Tag Archives: Johnny Hartman

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

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PERFECT PRESENT — KURT ELLING ON BEING IN THE MOMENT

INTERVIEW

Kurt Elling
Drawcard: Kurt Elling

KURT Elling is a hard taskmaster — hard on himself and on his audiences.

The Grammy award-winning vocalist has made a rigorous study of the great jazz singers and strives for total engagement with music through improvisation and spontaneity. He has mastered scatting, singing and writing vocalese lyrics for jazz standards and current repertoire. He can sing a beautiful ballad and he knows how to touch people’s hearts. His lyrics are sensitive and intelligent.

Elling will be a big drawcard at Wangaratta Jazz, having built a strong Australian following since his first appearance at the festival in 1998.

He clearly has the discipline as well as the gift of ingenuity with which he says jazz musicians are born. But for him the key to experiencing music, as performer or audience member, is to be “fully present”.

“When one is fully present, one isn’t worried about other concerns,” Elling says by phone from his base in Chicago.

“I find it annoying (at my concerts) when people come in and are taking pictures or recording the event on their little iPods or whatever it is. If they are not fully present, they are conscious that they are engaging something they want to enjoy later. And that means they are not enjoying the gift we are trying to give them right now. It’s a distraction.”

Elling believes the onslaught of information and experience can create too many distractions in life.

“One has to make a conscious decision to shut that down much of the time, to not be overwhelmed by the internet, television, movies and other input — much of it inane, a bit degrading and the worst of human possibilities. You’ve got to turn that stuff off, turn your phone off sometimes and really listen to your heart.”

In his appreciation of others’ music, the vocalist is equally demanding.

“I have to work when I go out to a jazz concert. You really need to focus. You need to get in there and wrestle with your concepts. The moments are fleeting, but the experience is so rewarding because the exchange is so pure.

“I do ask a lot of my audiences, whether they’re hearing something the first time or something they like and want to hear again,” Elling says.

“I’m an artist in a difficult and challenging genre. I don’t want anybody to be put off by the level of difficulty or challenge, but I trust my audiences to give it their best shot, and by and large I get the impression that people are having a good experience.

Elling says music can transcend language differences.

“I travel about 200 nights a year and over half those nights I’m in countries where people don’t speak English. I’m doing the same material and I don’t think it keeps people from having a good time. They take what they can from it.”

Elling says music can remind people that there’s more than just the everyday grit and struggle and “that we have transcended possibilities”.

“One lives in music, one forgets about time and one’s concerns, one forgets oneself. And that is one of the definitions of happiness. You are no longer self-conscious, insecure about your insecurities or feeling regret or any specific thing other than elation. You’re not looking at your watch, you’re not looking at your past or your future. You’re simply happy.”

At Wangaratta, Elling — joined by longtime collaborator Laurence Hopgood on piano, Harish Raghavan on bass and Ulysses Owens on drums, and featuring Bob Sheppard on tenor sax — will treat audiences to a preview of songs from his coming studio album as well the Johnny Hartman and John Coltrane material he has interpreted for some time.

“The new record will be called The Gate and will feature John Patitucci (bass) and Terreon Gully (drums) as our rhythm section, Chicago guitarist John McLean [and drummer Kobie Watkins]. I’ve been very excited about what we’ve been getting there. That’ll definitely be a very different thing than much of the music that we’ve been playing in the last few years,” Elling says.

ROGER MITCHELL

An edited version of this interview was published in Melbourne’s Herald Sun newspaper on October 25, 2010