Tag Archives: Javier Fredes

MUSICIANS WHO MOVE

Gerald Clayton

Gerald Clayton                          Picture: Ben Wolf

Wangaratta Jazz and Blues Festival, November 1-4, 2013

This preview covers a lot of ground, with the aim of letting people know what is on offer. The joy of a festival such as Wangaratta is that patrons can take risks and dip into unfamiliar territory.

JAZZ PROGRAM PREVIEW

Music moves us, musicians move us and musicians move. So many times when we read the biographies of favourite musicians, we find they have made leaps to new places and new music communities — sometimes returning home eventually, sometimes not.

On a recent Sunday night at Melbourne’s Uptown Jazz Café, pianist Marc Hannaford played two sets at a farewell gig before leaving for at least five years in New York. He invited musician friends and colleagues to sit in. It was a great way to celebrate a big move in his life and career.

This year’s Wangaratta Festival of Jazz and Blues brings us many artists who have made significant moves to new places as their music developed.

As in previous years, many of the musicians are expatriate Australians. The line-up, carefully crafted by artistic director Adrian Jackson, raises the (admittedly immaterial) question of how long a local musician has to be living overseas before being classified as an international artist.

In a year when piano is the chosen instrument for the National Jazz Awards, it is fitting that the headline artist will be thrice Grammy-nominated young US pianist Gerald Clayton, who has attracted attention as a rising star in a trio with Joe Sanders on bass and Justin Brown on drums. On this visit Pete Van Nostrand  will be at the drum kit.

Clayton was born in Amsterdam, grew up in Los Angeles and now lives in New York. His trio’s third album, Life Forum, was due for release in Australia by Universal on September 2.

Clayton will spend some time working with Monash University music students before the festival, so a few students could well end up with the trio on stage for one concert. Here is a sample.

Chris McNulty

Chris McNulty      (Picture supplied)

Among the expatriate internationals making the trip to Wangaratta will be vocalist Chris McNulty, who has been based in New York since 1988, and this year won Best Australian Jazz Vocal Album for The Song That Sings You Here.

McNulty, who was in Melbourne for the Jazz Bell Awards, will perform with her partner, guitarist/composer Paul Bollenback, and bassist Ugonna Okegwo, both from New York, in The Magic Trio, a drumless collaboration they have shared since 2000. Bollenback will also lead a trio with Okegwo and Perth-based drummer Daniel Susnjar, who played with Paul when he was in the USA last year.

McNulty will also re-establish a link from her early days in a band with pianist/composer Paul Grabowsky, joined by Frank Di Sario on bass and Mike Jordan on drums.

Expatriate international Barney McAll is no stranger to Wangaratta. In 2011 he brought a choir and large ensemble to the festival stage for Graft, but this year he will appear solo and in a trio.

In what promises to be real treat, McAll will take to the Holy Trinity Cathedral stage to explore some of the gospel music he regularly performs on Sundays at a church in Brooklyn. Anyone who heard McAll’s three solo pieces during the Melbourne Jazz Co-operative 30th Anniversary Concert on January 27 this year at The Edge, Federation Square, will look forward to hearing more.

McAll, who described the Wangaratta festival as “the bohemian grove of Australian jazz”, told organisers he would be playing some spirituals and new solo pieces, including a preview “of my first solo piano recording, which will be called Every Piano Needs A House In It”.

Joining McAll in his Non-Compliance Trio will be friends Jonathan Zwartz on bass and Hamish Stuart on drums.

Another Australian export, guitarist/composer Peter O’Mara left Sydney for New York in 1981, moved to Munich the following year and has lived in Germany and, more recently, Austria for 30 years. Last at Wangaratta in 2002, O’Mara will lead his quartet from Vienna in what Jackson describes as music “on the jazz side of jazz-rock fusion, very electronic, funky and pretty exciting”. Expect a mix of what O’Mara describes as “modern jazz, odd-metre fusion and groove”, in which expat American Tim Collins on vibes shares melodies with the guitar. Here is a sample.

