Sunday May 31

Sydney Conservatorium

With 26 concerts spanning nine hours across a single day, a massive logistical feat was achieved smoothly within the sandstone walls of the Sydney Conservatorium. Appearing before highly appreciative, packed halls were over 140 musicians—ranging from tertiary students to New Zealand jazz legends. The SCJF program brilliantly combined duos, quartets, and double-sized big bands across six venues. A happy atmosphere and streamlined catering made it remarkably easy to nimbly navigate between bands, grab a bite or drink and chat.

European headliners Van Gelder & Baas wove seamless lines between saxophone and guitar, while piano and trumpet duo Neve and Nobel created imaginary sonic landscapes. Pianist Barney McCall brought his Unforeseen Quartet from Melbourne to deliver originals marked by shimmering, soaring dynamics and a blistering bass solo from Yunior Terry.

Over in the resonant Verbrugghen Hall, two powerhouse ensembles gathered to trade friendly big band fire. The Melbourne Uni Big Band, directed by Mat Jodrell, sparkled in a lively arrangement of Jubilee Stomp. Not to be outdone, the Sydney Con Jazz Orchestra, conducted by Festival Director David Theak, hit the mark with stellar solos from Sydney-based musicians Moore on trombone and Poppleton on trumpet. The highlight was the world premiere of Florian Ross’s Friendly Foe for two big bands, which thoroughly impressed the audience with its synchronised conductors and dual drum kits.

Meanwhile, South Coast bassist Lucy Clifford, recently returned from Boston, kept the Music Café audience enthralled with lively bass grooves and an exceptionally tight quartet. The Australian Youth Jazz Orchestra (AYJO) also delivered, performing original compositions by Florian Ross, who praised the young musicians and introduced his daughter for a mesmerising vocal feature.

The festival offered incredible stylistic breadth: from the virtuosic guitar licks of the Josh Meader Trio and the elegant, melodic phrasing of the Andrea Keller Quartet, to a welcome dose of levity and funk-infused hip-hop from Mace Francis and his Big Band.

As afternoon turned to night, the Darren Heinrich Trio filled the Atrium with cool, classic organ sounds, while two trumpet-led quartets from Lachlan McKenzie and Mat Jodrell showcased superb improvisation and tight ensemble cohesion. One of the day’s most unique offerings was an unusual nonet—combining a string quartet with a traditional rhythm section—featuring Kristin Berardi on vocals and Phil Slater on trumpet, beautifully interweaving poetry, ethereal vocalese, and warm trumpet lines through Ross’s compositions.

In the final featured performances, Leah Berry and Mike Nock demonstrated a musical shorthand, bouncing off each other in a fresh, sensitive rendering of Nock’s original pieces. To close out the night, Van Gelder and Baas returned to the stage, putting the perfect coda on a thoughtfully curated festival that celebrated both intellectual depth and the joy of serious listening.

Review by an exhausted yet exhilarated Jammin’ Saturday.