dazzlingly bohemian” on the night.

STRETCH YOURSELVES

It’s been said many times before, but festivals are one way to tempt music lovers to dip their toes into unfamiliar waters. Sometimes this means “jazz” becomes less of a perceived obstacle; sometimes devotees of jazz try moving outside their comfort zones.

And speaking of breaking boundaries, one significant change of this year’s MIJF is Jazz Out West, which for the first time will bring some musical events to Melbourne’s west. That’s especially exciting for Ausjazz, because there are many musicians living in this part of the city, but live music is not as prolific and does not attract the crowds of suburbs such as Northcote — yet.

Satsuki Odamura

Satsuki Odamura

The big drawcard will undoubtedly be cross-cultural sextet Peter Knight’s Way Out West at Footscray Community Arts Centre. Many will know the albums released by an earlier incarnation of this award-winning ensemble, but this outing will air new compositions written since Sydney’s koto virtuoso Satsuki Odamura and Lucas Michailidis on guitar came onboard.

Led by Peter Knight, their fascinating new project features the seamlessly combining Asian instrumentation and approaches with irresistible influenced grooves and jazz-inflected melodies. Others in this top line-up include Knight on trumpet and laptop, Howard Cairns on bass and button accordion, Paul Williamson on saxophones, Ray Pereira on percussion and Rajiv Jayaweera (rejoining the group from New York) on drums. I can’t wait to hear the new material and let’s hope there’s room for a few Westies to fit into a packed venue.

Other western offerings include Horns of Leroy — a funky brass band — at the Reverence Hotel, Hey Frankie at The Dancing Dog, Afro Beat — with an Ethiopian meal — at African Town Café Bar, and Soundwalk, in which Aboriginal elder Uncle Larry and others will lead a walking and listening tour of the streets, waterways and secret spaces of Footscray.

At last year’s MIJF crowds of younger fans crammed in to catch Snarky Puppy, and Tortoni expects similar enthusiasm for bassist Derrick Hodge and vocalist Chris Turner, who perform at The Forum.

In this “festival exclusive” billed as “exciting, cutting edge stuff on the razor’s edge of new generation jazz”, Hodge — who performed with The Robert Glasper Experiment in 2012 — and Turner — who many will recall from ERIMAJ last year — will be joined by Federico Pena and Michael Aaberg on keys, Paul Bender on bass and Mark Colenburg on drums. The combination of Hodge with Turner could take this concert in many directions.

In four gigs at Bennetts Lane, the man dubbed “probably the most dangerous drummer alive” — Chris Dave — will defy all attempts at categorisation, bringing elements of R&B, funk, rock, jazz, hip-hop and electronica via his band The Drumhedz. Expect hypnotic beats.

Serious fans of music that ventures into exciting territory must mark their digital diaries for a Malthouse double bill from Australia — Alister Spence Trio — and the USA — Dawn of Midi. Spence’s trio is well known here and accurately described as “endlessly surprising”. Brooklyn trio Dawn of Midi — Amino Belyamani piano, Aakassh Israni double bass and Qasim Naqri percussion — has been lauded for the album Dysnomia. Expect the unexpected from both trios in a concert not to be missed.

Kristin Berardi

Kristin Berardi

Also at the Malthouse, significant figures in Australian jazz — John Hoffman, Graeme Lyall, Tony Gould, Ben Robertson and Tony Floyd — get together for the first time in 20 years to form The Hunters and Pointers. Joined by award-winning vocalist Kristin Berardi, they will celebrate the release of a collection of unheard live recordings that originally featured Christine Sullivan on vocals.

Julien Wilson

Julien Wilson

Another Malthouse double bill will be a musical treat. In one set, the winner of this year’s Don Banks Music Award and member of the Jazz Bell Awards hall of fame, Mike Nock, will join his former student, drummer Laurence Pike. In the other one set, saxophonist Julien Wilson — who was a star of the 2013 Wangaratta Jazz and Blues Festival — will again visit the quartet format with New York-based pianist Barney McAll, Sydney bassist Jonathan Zwartz and Melbourne drummer Allan Browne. This double bill will not disappoint.

The Monash Art Ensemble, led by Paul Grabowsky, never disappoints, so seat belts may need to be fastened when this exciting ensemble of students and seasoned players teams with British jazz maverick, pianist and composer Django Bates and his piano trio, Belovèd. Together they will explore the music of Charlie Parker as well as Bates’ compositions.

