Tag Archives: Roger Manins

June 6, 2013 · 2:17 am

Sean Wayland & David Berkman @ CJC Winter International Series

Sean Wayland

Sean Wayland

We don’t get many offshore Jazz pianists visiting New Zealand, but we have seen quite a few over recent weeks. This particular gig comes hot on the heals of hearing Sean Wayland appearing as featured guest artist with the marvellous Jazzgroove Mothership Orchestra. Sean had impressed me at the JMO gig and so I really looked forward to hearing him play at the CJC (Creative Jazz Club).

Before he had played a note Sean Wayland won us over with his easy-going banter. Especially when he thanked us for Mike Nock and mentioned band mate Matt Penman. These are two of Auckland’s best-loved sons and I suspect that Kiwi’s, like Canadians, enjoy our worth acknowledged by the big country next door. This generous acknowledgement by a respected New York based (Aussie born) pianist reveals an interesting truth about Australasian Jazz.

There may be a struggle to meet the financial realities, deal with lack of good pianos and the paucity of gigs, but the two scenes continually produce world-class Jazz musicians. The Scenes are in fact so intermingled that it is often hard to know who is an Aussie and who is a New Zealander. Steve Barry and Mike Nock illustrate this perfectly as they live and work in Australia. Roger Manins lives in New Zealand but gigs across the Tasman every other week.

In spite of the difficulties there is no lack of great music coming out of Australasia and the main problem is that of distribution. An upside of this changing business model is that bands travel more. For the keen Jazz fan live music is once again king. We don’t have to wait for a multi-national recording label to tell us what we should or shouldn’t like, we can explore ‘You Tube’ or ‘Bandcamp’ and hear from the artists directly.

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Sean Wayland is a hugely respected figure on the Australian scene and in New Zealand as well. He is a very modern pianist, as he moves in circles where new approaches are constantly being explored and new sounds developed. After listening to his compositions I was not in the least surprised to find him supported by the likes of Matt Penman, Jochen Rueckert, Will Vinsen, and James Muller. This is essentially the Rosenwinkel generation. While he speaks that language fluently he is unmistakably an individual stylist. No one sounds quite like Sean.

Sean’s tunes are very melodic. Often unfolding over a simple bass line as with ‘eenan’ off his ‘Lurline’ album. What sounds catchy and accessible can actually be quite complex as his approach to rhythm gives the tunes that unique feel. This is tension and release at its sophisticated best. I have put up a version of ‘eenan’ as a ‘You Tube’ clip which unfolds in subtle and beguiling ways. So beguiling in fact that I dreamed the tune two nights in row. Such powerful hooks are not accidental but the result of careful craftsmanship. There is a strong sense of pulse or swing to his tunes, but approached from a different perspective to that of the more traditional pianist.

This intergenerational shift is one that I hear more often as the changing of the guard occurs. Other tunes played to great effect were his, ‘Trane plus Molly equals countdown” and the solo piece ‘Little Bay’. Both of those tunes are found on the ‘Expensive Habit’ album. ‘Trane plus Molly equals countdown’ hints at McCoy Tyner, but you quickly realise that the voicings have very modern in feel. I can however certainly imagine Kurt Rosenwinkel doing the tune. It is an extraordinary composition where the left hand continuously punctuates the flow with oblique accents. I was left wanting more than the single set and I certainly hope that we get to see Sean again on his next trip back to Australia.

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Accompanying Sean were Cameron MacArthur (bass) and Jason Orme (drums). Both accomplished musicians who quickly slotted into the challenges of supporting a world-class and highly inventive pianist.

The next artist up was David Berkman. He has been to New Zealand before and anyone who saw him last time would have jumped at the opportunity of seeing this top flight New York Pianist in action. There is a fluidity to his playing and above all an impeccable sense of timing. This hard-driving post bop fluidity and the big bluesy chords is what most characterises his work.

The Kiwi members of the quartet were Roger Manins (tenor), Olivier Holland (bass) and Ron Samsom (drums). Together they formed a powerhouse of inventiveness and Roger in particular seemed to benefit from this grouping. His solo’s were so incendiary as to cause gasps of surprise and from an audience who are used to such pyrotechnics. While we expect Rogers high wire acts he is always able to surprise us and this night saw him really on fire. David Berkman certainly knows how to amp up the tension and his ability to extol a horn player to reach deeper and deeper is impressive. He worked the room with as much enthusiasm as he would have done in a prime New York club and everyone there appreciated that commitment. This was the kind of gig where you sat back and let the sound wash over you, tapping your feet uncontrollably and yelling enthusiastically between numbers.

David Berkman

David Berkman

David Berkman’s repertoire was a well-balanced mix of his own compositions and some lessor known standards. During the gig he talked about his mentor, the much respected pianist Mulgrew Miller (who sadly passed away that very evening). He has worked with a wide variety of artists such as trumpeters Tom Harrell and Dave Douglas and his contribution to Jazz education is well-known. Having moved to New York some years ago he quickly settled into the routines of gigging, recording and teaching and since then he has been a fixture on the local scene. He travels extensively and is a Palmetto recording artist.

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The two pianists were very different, but both were amazing in their way. In David Berkman we heard the history of the post bop era and in Sean Wayland we glimpsed the future.

What: Sean Wayland and David Berkman Winter International Series.

Who: Sean Wayland (p) (leader) Cameron McArthur (b) Jason Orme (d). – David Berkman (p) (leader), Roger Manins (s), Oli Holland (b), Ron Samsom (d)

Where: CJC (Creative Jazz Club) 29th May 2013

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May 17, 2013 · 1:36 pm

Phil Broadhurst ‘Flauberts Dance’@CJC

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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’.

