Tag Archives: Lucas Michailidis


Way Out West

End of intermission: The new Way Out West ensemble.

REVIEW: Way Out West, 9pm  on Sunday 3 February, 2013, Bennetts Lane Jazz Club
Peter Knight trumpet and flugelhorn, Satsuki Odamura (Sydney) koto and bass koto, Paul Williamson saxophones, Ray Pereira percussion, Howard Cairns bass, Lucas Michailidis bottleneck and acoustic guitars, Hugh Harvey drums

The debut performance by Peter Knight’s Way Out West in its latest incarnation was an occasion for mixed emotions. The tunes were familiar and it was great to hear this inventive ensemble again after a long intermission. But those of us who recall earlier performances featuring the distinctive contributions of Anh Nguyen Dung on traditional Vietnamese instruments — dan tranh, dan bau, dan nguyet — and modified electric guitar were bound to feel nostalgic for the past.

Lucas Michailidis

Chordal dimension: Lucas Michailidis

At the beginning of the second set, when the band played a piece (was it If I Knew Where You Were?) written for the dan bau (Vietnamese zither), Lucas Michailidis on bottleneck guitar gave an excellent interpretation of that instrument. It did not quite capture the delicate shimmer that was so entrancing in the original version, yet it was a sign that a band moving on would pay homage to its heritage.

Satsuki Odamura

Koto virtuoso: Satsuki Odamura

Bands, however, are a moveable feast and there can be no standing still or pondering of past glories. Way Out West has made significant changes to a line-up that has included drummers such as Tony Floyd, Ronny Ferella, Scott Lambie, Dave Beck and, most recently, Raj Jayaweera. With Raj in New York and Dung unavailable, Way Out West has welcomed Michailidis, Hugh Harvey at the drum kit and koto virtuoso from Sydney, Satsuki Odamura.

Having had little time together, the new ensemble has yet to discover the directions it will take as it forges a different identity while retaining its characteristic integration of Asian instrumentation and approaches with West African grooves and jazz-inflected melodies. But during Sunday’s performance there were signs that valuable interactions will develop.

Howard Cairns

Relishing the bass koto: Howard Cairns

Howard Cairns on acoustic bass gave every indication that he relished the contributions of Odamura on bass koto. Michailidis offers a new dimension, playing chords that were not part of Dung Nguyen’s guitar work. Time will tell how the rhythmically dextrous Ray Pereira will respond to Harvey on drums and Odamura’s koto.

Satsuki Odamura

Fiery exchanges: Satsuki Odamura with Paul Williamson

But as the band’s final piece for the night, Blues for a Yungster, filled the venue with the infectious energy of Paul Williamson‘s tenor saxophone in fiery exchanges with Odamura’s feisty koto, there was a clear sign that Way Out West will venture into exciting territory as it prepares material for a new album later this year or early next.

Those of us who have followed this ensemble of talented musicians over the years will still play its early albums to relish its past. Yet we will look forward to significant developments as Way Out West plots a new course and, possibly, turns up the heat.





PIANIST Jeremy Woolhouse wisely welcomes the “deliciously fresh slant” that Lucas Michailidis (guitars) and Ben Robertson (bass) bring to his compositions in their debut album.

The serene, flowing piano benefits from their gentle improvisational exchanges, the bass adding strength and Charlie Haden-like melodic warmth, the guitar subtle inventiveness.

Woolhouse’s approach is rounded, never sharp, and smooth rather than cutting, favouring continuity over space and not given to variations in dynamics.

Gaisy has Michailidis interpolating delightfully and in Going Away all three instruments weave intricate magic. The result is pleasing and the mood calming, as would befit a Sunday afternoon of relaxation. Yet it may call for a big night out.

