Posts Tagged ‘B.W.’

One of the true delights of any music festival is that, for a few days – or even just a few precious hours – you are in a strange and beautiful new world, away from the tangle and hum of city life. The 4th Jazzgroove  Summer Festival reigned over Sydney’s Redfern-Surry Hills Delta for four days in January, staking out the territory in the name of modern composition, improvised music and the jazz life.

And what a strange and beautiful world they conjured for us among the bricks and grime, the litter and the 7-11 Stores.

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I was fortunate to start at the very beginning, with Tom O’Halloran’s solo piano opener on Thursday at Surry Hills’ Tom Mann Theatre. A smart choice to open the Festival, O’Halloran’s sure touch made the piano sigh and glitter. His closer, a sparkling ‘No More Blues’ served as a teasing appetiser for a weekend of stellar music.

jazzgroove mothership orc

And stellar was the word (a TV sports cliché yes, but too apt to not use here) for Jonathan Zwartz’s band, up next. A Dream Team of players – Slater, Maegraith, Greening, Julien Wilson blowing (his and) our minds, Dewhurst, Matt McMahon, Hamish Stuart and percussionista Fabian Hevia holding it down with the calm river that is Zwartz himself. And from that calm river flowed strong and sure compositions, with melodic lines that were often country-simple but Gospel-true. From the opener ‘Shimmer’ through to ‘Henry’s High Life’, it was transfixing soul-blues that had the soloists reaching within – Phil Slater and Richard Maegraith especially going deep on the latter tune – leaving the audience at Tom Mann visibly affected. Like all true wisdom there was very little flash, but a universe of quiet fire.

The opening night was climaxed by the mighty Jazzgroove Mothership Orchestra, paying tribute to genius jazz composer Bob Brookmeyer (who sadly passed from this earthly plane last year). Even though the Orchestra bristles with astounding soloists, it was the Festival’s International Guest Artist (I suppose Aotearoa counts as international) tenor magus Roger Manins that was featured on all charts. The Orchestra is truly a national treasure and for this, their 10th anniversary gig, they played better than I have ever heard them – snapping and roiling on the fiery pieces and painting colour washed mists on the quieter pieces such as the lovely ‘Fireflies’. Manins stood toe-to-toe with the band on the blasting finale, ‘See Saw’, his tenor sassing back and cajoling the Mothership. Big kudos to drummer Jamie Cameron who rode the roaring beast on all pieces with great style and verve.

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Friday was Fusion Day for me as I took in the electro-jazz of the Alcohotlicks at 505 and later, the flamenco-jazz of Steve Hunter’s Translators down the road at the Gaelic. It had been Sydney’s hottest day ever (!) on record and the evening was still dripping from the day.alcohotlicks

At 505, The Alcohotlicks’ Evan Mannell admitted to ‘shitting himself’ at the prospect of working without a drum kit. He then won us all over with a beautiful funky groove, cut-up on his sample box from Jimi Hendrix’s throaty ‘Who Knows’ riff. Joined by Ben Hauptmann on MIDI guitar and laptop, and Aaron Flower (the hoary traditionalist of the group who merely plays a guitar through an amp) the trio – winners of the inaugural Jazzgroove Association Recording Artist Award  – astounded with tracks from their album Danaïdes. ‘Neon’ was neo-NEU! motorik funk; ‘Baader’ was Goldfrapp/Moroder replicant-porn boogie. Did I sense a few members of the 505 audience shifting in their seats during the Alcohotlicks set? Artists such as these are the ones who move any music forward and all kudos to them for working at the edge of the Jazz comfort zone. A little seat shifting is always a good sign.

steve hunter, the translatorsDown the steaming street to the Gaelic. By now slightly drunk on the merlot and the humidity, I was taken away completely by The Translators. Too loud for the room – not a bad thing at all – electric bass toreador Steve Hunter and the quartet blazed through a set of flamenco-flecked originals that had Míro dancing with Manitas de Plata, Chick Corea dancing with de Falla in my swirling head. At times Ben Hauptmann’s electric mandolin solos sounded like a 70’s micro-Moog, the otherworldly tone beautifully offset by Damien Wright’s flamenco gut-string. ‘Turquoise’ was blue in green in orange. ‘The Last Trannie’ was Madrid via Soweto. Always a fiery and sparkling group, tonight – after not playing together for two years – The Translators shone like a Catalonian sun and lit all our faces with broad smiles. Not so long between sangrias next time, please amigos!

