Posts Tagged ‘Will Gilbert’

Back in 2013 I wrote of Jenna Cave and Paul Weber’s Divergence Jazz Orchestra’s startling debut: “The Opening Statement is, all up, one hell of an opening statement from a group that has a hell of lot more to say. I, for one, am all ears for anything else they want to shout my way.

I am happy to say the new Divergence album ­– cheekily and tartly titled Fake It Until You Make It ­­– is here. And I want to shout about it.

As assured and fully-formed as The Opening Statement was, the three years between it and the new one has added an even greater depth and daring to Cave’s writing and the band’s entirely apt and sympathetic reading (in all senses) of her charts.

Other band members have contributed some gems as well, such as trombonist Luke DavisMorricone-esque opener ‘On Horseback’. Across just under nine minutes, this piece unfolds through various cinematic moods, helped by the Spanish sketches of Will Gilbert’s trumpet and a beautifully evocative tenor solo from David Reglar.

Pic by Brian Stewart

Pic by Brian Stewart

A large part of Jenna Cave’s gifts as a writer is her love for the tradition of the big band, a favourite being the masterful Basie arranger Sammy Nestico. Her ‘For Míro’ is next – a lightly swinging piece strongly evoking Nestico in her tribute to Miroslav Bukovsky, teacher and mentor. Cave’s neo-classicist chart brings out the neo-classicist in Andrew Scott whose piano solo here is pure Basie: all taste and space.

From Cave the neo-classicist to Cave the arch-modernist: ‘Fantastical Epic (Lessons in Jazz)’ is pure impressionism; a journey through the colours of the big band. This is virtuoso horn writing – as much about texture as it is about melody and narrative.

The first time I ever heard Cave’s work was a tricky African chart called ‘Odd Time in Mali’ (written for the Sirens Big Band and included on The DJO’s The Opening Statement). It showed me her deep love for rhythm and on the new one, ‘Miss Party Pants’ (funky as hell with Luke Liang’s citric blues guitar nipping at the heels of the rhythm section) and ‘Twerking it Nyabs Style’ confirm it. Both are irresistible grooves with unfussy horns never getting in the way of that killer groove; the latter bounces with a springy NOLA ‘second line’ jump that shows the deep strength of rhythm section David Groves on bass and drummer James McCaffrey.

So much good art comes from life’s rivers and roads – and sadly some of the best comes from life’s hurts and tears. Two of the album’s highlights are – to me at least – compositions that gave come from low points in Jenna Cave’s journey as a human and as an artist. Both are statements of hope and renewal and yet the maturity in the writing gives a deep sense of the aching sadness behind them. ‘Now My Sun Can Shine Again’ is lush writing perfectly framing Andrew Scott’s piano solo which lifts through the harmonies, as one’s spirit would lift to the sunlight of hope out of black despair. ‘One Woman’s Day of Triumph’ is quietly triumphant, a little like Cave herself. diveergence-fake-2

Trombonist Brendan Champion and trumpeter Paul Murchison contribute great work here too – allowing a widening of contrasting artistic voices for the Divergence band. Champion’s ‘Tones’ grows into a New Orleans strut out of a staggered 7/4 groove – wonderful contrasts here, both between the grooves and the way Champion’s writing weighs sections of the band against each other. His title tune, ‘Fake It Until You Make It’ is sharp and innovative ensemble writing, lots of ideas but with one idea dovetailing nicely into the next.

Paul Murchison’s driving 3/4 blues ‘Trinity’ plays some cute rhythmic games with the 3/4-12/8 waltz-shuffle groove and sparkles with a sharp be-bop solo from alto Justin Buckingham. It is the toughest tune on the album: direct and based around the core of the band, the rhythm trio.

But it is Jenna Cave who shines here. Her big-hearted brass conception of Miroslav Bukovsky’s ‘Peace Piece’ gets to a place deep inside you. Her framing and emotive colouring of Bukovsky’s pleading and very human melody line is one of many high-points of Fake It Until You Make It.

Back in 2013, I, for one, was all ears for anything else The Divergence Jazz Orchestra wanted to shout my way. Now, three years later, I realise, they no longer need to shout. With a voice as assured as this stellar collection attests to, they will only now need to speak.


The Divergence Jazz Orchestra launches Fake It Until You Make It at Foundry 616 on Friday October 14.

The album is available here

Website is


Published October 2106 on and



Like post-punk has done since the 1980s, Jazz has gradually eschewed and expunged the Blues from its vernacular.

Yes, there are still lipstick traces left from the grand old dame, but many contemporary Jazz artists seem intent on (consciously or sub-consciously) avoiding her patois, perfumes and punch-drunkenness in any overt sense.

Sydney’s Dubious Blues Trio have no such qualms. In fact the Trio drink deep not only of the blues but – horrors! – the blues’ boozy trailer-trash cousin, blues-rock.

Made up of guitarist Cameron Henderson, double-bassist Elsen Price and drummer Tully Ryan, The Trio are one of the current young bands that make me jump for joy. Genre-hopping is admirably rife in the modern jazz world, but done as it is here on their debut – Dubious Blues Trio – so unselfconsciously and with a real blues wildness, is a buzz.

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After a short ‘Intro’ (a bit of cod-blues piano quickly devoured by an electronic belch), Henderson’s ‘Shoemound’ snaps our attention – the unmistakeable tang of Stevie Ray Vaughan salting his Stratocaster. Yet the line he plays winds into some snaky shapes – hhmmmm, dubious blues indeed.

‘Mousterious Moustache’ takes their tough sound into 6/8 and ‘Bigger Than The Mammoth’ has some Zappaesque riffing slding into a very SRV boogie.

Bassist Price’s ‘Fixy and Your Haircut’ flies along in a bluegrass handbasket-to-hell – Price has recently been seen around town playing with bluegrass mavericks The Morrisons. Price’s choppy triple-time bowing opens it up for Henderson’s banjo-like guitar. It’s all over in 1:36 but we are sweating.Dubious Blues1

The funky ‘King Hustle’ goes back past SRV to Jimi Hendrix, who seems to be as much a touchstone for Henderson as Bill Frisell or, maybe even moreso, Wayne Krantz. After a languid, gospel-throated bowed solo from Price the whole piece dissolves beneath a (not-so-)hilarious montage of phone recordings of the guys hustling for gigs – and accepting having to “play for tips”.

Dubious Blues Trio leaves us with Price’s ‘Miscellaneous Whale’ – a 14:15 monolithic jam featuring trumpeter Will Gilbert. Gilbert’s breathy tone, together with the black-hole ambience of the piece, dimly recalls Miles Davis’s electric anti-jazz psychedelia of the 70’s. Whatever their influences, this is entirely original music made by fresh-thinking players – Gilbert’s longing horn, Henderson’s whale-song guitar, Price’s leaden bass moans. Special mention here goes to drummer Ryan – a piece as stretched out as ‘Miscellaneous Whale’ is a true challenge for any drummer and he is always in the right space with the right colour at the right time.

Dubious Blues Trio was recorded live in the studio, which adds a layer of danger and shows the Trio to their best advantage. Henderson, Price and Ryan have a wonderful thing here – a three-way joy of noise and a questing group-mind. There is no leader, and no followers – as it should be, but too rarely is.

Dubious Blues Trio brings the blues back into jazz – not the clichés and the tired down-home trappings (we’ll leave that to the official Blues® scene), but the innovation, the openness and, above all the humanity that the best blues always had. And it is about time.


Published February 2104 on