‘Composure’ (Alan Brown)

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a1384163851_16.jpgAs Alan Brown moves in new directions, he is leaving some extraordinary musical documents in his wake. Hot on the heels of his recent Alargo collaborations he releases a second solo album, ‘Composure’. Again, this is an ambient album and like Alargo it is meticulously crafted. It is a solo piano album but much more. Here, the minutiae of the sonic world are revealed and important ambient sounds which are often overlooked.  In our busy modern lives, we drown in sonic overload. Here in Composure, the very essence of sound is explored, nurtured, curated, given wings.  There is an incredible floating quality to these tracks and the effects are otherworldly, but this is a world beginning at Brown’s fingertips. A world that exists inside a Steinway D piano, an empty concert chamber; in places overlooked. There are faint sounds of the street present and other ‘found’ environmental sounds. These are present as breakthrough sound, loops or drones, adding texture and depth.

It is tempting to think that the pieces arose from written charts or pre-existing motifs, but they didn’t. This is spontaneous composition and formed in reaction to the sounds and the atmospheres of the moment. With the exception of the Scape drone effect on ‘Form of a Dream’, all other effects have been added after the exploration. The material in this album was recorded at the same time as ‘Silent Observer’ and this is a worthy successor. This music has no preconditions attached and the listener should engage in whatever way they wish. There are incalculable benefits from slowing our lives down and when we do we become deeper listeners, more nuanced in our approach to the frenetic world about us.

I have added the first track ‘Form of a Dream’ as a Bandcamp sound clip. I urge everyone to set up a free Bandcamp account – I do much of my listening there. You can buy physical albums, get high (or low) fidelity downloads, or stream. The artists also get a greater share than with other platforms. The Composure album is available from alanbrown.co.nz  or from alanbrown.bandcamp.com

 

 

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Melbourne Musicians

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Andrea K (3)It was a foolish oversight on my part – I hadn’t visited Melbourne in fifteen years. I had seen a quite few Melbourne improvisers perform in Sydney or Auckland but failed to track them back to their native habitat. The last time I was there, Bennett’s Lane was still a thing, but closed for two weeks. That was the week between Christmas and New Year; that arid Jazzless desert in the live music calendar. With family now residing in Melbourne, I decided to atone for my sins and I headed off while the Jazz calendar was over-flowing with tasty offerings.

My first stop en route was Sydney where I met up with Mike Nock. That evening we caught a gig at the Foundry 616 where Nadje Nordhuis and James Shipp were playing. When Nock enters a venue the room rearranges itself. You immediately become aware of people in the dark interior, gathering quietly to pay their respects. It was great to see him looking so well and to hear about his new projects. We miss him in Auckland as he has not played here for over a year.  I had previously seen Noordhuis perform when the Darcy James Argue band came through Auckland. She is a member of both the Darcy Argue and the Maria Schnieder ensembles – Shipp is a vibraphonist percussionist and ‘synthesisist’ and well-known in New York. The gig opened the Sydney Women’s Jazz Festival and it was well received. I was also delighted to catch up with Thomas Botting who played bass for that particular gig.  A robustly healthy and startlingly fit Botting. After a few days with my daughter and grandchildren, I headed to the domestic airport and Melbourne. IMG_1930

To my delight, I was greeted at Melbourne Airport by large signs reading – ‘Welcome Home from Jail Granddad’. Aussie humour is unique and often intentionally embarrassing. Hiding behind false sensibilities is not an option. If you don’t like good-natured piss-take humour – go elsewhere (Kiwis get this). It is no accident that our lost, lamented and beloved Kiwi comedian John Clarke and the actor/comedian Bruno Lawrence settled there. A larrikin world-view runs through the music as well. There is a unique openness about much of Australian improvised music. It is of course informed by the Jazz roots of America, but strangely unbeholden to it. The musicians are liberal-minded and many are unashamedly strident in their political views – this can feed the music as well. New iterations of the Liberation Music Orchestra are forming in Melbourne and that makes perfect sense. Andrea K (9)

There were quite a few Melbourne musicians on my list and at the top was Barney McAll. It is no secret that I am fascinated by the depth and scope of McAll’s music and interviewing him is always an interesting experience. Some musicians go to great lengths to hide from personal scrutiny, believing that their music is all you need to know about them. That is an entirely valid viewpoint, but a curse if you’re a biographer or reviewer looking for context. When I review, I try to avoid armchair appraisals; attending live music whenever possible; eager to know something of the musician, the thought processes, philosophical leanings; hoping to look behind the mask. Possessing a stubborn belief that an artist and the music are two sides of an alchemic essence.Andrea K (11)

McAll texted me his address and I ventured out into the heat, trying to make sense of the train system. I got off somewhere in the outer suburbs; prophetically, somewhere near Mooroolbark. There was a bing and I looked at my phone. The text read, ‘Round the back your grace – ignore the dog’. McAll greeted me warmly and we went inside for a Vegemite crumpet. As he was wearing military-style camouflage, I didn’t dare tell him that Kiwis only eat Marmite (look up the great Marmageddon debate which erupted after the Christchurch earthquake).  It is always a pleasure talking to McAll, but unforeseen things occur when your guard is down. He played me some new compositions, showed me a video he was working on and we discussed the coming year’s projects. Then unexpectedly, I found myself the subject. Being interviewed about my poetry and the duty of creative artists to get their work out there. As we talked, and as if it were the most natural thing in the world, he handed me a grinning ventriloquist’s dummy and sat another in the next chair. The discussion continued, was filmed in real time; two child-sized puppets and me; and the McAll directing it Fellini fashion. For more about McAll’s recent ‘Hearing The Blood’ album or his catalogue, go to iTunes, Spotify or www.extracelestialarts.bandcamp.com  – read my recent blog post, December 4, 2017. Andrea K (14)

While I was there, McAll phoned Julien Wilson to find out his gig schedule for me. There was a gig of his on in Northcote and so I dashed back to the Jazz Corner hotel before heading out into the warm Melbourne night. It was an auspicious night to be out and about in Melbourne as the divisive and ill-considered same-sex marriage plebiscite had delivered a resounding yes vote. Whole inner suburbs were closed as revellers partied. Adding to the celebratory mood, a significant World Cup qualifying match was underway (which the Aussies subsequently won to the chagrin of Kiwis who lost their qualifying match). All of the above spells happy chaos in an art and sports-mad city. And I had music happening – lots of it. A scarfed man sitting opposite me on the tram was laughing and crying in turns.  He was so drunk that his eyes revolved in opposite directions. Someone asked him if he was anticipating a win and he nodded chuckling, then just as quickly he cried inconsolably – ‘Cats are bastards’ he mumbled – ‘I just fell over one and hurt my arm’.Andrea K (10)

Jules Wilson is a tall friendly man and he plays like he lives with his heart on his sleeve. I have followed his Facebook posts and listened to his music for years; no-one is ever left wondering what his worldview is. Like many musicians, he loathes injustice or inequality and you can hear this manifest in his sound. Not in an angry way but in an earnest cajoling way, demanding that humanity ups it’s game. Creating original improvised music taps into a deep well of experience and with mature players, their character oozes through the notes. A lot of modern saxophonists have a raspiness to their tone and often produce a vibrato-less sound. Wilson has a rich full-bodied sound and it touches on an era when the tenor giants ruled the world. Appropriately there is often some breathy vibrato at the end of a phrase. This is not to say that he is an old-fashioned player because he isn’t. It is rather that the history is in that tone – ancient to modern.  This is always

There is another factor which could influence his tenor sound – he doubles on clarinet. The clarinet is the first horn he mastered. While many saxophonists treat that horn like a difficult inlaw, Wilson perseveres, regarding it with a begrudging affection. I was stunned by the beauty of his clarinet playing and how modern the instrument sounded in his hands (he played a fast-paced bop classic, not a ballad).  I asked him in the break how he felt about the horn – “it’s a punishing unforgiving instrument, but I can’t bring myself to abandon it” he told me.

Wilson came sharply onto my radar with McAll’s extraordinary Mooroolbark album but he has long been one of Australia’s most successful Jazz Musicians. Winning the National Jazz Award in 1994, The Music Council of Australia Freedman Fellowship in 2006, The 2008 Bell Award – Artist of the Year, a Bell Award trifecta in 2014 and the APRA Art Music Award for Excellence in 2016.  I have recently been listening to his back catalogue which is available on Band Camp (some CD albums are also still available).  His output is diverse and all of it interesting – an edgy album with Jim Black, Mark Hellas and Steve Magnussen – several recordings with his popular trio (Stephen Grant on accordion and Stephen Magnusson on guitar) – an extraordinary couple of albums featuring Barney McAll on piano, Jonathan Zwartz bass and Allan Browne on drums.  There are around twenty albums in all. All are worth a listen but his ‘This is Always’ album is an absolute gem (the live ‘This Narrow Isthmus’ which followed, likewise). The former harks back to a specific era in the best possible way – not as a tribute album, but as a rekindling of a bright flame.  

The story behind the album is instructive as it takes us to the heart of an in-the-moment creative process. The musicians wanted to capture the vibe and style of the famous Prestige Meeting Sessions.  McAll and Wilson swapped a few charts but had no detailed discussions – no rehearsals were scheduled.  On the day of recording, the four turned up at the studio with a ‘first-take’ approach. No baffles and no headphones were used. This allowed for a sense of immediacy and real-time heightened interaction.  McAll reimagining the piano styles of the era in passing – some Evans like intros and even using the locked hand’s style briefly. Wilson sending forth a flurry of swoon-worthy fat warm tones.  None of this sounded contrived – it sounded like the present and past fused into a cohesive whole. The album is an important milestone in Australian music and no antipodean Jazz lover should be without a copy. It should not be regarded as a trip down memory lane, but as a testament to the eternal now. The unsuspecting will believe it to be a loved classic album of the Prestige-era and scratch their heads to place it.

