Thursday, 8 October 1998

Still young at heart


Thursday October 8, 1998


Music

Gery Scott’s 75th Birthday Concert

School of Arts Cafe

Tuesday October 6, 1998


by Michael Foster


Age has not wearied her, as she showed in one of her best performances for some time.


She worked the audience with all the skill of her years on stage, the intimacy of the cafe, and the warmth of a room full of people who wanted to hear her sing, again, the songs she loves.


Gery Scott - worked the audience with skill


Another emotion entered the equation when, to open the second set, the Stephen’s family had three guests offer the gift of song. Eve Wheeler, one of the best of Scott’s present jazz vocals students, Colin Slater with whom Scott recently staged A Touch of the Sinatras, and Kristen Cornwell, one of Scott’s first and best students.


Cornwall, down from Sydney, was herself lifted at the news that she was in the finals of the Wangaratta Festival of Jazz vocal competition later this month.


Scott was backed by Tony Magee on piano, Scott Dodd on bass and Colin Hoorweg on drums, all in great form, Dodd and Hoorweg each contributing moving solos.


The program, interspersed with the odd anecdote, philosophical or otherwise, flowed as it always does, with a number of medleys enabling many great songs to be sung. She opened with Once in a Lifetime and closed with That’s All. In between there was an anthology of favourites from blues to Beatles, including The Best is Yet to Come. Please!


First published in The Canberra Times, Thursday October 8, 1998






 

Monday, 3 August 1998

Magee branches out from piano playing


Monday August 3, 1998

ALL THAT JAZZ

by Michael Foster

 VOICE lessons from Gery Scott have inspired Tony Magee to branch out from piano playing.

He has formed a “flexible” band to back him as singer, and called the compact version Watch What Happens and the larger 8 piece ensemble, Ultra Lounge.

“First and foremost, my main inspiration was to preserve the Sinatra legacy.” Magee said.

“Also, I have a fondness for Latin Amercian standards, particularly as performed by Dean Martin and Astrid Gilberto, and the songs of Jobim. Plus, I’m a Mel Tormé and Jack Jones freak, so they are another big influence on my singing style and repertoire choice.

“From Gery, her main focus has been on phrasing and diction, as well as building confidence in extending my upper range. Also, she has helped me with breath control so much. My first singing teacher, David Parker, drummed all that into me as well.

“Something else which made a huge impact on me, was a master-class I attended with American jazz singing icon Mark Murphy. You and Gery organised that Michael! 

“He made us all lie down on the floor and then stepped on us all, with his foot firmly placed on our diaphragms, highlighting the significance of the pressure needed to sustain breath control.”   

The band can vary from quartet upwards or outwards and so far has included Andrew Hackwill on alto sax, Andrew Piper on trumpet and flugelhorn, Lane Moore and Rod Harding on trombone, Greg Stott on guitar, Wayne Kelly and Rose Eirlert on keyboards, Brendan Clarke, Duncan Brown or Scott Dodd on bass, Colin Hoorweg on percussion and Matt Moore or Mark Sutton on drums.


First published in The Canberra Times, August 3, 1998



Wednesday, 1 July 1998

What's on: Live Jazz in Canberra - July and August 1998, with Tony Magee

July and August present a number innovative new ventures within the jazz genre in Canberra. 

The Southern Cross Club will feature a series called The Evolution of the Duck which traces the history of one of Australia's longest established and most respected jazz ensembles - The Galapagos Duck. The first concert, subtitled Nostalgic, presents a musical journey from the creation of the Ducks in the early 1970's to where they are today. Some great songs will be featured including Stevie Wonder's All In Love Is Fair and Isn't She Lovely as well as Bacharach's, The Look Of Love. Concert Two (The Present) highlights the current lineup and repertoire which includes many original compositions. Concert Three (Futuristic) is unusual in that it will attempt to portray future musical directions and lineup possibilities - should be interesting! Founding member of the group, Greg Foster, is featurted in all three concerts. Ring the Southern Cross Club for dates and booking details on 6283 7200. 

