Melbourne International Jazz Festival

A glorious experience

By Christine Moffat

Chucho Valdés is truly a genius. He is an innovative virtuoso who, after more than 50 years as a pianist and band leader, is still composing and playing with panache and energy. He also has a long history of award-winning composition and performances, and is a teacher and practitioner of Afrocuban-Jazz.

His band The Afro-Cuban Messengers (Gaston Joya on bass, Rodney Barreto on drums, Yaroldy Abreu Robles on congas and Dreiser Durruty Bambole on bata) are labelled on Valdés’ official website as “a group of Cuban phenoms” – this is an apt description, as they are the epitome of artistry and dynamism.

The composition ‘Blues Scherezada’, one of the few songs with minimal percussion, was a masterclass in jazz fusion, with amazing bowing work by bassist Joya. The majority of the pieces performed involved driving rhythms of Barreto, Robles and Bambole in a truly Afrocuban way, intertwinging classic African call and response vocals with a Latin beat.

Last night’s performance was a testament to the effect jazz can have on the body and mind. Valdés’ style of Aftocuban-Jazz is a heady combination of sophisticated piano and bass with those powerful drums.

The mixture of sound sparkled and bounced around Hamer Hall like light refracting off a polished gemstone. The audience was transported by the music, and rose for a standing ovation for the final number, and for the encore that we were given in response.

If you have the opportunity to see this act live, do not miss it. You will be rewarded with an evening of unparalleled jazz, from a fabulous ensemble led by a man well and truly in his musical prime. Amazing.

Chucho Valdés and the Afro-Cuban Messengers performed at Arts Centre Melbourne, Hamer Hall on 8 June 2013 pm as part of the Melbourne International Jazz Festival. See www.melbournejazz.com for more details.

Jazz queen reigns with a wave of her hand

By Anastasia Slipper

The anticipation was palpable as one of the world’s foremost jazz musicians walked onto the stage. Yet she didn’t hold an instrument or approach a microphone. In fact she didn’t make any sound at all. She merely held up a hand, and with a few gestures created exciting, complex and subtle music.

This mysteriously silent musician whom everyone had come to see was arguably the premiere big band composer and arranger of the last three decades – Maria Schneider. And her instrument? An eighteen-piece jazz orchestra, that she played like a puppet master, pulling all the strings to elicit finely-tuned dynamics and expressive solos.

From boisterous grooves such as ‘Gumba Blue’ to the haunting hymn-like lyricism of ‘Sky Blue’ the Sydney-based Jazzgroove Mothership Orchestra effortlessly rose to the task of interpreting Schneider’s sumptuous works under the watchful eye (and hand) of the composer herself.

Members of the band were given plenty of soloistic freedom and space, resulting in some exciting improvisation, especially from sax players Roger Manins and Richard Maegraith. The blend of finely-crafted structure and precision together with sections of improvisatory exploration was exquisite, and a real feature of Schneider’s work.

Earlier in the evening, the band opened with a set of tunes by young Canadian composer Darcy James Argue, who also conducted his works. While not in the same league as Schneider, Argue’s style was innovative and energetic, using colour and effects extremely well. An early trumpet solo from Ken Allars featured half-valve techniques set against a backdrop of muted trombones, and set the tone for an enjoyable first set.

These two internationally-acclaimed composers, along with a fabulous Australian band, are proof that the big band era lives on – and has a great future ahead of it.

Maria Schneider, Darcy James Argue and the Jazzgroove Mothership Orchestra performed on June 6, 2013 as part of the Melbourne Intermational Jazz Festival.