Tag Archives: Tamara Murphy

SOLACE IN AN EMPTY GARDEN

Andrea Keller at the launch of Travellers.

Andrea Keller at the launch of Travellers.

REVIEW:

CD launch of Travellers by Keller/Murphy/Browne as part of the Melbourne Women’s International Jazz festival, Monday 7 December, 8.30pm at Bennetts Lane.

Monday at Bennetts Lane was always Allan Browne‘s night — a chance to muse on life and enjoy the gentle humour and poetic insights of this inspiring occupant of the drum kit.

Pianist Andrea Keller and bassist Tamara Murphy began playing in a trio with Allan on Monday nights in 2003, so it was entirely apposite for their last album together to be set afloat on this night of the week and in this festival that they shared so often.

But that did not help ease a lingering sense of sadness at Allan’s absence as Keller and Murphy, with resplendent help from Eugene Ball on trumpet, opened with Days of Wine and Roses (a track from the trio’s 2006 Carried by the Sun album) and via Keller’s distinctive Queen For Tea into Browne’s Broncoscopy.

The latter was tightly delivered and lots of fun, with shimmering horn, heaps of energy and a robust bass solo, yet I could not shrug off the feeling that the humour and philosophy was missing, the poetry silenced.

Yet Allan was always in the minds of these three close friends and colleagues, Keller recalling that the ballad of great beauty she wrote from a fragment of melody by Czech guitarist / composer David Doruzka — eventually named A Glimpse of the Past — was most likely to have been played in the trio’s first gig with the drummer.

My first highlight of the night came next in Murphy’s ballad A Call, A Whisper, which was entrancing. Not for the first time, after that, I wondered how musicians can switch mood, or change track, so suddenly when they closed the set only moments later with Monk’s Hackensack. I was still deeply immersed in the whisper.

Poetry did return in the second set, but before that came my second highlight with Keller’s All the Colours Grey, which was sublime and gripping, and close behind it the new album’s title track — Murphy’s Travellers.

Then Miriam Zolin, close to Browne and to improvised music, who penned some wondrous words to accompany the album, stood in for the absent Al in reading a Beverley George poem, Empty Garden, while the trio played. It was moving and effective, helping to ease the loss and fill the gap. For a few moments it was as if Al Browne was there again.

Browne’s Cyclosporin followed, before Keller spoke of celebrating “what Al gave us and what he shared with us”. The set closed with a composition of Murphy’s that was played at every one of the trio’s gigs. Announcing Lullaby, Keller said simply, “This is for Allan.”

Vale Allan Browne.

ROGER MITCHELL

 

 

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IN SPACE, EVERYONE MAY HEAR YOU DREAM

Joseph O'Connor

Joseph O’Connor

REVIEW: Joseph O’Connor Trio / McDougall-Noy-Murphy, Chapel Off Chapel, Thursday 22 May, 8pm for Stonnington Jazz

As Sun Ra may have put it, space is the place, and both sets at the Chapel had plenty of that highly prized attribute in improvised music — space. OK, so in space no one can hear you scream, but when you listen to music that is open and airy, there may be room to dream.

James Macauley

James McLean

It was evident throughout the Joseph O’Connor trio’s set. There was an acceptance of space in Sotto Vocce in the way the three instruments — O’Connor on piano, Marty Holoubek on bass and James McLean on drums — acted cooperatively yet independently, intervening and then withdrawing as the piece developed. McLean’s sparse work on the drum kit had plenty of it.

Marty Holoubek

Marty Holoubek

In the standard Solitude, Holoubek’s bass was open, airy, relaxed and unhurried, with room to move. And the ballad Fractured Symmetry had notes splaying and spilling everywhere, with fragments, short runs and again that welcome space.

Originally from Brisbane, pianist Joseph O’Connor is completing a PhD course at Monash University. He won first prize in the National Jazz Awards at Wangaratta Jazz last year.

This outing demonstrated his delicacy of touch, expression (in Paul Bley’s Carla), his ability to enter a piece so lightly and convey just the right feel (in Ellington’s Solitude) and his gentle swing (in Noy’s Lady Lachs Schinken). Possibly it may have been good for O’Connor also to play some pieces allowing stronger, more emphatic work at the keys, with greater drive and dynamic variation. In other words, a taste of O’Connor let off the leash and a little more out there would have been nice. I’m sure we’ll see plenty of that in concerts to come.