Download: Gaisy, Going Away
File between: Alister Spence, Magnolia


This review also appeared in Melbourne’s Sunday Herald Sun liftout Play on April 3, 2011

Melbourne Jazz Fringe 2009 — Day 6

Frisell — Music inspired or written by Bill Frisell

Phil Bywater made a point after the first set at Uptown Jazz Cafe that the Fringe Festival had come up with the idea of having a Bill Frisell tribute before the Melbourne International Jazz Festival decided to invite him to Melbourne. When the Fringe organisers heard he was coming, the invited him to stay over for the Fringe gig, but he had other commitments. But it didn’t matter, because in the audience we decided Bill was with us in spirit.

Frank Di Sario and Luke Howard

A few years back I used to catch Frank Di Sario in a trio with Peter Knight on trumpet and Lucas Michailidis on guitar, and at one gig they added a cellist, at the Charles Street Bar in Seddon (it’s now a restaurant — popular, but not hosting live music). They were playing some pretty out there totally improvised and unrehearsed stuff that was just intense and wonderful.

Luke Howard

That’s not really relevant, except that Howard and Di Sario did rehearse three times for this set, which consisted of three pieces and was also wonderful. The feel of the set recalled the Andrea Keller/Geoff Hughes gig at Cafe 303 on the Monday (see Fringe, Day 4 in this blog). The instrumentation was different — though the Roland at Uptown Jazz Cafe did lean towards the fuzzy, thick sound of Keller’s Nord — but that didn’t prevent there being a similarity. Like Keller and Hughes, Di Sario and Howard produced music that was totally engrossing — introspective music in which it was easy to become totally absorbed.

Di Sario

They played Frisell’s Small Hands, from the Second Sight album by Bass Desires (a quartet of Frisell, with John Scofield also on guitar, Peter Erskine on drums and bassist Marc Johnson as band leader), and Probability Cloud, from the 2008 History, Mystery album Frisell released with an octet. Small Hands was in good hands with Di Sario and Howard, who created a dreamy surrealism helped by the soft, pink and blue lighting. Probability Cloud called for some faster, more complex bass, and quicker keyboard. Howard achieved some nice puddling in the mud of slightly dissonant chords before that signature of Frisell’s — the slowly repeating and developing motif — carried the piece to its conclusion. It was superb stuff.

Di Sario

Di Sario announced the final piece as a standard not often heard —My Old Flame, which I learned later was composed by Sam Coslow and Arthur Johnston and sung by Mae West in the film Belle of the Nineties. We heard “yeah” a few times as both players were getting into the groove and feeding off their enthusiasm in each other’s efforts. I think we could all have listened to more from these two.

Jacqueline Gawler with Fran Swinn and Tamara Murphy

Jacqueline Gawler

Instead of Fall 10X being on next, we were treated to vocals by composer, lyricist and percussionist Jacqueline Gawler, also appears with vocal quintet Coco’s Lunch, Stoneflower and the Jacqueline Gawler Band, accompanied by bassist Tamara Murphy and guitarist Fran Swinn, who is a member of the JGB.

Murphy and Swinn

I had to leave before the set was over, but heard the first three numbers — Frisell’s Strange Meeting, from the albums Live and This Land, another Frisell tune the name of which I did not catch, and a quirky Gawler original she said had its genesis on a flight to Canada while testing how long she could continue writing under the influence of sleeping pills. Apparently the writing began to tilt up the page until the song emerged: When passengers write poetry and flight attendants sing.


I might as well own up to finding it difficult to write about vocals, or at least more difficult than about instrumental music. Gawler used her voice as more than merely a vehicle for words and was able to float her notes to form a rich texture over, within and around the bass and guitar. Under the influence of sleeping pills, she appeared to become sultry and possibly keen to wrap her arms around passing passsengers or singing attendants in full flight.

Murphy and Swinn

The guitar and bass — at times bowed — worked really effectively, creating a wonderful fluidity with the voice.

The spirit of Bill Frisell seemed to be hovering close to the bar as I stole away into the night.

Some more pictures from the gig:


Gawler, Murphy, Swinn