REVIEW / RAVE
Melbourne International Jazz Festival, June 3 to June 12, 2016
One of the most interesting conversations I’ve had during this jazz festival — and I’ve had a few, before and after attending 15 concerts — was about the jazz hero.
The person I spoke to was a musician who said he wanted to move away from that approach or model in bands in which he played. In this context I recalled a wonderful concert in Melbourne in which a band gradually swapped players while the music continued, morphing into a new group as newcomers quietly joined in and then others moved off stage during the set.
On the second night of this festival, June 4, I went to The Reverence Hotel in Footscray to hear 30/70 Collective make “future soul and hip-hop meet in the middle via jaunty boom bap”, to quote the program. As they say in some news programs, more on that story later.
After the first set by members of the collective who formed A Brother Scratch, the 30/70 Collective band members did something I have never seen before at a gig — they went into a huddle.
Already feeling the warm glow from the first set of music that was out of my familiarity zone, so to speak, I was quite taken by this musical group hug, which seemed designed to engender team spirit. It was not long before the packed room was moving to the hypnotic grooves — myself included.
By now you’ll have realised this is more of a rave than a hard-nosed review. But there is a point. The musician mentioned who wants to move away from dependence on heroes in jazz described 30/70 Collective as being like a family. That certainly fitted with my impression from the vibes in the pub.
I decided to try applying the idea of avoiding heroes to the reviewing of a festival. Bear with me.
Reviewers often mention their list of standout gigs or highlights during a festival. I have often done that. And I’ve often asked other patrons and other reviewers to name the bands they’ve most enjoyed. It’s a natural thing, especially if there is limited space in a review, to pick the standouts.
But what if a festival review was more like a collective of gigs? Then I could value each for its special qualities — what worked well and even what didn’t. That’s how I feel about the mix of very different MIJF concerts that I went to this year.
On night eight of the MIJF I went to Bennetts Lane at 10pm to hear Children of the Light Trio consisting of Danilo Perez on piano, John Patitucci on bass and Brian Blade on drums — Wayne Shorter‘s band without the hero, if you like.
That’s laughable, you’ll say, because each member of this trio is a hero in their own right. True, but — and I’m already breaking with the “no highlights” approach — that band’s performance without Shorter that night was the gig I’d have to say has stayed with me and will do so for a long time to come.
On the final night of the festival I did hear Wayne Shorter with the members of this band. Afterwards I heard snippets of opinion, including comments that he did not play for a great portion of the set, that some say he’s too comfortable with Perez, Patitucci and Blade, and, notwithstanding, that this hero of jazz is on a different plane from any of the great players still alive.
Hearing Shorter at Hamer Hall was special. Getting relatively close to record some images was pretty special.
Hearing him in conversation with Jon Faine, Wilbur Wilde and Kristin Berardi on ABC radio 774 was also special — and at times hilarious. His refusal to get bogged down by labels and his wish to think so broadly about life made me wonder whether Wayne Shorter would want to be put on a pedestal.
I enjoyed his playing on this occasion a lot more than when I heard him some years ago at The Palais in St Kilda, which is perhaps a sign that I had then been uneducated in what to expect — frequent changes of direction and very short bursts of sax. This time he did not play for too long in the set, but what he contributed was considered and just right in the moment.
That said, after reflection, I took more away from his quartet members’ gig as a trio in the much smaller venue. Of course it would be far too exclusive to have Shorter perform to such a limited audience.
Anyway, my search for a hook or a story on which to hang reflections on this year’s Melbourne International Jazz Festival has ended — albeit in way too meandering a fashion — at that strong image of 30/70 Collective in a huddle. To that image I add some showing large ensembles featured at this festival at the ends of their concerts.
We’ve seen some big projects come to fruition on stage this year — Stu Hunter‘s the migration, the Monash Art Ensemble‘s performance with Tomasz Stanko, the release of a new album by Peter Knight’s Way Out West.
All of these have involved a lot of work and huge collective effort.
And of course in smaller ensembles such as Andrea Keller’s Transients, the Allan Browne Quintet performing Ithaca Bound at Uptown Jazz Cafe, Keyon Harrold with Twi-Life, Shai Maestro Trio, the Tomasz Stanko Band and the Tribute to Allan Browne trio of Paul Grabowsky, Mirko Guerrini and Niko Schauble, we have heard the results of collective interaction.
Even in the solo gig by Paolo Angeli at the Bluestone Church in Footscray we saw how his instrument’s many parts worked together to produce different styles of music.
Interaction is what makes the diverse music that makes up jazz so engrossing, inventive and wonderful. And each musician brings to the stage the formative background that has shaped them — influences that interact and find expression in changing ways as they practise and play.
Some of us will love, like or not like some of the music we hear from improvising musicians, but at its core is that interaction. We see and delight in it as we watch the faces of the musicians at work.
End of rave. In the days ahead I will add a few, much shorter, separate posts — with pictures — to cover concerts I attended as part of this festival.
In the meantime, musicians will be playing live in lots of venues around Melbourne, so get out there. You won’t regret it.