Coming just a little after the end of the exhaustingly large-scale Melbourne International Jazz Festival, the opening night of guitarist Albare’s three week season at Bennetts Lane Jazz Club on May 18th. could have been expected to be a low-key affair to gently usher in his return to public performance after a break of almost 9 years. However, because the artist known as Albare is also such a great patron of the Australian jazz scene in his ‘daytime’ persona as Albert Dadon (such as his creation of the Australian Jazz ‘Bell’ Awards and securing Major Events support for the Melbourne International Jazz Festival), the audience included several key figures in the Australian jazz scene.
The air of anticipation and curiosity was immediately answered when Albare confidently launched into the first tune on acoustic guitar, backed by his well-rehearsed band. In contrast to his previous Acid Jazz forays, this was acoustic music, with a decidedly melodic orientation, with a sometimes understated but always strong underlying groove from the rhythm section of Scott Griffiths (Fender Rhodes keyboard), Evripedis Evripedou (6 string electric bass) and Tony Floyd (drums).
The addition of special guest artist Joe Chindamo on piano accordion worked very well, giving the ensemble a distinct sonic texture and sound. The instrument also served to reinforce the Gallic charm of Albare’s overall approach, at times wistful and then passionate.
The music was all-originals by Albare except for “The Journey” by bassist Evripedou, and was deceptively difficult in some of its chord progressions. It was billed as ‘Nu-Jazz’, and is hard to classify. Despite its sometimes Gallic sound (reinforced at times by Albare’s Django-influence), it is not really European, and while it is very accessible and melodic, it definitely is too individualistic and has too much substance to be ‘Smooth Jazz’. A combination of swing and Bossa Nova rhythms underpin many of the tunes, while the piece “After The Rain” is a highly evocative melody which would make an excellent film theme.
As with all true jazz performances, the tunes from his new CD, “After The Rain” (on Holycow Records) really came to life in this concert, and were even stronger than on the album. Saxophonist Rob Burke (on both tenor and soprano) greatly added to this result, playing very rhythmically and digging into the grooves, and using different tones – from the breathy to a bluesy growl – to great expressive effect. With Griffiths producing solid ‘comping’ and flowing solos, Chindamo was a strong ‘team player’ too, adding judiciously to the musical conversations or the feel, and contributing some telling solos.
While innate musicality and passion are clearly evident in Albare’s playing, especially his rhythmic strumming. Mainly on acoustic, as well as on solid body electric guitars, his angular and often unpredictable runs reflected an update of the Reinhardt approach. There are no glib patterns being churned out here, but a real attempt to be spontaneous. Very occasionally his ideas out run his technique, but this is not to say that his instrumental ‘chops’ are not surprisingly impressive. For someone who has not performed for such a long period, Albare produced a very strong flow of ideas within a confident approach.
Overall, this was an evening of highly enjoyable music made by a very cohesive ensemble. There were no overly long or indulgent solos: the guitar was an integral part of the group. Albare’s introductions to each song exuded charm and a genuine desire to communicate with the audience. The evening finished on a characteristically upbeat vibe with “Song for Alan”, a joyous romp home to conclude a satisfying performance.
(This performance was umbrellared as part of the Melbourne Jazz Co-operative’s weekly “Transitions” Series at Bennetts Lane Jazz Club)