When Bennetts Lane passed into history, the Melbourne club scene rose to the challenge.  The Bennetts management (or some of them but minus the name – it’s a complicated story) opened a new club in the industrial heartland of Brunswick. The JazzLab is a stunning venue. Situated in a basement, it has all that old-school Jazz Club vibe but not at the expense of good taste. It is comfortable but not over-decorated (I have seen some shockers in other countries, trying so hard to be cool that they end up as museums to kitsch). More importantly, the sight lines are good and the acoustics great. I attended the JazzLab with expat Auckland musician Matt Steele and my son Jeremy and the gig was a treat. It was the album release of ‘Finding The Balance’ by the Paul Williamson Quintet. This was a solid unit with an inexhaustible array of talented firepower and good tunes.  All were new to me except Jamie Oehlers, who I see perform regularly.  Andrea K (2)

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The unit had swags of punch and plenty of textural contrasts.  It was big enough to sound like a larger ensemble at times, but the writing allowed individuals to shine. Oehlers was on fire, hitting sweet spot after sweet spot during solos – carving his path through the air like a titan. Closer to earth, but equally attention-grabbing was the leader Williamson – his sound control impressive – his trumpet speaking a very human dialect. I had not encountered Andrea Keller before, but her tasteful minimalist approach also caught my attention – it contrasted nicely with the fulsome horns. The remaining musicians a six-string electric bass player Christopher Hale and a very tasty drummer James Mclean. It was a great launch in an interesting venue – what could be better.  Andrea K (13)

Keller, in particular, intrigued me, so I looked through the gig guide to see if she was playing elsewhere. My luck was in as she was leading an interesting trio at the Uptown Jazz Cafe in Fitzroy. The next night, was a warm one, and I walked to Fitzroy, pausing to eat street food on the way. Finally, I stumbled up the stairs to a very warm Uptown Jazz Cafe. The venue was not air-conditioned and ill-lit, but the gloom and the heat added to the ambience. As the band set up, a shaft of dim orange light beamed on them, illuminating the trio as ghostly orange spectres – enlarging and distorting their forms as it projected them onto a screen. The music bordered on avant-garde and the setting was therefore perfect. Andrea K (1)

The trio of piano, violin, and electric bass didn’t disappoint.  Keller’s serialist credentials were very much on-show as she spun out a filigree of wonderfully intricate patterns. At first, it sounded like a repeated motif, but a more careful listening revealed otherwise. Finely detailed changes to the underlying structure guided the ear into a finely wrought lace work of notes. In this, I detected the influence of Riley or other adventurous souls.  The violin and bass meeting the challenge, adding colour, texture, and melodic contrast (I didn’t catch their names). I had recently been listening to Terry Riley’s ‘Lazy Afternoon Among the Crocodiles’, so this gig was very pleasing to my ear. Andrea K

I saw other gigs during the week, but the standouts were those mentioned. Melbourne is a city of the arts and a very European styled city. It is therefore not surprising that Jazz flourishes there. I have travelled through many of the worlds great cities in the past year, but this city is as Jazz rich as the best. Andrea K (4)

Barney McAll: www.extracelestialarts.bandcamp.com + iTunes, Spotify etc

Julien Wilson: www.julienwilson.com (sample tracks and purchase) + iTunes etc

Andrea Keller:  www.andreakellerpiano.com.au/ + iTunes etc

Paul Williamson: paulwilliamson.bandcamp.com + iTunes etc

Alargo – Primacy / Roberto Magris Sextet

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Alargo has been around for several years now and Primacy is their second album. The first Alargo album, Central Plateau, was great, but Primacy has that real wow factor. It is a testament to the extraordinary imagination and musicianship of Alan Brown and Kingsley Melhuish. They have created a world just beyond our grasp, but palpable for all that. The idea that two musicians can create such a cornucopia of sound is astonishing. It is divine trickery; it is music that lives everywhere but nowhere; it is quite wonderful.

This fulfils every requirement of a good ambient album: it references many genres and many moods but never overemphasis one aspect over another. It floats and shifts like moments in a dream and above all, it invokes an etherial sensory imagery. The kaleidoscope of patterns may elude the conscious mind but the subconscious mind will form its own associations. This is the philosophy behind ambient music.  Perhaps its most valuable attribute is its evanescence, that elusive quality where images fade shortly after they are fixed upon. This is the stuff of quantum physics and of good improvising musicians. This is the essence of Primacy.  Alargo2.jpg

The first track opens with a drone which pulses gently. As the modulation shifts the rhythms shift with it – subtly at first, and then as more voices are added you find yourself lost in the journey. This is an Alice like a dreamscape, but there are no bad-tempered queens down this rabbit hole. The sensation of floating is constantly enhanced, as snippets of music come and go; disembodied voices hinting at places as far-flung as the Himalayas, an old European cathedral or the South Pacific; mesmerised we follow. This piece and those after taking you into deep space (or an interior somewhere very much like it). Anyone who enjoyed Kubrick’s ‘2001 A Space Odyssey’ will love this. The sound clip I have posted is the first track titled ‘Vocale’.  

If you are a fan of ambient improvised music you should rush to grab a copy of Primacy. If you are unsure, then listen to the sample clip, close your eyes and let your imagination guide you. This album is as good as the best of the Nordic Ambient Albums and I’m sure that Manfred Eicher could not have improved on the mixing and mastering. Two Nordic Jazz Musicians visited New Zealand recently and we spoke about artists like Eivind Aarset and Jan Bang. This form of live improvised music is very popular in Scandinavian countries and Jazz audiences are on board with it. I hope that Primacy reaches the European continent. I am certain that it would do very well there.

Kingsley Melhuish features on: vocals, trumpet, Ocarina, Koauau, Tuba, Conch Shells, Percussion, Loops, iOS effects. Alan Brown is on: Keyboards, Synthesizers, Loops, iOS synths/effects. The album is available from Primacy-Alargo-Bandcamp.

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The Roberto Magris albums came to my attention some years ago as I have an interest in Italian and Mediterranean Jazz forms. While his albums fall into the straight-ahead Jazz category, a careful listening reveals his strong Mediterranean and Latin influences. His latest album ‘The Roberto Magris Sextet live in Miami’ is his most recent release and it has a distinctly international feel. This is partly down to the classy lineup but more to its edgy Latin-tinged hardbop vibe. Magris is a pianist in the classic mould – wearing his influences on his sleeve and unashamedly so. In interviews and in previous albums he has cited pianists like Horace Silver, Elmo Hope, Duke Jordan and Sonny Clark. He has an abiding fondness for the bop and hardbop swingers but stylistically he incorporates much of his own journey as an Italian pianist. He is extremely well recorded and has been a sideman for luminaries like Kai Winding, Eddie ‘Lockjaw’ Davis and Sal Nistico. Of interest to me is his association with the west coast alto saxophonist Herb Geller. Magris is flawless in his articulation of ideas and his albums and his compositions don’t disappoint.   

Given the above, it is unsurprising that Magris chose Brian Lynch in a leading role. The American born but outward looking Lynch is a significant presence in the Jazz world and particularly so on Latin projects. He has recorded extensively, has travelled everywhere and is a Grammy-winning artist. His solo’s here are impeccable, and like Magris, he favours a hardbop approach. This gives him an air of real authority.  IMG_0376

On tenor saxophone is Jonathan Gomez, on bass (the renowned) Chuck Bergeron, on drums John Yarling and on percussion is Murph Aucamp. Magris is the musical director of a Kansas City based label ‘JMood Records‘ and this album and others can be sourced from there. I have put up a short clip ‘Blues for my sleeping Baby’, which reminds of the earlier East European pianist, Krzysztof Komeda. Magris is from Trieste, a once important free port on the Adriatic; a haven for great poets like Rilke and Joyce and now nestled quietly on the edge of faded empires. I visited there once and loved the place – I will certainly go again and when I do I will endeavour to track down a Magris gig.

This post and all on this site are by John Fenton, a photographer, videographer and professional member of the Jazz Journalists Association.

John Pal Inderberg Trio (Norway)

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It is rare to have a Viking encounter in New Zealand as our Geographical isolation makes it difficult. A foolish few, claim, that Eric the Red visited here after he sailed to America. That is as fanciful as Trump’s claim to possess genius IQ.  I have had four significant Viking encounters in my life. The first was when I visited Yorvik in York. The second occurred in a crowded hall when a booming female voice hushed everyone by proclaiming – ‘Lookout a Viking has entered the room’ and pointed directly at me. Wives were gathered close as all eyes turned nervously in my direction (the embarrassment subsided after extensive counselling). The third occasion was when my DNA revealed that I was 21% Viking (the woman was right). A few nights ago, I had another Viking encounter and this one was perfect. A descendant of Eric’s finally made it, with a baritone battle horn and batterie in tow.  John Pal

It was 10 degrees below when John Pal Inderberg left Norway and 40 degrees above when he and Hakon Johansen landed in Sydney.  By the time they visited Auckland, there was only a 38-degree temperature differential. This gig, was as unexpected as my previous Viking encounters – coming out of nowhere.  Jeff Henderson had pulled it together at short notice and those who attended will be eternally grateful that he did. Henderson and Inderberg go back some way. Baritone saxophone gigs are extremely rare; baritone chordless trio gigs like hens’ teeth. Inderberg opened with a long intro; a beautiful Norwegian folk-influenced melody – the deep resonant notes bubbling up from the depths – pleasurable from the first instance. His rich tone, northern European, his ideas as he improvised, an endless stream of Nordic sagas.  I have only heard one baritone player who sounds like that – John Surman (who also lives in Norway). John Pal (3)

The setlist was a mix of originals and standards – the standards sounding wonderfully original, as breathy stories were unpicked. Woven into the tunes, were snatches of multiphonics – between the tunes, a cornucopia of humour. This was Nordic humour and extremely funny. At one point, he told us that a particular tune was difficult and required a lot of rehearsal. “This tune has a lot of de-crescendos and Vikings are very crescendo orientated. Loud shouting is embedded in our DNA after all of that pillaging”. He later explained that the band were enjoying their new uniform (although no one was dressed the same). “Not one of us is wearing underpants on stage,” he added. “In Norway at 10 below, our underpants stretch from here to here,” indicating his chest and ankles. In this heat, they are not welcome.  

Inderberg has an impressive resume. He has toured and recorded with Lee Konitz, Warne Marsh, Chet Baker, Gil Evans and Bob Brookmeyer. He teaches at Trondheim, is a multi-award-winning musician and a key member of many ensembles and Jazz orchestras.  He has definite Tristano leanings and this shows in his approach to improvisation. We discussed Warne Marsh’s sad final performance – dying as he played ‘Out of Nowhere’. We call it ‘Out of Norway’ he told me.

We were extremely lucky to have both Inderberg and the trio drummer Hakon Mjaset Johansen in New Zealand. Johansen was also extraordinary – whether as a colourist or laying down a steady pulse, he showed himself to be the perfect partner (the percussively finicky Lenny would have approved – no kick drum bombs). On bass was the Auckland musician Eamon Edmundson-Wells. Was the Nordic-sounding name an X-factor? It may have been as he played as if he had been with the trio for a long time. It is always gratifying when our local musicians kill it alongside the greats. John Pal (2)

Inderberg has over 30 albums to his credit. He will likely return before too long. Watch out for that, as his gigs are not to be missed. The Trio recorded an album in 2016 titled ‘Linjedalsleiken’ and it is superb. I have embedded two gig clips, just case people need further convincing and a sound clip from the album.  

The above album is recorded for Ponca Jazz Records and is available from that site, or from iTunes. Also available, are a number of recordings of Inderberg with Lee Konitz – ‘Steps towards a Dream’ is astonishingly beautiful. Well worth the download if you have a fondness for the post-Tristano movement as I do.

The Carnivorous Plant Society @ The Wine Cellar

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Finn (6)There are a finite number of notes in a scale or colours in the visual spectrum, but an infinite number of possibilities arise. Embracing the latter, multi-instrumentalist, multimedia sculptor and composer Finn Scholes constantly scans the landscape for new material. When he locates something shiny, he appropriates it as a magpie might, storing it in memory until he can bend it to a new purpose. A musician with few boundaries; a disruptor of complacency, his open ears and pioneering disposition equipping him well for his musical explorations. The genius of this music is that the listener will find any number of references, and each according to that persons taste. Any attempt to narrow the music down to a specific range of source materials, or to the prime influences, will, therefore, fall short; there is no correct answer.IMG_3922

There is an innate human urge to catalogue, look for pattern recognition and to compare and as I am a compulsive assembler of odd lists, I will offer up mine. This was: Bowie, Spaghetti Western movies, Surf guitar, Pink Floyd, a Mexican Soap opera, William Burrows, Lounge music, 70’s Jazz Space Funk, Bill Frisell and above all John Zorn (‘The Big Gundown’, ‘The Dreamers’).  It was also Hokusai, psychedelic poster art and Crum The Bum comics. In my ears, it had Jazz sensibilities and in my eyes, it was the psychedelic Kings Cross of my youth.