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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.  IMG_6922 - Version 2

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’.  IMG_6927 - Version 2

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

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March 29, 2013 · 11:44 pm

‘Jazz April’ – How to avoid being an April Fool

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Notwithstanding the obvious resemblance between these grizzled old guys, Jazz April is no joking matter.   To avoid being an April Fool participate in as many Jazz April activities as you can.  Remember to ‘like‘ and ‘share‘ this and any other Jazz April pages that you come across.  Don’t monkey about; ape the trend-setters and brand your Face Book picture with a Jazz April badge like cousin Boris (left) and I (right) did.  This is a month set aside to promote and honour Jazz and its practitioners.  The best way of achieving this is by sharing our enjoyment with others.  If they see and hear what we experience they will want to participate.  Take the pledge and agree that you will visit as many Jazz events as possible during April.  If that is difficult you should at least participate online.

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I have posted some logos which you should share indiscriminately.   If the internet slows down due to the volume of ‘shares‘ we will know that you have done your bit.  Think of it as a ‘Wikileaks’ for music lovers.  The world needs to know this secret. 485163_335421036512615_1393706890_a

There will be hundreds of Jazz April celebrations occurring world-wide and the events will culminate in UNESCO’s  ’International Jazz Day‘ which is April 30th 2013.  The venue for the main Jazz Day event this year is Istanbul Turkey and Herbie Hancock is joined by a number of Jazz Luminaries like Hugh Masakela, Marcus Miller and Manu Katche.  If your city does not have an event planned you could consider hosting one.  If you do let me know and I will pass the information on to the Jazz Journalists Association.

In New Zealand the ‘Waiheke Jazz Festival’ and the ‘Tauranga Jazz Festival’ can be considered a good segue into Jazz April as they are both held over Easter weekend.  Auckland has a number of Jazz April events occurring and there will be a satellite party celebration at the CJC (Creative Jazz Club) during April.  Check out the CJC website as there is a good gig guide.

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The best place to locate the logo badges and banners (twibbons) and to find out how best to participate, is to click on this link to the Jazz Journalists Associations Jazz April Website   or the   Jazz Journalist Jazz April Face Book page .    

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In Auckland the CJC (Creative Jazz Club) will be featuring some spectacular Jazz April Gigs and we will be making a presentation to a few deserving local musicians at a JJA Satellite Party (date to be announced shortly).    The CJC line up so far is Nacey/Samsom/Haines (3rd April), Brian Smith Quartet (10th April), Kevin Field Trio (17th April) …more gigs to come.  For those who missed last years satellite party at the CJC, Roger Manins was inducted as a ‘Jazz Hero‘ by the Jazz Journalists Association.

A highlight event will be the Nathan Haines ‘Vermillion Skies’ album Release on the  6th April at the ‘Q Theatre’, Queen Street, Auckland.  This amazing album involves a number of our best-loved Jazz musicians and it will be a high point in the Auckland Jazz calendar.  Don’t miss this event or forget to buy the album (available in download/CD/vinyl).  644217_10152395531247588_299377990_n

There will also be gigs at the ‘Ponsonby Social Club‘, the ‘Grand Central‘ (both in Ponsonby Road) and for experimental improvised music ‘The Wine Bar ‘Vitamin S‘ St Kevin’s Arcade, The Auckland Jazz and Blues Club (Tuesday evenings Pt Chevalier RSA), The ‘Titirangi Music Festival’ Titirangi Village (where the Alan Brown band is playing in the ‘Tool Room” on Friday the 5th April@ 7: 30pm).

Jazz April is now a world-wide event and I know that NZ will not let the side down.  My April posts will be profiled on the JJA Facebook page and or webpage.  The choices Auckland is offering over April 2013 are many and varied.  Locals have absolutely no excuse for not supporting Jazz this month, so see you all there.  

John Fenton

JazzLocal32.com    -   Jazz Journalists Association member

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March 4, 2013 · 5:43 pm

Dr Dog Unleashed @ CJC

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A few weeks ago someone had whispered, “Dr Dog is back”.  What started as a mere dog whistle soon became an insistent rumour; confirmed beyond doubt when I saw a red van cruising the streets with ‘who let the dogs out’ emblazoned on its side.    I checked the CJC (Creative Jazz Club) website and sure enough there was the gig listing.   Dr Dog are the business or as the vernacular will have it ‘the dogs bollocks’.   We had all been hanging out for this return gig.  This was a risky outing for them as there would almost certainly be an attempt to capture them live during the performance.  The sight of determined looking technicians carrying a tangle of cables and heavy suitcases down the 1885 staircase club confirmed this.  IMG_6222

‘Dr Dog’ are some of the best musicians that the Auckland Jazz Scene has to offer.   Roger Manins – tenor,  Kevin Field – piano, Oli Holland – bass and Ron Samsom – drums.   They all teach at the Auckland University Jazz Studies course where Ron Samsom is program director.    They are teachers, but they also gig regularly.   These guys have honed their skills over many years of playing with the best.  Suffice it to say that expectations are always high when any one of them performs, but when all four appear on the same stage it is a noteworthy event.

Dr Dog is a showcase for the talents of the four band members, all of whom have written original material for the occasion.  I suspect that these compositions are not for the faint hearted and a sneak look at the heavily annotated scores confirmed that.   It was dog eat dog on the bandstand as each musician tried to outdo the other.  Heads would occasionally bend low over the charts in mock dismay and between numbers quick animated conferences were held.  This was not a set list designed to give band members an easy ride.   It was the audience who got the best of these exchanges and while the sweat poured off the band we lapped up the music.  This was a rare treat, just as we knew it would be.