More of the European input so vital to any festival will come from Dutch trumpet player Eric Vloeimans, who uses an electronic attachment on his instrument and, with his quartet Gatecrash, will also bring a fusion and funk emphasis. Expect a range from jazz to world, electro-funk and “contemplative soundscapes that are punctuated by a touch of wackiness”.

Jef Neve

Jef Neve

Belgian pianist Jef Neve was most recently at Wangaratta in 2010 with his trio (see Ausjazz’s rave review), but this time will play solo piano as part of a world tour. Neve regards the piano as an orchestral instrument — “Everything is present: choir, strings, woodwinds, brass and, of course, percussion” — and says the “soul and sound of the instrument” is his main source of inspiration in his classically influenced playing.

Froy Aagre

Froy Aagre         (Picture supplied)

Norwegian saxophonist Froy Aagre performed at Wangaratta in 2009 with members of the Brisbane band Misinterprotato, now known as Trichotomy, who she met at Canada’s Banff Jazz Workshop in 2005. Sean Foran (electric piano) and John Parker (drums) from Trichotomy will join Aagre to present her new electric repertoire, which she says “fuses new electronic sounds into melodic, groove-based jazz” and is “a way to communicate joy to the audience”.

AUSTRALIAN ARTISTS

That pretty much covers the FIFO (fly in fly out) jazz and improvised music performers, but the line-up of Australians at Wangaratta this year is so extensive and exciting that it is arguable they could carry the festival.

Sydney pianist and composer Mike Nock will join reedsman Julien Wilson, whose playing recently has been outstanding, and guitarist Steve Magnusson will re-visit the trio that was so successful in May at Stonnington Jazz.

Barney McAll’s presence will enable two CD launches. Bassist Jonathan Zwartz will bring his nine-piece band together for the first time since the recording of The Remembering and Forgetting of the Air, which features McAll, Magnusson, Phil Slater on trumpet, Wilson on tenor, James Greening on trombone and sousaphone, Richard Maegraith on tenor and bass clarinet, Hamish Stuart on drums and Fabian Hevia on percussion. With this material and this line-up, no one should miss this.

McAll will also join Zwartz, Allan Browne on drums and Wilson — Julien recording for the first time in a classic tenor sax quartet — to launch their album of mostly standards, mostly ballads entitled This Is Always.

Julien Wilson, Sam Anning, Allan Browne

Julien Wilson, Sam Anning, Allan Browne

In another launch not to be missed (I know this because there was a recent preview at Bennetts Lane Jazz Club), expatriate bassist Sam Anning will join Wilson and Browne to celebrate Sweethearts, an absolutely entrancing album that serendipitously was recorded when Anning, over from New York, was delayed in Melbourne by a US visa problem, for which we all should be eternally grateful.

Expat drummer Raj Jayaweera, also be back from New York for the festival, will form the house band with Anning for the National Jazz Awards piano recitals.

The plethora of Australian jazz musicians in New York will be further depleted by the departure to Wangaratta of trombonist Shannon Barnett, who will reconvene her quartet — Nash Lee guitar, Chris Hale bass guitar and Hugh Harvey drums — and also launch a new band, U.nlock, with vocalist Gian Slater, Sam Anning and Raj Jayaweera with material the four worked on in New York recently. A key feature of U.nlock will be “voice and trombone sharing both the lead and accompanying roles”, Slater says.

Barnett will also perform as part of clarinettist and vocalist Barry Wratten’s New Orleans Pelicans with Michael McQuaid on trumpet and reeds, Steve Grant on piano, John Scurry on guitar and banjo, Howard Cairns or Leigh Barker (Saturday morning) on bass and Lynn Wallis on drums.

The much-missed trombonist will also assemble Dixie Jack, a local version of Ragstretch, a band with whom she has played in Denmark consisting of Copenhagen-based expat clarinet player and vocalist Chris Tanner, known for his classic jazz work with Julien Wilson in the band Virus, and guitarist Craig Fermanis, Sam Anning and Raj Jayaweera. Dixie Jack, consisting of Barnett, Wilson, Anning and Jayaweera, will play traditional jazz.