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the fantastic terrific munkle

Saturday my hangover needed the peace of Prince Alfred Park and the gentle afternoon humour of The Fantastic Terrific Munkle. Cool breezes blew, people picnicked on the grass, and from between two huge trees, The Munkle – powered by Sam Golding’s tuba and the (snake-)charming clarinet of Jeremy Rose – wove their musical tales of whimsy, recalling ragtime, Dixie, weird old blues and French salon jazz. The song announcements were made through a megaphone, the guitar amp was powered by solar panels and guitarist Julian Curwin wore thongs. It was all so sweetly organic, it made the afternoon time stand beautifully still.

Too much daylight – bah! Back into the night and the Steve Barry Trio with Alex Boneham and the quicksilver Tim Firth at 505. This is the trio that played on Barry’s recent album, Steve Barry – a startling album made (conjured from the elements, rather) by this startling combination of players. All the telepathic play and spiritual-empathic magic that lights up the album was here on stage tonight. Reminding me of Bill Evans’ trios or Keith Jarrett’s ‘standards’ trios, Barry-Boneham-Firth could spat and spar – as on opener ‘B.W.’ – or dissipate like evening mist across an introspective ballad such as the lovely ‘Epiphany’. Some of the most fluidly intelligent music in jazz has been made within the piano trio format and groups such as Steve Barry’s trio remind me why.

After the rollicking fun of altoist Ross Harrington’s vibey, young and fun Midnight Tea Party – Dixie, klemzer, ska flavours; a huge hit with the 505 crowd – we were treated to the Andrew Gander Band.

richard maegraithIn a Festival line-up luminescent with musical wonders, I can unreservedly say the Andrew Gander Band was the highlight for me – and I am sure many there would agree. His five-piece group hit their jaw-dropping stride from the first note and ascended from there. I had already seen each of Gander’s sidemen in other Festival groups but playing with Gander seemed to push each of them into the deeper reaches of their own musical universe. Tenor player Richard Maegraith seemed particularly inspired, blowing hard into the white-hot areas of his horn’s capabilties. (My friend, CC – who knows about such things – said after one of Maegraith’s solos “I could see his aura and light flashing off him!”) Bassist Brett Hirst twinned with Gander through all of the music’s twists and turns almost preternaturally. Steve Barry would smartly sit out during guitarist Carl Morgan’s solos, allowing the drum-bass-guitar trio to stretch the harmonies and rhythms into new fluid shapes. The Gander originals such as ‘Retrograde’ (with one of those sizzling rock feels that Billy Cobham does so well) and the 5/4 roller coaster ride of ‘Prism’ were just eaten alive by the band, who also managed great takes on radically reshaped standards such as ‘Star Eyes’ and Dizzy’s ‘Con Alma’.

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ben hauptmann, zoe and the buttercups

Where to go from there? Thankfully the Sunday program offered sweet soul relief in the form of Festival Guest Roger Manins and the original lineup of his soul-jazz champions, Hip Flask. To a packed 505, Manins’ testifying tenor led the quintet through ‘Bang’, ‘Big Sis’, ‘John Scon’ and others from their Jazzgroove catalogue. Against the indigo-blue Hammond of Stu Hunter, Adam Ponting’s peppery shards of piano dissonance put Hip Flask in their own category without losing any soul-jazz juice. The intro to ‘Blues for Adam Ponting’ moved in and out of harmonic focus until Manins brought us back to the planet with some real deep earth. (Manins was also one of the drollest bandleaders of the Festival, his tongue popping almost through his cheek at times during his stage announcements…)

