Tag Archives: Jose James

LONG LOOK AT A SHORTER FESTIVAL

PREVIEW

Melbourne International Jazz Festival, June 3 – 12, 2016

Tomasz Stanko

Tomasz Stanko

SOME of the main drawcards at this year’s festival are well-known knowns — Wayne Shorter, Esperanza Spalding, Gary Bartz — but it’s a big program with plenty of other artists to be excited about.

Stats don’t put flesh on the bones, but over 10 days the festival will stage 74 events involving 335 artists (75 international and 260 Australian), 22 free events and heaps of club sessions at Bennetts Lane Jazz Club, Uptown Jazz Cafe and Dizzy’s Jazz Club. The larger venues will include Hamer Hall, Melbourne Recital Centre, Forum, Malthouse and The Channel at Arts Centre Melbourne.

On the final three days Riverside Bar at Southbank will host Hamer Jazz Bar each evening from 6pm as a rendezvous for festival patrons.

As usual, the main program is divided into Modern Masters, Explorations in Jazz and the three sets of Club Sessions, plus five Jazz Out West events, seven Close Encounters and two Artist Workshops at Monash University.

Gary Bartz

Gary Bartz

All good festivals come with a clash or two not emanating from a drum kit and MIJF 2016 opens with a big one. Our own flamboyant pianist and composer Barney McAll has had a hand in bringing jazz great Gary Bartz from the US to play Melbourne Recital Centre on opening night, with Andrea Keller’s Transients I as support.

This clashes head-on with PBS Young Elder of Jazz Commission winner Joe O’Connor on piano in a quartet at Bennetts Lane to perform Confrontations. In six dialogues, O’Connor’s work will balance “tonal and non-tonal harmony, regular and irregular rhythm, delicate lyricism and impressive density”. That sounds pretty damn interesting. These two gigs present a tough choice.

Esperanza Spalding

Esperanza Spalding

There’s no need to say a lot about Esperanza Spalding, who will play the Forum at 9.30pm on opening night, because she will draw crowds. Marcus J. Moore on Pitchfork described her album Emily’s D+Evolution thus: “Using a dissonant guitar riff, thumping drums, and lurching time signature, it almost feels like a dare to stick around. The album has the feel of a nervy gauntlet throw, seething with the sort of ferocity that only comes from time spent alone, far away from the limelight. These are exuberant, confrontational songs, amplified in the same sort of rock/funk hybrid style that brings Prince and Janelle Monae to mind. Gone is the Afro, replaced with long braids, wide-rimmed glasses, and ornate outfits.”

Wayne Shorter

Wayne Shorter

Wayne Shorter also needs no promotion. He plays Hamer Hall on the festival’s closing night with Danilo Perez on piano, John Patitucci on bass and Brian Blade on drums. Enough said, although I’m hoping for some longer bursts of saxophone magic from the great player than we heard at the Palais when he was last here.

Perez, Patitucci and Blade will play two gigs at Bennetts on Friday, June 10 as Children of the Light Trio. Surely this must be one not to miss.

While on the subject of bass players, Hawthorn luthier Benedict Puglisi is making acoustic bass instruments specifically for Spalding and Patitucci to play while they are here. That suggests his work is pretty special.

The international artists include some who were popular on previous visits to the festival. Genre-crossing Robert Glasper Trio (US), who performed in 2012, will return in an acoustic trio format with new album, Covered, on June 4 at MRC with Ross McHenry Trio supporting.

Mulatu Astatke

Mulatu Astatke (Image: Nick Pitsas)

And the “father of Ethio jazz” Mulatu Astatke (Ethiopia), who played the festival in 2010, will join the local band Black Jesus Experience at the Malthouse on Wednesday, June 8 to give the world premiere of The Cradle of Humanity.

Hiromi

Hiromi

Also returning is the pianist from Japan who sold out three shows in 2012, Hiromi. She who joins Simon Phillips on drums and Anthony Jackson on contra bass guitar at Hamer Hall on Thursday, June 9.

Tomasz Stanko

Tomasz Stanko (Image: Caroline Forbes)

And I don’t care what clashes with Polish trumpet maestro Tomasz Stańko‘s band featuring Alexi Tuomarila on piano, Slawomir Kurkiewicz on bass and Olavi Louhivuori on drums. I’ll be at one of their two Malthouse concerts on Thursday, June 9 at 6.30pm and 9pm.

Also at the Malthouse and not to be missed on Saturday, June 11, will be Stańko and Paul Grabowsky leading the Monash Art Ensemble at 6.30pm to explore the music of Krysztof Komeda, who scored Rosemary’s Baby and Knife in the Water. Not to be missed.

