Brace yourself, dear people. I have some more lovely music to share with you: expert, swinging, full of feeling.
The wonderfully inventive Leigh Barker has created two discs — available here — joyous documents of his journey, with friends, from Melbourne to Paris. You might know Leigh from his all-too-brief visits to the US as part of the Hot Jazz Alliance and with Josh Duffee’s Goldkette-Orchestra trip to Chambersburg, Pennsylvania, but he is known and admired worldwide for his elegant, gutty string bass playing and imaginative bands.
That effervescent music says “Take me along: we’re going to go unfamiliar places full of familiar joys and comforts.”
Details, you say?
For MELBOURNE, the inspired perpetrators:
Leigh Barker – Double Bass
Heather Stewart – Violin and voice
Donald Stewart – Trombone
Ben Harrison – Trumpet / Cornet
Jason Downes – Clarinet and Alto Saxophone
John Scurry – Guitar and Banjo
Matt Boden – Piano
Sam Young – Drums
SPECIAL GUEST: Brennan Hamilton-Smith on clarinet track 4 and 9
performing: LONELY ONE IN THIS TOWN / WOLVERINE BLUES / GET OUT AND GET UNDER THE MOON / SAY IT ISN’T SO / THE PEARLS / THE STEVEDORE STOMP / PLAY THE BLUES AND GO / WHAT’S THE USE OF LIVING WITHOUT LOVE? / CHINATOWN, MY CHINATOWN.
for PARIS, les amis:
Leigh Barker – Contrebasse
Heather Stewart – Chant et Violon
Bastien Brison – Piano
David Grebil – Batterie
Romain Vuillemin – Guitare et Banjo
Bastien Weeger – Clarinette et Saxophone Alto
Noe Codjia – Trompette
Gilles Repond-Quint – Trombone
performing YOU ARE MY LUCKY STAR / HE AIN’T GOT RHYTHM / VARIATIONS ON A NORK / SINGIN’ THE BLUES / THE SONG IS ENDED / INDIAN SUMMER.
and some words from Leigh:
IT”S HIGHLY recommended to listen to this album with the tracks in order! It segues like a real set in a club.
These two albums come at the end of a very long period of gestation, starting in May 2018 in Melbourne Australia, and finishing at the very end of 2020, which as every single person on the planet earth knows has been marked by a historic pandemic. I was already procrastinating about releasing the ‘Melbourne’ session, and had been putting very little effort in to booking shows under my own name in Europe (Thanks to Gordon Webster, Duved Dunayevsky, Tatiana Eva Marie and everyone else for keeping me on the road…) However, a 4 week tour of Australia was booked for November and December 2020 (hah!) and I knew this was the moment to release a new album and CD, to take on the road with the ‘Australian Band’. As I sit here writing these notes on Sunday December 27th 2020, it is still more or less impossible to enter Australia from Europe, even if all the events and venues were able to put on our shows as envisaged (which they’re not!…)
The Paris session was miraculously put together in November 2019 between touring dates, we got together all in one room together for 2 days, around one single microphone – the french-made Melodium 42B. This was not for any particular reasons of purity or authenticity, just because Simon Oriot convinced me to give it a shot, and ‘that way there is no mixing to do’ as he put it…
The Melbourne session on the other hand was edited and mixed all over the planet. I remember selecting takes, editing, making several attempts at mixing and gradually pulling together the shape of the album in places such as Saint Cyr-la-Rosiere and Champagne-sur-Seine in France, Hildesheim in Germany, the suburbs of Paris, on tour in Stockholm, Budapest, London and Cambridge – and during two separate visits to Australia in 2019 and 2020, in a supermarket parking lot in Moruya, NSW or in the car on the Clyde Mountain between Mossy Point (…if you know, you know…) and the capital Canberra where Hi Hat Studios is located. I also remember making several attempts with several engineers, sometimes remotely, sometimes in person, with an infected cancerous leg wound, on holiday, in airports…. and of course in the end drawn out over several months in total isolation due to a global pandemic….
This year has asked too many questions of musicians, from the very practical to the most existential. In the end we are all driven by the compulsion to CREATE, something, anything, and it’s almost always better when you can share it with other people….
Maybe after all that, more words from me will be superfluous. But you’ll notice the “traditional” repertoire — which will reassure some (perhaps alienate others?) but it is not treated with finicky reverence. Oh, Leigh and Heather and the band do the damnedest encapsulation of Louis and the 1935 Luis Russell band on LUCKY STAR — but their approach is not that of severely protective rare-book curators, insisting that anything short of monastic worship is sacrilege. There’s a good deal of stretching within the revered outlines, a good deal of affectionate disrespect that turns out to be the highest adoration, because they remember that the innovators we prize so highly were themselves in favor of innovation. And these musicians practice what they preach, so their music is honest always, raw when it feels like it, dainty otherwise, and breathing all the time.
These recordings are magnificent. And unruly. And alive.
May your happiness increase!