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The Wine Cellar is the perfect venue for such a launch. Down Karangahape Road you go, past the revellers and the sirens, past Shanghai Lils with its delightfully dissipated vibe, along to St Kevin’s Arcade, down the wide staircase and through the narrow door (surprisingly not the entrance to a broom closet). Into the bar, through the bar and under the arcade itself. A true home of the Avant-garde and of underground music. It is a vibing place where the sound of music-past leaks out of the air conditioning unit months later. It is so alternative, that the word ‘genre’ gets you chucked out by a hipster bearded bouncer. On this night it was jam-packed with sweating bodies and raised swaying arms; the temperature, so hot that you could fire porcelain. There was no room to swing a cat, but if you did, you would fell several hipsters. It was dark as a nun’s habit at the back while the front pulsed in dancing light. Multicoloured cartoons appeared and vanished just as quickly, playing on the instruments and the faces of the band.  And meanwhile, the excitement grew – it had no means of escape.IMG_9737

Up front, washed over with film and comic strip characters, the Carnivorous Plant Society; an organic entity with technicolour tendrils; the core band plus a steady procession of guest artists waiting for their cues. Finn Scholes the leader, on a bank of analogue keyboards, an ancient vibraphone, a trumpet and a tuba. At the rear, his brother Tam on guitar, Tam’s partner Siobhanne Thompson on fiddle and vocals. To complete the family involvement, Jeff Scholes, the father of Finn and Tam, read improbable parables, parables which may or may not have had a deeper meaning. The rest of the core line up were Cass Basil (bass and vocals) and Alister Deverick on drums. On vocals during the live performance were Hayden Eastmond, Ed Casterlow and Hollie Fullbrook. Additional instrumentalists were Tim Stewart (trumpet), Nick Atkinson (saxophone) and Lisa Crawley (recorder). .     

The Carnivorous Plant Society has been around for a while. I first reviewed them at a CJC gig in 2015 and liked the way they appropriated media; above all, I liked their vision. Now, two years later, after festival appearances and many gigs, they stand as a fully formed and highly compelling unit; living at the heart of Auckland’s alternative music scene, where the cross-over between bands and styles enriches everyone. Scholes plays with bands like Hopetown Brown, Audrey’s Dance, Swamp Thing, Avalanche City and the Zestnicks. He is also an occasional presence in Jazz studies student performance ensembles and in experimental or avant-garde music lineups. Scholes lives where music is evolving and where genres bleed into each other. A Jazz musician as the ghost in a bigger machine. His Jazz background will remain our secret.Finn (5)

The album will officially be released around March 2018. Additionally performing on the album are Lawrence Arabia, Don McGlashan, Hollie Fullbrook, Hayden Eastmond, Tiny Ruins. The band’s website is www.carnivorousplantsociety.com

My son and his girlfriend were home for Christmas, so I took them to the gig. Both live in central San Francisco and they are therefore familiar with the alternative music and experimental media scene in the Bay Area. The gig resonated strongly with them and they felt right at home. Buy the album, support alternative music and get along to the release gig if you can.

The Carnivorous Plant Society performed at The Wine Cellar, 183 Karangahape Road, St Kevin’s Arcade, Central Auckland on 22 December 2017.

Paul Van Ross trio & Cuban album

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The Australian saxophonist Paul Van Ross is a regular visitor to New Zealand, but there was a four-year gap between his recent Auckland gigs.  He is a talented improviser, an interesting composer and an artist brimming with ideas, so his gigs are always worth catching when he passes through. As he did last time, he toured with drummer Mark Lockett, a friend and longtime collaborator. They were joined in Auckland by the in-demand bass player Cameron McArthur. Van Ross’s last visit featured Alan Brown on organ; this trip, however, was pianoless, providing him with clear skies and lots of space to stretch out in. All three grabbed at the opportunity enthusiastically and the audience benefited from the subsequent aerobatics. P V Ross

While the tour focussed on his trio chops there was a secondary purpose; to showcase his Cuban Album “Mi Alma Cubana’. The trio played mostly originals and a number of tunes from the album. As much as I enjoyed the trio (and I did), it was the Cuban septet which really floored me.  I have put up a video excerpt from the chordless trio gig, and I can’t resist adding two sound clips from the album. What an album this is – what unbounded joy and groove. It was almost impossible to choose which track to put up as they are all so great – ‘Break a Tune’ (an earlier composition), La Negra Tomasa (G. Rodriguez) the only non-original, the ballad ‘Melody for Mum? In the end I opted for ‘Swami in the house’ and ‘Hacienda de la Salsa’ (the latter containing hints of tango under infectious Cuban rhythms – a truly spicy salsa.  

‘Mi Alama Cubana’ was recorded in Cuba during a visit in 2013. All of the musicians were hired in Cuba and the recording took place over two days in the EGREM studios Havana. In between tunes, Van Ross regaled us with stories of the recording session. No wonder the album turned out so well. The picture he painted was compelling; tales of wonderfully colourful musicians; the epitome good humour and remembered with real fondness. The pianist who didn’t need charts. the scantily clad percussionist, the innate professionalism. Van Ross (2)

It is our good fortune that these talented people came together at this time and that they injected such joyful enthusiasm into the Van Ross Australian/Cubano project. I highly recommend the album – it will make you smile and cause your feet to move unbidden. The weave of the clave will work its magic on body and soul. making summer that little bit brighter. It is important to support such endeavours right now; each time we embrace this extraordinary music we give a one finger salute to the bigotry that keeps such projects away from our ears.

Trio: Paul Van Ross (saxophones, compositions), Mark Lockett (drums), Cameron McArthur (bass). CJC Creative Jazz Club, Thirsty Dog, Auckland, 13 Dember 2017

Mi Alma Cubana: Paul Van Ross (saxophones, flute), Alejandro Falcon (piano), Jorje Aragon (piano 3-5), Gaston Joya Perellada (bass), Oliver Valdes (drums), Jose Luis Quintana (timbales), Yoraldy Abreu Robles (conga, shekere, shaker, guiro)

The album was crowd-funded and released by the artists. Purchase from iTunes or from the Paul Van Ross website.

 

Manjit Singh / Michael Gianan

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Manjit (1)With emerging artists gigs you modify your expectations, but in this case, it was completely unnecessary. Both sets showcased great musicianship and originality.  The first set was Manjit Singh and Takadimi; an Indian music/Jazz fusion project. Manjit Singh is not an emerging artist in the strictest sense, he is a highly experienced tabla player, composer and teacher in the two main traditional schools of Indian music (Northern and Carnatic). He has recently been doing a Jazz studies course at the UoA and this project arises from that. The traditional music he teaches is not that dissimilar to Jazz, as it has improvisation aspects and complex interwoven rhythms at its core. Singh also gave us an insight into another tradition, the ecstatic Sufi-influenced music of northwest India, Pakistan and central Asia – Again, a tradition that has fed the rich streams of Indian music and more recently, Jazz.   Manjit

His first number was a Dhafer Youssef composition ‘Odd Elegy’, to my ears the ultimate expression of Jazz, middle eastern fusion. When Singh opened with a Konnakol to establish the metre, the tune took on a more Indian feel and it worked well. This verbal method of laying down rhythmic patterns at the start of a piece has often been adopted by Jazz musicians; notably John McLoughlin and Tigran Hamasyan. The inclusion of a drum kit added to the complexity of the rhythmic structure, but the two percussionists navigated these potentially perilous waters with aplomb (Singh setting the patterns and Ron Samsom working colour and counter rhythms around that).

The rest of Takadimi were younger musicians, but they handled the charts and the improvisational opportunities well.  With bass player Denholm Orr anchoring them, the two chordal instruments and saxophone (Markus Fritsch) handled the melodic lines; mostly playing in unison, and in keeping with the music style – relying more on melodic interaction than on harmonic complexity.  Michael Howell used his pedals judiciously, winding the reverb and sustain right back, his guitar sounding closer to an Oud. The pianist Nick Dow was a pleasant surprise to me. He had an intuitive feel for this complex music. After ‘Odd Elegy’  we heard an original composition of Singh’s, then a wonderful Trilok Gurtu composition.  This project is worthy of continuance – I hope that the talented Manjit Singh builds on what he has begun here.  

The second set was guitarist Michael Gianan’s first CJC gigs as a leader. Again you’d hardly have known it. He looked comfortable on the bandstand and this confidence manifested in his playing. He had the finest of Auckland musicians backing him and while this can enhance a performance it can also expose a less experienced player. He fitted into the unit perfectly and the band obviously enjoyed playing his material. His set was nicely paced and offered contrast, but he favoured the stronger numbers – those with bite.

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Gianan is clearly a modernist in his approach, but the history is there also. His compositions providing plenty of ideas for the more experienced musicians to work with. You could see Olivier Hollands enthusiasm as he expanded on the themes and responded to phrases. I am a long time fan of Jazz guitar and I anticipate good things ahead for Gianan. His bandmates: Kevin Field (piano & Rhodes), Olivier Holland (upright bass) and Ron Samsom (drums).
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Takadimi: Manjit Singh (Tabla, Konnakol), Michael Howell (guitar), Nick Dow (piano),  Marcus Fritsch (saxophone), Denholm Orr (bass), Ron Samsom (drums)
Michael Gianan Quartet: Micael Gianan (guitar), Kevin Field (piano, Rhodes), Olivier Holland (bass), Ron Samsom (drums).
CJC Creative Jazz Club, Thirsty Dog, K’Road, Auckland, New Zealand, 6 December 2017

Ben Wilcock + The Jelly Rolls

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The last time the Jelly Rolls Jelly Rolls played at the CJC was two years ago and they are just the right band for a pre-Christmas 2017 gig.  To my ears, nothing sounds more like Christmas than the Jelly Rolls. Forget your formulaic Christmas albums – this is good times music and you can feel it deep in your bones. The Jelly Rolls are important for a number of reasons, but not least because of their outreach to both provincial and urban New Zealand. The year has gone well for them and after touring the band to unlikely corners of the Island, they arrived in Auckland in peak form. Their particular brand of swing-infused music is seldom heard live and it’s a delight to hear it done (and done so well). To a new generation of listeners, this is often an eye-opener and so it should be. Their playlist comprises originals but also showcases an all but forgotten improvised treasure trove. Ben Wilcocks (3)

Much of the Jelly Rolls music comes from an important moment in the development of Jazz. It digs into the repertoire of musicians like Erroll Garner, Fats Waller, Ahmad Jamal, Jack Teagarden and Oscar Peterson. These musicians were far more important than mere historical footnotes – they were vital stepping-stones to where we are today; larger than life musicians who entertained and made us smile. In the Jelly Rolls hands, all of the above are referenced; not in a ‘let’s do some retro stuff’ way but by encapsulating style and essence. Those who know their music history will pick up these threads but will also enjoy the immediacy. This is music to be enjoyed in the now, enjoyed at a visceral level; foot-tapping body-swaying music.  Some of what we heard, the swing material, was from their earlier ‘Live in Cromwell’ album (I love that title).Ben Wilcocks

When I last saw Ben Wilcock he was about to move to Rotorua. His new location among the lakes and geothermal marvels prompted him to write some fresh material. The Phantom Canoe is an ambitious project focusing on Te Arawa legends of the central North Island. In deference to local Iwi and Hapu, he consulted elders as the project unfolded. Armed with their blessings and advice, he told the stories in his own voice. The album arising out of that project is on data-card and it includes a short video.  There is a piece about a Taniwha, the epic of Hinemoa and Tutanekai is told in several parts but the most dramatic tale is the title track ‘The Phantom Canoe’.  Beautifully paced, gently evocative of the landscape and the mysterious story behind it.

