Tag Archives: Nick Abbey

WANGARATTA JAZZ 2010 — JOHANNES LUEBBERS DECTET

Luebbers Dectet

Finesse: Johannes Luebbers urges restraint during a Callum G'Froerer solo.

GIG: St Patrick’s Hall, Friday, October 29, 9:30pm

Emily Thomas flute, Steph Nicholls oboe, Ben Collins clarinet and alto sax, Sean Little tenor sax, Callum G’Froerer trumpet, Wendy Tait french horn, Tillman Robinson trombone and bass trombone, Chris Foster piano, Nick Abbey bass, Ben Falle drums, Johannes Luebbers conductor

WILD the west may be, but this dectet, under the “baton” of Johannes Luebbers, was all about restraint and finesse. I was reminded of Maria Schneider Orchestra albums, which I love, and Luebbers studied with her and admits she has been an influence. But we were treated to exquisite original compositions — The Exquisite Corpse of Beethoven, Til Death Does Me Part, Eternity, Everything for Brod, Just Ripe and Rumour Has It — from Luebbers’ two albums Make Some Noise and The Exquisite Corpse of Beethoven.

This was a highlight of the festival and it had only just begun. We heard intricately crafted layers of exquisite timbres, with the varied instruments never seeming to be overwhelmed and each having a chance to feature. Luebbers was attentive to his dectet, at times indicating restraint was in order from the richly expressive trumpet of G’Froerer. Steph Nicholls was another standout on oboe, but this was not about individual virtuosity. There was delicate interplay as the dectet explored varied, detailed landscapes.

Some passages were sombre, others showed energy and fun. Highlights included a horn solo in Til Death Does Me Part, with flute floating at the edges, and the soulful oboe in Eternity. In Everything for Brod the piano chords were appropriately muted and flattened, which seemed to ground the rich harmonies in the piece. G’Froerer’s horn solo in Just Ripe was capable of melting the hardest of hearts. Rumbling and rasping from piano, horns and drums in Rumour Has It preceded a soaring oboe before a slow, stately interlude that evolved into cinematic drama. In all, there was a sense of development.

PRESENCE — _MOTION

CD REVIEW

Presence

3.5 stars

THE predominant feature of _motion‘s debut album is beauty, whether in the poetry of Andrew Brooks‘s saxophones, bell-like peals from Berish Bilander‘s piano, the delicacy of Hugh Harvey‘s cymbals or luminosity of guest Gian Slater‘s wordless vocals.

Lyrical reedman Graeme Lyall was teaching in WA when Brooks, Bilander and bassist Nick Abbey were students there and it’s easy to imagine his presence on this outing.

But on eight originals by Brooks and Bilander, expressive ballads such as Here, Now and Missing are augmented by passages of quiet strength and slow-built tension (Circle), unexpected turns (Pendulum) and robust, piano-driven rhythm (Presence).

_motion delivers emotion, subtlety and strength.

File between: The Necks, Graeme Lyall
Download: Missing, Circle

ROGER MITCHELL

Review published in Sunday Herald Sun liftout Play on August 8, 2010.

SAM ANNING QUARTET at Bennetts Lane

GIG REVIEW: Sam Anning’s penultimate farewell gig before going to New York, NY.

Sam Anning

Sam Anning, bass
Eugene Ball, trumpet
Andrea Keller, piano
Rajiv Jayaweera, drums

SAM Anning is now in New York, studying for a Master’s at the Manhattan School of Music. Now that he’s gone, we can talk about him. Not that there’s much to say that’s negative about the lad, except that he was perhaps a spruiking a little loudly on behalf of _motion when he filled in for Nick Abbey at Bennetts Lane in July. Sam will be missed, not only because he was playing with some 50 bands (I heard that from reviewer and radio personality Jessica Nicholas), but also because he’s a top bloke. We wish him well and hope he does return, even when he is famous.

Sam Anning
Sam Anning

It was a lovely way for Anning to leave Bennetts. The previous night he had had another farewell of sorts — lots of fun I’m told — with Allan Browne‘s Monday nights mob. This time we heard Anning’s music and some of his favourites by others, beginning with the thoughtful Little Bay (Sean Wayland) and then a moving, slow ballad From The Cloud, written by Anning in response to Iceland’s volcanic eruption and the Gulf of Mexico oil spill — a darker cloud. Eugene Ball was in fine form in this piece and all night.

Next came Coltrane’s Countdown — energetic, bustling and bristling — and Neil Young’s Tell Me Why, which Anning first heard on the Live at Massey Hall album. The first set closed with Swinging From A Hills Hoist, which Anning wrote when he could not sleep on a flight back from New York. I loved Ball’s twisting and bending horn and his shimmering vibrato on the last note.

Keller and Ball
Keller and Ball

Set two began with Abba, the “second debut” of a tune Anning confessed to have pinched or borrowed from a couple of sources — one may have been Aaron Choulai’s Silverland. Keller opened this piece with a jaunty little melody. It was great to hear her at the piano. The standard You Go To My Head was next, with what Ball described as “the silly changes”. Fantastic horn and bass in this.

Eugene Ball
Eugene Ball

Raj Jayaweeera
Raj Jayaweeera

Then Anning expressed the bassist’s lament of “never doing your own gig” with his composition I Am the Madam and the Whore, loosely based on the style of Ornette Coleman, with melody dictating harmony. (I think that’s what Sam said.) Ball played some whip-cracking notes which kicked up sharply, and worked the valves beautifully for some irridescent shimmer. Jayaweera displayed the talent and subtlety that is sometimes overshadowed when he’s hidden in larger ensembles. I don’t know whether the madam or the whore won, but this piece ended in a reflective, ruminative passage.

Keller and Ball
Keller and Ball

Anning’s tribute to the cloudy skies of Melbourne came in Overcastaway, which he kicked off robustly. Keller and Anning were great together in this piece, which was followed by the closing Or Not, which was inspired by Ornette Coleman. Ball began with some rasping pedal notes — lovely — and produced some wild squeals from the horn as Keller proceeded to fragment the universe with the keyboard.

Sam Anning had another gig on the Friday at Uptown Jazz Cafe — that was the final one. Hope it went well.