Jen Salisbury & James Mustafa – a new Melbourne CD

Melbourne singer Jen Salisbury has just released a superb new album of love songs called Unspoken Rule. She is accompanied by a stellar group of Melbourne’s finest young jazz musicians , James Mustafa trumpet, Trent Howard tenor, Aaron Rodriguez baritone, Sam O’Halloran Guitar, Selene Messinis piano, Hiroki Hoshino bass & Tim Clifton drums. Well worth a listen to . Already had a sold out launch last night at the Paris Cat and you can catch this band at Dizzy’s Jazz Club on Saturday the 10th of June.

Peter Gaudion’s Blues Express – East Malvern RSL 19th April

Only a week to go to see one of Australia’s great bands ! For one night only ! Peter Gaudion trumpet & vocals, Ashley Gaudion saxes and vocals, Jackie Gaudion voacals, Bob Sedergreen piano, James Clark bass & Rod Gilbert drums.

Everybody welcome. You don’t have to be a member of the Victorian Jazz Club or the RSL to attend. For bookings call 9874 8870 or 0425 735 428 or you can book online at www.vjc.org.au .

 

Michael McQuaid’s New CD – Diaspora

Last Saturday night was a fantastic opportunity to hear one of Melbourne’s best bands – Michael McQuaid’s Late Hour Boys in full flight. Absolutely fabulous small group jazz reflecting the influence on Australian Jazz by the great Ade Monsbourgh. Michael McQuaid on trumpet & reeds, Jason Downes on reeds, Doug Rawson piano , John Scurry banjo & guitar, Richard Mander bass and Sandra Talty drums & vocals playing rarely heard Australian compositions such as Kelly’s Deal, Stomp Miss Hannah and the pop tunes that Ade loved such as We’ll Gather Lilacs.

A great opportunity too to purchase a copy of Michael’s brand new CD called Diaspora. Recorded in London in January 2017 Michael plays clarinet with American born Andrew Oliver who now resides in London on piano and Londoner Nicholas Ball on drums. The trio format really allows all three of these very talented musicians to stretch out individually and as a group on a great repertoire of jazz classics, some lesser know ballads and two of Michael’s own compositions Black Spur and the title track , Diaspora. Highly recommended and available at any good gig featuring the talents of Michael McQuaid.

Michael McQuaid’s Late Hour Boys – Saturday 25th March

A rare chance to hear some great small group jazz with a real Aussie flavour tomorrow night starting at 8.00 pm at the Clayton RSL , 163 Carinish Road, Clayton when the Victorian Jazz Club present Michael McQuaid and his Late Hour Boys.
Leading the band will be Michael McQuaid on reeds & trumpet, Jason Downes reeds, Doug Rawson piano , John Scurry banjo & guitar, Richard Mander bass & Sandra Talty drums.
You don’t have to be a member of the Victorian Jazz Club to attend , everybody is welcome. Bookings on 9874 8870 or 0425 735 428 or online at www.vjc.org.au.

Wednesday Night Jazz At East Malvern RSL

WEDNESDAY JAZZ AT EAST MALVERN RSL
Just a reminder that the next night of Jazz presented by the Victorian Jazz Club for 2017 at the East Malvern RSL ( 1 Stanley Grose Drive, East Malvern ) will be next Wednesday the 15th of March between 7.30 & 10.00 pm.
On stage will be John Hawes and Graeme Davies presenting Seven Up – a captain’s pick of dancing jazz from the great eras of jazz with John Hawes trumpet & vocals, Graeme Davies trombone & vocals, Cam Robbins clarinet & tenor, Chris Somerville piano, John Scurry banjo & guitar, Mike Zutenis bass and Ron Sandilands drums.
Wednesday the 19th of April – Peter Gaudion’s Blues Express with Peter Gaudion trumpet & vocals, Ashley Gaudion alto & tenor saxes & vocals, Jackie Gaudion vocals, Bob Sedergreen piano, James Clark bass and Rod Gilbert drums & vocals.
Wednesday the 17th of May – Julie O’Hara & Bopkick – Julie O’Hara vocals, Peter Baylor guitar, Dean Hilson tenor sax, Dale Lindrea bass & vocals, Lynn Wallis drums and piano – TBA
Bookings & Enquiries : 9874 8870 or 0425 735 428 or online at www.vjc.org.au.

