Review of 'Jazz in Perth'
30-31 May 2026
Osteria Bau-Bau and The Salutation Hotel, by David Smythe
This year, Perth Festival of the Arts has introduced a new and significant jazz strand to end its ten day programme with a swing. A whopping nine events over a weekend saw a mixture of local players and acclaimed jazz stars appearing in a wide range of venues in the city. With day jazz passes available, and some free events thrown in, a warm camaraderie developed in the Perth Festival audience where we shared experiences in what became a lively itinerant jazz club.
"a warm camaraderie developed in the Perth Festival audience where we shared experiences in what became a lively itinerant jazz club"
Osteria Bau-Bau
I caught the Café Osteria Bau-Bau jazz sessions starting with the award winning rising star Kimberley Tessa and guitarist Sean Bissett in an intimate set of laid back songs for an early summer’s day. Bissett’s neat infectious harmonies and steady rhythm were a perfect backing to showcase Tessa’s vocal talents, as well as her sultry saxophone and flute combinations.
Standards like I’m in the Mood for Love and Stevie Wonder’s You and I were delivered with a delicate touch, but Tessa’s original songs like Butterfly and Little Girl were the most intriguing.
ZZ Bop
A second set saw Bau-Bau regular jazz quartet showcased, Bruce Michie on soprano and alto saxophone leading the players through jazzy Beatles arrangements, a haunting Esbjörn Svensson Trio piece finishing with a rousing Thelonius Monk’s Well, You Needn’t.
With Alan Sutherland on keys, the watchable Roberto Cassini on bass and Kevin Smith getting an extraordinary range of sounds from his Klong Yaw drum, the band and audience enjoyed every moment.
Colin Steele/ Martin Kershaw Quintet
Over at the Salutation Hotel, the acclaimed Colin Steele/Martin Kershaw Quintet showcased the music of jazz greats saxophonist Stan Getz and trumpeter Chet Baker. ‘They played together three times, and really hated each other’ explained Colin Steele, relating stories illustrating the drug world that affected both musicians. We have been left with tremendous music, the quintet opening in swinging style with Gerry Mulligan’s Bernie’s Tune, Steel’s lyrical trumpet blending with Kershaw’s full tenor sax, the band tight, cohesive and exciting. Getz’s most famous hit The Girl from Ipanema saw drummer Max Popp launching a bossa nova rhythm as Brazilian sunshine poured from Kershaw’s golden saxophone. It’s a Rogers and Hart tune, but Chet Baker made My Funny Valentinea lasting jazz standard, Steele giving a memorable performance, floating notes at the ceiling, bass player Brian Shiels’ fingers fluttering in reflection. Chet Baker and Stan Getz played Soft Shoe together, Kershaw’s rounded sax and Steele’s haughty trumpet blending perfectly over Popp’s impressive cheeky brushwork, the number including a wonderful extended bass solo.
A ballad medley packed the tunes in with Autumn in New York and Embraceable You the rhythm section walking us smartly along in What’s New as Kershaw’s sax got to the soul of the piece. Back to Getz’s bossa nova for Quiet Nights and Quiet Stars, Steel’s trumpet taking the Astrud Gilberto part. Jerry Mulligan’s Line for Lyons saw the Quintet really swinging it in a piece Getz and Baker played together, Steele leaning back and blowing hard. A very lively Miles Davis tune Half Nelson wrapped it all up.
The Quintet took a long form approach allowing plenty of space for inventive solos, Max Popp restlessly switching it about on the drums, driving the faster numbers along, Brian Shiels right hand literally dancing up and down his fingerboard in a lively Just Friends. Dave Milligan looked studious at the keys, his contributions supporting the band sensitively, his solos flowing and inspirational. The drum breaks saw Steele and Kershaw alternating with the animated Popp, who cooked up a storm, the group’s musicianship showing as the players ever so slightly held back as the tunes returned at the end of the numbers, drawing the delighted audience right back in. Sound-desk teams can make or break a show, but the mixing was perfect, letting the music through and the band shine.
