Tag Archives: Mike Rivett

WANGARATTA 2017: JAM-PACKED JAZZ

Jen Shyu

Sure to be a highlight: Jen Shyu                                       Image: Steven Schreiber

PREVIEW
Wangaratta Festival of Jazz & Blues, November 3 – 5, 2017

The 28th Wangaratta Festival of Jazz & Blues will be the first without Adrian Jackson at the helm as artistic director. Instead, the programming team consists of Adam Simmons and Zoe Hauptmann for jazz, and Scott Solimo and Frank Davidson for blues.

This change led to some understandable concern on the part of regular patrons over the direction that this renowned festival may take, many worrying about whether efforts to overcome budget challenges by widening audience appeal would dilute the core elements in programming of jazz and blues. The result no doubt will be closely scrutinised. It will also, I’m convinced, be thoroughly enjoyed.

Adam Simmons

Adam Simmons introduces the Pugsley Buzzard Trio in Readings book shop at the Melbourne launch of Wangaratta Festival of Jazz & Blues 2017.

A detailed dig into this year’s jazz (leaving the blues gigs to others) reveals plenty to get excited about — so much, in fact, that it will be hard to fit in breaks for meals or even coffee breaks in a jam-packed program. Don’t forget to download the festival app so you can plan ahead.

Has the festival taken a new direction? Will hard-core jazz fans be satisfied? Is there enough straight-ahead jazz? Are there sufficient “out there” gigs? Is the gender balance improving? Are there enough vocalists? Will the punters turn up? Judgments will be made on these and myriad other questions once the music begins, but unquestionably there is heaps of it on offer.

Overseas artists in the mix include Kari Ikonen Trio (Finland), Jon Cleary (US), Christian Scott and his sextet (US), Jen Shyu (US), James Shipp (US), Pascal Rollando and Philippe Guidat (France), and Aron Ottingnon Band (France), plus expatriate Australian Nadje Noordhuis on a visit from New York. There are many intriguing and alluring combinations, such as Jen Shyu with Simon Barker, Spiderbait’s Kram with James Morrison and Paul Grabowsky, Origami with Wang Zheng Ting, Digital Seed, and a gathering of old and new friends in Guidat/Rollando/Noordhuis/Shipp/Simmons/Hale.

The National Jazz Awards performances this year, featuring brass, will be held in WPAC Hall rather than St Patrick’s Hall before the finals in WPAC Theatre. The 10 semi-finalists are:

  • Thomas Avgenicos trumpet, NSW
  • Josh Bennier trombone, Victoria
  • Niran Dasika trumpet, Victoria
  • Simon Ferenci trumpet, NSW
  • James Macaulay trombone, Victoria
  • Ricki Malet trumpet, WA
  • Eamon McNelis trumpet, Victoria
  • Joe O’Connor trombone, Victoria
  • Alex Taylor trombone, SA
  • Patrick Thiele trumpet, Victoria

How great is it that pianist O’Connor has made it as a semi-finalist on ‘bone?

Friday

Friday night’s line-up will give hard-core patrons a chance to flex their concert-going muscles for the succeeding onslaughts on the next two days. Ease your way in at 6pm in WPAC Hall by joining Tony Gould, Mike Nock, Paul Williamson (on trumpet) and university students for the Monash Sessions. Then, at 7.30pm in WPAC Theatre there’ll be a welcome infusion of Scandinavian improvisation from Finland’s Kari Ikonen on piano, Olli Rantala on double bass, and Markku Ounaskari on drums. Expect many hues, innovative harmonies, strong melodies and striking rhythms, all played with lots of joy and passion.

New Orleans makes its presence felt in two concerts on Friday evening. At 8pm Jon Cleary will bring blues into the WPAC Theatre as he demonstrates his prowess at the piano emulating the likes of Tuts Washington, James Booker and Professor Longhair — the greats he found in his adopted home of New Orleans after migrating from Kent in 1980. At 10pm in that venue the strong New Orleans musical pedigree of Christian Scott will shine through as he demonstrates his trademark “whisper technique”, using warm air, which he perfected by emulating his mother’s singing voice.

In WPAC Hall earlier, at 9.30pm, My Name Is Nobody will feature Lucky Oceans, Ben Vanderwal and Tom O’Halloran in a set offering lush, cinematic and ambient sounds along with “a sonic break from a complicated, noisy world”. Bring it on.