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As you would expect from a dog band there were cool licks a playful approach to the music, a meat raffle and stick chasing.   I filmed most of the sets and I was particularly impressed with the first number up.  It was obvious that these guys had their eye on the ball.  I have put up that clip titled ‘Dideldideldei’.   Being Oli Holland’s composition I knew that it would be well written and have a back story (perhaps involving fishing?).  Oli has a strong sense of irony which is in his titles.   Dideldideldei was evidently a phrase uttered by a Jazz hating apartment dweller in a German comedy, who had the misfortune to live above a Jazz club.  He would shower the band with rotten fruit while yelling, “this is not music it’s just dideldideldei”.    All of the tunes had equally illusive or improbable titles and that only added to the fun.

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Roger contributed ‘Peter the Magnificent’ which he had written in honour of Peter Koopman and tune called ‘Evolution’ (dog evolution).  He gave an explanation of the titles but as I was near the back I couldn’t hear because the people up front were laughing so hard.  Kevin contributed a few tunes and one named ‘Synaesthesia’ referenced the unusual condition which he tells me afflicted one of the great classical composers.  Synaesthesia is a rare condition where colours are heard as sounds or sounds as colours.   Pat Martino Jazz guitar master uses this affliction as a vehicle to assist his improvisation.  In the end I lost track of who had composed what because the dogs only wanted to play.    While this was occurring they were captured by a sound man named John.  An album and a properly attributed track list should result from that.   This band is long overdue in recording and I am hoping that the live take is adequate to purpose.  If the sound is not good enough then they should shake their tails and get to the studio ASAP.   I for one can’t wait.

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Who: Dr Dog – Roger Manins, Kevin Field, Oli Holland, Ron Samson

Where: CJC Creative Jazz Club February 20th 2013

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November 7, 2012 · 6:28 pm

Sean Coffin (AUS)@ CJC

On Wednesday the 24th October we had an overseas visitor playing at the club, tenor saxophonist Sean Coffin.   This has been a great year for the Auckland Jazz scene and especially for the CJC (Creative Jazz Club) as a number of interesting local bands, out-of -towner’s, and overseas acts have appeared.  It’s the clubs imperative to offer genuine diversity, and this has caused the CJC to extend its reach.   Because Roger Manins has such a well established Australasian reputation and because the CJC is increasingly seen as a great club to play in, the net is ever-widening.   We are on the Oceania Jazz circuit fair and square.  

Sean Coffin is known in his native Australia for his stellar educational work, but it is his high level tenor playing that draws people to him.  He is among the best that Australia has to offer.   For many years he has been accompanied by his brother Greg (piano) and the work of this formidable pair is well recorded.   Sean studied at the Berklee School of Music and later as a postgraduate at the Manhattan  School of Music.  Among his many teachers I would single out George Garzone, as this world leading tenor player appears to have created a cadre of exceptional students in Australasia.  

At the CJC Sean showcased his most recent compositions and they were mostly themed around his children.  This proved a good source of inspiration as the numbers ranged from heart-felt ballads to some faster paced offerings (one referenced children at play).   These lovingly drawn compositions were well crafted and executed and no one had difficulty relating to them.   It is arguably risky to focus exclusively on family material, but the gamble paid off because the improvisations were tender without once descending into introspective noodling.   The integrity of the compositions as Jazz vehicles was always evident.  A lovely ballad to ‘Garz’ (dedicated to George Garzone) rounded things off nicely.

A local rhythm section was put together for this gig and in due deference to the visitor he was given the best.  Ron Sampsom (drums) and Oli Holland (upright bass).  With Kevin Field overseas, Dr Stephen Small took the piano chair.  No one needs to puzzle over my views on Ron Sampson and Oli Holland as my support for their work has been constant over time.  These two go way beyond the merely competent; they are solid, reliable musicians and they are also gutsy enough to handle new challenges without flinching.   Listening to them live or in a recorded situation will tell you everything you need to know.

Seeing Stephen Small again was an unexpected pleasure, as the patch he normally patrols is on the periphery of the Jazz world.  Because he teaches classical piano at Auckland University it would be easy to overlook the fact that he has other strings to his bow.   He is a madman on keyboards and I have seen him cut loose on banks of synthesisers during a Jazz fusion gig.   To say that his fusion performance was riveting would be an understatement.  He created textural layers of sound which swirled and soared alternatively.  Put him together with a fusion versed guitarist like Nick Granville or Dixon Nacey and he will take your ears apart in the best possible way.  Stephen is also a highly talented, straight-ahead, post-bop pianist and judging by the whoops of delight as he negotiated his solo’s he needs to get down to the CJC more often.   I am casting my vote for one of his Jazz fusion gigs.

Sean worked hard all evening and at the end he invited Roger Manins to the bandstand.   There was obvious respect between the two men but that didn’t stop them from going hard out.  When the best tenor players occupy the same bandstand, it generally ends up being a joyful celebration rather than a cutting contest.   This was respectful but no quarter was given.

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October 23, 2012 · 8:59 pm

Spoilers of Utopia / Ruckus@CJC

The way that music is interpreted by the human brain is understood up to a point, but there are many mysteries remaining. The topic interests neuroscientists, fans and musicians alike. While pattern recognition is one the of the main hooks drawing us deeper into a piece of music, we also become bored if the pattern remains relentlessly familiar. That doesn’t rule out repeated notes or a vamp as the points of variance are incredibly subtle; groove music or John Cage compositions bear this out. Whether subtle or overt, educated Jazz audiences prefer music that challenges, delights, reveals or amazes.