By now saturated to the brim with music and fine 505 merlot, I took one last rolling stroll down Chalmers Street, climbing the stairs to the Gaelic to bid the Festival adieu with Zoe Hauptmann and her Buttercups. The six piece snapped my jaded mind awake with their patented country-soul stomp and Tele-blaster Aaron Flower’s always-exhilarating chicken-pickin’. Watching Ms Hauptmann leading her Buttercups up there, a question swam into my mind: Where were all the women musicians at the 4th Summer Festival? Ok, there was Zoe H and new bassist Hannah James (yes, Elana Stone too, but I am not counting vocalists in this equation) – that’s two out of an awful lot of male musicians. This is not a polemic point, nor is the question rhetoric; it is an honest query. The Con and other institutions turn out many many women musicians, musicians who have graduated alongside their male contemporaries, women musicians who are out there any night of the week paying as many gig dues as the guys. So why, when you get to the highest levels of jazz in this country – such as the annual Jazzgroove Festival – are women so insignificantly spoken for?

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In his Sunday night wrap-up speech, Jazzgroove President (and Buttercup trombonist) John Hibbard admitted that this year’s Summer Festival almost didn’t happen. The committee had sat around Matt McMahon’s dining table and voted on going through with it or not. It was that dire. After four days of wonderfully attended gigs by our best and brightest – and some performances that seriously deserve to pass into myth and legend – it is hard to believe that meeting ever took place. But positive energy ruled that day – the vote was to go ahead – and that same positive energy ruled the 4th Jazzgroove  Summer Festival.

And thank God, Miles and Duke that it did.

The Jazzgroove website is here.

Published January 2103 on australianjazz.net 

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New Zealand pianist and composer Steve Barry has been living and performing in Sydney since 2009. Well known as a sideman for touring artists such as John Hollenbeck, Theo Bleckmann, George Coleman Jr. and Chris McNulty, he is also the regular go-to-guy for local artists such as The Jazzgroove Mothership Orchestra, Dale Barlow, Simon Barker and James Muller.

On the strength of his eponymous debut album, Steve Barry, I get the feeling we will have to do as we did with the Finn brothers and Rusty Crowe (and any other frighteningly talented Kiwi) and willingly refer to him as the Australian pianist and composer Steve Barry. The album really is that good.

In a world of astounding soloists (yes, those 14 year old YouTube Yardbirds) what seems to set the finest jazz apart is the communication and empathy between interacting players. This communication is so expected today that it is pretty much a cliché – that is, until one asks, How often do I hear true, ego-less empathy in jazz ensembles; that virtually telepathic group-mind of a Bill Evans Trio or Miles First or Second Quintet? (Not such a cliché after all, is it?)

Steve Barry

From Steve Barry’s album opener, ‘B.W.’ we know we are in for a treat. The trio of Barry, Alex Boneham and the always elevating Tim Firth truly have that spooky rapport, that twined-consciousness that leads to great things. As much as ‘B.W.’ cooks and roils, the ballad ‘Vintage’ allows that superlative communication to flow across a piece that reminds us of the true meaning of ‘nostalgia’ – ‘homecoming ache’ in the Greek.

Guitarist Carl Morgan joins the trio for the cooking ‘Changes’ and the bopping ‘Unconscious-Lee’ – an angular Monk-trip, a wigged-out cousin to Lee Konitz’s ‘Subconscious-Lee’. Morgan shines on this track, snaky and biting.Steve barry cover

Morgan returns for the driving 6/8 ‘Sparse’ – one of the many tunes here where Barry’s playing brought to mind Keith Jarrett. The sparkle, the fingers-joy over the top of truly effortless technique, the swoon (no, Steve Barry doesn’t spin around in that Keith J trance when he plays) – all served to bring Jarrett to mind.