Also at the Cross in August (date still to be set), will be A Touch Of the Sinatras - a concert devised and performed by Canberra's jazz and cabaret legend Gery Scott and respected singer and theatre performer Colin Slater, with musical direction by pianist John Black. The show will of course feature many of the great hits that Sinatra brought to life during his long and illustrious career plus one or two surprises that should send some aficionados running for their discographies to see "if he really did record that" - yes, he did!

Rydges Capital Hill have recently introduced a Sunday jazz and lunch package in their Fig Tree Cafe, complimenting their Saturday night jazz series in the Burley Griffin Restaurant at Rydges Canberra. Hyatt are also continuing their Jazz in the Tea Lounge series on Fridays. Great to see some of the major hotels supporting live music from local musicians.

Originally published in Muse Magazine (Canberra), July 1998



Review: "AN EVENING WITH WARREN KERMOND", School of Arts Cafe, May 27 1998, by TONY MAGEE

Song and Dance Man, Warren Kermond is one of a dwindling breed of true variety entertainers.  His work as an entertainer has spanned over 40 years, being trained as an acrobat and tap dancer and developing further skills as a mime act, singer, comedian, song and dance man, musical theatre and cabaret artist.

Many of his skills and show-biz persona were learnt through the school-of-hard-knocks along with Helen Reddy and Toni Lamond, under the guidance of Max Reddy and Stella Lamond. 

Let me say straight out, that I've not seen many performers who work as hard on stage as Warren Kermond. The man virtually gave us his soul, such was the energy with which he performed.

The show was somewhat autobiographical, starting with the Vaudeville days, which is essentially where I think Kermond's heart lies. An excellent Al Jolson Medley and a dedication to Joe Martin (whom Kermond sights as a major influence) with the song The Sweetheart Tree (used in the film The Great Race) were highlights of this segment.

Kermond's considerable skills as a tap dancer were showcased in songs such as Smile, Me and My Shadow, and Everything Old Is New Again as the show continued, this time focusing more on the days of the Tivoli and early Australian television variety shows.

Act II featured three segments: Songs From the Shows, another Tap display and then more Songs From the Shows, but this time ones he had been in. I must admit that whilst there was much to enjoy along the way, I found this act lacked structure and was quite repetitive. Kermond's repertoire is indeed vast, but much of his vocal style, stage presence, song structure and forms are in the vaudeville style - something that we had seen plenty of in the first act.

However, his rendition of Sit Down You're Rocking The Boat from Guys and Dolls was outstanding and I would really have liked to have seen some more of his characterisations. Tonight from Westside Story was given an interesting treatment, moving from a swing feel, through a beguine and then a tango.

I'm not convinced that performance skills honed to deliver a short spot as part of a larger variety show, or indeed even a daytime club-act, automatically transfer to a long evening cabaret (two and three quarter hours to be exact), however in the interests of balance, those around me on the night seemed to enjoy the show immensely.

Originally published in Muse Magazine (Canberra), July 1998

Saturday, 16 May 1998

Frank Sinatra Dies at 82; Matchless Stylist of Pop



by Stephen Holden

May 16 1998


Frank Sinatra, the singer and actor whose extraordinary voice elevated popular song into an art, died on Thursday night in Los Angeles. He was 82.


Sinatra performing at his 75th birthday concert. Photo: Bill Kostroun AP

The cause was a heart attack, said his publicity agent, Susan Reynolds. Ms. Reynolds said his fourth wife, Barbara, his son, Frank Jr., and daughters, Tina and Nancy, were at his side at Cedars-Sinai Medical Center. She said he would be given a private funeral.


Widely held to be the greatest singer in American pop history and one of the most successful entertainers of the 20th century, Sinatra was also the first modern pop superstar. He defined that role in the early 1940's when his first solo appearances provoked the kind of mass pandemonium that later greeted Elvis Presley and the Beatles.