Good Jazz and improvised music does this despite the few fans who slavishly confine themselves to a single era or style. Live gigs will drag you out of your comfort zone and here’s the thing. Music is a language and we learn by hearing the unfamiliar and comparing it with what we know. Learning language is an innate skill possessed by all humans. As we listen to what we are unsure of, our tastes grow proportionally. These days Dolphy, Ornette Coleman, Art Ensemble of Chicago, Carla Bley and Zorn have a solid foothold in our consciousness; just as Jackson Pollack makes overwhelming sense when seen on a gallery wall. Jazz listeners should always want more than sonic wallpaper.

In keeping with Roger Manins enlightened approach as program director of the CJC (Creative Jazz Club), he had booked two very interesting groups to play on the 17th October 2012. First up was ‘Ruckus’, a quartet that was anything but run of the mill. The second was the out-brass ensemble (+ four), ‘Spoilers of Utopia’. What we got was joyful, challenging and outrageously humorous music. Music that was fiendishly clever without once resorting to introspective navel gazing.

‘Ruckus’ led by David Ward, a fine guitarist who has assimilated a dozen guitar styles and then stepped free of them. He composed the tunes Ruckus played and they were a metaphor for the inventiveness and vibrancy of the New Zealand Jazz scene. The set list was interesting and the group showed real guts in their interpretations. No one cruised through this material and consequently the collective pulse was quickly amped to a point of high intensity. Some of this material was reminiscent of a Fellini soundtrack, while still managing to evoke real-time global references. It was modern in the best possible way while hinting at its musical origins. I like musical surprises and this music surprised me.

Club goers recognised two well-known locals in ‘Ruckus’, Chris O’Connor (d) and John Bell (vibes). I do not recall seeing the bass player Rui Inaba before but this unit really did come together. Chris and John had double duties this night as they were not only in ‘Ruckus’ but in the ‘Spoilers of Utopia’ as well.

Chris is a drummer that I am very familiar with as his multifaceted approach to traps and percussion makes him a favourite on a number of scenes. He is one of the most talented, open and interesting drummers in New Zealand and it is always fascinating to watch how other drummers flock to hear him. Chris never rushes to fill any void as he understands how complete an implied or missed beat is. He has such a well honed sense of time that he can push at the fabric of reason without losing momentum . He also knows how to remain relaxed at the kit and how to say more with less. The fact that he is one of the nicest cats on the music scene is an added bonus.

John Bell is an extraordinary vibes player and he generally favours the free over the straight ahead. In Ruckus he showed that he is comfortable moving between both worlds. He can swing like ‘Hamp’ then merge that groove seamlessly into an irregular pulse. The one thing that stands out however is his musical courage. John shows an integrity that few vibists do. While a lovely ringing vibrato is what we most often associate with the vibes (early Gary Burton or Bags), the instrument is capable of more besides. He is recapturing the history of the vibraphone while showing us a possible future path. The vibraphone is a percussion instrument and that can easily be forgotten.

The Spoilers of Utopia (also ‘Tparty Spoilers of Utopia’) are a brass heavy ensemble and they are marching resolutely into new territory. While the charts are initially familiar they are never quite what you think. The genius of this music is its kaleidoscopic quality, as it reflects a thousand fractured images while somehow keeping the whole intact. We feel that we can almost grasp the essence; only to find the familiar deconstructed. A pack of travelling Jesters has skilfully woven a new cloth from the old and what was once orderly descends into a pleasant chaos. We follow the twists and turns and just as we fear we are lost…. a disciplined brass band marches out of the haze. This is a new take on tension and release and it really works for me.

The ‘Spoilers of Utopia’ are usually a nonet and as anyone who knows me will verify, I just love a nonet. They are big enough to create to create the illusion of a larger unit but small enough to leave a sense of airiness. To balance out the five brass instruments there was Vibraphonist (John Bell), guitarist (Neil Watson), bass player(Darren Hannah) and drummer (Chris O’Connor). The Brass section were Kingsley Melhuish, Ben Ziber, Finn Scholes, Owen Melhuish, (Don McGlashan absent that night).

I know Finn Scholes having been wowed by his facility on the trumpet (or flugal horn) before. Neil Watson is also a familiar figure at the CJC and I noted how well his solid-body guitar sound fitted the brass dominant ensemble. I liked his contributions enormously and knowing his quirky offbeat take on life and music, it must have been a no-brainer to include him in the mix. There was also a degree of unison playing and with the unusual instrumental configurations, the timbre of the instruments merged to create a richer sound. George Shearing and Tristano grasped this long ago. Having Piano, vibes and/or guitar playing unison lines changed the sound. Putting vibes and guitar with brass was to produce a wonderful contrast. As the ensemble moved from order to chaos and back again I could feel the guiding spirit of John Bell at work: the demented dance instructor shimmering in darkness.

The track that I have selected from the ‘Spoilers of Utopia’ set is so good that I have watched it over and over. The tune is a hymn beloved of the Salvation Army bands, ‘We’re Marching to Zion’ (Sankey). Someone decided on the spot that a drum solo should occur in the middle. As the band proceeded the overall effect of this anarchic but strangely reverential wizardry brought us to our feet? The audience showed wild enthusiasm (and if you peered into the darkness and listened carefully, I swear you could hear Sankey laughing).

This comes from where Jazz began; brass marching bands and random instruments merging to form a new and riskier sound.