Tony Standish

TONY STANDISH 1931-2016

 

Lifelong champion of traditional jazz

Tony Standish, who has died aged 85, was a lifelong devotee of blues and traditional jazz who inspired many local record collections.

 By Rick Sjolund and Peter Haby

Tony Standish, whose lifelong enthusiasm for traditional jazz and blues inspired many a local record collection and who is remembered as a mentor to many, has died aged 85.

He was born in Richmond on December 7, 1931, the only son of Jack and Enid Standish. His early years were spent in Aspendale and he attended school at St Bede’s in Mentone.

Tony Standish, enthusiast for traditional blues and jazz Photo: Supplied

His interest in jazz began in the 1940s and he became friends with trumpeter Bob Barnard, whose band played at the Mentone Lifesaving Club. In 1949 Tony was a founding member of The Southern Jazz Society and contributed articles to Australia Jazz Quarterly. He also recorded the Alfrey Street Stompers in 1952 that featured the brothers Bob (trumpet) and Len Barnard (drums) and Nick Polities (alto sax), who would all go onto world acclaim in the field of traditional jazz.

In the mid-1950s Tony left Australia and travelled to America. After working in Canada to finance his travels, he and his friend Jim Hanna bought a car and travelled through the US and Mexico and eventually arrived in New Orleans.

Tony’s time in New Orleans was spent with some other jazz enthusiasts seeking out the bands associated with the “New Orleans Revival”. An American jazz enthusiast, Bill Russell, had started recording the traditional jazz bands still playing in New Orleans, and his recordings had aroused interest in the continuing jazz tradition.

Tony spent a lot of his time photographing the brass bands, places of historical importance to jazz history and general life in New Orleans. Many of the photos are now in the Hogan Jazz Archives at Tulane University in New Orleans. He also sent articles to Jazz Journal.

Advertisement

Tony then travelled to England. In London, he landed the dream job for a young jazz fan with journalistic ambitions, becoming assistant editor of Jazz Journal, England’s premier jazz magazine. Tony’s interviews with visiting blues and jazz musicians, such as Muddy Waters, Memphis Slim and members of the George Lewis and Kid Ory bands, are still cited today.

In 1959 he set up Heritage Records to reissue blues records from the 1920s and jazz recordings from the early 1950s of the George Lewis band from New Orleans.  He reissued titles by Charlie Patton, Memphis Minnie, Papa Charlie Jackson, Blind Blake, Blind Lemon Jefferson and Ramblin’ Thomas. He also issued albums by Joel and Lightning Hopkins, The Black Ace, Snooks Eaglin and Buster Pickens. These later albums consisted of tracks recorded by researchers Mack McCormick and Chris Strachwitz in Texas and New Orleans during 1959 and 1960. These records were very influential in the English blues and jazz scene of the time and today they are highly regarded and very collectable.

In 1960 Standish also led the way when he co-published Eureka – The Magazine of New Orleans Jazz with fellow jazz historians Bill Colyer and Graham Russell.   It featured many articles by Standish and photos taken on his initial journey to the birthplace of jazz.

In 1963 he returned to Australia with his wife Barbara, who he met in England, and their daughter Kate.

Tony opened his Heritage Record Shop above Frank Traynor’s Folk Club in Little Lonsdale Street. It was only open on Thursday and Friday evenings and Saturday mornings, but soon became a meeting place for devotees of traditional jazz, blues and folk music.

For young enthusiasts, it was a slightly intimidating first experience as all the customers standing around talking seemed to know much more about the music.  However Tony was keen to pass his knowledge on and his recommendations helped form the start of many record collections. It was a great place to meet and after closing time, many of the customers went with Tony to the Continental Hotel to continue conversations about music, football, cricket and politics.

Tony was keen to pass his knowledge on and his recommendations helped form the start of many record collections

Tony started a jazz club in the Continental Hotel. The band featured Frank Turville on trumpet, who had recently returned from a successful tour of Europe as a member of the Melbourne New Orleans Jazz Band.  Turville’s international reputation inspired Melbourne’s Yarra Yarra Jazz Band and Geoff Bull’s Olympia Jazz band in Sydney.