During a show business career that spanned more than 50 years and comprised recordings, film and television as well as countless performances in nightclubs, concert halls and sports arenas, Sinatra stood as a singular mirror of the American psyche.


His evolution from the idealistic crooner of the early 1940's to the sophisticated swinger of the 50's and 60's seemed to personify the country's loss of innocence. During World War II, Sinatra's tender romanticism served as the dreamy emotional link between millions of women and their husbands and boyfriends fighting overseas. Reinventing himself in the 50's, the starry-eyed boy next door turned into the cosmopolitan man of the world, a bruised romantic with a tough-guy streak and a song for every emotional season.


In a series of brilliant conceptual albums, he codified a musical vocabulary of adult relationships with which millions identified. The haunted voice heard on a jukebox in the wee small hours of the morning lamenting the end of a love affair was the same voice that jubilantly invited the world to ''come fly with me'' to exotic realms in a never-ending party.


Sinatra appeared in 58 films, and won an Academy Award as best supporting actor for his portrayal of the feisty misfit soldier Maggio in ''From Here to Eternity'' (1953). As an actor, he could communicate the same complex mixture of emotional honesty, vulnerability and cockiness that he projected as a singer, but he often chose his roles indifferently or unwisely.


It was as a singer that he exerted the strongest cultural influence. Following his idol Bing Crosby, who had pioneered the use of the microphone, Sinatra transformed popular singing by infusing lyrics with a personal, intimate point of view that conveyed a steady current of eroticism.


The skinny blue-eyed crooner, quickly nicknamed The Voice, made hordes of bobby-soxers swoon in the 1940's with an extraordinarily smooth and flexible baritone that he wielded with matchless skill. His mastery of long-lined phrasing inspired imitations by many other male crooners, notably Dick Haymes, Vic Damone and Tony Bennett in the 1940's and 50's and most recently the pop jazz star Harry Connick Jr.


After the voice lost its velvety youthfulness, Sinatra's interpretations grew more personal and idiosyncratic, so that each performance became a direct expression of his personality and his mood of the moment. In expressing anger, petulance and bravado -- attitudes that had largely been excluded from the acceptable vocabulary of pop feeling -- Sinatra paved the way for the unfettered vocal aggression of rock singers.


The changes in Sinatra's vocal timbre coincided with a precipitous career descent in the late 1940's and early 50's. But in 1953, Sinatra made one of the most spectacular career comebacks in show business history, re-emerging as a coarser-voiced, jazzier interpreter of popular standards who put a more aggressive personal stamp on his songs.


Almost singlehandedly, he helped lead a revival of vocalized swing music that took American pop to a new level of musical sophistication. Coinciding with the rise of the long-playing record album, his 1950's recordings -- along with Ella Fitzgerald's ''song book'' albums saluting individual composers -- were instrumental in establishing a canon of American pop song literature.


With Nelson Riddle, his most talented arranger, Sinatra defined the criteria for sound, style and song selection in pop recording during the pre-Beatles era. The aggressive uptempo style of Sinatra's mature years spawned a genre of punchy, rhythmic belting associated with Las Vegas, which he was instrumental in establishing and popularizing as an entertainment capital.


By the late 1950's, Sinatra had become so much the personification of American show business success that his life and his art became emblematic of the temper of the times. Except perhaps for Hugh Hefner, the founder of Playboy magazine, probably nobody did more to create a male ideal in the 1950's. For years, Sinatra seemed the embodiment of the hard-drinking, hedonistic swinger who could have his pick of women and who was the leader of a party-loving entourage.


That personality and wardrobe, borrowed in part from his friend Jimmy Van Heusen, the talented songwriter and man about town who liked to insouciantly sling his raincoat over his shoulder, was, in turn, imitated by many other show business figures. It was a style Sinatra never entirely abandoned. Even in his later years, he would often stroll onto the stage with a drink in his hand.


