[Dixielandjazz] Cornet Copia (Australia) Review

[Don Mopsick]

'CORNET COPIA' - Jim Cullum & Bob Barnard.
The Bentleigh Club, Sunday 18 January 2004


US cornet-player and bandleader Jim Cullum has been a frequent visitor to
Australia in the last fifteen years or so, touring with his full band or
more often appearing as half of the acclaimed cornet duo 'Cornet Copia' with
Bob Barnard. I was pleased to hear that he was to be appearing in Melbourne
again this year, and went along to hear the sparks fly.



Presented by Diana Allen's Jazz Australia, Jim and Bob appeared on Sunday 18
January at the The Bentleigh Club. Having once previously attending a
similar function at the same venue, I suspected the room might be too
cavernous for such an intimate act. On Jim's previous visit, I heard him and
Bob together in a small arts theatre in Bowral, and I felt the cosy,
personal nature of the venue added much to the performance. The Bentleigh
Club did seem a little antiseptic by comparison, but this did not prevent a
packed house thoroughly enjoying the music throughout the evening.



Two cornets is an unusual front line for a classic jazz band, or any other
band for that matter. Since the trumpet player is usually the musical
director, such a line-up could be asking for trouble, but Jim and Bob are
very much at home with each other, and their interplay on stage is almost as
entertaining as their music.



Musically speaking, Jim and Bob proved how different two musicians with
similar inspirations can sound. Jim is a sometimes-ferocious player given to
piercing high notes and impressive cascades of notes. His performance on
such tunes as 'Cornet Chop Suey' and 'Tight Like That' were highlights of
the night for me. Though he lacks volume, Cullum's energy was impressive and
seemed to infect the other musicians. Bob Barnard, however, showed again
that he has the warmest, most gorgeous sound in contemporary jazz. His
lyrical solos provided a marked contrast to Cullum's "hot" playing. Though
they evoked players like Bobby Hackett, Bunny Berigan and especially Louis
Armstrong throughout the evening, the unique and complimentary styles of
Cullum and Barnard provided a fascinating mix of their own. No wonder they
have so much fun on stage!



Backing the cornets were Steve Grant at the piano, Mark Elton on bass, and
Ian Smith on drums. I can hardly imagine a swinginger, more versatile rhythm
section, and their subtle but constant support was a joy. Mark Elton is
surely the best bass player in Australia for this kind of band, maybe in the
world. His solos showed a melodic sense all-but foreign to most players of
the instrument, and his acoustic tone was full enough to be heard even over
the crowd's occasional chatter. Steve Grant, introduced by Cullum as 'one of
the finest artists of the day', dazzled the audience with Duke Ellington's
'In A Sentimental Mood', especially enjoyable at the faster-than-normal
tempo he picked. His playing was perhaps a little difficult to hear under
the cornets, but his solos were definitely audible. Ian Smith played
swinging, tasteful drums throughout the evening, doing much to enhance the
other musicians' playing. It was a shame we didn't hear a vocal from him,
given that he is one of Australia's best male jazz vocalists, and given that
neither Cullum nor Barnard has an impressive voice.



Another highlight of the night was Grant and Smith joining the frontline on
their own cornets. Four of the most imaginative cornets in the world, backed
by the powerful bass of Mark Elton? Another musical delight from Diana Allen
's Jazz Australia!



Michael McQuaid, 22/1/04



N.B. from Diana Allen.

I invited Michael McQuaid, who at the age of 22 is already one of
Australia's most exciting jazz reed players, to review 'Cornet Copia'.
Michael moved to Melbourne from Canberra around six months ago, and is now
highly sought after in this city.  He is always a highlight at Australian
Jazz festivals and has recently become a permanent member of Steve Waddell's
Creole Bells.