Tag Archives: Simon Barker

MUSICIANS WHO MOVE

Gerald Clayton

Gerald Clayton                          Picture: Ben Wolf

Wangaratta Jazz and Blues Festival, November 1-4, 2013

This preview covers a lot of ground, with the aim of letting people know what is on offer. The joy of a festival such as Wangaratta is that patrons can take risks and dip into unfamiliar territory.

JAZZ PROGRAM PREVIEW

Music moves us, musicians move us and musicians move. So many times when we read the biographies of favourite musicians, we find they have made leaps to new places and new music communities — sometimes returning home eventually, sometimes not.

On a recent Sunday night at Melbourne’s Uptown Jazz Café, pianist Marc Hannaford played two sets at a farewell gig before leaving for at least five years in New York. He invited musician friends and colleagues to sit in. It was a great way to celebrate a big move in his life and career.

This year’s Wangaratta Festival of Jazz and Blues brings us many artists who have made significant moves to new places as their music developed.

As in previous years, many of the musicians are expatriate Australians. The line-up, carefully crafted by artistic director Adrian Jackson, raises the (admittedly immaterial) question of how long a local musician has to be living overseas before being classified as an international artist.

In a year when piano is the chosen instrument for the National Jazz Awards, it is fitting that the headline artist will be thrice Grammy-nominated young US pianist Gerald Clayton, who has attracted attention as a rising star in a trio with Joe Sanders on bass and Justin Brown on drums. On this visit Pete Van Nostrand  will be at the drum kit.

Clayton was born in Amsterdam, grew up in Los Angeles and now lives in New York. His trio’s third album, Life Forum, was due for release in Australia by Universal on September 2.

Clayton will spend some time working with Monash University music students before the festival, so a few students could well end up with the trio on stage for one concert. Here is a sample.

Chris McNulty

Chris McNulty      (Picture supplied)

Among the expatriate internationals making the trip to Wangaratta will be vocalist Chris McNulty, who has been based in New York since 1988, and this year won Best Australian Jazz Vocal Album for The Song That Sings You Here.

McNulty, who was in Melbourne for the Jazz Bell Awards, will perform with her partner, guitarist/composer Paul Bollenback, and bassist Ugonna Okegwo, both from New York, in The Magic Trio, a drumless collaboration they have shared since 2000. Bollenback will also lead a trio with Okegwo and Perth-based drummer Daniel Susnjar, who played with Paul when he was in the USA last year.

McNulty will also re-establish a link from her early days in a band with pianist/composer Paul Grabowsky, joined by Frank Di Sario on bass and Mike Jordan on drums.

Expatriate international Barney McAll is no stranger to Wangaratta. In 2011 he brought a choir and large ensemble to the festival stage for Graft, but this year he will appear solo and in a trio.

In what promises to be real treat, McAll will take to the Holy Trinity Cathedral stage to explore some of the gospel music he regularly performs on Sundays at a church in Brooklyn. Anyone who heard McAll’s three solo pieces during the Melbourne Jazz Co-operative 30th Anniversary Concert on January 27 this year at The Edge, Federation Square, will look forward to hearing more.

McAll, who described the Wangaratta festival as “the bohemian grove of Australian jazz”, told organisers he would be playing some spirituals and new solo pieces, including a preview “of my first solo piano recording, which will be called Every Piano Needs A House In It”.

Joining McAll in his Non-Compliance Trio will be friends Jonathan Zwartz on bass and Hamish Stuart on drums.

Another Australian export, guitarist/composer Peter O’Mara left Sydney for New York in 1981, moved to Munich the following year and has lived in Germany and, more recently, Austria for 30 years. Last at Wangaratta in 2002, O’Mara will lead his quartet from Vienna in what Jackson describes as music “on the jazz side of jazz-rock fusion, very electronic, funky and pretty exciting”. Expect a mix of what O’Mara describes as “modern jazz, odd-metre fusion and groove”, in which expat American Tim Collins on vibes shares melodies with the guitar. Here is a sample.