Paul Williamson’s Hammond Combo will be at the Pinsent Hotel until midnight.

Saturday

Saturday, of course, will be another kettle of fish, with music beginning at 10.30am (National Jazz Awards, WPAC Hall) and running through until 1.30am Sunday (Jam session with Virus, Pinsent Hotel).

Be prepared for some full-on, head-to-head clashes — these are not merely overlapping concerts, so you’ll have some hard choices. Kari Ikonen Trio begins at 11am in WPAC Theatre for those who missed it or loved it on Friday. But at noon Nick Haywood Trio (St Pat’s Hall) is up against Mike Nock’s solo e-coustic set (Holy Trinity Cathedral).

Barney McAll’s much-loved ASIO are sure to be in Hi-Vis at 1pm in WPAC Theatre. Expect much talent and humour.

Then comes a seriously upsetting clash at 2pm. Experimental vocalist, dancer and multi-instrumentalist Jen Shyu will join the intense and brilliant Simon Barker at Holy Trinity — this has to be a highlight — while guitarist Robbie Melville’s five-piece, two-saxy ensemble plus visuals delivers inviting, eclectic contrasts in WPAC Hall as Cleverhorse. As if that choice isn’t tough enough, St Pat’s Hall features sextet Slipper, with Gemma Horbury on trumpet and Belinda Woods on flute, playing bassist Alastair Watts compositions. It’s all on from 2pm to 3pm.

There’s no clash at 3pm when Nadje Noordhuis reunites with James Shipp (vibes), Gian Slater (vocals) and Chris Hale (bass), joined by young guitarist Theo Carbo (not to be missed) in a WPAC Theatre concert backed by Martin Jackson’s Melbourne Jazz Co-operative.

But at 4pm the clashes are back. Choose Robbie Melville with reedsmen Gideon Brazil and Monty Mackenzie for “chamber jazz and contemporary classical” as Antelodic at Holy Trinity, or the muscular DRUB (Scott Tinkler, Simon Barker, Philip Rex, Carl Dewhurst). That’s a real tough one. Blues and boogie woogie pianist Bridie King is the third option at this time slot, in St Pat’s Hall.

There’s time for a quick bite now — must keep the energy levels up — before bassist Nick Tsiavos and his Liminal ensemble bring us brilliant discordance as the ancient becomes modern in a hypnotic synthesis of new minimalism (6pm, Holy Trinity). Many may stay at this, but others will be lured away to WPAC Theatre by 6.30pm, intrigued by the spectacle of Spiderbait’s Kram joining James Morrison and Paul Grabowsky. Anything could happen.

If you love Hammond organ — and who doesn’t if Tim Neal is at the keyboards — Jim Kelly’s Thrillseekers will perform at St Pat’s Hall at 7.15pm. And in WPAC Hall at 8pm Digital Seed includes last year’s National Jazz Awards winner Mike Rivett in a sextet that includes Matilda Abraham on vocals and utilises electronics and synthesisers.

New Zealand-born pianist Aron Ottignon, now a Parisian, has a fantasy in which each of his fingertips is a drumstick. He joins Samuel Dubois on steel pan and Kuba Gudz on drums in WPAC Theatre at 8.30pm, producing music that “combines the ambition of jazz with pop melodies, echoes of world music and electronic effects”. This trio will also close the festival — jam session aside — so this is a chance to decide whether it’s your cup of tea.

Virus will draw some patrons off to the Pinsent at 9pm. But at 9.15pm in St Pat’s Hall Philippe Guidat (guitar) and Nadje Noordhuis (trumpet), who met at an upstate New York Music Omi Artist Residency when Adam Simmons (woodwinds) was guest mentor, will join Pascal Rollando (percussion), James Shipp (vibes/percussion) and Chris Hale (bass). I reckon this could go in a few directions, all of them with great promise and possibly a little humour.

This festival has many not-so-hidden gems. One is DRUB (already mentioned) and another is the 10pm WPAC Hall encounter between Gian Slater, Barney McAll and Simon Barker.

But many will be drawn away to WPAC Theatre at 10pm to hear more of Christian Scott, along with extraordinary flautist Elena Pinderhughes, Shea Pierre on piano and Rhodes, Kris Funn on bass, Corey Fonville on drums and Logan Richardson on sax.