Thank you to Jen Sol for providing the video material (as I stupidly forgot my camera bag on that night)

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October 2, 2012 · 12:55 pm

Nick Granville Quartet/Quintet@CJC

The CJC Jazz club in Auckland has been located in the 1885 Britomart building for nearly two years now and it goes from strength to strength.  There are important reasons for this success such as the ambience and friendly vibe, but the program of music is the real clincher.  Patrons see a real variety of bands and more importantly be exposed to improvised music that they might not otherwise encounter.  They see surprisingly talented local musicians who were hitherto unknown to them; also musicians from other cities and countries.   This week we heard a well-known and talented guitarist who works as a professional musician in the Wellington region.  I refer of course to Nick Granville.   This was not his first visit to the CJC but it was his first to the 1885 basement.  

The job of selecting bands falls to Roger Manins CJC program director and his choices really do count – he has a genius for this.   Without his approach we would tend to have long residencies and then audiences could drop off because people would say, “Oh that was great – but we saw them a few weeks ago”.  On Wednesday the person next to me said, “I don’t dare miss a single week because they are all such great gigs”.  The Nick Granville Quartet/Quintet definitely fits that category.

I have known Nick for a few years now and along with many Aucklanders saw him perform with the Roger Fox Wellington Jazz Orchestra and Alan Broadbent – later Patti Austin.  He is a core member of that big band and in that and in other configurations he is regularly called upon to accompany visiting artists such as Kurt Elling, Patti Austen, Bob Mintzner, Bennie Maupin (and an endless list of notables).  He regularly plays for television shows, embassies, Wellington functions and he has toured the USA.   His bag is anything from fusion, gypsy Manouch, straight ahead and bebop.  In short he is a professional musician and gigging is not a part-time thing for him.  Nick is also a keen writer and although he keeps this talent deliberately below the radar because of time constraints, he often writes big band charts.  

Nicks CJC gig was one I looked forward to and it also gave me the chance to catch up with him.  I learned that he had brought his beautiful Gibson Les Paul with him and we talked at length about this often underrated guitar.   Contrary to the opinion of some it is very much a Jazz guitar and its unusually warm sound and sustain make it special to my ears.   Pat Martino, Philip Catherine and others have used it to great effect and Les Paul was himself a Jazz Guitarist (playing at the Iridium in NY right up until his recent death).  The tune that I have chosen to post as a You Tube clip is a lovely composition of Nicks titled ‘Blues for Les’ (Les Paul).  Nick wrote this tune while waiting for a plane – using only an iPhone and a scrap of paper.

The reverb pedalling as he comps behind Roger Manins is gorgeous and it is never too loud or overdone.   Nicks, Oli’s and Rogers solos are all really memorable and one is left with that warm glow that comes from a well written ballad.  Everyone knows that Roger favours fast burners but his work on this blues ballad is breathtaking.   Rumour has it that this was the first time that he had seen the chart and considering that the lighting was so low that only a bat could have read it he worked wonders.  Ron Samson is a drummer who never disappoints and he gave us a solid lesson in how to match the traps to the occasion.  No one locally does brushes or mallets like Ron.

All of the tunes were compositions by Nick Granville and as with all good set lists they fitted together well.  There was a tune with a distinct New Orleans feel and it swung against a raunchy loose vamp.   This was an open invitation to Roger and to those of us that had not seen his bar hopping soul jazz persona before it was a revelation.

One of the tunes was a little loose around the head but it didn’t matter a damn.   This was good time music, a live experience to put a grin on our faces.  We don’t want somber faces and chamber music, we want authenticity, nice compositions, an engaging leader and great playing.  Nick gave us all that at the CJC and I can’t wait to see how these new compositions and others in the pipeline evolve.   Thanks man.  

The band; Nick Granville (Gibson Les Paul guitar), Roger Manins (Selmer tenor Saxophone), Oli Holland (upright bass), Ron Samsom (drums), guest Mike Booth (trumpet).

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September 26, 2012 · 11:47 am

Jamie Oehlers NZ quartet@CJC

There are good gigs, bad gigs, predictable gigs and everything in between. Mostly we appreciate what is before us but just occasionally, we attend a gig that is every kind of wonderful. This was it.

Jamie Oehlers has the sort of reputation that scares aspiring tenor players and creates life-long fans. This man is a monster on the tenor saxophone and no amount of scrambling for adjectives on my part is ever going to capture the intensity of his performance. Luckily I filmed much of the gig and so I will put up a number of cuts on You Tube over the coming weeks. This gig won’t be forgotten as it fizzed and washed over us like a blissful tsunami of sound.

Typical of many Australasian musicians Jamie Oehlers is self-effacing, and quietly humorous, but his down to earth persona remains intact only until he puts the horn in his mouth. Then we see confidence, elegance, fire-breathing and effortless virtuosity of a sort that almost defies belief. He is one of those musicians who reaches beyond the known, bringing the rhythm section and the audience along with him. His solos have an almost mystical coherence; as if guided by a universal logic that he is able to share with the audience.

Those who saw the performance at the CJC on the 19th September 2012 will understand exactly what I am saying.

As marvellous as Jamie was, his local rhythm section was there for him every inch of the way. Not for the first time I marvelled as Kevin Field (piano) responded to every challenge, managing to inject a sense of originality and invention into a number of almost unassailable standards. Kevin stands out as a pianist as he understands perfectly which chords to accent, when to lay out and when to work harder behind the soloist. He is exactly the right pianist to play behind a talented visitor.

Oli Holland was so good during this gig that I embarrassed him with a bear hug afterwards. He could have been Reggie Garrison at one point as the urgent stabbing notes from his bass propelled the others on. Listen to the first clip below and particularly where Kevin is soloing. This unit was never less than in perfect lockstep.

Frank Gibson on drums was equally marvellous. You never know how drummers will respond to high-octane material like this but he responded by reaching deep within and capturing every nuance of the set. I have never heard him perform better.