On a deeper level, Sinatra's career and public image touched many aspects of American cultural life. For millions, his ascent from humble Italian-American roots in Hoboken, N.J., was a symbol of ethnic achievement. And more than most entertainers, he used his influence to support political candidates. His change of allegiance from pro-Roosevelt Democrat in the 1940's to pro-Reagan Republican in the 1980's paralleled a seismic shift in American politics.


By the end of his career, Sinatra's annual income was estimated in the tens of millions of dollars, from concerts, record albums, real estate ventures and holdings in several companies, including a missile-parts concern, a private airline, Reprise Records (which he founded), Artanis (Sinatra spelled backward) Productions and Sinatra Enterprises.


Sinatra left his imprint on scores of popular songs and was the background voice, it seemed, for the romances of most Americans, from the earliest to the second time around. Among the standards he recorded at least three times were ''All or Nothing at All,'' ''Angel Eyes,'' ''Autumn in New York,'' ''I Concentrate on You,'' ''I Get a Kick Out of You,'' ''I'll Be Seeing You,'' ''I'll Never Smile Again,'' ''I've Got a Crush on You,'' ''I've Got You Under My Skin,'' ''Nancy (With the Laughing Face),'' ''Night and Day,'' ''One for My Baby,'' ''September Song'' and ''Stormy Weather.''


His personal signature songs included ''Put Your Dreams Away'' (his 1945 theme) and later ''Young at Heart'' (1954), ''All the Way'' (1957), ''It Was a Very Good Year'' (1965), ''Strangers in the Night'' (1966), ''My Way'' (1969) and ''New York, New York'' (1980).


For decades, his private life, with its many romances, feuds, brawls and associations with gangsters, was grist for the gossip columns. But he also had a reputation for spontaneous generosity, for helping singers who were starting out and for supporting friends who were in need. And over the years he gave hundreds of millions of dollars to various philanthropies.


First published at The New York Times, May 16, 1998





Friday, 15 May 1998

Frank Sinatra Dies At 82 - Heart Attack Claims Balladeer


Saturday May 16, 1998


Photo: Adam Butler 1992 / PA / Getty Images


by Minerva Canto

May 15, 1998


LOS ANGELES - Frank Sinatra, the brash young idol who became the premier romantic balladeer of American popular music and the "Chairman of the Board" to millions of fans, has died of a heart attack. He was 82.


Sinatra, who had not been seen in public since a heart attack in January 1997, was pronounced dead at 10:50 last night in the emergency room of Cedars-Sinai Medical Center, said his publicist, Susan Reynolds.


Earlier in the evening, Sinatra had been taken to the hospital by ambulance with an unspecified distress, said a source who requested anonymity. It was not immediately clear where he suffered the heart attack. But his wife, Barbara, was with him when he died and the rest of his family arrived a short time later, the source said.


A private funeral was planned, but details weren't immediately announced. The Sinatra family has a plot at Desert Memorial Park near Palm Springs.


"Ol' Blue Eyes" was a master craftsman and ranked as one of the most influential singers in U.S. history. With more than 200 records, he led the evolution from Big Band to vocal American music.


The blunt, often aggressive son of Italian immigrants communicated across generational lines with love songs filled with a rare mix of vulnerability and verve - from "Strangers in the Night" to "One for My Baby."


He refused to compromise - "I'm going to do as I please," he once said - and his trademark song was "My Way."


He made almost as much news offstage as on. Through his "Rat Pack" and organized-crime associations, he was a cultural phenomenon who endured setbacks and scandals to become a White House intimate.


Once, in the early 1950s, his career appeared to be over, but he came back with a movie performance in "From Here to Eternity" that brought him an Oscar for best supporting actor. He retired in 1971 but found himself unable to stay away from the microphone.


