Posts Tagged ‘Evan Mannell’

It seemed fitting that on the week that David Bowie left us to become a star in the night sky, the 2016 Jazzgroove Festival should open with the spacey starman-scapes of Alon Islar’s ensemble, The Sticks.

Kicking off Friday night’s Foundry 616 triple bill, The Sticks – drummer Islar with keyboardist Daniel Pliner and bassist Josh Ahearn – followed Alon’s mission statement, “We’re going to improvise for 45 minutes…” with a ton of imagination and a galaxy of verve. Built around Islar’s curious but astonishing invention, the AirSticks (in its simplest form: two hand controllers linked to laptop samples) the group made music – as all good jazz should be – literally out of the air.

Special guest, guitarist and polymath Ben Hauptmann sat right inside the Sticks’ orbit, blending with their space-scapes, moving with their funk, clicking and clacking with the more motorik beatz, talking their talk and walking their walk. Beautiful stuff; the 45 minutes passed in a wink, leaving us (me) wanting more.

This year’s Festival program was put together smartly by Jazzgroove to get all the flavours of jazz rubbing up against each other and to pleasantly jolt by contrast.

And so, the electro-funk of The Sticks was followed by The Cooking Club – tenor player Michael Gordon’s tough acoustic jazz quartet. The contrast could not have been more thrilling – and yet something was missing. The last time I saw The Cooking Club was after they launched their pretty fantastic CD High Energy Jazz from the Sydney Underground. The format was the piano-less quartet of Gordon on tenor, Finn Ryan on drums and Tom Wade on bass, with Ken Allars’ trumpet putting the Cherry on Gordon’s compositions.

Tonight the trumpet of Allars was replaced by Andrew Bruce on piano and its chords, sharp as they were, led to the music losing part of it’s Ornettey orneryness, it’s skinny rawness – at least to my ear. They still grabbed me though – the opener (also the CD’s opener) ‘Big Job’ bristled with energy – which is what this band does so well.

Closer ’Comedown’ had Gospel handclaps and Gordon summoning the ghosts of Albert Ayler’s ‘Ghosts’ in his throaty sermon.

JG3 - lekker, pic- Ellen Kirkwood

Lekker, pic- Ellen Kirkwood

Closing the night – and contrasting equally vividly with what had come before – was the much-anticipated performance of Lekker, Guitarist/composer Ben Hauptmann’s jazz-rock-reggae-bluegrass-funk-jazz septet. Built over the pulse and groove of James Hauptmann and Evan Mannell’s drums and percussion and James Haselwood’s bass, the group had Hauptmann shared guitar duties with Arne Hanna. Harry Sutherland and Dan Junor on piano and alto completed this astounding ensemble.

Hauptmann’s musical vision has always confounded any expectations (what is it about guitarist/composers?); tonight it put a grin on my face that he opened with a fleet bluegrass breakdown. Moving through compositions from both his Benjamin Hauptmann and Lekker albums, the band ate up all grooves – reggae, funk, West African 6/8, rock. Hauptmann’s solos, all held fire and cool chromatic sparks, contrasted beautifully with Arne Hanna’s more greasy, blues-accented touch. Hanna’s solos throughout were each a mini-masterclass on shaping and pacing a solo (young hotheads take note!).

A highlight for me was hearing the tunes such as ‘Shuffle Over’ – which gets a heavy electro treatment on the Lekker album – played by this ensemble: not better, just different flavoured, seasoned with human breath and sweat. (Also grin-making to hear Hauptmann’s ‘Third Stone From the Sun’ and ‘Eat That Question’ quotes in the coda fades. All guitarists are rockers at heart.)

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Sunday, Foundry 616 again and the sunny Ollie McGill trio. James Hauptmann (drums) and Jon Zwartz (bass) making McGill’s Tunes – vocal and instrumental – really spark and catch. After a rockin’ opener they were into the intriguing ‘Fishy’, alternating between a Latin groove and heavy funk, the trio at ease with the two different tempos and grooves.

JG5 - jon zwartz, pic- Hardaker

Jon Zwartz, pic- Hardaker

Vocal piece ‘Constancy’ was a good-hearted Dr John funk groove. McGill’s vocal, while not the most arresting, proved to me (again) that composers often do their own tunes the best justice, on an emotive level. Closer ‘Let The Wind Blow’ reminded us, yes, this was Sunday: spreading sweet Gospel tones and a hushed hallelujah over Foundry 616.

I had really looked forward to seeing bassist/composer David Groves and his ensemble – a new voice is always a reason to be cheerful. Groves himself thanked Jazzgroove for giving young composers such as himself a platform and an audience for his compositions. And his compositions were worth it – unique, nicely conceived, all intriguing and testing vehicles for blowing.

And yet his set was, to me, in part let down by a lack of cohesion in the group. Groves and Sydney’s tallest drummer, Cameron Reid often got the groove flying, and pianist Steve Barry did his usual elegant and harmonically shrewd thing. But the horns of tenor Scott Kelly and Simon Ferenci on trumpet rarely gelled and a general lack of forward motion seemed to hamper the band.

The classic hard bop quintet format – rhythm plus two horn front line – can be the most thrilling in all of jazz, but tonight Groves’ ensemble never seemed to give themselves the chance to blaze and thunder. I hope – no, I know – next time they will knock my socks off.

The twin crown of the 2016 Festival was the David Ades tribute performance by Zac Hurren and Julien Wilson. As part of a national tour to perform and celebrate the music of Melbourne’s brilliant and influential alto player and composer, David Ades, the two tenor colossi took the stage with Cameron Undy (bass) and Simon Barker (Drums). After a few words from Hurren, welcoming us to the festival and their performance, they proceeded to incinerate our minds with the sort of white heat that only jazz can cook up.

JG8 - hurren, pic- Hardaker

Zac Hurren and Julien Wilson, pic- Hardaker

In the car on the way home later, the phrase ‘music made in the moment; music made for the moment’ swam into my mind. This was a performance that stopped time or rather, pulled and twisted and melted time into new and phantastic shapes. The two tenors faced each other across the stage and blew each others minds whilst blowing ours. No juvenile ‘cutting’ contest, this was as Trane and Pharoah spoke: heading up and out for joy.

Opening with Ades’ ‘La Ripaille’ the joy flared up like lust: Barker and Undy began pouring on the energy which never let up the entire set. The rest of the set was drawn from Ades’ lovely posthumous release A Day in A Life.

Hurren’s tone was rounder and more full-bellied, with fat dollops of the blues in his lower register and a woman’s loved cry at the top. Wilson’s voice was bright and sweet and riven through with lightning and other storms. Both players swooned as the other played, digging each other, meshed in mind and soul-spirit.

It was not all fire, brimstone and lava: Hurren and Undy’s measured and relaxed take on Ades’ ‘Arco and Alto’ had a suspended loveliness, reminiscent of Charles Mingus’ ‘Eclipse’ – a breeze from another planet. The set closer, ‘Removab’ built and built until we were all spent. Spent and blasted into joy.

Zac Hurren walked around the venue afterwards, personally thanking everyone for coming. As I shook his hand, I told him he had to be the happiest man in Australia. “Yeah! I am happy!” he beamed.

After that set – indeed, after what may be the last ever Jazzgroove festival – we were all pretty happy. As happy as Zac Hurren. And that’s happy.

 

Published February 2015 on australianjazz.net

 

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