Classic jazz is well represented this year. Melbourne band the Sugarfoot Ramblers is led by Travis Woods on trumpet, with Jason Downes on reeds and graduates or current students of the jazz course at Monash University who share a fondness for New Orleans Jazz. Others in the line-up are James Macaulay trombone, Brett Thompson banjo and guitar, Marty Holoubek bass and Daniel Berry drums. From Sydney, The Cope Street Parade and The Finer Cuts, who have recorded with experienced trumpeter Geoff Bull, will also add their traditional jazz sounds. Allan Browne will join the Finer Cuts, who usually don’t perform with a drummer, for one session.

The Wangaratta festival always draws musicians from across the country, providing a relatively rare opportunity for them to share the stage. The exciting sextet led by Melbourne’s Paul Grabowsky will feature Jamie Oehlers from Perth on tenor and Sydney musicians James Greening on trombone, Andrew Robson on alto, Cameron Undy on bass and Simon Barker on drums. This band has recorded an album it hopes to release at the festival.

Satsuki Odamara

Satsuki Odamura, Paul Williamson and Peter Knight.

Another certain hit, Peter Knight’s band Way Out West, now features Sydney-based koto player, Satsuki Odamura, along with Melburnians Lucas Michailidis on guitar and Hugh Harvey on drums as well as founding members, Peter Knight on trumpet, flugelhorn, Paul Williamson on saxophones, Howard Cairns on bass and Ray Pereira on percussion.

And Melbourne vocalist Gian Slater will team with Perth saxophonist Jamie Oehlers and Melburnians Paul Grabowsky on piano, Ben Robertson on bass and Dave Beck on drums in The Differences to play material from the album of that name.

Two concerts enjoyed by patrons of Stonnington Jazz in May will also be on the Wangaratta program. Red Fish Blue is an alliance of two musicians from Melbourne, pianist Sam Keevers and percussionist Javier Fredes, with two from Sydney, bassist Brett Hirst and drummer Simon Barker. And vocalist Josh Kyle and Keevers will perform Songs of Friends, which are their interpretations of songs by Australian singers/composers.

The Cup Eve Concert will feature Joe Chindamo with his trio and Monique Di Mattina performing music from her recent album Nola’s Ark, which is a jazz blues hybrid.

AUSJAZZ RECOMMENDATIONS

This preview covers a lot of ground, with the aim of letting people know what is on offer. The joy of a festival such as Wangaratta is that patrons can take risks and dip into unfamiliar territory.

In case it helps, the following are the concerts that I’d be keen not to miss:

  • Barney McAll’s solo piano in Holy Trinity on Sunday, November 3 at 3pm
  • Jef Neve solo piano, WPAC Theatre, Sunday, Nov 3 at 1pm
  • Launch of Jonathan Zwartz album The Remembering and Forgetting of the Air, Friday, Nov 1, WPAC Theatre
  • Launch of McAll/Wilson/Zwartz/Browne album This Is Always, WPAC Memorial Hall, Saturday, Nov 2 at 2.30pm
  • Launch of Wilson/Anning/Browne album Sweethearts, WPAC Memorial Hall, Saturday, November 2 at 4.30pm
  • Barnett and Slater’s U.nlock, WPAC Memorial Hall, Sunday, Nov 3 at 2.30pm
  • Paul Grabowsky Sextet, WPAC Theatre, Sunday, Nov 3 at 10.30pm
  • Way Out West, WPAC Theatre, Saturday, Nov 2, 11am

ROGER MITCHELL

Wangaratta Festival of Jazz and Blues

 

THE BEAT OF SEX, DRUGS & SPIRITUALITY

REVIEW

Melbourne Jazz Fringe Festival, including 2013 APRA Composer Commission Concert, Sunday 5 May, 2-8pm at
 Northcote Town Hall

Steve Grant

Steve Grant

The Melbourne Jazz Fringe Festival runs on a shoestring, but that doesn’t prevent it running like clockwork. There was a little “bracket creep” during the afternoon, but generally performances started pretty much on time. So, when I arrived about 15 minutes late — mainly because I set out later than planned — Steve Grant was already well into his allocated half hour at the grand piano.