More of the European input so vital to any festival will come from Dutch trumpet player Eric Vloeimans, who uses an electronic attachment on his instrument and, with his quartet Gatecrash, will also bring a fusion and funk emphasis. Expect a range from jazz to world, electro-funk and “contemplative soundscapes that are punctuated by a touch of wackiness”.

Jef Neve

Jef Neve

Belgian pianist Jef Neve was most recently at Wangaratta in 2010 with his trio (see Ausjazz’s rave review), but this time will play solo piano as part of a world tour. Neve regards the piano as an orchestral instrument — “Everything is present: choir, strings, woodwinds, brass and, of course, percussion” — and says the “soul and sound of the instrument” is his main source of inspiration in his classically influenced playing.

Froy Aagre

Froy Aagre         (Picture supplied)

Norwegian saxophonist Froy Aagre performed at Wangaratta in 2009 with members of the Brisbane band Misinterprotato, now known as Trichotomy, who she met at Canada’s Banff Jazz Workshop in 2005. Sean Foran (electric piano) and John Parker (drums) from Trichotomy will join Aagre to present her new electric repertoire, which she says “fuses new electronic sounds into melodic, groove-based jazz” and is “a way to communicate joy to the audience”.

AUSTRALIAN ARTISTS

That pretty much covers the FIFO (fly in fly out) jazz and improvised music performers, but the line-up of Australians at Wangaratta this year is so extensive and exciting that it is arguable they could carry the festival.

Sydney pianist and composer Mike Nock will join reedsman Julien Wilson, whose playing recently has been outstanding, and guitarist Steve Magnusson will re-visit the trio that was so successful in May at Stonnington Jazz.

Barney McAll’s presence will enable two CD launches. Bassist Jonathan Zwartz will bring his nine-piece band together for the first time since the recording of The Remembering and Forgetting of the Air, which features McAll, Magnusson, Phil Slater on trumpet, Wilson on tenor, James Greening on trombone and sousaphone, Richard Maegraith on tenor and bass clarinet, Hamish Stuart on drums and Fabian Hevia on percussion. With this material and this line-up, no one should miss this.

McAll will also join Zwartz, Allan Browne on drums and Wilson — Julien recording for the first time in a classic tenor sax quartet — to launch their album of mostly standards, mostly ballads entitled This Is Always.

Julien Wilson, Sam Anning, Allan Browne

Julien Wilson, Sam Anning, Allan Browne

In another launch not to be missed (I know this because there was a recent preview at Bennetts Lane Jazz Club), expatriate bassist Sam Anning will join Wilson and Browne to celebrate Sweethearts, an absolutely entrancing album that serendipitously was recorded when Anning, over from New York, was delayed in Melbourne by a US visa problem, for which we all should be eternally grateful.

Expat drummer Raj Jayaweera, also be back from New York for the festival, will form the house band with Anning for the National Jazz Awards piano recitals.

The plethora of Australian jazz musicians in New York will be further depleted by the departure to Wangaratta of trombonist Shannon Barnett, who will reconvene her quartet — Nash Lee guitar, Chris Hale bass guitar and Hugh Harvey drums — and also launch a new band, U.nlock, with vocalist Gian Slater, Sam Anning and Raj Jayaweera with material the four worked on in New York recently. A key feature of U.nlock will be “voice and trombone sharing both the lead and accompanying roles”, Slater says.

Barnett will also perform as part of clarinettist and vocalist Barry Wratten’s New Orleans Pelicans with Michael McQuaid on trumpet and reeds, Steve Grant on piano, John Scurry on guitar and banjo, Howard Cairns or Leigh Barker (Saturday morning) on bass and Lynn Wallis on drums.

The much-missed trombonist will also assemble Dixie Jack, a local version of Ragstretch, a band with whom she has played in Denmark consisting of Copenhagen-based expat clarinet player and vocalist Chris Tanner, known for his classic jazz work with Julien Wilson in the band Virus, and guitarist Craig Fermanis, Sam Anning and Raj Jayaweera. Dixie Jack, consisting of Barnett, Wilson, Anning and Jayaweera, will play traditional jazz.