Latin jazz titan, pianist Eddie Palmieri (US) will spend five days with Monash University student musicians before their Jazz Futures performance at the MRC Salon on Thursday, June 9 at 6pm. Palmieri’s Latin Jazz Septet will set feet tapping at Hamer Hall on Friday, June 10 at 7.30pm.

Singer José James will pay tribute to the music of Billie Holiday in Yesterday I Had the Blues at Hamer Hall on Saturday, June 11 at 7.30pm.

And to complete the Modern Masters concerts, Vince Jones and Matt McMahon will join the Astral Orchestra to bring us Van Morrison’s Masterpieces at 7.30pm on Friday, June 10 at MRC.

Snarky Puppy

Snarky Puppy (Image: Philippe Levy Stab)

As part of the Explorations in Jazz series, guitarist Lionel Loueke (US) will join Sydney group The Vampires for two Bennetts Lane gigs on Saturday, June 4. And crowd-pleasers Snarky Puppy (US), who wowed crowds here in 2013, will be in the Forum at 9.30pm on Thursday, June 9.

The Coopers Malthouse has great beers on tap (I’m not paid to say that) and it may suit many to spend Friday, June 10 there to hear Stu Hunter‘s suite The Migration (a fantastic line-up) at 6.30pm and then Kristin Berardi Band (also a top line-up) at 9pm. You could not possibly go wrong with these two performances by Australian bands.

The Malthouse also hosts Peter Knight’s Way Out West on Saturday, June 11 at 9pm, featuring koto virtuoso Satsuki Odamura and Ray Pereira on fun and fiery African-influenced percussion. This gig will showcase new material and is sure to be a knockout.

And anyone who can remember the Chris Dave and the Drumhedz festival gig in 2014 should recall multi-reedist Marcus Strickland. Twi-Life is set to deliver soul, jazz-funk and R&B in two shows at Bennetts Lane on Saturday and Sunday, June 11 and 12, at 7.30pm and 10pm (they must be expecting a crowd — that’s four concerts).

If all that music’s not enough, there are club sessions. Can’t mention them all, but here are a few likely highlights.

Guitarist Paolo Angeli (Italy) will join local musicians at Bennetts Lane to bring us jazz influenced by Sardinian folk songs (June 3). He will also play solo guitar at Bluestone Church Arts Space in Hyde Street, Footscray at 4pm on Sunday, June 5. Westies must come out to this and other MIJF gigs at Dancing Dog Cafe (Wallace), Reverence Hotel (30/70 Collective) and Footscray Community Arts Centre (Jazz-a-Bye Baby).

Get close up and personal with Robert Glasper Trio at Bennetts on June 5. Hear a tribute to our maestro of Mondays and much besides, drummer Allan Browne, on June 6. If you fancy trumpah, as Scott Tinkler would put it, don’t miss Keyon Harrold and Twi-Life musicians in two gigs on June 8. And for fans of drummer Ari Hoenig, there are two gigs on June 9 at Bennetts featuring guitarist Quentin Angus and bassist Sam Anning.

Uptown Jazz Cafe has a ripper line-up of gigs during the festival. Don’t miss Mark Fitgzibbon Trio (June 3), Paul Williamson Quartet playing Monk (June 3), Andrea Keller’s Transients IV (June 4), Stephen Magnusson Trio (June 5), Ithaca Bound suite, music of the Allan Browne Quintet (June 6), Jamie Oehlers/Paul Grabowsky Quartet (June 9) and Sam Keevers’ Red Fish Blue (June 12). These and the other Uptown gigs are delivering seriously good jazz.

Dizzy’s Jazz Club in Richmond also has eight festival gigs, so look these up on the festival website.

Time’s almost up if I’m to post this as the embargo expires. Apologies for any errors. Other events of note include the free opening concert at Fed Square on June 4 at 1.30pm featuring Brazilian and Latin ensembles led by Alistair Kerr and Sam Keevers respectively.

Barney McAll is going to play about with the Federation Bells and anything could happen with that. Keep an ear out at noon on June 4 in Birrarung Marr.

And the Queen Vic market will groove to Los Cabrones on June 8 at 6pm to warm up the Winter Night Markets.

And at noon on Sunday, June 12, at The Channel, 100 St Kilda Rd, Southbank you may find out how many festival artistic directors it takes to change … well … a light globe, a set list, a door gig, a minor key … you name it.

ROGER MITCHELL

For further details and full program visit the festival website.

Note: Many images posted above are supplied by MIJF.

 

 

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

FESTIVAL TAKES TO THE SKIES

Hiromi

Hiromi is among artists who will fly Qatar Airways to Melbourne. (All About Jazz image)

Ausjazz blog previews the Melbourne International Jazz Festival 2012, which was launched on March 13:

The hubbub on level 24 of The Langham in Melbourne gave way to attentive silence yesterday evening as Murphy’s Law treated the assembled multitude to about four minutes of Big Creatures & Little Creatures: The Modular Suite.