As mentioned in the earlier preview post, Charles Lloyd’s The Greek Project clashes with an exciting world premiere of PBS Young Elder of Jazz Commission winner Tilman Robinson’s The Agony of Knowledge at Bennetts Lane Jazz Club. Robinson has demonstrated his facility for composition, so his musical exploration of the Icelandic epic poem Volsungasaga promises to be a festival highlight. The work will draw on Norse legends that have influenced music and literature for centuries, as exemplified in Wagner’s Ring Cycle and Tolkien’s The Lord of the Rings.

Sydney musicians at Deakin Edge, Fed Square will explore jazz and film in The Wires Project, a collaborative multi-media work in which vocalist Briana Cowlishaw, Gavin Ahearn on piano, Peter Koopman on guitar and Nic Cecire on drums improvise a musical response to a video by Aymeric De Meautis based on photographs by Singapore’s Chia Ming Chien. The bonus is that this experience is free.

Ausjazz had hoped to preview the intimate club sessions at MIJF 2014, which are the meat and potatoes of this festival and my favourites. Time has ruled that out, so stay tuned for further festival posts and reviews.

ROGER MITCHELL

NOT TO MENTION …

Reason 12

___________

12. MANY OTHER FANTASTIC PERFORMERS

Ausjazz blog has not exhausted the myriad reasons why you should not miss the opportunity to be at all or part of Wangaratta Jazz and Blues Festival this year, but a dozen is clearly not enough, so I’ve grouped a few who absolutely deserve a mention.

Friday, November 2 at 10pm, WPAC Theatre: Paul Grabowsky and Bernie McGann will perform jazz standards and original compositions in a quartet with bassist Jonathan Zwartz and on drums 2011 National Jazz Awards winner Tim Firth.

Friday, November 2 at 9:45pm, WPAC Memorial Hall: Marc Hannaford with his trio with talented young bassist Sam Pankhust and drummer James McLean, as heard on Marc’s CD Sarcophile.

Saturday, November 3 at 4:30pm, WPAC Memorial Hall: Scott Tinkler Quartet with Marc Hannaford (piano), Sam Pankhurst (bass) and Simon Barker (drums)

Saturday. November 3 at 4pm, Holy Trinity Cathedral: Tim Stevens will perform solo on piano.

Saturday, November 3 at noon Holy Trinity Cathedral: Doug De Vries with bassist Frank Di Sario and drummer/percussionist Alastair Kerr will be playing Brazilian music.

Sunday, November 4 at 12:30pm WPAC Memorial Hall: Tim Stevens will also play in his trio with Ben Robertson on bass and Dave Beck on drums.

Saturday, November 3 at 2:30pm WPAC Memorial Hall: Allan Browne will lead his trio with Marc Hannaford and Sam Anning.

Sunday, November 4 at 6pm, St Patrick’s Hall
: Bob Barnard and Warwick Alder on trumpets.

Saturday, November 3 at 8pm, St Patrick’s Hall
: Hobart pianist Tom Vincent playing Wangaratta for the first time, joined by Sam Anning (bass) and Danny Fischer (drums).

Sunday, November 4 at 8pm, St Patrick’s Hall: Eminent pianist Tony Gould will feature in a quartet with Rob Burke on saxophone, Nick Haywood on bass and Tony Floyd on drums, as well as in the trio (Sunday, November 4 at 2pm, Holy Trinity Cathedral) he co-leads with Imogen Manins on cello and Gianni Marinucci on flugelhorn and trumpet.

Saturday, November 3 at 12:30pm, WPAC Memorial Hall: Sydney bassist/composer Hannah James, a graduate from the ANU School of Music in Canberra, will play in a trio with two members of her quintet, Casey Golden on piano and Ed Rodrigues on drums. Phil Slater on trumpet will be a guest soloist.

Monday, November 5, 1pm, WPAC: Youth jazz showcase concert added to the program on Monday afternoon. It’s separately ticketed, but covered by a festival pass. Generations in Jazz Academy Big Band from Mt Gambier directed by Graeme Lyall; the Monash University Big Band directed by Jordan Murray; and the National Youth Jazz Academy band, with young students aged 18 to 19, based in Wangaratta. This includes a trumpet player aged 13 who is precociously talented.

Hope to see some blog readers at Wangaratta.

ROGER MITCHELL