Pinsent Hotel jam session anyone? As mentioned, there is a lot of music on offer at this festival. And Sunday is another day.

Sunday

Day 3 will separate the sheep from the goats, the climate change deniers from the realists. This is when serious patrons awake, stretch, inhale deeply and head for double shots of coffee before another full day, and night, of live music. Keep in mind that it’s the musicians who are doing the heavy lifting here.

If you’re extra keen be at Holy Trinity at 10am for Bridie King & Gospel Belles. Brass fans will be in WPAC Hall for the National Jazz Awards playoffs from 10.30am, picking their three finalists before the judges get a say.

There are seriously great musicians at work in Wangaratta on Sunday, many of them home-grown artists.

After ensuring my hair is suitably coiffed I’ll be in WPAC Theatre with bells on at 11am to hear the Phil Slater Quintet play new compositions (how could anyone pass up Simon Barker, Matt McMahon, Matt Keegan, Brett Hirst?) and in St Pat’s Hall at noon for the Angela Davis Quartet. The talent just keeps coming at 1pm in WPAC Theatre when bassist Jonathan Swartz is joined by Barney McAll piano, Hamish Stuart drums, Julien Wilson sax, Phil Slater trumpet, James Greening trombone, Fabian Hevia percussion and Steve Magnusson guitar. And at 1.30pm multi-instrumentalist Adrian Sheriff may be weaving his magic at Holy Trinity, but there are no details on the festival website.

At 2pm don’t miss a chance to look into the future in St Pat’s Hall when bassist Isaac Gunnoo, drummer Maddison Carter and siblings Flora (saxophone) and Theo Carbo (guitar) demonstrate the talent on the scene from younger jazz musicians. And for a hit of vocals — there are not so many singers this year — Matilda Abraham will bring vulnerability and warmth to WPAC Hall at 2.30pm.

It’s relentless — wall to wall music with overlaps. At 3pm composer and bassist extraordinaire Sam Anning brings a feast of musicians to the WPAC Theatre stage: Andrea Keller piano, Mat Jodrell trumpet, Carl Mackey sax, Julien Wilson sax and Danny Fischer drums. In Holy Trinity Cathedral from 3.30pm James Shipp on vibes and Nadje Noordhuis on trumpet will celebrate the release of their Indigo album with help from Theo Carbo, Chris Hale and Gian Slater. And at 4pm in St Pat’s Hall, Belinda Woods on flutes will present compositional elements ranging from free improvisation to highly intricate structural forms in a sextet.

Tension is mounting at this point as the NJA finalists prepare to do battle at 5pm in WPAC Theatre, but If you have not yet caught a glimpse of Adam Simmons as performer rather than program team member, here’s your chance. From 4.30pm in WPAC Hall, Origami will present “Wu-Xing – The Five Elements” a new work by Adam inspired by the Ancient Chinese elements Wood (木 mù), Fire (火 huǒ), Earth (土 tǔ), Metal (金 jīn), and Water (水 shuǐ). This will feature Simmons on alto sax and bass clarinet, Howard Cairns on bass, Hugh Harvey on drums and Wang Zheng-Ting on sheng (Chinese mouth organ). It is a great pity this overlaps with the the NJA finals. Let’s hope it is performed elsewhere soon.

Around about 6pm there will be a NJA winner, so it’s time for a shot or three of coffee before Virus begins in St Pat’s Hall, followed at 7pm in WPAC Hall by Philippe Guidat on guitar and Pascal Rollando on percussion, who will draw on flamenco, Andalusian and Arabic music, Indian music in an acoustic set.

Then, at 8pm in WPAC Theatre, prepare to be mesmerised as multilingual vocalist, composer, producer, multi-instrumentalist and dancer Jen Shyu (US) opens her performance of Jade Tongue with Mother Cow’s Companion, one of three traditional folk songs in this work. She will be accompanied by Simon Barker drums, James Shipp vibraphone and Veronique Serret six-string violin for this outing, which is certain to be arresting.

In St Pat’s Hall Zac Hurren will be firing on all keys in a trio format from 8.30pm if you need an energy boost. At 9pm in WPAC Hall Lucky Oceans will head a quintet with Paul Williamson sax, Nick Haywood bass, Claire Anne Taylor voice and Konrad Park drums.