Sinatra had said he never took voice lessons except to extend his range, and never learned to read music.


He received the Kennedy Center honor in 1983 and was awarded the Medal of Freedom by his friend President Reagan in 1985.


Francis Albert Sinatra was born Dec. 12, 1915, in a tough, working-class neighbourhood of Hoboken, N.J. In the difficult delivery, his left earlobe was torn off and his throat was scarred by forceps; the doctor thought him stillborn. His grandmother shoved the 3-pound baby under cold running water and signs of life quickly emerged.


Sinatra's father, Martin, was a boxer and member of the fire department. His mother, Dolly, was a nurse who became a power in local Democratic politics.


Francis, their only child, spent much of his early life with his maternal grandmother but was spoiled by the entire family and lavished with gifts and fine clothes. He soon learned to fight off the envious children in the neighborhood and became the leader of a gang that specialized in petty thievery until they moved to a nicer neighborhood.


He picked up what jobs he could, and as a member of a quartet won the Major Bowes Amateur Hour in 1935. By 1939 he was singing with bandleader Harry James, for $65 a week, but soon joined trombonist Tommy Dorsey, who had the reputation of showcasing singers.


He began swimming and running to improve his lungs, and learned to breathe in the middle of a note without breaking it. He was the first popular singer to use breathing for dramatic effect, and learned to use his microphone to enhance his voice.


By the end of 1941, Sinatra replaced Crosby at the top of the "Down Beat" poll. He broke from the band in 1942 and, with a series of concerts at New York's Paramount Theater, burst into the nation's awareness in a way that was not matched until the arrival of Elvis Presley in the '50s.


His appearances created such hysteria and fits of swooning that newspapers turned to psychiatrists for explanations of "Sinatramania."


Sinatra, classified 4-F in World War II because of a punctured eardrum, kept piling up the hits, but before the '40s was over, Sinatra's career was spiralling downward.


His name became linked to mobsters when he visited Cuba at the same time organized-crime leaders were gathering there and spent time with Lucky Luciano. He suffered a vocal cord hemorrhage and was forced to remain absolutely silent for 40 days. His record sales declined. A romance with Ava Gardner led to the end of his marriage to longtime sweetheart Nancy Barbato, who married him in 1939 and bore three children - Nancy, Frank Jr. and Christina.


By the time he wed Gardner in 1951, the singer who had earned $1 million a year had been cut loose by his agents.


"From Here to Eternity," and the role of Pvt. Angelo Maggio, was his vehicle for a comeback. He fought for the part and took a screen test that impressed Columbia Pictures, but was paid only $8,000. He won the best supporting actor Oscar, was back on top of the charts by the end of 1954 and, by 1957, ABC guaranteed him $7 million on a three-year contract.


His tempestuous, on-again, off-again marriage to Gardner ended in 1953. He did not marry again until 19-year-old Mia Farrow came into his life more than a decade later.


Sinatra was once again breaking box-office records by the end of the 1950s and was firmly established at the head of the Rat Pack or the Clan, a group including Dean Martin, Joey Bishop, Sammy Davis Jr. and Peter Lawford.


Lawford's brother-in-law was John F. Kennedy, to whom Sinatra introduced Judith Campbell Exner in 1960. Exner said Sinatra also introduced her to Sam Giancana, then reputed head of the Chicago mob, and she allegedly dated both men at the same time.


In December 1963, Sinatra's son, 19-year-old Frank Jr., was abducted by two armed men from a motel in Stateline, Nev., where he was appearing as a singer. Sinatra's son was freed two days later after the payment of $240,000 ransom.


In 1966, Sinatra wed Farrow, a marriage that lasted just over two years. In 1971, saying he wanted room for reflection, he gave his "farewell concert" in Los Angeles.


His retirement ended two years later with an hourlong special, "Ol' Blue Eyes is Back." In 1976, Sinatra married for the last time, to Barbara Marx, former wife of Zeppo Marx.