Classic jazz is well represented this year. Melbourne band the Sugarfoot Ramblers is led by Travis Woods on trumpet, with Jason Downes on reeds and graduates or current students of the jazz course at Monash University who share a fondness for New Orleans Jazz. Others in the line-up are James Macaulay trombone, Brett Thompson banjo and guitar, Marty Holoubek bass and Daniel Berry drums. From Sydney, The Cope Street Parade and The Finer Cuts, who have recorded with experienced trumpeter Geoff Bull, will also add their traditional jazz sounds. Allan Browne will join the Finer Cuts, who usually don’t perform with a drummer, for one session.

The Wangaratta festival always draws musicians from across the country, providing a relatively rare opportunity for them to share the stage. The exciting sextet led by Melbourne’s Paul Grabowsky will feature Jamie Oehlers from Perth on tenor and Sydney musicians James Greening on trombone, Andrew Robson on alto, Cameron Undy on bass and Simon Barker on drums. This band has recorded an album it hopes to release at the festival.

Satsuki Odamara

Satsuki Odamura, Paul Williamson and Peter Knight.

Another certain hit, Peter Knight’s band Way Out West, now features Sydney-based koto player, Satsuki Odamura, along with Melburnians Lucas Michailidis on guitar and Hugh Harvey on drums as well as founding members, Peter Knight on trumpet, flugelhorn, Paul Williamson on saxophones, Howard Cairns on bass and Ray Pereira on percussion.

And Melbourne vocalist Gian Slater will team with Perth saxophonist Jamie Oehlers and Melburnians Paul Grabowsky on piano, Ben Robertson on bass and Dave Beck on drums in The Differences to play material from the album of that name.

Two concerts enjoyed by patrons of Stonnington Jazz in May will also be on the Wangaratta program. Red Fish Blue is an alliance of two musicians from Melbourne, pianist Sam Keevers and percussionist Javier Fredes, with two from Sydney, bassist Brett Hirst and drummer Simon Barker. And vocalist Josh Kyle and Keevers will perform Songs of Friends, which are their interpretations of songs by Australian singers/composers.

The Cup Eve Concert will feature Joe Chindamo with his trio and Monique Di Mattina performing music from her recent album Nola’s Ark, which is a jazz blues hybrid.

AUSJAZZ RECOMMENDATIONS

This preview covers a lot of ground, with the aim of letting people know what is on offer. The joy of a festival such as Wangaratta is that patrons can take risks and dip into unfamiliar territory.

In case it helps, the following are the concerts that I’d be keen not to miss:

  • Barney McAll’s solo piano in Holy Trinity on Sunday, November 3 at 3pm
  • Jef Neve solo piano, WPAC Theatre, Sunday, Nov 3 at 1pm
  • Launch of Jonathan Zwartz album The Remembering and Forgetting of the Air, Friday, Nov 1, WPAC Theatre
  • Launch of McAll/Wilson/Zwartz/Browne album This Is Always, WPAC Memorial Hall, Saturday, Nov 2 at 2.30pm
  • Launch of Wilson/Anning/Browne album Sweethearts, WPAC Memorial Hall, Saturday, November 2 at 4.30pm
  • Barnett and Slater’s U.nlock, WPAC Memorial Hall, Sunday, Nov 3 at 2.30pm
  • Paul Grabowsky Sextet, WPAC Theatre, Sunday, Nov 3 at 10.30pm
  • Way Out West, WPAC Theatre, Saturday, Nov 2, 11am

ROGER MITCHELL

Wangaratta Festival of Jazz and Blues

 

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FACELESS DULLARD — HANNAFORD, TINKLER, BARKER

Faceless Dullard

CD REVIEW

Marc Hannaford piano, Scott Tinkler trumpet, Simon Barker drums

4 stars

Jason Moran said of Marc Hannaford‘s album Sarcophile that, “It’s rewarding music that deserves all of the attention the music demands.” The key word in that sentence, for me, is “demands”. It could mean that the music grabs hold of our attention and insists on being heard or that the music must be listened to with attention (and that may require some effort) if it is to be fully appreciated. Moran may have had both meanings in mind.

