Phil Broadhurst is a regular at the CJC (Creative Jazz Club) just as he was at the ‘London Bar’ in its hey day. He is also the compiler and presenter of the well-known Jazz radio slot ‘The Art of Jazz’. His last album titled ‘Delayed Reaction’ was well received and shortlisted in the Jazz Tui Awards. It was dedicated to the music of Michel Petrucciani, the diminutive and wonderfully brilliant French pianist whose life was blighted by ‘brittle bone syndrome’. That project was obviously a labour of love, as Phil had long been immersed in Petrucciani’s music. The album, (out on IA-Rattle), outlined a very personal journey for Phil and while showcasing the project about New Zealand he must have pondered ‘what next’? The what-next is ‘Flaubert’s Dance’.
From ‘Delayed Reaction’ it was a logical step to examine other artists who had influenced him and for whom he had a deep affinity. Not all are pianists but all take a pianistic approach to their music. All are currently at the top of their game. The compositions on ‘Flauberts Dance are all Phil Broadhurst’s and they are dedicated to the following musicians: Herbie Hancock, Manu Katche, Enrico Pieranunzi, Eliane Elias, Kieth Jarrett and Tomasz Stanko. What these artists have in common is striking originality, a modern approach to harmony and the fact that none of them are easy to compartmentalise. They are consequently quite different from each other. A Tomasz Stanko tune and a Manu Katche tune could hardly be confused even though they have worked together. 
It is obvious from the above list that Phil often reaches outside of the Americas for musical inspiration. While Jarrett and Hancock have influenced most modern pianists their ubiquitous presence tends to eclipse others of equal importance. It is therefore fitting that the latin infused Brazilian born Eliane Elias and the two Europeans give counterweight to the North Americans. The composition ‘First Shot’ dedicated to Hancock looks at a particular tune rather than the scope of his career to date. I truly like this number as it has the distinct feel of a European or an Antipodean acknowledging Herbies work, not an American.
Phil has had no trouble in assembling top class musicians for the album and with Roger Manins (tenor sax), Olivier Holland (bass) and Cameron Sangster (drums) his quartet had depth and experience. He also enlisted trumpeter Mike Booth for three numbers.
The title track on the album is dedicated to the scandalously underrated and utterly brilliant Italian Pianist Enrico Pieranunzi. This track ‘Flaubert’s Dance’ had everyone listening in rapt silence and even though the club filled to bursting point you could have heard a pin drop. With unerring accuracy he has dived right into the essence of the man he pays homage to. The voicings, the phrasing and a unique sense of weightless swing that is so European. When Roger Manins comes in the Pieranunzi connection deepens. Bringing to mind the Italian tenor player Stefano de Anna who along with Hein Van de Geyn featured so strongly on the classic Pieranunzi album ‘Don’t Forget the Poet’. 
Tenor player Roger Manins always gives of his best and he showed us once again that he can wring deep sentiment and even prettiness out of ballads while never sounding cliched. In the mid tempo tunes he imparts that intensity and locomotive drive that he is so well-known for. When the tunes are explorations, it is only fitting to have a born story-teller like Roger onboard. Olivier Holland (bass) has often played in Phil Broadhurst line ups and his approach is that of the consummate professional. These days it is not uncommon to hear bass players vocalising lines an octave above the pitch. Once the preserve of Major Holley and Slam Stewart, Oli has increasingly been employing that technique (but not so much arco bass). His improvisational approach has always been solid but the vocalising appears to extend that. It is perhaps like a saxophone player having the words of a standard firmly in their head as they lay down the melody. It changes the dynamic in positive ways. Cameron Sangster (drums) works across many genres and he is one of the few drummers to appear regularly with big bands in Auckland. He has a strong sense of space and dynamics and can switch to a more colourist mode if the number requires that. He is also able to moderate his sound to a room. A tasteful drummer. The remaining band member is trumpeter Mike Booth who played on three numbers. His soloing and ensemble work is great and musicians about town are often utilising him for his impressive and varied skills. He and Roger in lock-step are a force to behold. Both the quartet and quintet gave Phil Broadhurst adequate room to shine and he did.
What: The Phil Broadhurst Quartet
Who: Phil Broadhurst (piano), Roger Manins (tenor sax), Olivier Holland (bass), Cameron Sangster (drums) – guest Mike Booth (trumpet).
Where and What: ‘Fauberts Dance’ album released by Rattle Records - CJC (Creative Jazz Club) basement 1885 Brittomart building, Auckland
Number filmed by Jennie Sol
Accompanying Brian on piano was Kevin Field who is so well-respected about town that he is a real drawcard in his own right. I have often mentioned his ability to add value to any band he plays with and this night was no exception (A post on his April 17th gig will be up shortly). On bass was Kevin Haines who is not only the most experienced bass player about town but one of the best. lastly there was Frank Gibson Jr on drums who is another respected and talented veteran Jazz identity about 
My personal favourite is the more recent Fred Hersch /Andy Bey version (from the ‘Passion Flower’ album on Nonsuch) – quietly dedicated to gay Jazz musicians past and present. Strayhorn was of course an out-gay man at a time when this was almost unheard of. Ellington revered Strayhorn and regarded him as his chief calibrator (‘my other hand’). Oddly this tune which written in 1936 remained unperformed until 1948 when Strayhorn performed it in a duet with Kay Davis. The song was never adopted into the Ellington repertoire and did not become famous until the 50′s. Its gay innuendoes is probably one reason but its sophisticated complexity is certainly the other. Well done Rebecca and well done her accompanists’. Callum Passell’s alto solo was to die for as he breathed the musical history of the song into the solo. I liked the drums and bass contributions and especially Alex Ward’s sensitive but firm rendition.
This exchange between onlookers and musicians is at the heart of the design concept. The main performance auditorium is build in the shape of an amphitheatre which allows eye contact between audience and performers (and obviously making for unimpeded sight lines from every seat). The acoustics are state of the art and the sound can also be dampened.
Upstairs a large tiled mural gave the history of the Bay area Jazz scene. Names like Hampton Hawes and clubs like the Black Hawk will resonate strongly with Jazz lovers. This town has a commendable history of producing fine musicians and with SF Jazz’s focus on education we can expect this to continue.
