Although the quintet BLOW does not have a guitarist, it is my view that their philosophy, programming and approach to the artform of jazz epitomize the very best of Australian jazz. Co-led by drummer Ted Vining and tenor saxophonist Peter Harper the band’s repertoire is a judicious mix of originals with an occasional standard included. On the night I heard them BLOW featured compositions by Peter Harper, flugelhornist Ian Dixon and pianist Bob Sedergreen.

So what makes BLOW so special? Tertiary jazz education has dominated the jazz landscape in Australia since the 1980s. A probably unintended consequence has been that many jazz bands consist of players of the same age. In other words musicians who meet while undertaking their jazz studies stay together – they are the same age and have had the same education and same experiences. BLOW is the complete opposite. Vining and Sedergreen are first generation contemporary Australian jazz musicians. Their approach was formulated by the jazz of the 1950s/60s – Miles, Trane, Monk, Herbie, Tyner et al. In fact both musicians have had the opportunity to play with US greats such as Milt Jackson, Dizzy Gillespie and Nat Adderley in decades gone by. I personally count myself very fortunate that I have shared the bandstand with both plus the late Barry Buckley – bassist in the original Ted Vining Trio. On various occasions at Melbourne’s Bennett’s Lane and here in Perth I have played vibes and guitar with Bob Sedergreen and I can attest to the virtuosity and creativity of a jazz pianist who, I believe, has no equal in Australia. There is a certain quality that Ted and Bob bring to the bandstand that can only be gained by playing this music for a long time.

Peter Harper and Ian Dixon are from a younger generation – a generation that in Australian jazz has really valued travel and the experience that can be assimilated from residing in other parts of the world – notably Britain and Europe. They bring to the bandstand a slightly different viewpoint but inculcated to their playing is a deep respect for the legacy Bob and Ted have given to Australian jazz.

Finally double bassist Gareth Hill is a younger generation again and his virtuosity and enthusiasm for the music certainly inspires the quintet.

There is a certain texture to BLOW that, to me, is redolent of the music of Australian classical composer Peter Sculthorpe – both seem to capture an Australian-ness capturing the timelessness and immensity of the Australian landscape. Of course BLOW and Sculthorpe use entirely different devices to arrive at the same conclusion. The texture of flugelhorn and tenor is unique in world jazz with the flugelhorn providing at once an astringency and mellowness that helps convey a juxtaposition of tranquillity and flux that underscores the universality of the music. The audience at Ellington, not used to jazz of this honesty on a regular basis, were most appreciative of the performance.

It is inevitable for jazz in Australia today that for music to be presented and toured of the style and calibre of BLOW, funding is essential. I sincerely hope that the funding body here understands it got more than it invested and that it continues to support applications for jazz of the high standard of BLOW.