A Phantom Canoe appeared on Lake Tarawera on the 13th May 1886 and it was seen by the wiser Maori inhabitants as a portent of the coming eruption. The volcano erupted violently 10 days later, obliterating the villages around the shore and the iconic pink and white terraces. No such canoe had ever been on the lake and those in the canoe were dressed in traditional shrouds. Michael Barker’s vibraphone melody over a repeat pattern on piano and bass was just right for this, Wellington drummer John Rae completing the piece nicely as he evoked the final eruption sequence. It was obvious that the band enjoyed performing together and the audience picked up on that and responded.Ben Wilcocks (2) The line up on Squeaky Weasel, an earlier Jelly Rolls album, was as now Wilcock, Rae and bass player Yeabsley. The addition of Michael Barker on percussion and vibraphone is an evolution that makes perfect sense. Trumpeter Finn Scholes joined them for one number and delivered a well thought through high energy solo. To pick up a copy go to Ben Wilcock Thick Records Ltd – www.thickrecords.co.nz  They appeared at the CJC Creative Jazz Club, Thirsty Dog Tavern, K’Road, Auckland on 29 November 2017

 

 

 

 

Barney McAll – ‘Hearing the Blood’

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a0201921582_16Just before the Aria winning Mooroolbark album was released I travelled to Australia and interviewed Barney McAll. He had not long returned from New York to take up his year-long Glanville Hicks Residency and at some point during the morning, he played me a few pieces he was working on. Some of that material has ended up on ‘Hearing the blood’. Listening to McAll developing a tune is not something that you forget. His preternatural fluency leaves images hanging in the air, where they linger long afterwards. As he worked through ideas, each one appeared as if fully formed and I wondered; how can these phrases possibly be improved on? The finished album answers that question. The act of creation is never fixed in time. A good composition opens up possibilities and lives on in the minds of those who receive it. The virtuous triangle of creator, music and listener.

Everything McAll does is eagerly anticipated and this album is no exception. The palette is broader than anything he has done before and unlike its predecessors, it is mostly an Australian affair. Albums like this are often referred to as a journey and while that can be an accurate descriptor, the term is hopelessly clichéd. Hearing the blood is more than that, it is a vast and interesting landscape. A place evoking fleeting memories and above all hope; the raw energy of life and landscape distilled. It is also a commentary on the human condition, honest but never judgemental, stories in chiaroscuro. At times the flow of tunes is interrupted by something surprisingly different, but the atypically juxtaposed tracks never detract from the overall impact. 0011413817_10Hearing the Blood is also littered with coded messages. The landscape it portrays while ancient to modern is somehow eternally present. Where musical genres or subgenres are referenced, they are just as casually brushed aside; the exploration of ideas being more important than barriers. The listeners are invited to step outside of their comfort zone and some will baulk at that.  Jazz listeners are all too inclined to swaddle themselves in the familiar and in doing so they can lose connection with the now. In a year when dialogue has been debased beyond recognition by a petulant child President, we need other forms of communication. Hearing The Blood is a refreshing place to start in our re-evaluation of the world. For those who have the ears to hear they will find a subtle humour and a joy pervading every corner; as with Mooroolbark, the trickster lurks at every turn.

It is hard to single out just one track for posting so I will embed two sound clips. The first clip is ‘Nock Code’ (a tribute to the admired Jazz pianist Mike Nock).  The tune begins with the opening bars Nock’s composition ‘The Sybiline Fragrance’. Many will recognise the tune as it featured on Nock’s ‘Hear & Know’ album (and other earlier albums). In McAll’s hands, the homage is perfection. He does what he did in ‘The Mother of Dreams and Secrets’ and in his trio rendering of ‘Why did I Choose You’. He slows everything down and from out of the altered space, emerges an essence that drips through the consciousness like honey. As the tune unfolds he makes other references including his earlier recorded self. When the body of the tune is given to Morgan on guitar it soars wonderfully. The second sound clip is ‘Sorrow Horse’; a tune which showcases his skilful arranging. There is an ABC film Clip of ‘Dog Face Now’ which is hard to find. That track is an altogether wilder ride; at times more of a conduction, complete with flashcards, worth hunting for.

From the earlier Mooroolbark album are bassist Jonathan Zwartz and Hamish Stuart on drums. Also on this album are Mike Rivett on tenor saxophone, Carl Morgan guitar, Adrian Sherriff trombone and Scott MCConnache alto saxophone – Daniel Merriweather vocals on ‘Love is the Blood’, ‘That Which Provides’, Jade Talbot vocals on ‘Sorrow Horse’ with McAll – on the outro of ‘Love is the Blood’ is Ben Vanderwal on drums, Jenn Gavito is on Flute in ‘Nock Code’ and on ‘Echoless Shore’ are: Gian Slater, Ben Monder, Maeve Gilchrist and the Invenio Singers: Miriam Crelin, Louisa Rankin, Allra Wilson and Edward Farlie. On Piano, Keyboards, vocals and Chucky – Barney McAll (most of the compositions and arrangements are his).

McAll is a significant creative force on the planet. When his name comes up among musicians he is spoken of in reverential tones. The album liner notes by Kurt Rosenwinkel reinforce this point nicely. Another New York musician who had worked with him put it this way. “With Barney McAll you get creativity and musicianship of the highest order, but there is something profound behind that.  He somehow rises above the workaday aspects of the industry, all of the scuffling, and he lives his life as a creative artist should. He and the people around him value the creative spirit beyond all else and that is exceedingly rare”. IMG_0069

To buy the album or to hear a few streamed clips, go to McAll’s Exracelestialarts Bandcamp site.  It is also available on iTunes and Spotify. I urge everyone to sign up for Bandcamp and order CD’s or downloads directly. On that platform, the artists have better control of the revenue stream. I saw him again a few weeks ago and he was preparing for an album release at Birds Basement on the 8th December. You really should get yourselves there Melbourne people. Magic is in short supply this year.

 

 

 

 

 

 

 

 

 

 

 

 

The Neutrino Funk Experience​

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There is no way of calculating the number of subatomic particles routinely passing through a Neutrino Funk Experience, but we can safely quantify the delight on the faces of their audience. There is something about the structure of this unit that inclines them towards extreme risk-taking; the sort of risk-taking that transforms a band into an irregular elemental force. It is rumoured that a ‘play it safe’ memo was issued at their last venue, but the band either mislaid it or opted for willful disobedience. The only reasonable explanation for this hyper-energised, off the grid performance, is to blame it on passing Neutrinos. The band kicks arse with hobnail boots.

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The NFE were once upstairs regulars at the Albion and later they became CJC favourites. This year has been quieter for them gig wise, but the group’s energy levels have continued to rise during their hiatus. From the first note on Wednesday they nailed it to the floor. Swooping on our unprepared sensibilities and taking complete control of the room. It is hard to say who creates the most sparks as they continually feed off each other’s energy. Roger Manins is always a towering presence on the bandstand; his ad-lib asides and gestures acting as prequels to his wild solos. Eyes always follow him as he moves about the stage, but this time he had competition; the über kinetic actions of Grant Winterburn – vying with him gesture by gesture for visual and sonic supremacy.

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Ron Samsom and Cam McArthur were located behind Manins and Winterburn. In spite of being partially obscured and located in the darker recesses, you’d have thought they were playing in the chair beside you. While the band is loud, it is not unduly so; it is something else that projects them. The sound is in front, behind, inside, outside – neutrino laden energy, everywhere and nowhere – passing through the observers and imperceptibly, transforming them in a quantum fashion.

In the Bimhuis in Amsterdam, I saw Han Bennink put his boots on the kit during a drum solo. Samsom prefers his upper body and especially his elbows. Manins has some leg action. Winterburn, however, took the Bennink route and added a few wrinkles of his own. He sat on the keys, he walked on the keys and he shook his Nord until it cried out for mercy; and all of the while Samsom locked down a groove beat so tight that it became dark matter. This group not only understand group dynamics but they know how far they can go while taking the audience with them.

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Towards the end of the first set, I was handed the microphone, reading one of my poems while they played softly beneath me, accenting keywords, moving where I did.  I was so delighted at performing with this band that I forgot to press the record button – such is life.  It takes real skill for a band to take risks while staying within a groove framework. I hope they keep doing what they do and perhaps they will record again soon? Their earlier album ‘Ace Tone’ is still available at Rattle Records so grab a copy for Christmas before the stock disappears. Dancing dementedly around the Christmas tree would not be the same without it.

The Neutrina Funk Experience: Ron Samsom (drums), Roger Manins (tenor saxophone), Grant Winterburn (organ), Cameron McArthur (upright bass). CJC (Creative Jazz Club), Thirsty Dog, Wednesday 22nd November 2017.

Richard Hammond (NY)

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New Zealand is an incubator of creative spirits and many of the best are hidden in plain sight. They deserve better attention but we fail to notice them because the soulless dazzle of consumerism obscures our sight lines. Last week Richard Hammond, an important New York bass player flew into Auckland and a lucky few got to hear him play live. Hammond is a legend in music circles, but many who are familiar with his work don’t realise that he is an ex-pat New Zealander; raised in the North Kaipara region and establishing himself on the New Zealand music scene while still at high school. Later he won a scholarship to attend the prestigious Berklee School of Music in Boston. After moving to New York he studied at the Manhattan School of Music where he completed a Masters. Hammond has toured with many significant artists; he gigs regularly in New York clubs, works in Broadway shows and is a first call bass player in the recording studios. 

When I learned that he would be recording in Auckland, I made sure that I had an invitation to the recording session. My head was still spinning after a crazy two weeks in Australia, but I wasn’t going to pass up an opportunity to hear him play. The recording session took place at the UoA School of Music in Shortland Street, where Maggie Gould was laying down a few cuts for an album. On this session, Hammond played upright bass, extracting a beautifully rounded tone from a ‘seen better days’ borrowed instrument; living proof that good musicians sound good on any old instrument. Recording sessions are not concerts, but they are never the less fascinating places for those beguiled by the process of music making. What strikes me on a good recording session is the heightened collaborative element; the way an artist gives without invading another’s space, and all of this in slow motion as they mull over playbacks. I positioned myself behind Hammond (who was well baffled) and I watched, listened and photographed between takes. Photography in a studio or a rehearsal is generally easier than at a gig. 

The CJC, sensing an opportunity and knowing that they had only a few days, organised a special one-off Richard Hammond gig and billed it as an all-star event. The programming fell to keys player Kevin Field. Field playing Rhodes, Ron Samsom on drums, Nathan Haines and Roger Manins on saxophones and Marjan on vocals. Hammond alternated between upright bass and electric bass and he wowed us on both instruments. On upright bass, he has a tone to die for; one that only the best bass players locate; on electric bass his lines bite, speaking the language of Jaco or Richard Bona.