The final WPAC Theatre gig at 10pm will be the Aron Ottingon Trio, but if you are still firing on all cylinders and brim full of the buzz, the annual jam session at the Pinsent Hotel will be the place to put this Wang festival to bed. You can relax and savour the memories — all that hard listening has paid off.

ROGER MITCHELL

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AWARD WINNERS CONFIRM THE JUDGES’ VERDICTS

REVIEW: STONNINGTON JAZZ 2012
Tim Firth Trio/James Muller Quartet, Chapel Off Chapel, May 22, 2012

Tim Firth Trio

Tim Firth Trio plays Chapel Off Chapel

This was a chance to catch two recent recipients of awards in two line-ups. Drummer Tim Firth won the 2012 National Jazz Awards competition in Wangaratta and Alex Boneham was recently chosen as Young Australian Jazz Artist of the Year in the Jazz Bell Awards. Firth — who not so long ago had two months away from his drum kit after breaking his arm — and Boneham — who is becoming as ubiquitous as fellow bassist Sam Anning before he left for New York — certainly justified the judges’ decisions at Chapel Off Chapel.

Of course guitarist James Muller has a swag of awards, having shared the 2000 National Jazz Awards and the following year won two Mo awards for best jazz instrumentalist and best jazz group. His albums have won an ARIA award and an ARIA nomination, and he won an APRA award for most performed jazz work 2003, and also won the 2004 Freedman Fellowship for jazz.

On the night, I found Firth’s trio delivered a stronger and more interesting set.

Tim Firth Trio

Tim Firth Trio

The trio played original material that was texturally and rhythmically strong and always interesting. These pieces were not marked by alternating solos, but evolved and changed seamlessly. Two of pianist Steve Barry‘s compositions, Changes and Ambulation, opened proceedings, followed by a Firth piece entitled Sparse. The audience was hooked.

Alex Boneham

Alex Boneham

The next piece, Descending, began with a solemn, chordal feel that was quite beautiful, with a long, compelling solo from Barry. As it developed, there were surges and retreats as intensity and momentum developed. The tension dropped away towards the end, leaving quieter piano with minimal contributions from drums and bass.

Tim Firth

Tim Firth

There was more intensity and focus, along with some tempo variations, in the trio’s rendition of Wayne Shorter’s Pinocchio. Barry’s piece BW closed this engrossing set, with Barry’s expansive piano reminding me of John McAll.

Steve Barry

Steve Barry

In the second set the James Muller Quartet opened with the guitarist’s Rubbish, though it clearly wasn’t, followed the Sean Wayland piece Honeycombs, by which time the band had warmed up a bit and Firth indulged in a little crash and bash.

Mike Rivett & James Muller

Mike Rivett and James Muller

The highlight of this set for me was Muller’s interpretation of Gershwin’s ballad Embraceable You, which showed the depth and finesse the guitarist has at his fingertips as well the subtle nuances he can bring to make a standard his own. Muller’s Chick Corea featured some great solos on guitar, sax and bass.

Alex Boneham and Mike Rivett

Alex Boneham and Mike Rivett

The next piece, JB, was dedicated to drummer Simon Barker’s dad John. This was followed by Mode 6 and Anthrochromatology.

James Muller and Tim Firth

James Muller and Tim Firth

I had to leave the set early, which possibly means I can’t do it justice. But my only reservation, apart from a desire to sometimes hear Muller really let rip with a blazing solo (an odd thing given that I am not a huge fan of crash and bash drumming), is that the quartet pretty much kept to that solo by solo approach that is fair enough as a way to display virtuosity but does not necessarily make for cohesion and development in compositions. That is a minor reservation that could be applied to many bands.

This was a great night of solid jazz that really delivered. As mentioned, I thought the Tim Firth Trio had the most interesting material on the night. I really want to hear more of Steve Barry on piano.