The first set began with the standard ‘On a Clear Day’ (Lane), ‘Alina’ AKA ‘Variation 11 from Suspended Night’ (Tomasz Stanko) [one of my favourite tunes], ‘Aisha’ (John Coltrane), ‘Take the Coltrane’( Ellington-Coltrane) , Portrait in Black and White ( Jobim) and more.

Near the end of the second set the band decided to play John Coltrane’s ‘Resolution’ from ‘A Love Supreme’ (1962). ‘A Love Supreme’ is hardly ever played and more is the pity. This avoidance relates to the holy grail status of ‘A Love Supreme’ among post Coltrane saxophonists. My view is that we should honour it and especially in this week. John Coltrane was born on September 23rd. It is a shame not to have all four movements performed together though; ‘Resolution’ is after all only a part of a mystical four piece puzzle which makes perfect sense when heard in its entirety.

Jamie stated the theme over and again, but each time working in subtle re-harmonisations and embarking upon brief angular explorations. We knew intuitively that we would end up in a place of almost unbearable intensity and we were on the edges of our seats in expectation. This was not a gate to be rushed and although we understood that, the anticipation was palpable. Tension and release is at the very essence of Jazz and Jamie achieve this end by stalking his prey in measured steps like a confident hunter.

‘Resolution’ is an Everest of a tune utilising Coltrane’s new-found ideas which were somewhere between hard bop and free. Jamie interpreted intelligently without trying to out do Coltrane. He made it his ‘Resolution’ as well. Kevin field was the same, as he took a more oblique approach than McCoy Tyner. This was a perfect homage without being a slavish imitation.

At the end of the gig we received an additional treat when Jamie asked Roger Manins to play. The best moment was when they played ‘On Green Dolphin Street‘ (Washington). With these two masters working the changes and probing every hidden corner of the melody, it reminded us that standards interpreted with integrity can sound as fresh as at first hearing.

Jamie Oehlers lives in Australia where he runs a Jazz School. He has so many awards that storage must be problem (including being judged winner of the ‘World Saxophone Competition’ in Montreux by Charles Lloyd and Bruce Lundvall of Blue Note). He has put out 10 albums as leader as well as being sideman for the whose who of the Jazz world.

I ran into Jazz guitarist Dixon Nacey as I was leaving and he summed it up nicely. “Man I have just received a series of Jazz upper-cuts”.

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September 24, 2012 · 11:27 am

James Wylie & Friends@CJC

James Wylie is a respected saxophonist, clarinetist and composer who has played, studied and taught all over the world. He initially studied in Wellington where he attended the New Zealand School of Music. One and a half years ago he moved to Berlin and soon after that to Thessaloniki in Greece.

Those reading the CJC webpages eagerly look out for returning expats, as they very often bring new ideas back with them while still retaining a core of that ‘New Zealand sound’. James played alto saxophone on this gig and he demonstrated why the alto is rapidly becoming a popular instrument again. For years the popularity of the alto waned but happily that is no longer the case. Improvised music often gives the impression of being a ‘blue skies’ horizon where no boundaries exist. All freedom comes from discipline and it is the knowledge of what works best in a given situation that marks players apart. Chops count but musical taste counts too. James showed an intuitive understanding of this.

Tonal and textural contrasts add considerable depth to a performance and in this we were well served. We not only heard the multiple facets of James Wylie’s tasteful alto playing, but we benefited from the addition of Roger Manins tenor. This was a double dose of saxophone magic. The quartet was completed by two Christchurch expats, Richie Pickard on upright bass and Andrew Keegan on drums.

While their first number ‘The Mooche’ (Ellington) got our attention, the second number ‘Just in Time Contrafact’ (Wylie) simply demanded it. It was an outright cooker. Roger Manins particularly shines in these situations and as he and James worked the changes and stretched out, there were enthusiastic cheers from the audience. The sets contained a couple of originals, some well-known standards and seldom played tunes by Jazz greats like Monk. Best of all were the tunes we have never heard in a Jazz setting. ‘Wichita Lineman’ (Campbell-Webb) – [It is a little known fact but Glenn Campbell was one of the original Beach Boys], ‘I can’t help falling in Love With You’ (Elvis) , and a memorable version of the standard ‘For All We Know’.

Nat Cole and Billie Holliday sung this so memorably (and hauntingly) that post 50′s bands often shied away from it. That is a pity because it can still evoke all of the emotions that made it a popular classic. The band approached it in the way that the late 50′s piano-less quartets did. Playing contrapuntally while extracting the maximum beauty from the melody. In this style of playing the bass is pivotal and Richie Pickard was perfect.

While the horns naturally took centre stage I never-the-less had my attention drawn to drummer Andrew Keegan again and again. The quality of New Zealand drummers often amaze and Andrew is a traps player I will keep an eye on. He is not overly busy but he has an in-the-pocket propulsive style. He listens carefully to what the others are doing and reacts in kind.

The last portion of the second set featured James interpretations of traditional Greek songs. My love of Mediterranean infused Jazz is constant and hearing Greek music was a treat. James interpreted the lovely melodic tunes (in crazy time signatures) with an ease that can only signify his deep interest in this music. In this portion he accompanied Greek singer Egli Katsiki. Her voice while a little soft at times resonated perfectly with the keening alto and between them they reached deep into the hearts of the spellbound listeners.

It was nice to have James here and I am keen to see where his musical journey takes him next (back here soon I hope).