But of course, Steve Barry is more than an imitator of anyone – he has his own voice, in performance and in composition (check out the utterly transporting Esbjörn Svensson-via-Bartók ‘Clusters’) and in Boneham and Firth he has a magic band. It is hard to conceive that Steve Barry is his first album as a leader. I eagerly await the next twenty or so.

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Prior to posting this review I asked Steve Barry a few short questions. Here are his responses:

1. You have been on the scene for a few years now. What was the spark that led to this album?


Musically it wasn’t so much a spark as a graudal developmental process. I’d been working on the music for a while and had reached the point where I thought the album would be an honest artistic statement. Having said that the instigator was really facing a few months overseas in the middle of the year and being largely away from a piano, as well as Alex living in Italy for most of the year. On top of that Tim and his wife are about to have a baby, so if it hadn’t been then it might not have been for a while!

2. Even though your playing has a nicely original voice, I can hear Keith Jarrett in there as well as others. Who’s playing shaped yours?


Sure, Keith has been a huge influence. I love his seemingly inexhaustible knack for melody (especially with the standards trio) and his solo cadenzas/concerts are just incredible. Herbie Hancock is huge for me to, especially with Miles in the 60s. Lately I’ve been listening to a wide range of stuff, from modern jazz guys like Kurt Rosenwinkel and Aaron Parks, back to things like Shostakovich‘s Preludes and traditional African pygmy music. I’ve also been geting more inspired by works of fiction, I just finished a great book by Jonathan Franzen called “Freedom”, which looks at the implications of the word in modern families and society. Check it out!

3. They are great players, but what did you see in Alex Boneham and Tim Firth that would fit your music so well?


Alex and I met at the Sydney Con when I moved over in 2009 and have been playing together a lot since then. He has a huge sound and is a really strong creative presence both on and off the bandstand. He also has an infectious perpetual excitement about life and learning, which is really inspiring (and he makes great coffee). He’s happily taken though sorry ladies… Tim and I started playing together a few years ago and he’s just what I like about a drummer – he’s always listening and interacting and also supporting whatever is going on. He’s also got a huge amount of flexibility and is always ready to take the music to different places. And he has monstrous chops! It also helps that he’s a lovely dude, a great poker player and enjoys a nice scotch.

We’ve been playing together as a band for about 2 years now, and there’s a really strong, almost intuitive musical connection happening. I’m also happy to call them very close mates.

4. You use Carl Morgan on three of the 10 tracks on the album. Why guitar instead of, say, a tenor horn?


Carl and I started playing together when he moved up from Canberra a few years ago – we lived together for about 2 years and did a lot of playing/drinking of beer/talking about music during that time. Carl is totally passionate and focussed about creating music and is always striving to explore new ways of playing and composing. I wanted him on the album because I love his playing and I like the timbre of piano and guitar together. The tunes were also arranged so we could could get a lot of interaction in (and hopefully I could steal some of his licks).

5. What are your thoughts on Jazz in Australia right now?


It’s really strong – I think we have a pretty special thing happening. Australia is a great environment and culture for creating and exploring new music – we have access to a huge range of sources, and in Sydney at least there are more performance venues springing up all the time. We don’t have anywhere near as strong historical tie to jazz as the Americans do, which I think has both pros and cons – the pressure to “pay our dues” isn’t as strong as there’s a real focus on original music and ways to create it. Having said that I think there are a few ideas we could take from the Americans – for example there’s a powerfully competitive spirit in NY that continuously pushes all the musicians there forward. There’s a fine line between confidence and arrogance, but in general I feel we could have more outgoing faith in presenting what we do and what we’re about.

6. And finally, what are your thoughts on music in general today?

That’s a big question! I think it’s really healthy. There’s always going to be your Lady Gagas/One Directions/Justin Biebers but there’s a lot of incredible music happening out there if you’re interested in finding it. Sure, it would be nice if a few more people came to jazz gigs, but I have a great lifestyle and get paid (mostly good money compared to the rest of the world) for doing what I love. Can’t complain about that!

 

Steve Barry’s website is here

Published December 2102 on australianjazz.net