ROGER MITCHELL

 

Mike Rivett, Alex Boneham and James Muller

Mike Rivett, Alex Boneham and James Muller

SYDNEY’S MOTHERSHIP LANDS BRIEFLY IN MELBS

Jazzgroove Mothership Orchestra, Chapel Off Chapel, Monday, May 23 as part of Stonnington Jazz, 2011

Carl Morgan guitar; Hugh Barrett piano; Brendan Clarke contrabass; Jamie Cameron drums & cymbals; David Theak, Murray Jackson, Richard Maegraith, Mike Rivett, James Loughnan saxophones; Darryl Carthew, Angus Gomm, Simon Frenci, Ken Allars trumpets; Jeremy Borthwick, Lucian McGuiness, Danny Carmichael, Justin Kearin trombones; Kristin Berardi guest vocalist

Joseph O'Connor

Joseph O'Connor conducts the Mothership in "Rationalisations".

An earlier post recorded Joseph O’Connor’s win in the 2011 National Big Band Composition Competition, with his piece Rationalisations. Runners up were (in no particular order) Cameron Earle and Alice Humphries. There were 22 entries, so making the finals was a significant achievement and conducting the JMO must have been a thrill. I arrived late (not following festival artistic director Adrian Jackson‘s advice to “read your program”), so I heard only part of Earle’s piece, Run Run. What I heard was vigorous and pretty full-on.

Alice Humphries conducts JMO in "The Mending"

Alice Humphries conducts JMO in "The Mending"

For the record, if I’d had to judge I would have favoured Humphries’ composition The Mending, which had a strong feeling from the beginning that it was heading somewhere as well as the light and shade evident also in Rationalisations. I love that feeling of tension and sense of momentum, especially from a big band. The Mothership Orchestra really delivered in all three competition pieces.

Band leader David Theak kept us in suspense during Mike Nock‘s piece Hadrian’s Wall, arranged by Murray Jackson, which began the second set. Then he announced the competition winner before the orchestra played Florian Ross‘s Teen Adventure, with solid solos from Mike Rivett and James Loughnan, and the trumpeter buried up the back on the right.

Kristin Berardi aboard the Mothership

Kristin Berardi aboard the Mothership

Then Kristin Berardi joined the band for Moonbeams (Berardi, arr. Florian Ross), Mr Jackson (Berardi, arr. Ross Irwin), My One and Only Love (Guy Wood, arr. Steve Newcomb) and Ode to Oli (Berardi, arr. Ross).

For a vocals skeptic, which I usually am, this was a valuable part of my education. Berardi’s gestures are compelling and her voice equally so, with depth, dynamic variation and range. I can’t write technically about vocalists, or much in music for that matter, but I found myself making a comparison (actually a contrast) between Berardi and Sarah McKenzie. They are, obviously, very different kettles of fish (do fish come in kettles?).

Berardi’s voice has something very distinctive and I warmed to that. I especially loved her song Mr Jackson, about a man in New York who had a lot to say. I felt it succeeded in conveying the feel of this man and could almost picture him rabbiting on. This piece was really swinging and highlights from the band included contributions by Hugh Barrett and Brendan Clarke, Jamie Cameron and a trombonist (not sure of his name).

Jazzhead has released an album entitled, predictably, Kristin Berardi Meets the Jazzgroove Mothership Orchestra.

Exciting trumpet: Ken Allars with Jazzgroove Mothership Orchestra

Exciting trumpet: Ken Allars with Jazzgroove Mothership Orchestra

The JMO finished the set with a premiere of Jackson’s composition Who Do You Think Of Now — in which his solo included some fantastic gobbledegook, squeaky, all-over-the-place stuff that can give you goosebumps, and Lucian McGuiness and Hugh Barrett made strong contributions — and Mr Dodo (Bert Joris), which began with some exciting horn from Ken Allars and followed with a tenor solo from Richard Maegraith before a really tight interlude leading back to Allars’ trumpet.

Jazzgroove Mothership Orchestra

Murray Jackson on sax, Richard Maegraith on flute with the Mothership Orchestra

I thought the audience could have scored an encore, but it wasn’t to be. Pity. The whole gig seemed to pass very quickly, but, when you take into account the work involved in rehearsing the competition compositions, this was a busy night for a big band that always seems to shine.

I really enjoyed what the band and conductors did with the three pieces in the first set. Second set highlights were Berardi’s Mr Jackson and the playing of Allars on trumpet.

I should get out to hear more big bands, such as Bennetts Lane Big Band and ATM15, but the Jazzgroove Mothership Orchestra can land in Melbs any time.