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June 21, 2012 · 3:41 am

AJO @ JJA Awards celebration

Front line of the AJO

 Stop Press: Tonight Auckland held its inaugural Jazz Journalists Association Awards Satellite Party.     The Creative Jazz Club of Aotearoa (CJC) hosted the event and the club was packed to capacity.  The CJC is the first Jazz club in the world to see the moon as there is nothing much between the club door and the International Date Line except ocean.   In spite of the wet outside it soon became apparent that the Auckland Jazz community was going to turn up in force.  No Jazz lover in their right mind would let an opportunity like this slip away and the club was soon filled up with a seething mass of Jazz fans; check to jowl with the who’s who of Auckland Jazz musicians.

Brian Smith & Roger Manins

During the evening Roger Manins was awarded the JJA Jazz Hero Award and this met with strong approval from the audience.  Roger has been a popular choice as his work in promoting Jazz, teaching, mentoring and acting as programme director for the CJC have endeared him to everyone.  Then there is his musicianship which astonishes and inspires, while setting the bar high.  The work that Roger, Caroline and Ben do in running the CJC should not be overestimated.  Having Roger in town and having a club like the CJC has been a game changer.  More and more students are emerging from the Jazz schools and they need clubs like this to play in.  Being tested is part of the journey.

Jazz musicians are the alchemists of the modern age: they forge a raw beauty out of the world about us.  Musicians like Roger are the keepers of the magic.

This was a night of magic from start to finish and the Auckland Jazz Orchestra were superb.  This nimble hard-swinging seventeen piece orchestra played its heart out and the audience never stopped smiling or tapping their feet.  Sitting in front of a Jazz orchestra and feeling that surge of  power is like nothing else I know.  Tonight Auckland felt like the luckiest city on the planet.

Credit must go to the JJA who have been incredibly supportive throughout.   Auckland is proud to have hosted its first JJA Jazz Awards Satellite Party and this is only the beginning.

The party continued long after the AJO had packed up and before long a Jam session was in full swing.  To have Roger Manins (tenor), P J Koopman (guitar) and Brian Smith (tenor) on the band stand together was the icing on the cake.   One by one the students got up to join them.  Some looked nervous but they got up anyway.  It is nights like this that guarantee the viability of this music we love.

A full review will follow soon – thanks to Jenny and Deepak for assisting.

The AJO

Callum Passells

Matt Steele

John & Roger (centre)

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May 7, 2012 · 12:39 am

‘Dr Dog’ takes the Jazz Pulse of Auckland

Animal lovers, children and Jazzers alike were delighted to learn that the ‘Dr Dog’ Jazz quartet would be performing in the Creative Jazz Club (CJC). This was somewhat of a dream band as it featured ‘I cani popolari‘ from the halls of academia; Roger Manins (tenor), Kevin Field (piano, Rhodes), Oli Holland (Bass) and Ron Samsom (drums).

The band having no clear leaders could follow their noses, but in spite of that they worked as one throughout the evening. In Jazz-dog years they represented around 317.4 years of experience and so their ability to act in a disciplined manner was hardly surprising. They took their lead from each other.

Roger had managed to sniff out the microphone first and so the job of introducing the band members and the numbers fell to him. An endless stream of puns and dog stories followed and at one point some frank observations on the variability of dog intelligence risked causing serious offense to Afghan owners. As none appeared to be present the crises was averted and the dog related compositions flowed in happy succession.

If anyone thought this to be a frivolous exercise, they should be disabused of that notion. This was a band which had ‘chops’ (OK I had to put that in), the ability to delight a crowd and a string of intelligent compositions to shine over.

It is expected that the canine metaphors and jokes will continue to dog this band for some years; peaking around 2014 before eventually subsiding. As a departure from the normal CD prize there was a meat raffle. A cat named Jason took that prize.

The music that we heard was so good that a few of us are going to lay a trail of sausages; leading from the Auckland University School of Music Jazz Programme to the nearest recording studio (Yorkie Street studios or Ratter Records).

In researching this Canine Jazz phenomena I recalled another dog band which had performed at the CJC . Guitarist Neil Watson’s ‘Zen Dogs’ performed at the club about a year ago. When I ran into Neil months later I asked him if ‘Zen Dogs’ would be performing again soon. He answered in that enigmatic way of all Zen masters. “Oh that was a concept band”. “But will they be performing again”, I asked?. “No the band was literally a concept – not an actual band”. Confused and pondering the meaning of this Koan, I could not help wondering. Had I imagined the entire gig?

‘Dr Dog’ on the other hand is a band grounded in realty. A cartoon dog band entirely relevant to our times.


Footnotes: I have used sepia photographs to show respect, as they add a certain gravitas befitting the age and experience of the band. All photos are mine including ‘Dr Dog’ who was caught in Chelsea London and subjected to Photoshop without his permission. You will be pleased to learn that I managed to avoid using the following: barking up the wrong tree, woofers and Roger was a wag.

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March 26, 2012 · 12:11 am

Callum Passells, trio, quartet, quintet

Callum, Cameron & Adam

A few days ago the CJC presented the Callum Passells group.   Callum is a third year student at the Auckland University School of Music (Jazz Studies) and so are his band mates.  If anyone harboured the briefest thought that this group should be cut some slack on account of age or experience, forget it.   What we saw was a slick act, a great programme and the sort of discipline that generally comes with seasoned performers.   This band did the business and they held us in the palm of their hand throughout.

I had only seen Callum perform a few times; once at a house party and once during a jam season.  Those brief encounters had not been enough for me to form a clear view of his abilities and so I arrived with an open mind and no fixed expectations.   I now recall Roger Manins saying that Callum was a terrific saxophonist and that he had the hunger to succeed.  That should have clued me up.