Sinatra had organized Kennedy's inaugural gala, but later was frozen out of the Kennedy circle because of his reputed mob association. By 1966 and Reagan's California gubernatorial bid, he had switched his support to the Republican Party.


In addition to his music and film work, Sinatra oversaw a staff of 75, amassed collections of art, set up his own record label, Reprise, and had real-estate and financial holdings that included a missile parts company.


"Frank is a tiger - afraid of nothing, ready for anything," Robert Mitchum once said.

Ernest Borgnine, who learned of Sinatra's death while filming in Texas, said the world had lost one of its most precious commodities.


"In all memories, from childhood to romance to the mature years, Frank has been with us in all times," he said. "He gave so much of himself and much more than people realized. It is a sad day today, because Frank touched everyone in the world.”


First published in The Seattle Times, May 16, 1998




Tuesday, 3 March 1998

Review: "GOING IT ALONE", Dale Burridge accompanied by Andrew Ross at the piano. School of Arts Cafe, Feb 11 1998. Reviewed by TONY MAGEE

Dale Burridge
Australian actor and singer Dale Burridge comes to the Cafe with an impressive list of credits in many major productions and his show Going It Alone certainly presented a nice overview of some highlights from his career to date as well as some personal favourites not connected with shows.

Dale was accompanied at the piano by Andrew Ross who is excellent in this field, creating wonderful orchestrations and colourations to support Dale. 

Dale Burridge is very relaxed with an audience and also very charming. There were a few opening night glitches in the show and even one point where Dale thought that his voice was giving out. As so often happens in Cabaret presentations in a small intimate venue, it actually took a mistake to humanise the performance, which endeared the performers to us and us to them a whole lot more.

Some specific highlights from the show were a great version of Don't Cry Out Loud as a tribute to Peter Allen and an excellently constructed and performed medley of songs by Leslie Bricusse and Anthony Newley - On A Wonderful Day Like Today, Once In A Lifetime and What Kind Of Fool Am I. These are great songs and as Sammy Davis Junior often said, they're singers songs. Dale Burridge really did them justice - wonderful stuff.

Andrew Ross
Act II of the show opened with the revelation that Dale thought he was losing his voice. I really couldn't hear any evidence of this at all. What I did sense was that the show was perhaps just a touch underprepared in places and therefore Dale's confidence was slightly down - a small audience in an intimate venue is often much harder to play than a big one. 

For the second half, the show was presented with a much more casual approach - both in dress and in the manner in which the audience was addressed. Nothing wrong with that, except I do feel it is the domain of the young and up-and-comings - trying to make a statement - putting the new youthful slant on performance. Dale is well past that. He is an established theatre performer and I think that the show structure in this regard needs to be looked at.

One or two oddities in vocal production also need to be addressed. Dale's vowel formation is unusual - "ay" sounds often becoming "air", "ent" sometimes delivered as "ont" (ie: This is the Momont). A few pitching problems now and again were also surprising, however Dale has the most fantastic breath control - never seen anything like it.

Dale also displayed a beautiful soft falsetto voice - something that he used to great effect throughout the show and in fact his vocal dynamic range is quite extraordinary. The show finished very strongly with fabulous renditions of Listen To My Heart and This Is the Moment (from Jekyll and Hyde) and then a stunning encore, returning to what is obviously a serious composer/singer love affair - Bricusse and Newley's Who Can I Turn To.

Originally published in Muse Magazine (Canberra), March 1998



Monday, 2 March 1998

Review: "10th St Valentine's Jazz Festival", ANU February 14 and 15 1998. Reviewed by Tony Magee

The 10th St Valentines Jazz Festival was held on the campus of ANU on February 14th and 15th, and also included a jazz/gospel church service at St Andrews Church, Forrest on the morning of the 15th.