Standish recorded the Bull band in 1971.  His last release on his own label Heritage, now highly prized by collectors, was by the bluesman Smith Casey, an inmate at Clemens State Farm, Brazoria, Texas, who recorded for the Library of Congress in 1939.

During this time Tony’s day job was assistant manager of Ramsay Surgical Medical Bookshop. He was promoted to manager and in 1975 decided to open his own medical bookshop with two of his colleagues. The bookshop, Standish Prideaux & Pye, opened just two doors down from the Ramsay shop in Berkeley Street, Carlton, very close to the Melbourne University Medical School. The shop became very successful and expanded into library supply.

Tony had friendly relationships with many medical librarians around Australia, contributing greatly to the success of the business. In 1995 he sold his share in the business to his remaining partner, Michael Prideaux.

Tony retired to Mount Martha and started a small mail-order record outlet, Standish & Co. This enabled him to re-establish his many contacts with traditional jazz collectors, and he imported many CDs that customers were having difficulty finding elsewhere. The internet also enabled him to contact his old friends from England, Europe and the United States.

Tony’s other great love was gardening, and he spent much time tending the native plants he was so enthusiastic about. He was also a long-suffering Richmond supporter who longed for a resurgence in the club’s fortunes.

Tony passed away on December 17, and is survived by his wife Barbara, daughters Kate and Jane, and son Marty.

His passing was acknowledged by many overseas blues and New Orleans jazz collectors.

Labor Day Weeeknd 2017 Live Jazz

Labor Day Weekend Jazz 2017

 There will be plenty of live traditional jazz in and around Melbourne this week and over the Labor Day weekend. A sample is as follows :

Thursday… ( 9th March )

. Ruby Page & the Joe Ruberto Jazztet, Rising Sun Hotel , South Melbourne        6.30 – 9.30 pm

Over the Labor Day Long Weekend from Friday night through to Monday afternoon is the Inverloch Jazz Festival  with three venues. Program details  www.inverlochjazzfestival.com.

Friday

Sugarfoot Ramblers with Georgie Darvides  – Paris Cat , Melbourne – 9.30 pm

Eamon McNelis with Barry Wratten, Mark Fitzgibbon, Sam Anning & Lynn Wallis at the Uptown Café , 177 Brunswick Street , Fitzroy between 9.00 & 11.00 pm.

Saturday

The 2017 Mussell Festival at South Melbourne Market from midday until late on Saturday and Sunday will feature live entertainment including Margie Lou Dyer, Simon Stribling, Paul Williamson, Shuffle Club, Horns of Leroy, the Pearly Shells and many more….

Sugarfoot Ramblers at the Victorian Jazz Club at Clayton RSL between 8.00 & 11.00 pm call 9874 8870 or www.vjc.org.au

Sunday

The Louisiana Shakers – Clyde Hotel , Elgin Street Carlton between 2.00 & 5.00 pm

New Melbourne Jazz Band – Royal Hotel , Upper Fern Tree Gully between 12.30 & 3.30 pm

Stevenson’s Rockets – Emerald Hotel , South Melbourne between 7.00 – 10.00 pm.

Margie Lou Dyer – Claypots St Kilda – 8.00 – 11.00 pm.

Wednesday ( 15th March )

The Victorian Jazz Club present the John Hawes – Graeme Davies 7 Up with John Hawes on trumpet & vocals , Graeme Davies trombone & vocals, Camm Robbins reeds, Chris Somerville piano, John Scurry guitar, Mike Zutenis bass and Ron Sandilands drums. At the East Malvern RSL, 1 Stanley Grose Drive, East Malvern from 7.30 until 10.00 pm. Bookings and enquiries 9874 8870 or online at www.vjc.org.au.

 

And that’s just some of the great live jazz around Melbourne this week !