Faceless Dullard is roughly 48 minutes of unscripted improvisation by three of Australia’s most exciting and inventive musicians. It ranks with Lost and Found (an eponymous album of extended improvisation by Paul Grabowsky, Jamie Oehlers and Dave Beck) as an example of music filled with the vitality of creation on the run. In two hour-long performances at Wangaratta, Lost and Found (the trio) grabbed the attention of the audience and held it effortlessly. Faceless Dullard, I think, requires more effort from the listener, yet is equally rewarding.

There are many elements that emerge as significant in making this long improvisation compelling. As the piece evolves, the players’ contributions vary and the nature of their interactions changes. Tension ebbs and flows.

Hannaford’s opening notes are brief, spare and well spaced. Scott Tinkler‘s horn encapsulates purity, his soaring notes giving continuity in contrast to the fragmentation and restless exchanges provided by Hannaford and Simon Barker. Tinkler climbs to higher registers, then delves deep. Hannaford offers single notes and chords, creating expectation in the spaces. Fiery statements from Tinkler are answered by piano and drums.

Contrast is often a key element. Tinkler’s notes hang in the air; Hannaford adds occasional, quiet notes. Evolution is another feature. The piece grows busier, Barker and Hannaford building the activity and energy levels behind the stillness and purity in horn notes. Tinkler is the thread to follow, the fluidity and continuity amid the others’ energetic bustle. When the horn stops momentarily, the level of tension and activity is suddenly evident.

Hannaford and Barker build a sustained, bristling environment that is full of energy. Not to be outdone, Tinkler indulges in the fast arpeggio chatter for which he is well known, echoing the piano’s dance with the drums. Then Hannaford is suddenly dancing alone, stepping in many directions with discrete notes and short runs. It’s intricate, unpredictable and exciting.

Another key element is the quality and variability of Tinkler’s horn notes, from complex and tortuous, rapid-fire delivery to incandescent purity or slow declarations, from high wheezing to guttural and gravelly celebrations of timbre. There are also patterns that act like melodies, becoming familiar as they are revisited.

About 27 minutes in a long, rasping note from Tinkler fades slowly before a significant change. This would be an ideal point at which anyone challenged by this album could begin acclimatisation. It is also evidence of the freedom Hannaford is given by the other members of this trio, who feel no need to intrude on this brief solo piano interlude of spare, spacious beauty. So much is conveyed here with so few notes.

Soon Tinkler does intervene with superb high-register notes that are long, restrained and exquisite. Intervals are crucial as Hannaford plays with how individual notes relate, some knocking into each other as if to highlight their fragility. Tinkler takes his horn even higher, with a hint of vibrato and heaps of air. For roughly six minutes, before the piece evolves into a more robust celebration of timbres, the horn and piano duo is entrancing.

Barker re-enters the fray with subtlety. Before long the familiar arpeggio chatter is back, with Tinkler then delivering a sprinkling of light, upper-register notes, then sharp attacks like flares or sparks and more graph-like variations. Trumpet and piano engage in statements and responses — first a conversation, then a debate. Hannaford speaks with emphasis, clarity; Tinkler answers with magnificently voluble “chewing”.

Before the improvisation ends, Barker sprinkles his sounds across the landscape with rapid, gentle and sustained strokes. Tinkler responds by darting, ducking and weaving, firing salvos that are fast and fluid, digging deep then riding the air current, surfing the turbulence with his trumpet. Seconds before the abrupt end, Hannaford contributes an occasional note or two. It seems too sudden as a way to finish, as if the tape ran out.

