Foundry 616

Grey Wing Trio – Amoroso

It is not very often that an album like this comes along and more’s the pity. This is an album for those who are properly engaged, who listen deeply; offering ample rewards to those who pay due attention. While there is a hint of the freedom of the 1961-62 Giuffre/Bley/Swallow albums, this is an album of the now. It tells a modern Australian story while claiming a portion of the space occupied by the sparse Nordic improvisers. People might find this darker approach unexpected as the Australian landscape resonates bright light and pastel colours. While not the norm there are recent precedents such as the astonishingly atmospheric ‘Kindred Spirits’ by Mike Nock. Pianist Luke Sweeting shows us from the first few notes that he truly understands form and dynamics. As he moves about the piano his fingers tease out endless shades of colour; the sort found in the shadows. The name Grey Wing Trio is apt too, because the subtlety of the shadings are endless here. Like the wing of a sparrow, what appears as mono-toned becomes multi-hued upon closer examination.

The lightness of Sweeting’s touch gifts him the opportunity to cycle through one crystalline moment after another and the echoes of each chord hang in the air with delicate subtlety. The music has dynamic richness – this in spite of the dominance of quieter moments. Trumpeter Ken Allars excels in this space. Few trumpeters play as he does and few have his tonal or dynamic diversity. He can say as much with a breathy whisper as he can with his gentle flute-like notes or sudden squalls. This references the territory of the Nordic improvisers like Arve Henriksen and Allars does it convincingly. The less is more approach has always served Jazz well and this is another proof. I am familiar with Sweeting and Allars as I have seen them perform on several occasions. The drummer Finn Ryan is new to me. Again he is perfect for the job in hand. A true colourist and able to match the others in subtlety. His use of mallets and fluttering brushwork contrasting nicely with the stick work.

Running through the tracks is an over-arching thread of minimalism. Themes emerge, then evaporate into floating motifs. Realities form and dissolve as if mirages. What remains is deep evanescent beauty. (The sound clip from the album is Chords).

Grey Wing Trio – Luke Sweeting (piano, compositions), Ken Allars (trumpet), Finn Ryan (drums). Order from http://www.jazzhead.com or www.lukesweeting.com

The Voyage of William and Mary – Matt McMahon

I knew of Matt McMahon long before I met him in the Foundry 616. Australian and New Zealand Jazz lovers respect him as an artist and his name often comes up when improvising musicians talk. In 2008 I picked up a copy of his Ellipsis album during a visit to Sydney. My album collection then as now, was out of control and so after listening to it, I filed the album with the intention of obtaining more by the artist later. Because my cataloging skills are poorly developed it soon slipped out of sight and did not resurface until 2015. That was the year I met McMahon at The Foundry. His gig was as the regular pianist and arranger/co-composer for the Vince Jones band. I liked his playing and noted my impressions of man and pianist on the back of my program; ‘friendly, of quiet demeanour – a pianist with a deft touch – uses beautiful crisp voicings. The perfect accompanist, serving the singer and the song and never his ego‘. We talked for some time after the gig and before I left he handed me a copy of his ‘The Voyage of William and Mary’ album.

As soon as I got back to New Zealand I played the album and loved its depth and scope. Solo piano albums seldom achieve this themed narrative quality. While all of the tracks appear to describe a journey experienced by his Irish ancestors William and Mary, the narrative is deeper and wider than that. It acknowledges McMahon’s Irish roots in subtle ways, but more particularly it outlines a musical journey experienced by the artist. This is the wonder of deep improvisation, a place where all is not what it seems. Each note here is a revelation; not just to the listener but perhaps to the artist as well. Solo albums are the hardest to pull off, as the musician must search deep within. In doing so there is often the risk of unapproachable introspection or worse still self-indulgent noodling. McMahon has convincingly avoided those traps.

Each time I listen to ‘Island of Destiny’ thoughts of my own seafaring ancestors overwhelm me; their imaginings, hopes fears. So much is encapsulated in a piece that somehow transcends itself. What ever the images this beautiful music evokes it is a tribute to McMahon. He shares his vision in a way that allows us to become absorbed and to feel like participants. That is no mean feat.

Matt McMahon (solo piano, compositions) PathsandStreams Records

Sydney means two things to me; family and music. I get there as often as I can. One sultry night about two years ago I was listening to Mike Nock playing the blues (as only Mike can). It was a catchy new tune titled ‘Start up Blues’. I collared him during the break and asked him about it. “I composed it for the Foundry opening” he said. “Do you know about the Foundry 616”? I didn’t and so he filled in the details. He spoke warmly of it so I determined to visit the next time I was in Sydney.