 

 

100 Years Of Recorded Jazz

100 Years of Recorded Jazz

Last week the 26th of February marked the day when five young New Orleans musicians known as the Original Dixieland Jass Band recorded the “ Livery Stable Blues “ at the Victor Talking Machine Co. in New York City in 1917. On the other side of the 78 was “ the Dixieland Jass Band One Step “. The record went on to be a million seller propelled jazz into the public consciousness .
The Original Dixieland Jass Band were an overnight sensation touring Europe performing a command performance for King George V amongst other society events.
Trumpeter with the band , Nick La Rocca, courted controversy by claiming that he was the “ creator of jazz “ and that jazz was the invention of white New Orleans musicians who influenced copyist African – American musicians. His derogatory remarks about African – American musicians are still regarded as valueless and inflammatory and much of the controversy surrounding his statements is currently debated in the contemporary music press and internet sites.
Last week John Smyth presented a radio special on Melbourne community radio station 3CR on those heady times and on the changes in jazz sounds and recording techniques and quality reflecting this fascinating story over the last century. John Smyth is a regular presenter of Jazz On A Saturday on radio 3CR ( 855 AM ) which has been sponsored by the Victorian Jazz Club for the last forty years between 4.00 & 5.30 pm Australian Eastern Standard Time. The show can be heard live on 3cr.org.au and his show on the last century of recorded jazz can still be heard on the 3CR website on audio on demand for the next 24 hours.

Jazz News – Port Fairy, Eltham & Wangaratta

Welcome to the first posting on Jazz Ramble for 2017. Jazz Ramble was the initiative of Jane La Scala which she established in 2011 and was managed solely by her until shortly before her death in Melbourne on the 23rd of March 2016. With the first anniversary of Jane’s death next month we continue Jazz Ramble in her memory .