Armed with a coffee generously given to me on the way in by Ronny Ferella — he had bought too many — I quietly moved to a seat closer to the front, then settled into listening mode. With Marc Hannaford playing next, this was a chance to indulge in my recent practice of trying to focus on the individual approaches of pianists and gain some clues as to why they sound so different or similar. I can definitely hear similarities and differences, but I lack the know-how to attempt a technical explanation.

This brief excerpt of Steve Grant’s performance seemed to provide welcome space, a sense of reflection or reverie, and great fluidity.

Marc Hannaford

Marc Hannaford

Marc Hannaford also left plenty of space between his carefully selected notes, which were delivered with great precision. His improvisation gradually evolved, building in intensity as patterns emerged of immensely pleasing complexity. It became more percussive, with bold, emphatic statements, before slowing to take on a feel of solemnity. I had a sense of Hannaford listening intently, hearing pitches or tones or sounds and either repeating them or adjusting slightly.

I could not help but wonder what it would be like to be in Marc Hannaford’s brain — would there be joy, a sense of wonder at the discovery of what happened when he played these notes, or would it be delight in complexities or mathematically appealing combinations?

The piece became faster, with an insistent right hand, before a busy period. Then it was all over, too quickly for my liking, because I was really enjoying this as a journey of discovery. What a privilege we have, as audience members, to be able to share in these journeys when musicians of calibre (that one’s for Tony Abbott) are improvising.

IshIsh

IshIsh

Next up in this afternoon on the fringe was drummer Ronny Ferella’s band IshIsh, which has a fondness for the music of Ornette Coleman. That’s a big plus in my book.

Magnusson and Wilson

Magnusson and Wilson

The line-up varies, but on this occasion it was Jordan Murray trombone, Julien Wilson saxophone, Mark Shepherd bass and special guest Stephen Magnusson (recently a recipient of an Australian Jazz Bell Award for his Magnet album) on guitar.

Julien Wilson

Julien Wilson

IshIsh played four pieces, including Ferella’s What Should Be (the title track from the band’s 2000 album) and “a tribute to Joe Lovano’s tribute to Ornette Coleman”. I really liked the organic feel of this group and the absence of the cycle of solos.

Jordan Murray

Jordan Murray

 The music changes gradually within each piece, evolving rather than being more compartmental.  To me IshIsh has a European feel that escapes regimentation, with the musicians seeming to lose themselves in ebbs and flows as the pieces develop. The guitar, sax and ‘bone provided a rich array of textures and timbres.

Ronny Ferella

Ronny Ferella

Shepherd’s bass was more evident in the Lovano-Coleman tribute, which opened as a sharper, faster piece before evolving to a slower resolution with great resonance and depth. Magnusson produced some lovely high “scribblings” in this.

IshIsh was definitely a welcome inclusion in the day’s outings.

Ren Walters

Ren Walters

The next set was to be a trio, but saxophonist Scott McConnachie was too ill to join Erkki Veltheim on viola and Ren Walters on guitar. Before the final duet Ren Walters said that he and Eki would “dedicate the healing energy from our music to our friend Scott, who is going through a terrible time”. I’m sure the audience shared the hope that Scott’s health would improve.

Erkki Veltheim

Erkki Veltheim

In this totally improvised exchange, I was struck first by the extraordinary flexibility and fluidity of Veltheim’s playing, as well as his dexterity and the rapidity of his movements. He is amazingly virtuosic, though there is absolutely no hint of showmanship accompanying his ability. He is totally focused on the interaction with Walters.

Ren Walters

Ren Walters

Next I noticed the attentiveness of Walters, which is hardly surprising given that the nature of this exchange is utterly based on each player listening and responding. I don’t believe I was imagining it when I saw Walters’ face display signs of delight as he puzzled out responses to Veltheim.

Erkki Veltheim

Erkki Veltheim

This absorbing work was full of contrasts, switches of direction, sharp and edgy attacks followed by passages of great fluidity. Veltheim seemed to be plucking strings while bowing, and at other times he dragged his bow abrasively across the strings. For a while Walters was changing the tunings constantly as he played.