That said, this was definitely a set of therapeutic or healing music that was good for the soul. It confirmed that the judges at Wangaratta chose well from a highly talented group of finalists in the National Jazz Awards.

And speaking of therapeutic music with plenty of space, the second set delivered more of both.

One of the greats (and great guys) of Australian jazz, Stonnington Jazz patron and drummer-bandleader Allan Browne, was unable to make this gig for health reasons. We wish him a quick return to the stage. Rory McDougall, who plays with Aaron Choulai, Sam Zerna and The Putbacks, stepped in.

According to bassist Tamara Murphy, pianist Andrea Keller had been in the line-up, but was away touring, so saxophonist Phil Noy stepped in. This trio began and ended the set with Bernie McGann — the recently departed saxophonist’s Brownsville to start and Murphy’s moving tribute Bernie to close. McDougall’s solo in this was assured and he engaged in some nice exchanges with Noy, who opened with a solo full of subtleties. Murphy’s playing is always interesting in the best sense — imaginative and never predictable.

Phil Noy

Phil Noy

In a beautifully controlled solo in The Opposite of Afar, Noy reached some distinctive high notes that I find it hard to describe, but they a had a special quality, being penetrating yet not at all forced.

Tamara Murphy

Tamara Murphy

Murphy’s solo in this seemed considered, deliberate and crafted with a lot of care — I’m not sure whether that will mean anything because I appreciate that much of what musicians perform ought to fit that description. But in this case that aspect seemed particularly evident.

During The Two Bears (Noy) I reflected that Noy was delivering a soft, yet full sound on reeds that was often floating as if on a cushion of air. There were no squawks and no sharp edges. His solo in Stablemates (Benny Golson) had just the right amount of swing. Great piece. Hoo Hoo, a ballad Noy wrote in Tasmania, had some more of those intriguing  higher notes plus a tiny vibrato, and Murphy produced a slow solo with enough space to let the light of Leonard Cohen’s Anthem lyric get in.

Rory McDougall

Rory McDougall

Maybe the Allan Browne vibe hung around for this concert despite his absence because this trio worked really well. McDougall’s brief solo in Staples (Noy) was great, and during the closing Bernie I was musing on the way in which the timbres of all three instruments were on out there to be enjoyed.

Space is indeed the place and there was plenty in the Chapel on this occasion.

ROGER MITCHELL

THE AGE OF ENTITLEMENT IS BACK

Mingus Amongst Us

Mingus Amongst Us at Bennetts Lane Jazz Club in July 2013

PREVIEW: Stonnington Jazz, 15-25 May 2014

Joe Hockey says the age of entitlement is over, but he is wrong. Over the next few weeks there will be no deficit of live improvised music in Melbourne and that is only fitting. As promises are broken and voters wake up to exactly what terrible things they initiated by voting to stop the boats, we are entitled to seek comfort in music.

The winter season of jazz festivals is almost upon us and, in the absence of a jazz fringe festival this year, Stonnington Jazz — which last year was judged Best Cultural, Arts or Music Event in Victoria at the Australian Event Awards — is first up.

If you’ve never been before, this showcase of 100 per cent Australian jazz (often including expat artists now living abroad) has two main venues, Malvern Town Hall and Chapel Off Chapel, plus a bunch of other bars and restaurants in the city. At the opening night, the town hall is tastefully decked out and guests can watch it all unfold while seated at tables and enjoying drinks and snacks from the bar at the rear.

This year opening night on Thursday, May 15 will feature New York-based expatriate vocalist Chris McNulty — winner of the Bell Award for Best Jazz Vocal Album of 2013 — and singer, songwriter and pianist Sarah McKenzie, also now living in New York, who won the 2012 ARIA Award for her album Close Your Eyes.

Stonnington Jazz this year will feature two concerts celebrating family connections in music. Popular multi-instrumentalist James Morrison will perform with his sons William and Harry in the James Morrison Inheritance on May 22 at Malvern Town Hall. And clarinet player Denis Ball will perform with his son, trumpeter Eugene, in a sextet at Chapel off Chapel at 2pm on May 18.