Local and interstate artists participated in the festival, mostly in the form of bands and ensembles, but also featuring one or two solo and duo performances. I attended the Saturday night High Society Evening in the Refectory (in my role as MC for the evening), which was a kind of Jazz Ball and some of the Saturday and Sunday afternoon gigs in the various locations around the Campus. I also accompanied singer Gery Scott at the piano with double bass player Scott Dodd in two performances.

Well, it certainly was a huge weekend of music and was well attended although there wasn't the "throng" of people around that I guess I expected. This was my first St Valentine's Festival however, so I don't have a point of reference on which to compare attendances from previous years.

The Jazz Ball on the evening of the 14th was certainly a great night, commencing with the Benjamin Big Band - some twenty or so players. Led by reeds player Craig Benjamin the band is from Sydney and is a community based outfit featuring young players. Craig's father, well known tenor saxophone player Gordon Benjamin sat in for the performance and the band also included two of Craig's children - three generations all playing there hearts out. The band produced a convincing big band sound and Craig demonstrated his considerable ability on tenor, alto and flute.

The Black Mountain Jazz Band followed and people flocked onto the dance floor. This is a local Dixieland and trad jazz band, led by trumpeter Tony Thomas. A really professionally executed set both in quality of playing and presentation and a fine example of the style from six of Canberra's best players within this idiom.

Headliners for the evening were the Graham Bell All Stars, Geoff Bull's Olympia Jazz Band featuring singer Lee Gunness and Cajun band Psycho Zydeco. Earlier in the afternoon I caught the last half of the All Stars in the ANU Arts Centre before I went on with Gery and Scott for our set. It was fine playing indeed, the band including Graham Bell on piano, Len Barnard on drums and Tom Baker on trombone (he also plays trumpet and sax). They virtually left the audience breathless with delight with the their rendition of Creole Love Call - really mournful and beautifully paced, with that distinctive New Orleans looseness in the rhythm. The evening set however, whilst enjoyable, was just a bit lacking in enthusiasm by the players, although I think they were also a bit disappointed with some unfortunate small but annoying sound problems at one point.

Psycho Zydeco attracted great attention when their turn came and a whole new group of fans emerged just for them. This is a four piece band featuring drums, accordion, sax, foirtair (a kind of wash-board) with vocals from three members. The music is a blend of French folk music, jazz, Cajun and many other influences that together produce a very distinctive jazz/dance style. I thought they were wonderful and people just went mad - dancing, grooving and moving.

Geoff Bull's Olympia Jazz band were also fantastic and they took listeners and dancers alike on a tour de force of the best from New Orleans. This band had much more energy and punch than either of the other two trad bands (Black Mountain and Graham Bell), although by then it was late and I think the sound guys had brought everything up a notch or two as the dance floor was absolutely packed. It was also a larger band - about eight players from memory. Singer Lee Gunness was also excellent. She possesses a very gutsy powerful alto voice - certainly one that can "belt" out a tune, but also retaining true singing artistry - phrasing, pitching, subtleties of tone etc.

Finally came the Canberra Musicians Jazz Orchestra, led by saxophonist Adam Matthews. This ensemble of eighteen players just keeps getting better and better. I last heard them at Elmslie Homestead in October 1997. They have a real big band sound, great dynamics and precise rhythms.

On the Sunday, I caught stride pianist John Gill in action with violinist Ian Cooper. What wonderful players they both are and what a great duo they made. The room was small and stifling, but packed none-the-less and listeners were treated to Sweet Georgia Brown amongst other things. John also played two Scott Joplin Rags which he had embellished considerably (ideas for which he got from various piano roll versions) and they were superb. Wonderful left hand stride work and a glittering right hand.

Later on I caught the last two pieces from the Jim Latta band. The lineup included Brook Ayrton on trumpet, Con Campbell on tenor sax, Kevin Hailey on double bass, John Black on piano with Jim on drums and also the arranger. A great version of Duke Ellington's Caravan concluded this set - very convincing stuff.