Erkki Veltheim

Erkki Veltheim

The rapidity, lightness and almost spindly nature of the sounds in the final piece were striking. At one point I visualised mice on a skating rink. In the whole outing I greatly appreciated the beauty and clarity of notes played, the occasional gentleness and the abundant space.

Again it struck me how privileged we are to hear this music being created. The other day I heard Kavisha Mazzella on ABC 774 telling how she was attracted to Melbourne because of the city’s vibrant music (or words similar). We are indeed lucky to have many hard-working musicians, but their work too often slips by unnoticed.

Howl

Pat Thiele, Gideon Brazil, Luke Moller and Julien Wilson perform in Howl.

Now we come to the big event of the festival, the APRA Composer Commission, which this year was awarded to pianist composer Darrin Archer. He chose to focus on Allen Ginsberg‘s poem Howl, using modern composition and improvisation to explore the sex, drugs and spirituality of the beatnik as a sonic landscape.

The work was titled Drunken Taxicabs of Absolute Reality: Howl to music.

Howl

Sam Zerna bass, Maxine Beneba Clarke voice, Danny Fischer drums in Howl.

I was not familiar with Ginsberg’s epic poem, so probably ought to have done my homework before this performance by reading it with care and attention in order to be properly prepared. As it was, during the longish sound check I called up the text on my phone and scanned through it, wondering whether we would hear excerpts or the whole poem. It also seemed highly likely, given the blasts from the band during the check, that I may not be able to hear the words, so I was taking belated precautions.

Darrin Archer

Darrin Archer

When the music began, and Maxine Beneba Clarke began to read from her long paper roll containing the text, I realised my fears were well founded. It may have been different in other parts of the auditorium, but I could only hear the words clearly when the volume dropped at various points in the piece. So I followed the text on the phone screen while listening to the musical drama unfold.

Howl

Maxine Beneba Clarke reads Howl.

Archer’s composition certainly had the appropriate dramatic force and complexity to match Ginsberg’s words, which were articulated clearly and with feeling by Beneba Clarke. This was dark music to match dark imagery.

The poem opens thus:

I saw the best minds of my generation destroyed by
madness, starving hysterical naked,
dragging themselves through the negro streets at dawn
looking for an angry fix, 

It does not shrink from bleakness or harshness. Archer’s music undeniably had to be robust, strident at times.

Howl

Maxine Beneba Clarke

My issue with this work is that I felt torn between wanting to hear the poem being read (or at least read the words as they were delivered) and on the other hand giving up on Ginsberg’s imagery so that I could concentrate on the musical imagery unfolding under Archer’s direction. It seemed that, with the exception of some quieter passages, that was impossible. The spoken word and music were too often competing.

Howl

Pat Thiele in Howl.

Beneba Clarke’s delivery was excellent, particularly in the oft-repeated “Moloch”, which was audible and effective as a way to communicate all the evil that Ginsberg meant by this name. Repetition of “Rockland” towards the end of the poem was also a chance for the voice to come to fore and achieve more of a balance with the ensemble.

Howl

Sam Zerna in Howl.

I hope that this work is revisited, as have been other works commissioned for the Melbourne Jazz Fringe Festival. But I think either the words of the poem need to be audible over the music, or they should be projected somehow so that the audience can ponder and appreciate them at the same time as the music. It also would not hurt to remind patrons to be familiar with the poem before the performance. Drunken Taxicabs of Absolute Reality has the potential to be a powerful interpretation of Howl, but in this debut outing it did not quite succeed.

Howl

Maxine Beneba Clarke nears the end of Howl.

After the commissioned work, in Chris Port’s Mixer at about 7pm, Port on drums and laptop joined James Gilligan on bass/tape machine/effects and Marty Hicks on piano and Nintendo DS to explore Beat and hip-hop culture through improvisation.

I was only able to hear the very beginning of this outing before having to leave.

In terms of bums on seats, the MJFF did not score spectacularly, which is a great pity. A lot of creativity and inventiveness was on display at an excellent venue. I’d definitely rate the afternoon as a success, but in an ideal world more people would be there to share.