In the last few months there has been a lot going on in the jazz scene in Victoria with the 71st Australian Jazz Convention being held at Ballarat at the end of 2016 . That will be reported in detail in the forthcoming edition of the Victorian Jazz Club’s Jazzline magazine. In recent weeks we are glad to hear that the first Port Fairy Jazz Festival on the weekend of the 10th to the 12th of February has been a huge success musically and socially.
Port Fairy Jazz Festival:
Pianist David Lole who was one of the many busy musicians at Port Fairy has described the weekend on facebook as follows :
“ If ever there was a case for proffering accolades for a job well done, the township of Port Fairy should win the top gold medal and trophy for their sterling efforts this last weekend.
When Hall’s Gap Jazz Festival legends Peter Milburn and Veronica Massie decided enough was enough and nobody picked up the towel, along came the extraordinary John Huf and friends who decided that February in Hall’s Gap was just too darn hot and bushfire prone to hold a festival in this most scenic spot and hence the Port Fairy Jazz Festival was born.
So the inaugural PFJF is now done and dusted and what a ball was (hopefully) had by all. The weather was mostly brilliant (for me at least. I abhor excessive heat, dust and wind and Hall’s Gap for all its incredible beauty had not been so kind these last few years including the massive power failure in 2014 caused by unrelenting 40+ degree heat that saw the cancellation of Saturday night’s program) and even the rain gave way to some sunny breaks and a freshening cool breeze on Sunday.
Port Fairy is located about a four hour drive west of Melbourne, midway between the coastal towns of Warnambool and Portland. It is steeped in history and contains a wealth of early Victorian heritage including the state’s oldest pub. Although relatively small in size, this township possesses a vibrant and friendly town folk, a bevy of fine restaurants, pubs, bars clubs, shops, motels, apartments etcetera and many fine historic theatres and halls that were mostly very suitable for harbouring the many faces of the sometimes difficult to define idiom of jazz. There is also a scenic harbour, lovely coastal river and estuary, fine sanded beaches, rocky headlands and one hell of a southern ocean!
The organising committee and their merry band of volunteers did Port Fairy and themselves proud with their efforts of looking after what seemed to be a very healthy number of musicians (my guess about 350), 116 bands and perhaps 1500 keen listeners. Just a simple gesture in providing every venue with a regularly replenished bucketful of chilled water bottles for the muso’s paid testimony to the thoughtfulness and planning that went into this most successful event.
On Saturday morning a traditional Street Parade was performed along Sackville St led by town crier, Ralph Leutton. The attendance by musicians was a little disappointing in number, although some of the costumes and dress ups in the festivals colours of purple and gold were very eye-catching. The crowds lining both sides of Sackville helped with the general ambiance. Must say the music direction by Ken Collins at the all in blow at the Fiddlers Green made for some very reasonable playing indeed, with many speeches, including the official inaugural festival opening address delivered by the mayor of Moyne, Jim Doukas to more than decent crowd with Rod Carter, the President of the Western Victorian Jazz Productions Inc. representing the Festival Committee.
The gospel church service was held on Sunday morning at St Johns Church. I was otherwise occupied down the road and missed the service, but I have subsequently been told by a distinguished looking, tall, local gentleman, this was a most successful part of the festival with a packed attendance and in parts so moving, many people were brought to tears. The young guns, Shirazz providing the marvellous ambiance with the help of a few spine tingling vocals from the great Susy Hull of Slipdixie fame. Susy’s tone needs to be heard to be believed. You may like to know, I don’t actually believe in God(s), but I do like a lot of Christians and the way they live and interact with other people. And I really like playing/listening to gospel music, especially played by good bands like Shirazz. After hearing all of the above second hand, I might just have to go next year and perhaps I could tell all of this to you on a mountain. Food for thought?
The general standard of jazz at Port Fairy seemed to be on par with previous (Hall’s Gap) festivals but I saw major improvements with more sound crew on hand, better fold back systems provided and the all indoor venues mostly very well attended. Only the St Pat’s church was a bit of a hike and my two sets there saw no more than twenty in attendance. One acoustic piano had seen better days and probably be replaced/substituted with something better acoustic or a digital. Of the many venues, the Reardon was very well utilised by patrons, had excellent acoustics but the grand piano was off and below stage and needs to be relocated (if at all possible) to allow for far better band interaction. (I’m a piano player, by the way). I enjoyed the Lecture Hall and the beer garden at the Star of West. Having a couple of outdoor venues is not a bad thing but the weather was not so kind on Sunday and I’m not sure what contingencies were on hand to cope with the program if it really came tumbling down.
The Program
I was heavily committed (playing in seven bands, registering just one of my own) at the festival and only managed to see limited acts during the weekend. I can’t talk at length about so many of the great acts on hand, but I did manage to see the wonderful Sarah Maclaine with her excellent band on Friday night. Graham Steele was majestic with his trumpet in this set. The Slipdixies were just terrific. Very much in the mould of Tuba Skinny, this band really delivered a polished New Orleans styled performance. Thanks to Claire for introducing me to this band. The crowd was going gangbuster for the set we attended. Shirazz was incredibly well supported both times on Saturday; I couldn’t get in to see them but heard a little from the street outside. Of course, at the very popular Hot ‘B’ Hines sets, it was a virtual “hanging from the rafters” affair and as I came straight from another gig, missed the boat to see these guys again. A lot of disappointed people were turned away, but there is nought you can do about it. Maryborough Traditional Jazz Ensemble are always a most entertaining band to hear and their performance in the beer garden was pretty darn good considering there was no bass player. Bob Franklin did a fine job filling in with his left hand on piano. I also got to see the gorgeous Juliarna Clark and her Heart Band, Royal Garden Jazz Band and a little of Dave Gardner’s Quartet. James Clark, Derek Dalton and Peter Hooper rank right up there in the playing stakes, and all featured in some way in some or all of these bands. I was disappointed I missed hearing and talking to Kim and Anita Harris (I saw Anita taking lots of pictures, but I was playing each time). Two of my very favourite people and their Well Versed Harris Duo is always a special treat. Drat! But I did get to see my dear friends, Dave Richard and Lynne Gough perform at the Hub, a casual venue. Their duo, Blue Tango, possess such a wonderfully eclectic song list with plaudits to their take on Burt Bacharach’s, The Look of Love, amongst several others, including one of their many hilarious lyrical parodies they write to well known tunes. Great stuff, you two!
The final set I want to tell you about was the Hot “B” Hines Workshop on Sunday Morning. The convenor was a staff member from the James Morrison Jazz Academy at Mt Gambier (sorry, I cant remember his name) who introduced the session, handing the running of the event over to a brilliant Ken Collins who gave the big audience a very fine breakdown on the workings of a traditional jazz band. Wally Joosen sang and showed us the rudiments of the drum kit, Dave Hines sang and played his banjo, John Huf belted out some good stuff on the sousaphone, Barry Currie sang and played the clarinet and sax, Bill Beasley sang and played his trombone and Ken talked about everything you ever wanted to know about jazz (but were afraid to ask), sang and played his trumpet. All the guys talked briefly about their musical upbringings. The working tune for the tutorial was the standard “Won’t You Come Home Bill Bailey”. This was an innovative and most enjoyable session. I only have one criticism. It wasn’t long enough! Perhaps another quarter to half an hour, as a lot people around me were eager to ask questions but time was up and another band was programmed to play at 12 noon. Perhaps holding these excellent educational interludes in a separate venue would be an even better idea? Or start a half hour earlier? I believe a great time was had by all in attendance.
Summing Up
I talked with John Huf yesterday who wanted me to relay his most sincere thanks to the hundreds of fine musicians who generously provided their musical skills to make this inaugural jazz festival such an outstanding success and also his gratitude to the same group for putting their trust and compliance in the organising committee to program them as best it could. He also mentioned how delighted he was with the manner in which they conducted themselves and for also keeping the program timetable bang on time! I share these sentiments to an absolute tee.
To the organising committee, the helpers, volunteers, sound guys, stage managers, door attendants and anyone else who provided/made/put up/pulled down the many goods or services, banners, posters, logos etc for the festival …. hearty congratulations on a great effort. To Veronica and Peter who assisted handing over the reins with a seamless transition to the new location. You two are worth your weight in gold!
And to the biggest group, who are sometimes a little overlooked …. the listeners. You guys are the best. The maximum audience capacity at Port Fairy was not too far more than the actual number who turned up this inaugural year. Thus, when word gets out how good it was and, without a skerrick of doubt, next year will only be better as this highly competent committee tweak their systems, I’d be booking/rebooking immediately in order to get yourself a bed for 2018. Just watch the gougers! I’ll see you there, all things being equal.”