The Foundry 616 is located in Ultimo on a stretch of Harris road, almost lost between a maze of under and over-passes. It is (or was) the newest addition to Sydney’s Jazz scene. The difficulty in locating it is amply rewarded the minute you step inside. It is spacious, it serves tasty food and the acoustics are surprising good for such a large uneven space. It is also a friendly place, tolerant of visiting Kiwi photographers and reviewers like me. I always feel welcomed.During my first visit I caught the amazing New York based guitarist Mike Moreno. Attending a gig featuring Moreno had long been on my bucket list and I was not disappointed. He was happy to allow non-flash photography and I had a seat at the front table; perfect. For his Australian tour he employed two gifted local musicians: Ben Vanderwal drums and Alex Boneham bass (both familiar to New Zealand audiences). I have many recordings featuring Moreno, but what really struck me was that his best on recordings, is exactly how he sounds in person. Given the sound control in modern recording studios and given the expanse and quirky shape of the room, this is surprising. I was later to experience the same clarity at other Foundry 616 gigs. The venue sound technician and the sound system get a big tick. Sound quality matters and especially with artists of this quality. To my thinking Moreno is the most lyrical of modern guitarists. Clean flowing lines, fresh ideas and an astonishing clarity of tone. As moves through the pieces, often at breakneck speed, and even when glissing, his fluidity is unbroken. There is a hint of mournfulness to his tone which is most attractive. I hear many gifted Jazz guitarists, but to date this gig remains the highlight. His set list traversed recent albums as he played a mix of lesser known standards and originals; ‘I have a dream’ (Hancock) being the standout. While his demeanour is quiet, perhaps even a little serious, his playing denotes unalloyed joy and exuberance.My second visit was to see premier Australian Jazz vocalist Vince Jones. I have a deep liking for male Jazz singers but sadly there are not that many to choose from these days. Our younger selves do not sound like our older selves and in Vince Jones this sits extremely well. His is a lived in voice, full of rich life experience. An honest voice and above all a true Jazz voice. He can make you smile and cry in turns and his lyrics are like no one else’s. If you listen carefully the realisation comes; Jones is jazz protest singer. He is closer in sentiment to Gil Scott Heron or perhaps Billy Bragg and Bob Dylan than to any torch-song crooner. His recordings while marvellous don’t prepare you for the experience of hearing him in person. He has a compelling stage presence, exuding the vulnerability that Chet radiated. Unlike Chet he also exudes real human warmth and empathy.As he tells personal stories about his grandparents, his budgerigars, women deserving of respect, his environmental concerns, you feel deeply connected. When he shakes his fist at the ‘big end of town’, calls for kindness towards refugees and gives voice to your innermost feelings, you shake your fist along with him. Since that visit I have transcribed some of his lyrics. I would now add gifted poet to the list of his accomplishments. Jones writes most of his own material (often in collaboration with his accompanists like Matt McMahon or Sam Keevers). Both were present that night as was an old friend, bass player Brett Hirst; James Hauptmann was on drums. Fine musicians and great company. Earlier in the day I caught up with Barney McAll and interviewed him regarding his stunning Mooroolbark album. He was to premier that at the Foundry in a few weeks. I was sorely tempted to delay my departure, but work called me back to New Zealand. McAll was once an accompanist to Jones as well.My third and most recent visit naturally brought me back to the Foundry. A pianist/singer Rodric White was on the bill. White was unknown to me, but again I enjoyed the gig. He opened with a few tributes and it surprised me to hear him announce a Keith Jarrett number. Even more so when he played an extract from the Koln Concert. That took guts and he did it well. Later he played some of his own compositions, plus Bill Evans, Herbie Hancock, Stevie Wonder, the Beatles and several Sting numbers. He was disarmingly dismissive of his vocal abilities but he sang well. Stylistically he is close to the classic Jazz singers. Accompanying him was Hugh Fraser (bass), Steve Ley (drums) with guests Paul Cutlan (tenor & soprano saxophones) and Jenny Marie Lang (guitar & vocals). Paul Cutlan was the only name I knew, a well-respected session saxophonist. During the second half White called for pianist Chris Cody to come to the bandstand. I first met Cody in New Zealand and we are now friends. I have a deep respect for him as an artist and as a human being. This rounded out the evening nicely. Cody an internationally recognised artist, is back in Sydney for a while. There is something about his approach and his innate sense of pulse that sets him apart. He understands the importance of leaving space between notes; easily moving inside and out during a solo. He oozes Paris cool. With Cody on piano and White on keys the enjoyment was complete.There are any number of excellent improvising musicians in Australia and New Zealand and we are lucky that they are so accessible. There are also thousands of people who love improvised music, but here’s the rub. The enthusiasts don’t always make the effort to attend gigs. The consequences of taking the local Jazz scene for granted are too dreadful to contemplate. If we support local Jazz we need to commit. In spite of the many world-class musicians in Australasia the music is more precarious than we think. Running clubs like the ‘Foundry 616’, the ‘505’ or the ‘CJC (Creative Jazz Club)’ is high risk and if the clubs struggle, so does the music. It is quite possible that I’m a fanatic, but I’ve attended more than 250 Jazz gigs in the last four years. If you read this, it’s because you love this music with all its variability. Value what you have people and make a point of supporting your local Jazz clubs and gigs. Some amazing musicians depend on you.