The tunes were mostly Field’s and Haines, but it was also a pleasure to hear Marjan’s evocative Desert Remains performed again. Every time she sings her vocal and compositional strengths astound listeners. She gains fans every time she steps up to the microphone. The gig was held at the Backbeat Bar in K’Rd, the venue packed to capacity. The musicians were all in excellent form; clearly feeding on the shouts of encouragement from an enthusiastic audience. First up was Haines, who goes back with Hammond at least 20 years – Hammond appearing on Haines first album ‘Shift Left’. You could sense the old chemistry being rekindled as they played. I also enjoyed Manins playing, especially on one of the Field tunes. Perhaps because they hit their stride so early, and made it look such fun, it was the trio of Hammond, Field and Samsom that will stick in my mind. These cats talk music in the dialect of joy. In this troubled world, we need a lot of that.

Richard Hammond: (upright and electric bass)

The All Stars: Kevin Field (Fender Rhodes), Nathan Haines (Tenor saxophone, soprano saxophone, flute), Roger Manins (tenor saxophone), Marjan (vocals), Ron Samsom (drums). Backbeat Bar, K’Road, Auckland Central, 21 November 2017

Nathan Brown Tour (NY)

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Nate Brown
Bass player Nathan Brown is a rising New York Jazz star and he is very much in demand these days. The people he has worked with, underscore that point nicely. Notable among them are; Wes ‘Warmdaddy’ Anderson, Randy Brecker, Carl Allen, John Faddis, Wycliffe Gorden, Lewis Nash and Paquito D’Rivera. Of interest to us, he has also had a long collaboration with the New Zealand born drummer Mark Lockett. After years of performing with his regular trio at the ‘Cleopatra’s Needle Jazz Club’, he decided that it was time to record some of the material that they had been performing. The synergy between the artists was already great but what upped the ante were their influences. The trio guitarist Felix Lemerie was influenced by Grant Green; his drummer Peter Traunmuller by Philly Joe Jones and Brown by bassist Paul Chambers. These influences although not aligned stylistically, led Brown to ponder; what if all three had played together; what would such a trio sound like?.  Out of that idea came the ‘This is the moment’ album and the next step was to take the music on the road. Thanks to Brown’s association with Lockett, New Zealand was included in an Australasian leg of the tour.
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Throughout the tour, Brown kept to the original bass, guitar and drums format (with the exception of Auckland, where pianist Kevin Field was substituted). Lockett and Brown were the constants, with local guitarists stepping in along the way.
Just before he started the tour, I sent him a few questions to answer:
Q. Do you see your trio as a groove unit, a blended approach or something quite fresh and different?
  • For this particular album, I would have to say groove unit. the entire vibe of this album is heavily steeped in the hard-bop tradition coming out of the Blue note records of the 50’s
Q. I am fascinated in reading through your bio that you initially played Euphonium and Tuba. These have been used extensively for bass lines in the pre-amplification past and that tradition has continued with modern avant-garde units, nonets and Jazz orchestras. Bill Crow (from the Jerry Mulligan bands ) started on brass instruments like the tuba and valve trombone. Then he was encouraged (pushed) into changing to string bass. Do the brass bass lines inform your approach at all?
  • So much of the evolution of bass lines is tied directly to the string bass that playing the Tuba doesn’t really affect my approach to bass lines. The idiomatic bass line motions arose out of the technicalities   What it does help me with however is a better understanding of brass and wind instruments. This is very useful when writing and arranging music for these instruments
Q. Any move from a sideman to a leader, will inevitably change things from a compositional point of view. I have seen bass player leaders happy to remain well back in the mix – leading from within, but that is less usual. What is your approach.?
  • I like to believe that jazz music is a collective effort. everyone involved should get a chance to shine. With my trio, I’m happy to play some in the forefront of the mix at points, but I also think it a necessity to play in the back of the mix at points to let me comrades come through with their musical statements.
Q. What were your thoughts, your aims, when assembling this trio?
  • There was no grand plan when I first assembled my trio. I’d been hosting a steady weekly gig at a well-known jazz club in New York City called Cleopatra’s Needle for years. At first, I would rotate my musician friends onto the band every week. I tried dozens of combinations of players over the course of a year. I finally settled upon Felix and Peter, we really communicated well musically. At that point, I started using them exclusively. I then started to take each of our influences (Grant Green for Felix, Philly Joe Jones for Peter, and Paul Chambers for me) and began composing music that channelled this together.
Q. Who among the artists that you have performed with have you enjoyed most.
  • I would say my first great mentor and teacher Wess “Warmdaddy” Anderson. Even after two strokes, he still has the ability to lift the musicianship and spirit of everyone performing on stage with him, and in turn, lift the spirit of the audience.
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I didn’t get to hear the guitar trios live but with Kevin Field on board the swing and groove feel was maintained with ease.  It was a pleasure to experience a gig that was so warm and soulful. The music was transporting, like an old friend; reminding us of a shared experience but then telling the stories in ways that were fresh to our ears. A good example was the groove tune Curly’s revenge. On the album, with guitar, it took you to Montgomery Land and then right to Grant Green’s doorstep. With piano, it had a delicious and unmistakable Bobby Timmons vibe. I love tunes like this; they hint of the familiar, then tell you something else; fragmentary quotes which flashed past before you could grab at them, morphing beautifully into new tunes and always with that deep swing feel.
It was obviously a good time for Brown to emerge as a leader. The right time because his material is superb and his bass playing is burnished by years of gigging and absolutely compelling. His compositions also stood out. While the recorded trio would have been superb, we didn’t miss out. Field is an interesting musician, adaptable to any situation and always at the top of his game.  The same goes for Lockett who is open-eared and responsive to nuance. Listening to Lockett is listening to history, but always with quirky asides thrown in to leaven the loaf.
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For copies of the album visit nathanbrownmusic.com or Gut String Records. The gig was organised at this end by Mark Lockett of the WJC. His work on these tours is greatly appreciated as it dovetails nicely with the CJC Creative Jazz Club’s programmes and tours. The Venue was the Thirsty Dog in K’Rd Auckland, I November 2017.

Nanny Assis & Maggie Gould

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Nanny Assis Maggie Gould (4)I like South American music and the more I hear, the deeper I am drawn in. A rich and ancient fusion of African, European and Amerindian music, each coast and region nurturing distinct flavours. There are also highly localised variations; all rhythmically complex and all deeply infectious. This week the CJC featured the highly respected Brazilian musician Nanny Assis and New Zealand born vocalist Maggie Gould. Assis was born in Salvador, North Eastern Brazil; a region especially rich in musical traditions and heavily influenced by African rhythms.  The coast below Bahia nurtured Tom Jobim, Roberto Menescal and a cohort of like-minded innovators; the creators of the Bossanova (new music) form. In a world where saccharine versions of great music often assail us, it is necessary to return to the source from time to time in order to refresh our ears. Listening to Tom Jobim and Elis Regina on the album ‘Elis & Tom’ – ‘Chovendo Na Roseira’ especially, is a good place to start. The time feel is subtly different from North American versions and the unique rhythmic tensions dance with life. Jobim is long gone but authentic practitioners of the various traditions are still there if we look. Assis is just one of these; a master of rhythm and of the many distinct Bahia styles.Nanny Assis Maggie Gould (6)Gould was a successful photojournalist in an earlier life. When the pressures of that lifestyle became too much, she decided to abandon the frenetic media world and follow her passion instead. Rekindling a youthful dream she became a Jazz vocalist and has followed that path ever since. Eventually, her journey took her to New York where she met Assis and a musical collaboration began. While living in New York Gould has performed with a number of luminaries, notably the pianist John de Martino (who has also recorded with Assis). Gould and Assis have just toured New Zealand, appearing in festivals and clubs throughout the two Islands. They have toured with great musicians and they intend to record soon in Auckland. When they do, the well-known New York-based ex-pat Kiwi bass player Richard Hammond will join them.

It was not only the gentle Bossa rhythms that we heard on Wednesday but other livelier types of South American influenced music as well. These were danceable and energy fueled treats. During one such number, the room morphed into a seething mass of swaying bodies, hands raised as they danced. The last number, Magalena was a type of North-Eastern Brazilian rap – fast-paced and reminiscent of Jon Hendricks’ scatting.   There were also quieter numbers, some Brazillian and a few from the USA; the standout among the latter being Gould singing the gorgeous ‘Some other time’ (Bernstein). On that, Roger Manins added whispering fills and Kevin Field provided the perfect understated accompaniment on piano. Nanny Assis Maggie Gould (8)It is said that Latin American music is ‘the other swing music’. That makes for great synergies between Jazz and Latin musicians. It can work well, but only if the musicians have the ears and the courage to submit to the weave. Utilising the considerable skills of pianist Kevin Field, Alex Griffiths on 5 string bass and drummer Ron Samsom (plus for the CJC gig, saxophonist Roger Manins). The mix of Jazz musicians and Brazilian created a spark. Alex Griffiths is obviously well versed in Brazilian rhythms as his lines could not have been better placed. Field has for some time been immersed in this music and he is no stranger to the various clave rhythms either. His understated delicate lines in place of comping held the echoes of Jobim’s own tasteful piano accompaniment. During solo’s he gave both hands full reign in clave rich explorations. Samsom is a talented drummer and throughout the night, he and Assis worked in concert. With Assis on percussion and Samsom on the kit, a wonderfully rich sound scape emerged. At one point Assis beat a cowbell to hold the centre – allowing Samsom additional freedom to move.  This was a moment of pure magic.

ReubenI read once, that a Jazz drummer playing Bossa or Samba is doing three basic things; the right hand replaces the shaker or cowbell, the left hand has the clave pattern and the kick drum follows the bass line. Add in actual congas shakers or cowbell and the interplay has the magnitude of a sonic earthquake.The number that I have posted is ‘O Barquinho’ or ‘My Little Boat(of Love)’ – a tune by Roberto Menescal and sometimes wrongly attributed to Jobim. It is a nice example of the Brazilian Bossa rhythms; rich in subtlety and contrast. It is a long-held tradition in this music to have a female and a male voice – call and response. Gould in English, imparting the wistfulness of the lyrics – Assis in Portuguese – taking me back to the master Joao Gilberto. The Portuguese language is extremely pleasant to the ear, while often masking incredibly sad songs. We didn’t need a dictionary or interpreter on Wednesday as we were transported without them. Nanny Assis’s voice, like his percussion and guitar playing, is pure magic – together the musicians gave us a great night.

They open the Wellington Jazz Festival this year on 30 November. The bottom photograph is by Reuben – the top 3 are mine.

