The first ‘Jazz April‘ gig was at the CJC (Creative Jazz Club) featuring the ‘Samsom/Nacey/Haines’ band. I can’t think of a better way to kick off Jazz April 2013 than by hearing seasoned musicians having fun, while at the same time stretching themselves as players and composers. The group formed in 2008 with the idea of providing a vehicle for new compositions. The outcome of these collaborations was an album named ‘Open to Suggestions‘ and later the 2010 ‘Oxide‘ album was released (with guests Kevin Field, Chris Melville, Neville Grenfell and Roger Manins). The albums have all been extremely well received with ‘Open to Suggestions‘ ending up as a finalist in the Tui Music Awards and ‘Oxide‘ (Rattle Records 2010) receiving critical acclaim from far & wide. The name ‘Oxide‘ arose from John Ruskin’s writings on crystals (artist, author, patron of the Pre Raphaelite Brotherhood and proto-socialist philosopher). This album is still available in record shops or from Rattle Records and I highly recommend it.
It is hardly surprising that there was an expectation of a third album. The new release titled ‘Cross Now’ has no guest artists appearing. Left to bounce off each others ideas and in an uncluttered musical space, the three musicians made the most of the situation. This spirit of collaboration was particularly evident at the gig as they joked and constantly acknowledged each others skills while downplaying their own input. That is a very Kiwi thing and audiences take it as good form. No one would dare do this if they were uncomfortable with their performance. It is a matter of reading the cultural codes. When they were improvising, the interaction between players was both cerebral and intuitive. There were moments when they appeared as one entity.
As soon as the first set kicked off a sense of joy and playfulness emanated from the bandstand. Some the best music arises from joy and good humour; musicians tapping into an unconscious wellspring of creative goodwill and being at one with the world.
The material on ‘Cross Now’ is new and like ‘Oxide’ some tunes were only finished days before recording them (or even polished in the studio car park). This is Dixon Nacey’s forte; to write brilliant tunes in the eleventh hour. Someone told me that his ‘The Lion” was written on the way to the ‘Oxide‘ recording sessions. Kevin Haines informed us that Dixon’s moving tribute to the recently diseased and much-loved drummer Tony Hopkins, was likewise written days before the recording. The compositions represent the styles of the originators and even though the compositions are jointly attributed, it is possible to detect just whose hand has had the greatest influence over each number.
So often the back stories behind tunes can enrich a listening experience, but I am not sure how many musicians appreciate this fact. While it is true up to a point that the music should speak for itself, that liner notes or background stories are an added superfluity, that received wisdom obscures a deeper story. To many of us music is an experience extending way beyond the auditory senses. We pick up cues from the musicians movements, we absorb colours from the lights glancing off the instruments and we gain insights from the stories. To me improvised music is like a good film and a well shot film is like improvised music. A place to occupy empathetically for that one hyper-sensitised moment in time. No sensory input should therefore be denied.
Kevin Haines wrote ‘…With Eyes Averted…’ (which began with a poem about relationships) and this added a perspective to the tune that would not otherwise have been evident (I have posted a video of this which features Matt Bray on 2nd guitar) . His tune ‘Cross Now’ was about a particularly irritating crossing signal outside of a Tokyo hotel. In Kevin Haines hands the annoying beeps became a polyrhythmic pulse to build a tune upon. He also contributed ‘Broken Tones’. 
Drummer Ron Samsom’s, ‘Happy Dance’ (a fast samba) was fabulous. Written about his dog, we could feel the exuberant bounding energy as the tune progressed. Ron Samsom had begun with the tongue in cheek announcement, “yes drummers write tunes too”. After ‘Happy Dance’ we heard ‘Seiko (in 13/8 time) and a ballad ‘Qua’. I heard someone murmur that drummers needed to write more tunes and in Ron’s case I agree (See You Tube Clip by Jen Sol).
Dixon’s contributions were ‘Song for Xavier’ (written for his son) and ‘Conversations with Mr Small’ which he explained as arising from, ” Well perhaps this won’t be such an interesting reason for title…ah…it is about my musical theory conversations with Dr Stephen Small”. In comedy and music, timing is everything and these guys had it down pat. The tune that we will never forget is Dixon Nacey’s moving tribute to the beloved and much lamented Jazz drummer Tony Hopkins. I found myself glancing at the places where Tony had sat and imagined him at the kit; knitting the band together in that particular way of his. This is the power of Jazz. The musicians interpret while we see, feel and hear a story unfold. The tune was, ‘The Remarkable Mr Hopkins’ and by the end a few of us were tearing up. From the bottom of my heart, thanks Dix.
The new album will be in the record outlets shortly, but your best bet is to contact Rattle online and order a copy.
Who: Samsom/Nacey/Haines (guest Matt Bray)
Where & When: The (CJC Creative Jazz Club) Brittomart 3rd April
This was a Jazz April event – visit the JJA Website by following this link.
John Fenton
It is well-known on the 
