Throw another shrimp on the barbie.....

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  • Ian Thumwood
    Full Member
    • Dec 2010
    • 4223

    Throw another shrimp on the barbie.....

    Absolutely fascinated by the fact that Jazz Library is going to feature Australian jazz next week. I suppose my knowledge is limited to the Graham Bell "Trad" jazz and then the Bob Barnard recording of "The Hobbit Suite" that Humph used to play continually. Later there have been the likes of James Morrison who had his fifteen minutes of fame in between. Even other musicians from down under , like Mike Nock, often turn out to originate from New Zealand.

    I hope that this programme gives an opportunity to hear the really rare recordings of Californian resident bandleader Sonny Clay who took jazz to Australia for the first time in the 1920's. He is a musician I have read about but cannot ever recall hearing anything by him.

    Oddly enough , the workshop I attend every summer in France always has one course led by an Australian called Rory Thomas who is a trumpeter with a big reputation in jazz education in Australia. He usually brings over a college band with him called Zooo who are composed of teenagers who play a wide range of big band music but have taken to the repertoire of the Swing Era with relish. Each time I have heard them, they get better and better and you do get the impression that there is a growing appreciation and understanding of contemporary jazz in this country. More and more musicians are touring there and I know that Wayne Horowitz and his wife Robin Holcomb were promoting big bands who followed in the wake of their adventurous approach to jazz. I think this was back in the mid 90's when Australian jazz was still starting to find it's feet. I believe that there are quite a few ex-pats from Australia who work as jazz musicians in New York - something that would have been unlikely 20 years ago.

    This is a wholly over-looked element of jazz and I will be fascinated to hear what kind of music is being produced in this country. Hopefully we will have wrapped up the Second Test by then, too!
  • Ian Thumwood
    Full Member
    • Dec 2010
    • 4223

    #2
    Struggling to post links on this board but this one regarding Sonny Clay is very telling - I didn't realise that Australia operated a racist policy of refusing entry of black artists to the country until 1954. This is disgraceful and I am genuinely shocked to read that Australia was really no better than South Africa under Apartheid. Looks like Clay's band was trumped up too judging by this article:-





    Here is an overview of the whole Australian scene but it does seem a bit limited. Odd to read too of the antagonism of some protagonists to Beb-bop even at a late stage in the development of jazz let alone Free jazz.

    Comment

    • Byas'd Opinion

      #3
      I've been very impressed by what I've heard of altoist Bernie McGann. He's in some ways the Australian equivalent of Joe Harriott, in that he developed a free-ish style in the early 60s without ever having heard Ornette Coleman or other US New Thing players. Of course, that wasn't the most commercially-viable approach and he supported himself by working as a postman for a while.

      Here's an article about him by Ornette biographer John Litweiler, who asks "Has any other alto saxophonist, anywhere in the world, produced as many consistently first-rate albums in the last 20 years?" http://www.sima.org.au/2007/06/11/bernie-mcgann-on-cd

      And here are a couple of live videos:
      In a quartet: http://www.youtube.com/watch?v=vU8Gy30f-QA
      In a trio: http://www.youtube.com/watch?v=wu3807QWl1c

      The quartet clip is from an Australian TV series called, simply, "The Jazz Show", which has a lot of Aussie (more specifically Melbourne) stuff which might be worth investigating. There seem to be 6 episodes available online, posted by one of the presenters.

      Comment

      • Ian Thumwood
        Full Member
        • Dec 2010
        • 4223

        #4
        As ever, I thought that this was a very interesting programme but the music seemed to be proficient rather than reaching out and grabbing you. The earliest track almost seemed like wallpaper music but I was intrigued by the "Islamic Suite." As for so much of jazz outside America, I felt the tracks demonstrated that it wasn't until 1980's the the rhythm sections started to hold their own. The most original track was by "Clarion Fracture Zone" although it did sound very much of it's era when so many bands featured saxophonists who seemed to take their cues from Jan Garbarek. The Bernie McGann track (and much of the programme for that matter) seemed like normal Modern Jazz and I think the case for originality was a bit over stated. Other than the aforementionec "Iaslamic Suite", the music all sounded very derivative of what was happening elsewhere in jazz. The music couldn't be faulted (not a fan of James Morrison, I'm afraid) but it lacked it's own identity to my ears.

        All in all, I enjoyed listening to this programme and it was nice to hear musicians about whom I had hitherto be ignorant. That said, you could draw comparisons with watching Southampton playing in Division One. You get to see some good games, watch teams you have never seen before and be surprised by some performances which exceed your expectations but utlimately it is not the Premiership and perhaps not a good reflection on the quality you get in the top flight. Nice to discover music like this for the first time although I don't think that the Australian scene seems as potent as in the UK or a host of other countries in Europe. It will be interesting to hear what the contemporay scene is like oin next week's programme as you definately get the impression that jazz has very much become a global phenomena in the last 10-15 years.







        Heres some clips of pianist Sonny Clay's band that I have found. This is the band that first brought jazz to Australia in 1928. Not heard these tracks before but they are quite jaunty. The second "Devil's Serenade" is particularly good. West Coast jazz from the 1920's.


        Plantation Blues-Sonny Clay's Plantation Orchestra-recorded February 2,1926. The model posing with the vintage car is me.


        Early jazz pianist Sonny Clay and his Orchestra play Devil's Serenade, recorded in 1928 and released here on a Vocalion label 78 rpm record. Enjoy!

        Comment

        • charles t
          Full Member
          • Nov 2010
          • 592

          #5
          Thanks to a Jazz On 3 broadcast in 2002 from the London Jazz Festival, I was introduced to the music of:

          The Necks.