Nanny Assis (percussion, vocals, guitar), Maggie Gould (vocals, arrangements), Alex Griffiths (electric six-string bass), Kevin Field (piano), Roger Manins (tenor saxophone), Ron Samsom (drums) – at the Thirsty Dog, CJC Creative Jazz Club, 25 October 2017

 

 

Auckland Jazz Festival 2017

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akljazfst2015The fourth Auckland Jazz Festival was appropriately launched at the Thirsty Dog Tavern in Karangahape Road. A welcoming venue, nestled among ethnic food joints, strip clubs and private art galleries. It is timely that we pay tribute to the Thirsty Dog, who a year ago, generously offered the CJC (Creative Jazz Club) a regular Wednesday night slot. This occurred when the club most needed it. It is a good performance space and many visiting musicians have remarked on the rooms warm vibe.ZeaThe first festival gig I attended was the Jennifer Zea group. The last time I saw her perform I liked by her Latin interpretations of the standards, but I particularly liked her rendering of the songs particular to her region (Cuba/Venezuela). She introduced more standards this time but it was the second set; a set of Venezuelan and bossa fused music that had the audience enthralled. These tunes were so infectious that they followed me home. I even woke up with one of them singing in my head the next morning. ‘Moliendo Cafe’ (Blanco/Perroni) has been popular in Venezuela (and the wider world) since 1959. Everyone from Jose Feliciano on has benefited from it. As Zea sang this wonderfully infectious tune, she danced to its rhythms, and along the back wall, a chorus of her countrymen and women sang along in unison. We seldom hear music like this and it is her forte. I have posted a bolero, Lagrimas Negras (or Black Tears – by Matamoras) a Cuban tune from the 1920’s. She was ably assisted by Kevin Field, Mostyn Cole and the wonderful Miguel Fuentes on percussion.buttery

The next night was the Guy Buttery gig, a World musician who appeared at Backbeat. Buttery is a renowned acoustic guitarist from South Africa and a distinctive stylist. His musical influences are varied but always harnessed to his own vision. Although he played a six-string guitar (a truly beautiful instrument), he often reminded me of Egberto Gismonti (or perhaps Ralph Towner). His mastery of the instrument was simply astounding and his choice of material perfect for the occasion. He memorably played a saw at one point and accompanied the piece with a delightful story. Evidently, the piece has been adopted as a theme by a group of Roswell styled ‘alien watchers’.  There were many devoted fans in the room and some who had travelled a long way to hear him. His gift is sound shaping, every harmonic given voice, every note sublimely resonant. The sounds he coaxed from his instrument were at times orchestral. All who came were delighted with the performance.

Two days later I picked up the Belgium pianist Jef Neve and his crew from the airport.  I spent the next three days with them and wrote about the experience in my previous post. I got home at around midnight on Saturday after sitting through nearly 5 hours of rehearsal and a two-hour concert. I loved every second of it. If that makes me an improvised music geek then so be it. jazzlocal32.com/2017/10/18/jef-neve-spirit-control/

Marj (2)On Tuesday, Marjan appeared with the ‘Experience Band’ at the Auckland Jazz and Blues Club. The Experience Band is an 11 piece ensemble and consequently, it provided a very different flavour to her appearance with a quartet at the CJC last month. Her voice has real power and she’s a compelling performer; easily able to adjust to the bigger sound. The audience loved her. Her set list was skillfully tailored to the room as the audience was older than the CJC crowd. In particular, her cheeky take on ‘Making Whoopie’ brought the house down. At one point she paid tribute to her high school music teacher, saxophonist Markas Fritsch, who was in the front line of the ensemble. She credits him with steering her towards Jazz – something we should all thank him for.Marj (3)On Wednesday, the third headline festival act was presented at the Thirsty Dog. It has been over a year since the world-renowned bassist David Friesen was in New Zealand. During last years tour, his trio was recorded at the 1885 venue. The night was captured perfectly in the newly released Rattle album ‘Another Time Another Space’. Frieson is an improvised music celebrity and it was good to have him back. He has a unique approach to composition and performance and he caps that off with his engaging and witty bandstand banter. He was again accompanied by Dixon Nacey on guitar and Reuben Bradly on drums. This trio communicates superbly, reacting to each other like old friends. The recording is amazingly good, especially so considering that it was captured in the 1885, which is an acoustically lively space. Nacey’s singing lines blend perfectly with Frieson’s – the sort of woody resonance that high-end luthiers aim for.CMB (1)On Friday the Chris Mason-Battley band returned to the Thirsty Dog. I really like this band with their predilection for tasty modal grooves. There is no one in New Zealand who plays quite like the Mason-Battley – and as an entity, the group have a distinct footprint. I have written about them recently and I suggest you check them out if you get the chance – they are not heard about town very often and more’s the pity.  As with the last gig; on the keyboard was David Lines, on electric bass Sam Giles and on drums the innovative Stephen Thomas. There is now talk of a new CMB project and perhaps one with more electronics? Friday nights are the hard-yards for Jazz musicians and this one was no exception. Throughout the performance, you could hear two blokes yakking, obviously pleased to be catching up and seemingly unaware that this was a listening gig. A number of ray-like stares were beamed in their direction but they proved quite impervious to hints. Loud chatting seldom happens on a mid-week night where listeners and improvisers own the space.Jim L (2)The last gig at the Auckland Jazz Festival was Jim Langabeer’s ‘Secret Islands’ album release’.  This is another Rattle album and the musicianship is stunning. A project which arose out of Langabeer’s multi-phonics explorations at Auckland University. There is a lot that is referred to as fusion these days and most of it is not. In this case, the term could be a good descriptor. Indigenous instruments, multiple reeds and winds; pedal steel guitar and fender; beautiful melodies placed in Mingus like settings.  While the album sits comfortably on the Jazz spectrum, the material takes us way beyond that. With the authoritative elder statesman Langabeer at the helm, and assisted by Rosie Langabeer, Roger Manins, Eamon Edmundson-Wells, Neil Watson and Chris O’Connor, what else would you expect. For this and other ‘Rattle’ recordings, go to www.rattlerecords.net/

Thanks to the CJC and the Auckland Jazz Festival 2017 for the music
Billy Collins

An appropriate excerpt from a Billy Collins poem ‘1960’  – out of ‘The Rain in Portugal’ – a recently published volume of verse by Collins.

Jef Neve – ‘Spirit Control’

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Neve (8)This piece was almost titled ‘my career as Jef Neve’s Driver’, but in the end, I shied away from that. In truth, my tenure as a roadie/driver was brief (although fulfilling). The term roadie was perhaps a bit of a stretch also because I only lifted one suitcase (and that was with help). I decided early in life that my ideal job was working as a roadie for a Jazz pianist. I figured that the obligation to lift heavy things would be minimal and that I could consume endless supplies of live improvised music. With regard to the first point, I was woefully under-researched. In Europe, Neve actually travels accompanied by his piano, but luckily for me, the airlines are reluctant to accept a piano as stow-on luggage. The Auckland airport pick-up went flawlessly (apart from the suitcase to person ratio which was resolved by Neve who is used to fitting notes into improbable spaces). As we drove, I chatted; easing my way into the story in true Gonzo journalist fashion. So there we were jammed into my car like Hanseatic cod; Jef, Pieter, Dieter and me; heading for a piano, a rhythm section and a string quartet. This was going to be fun.Neve (3)I met Neve once before and I have followed his career over the years. He is a major artist and a household name in Belguim. A year ago I passed through his beautiful city of Ghent, and I vividly recall a young woman behind the hotel counter asking me what I knew about the city. It was actually Robert Browning who introduced me to Ghent, but I replied Jef Neve. Oh yes, he’s famous she said. When I told her that I had once interviewed him, she was obviously impressed. In her eyes, I was no longer some grey haired tourist but a guy who had met Jef Neve.Neve (7)The KMC is a venue with good acoustics; not too dry – not too wet. It was once a television studio and before that the principal home of radio in New Zealand. Now it houses the UoA Jazz School and the School of dance. I found a swivel chair and slid my self across to the listening sweet spot as the trio rehearsed. Then, the string quartet turned up and the work began in earnest. Into that darkened space the music spirits descended; channelling themselves through Neve’s fingers and entering the musicians one by one. I sat there through four and a half hours of rehearsal; soaking up the sound; awestruck and utterly engrossed from start to finish. Cam McArthur was on bass and Ron Samsom on drums. Both are very fine musicians – on this gig they manifested as truly great musicians.Neve (6)Experienced improvising musicians are quick to read cues; usually conveyed by a brief glance. Things can change in a moment as new ideas develop; it is a core skill – the ability to interpret subliminal signals and react accordingly. For a classical string quartet, it is different. Cues are generally pencilled into their charts or perhaps conveyed by a conductor. The Black Quartet tackled these difficult charts with vigour, questioning Neve throughout and writing in minute changes or subtle expression marks. I heard Neve remark afterwards how enormously impressed he was with their musicianship – “I would be happy to work with these musicians anytime”, he said. Throughout the day the musicians rehearsed the knotty bits and acclimatised themselves to function as an ensemble. Watching music like this take shape is a joy.Neve (4)Concerts like this are underpinned by hard work and it usually takes a number of rehearsals to achieve tight ensemble playing. Occasionally I get to observe bands in rehearsal or in a recording studio and as the hours go by you can feel the energy shift. An evolution occurs as the music is properly understood and internalised. So it was with this ensemble and after hours of concentrated work, they breathed in unison. The key to this was Neve who is a gifted communicator and patience personified. When energy is harnessed in this way it becomes spirit. Neve had two assistants with him and as the ensemble poured over the charts these two quietly wove their magic. Both sat at consoles and throughout the day they tweaked, miked-up and fine-tuned the sound. The string section was miked to perfection, giving out a sweet woody sound but subtly amplified to exactly the right place in the mix. An audience is seldom aware of the hours a good sound technician puts in (that is unless they do a poor job). This was sound mixing as an art-form. The results were perfection.

I watched the string section throughout the day as layer after layer of complexity was added to already complex charts. I wondered how they would ever remember it all but they did. The performance sang like the gods had blessed it. After all of that work, they yielded to the spirit control. It is often said that Rock is simple music made to sound complex and that Jazz is complex music made to sound simple. As they played this beautiful music, it flowed with such ease. All of the intricacies and fine tuning of the rehearsal were subsumed into the greater whole. This is Neve’s gift; a master musician who blends genres seamlessly, who breathes life into the notes on a stave and takes others along with him. For me, that sublime performance was enhanced by the journey proceeding it. On that day, I was not only a driver but a music voyeur; the best job in the world.Neve (5)‘Spirit Control’ is a lovely album. It is richly satisfying and with a clarity of purpose that cuts through genre and preconception. There is an orchestral quality to Neve’s piano so when the orchestra comes in or fades out the transition feels seamless. There are so many clever references in this music – often shimmering – mirage-like; Tango, folk, modern classical, Nordic improvised Ambient, even pop. This is, however, Jazz of the highest order. Not drawing on the blues but on the many musical forces of Neve’s continent. Jazz has many homes in the modern world. While most of the pieces on the album were played at the Auckland concert there were also new arrangements and pieces from previous albums. There were also hard swinging trio passages. During these, Samsom and McArthur were astounding, moving from arco bass or colourist drumming to a dizzying, exciting, take no prisoners swing.  The cross-appeal of this album is evidenced by the fact that it appeared on the Belgium pop charts and stayed there for weeks.jef_neve_-_spirit_control

The next day a smaller concert was held at the Lewis Eady showrooms in Epsom. This was a solo piano gig and Neve took a very different tack to the day before. While he played a few of his own compositions, he also played some Jazz standards – Monk’s ‘I mean you’ was a rare treat – with a stride piano left hand accentuating Monk’s delightfully quirky tune.  Strayhorn’s ‘Lush Life’ was moving and Joni Mitchell’s ‘A case of you’ was delicate and beauty manifest. After the concert, we ate tapas in K’Road and then I drove them into the Waitakere hills. We stopped at the highest trig point and later at Rose Hallaby’s cottage. As they looked out over the vast expanse of native bush and the smells of forest washed away the smells of the city,  I saw the amazement and wonder on their faces. When you live in the lowlands views like this are rare. I told them of the many artists and musicians who live in these hills. When your attuned to the creative spirit then life is good.

