Tag Archives: Johannes Luebbers

JAZZ BELL AWARDS 2011

Ausjazz blog could not be at the awards ceremony at Melbourne’s Plaza Ballroom last night, but congratulates the winners:

Tarrawarra Estate Best Australian Jazz Vocal Album ― Elly Hoyt

Gibson Guitars Best Australian Contemporary Jazz Album:
Mike Nock Trio ― An Accumulation of Subtleties

Palace Cinemas Best Australian Jazz Blend Album
The Subterraneans ― The Subterraneans

Brand Partners Best Australian Traditional Jazz Album:
Leigh Barker ― The New Sheiks

APRA/AMCOS Best Australian Jazz Song of the Year:
Eugene Ball ― Song From the Highest Tower (from the album Une Saison En Enfer)

Monash University Best Australian Jazz Ensemble:
Australian Art Orchestra / Young Wagilak Group

Fender Katsalidis Young Australian Jazz Artist of The Year:
Johannes Luebbers

Qantas Hall of Fame:
Tony Gould

The Australian Jazz Bell Award winners share a prize pool of $40,000 – $5,000 per category

WANGARATTA JAZZ 2010 — JOHANNES LUEBBERS DECTET

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.