This review has evolved into a kind of description of the album when it was meant to be an attempt to extract the key elements that make it work. Marc Hannaford says the album “marks a new development in our work as improvisers that sets this album apart from anything we’ve done before”. I think the success of Faceless Dullard lies in its lack of dullness and the fact that the faces of its players are utterly familiar to each other.

It is a celebration of space and inventiveness in music and of the excitement that can come from creating on the run.

ROGER MITCHELL

Faceless Dullard will be launched at 9pm on Sunday 31 March 2013 at a Melbourne Jazz Co-operative gig at Bennetts Lane Jazz Club.

Faceless Dullard will be available electronically from:
Marc Hannaford’s website
iTunes
Amazon
CdBaby
Bandcamp

John Clare has reviewed the album for Miriam Zolin’s Australian Jazz.net

NOT TO MENTION …

Reason 12

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12. MANY OTHER FANTASTIC PERFORMERS

Ausjazz blog has not exhausted the myriad reasons why you should not miss the opportunity to be at all or part of Wangaratta Jazz and Blues Festival this year, but a dozen is clearly not enough, so I’ve grouped a few who absolutely deserve a mention.

Friday, November 2 at 10pm, WPAC Theatre: Paul Grabowsky and Bernie McGann will perform jazz standards and original compositions in a quartet with bassist Jonathan Zwartz and on drums 2011 National Jazz Awards winner Tim Firth.

Friday, November 2 at 9:45pm, WPAC Memorial Hall: Marc Hannaford with his trio with talented young bassist Sam Pankhust and drummer James McLean, as heard on Marc’s CD Sarcophile.

Saturday, November 3 at 4:30pm, WPAC Memorial Hall: Scott Tinkler Quartet with Marc Hannaford (piano), Sam Pankhurst (bass) and Simon Barker (drums)

Saturday. November 3 at 4pm, Holy Trinity Cathedral: Tim Stevens will perform solo on piano.

Saturday, November 3 at noon Holy Trinity Cathedral: Doug De Vries with bassist Frank Di Sario and drummer/percussionist Alastair Kerr will be playing Brazilian music.

Sunday, November 4 at 12:30pm WPAC Memorial Hall: Tim Stevens will also play in his trio with Ben Robertson on bass and Dave Beck on drums.

Saturday, November 3 at 2:30pm WPAC Memorial Hall: Allan Browne will lead his trio with Marc Hannaford and Sam Anning.

Sunday, November 4 at 6pm, St Patrick’s Hall
: Bob Barnard and Warwick Alder on trumpets.

Saturday, November 3 at 8pm, St Patrick’s Hall
: Hobart pianist Tom Vincent playing Wangaratta for the first time, joined by Sam Anning (bass) and Danny Fischer (drums).

Sunday, November 4 at 8pm, St Patrick’s Hall: Eminent pianist Tony Gould will feature in a quartet with Rob Burke on saxophone, Nick Haywood on bass and Tony Floyd on drums, as well as in the trio (Sunday, November 4 at 2pm, Holy Trinity Cathedral) he co-leads with Imogen Manins on cello and Gianni Marinucci on flugelhorn and trumpet.

Saturday, November 3 at 12:30pm, WPAC Memorial Hall: Sydney bassist/composer Hannah James, a graduate from the ANU School of Music in Canberra, will play in a trio with two members of her quintet, Casey Golden on piano and Ed Rodrigues on drums. Phil Slater on trumpet will be a guest soloist.

Monday, November 5, 1pm, WPAC: Youth jazz showcase concert added to the program on Monday afternoon. It’s separately ticketed, but covered by a festival pass. Generations in Jazz Academy Big Band from Mt Gambier directed by Graeme Lyall; the Monash University Big Band directed by Jordan Murray; and the National Youth Jazz Academy band, with young students aged 18 to 19, based in Wangaratta. This includes a trumpet player aged 13 who is precociously talented.

Hope to see some blog readers at Wangaratta.

ROGER MITCHELL