The Hot Jazz Alliance (17th April)

Consider the case of Traditional Jazz. ‘Trad’ is thought of by many to be less than respectable. Its roots in black American folk and blues did not initially endear it to much of white America. Even today music schools can ‘teach’ Trad in a couple of weeks of course time and dismiss it as ‘non-intellectual’, ‘lightweight’.

To the contrary, The Hot Jazz Alliance demonstrated a sophistication of technique, invention, harmony and orchestration that stands with the best in any sphere of music. They paid homage to ‘The Great Leon Bismarck Beiderbecke’ - ‘Bix’.

Beiderbecke’s parents did not understand his passion, given their establishment background, and disapproved of his choice of jazz as an occupation. This may have been a stress line and could help explain his inclination to incandescent alcohol levels which saw him spiral to an early death at 28. (The first Saint of Jazz?)

It’s a win for us that the likes of Andy Schumm and Josh Duffee, who could have excelled in any sphere, have chosen ‘Trad’ and joined with a team of Australia’s best in Mike Quaid, Jason Downes, Leigh Barker, and John Scurry to feature ‘Bix B’ music in the ‘Hot Jazz Alliance’.

As Mike explained in his sometimes droll style ‘Bix’ music is of the Chicago ilk i.e. a white interpretation of the black music percolating up from New Orleans. Bix in his time was somewhat overshadowed by Louis and the New Orleans masters. His cornet now commands respect second only to the great Louis himself? Andy Schumm captured the bubbly essence of Bix. A regular brisk succession of notes each coming to the surface with a ‘ping’. No waffle, no convergence, and each note a fully valued bubble.

Jason and Mike both have a history that connects them to Merimbula. I recall the first Merimbula Festival when I travelled from Canberra with Jim Hilson’s ‘Antiquity Jazz Band.’

Jim also gave Mike a start in Trad Jazz with his later band, ‘The Black Mountain Jazz Band’, where some of us first heard Mike as a teenager. Thankfully that wasn’t so long ago. A friend of Jason’s family came up to Merimbula to get at those Pokies that were banned in Victoria. Lucky for us the weekend they chose exposed Jason (pre-teens?) to the right kind of music.

The horn section then. Both played silvered early horns (Conn 10M tenor and 6M alto) as old as the style of music they play. Very sympathetic to each other and the ensemble with playful contrapuntal passages interlayered between silky close harmonies. (Some big band riffs on a couple of the tunes that required a post 1920s style). Mike playing with the mellifluous tone of a Getz. Jason a little more punchy with a few well chosen notes bent ‘a la Hodges’. I spoke to both about their musical influences and was pleasantly surprised to note that they referred firstly not to some of the American giants but our own Ade Monsborough and current Melbourne great Jo Stephenson (Melbourne seems to be a richer agar for our kind of jazz).

Josh Duffee. What drive! What precision! His 1920s drum kit perfect for the occasion. If we were to hear a Renaissance ensemble we would expect the period instruments. Unique? In the HJA to find the whole band playing period instruments. Add that to their respect for the authentic appearance with suits ties and hair looking like something not possible before Brylcream (axle grease perhaps?). I have not seen an Australian jazz band give such respect to the whole period they present.

Leigh Barker on bass was brilliant either ‘pizzicato’ or ‘arco’. Nice to hear the bow played more than in most bands. Leigh, the leader in a group of ‘Leaders of their own bands’, doesn’t have to say much. They all know.

Tunes played were:
Set 1: Margie, Chicago Rhythm, At Sundown, Shimmy She Wobble, Crazy Rhythm, Oh Baby, 40 and Tight (known as ‘50 & Fat’ in Chicago according to Andy Schumm), Mecca Flat Blues, Chinatown.

Set 2: Dixieland One-Step, My Gal Sal, Cake Walkin’ Babies From Home, Blues My Naughty Sweetie Gives to Me, Dr Jazz, Singing the Blues, Who’sit.

Set 3: Panama, Louise, Let Me Call You Sweetheart, You Took Advantage of Me, After You’ve Gone, a Jimmy Noone selection, Shine and, as an encore, That’s a Plenty.

*Louise as in ‘every little breeze’ had me thinking of our late friend Arthur Turner who loved to quote this tune in almost every song.

*A lot of well known tunes but with Bix style beginnings and endings as tight as they come.

*Some tunes ‘sans cornet’ where John Scurry switched banjo for guitar to provide a soft blend with ‘Arco’ bass and brushes from Josh.

I retained one negative thought from my experience of the band last year at Club Cursley. The young bucks Jason and Michael were blowing competitively and for me over-blowing a bit at times to the detriment of the ensemble. This was not at all evident in the Merimbula performance. It was nicely balanced and reflected the fact that the group was ending a tour where a refined blending had been developed from the close association and the brace of gigs entailed. In ‘After You’ve Gone’ Jason played a great solo first up and looked immediately over to Michael as if to say ‘Best that!’ Michael lifted, then in turn the cornet and bass solos lifted so the whole song ascended. Great stuff. The internal friendliness and mutual respect within the band was infectious as they and we contemplate their disbanding for now and the flight out within days for Josh and Andy.

I compared notes with John Cursley before this posting and we agreed they are the best Trad Jazz ensemble around. For me, they are the best ensemble I have heard live since an afternoon at the Opera House with Rudolph Barshai and the Moscow Chamber Orchestra (wait on...they’re not Jazz – oops, didn’t notice).

Review by Bob Porter