          Long, seamless totally improvised compositions...Just the thing if one is already predisposed to Terry Riley, Glass, Reich...

          Comment

          • aka Calum Da Jazbo
            Late member
            • Nov 2010
            • 9173

            #6
            the rock lobsters come out this afternoon; the Necks for Chas and a few more adventurous looking ensembles
            According to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.

            Comment

            • Serial_Apologist
              Full Member
              • Dec 2010
              • 37812

              #7
              Most of this week's tracks sounded like out of some kind of post-Nucleus bag I thought - a lot being made of Asiatic musical connections, shallow at best - which is interesting sice at least three of Ian Carr's Nucleus sidemen in the 70s were from Down Under. Roger Dean, himself a genuine original imv, was generous in his judgements on his fellow musicians - par for the course politically. The Australysis track (Roger Dean's Lysis with Australians instead) wasn't expecially characteristic of the two recordings I have of this group, consisting for the most part of sumptuous, but harmonically astringent improvised electronica.

              S-A

              Comment

              • Ian Thumwood
                Full Member
                • Dec 2010
                • 4223

                #8
                I was underwhelmed by much of the music in this second installment. The best track by a long chalk was the Jamie Oehlers one. Loved the tone he produced on his horn and felt this was head and shoulders above all the other selections which ranged from intriguing to just plain annoying as was the case of the Jewish electronic free improv. Oehlers sounds like a real talent whereas alot of the other stuff didn't do a lot for me to be honest. Sorry, Charles, but prolonged exposure to "The Necks" would probably send me over the edge. From recollection, don't recall the word "swing" being used in any of the two programmes.

                I felt this was an interesting diversion and maybe somewhat akin to the kind of stuff that finds it's way on to Jon3. All in all, I felt that Australian jazz sounded very parochial and demonstrative of the kind of music you might discover in most major cities without being of international merit - Jamie Oehlers aside, that is.

                Comment

                • Tenor Freak
                  Full Member
                  • Dec 2010
                  • 1061

                  #9
                  I've not heard the part 2 yet, but I too was a but underwhelmed by the music in part 1. It seemed a bit safe to be honest.

                  It leads me to wonder: does great jazz have to come from cities or countries where there is a lot of cultural exchange going on? (New Orleans, New York, Paris, Stockholm, London, LA etc). Does Australia's geographic isolation hobble its jazz scene? (It doesn't in other spheres of the arts.)
                  all words are trains for moving past what really has no name

                  Comment

                  • Serial_Apologist
                    Full Member
                    • Dec 2010
                    • 37812

                    #10
                    V interesting question, Tenor Freak. Take the 60s in this country. Were the Little Theatre Club/Old Place scenes and personalities of the late sixties a reaction to, or against, the prevailing youth culture of Swinging London? There was undoubtedly <some> intergeneric exchange at the time - Cornelius Cardew in AMM, John McLaughlin and other jazzers in and out of blues bands - the answer probably depends on what is or eventually gets to be judged as great jazz in its time, and by whom.

                    S-A

                    Comment

                    • aka Calum Da Jazbo
                      Late member
                      • Nov 2010
                      • 9173

                      #11
                      ...Australia has probably not had an expatriate experience with US musicians in quite the way the EU had, the interesting comparison would be the Japanese scene, after decades of US influences and their capacity for hard edge adventures in the arts ...

                      ..but the city culture/interchange point is well made i wonder what the jazz scene in Shanghai and Hong Kong is like, couldn't find it last time i was in HK ...

                      despite the comments on the quality of the jazz, which i mostly agree with, it was still a worthwhile programme and i would appreciate an extension from time to time with surveys of other geographies ...

                      South America? Pacific Rim/Japan Eastern Europe and Russia?
                      According to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.

                      Comment

                      • Byas'd Opinion

                        #12
                        I've seen it argued that in pop/rock music, there's no such thing as an "Australian" scene, only a Sydney scene, a Melbourne scene, etc. The population distribution in Australia, with most of the populace living in one of five big cities which are hundreds of miles apart, means that once you've established yourself in your home city, the logical next step is to try to make it big internationally rather than spending almost the same amount of money and travelling time gigging elsewhere in Australia. I wonder if the same applies in jazz?

                        Comment

                        • charles t
                          Full Member
                          • Nov 2010
                          • 592

                          #13
                          Ian: Speaking of the Necks and Oz Minimalism, yhere is a stupendousstory about Steve Reich's Music for 18 Musicians being performed in Boston.

                          When, suddenly

                          someone in the balcony

                          shouted:

                          "ENOUGH! I CONFESS!"

                          Comment

                          • Ian Thumwood
                            Full Member
                            • Dec 2010
                            • 4223

                            #14
                            Charles

                            Oddly enough, I don't mind some of Steve Reich's music , although I don't hae any CD's ny him. Years ago, when Andrew Green hosted the breakdfast radio programme on Radio Three, you used to hear alot of his music. I think it has energy and there is an underlying influence from jazz that appeals. Ditto some of Michael Nyman's music. However, I felt that The Necks seemed to have latched on to the superficial quality of this music judging from the track without really explored the music in any depth. It seemed to have sacrificed the essence of jazz and without the rigorous approach used by Reich, seemed to amount to very little. I switched off, I'm afraid whereas I can atleast listen to Reich once.

                            Comment

                            • charles t
                              Full Member
                              • Nov 2010
                              • 592

                              #15
                              Righto, Ian. Heard Steve Reich and other percussionists perform Drumming at the Los Angeles County Museum of Art, in a circular gallery; unamplified.

                              If you were to search out a single Reich recording, look for that one (None Such).

                              As for The Necks; it might be a matter of chance as to which recording a listener audits. I think the selection I chose to for a couple of friends were unanimously hated.

                              Comment

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