ROGER MITCHELL

DON’T LET YOUR FRINGE DOWN

MIJFF13Invite_500x

Preview: Melbourne Jazz Fringe Festival, including 2013 APRA Composer Commission Concert, Sunday 5 May, 2-8pm at
 Northcote Town Hall

Lovers of popular music, including fans of classical and opera, may regard many incarnations of jazz as being on “the fringe”. Purely in terms of bums on seats at concerts, that is probably a reasonable view. But anyone familiar with the improvised music on offer in Australia knows there are gigs that sit on the fringe within the broad genre.

It’s not worth wasting energy on where to draw the line between more mainstream jazz and material that’s “out there”. But some context can be helpful. Martin Jackson, who runs the Melbourne Jazz Co-operative, has suggested that patrons of gigs sponsored by the co-op should keep in mind that the diversity of music on offer means they may find some outings a challenge.

I can recall a few occasions on which people looking for some live music after dinner have lobbed at Bennetts Lane Jazz Club not knowing what to expect, then discovered that what’s on offer on the night does not appeal to them. On the other hand, anyone who finds the way to the Make It Up Club at Bar Open in Fitzroy is likely to expect performances that stretch the boundaries of music.

Organisers of the Melbourne Jazz Fringe Festival have had to do some hard thinking in recent years about the challenges of staging a festival with limited resources, declining patronage and arguably some encroachment on its turf by the Melbourne International Jazz Festival. If anything the MIJF is now leaning to the more accessible side of the spectrum, but under Sophie Brous it ventured into experimental music with the hugely popular day-long multi-stage Overground at Melbourne Town Hall, which was similar in concept to the MJFF’s previous Big Arse Sundays.

That’s hardly a comprehensive summary of the issues facing the hard-working MJFF organisers, but the upshot is that this year’s festival will consist of one afternoon of concerts grouped around the 2013 APRA Commission Concert, which has become a significant landmark for the festival and in Melbourne’s annual jazz calendar. For anyone unfamiliar with this concert, it’s worth saying that each year APRA funding enables MJFF to invite proposals for a commissioned work that breaks new ground. The chosen work is given its debut airing during the festival. These are always innovative and interesting.

This year Darrin Archer has chosen to focus on Allen Ginsberg‘s poem Howl, using modern composition and improvisation to explore the sex, drugs and spirituality of the beatnik as a sonic landscape. If that sounds weird, it probably will be, but surely that’s what we want from a MJFF concert. The work, titled Drunken Taxicabs of Absolute Reality: Howl to music, will debut at 5.30pm.

But the music begins at 2pm with solo piano performances by Steve Grant (a multi-instrumentalist who is often playing cornet or accordion) and Marc Hannaford (who will soon leave for New York to take up a fellowship at Columbia for a PhD in music theory). It will be a treat to hear these pianists at work solo.

At 3pm drummer Ronny Ferella will usher on his band IshIsh, which has its roots in the music of drummers Eddie Moore and Ed Blackwell’s groups, and the music of Don Cherry and Ornette Coleman. The line-up has varied since the ensemble’s first album, but for the latest CD End of a Line it featured Eugene Ball trumpet, Jordan Murray trombone, Julien Wilson saxophone, Mark Shepherd bass and Javier Fredes percussion. A special guest for this outing will be Stephen Magnusson on guitar.

At 4pm, expect things to move a little further out there as Scott McConnachie on sax joins Erkki Veltheim on viola and Ren Walters on guitars in a trio that emphasises process of creation rather than any planned result.

After the commissioned work, at 6.30pm Chris Port on drums and laptop will join James Gilligan on bass/tape machine/effects and Marty Hicks on piano and Nintendo DS in exploring Beat and hip-hop culture through improvisation. Titled “Mixer”, this will draw inspiration from Kanye West, Ableton Live, Drake, Pro Guitar Shop videos, Flying Lotus, Hudson Mohawke, Aphex Twin, and the Boston Celtics.

Tickets for this biggish arse Sunday cost $35/$25 and are available at the door or online or via Northcote Town Hall website.

Don’t let your fringe down. Be there.

ROGER MITCHELL