These performances were part of the Auckland Jazz Festival. Jef Neve is a Universal recording artist and the album and other information is available from JefNeve.com

All photos except the album cover were taken by me during the rehearsal on Saturday 14 October 2017

 

 

 

Nick Hempton @ Thirsty Dog

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NickMusic listeners split into two main camps; active and passive listeners. Those who listen to improvised music incline towards active, deep-listening. We know that the brains of improvising musicians light up in unusual ways when playing. Much the same applies to listening Jazz audiences. On Wednesday night a saxophone trio played at the Thirsty Dog; no chordal instruments, no lingering over familiar melody lines, a trio which worked within a broader musical architecture, following the changes where ever they led.  Nick Hempton is an interesting player and the right person to take us on this journey.Nick (2)This sort of gig works well with listening audiences because it invites active participation. On Wednesday, each piece began with a few lines from a familiar standard, often just implied; then, a few bars in, the lines evolved into new melodies based on the changes. As the trio responded the horn led the others to various way-points: places where the music changed course. Fragments of new standards were discovered, unravelled, abandoned. The human brain is hard-wired for pattern recognition, but we love the puzzles that arise from the search. Settling for the familiar is not how we evolved. We evolved by following the risk takers, marvelling at their daring. Following this musical risk-taker, was our delight.Nick (1)The point was not so much the standards themselves but the opportunities they presented. Appearing and disappearing in medley form was; ‘Night in Tunisia’, ‘Body and Soul’ A Sony Rollins waltz, ‘Exactly Like You’ and ‘Rhythm a Ning’ – these and more were examined. Standing alone was the lovely ballad ‘When I Grow too old to Dream’ (Romberg) and in Hempton’s hands, it was beautifully realised. There was also a great rendition of ‘Just Squeeze Me (don’t tease me)’ (Ellington) – I have posted that. The last trio piece was ‘Poor Butterfly (Hubbell [Puccini])’; followed by Roger Manins joining the trio for two last two numbers. As is often the case when two tenors appear on the same stage, a delightfully upbeat and riotous vibe emerges. Friendly sparring matches like this always go down well.Nick Rog2

Hempton is a fixture on the New York scene and regularly performs at the popular Smalls Jazz Club in the Village. His pick up band in Auckland was Cameron McArthur (bass) and Chris O’Connor (drums).  I was delighted to see McArthur back after his extended time overseas. O’Connor is always a good choice when imaginative drumming is required. The trio did not rehearse – Hampton sent them a list of possible tunes before the gig and nothing more.  This allowed for spontaneity and unconstrained exploration. Ever striking out for new ground, Hempton released his recent ‘Catch & Release’ album incrementally – one track at a time. It is available from nickhemptonband.com

Nick Hempton (tenor saxophone), Cameron McArthur (upright bass), Chris O’Connor (drums) – guest Roger Manins (tenor saxophone). CJC Creative Jazz Club, Thirsty Dog, K’Road, Auckland, 4 October 2017.

Jamie Oehlers & Tal Cohen

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Tal & Jamie (4)Jamie Oehlers is a tenor saxophone heavyweight who earns widespread respect. His playing is conversational, and like all good conversationalists, he listens as well as he articulates his own point of view. An unashamed melodicist, a musician of subtlety, a dream weaver with a bell-like clarity of tone. Oehlers tours regularly and we are lucky enough to be on his touring circuit. This trip, he was accompanied by Tal Cohen; an Israeli born, New York-based pianist; an artist increasingly coming to the favourable attention of reviewers; an artist praised by fellow musicians. Cohen and Oehlers have been playing together for years and over that time they have built an uncanny rapport. Out of that has emerged something special; their 2016 duo album titled ‘Innocent dreamer’.Tal & Jamie (1)As far as I know, this was Cohen’s first visit to New Zealand and it was certainly his first visit to the CJC. He’s a compelling pianist and the perfect counter-weight for Oehlers. On duo numbers, they responded to each other as good improvisers should, each giving the other space and expanding the conversation as the explorations deepened. Intimate musical exchanges of this type work best when the musicians care deeply about the project. They work best between friends. We saw two sides to Cohen on this tour. The thoughtful, unhurried, deep improviser and the percussive player who found a groove and worked it to the bone. The second half of the gig brought a rhythm section to the bandstand; Olivier Holland and Ron Samsom. Having such an interesting contrast between sets made both halves work better. The second set was approached with vigour; Oehlers digging into a standard, often preceded by a nice intro, through the head and then… boom. This was when the fireworks happened.

The chemistry between Oehlers and Cohen was obvious in the duo set, but adding in the hard-swinging Holland and on-fire Samsom shook up the dynamic once again.  Suddenly there were new and wild interactions occurring, short staccato responses, dissonant asides, crazy interjections; these guys were bouncing off each other and above all, they were enjoying themselves. When musicians live in the moment, and the audience feels that magic, they feed it back. The virtuous loop that sustains all performance art. I spoke to Cohen later and talked about playing styles. He is not impressed by pianists who strive to sound like the past. You can respect the past, bring it to your fingertips but still sound like your taking it somewhere new. He did. This night was the proof of the pudding; the standards performed were all living breathing entities.Innocent DreamerThe first set opened with a heartfelt ‘Body & Soul’ (Green) which set the tone. The tune that really took my attention though was Oehlers ‘Armistice’. A beautiful piece conjuring up powerful images and telling its story unequivocally. There was also a nice tune referencing Cohens family. The first set finished with the lively Ellington tribute – ‘Take the Coltrane’ . The second set (the quartet) opened with the lovely ‘It could happen to You’ (Van Heusen), followed by a tune that Oehlers has made his own; ‘On a Clear Day’ (Learner/Lane) – (a recent Oehlers album title). Next, the quartet performed ‘Nardis’ (Evans/Davis) – this was wonderful and it reminded me of the endless re-evaluation and probing of that tune by Evans in his final years. This version did not sound like Evans – it was born again – if any modal tune deserves to live forever, it is surely this one.

Lastly, and in keeping with their tradition, Oehlers invited tenor player Roger Manins to the stand. After a quick discussion, they settled on ‘I remember April’ (de Paul). Back and forth they went, weaving arpeggios in and out of each other’s lines – moving like dancers; counterpoint, trading fours, all of the band responding to the challenge and reacting in turns. A KC set piece at the bottom of the Pacific.

Jamie Oehlers (tenor saxophone), Tal Cohen (piano), plus Olivier Holland (bass) and Ron Samsom (drums) – for the CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland, 27 September 2017. Google Jamie Oehlers Bandcamp.com for a copy of the album.

 

Martin Kay & ‘Forage’

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Kay (3)At some point in human evolution, the majority of humans decided to stay put. In consequence, the hunter-gatherers and the pastoral nomads became outliers. As civilizations grew, agriculture grew and large enclosures and granaries grew along with them. Beyond the walls and the jumble of enclosures; largely unnoticed, often unseen, foraging continued unabated. The homeless on the streets forage, philosophers forage, writers forage, wild and domestic animals forage and above all improvisers forage.

Martin Kay’s gig was a tribute to foraging; highlighting the activities of foraging animals, creatures large and small and to the improbable life lessons, they impart. It was about cultivating absurdity and profundity in equal parts, it was about following the ancient herds using postmodern skills. It nibbled at reality until you saw it afresh, building on overlooked narratives, finding the things we often miss; a Zen Koan wrapped in sound.I first saw Kay in 2013 with ‘Song  FWAA’. The post from then and the accompanying sound clip is still available on this site (use site search, type in Song FWAA).Kay (2) On Wednesday, his charts were for a larger ensemble. This time offering fresh insights; taking us further down the Rabbit hole. The pieces were of variable lengths and sometimes in parts. At some point during the second set, he played a piece titled ‘Ligeti’s Goat (I first heard that back in 2013). While the piece has melodic hooks and a basic structure, it is more, a surrealistic journey. A place where imagining, spoken narrative and musical narrative meet. Ligeti’s goat is vividly embedded in my memory; it is not a piece easily forgotten, a goat wandering through pastures, locating carrots (perhaps forbidden carrots), digesting the vegetables in that mysterious way of all ruminants. There was a piece titled puffer fish, another called ‘Thrice mice’ (that chart in a minuscule script like mice prints) and a vampire piece titled ‘Once bitten once shy’.  There was also an appealing piece about a tracker dog, selling his skills to those who might have need of them. None of this was an invitation to anthropomorphize – Kay’s animals spoke for themselves. He spends much of his time in New Zealand these days as his wife works here. For this project, he selected a group of local improvisers to form the ensemble; younger players with an open approach to improvisation. In this respect, the location favoured him, bringing the gifted Callum Passels into the group. Also featuring Crystal Choi, Michael Howell, Eamon Edmuson-Wells and Tristan Deck; each one of these having a stake in explorative improvised music. The only non-original piece was ‘Turkish Bath’ by the innovative trumpeter Don Ellis. For material similar to Kays, you need not look any further than Ellis or perhaps Henry Threadgill.  It is good to have Kay in our midst, as he’s an interesting, often challenging and worthwhile composer. I have put up two clips – Turkish Bath and narrative about the Tracker Dog.

Let’s go – much as that dog goes / intently haphazard….not direction, ‘but each step an arrival’  (poet Denise Levertov 1923- 1997)

Forage: Martin Kay (tenor saxophone, compositions), Callum Passels (alto saxophone), Crystal Choi (keys), Eamon Edmunson-Wells (bass), Tristan Deck (drums). CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, 20 September 2017

 

Rob Luft – ‘Riser’ reviewed

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Riser Rob Luft.jpgRob Luft is one of those rare musicians who has seldom put a career foot wrong, first coming to attention at the age of fifteen in the (UK) National Youth Jazz Orchestra. From then on he has regularly come to notice and although still in his early twenties he is now a musical force to be reckoned with. Anyone who has heard him play will know that the growing number of accolades are well deserved. As each year passes he garners fresh awards, last year, second place in the Montreux Jazz guitar competition and recently receiving the coveted Kenny Wheeler Award.

A little over a month ago, Luft released ‘Riser’ and it is hard to believe that this is a debut album. While incorporating a variety of Jazz guitar styles it is definitely forward-looking. Like many post-millennial improvisers, Luft reaches across styles and genres with ease. Mike Moreno and John McLaughlin are obvious reference points, but the album moves beyond such comparisons. His innate skills and good taste have enabled him to craft beautiful charts and out of this comes a unique sound. The first number of the album,’Night Songs’, is a cornucopia of wonders, a lesson in virtuosity, a seamless but ever-shifting voice of the London streets. The organ adding warmth, the rest of the band texture and heart, and Luft soaring above like a patrolling night-hawk. ‘Slow Potion’ has a dreamy surf guitar vibe, other tracks bubble with street life (Jamaican and African influences in evidence), while ‘Riser’ and ‘Different colours of silence’ invoke the more ambient hued Nordic Jazz. While the influences are varied the album has a strong cohesive feel, nothing is out-of-place here. Luft’s project has also benefited from his choice of band mates and from deft hands in the studio and the mastering. When he played in New Zealand last year, he wowed the audiences. Rumour has it that he will return next year. For updates keep an eye on JazzLocal32.com CJC Creative Jazz Club or Wellington Jazz Cooperative.

