Photos - Noni Carroll Photography - www.nonicarrollphotography.com Judy Bailey became infatuated with jazz at the tender age of 12 after hearing a Fats Waller record. Or so the story goes. Ms Bailey's chronology isn't quite so tender, these days, but her affection for jazz is. In presenting her big band, Jazz Connection, she tends to conduct with a watchful hawk's eye, with little arm movement. Given the tightness of the outfit, it seems to work. She's a Kiwi, but keep it quiet; let's claim as her as our own.
Like Don Burrows, Bailey is one of the national, living treasures of Australian music. A gifted pianist, trained at Trinity College, London, she has emerged as a teacher, trainer, tutor and mentor, of the highest order (she was awarded an OAM for her services to jazz and education and, even more recently, an award for Distinguished Services to Australian Music at the 2008 Classical Music Awards), not to mention her accomplishments as an arranger and composer. She's played with anyone and everyone over the last two decades and has been diversely influenced.
In showcasing Jazz Connection, her compositions lose nothing to the likes of Basie or Ellington; I even had the sense the band enjoys her work all the more.
She looks every bit the tough taskmistress, but the results justify the means: to hear such a crisp sound and escape the oppressive humidity outside The Factory Theatre was, along with a stiff brew (coffee, I assure you), late on a Saturday morning, a welcome break of routine and thoroughly uplifting.
The age of the musos ranges right down to 15(!), which becomes an astonishing fact on hearing them. Harry Sutherland, on piano, for example, looks impossibly young and sounds impossibly mature. And, with Bailey's steady gaze bearing down on him, it's amazing he didn't stumble. Far from it, he impressed, extending one solo beyond even his fearless leader's expectations.
Most, if not all, are Con students and they really get around: to festivals, from Manly to Morpeth & Merimbula. It's nothing for them to have a gig at the SOH, or Seymour. Allow me to introduce the players (and let's hope I get this right, especially as, I gather, there are occasional variations): Ken Allars, trumpet; Brendon Champion, trombone; Brendan Berlach, tenor; Guy Elsom, trumpet; Louis Newling, tenor; Lachlan Hamilton, alto; Dave de Vries, guitar; Dane Laboyrie, trumpet; Paul Weber, 'bone; Charles Casson, trumpet; Paul Meo, trumpet; Adam Pecar, 'bone; Michael Griffin, alto; Andrew Symons, baritone; Gene Taylor, bass; Rob Turner, drums. Turner is a powerhouse. Taylor (who looks like he could be related to Noah) is full of promise; as are all the players. There were, of course, too many solos to bring all to my fading faculties quickly & easily, but highlights included, but were by no means restricted to, Newling's tenor and both altos. There was some cool flautism in there, too. But it's fundamentally unfair making what amount to highly arbitrary selections of solos: noone here is older than 24, so there's plenty of room to develop and they're all well on their way to big things.
Their diminutive but, nonetheless, imposing musical director gave context to the tunes, much as if she were conducting a lecture. She's articulate verbally, as well as musically; wry, informative, amusing & commanding.
Bailey's pieces were standouts: New Orlean's Second Line was especially evocative, with a boldly syncpoated structure which took heed of the power of negative space.
She's clearly an Ellington devotee and, while acknowledging the ongoing debate about authorship of his songs, came down heavily in his favour, paraphrasing a great quote, albeit from a literary context: 'a good book doesn't care who wrote it'.
So, we heard flawless renditions of In A Sentimental Mood, the inevitable Take The A Train (a Billy Strayhorn number) & In A Mellow Tone. As well as a terrifically-paced Caravan.
But, earlier on, the incomparable Count (no, not the Sesame Street one, or he of Transylvania) was the focus of JB's JC's homage, not least a sympathetic orchestration of trumpeter Neal Hefti's seminal standard, Li'l' Darlin'. (Nothing if not versatile, Hefti also scored the '60s classic TV series of Batman & The Odd Couple.)
With it's punch & panache, Judy Bailey has crafted (and is crafting, since, with such young players, it's an ongoing evolution) a big band not only well-and-truly worthy of the format, but which, even despite the youth of its players, is a contender for pre-eminence among big bands Australia-wide and a lot further afield.
If only there were still more opportunities to see and hear it. Like every Saturday morning at The Factory. Or in the wonderful park just up the road. It could become a really big thing.
Places + spaces present
Judy Bailey's Jazz Connection
Venue: Factory Theatre 105 Victoria Street, Marrickville
Date/Time: Saturday 21st March, 2009
Bookings: 9550 3666 or www.factorytheatre.com.au