Lastly I heard three pieces by another Canberra Big Band - Spectrum, usually directed by Glenn Rogers, but on this occasion conducted by Andrew Hackwill (Glenn was ill). This is another band who have come along in leaps and bounds in a short space of time and I was impressed with their tight ensemble playing and generally big sound. Singer Andrew Bisset who has recently joined the band rendered enjoyable versions of It Had To be You and I've Got You Under My Skin, the band playing charts based on the Sinatra arrangement (hard to improve upon).

Of course there's always room for improvement in festivals of this nature and I think that the biggest improvement that could be made to this already excellent festival is to offer a greater variety of jazz styles. As it stands, the overall pervading flavour is trad and dixieland - three of the four headliner bands were this style. What about such Sydney pianists as Bobby Gebbert, Mike Nock, Roger Frampton, Julian Lee and Cathy Harley, not to mention the "name" bass players and drummers that they would bring with them? Where's Kerrie Biddell and Kristen Cornwell? Maybe they were asked and all turned it down. Maybe the offers weren't attractive enough. Maybe they weren't asked at all.

First published in Muse Magazine (Canberra), March 1998

Tuesday, 3 February 1998

Review: "ASPECTS OF THEIR MUSICALS", Presented by A Great Night Out Entertainment. Directed by Stephen Pike, Musical Director Lucy Birmingham. At ANU Arts Centre, January 1998. Reviewed by TONY MAGEE

Director and singer Stephen Pike.
Photo by Katherine Griffiths, Canberra Times.
Conceived by Stephen Pike, Aspects Of Their Musicals is a review style performance of selections from eleven musicals composed by collaborators Andrew Lloyd Weber and Tim Rice. With a cast of twelve plus accompanist, effective lighting and excellent sound, the show presented a delightful selection of songs ranging from captivating solo and small ensemble performances to the whole cast in a semi-staged or concert format.

Selections from Jesus Christ Superstar were performed as one continuous medley with Stephen Pike singing the role of Jesus, Damien Bermingham as Pontius Pilate and Gordon Nicholson extremely convincing in the role of Judas. Megan Begbie delivered a beautiful rendition of I Don't Know How To Love Him and later shared the role of Mary Magdelen with Jessica Kelly and Lorina Gore in a particularly fine arrangement of Everything's Alright.  

Soprano Megan Begbie

Megan Begbie was also outstanding in the Pig Song from the musical Jeeves and her performance in this reaffirmed once more that she is an equally fine actress as well as singer. Megan teamed up with Louisa Blomfield in the duet from Chess, I Know Him So Well and the two singer's voices blended extremely well. Louisa later returned for a very convincing performance of With One Look from Sunset Boulevarde.

Lorina Gore's performance of Think Of Me from Phantom Of The Opera was also outstanding. She possesses a beautiful soprano voice displaying great control and a mature sense of phrasing.

Soprano Lorina Gore

Relative new comer Jason-Scott Watkins revealed a superb baritone voice and his duet with baritone Damien Bermingham, also singing wonderfully - She'd Be Better Off Without You from Aspects Of Love - was a real treat, brilliantly staged with mobile phones and also a credit to lighting designer, Corey Thomson.

There were also a few aspects (no pun intended) that I didn't care for. Reams of boring dialogue and endless statistics were rattled off ad nausium to "set the scene" for each new musical and I felt that this really spoilt the flow of the show. A more artistic escape from one and entry to another was called for here. Also, whilst the lighting was effective and the backdrop eye-catching, the main set - a very familiar Broadway style staircase - looked tatty and cheap.

But to finish on a positive note, I should mention that Lucy Bermingham is an outstanding accompanist and her musical direction and skills at the keyboard were extremely instrumental in holding the whole show together. There is definitely scope for touring this show, and I hope that the producers are able to secure some arrangements for this.

First published in Muse Magazine (Canberra), February 1998