Cameron

Callum is a very nice altoist and his tone is as sweet or as hard-edged as the tune calls for.  Once in a while I could hear a hint of Cannonball Adderley.  Not a copied lick, but more of a bluesy swagger and the stuttering way that he would burst into a phrase.  During one such moment I must have uttered the word ‘Cannonball’ to myself.  The person sitting next to me suddenly said, “yeah, I heard that too”.

The band was well rehearsed and they had paid attention to the smallest of details including how they presented themselves on the bandstand.  Their programme was quite varied and each number fitted into its place and told its own story.   There were piano-less trio numbers, quartet numbers and quintet numbers.   The tunes were all originals and they were well written.

I have to comment on the quintet arrangements which were simply sublime.  Some of the better arrangers like Marty Paich or Kenny Wheeler could arrange tunes in such a way that smaller ensembles sounded as if they were much bigger.   The advantage of this is that it leaves the listener with a feeling of airiness.  A sense of the space around each instrument.   

When I first heard the quintet I was surprised at how big the sound was.  There were only two horns, Cullam Passells (as) and Liz Stokes (t, fh).   This is the illusion created by good arranging.  Liz Stokes was especially fluent in the second set and a Wheeler-esk slur added colour to the performance.

I have seen Cameron play before and he really stepped up a notch with this gig.  I think that he enjoyed it and it was a challenging workout for bass.  The drummer Adam Tobeck was comfortable throughout and he pushed himself harder in the second half.   A blistering solo earned him his stripes with the CJC audience.

The band member I am most familiar with is Matt Steele.   I have liked his playing from the first time I heard it and he was even better at this gig.   He has a mature style but it is different to many of the pianists I hear as his touch is often light and crisp.   His comping is breathtaking as he urges the soloists to greater heights.  While you are always aware of his right hand soaring in chromatic invention during his solos, his left hand weaves its own chordal magic.  If I needed a single word to describe his playing it would have to be melodic.  

The set list was a work of art in itself.  On the page it read like an Imagist poem by Langston Hughes or William Carlos Williams.

The set list was as follows:

Race-car Red Red Race-car, Molasses, What the Fuck is a Persimmon, Money Grubber, I’ve, So This is What it’s Like,  Magnetic North, Wrack, Candied Carrots, Elysium, Greens Waltz, Up Up Down Down Left Left Right Right AB

The band was in order of appearance – Trio:  Callum Passells (leader, arranger, composer, alto saxophone), Cameron MacArthur (double bass), Adam Tobeck (drums).  Quartet add; Matt Steele (piano), Quintet add: Liz Stokes (trumpet flugal horn).

Callum presided over the night with that easy confidence of a born leader. He told very funny stories (especially the WTF is a Persimmon story) and he encouraged his band in a way that ensured they gave their best.   If that is the calibre of students emerging from the city’s Jazz schools then we are in for an exciting future.   Big ups to the band and especially to Callum.


							

	
			

				
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															November 12, 2011 · 11:05 am											


							
Resonator; Reuben Bradley
			
				

				
It is well-known on the New Zealand Jazz scene that Resonator won this years ‘Jazz Tui’ award.  As this is drummer Reuben Bradley’s first album that is no mean feat.  The band played at the CJC earlier in the week as part of their Australasian tour and pulled a good audience for the gig.


The band we saw on Wednesday did not have the full complement of band members present on the album, as the pianist Miles Crayford who had played piano, Fender Rhodes & synth had been replaced by guitarist Tyson Smith.   Also absent were guest artists Tom Callwood (arco bass), James Illingworth (synth) and Kirsten Te Rito (vocals).


This was a paired down hard-driving unit and they took the high energy, high volume route.   The band was: Reuben Bradley (drums, percussion), Mostyn Cole (electric bass), Roger Manins (tenor saxophone) Tyson Smith (guitar).   It was also obvious that this was a drummers band because Reuben seemed to direct all aspects of the music; the band taking their cues from the complex rhythms he was laying down.   I had heard much about his ascendancy as a drummer and his chops were certainly evident at this gig.    He was also an engaging presence as he bantered with the audience.  Jazz musicians are capable of delivering knock out one liners, self-deprecating asides and sly insider jokes from the bandstand.   I am happy to see that tradition continue at the CJC.


While most of the pieces swiftly morphed into full-on blowing numbers there was one ballad.    In situations like this a band could not do better than call on Roger Manins to execute the key lines and he delivered in spades.   Reuben introduced the number by saying, ” I had always wanted to write a dark evil sounding ballad because I figured that there was a real market for this”.    This number ‘Search in progress’ gave us an insight into the subtler aspects of the band’s repertoire.


Every Kiwi (and offshore) Jazz fan should contact ‘Rattle Records’ http://www.rattlejaz.com and purchase the ‘Resonator’ album.   It can also be purchased at ‘Marbecks Records’, ‘Slow Boat Records’ and ‘Parsons Records & Books’ and is available as a download on iTunes.   ‘Rattle Records Ltd.’ are to be congratulated for their burgeoning catalogue of top quality NZ Jazz and I urge all Jazz lovers to support this label.    It must be pleasing to the band that Mike Nock has praised the group. He saw this album as being ample evidence that “The new generation of New Zealand Jazz musicians have moved up several notches”.


After the gig I sought out Mostyn Cole the bass player to apologise for wrongly naming him as the bassist at the previous weeks gig.   I could not find him but the guitarist Tyson Smith said, “It doesn’t matter man because I am credited as being in the band but I was not on the album we are touring to promote and so it all equals out”.   That caused me to recall Roger Manins tongue in cheek announcement the previous week. “We believe in truth in advertising tonight and this is one of the rare examples where the people on the album are actually the people performing on the promotional tour,  Get a signed copy of the CD now as this may never happen again”.    Jazz humour is the best.





							

	
			

				
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