David Lole has very accurately summarised the spirit of the inaugural port Fairy Jazz Festival so if you’re interested it would be wise to book early for Port Fairy 2018.
Eltham Jazz Festival 2017:
This weekend on Saturday the 26th of February and Sunday the 26th is the Eltham Jazz Food and Wine Festival with three stages central to the Eltham shopping centre. The music starts tomorrow morning at 11.45am with a program strongly emphasising jazz, blues and folk music. On the jazz side of things you can hear Michelle Nicolle, Shirazz, Barry Wratten & the Crescent City Connection and the New Orleans Pelicans Brass Band. For more details of artists and times go to elthamjazz.com.au.
Other Jazz News :
Talking of Eltham this weekend, the Syncopators have the launch of their new CD The Pearls at Montsalvat this Sunday afternoon. Too late if you haven’t booked as it was booked out over a month ago just showing that the audience is there for great traditional jazz as presented by the Syncopators. The Syncopators will be holding another release concert some time in April before their forthcoming overseas tour.

The Australian Jazz Museum at 15 Mountain Highway , Wantirna has been carefully keeping , restoring and safeguarding rare items of Australian jazz heritage including photos , recorded music, books and magazines and musical instruments belonging to legendary Australian jazz musicians. You will have your chance to see some of these treasures at the Museum on Sunday the 30th of April 2017 between 10.00am & 3.00 pm. See ajm.org.au.

During the week the board of the Wangaratta Jazz Festival announced that it will not be renewing the contract of Adrian Jackson as artistic director of the festival. Adrian has been the artistic director of the Wangaratta Jazz Festival since the first festival 26 years ago. As yet his replacement has not yet been announced nor any succession planning to ensure the smooth transition of the Festival in to new management hands. We thank Adrian for innovative management of the Festival over the last 26 years and no doubt in Australia there are few equals to Adrian Jackson in the scope of his depth of understanding of and enthusiasm for jazz in Australia and worldwide.

Announcing the death of Jane La Scala

Dear Followers of Jazz Ramble,
We are very sad to announce the death of our mother, the wonderful Jane La Scala, who created Jazz Ramble in 2011 and enjoyed sharing her love of jazz with the world.
We know Jazz Ramble gave her a great deal of joy and allowed her to connect with many wonderful musicians and lovers of jazz in all corners of the globe.
Thank you for making her life richer and we have no doubt she made life more interesting for all of you.
with sadness, but joy as well,
her daughters Mary & Barbara