Other drawcards will be much-loved vocalist Vince Jones performing with Monash University Jazz, an ensemble comprising students that features Rob Burke on sax and Paul Grabowsky on piano.

Dance lovers will be energised by The Melbourne Rhythm Project, which brings together The New Sheiks and dancers led by Ramona Staffield.

And for something completely different, pianist-singer-composer Martin Martini will presents his suite ‘Vienna 1913’ which draws inspiration from the art and lives of the major modernists of the time, such as Schiele, Klimpt, Koskoschka and Hoffmann.

Lovers of traditional jazz will be given an opportunity to celebrate the 30th anniversary of The Syncopators in a special concert at Malvern Town Hall.

That’s pretty much where the press release information finishes, although it does also mention that festival patron Allan Browne will be plying his drums with Sydney saxophonist Phil Noy and bassist Tamara Murphy at COC on May 22. It’s one of my predicted highlights, which this year are almost entirely chosen from the line-ups at Chapel Off Chapel — a real favourite place of mine to hear live music because it’s possible to get up close and personal with the music.

So here are my recommendations, for what they’re worth:

Saturday 17 May, COC, 8pm, Sexteto Zona Sul/Panorama Do Brazil
Doug de Vries, on guitar, will feature in both sets of this night of Brazilian-influenced jazz.

Sunday 18 May, COC, 2pm Sugarfoot Ramblers/Denis Ball & Eugene Ball
Tap your foot to 20 musicians in the first set, then enjoy the chance to hear father and son in a superb sextet.

Monday 19 May, COC, 8pm Mingus Amongst Us
This celebration of the blues and gospel-influenced compositions of Charles Mingus will enthral and excite. Don’t miss it.

David Rex

David Rex

Tuesday 20 May, COC, 8pm David Rex Quartet/Cannonball
Check out the power of the Rex brothers then enjoy a sack o’ woe from Cannonball Adderley, as interpreted by Tim Wilson and friends.

Joe O'Connor

Joe O’Connor at the National Jazz Awards, Wangaratta

Thursday 22 May, COC, 8pm Joseph O’Connor Trio/Browne Noy Murphy
Check out the compositions of young National Jazz Awards winner O’Connor on piano, then be prepared for whimsical humour and great expression from Al Browne, Phil Noy on reeds and Tamara Murphy on double bass.

Mirko Guerrini

Mirko Guerrini performs in Acquacheta at Wangaratta Jazz Festival

Friday 23 May, COC, 8pm Acquacheta/Grabowsky Sanzone: The Italian Project
Saxophonist Mirko Guerrini’s project with guitarist Stephen Magnusson was a hit at Wangaratta last year, and whatever Grabowsky and Sydney vocalist Virna Sanzone create will be worth hearing.

Saturday 24 May, COC, 8pm Chantal Mitvalsky/Paul Williamson Hammond Jazz Party
Always a hoot to enjoy the warm, wonderful vibe of this party sporting a Hammond B3.

Saturday 24 May, MTH, 8pm The Syncopators 30th Anniversary
Expect this to be packed.

Sunday 25 May, COC, 8pm Marinucci Grant Quintet/Alan Lee Quartet Reunion
Great line-up for the first set with Gianni Marinucci (trumpet, flugelhorn) and Steve Grant (cornet), Tony Gould (piano), Frank Di Sario (bass) and Danny Farrugia (drums). And then Alan Lee will reunite with old friends Gould, Derek Capewell (bass) and Ted Vining (drums).

There are many more concerts to enjoy, including Bob Sedergreen and friends in a set after the Stonnington Youth Jazz Initiative on May 21.

Think about it. Promises are being broken. Taxes are being raised. Retirements are being delayed. Renewable energy is being wound down. Global warming is being ignored. The ABC is being cut. The workforce is being casualised.

My suggestion is to get out now and enjoy live music before the end of the world as we know it eventuates.

ROGER MITCHELL

TO BOOK TICKETS: Phone 82907000 or go to www.chapeloffchapel.com.au

For full program information go to: www.stonningtonjazz.com.au