The music was a welcome relief from the necessary formalities of the official launch of this year’s Melbourne International Jazz Festival, which will run from June 1 to June 10.

If the fragment of this commissioned work by Tamara Murphy was any indication, its full performance at Bennetts Lane as part of the festival’s Club Sessions will be compelling.

And if the question on everybody’s lips as program details emerged was how the festival’s focus under artistic director Michael Tortoni would differ from its direction under Sophie Brous, the real story of the night was about a key sponsorship.

As Melbourne’s music glitterati watched a promotional video about the delights of the Middle East state of Qatar, it was dawning on us all what a coup it was to bag Qatar Airways as a festival sponsor. The benefit is obvious — it will be much cheaper to fly in international artists, thus countering to some extent the isolation of Australia from the jazz hotspots of the United States and Europe.

So who are the big names and what is the flavour of this festival? Tortoni described the focus as “jazz royalty alongside the voice of a rising generation” and said MIJF 2012 was “all about what jazz is when the talking stops and the music starts”. Well, every festival has to have its catchphrases, but to take up his theme with another well-worn phrase, the proof of the pudding is in the eating.

An initial glance at the program shows it is not overly adventurous, and represents less of a challenge — or an enticement — to audience groups on the fringes of more straight ahead jazz. The very popular multi-stage day of music madness and mayhem at Melbourne Town Hall will not take place this year, due to an absence of sponsorship and most likely of Sophie Brous. That’s a pity, because that gave the recent festivals a welcome edge that it must now fall to the Melbourne Jazz Fringe Festival to fill.

The main international artists include pianist McCoy Tyner revisiting the 1963 John Coltrane and Johnny Hartman album, this time with vocalist Jose James and saxophonist Chris Potter.

Potter will also perform some of his own material with Sydney’s Jazzgroove Mothership Orchestra as well as some commissioned Australian material. This should be exciting.

James will also feature in the Robert Glasper Experiment, “an Australian premiere event that smashes stylistic boundaries to reshape the future directions of jazz” by “taking hip-hop, R&B, soul and post-modern jazz to never-before-seen places”.

For lovers of Billie Holiday and Sarah Vaughan, US vocalist Dee Dee Bridgewater will visit Melbourne for the first time, and also from the ‘States’, Patti Austin will perform a tribute to Ella Fitzgerald with one matinee and one evening performance.

The familiar vocal extravaganza at the Palais this year is entitled “The Way You Look Tonight” featuring Katie Noonan, Vince Jones and Kristin Berardi in an opening night gala.

Likely to attract a much younger audience will be keyboardist-composer Hiromi (Japan/USA) who blends jazz with progressive rock and classical styles. Her first concert will open with US bassist Robert Hurst joining locals Jamie Oehlers and Dave Beck.

Hiromi’s second gig will be a double bill with the Israeli Eli Degibri Quartet, featuring 16-year-old prodigy Gadi Lehavi on piano.

A film-themed package will feature five-time Grammy Award winner and cinematic composer Terence Blanchard on trumpet (in a quartet with Brice Winston on tenor, Fabian Almazan on piano and Kendrick Scott on drums), Australia’s Joe Chindamo performing his arrangements of Coen Brothers film music and an ACMI Jazz on Film program.

The Salon at MRC will host three concerts with Monash University under the Jazz Futures banner featuring the Terence Blanchard Quintet, The Fringe (with George Garzone on sax) and Tarbaby (with Oliver Lake on alto sax).

The Fringe and Tarbaby will also perform at a new venue for this festival, the Comedy Theatre. These outings should keep us awake.
From Europe will come bassist Renaud Garcia-Fons, appearing in the Arcoluz Trio at the MRC after a real highlight opener of pianist Luke Howard with Janos Bruneel (Belgium) on bass.

Samuel Yirga Quartet from Ethiopia will feature the piano prodigy at the Comedy Theatre, opened by locals The Black Jesus Experience.
For lovers of the Hammond B3 (and I’m one), Dr Lonnie Smith (USA) will perform at Bennetts Lane.

In the Club Sessions, Motif from Norway will feature along with Robert Hurst and the Luca Ciaria Quartet from Italy.
Allan Browne Sextet will celebrate the launch of Conjuror — a collection of his jazz poetry — in two sets which should be a festival standout. Sandy Evans will join Lloyd Swanton and Toby Hall for a special closing night celebration presented with the Melbourne Jazz Cooperative.

The Melbourne International Jazz Festival opens on June 1.

ROGER MITCHELL