The artists: Rob Luft (guitars, compositions), Joe Wright (tenor saxophone), Joe Web (Hammond organ, piano, harmonium), Tom McCredie (bass), Corrie Dick (drums).

To sample or purchase the album visit Bandcamp www.robluft.bandcamp.com  or Google Edition Records Ltd UK.

Thabani Gapara Project

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Thabani (7)During the apartheid era in South Africa, a heady brew of danceable Jazz bubbled up from the townships. The all white National Party hated it and a game of ‘whack-a-mole’ followed. As soon as one venue was shut down by the police, another would spring up. The music was resilient and hopeful. No racist or repressive regime likes Jazz because it has rebellion, hope and joyous defiance in its DNA. The Zimbabwean born Thabani Gapara imbibed South African Jazz from his earliest days, eventually taking up the saxophone, that most anti establishment of instruments. Since then, he has performed in Zimbabwean, South African and New Zealand projects. Thabani #

The powerful influence of Cape Town Jazz is especially evident – the cradle of South African improvised music. Since coming to live in New Zealand he has collaborated with many well-known musicians; The Hipstamatics, Batucada Sound Machine, Stan Walker and others. He has recently completed a B. Mus. in Jazz at the New Zealand School of Music and after graduating, he formed this group. Unbelievably, this was their first gig.Thabani (6)

There were a few ballads during the night but the music was mainly of a danceable, high-octane, delightfully groove based type. The key to the vibe was leader Thabani Gapara. What a great stage presence he has; the ready smile that he flashes when someone mines a groove. It is also his tone on all three horns, the marvellous compositions and tight arrangements. His compositions all reference his life’s journey and they strike a nice balance between groove hooks and flights into melodic ecstasy. I am always drawn to musicians who dance while they play. This is not an easy thing to pull off; it can affect concentration and in a reeds or winds player, it can affect the embouchure. Gapara skillfully utilises body movements to enhance the groove and he does so without a hint of contrivance. He wowed them and the audience gave back, and during that interaction, the spirit of live improvised music glowed like a fire. Thabani (8)

There is no doubt that the band was well rehearsed. No group can generate that sort of energy or negotiate changes or tricky rhythms without being comfortable with each other. I have heard guitarist Nathan James once before; on this gig he was wonderful. The interplay between he and Gapara was conversational, the sort of conversation that friends might have on good night out. When his solo’s intensified they never strayed far from the groove. The other chordal instruments were played by Peter Leupolu, nice effects and in the pocket; subtly pushing the others; urging them on. Lastly, we come to electric bass player Issac Etimeni and drummer Elijah White. The audience was wildly enthusiastic about both. The punchy post-Jaco electric bass; the groove-based drumming bravura.

They played a number of Gapara’s compositions; ‘The Journey’ (which I have posted), ‘Places and Faces’, ‘Tears’, ‘Family’,  and ‘On The Beach’. All of these strongly referenced Southern African Jazz. To my delight, they also played Roy Hargrove’s fabulous ‘Strasbourg St Denis’ – a great tune and executed with such verve and Joy. The remaining numbers were, ‘Spanish Joint’ (D’Angelo), ‘Time Will Tell’ (Bobby Watson), ‘I Can’t Help It’ (Stevie Wonder), and ‘I Want You Back’ (Jackson Five). I still have a 45rpm of that at home (the Jacksons first’ break-through Motown recording). After the gig, I talked to Gapara about his music. I told him that I had experienced this style in Paris where it thrives in clubs like the New Dawn: played by the likes of Etienne Mbappe, Hugh Masekela etc. He agreed, saying that Paris is the new centre for experiencing these Jazz blended, bass heavy, African influenced styles. Now, as migration increases, the styles are evolving again; evolving as they move around the planet. Influences are never static; they bounce back and forth endlessly.Thabani (9)

If you see this group playing anywhere, grab a ticket and experience the fun. They truly deserve to do well and I hope they stay together for the long haul. Another great night, in an already wonderful CJC, Thirsty Dog season. Get down there on a Wednesday folks.

Thabani Gapara Project: Thabani Gapara (alto, tenor, soprano saxophones), Issac Etimeni (electric bass), Peter Leupolu (keyboard & piano), Nathan James (guitar), Elijah White (drums) – CJC Creative Jazz Club, Thirsty Dog,  K’Rd Auckland, 13 September 2017.

 

 

 

 

Marjan

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MarjanWhen Marjan stepped up to the microphone, she owned the room from that moment on. Her previous association with the Jazz club had been peripheral, but this gig changed everything. I have sometimes engaged with her about Persian music or Sufi poetry and I have heard her performing in the Kevin Field ‘A List’ band. She is always impressive when she sings, but this was impressive in a different way. It was her first Jazz club gig as a leader and suddenly, here she was delighting a capacity audience, every bit the seasoned professional; exuding an easy-going confidence. It was tempting to think that she had magically transformed herself into this fully formed artist, but her back story offers deeper insights. Marjan is of Persian descent and while this breathes exoticism into her music, it is only a fragment of her story. In truth, she has been a performer for much of her life; an established presence in the world of film, an in-demand voiceover artist, a teacher of music, dance, and drama. She draws on many strengths but on Wednesday they coalesced; a marvellous voice and a formidable stage presence the outcome.Marjan (3)If her choice of a first number was to make a bold statement, then she succeeded admirably. Stepping out from behind the black curtains, accompanied by a shimmering Rhodes, she embarked on her engrossing journey. The first few bars of her ‘Desert Remains’ were straight out of the Sufi Jazz tradition; it was a call for universal tolerance: arising from her belief that music provides a pathway to transcend the banal. Almost imperceptibly, the tune became a love song, settling into new and funky rhythms. This was a nice piece of writing and the rhythmic interplay gave her much to work with. The influences in many of her compositions are generational; Stevie Wonder, Michael Jackson, Brian Wilson and of course her indigenous roots. All of this is filtered through a Jazz lens. Although her approach is modern, she doesn’t shy away from the traditional fare of Jazz singers.Marjan (6)Looking to popular music for new material is not a recent phenomenon for Jazz vocalists. Ella tackled ‘A Tisket a Tasket’, Louis appropriated a multitude of pop songs. The great American songbook is a selection of one-time popular songs. It is what Jazz musicians do; explore, steal and transform. The more diverse the influences the richer the music. When she tackled the lovely Jazz standard ‘Detour Ahead’ (Ellis/Frigo) she owned it completely. That hint of smokey voice, that delicate phrasing; being adventurous while showing deep respect to the composition. It was hard not to think of Norah Jones; an artist who is traditional and modern in equal parts. I would also give her top marks for her set list; the numbers included ‘The look of love’ (Burt Bacharach), ‘God only knows’ (Brian Wilson), ‘I’ll be free’ (Donny Hathaway) and of course her own compositions and one of Kevin Field’s.

To sound your best you need fine musicians backing you and she had that with Keven Field on Rhodes and piano, Michael Howell on guitar, Mostyn Cole on bass and Stephen Thomas on drums. Everyone on the Auckland scene is familiar with Field, Cole and Thomas – they never fail to please. I would like to single out Howell here as he gave us a great performance. It was tightly executed, appropriately modulated and exactly what was required. Nice fills, tastefully brief solos and well executed pedalling. It can take years for a chordal accompanist to learn these skills. In a younger artist, it shows real maturity. It seems certain that Marjan’s singing career can only gain pace from here. Her grace, good sense, great vocal chops and confidence will see to that.

Marjan (vocals, compositions, arrangements), Kevin Field (piano, co-arranger), Michael Howell (guitar), Mostyn Cole (bass), Stephen Thomas (drums) – CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland, 6th September 2017.

 

Jay Rodriguez & Jonathan Crayford – music with heart & soul

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Jay JoCray (2)Behind the doors of the beautiful Kauri villa, down the long corridor and the wide descending staircase, past the crush of people eagerly awaiting a significant and unique musical event, we edged forward; shuffled by the crowd, finding ourselves in a surprisingly large room; large enough to hold seventy people, a gorgeous warmly lit room with mirrored walls – an old dance studio brought back to life. As we crossed the room Jay Rodriguez greeted us, behind him, Jonathan Crayford shuffled through sheet music; both framed by an elegant grand piano and an array of horns on stands. I had interviewed Rodriguez earlier and had attended his sell out gig at the CJC Creative Jazz Club. There was never any doubt that this night, like the one a few nights earlier would deliver something special.Jay JoCray (1)If ever two musicians were destined to play duo format, it is these two. It is a challenging format as the safety nets are gone; it is deep level communication and frighteningly intimate. It requires deep listening and empathy as much as storytelling; it requires conversational dexterity. This was a night never to be forgotten, a night when great music became sublime. Rodriguez and Crayford have been friends for a long time, meeting up in New York in the late 90’s and forming an instant connection; Rodriguez’ ‘Groove Collective’ and other projects the meeting ground. They refer to each other as musical brothers and their communication during the last three days underscored that.Jay JoCray The first time I saw them together was around eight years ago. The gig stuck in my mind for many reasons, but especially because of one tune; Bob Dylan’s ‘I pity the poor immigrant’. It spoke directly to me as it oozed with humanity. When I interviewed Rodriguez I teased out this a theme; pointing to the set lists, the tunes which cut to the heart of the human condition, tunes communicated with deep empathy. For example, their rendition of Keith Jarrett’s ‘The rich (and the poor)’, Coltrane’s ‘Alabama’. The former, a blues, reminding us that the blues is more than just a musical form. In their hands, it informs us about inequality, discrimination, hurt and hope. The human condition again. The latter, ‘Alabama’, moved me to tears. Jazz lovers know this story, but it has seldom been told so well. The piece is based on the cadences of a Martin Luther King speech, a speech given immediately after four little girls were killed as they worshipped, murdered by an unrepentant KKK. The musicians dived straight into the emotion of this awful tale; the incomprehension and anger, then a plea for humanity, an exhortation to do better, the hope; it was all in there.

In answer to the question about humanism, Rodriguez pointed out the realities of American life. “We are living through hard times back home and the blues is about reality. Expressing life from the heart is something that can’t be taught in Jazz school. Jazz school gives you the basics, but your voice is something else, you have to search; some never find it”. He told me that he had been lucky enough to find his own musical voice early on and he was comfortable with it. He can play in many styles with ease and the key to this is the man himself. He is intelligent, open-minded and well-informed, but it’s his friendliness and warmth that impresses most. The man and his music are one.Jay JoCray (3)He is a multi-reeds and winds player and his command of each instrument is strong. I asked him if he favoured one horn over another or had been tempted to double less? This was prompted by a similar discussion with Bennie Maupin. Maupin’s answer had cut to the point, “It’s mostly about dedication, hard work and five times the amount of practice”. Rodriguez answer was a little different. “Man, I love these instruments, every single one of them, and I couldn’t abandon any of them”. It is impressive to hear an artist sounding so strong and so individualistic on so many instruments; bass clarinet, tenor saxophone, soprano saxophone, flute (he also doubles on alto and baritone saxophone). His bass clarinet is rich and woody with a tone production like John Surman – his tenor can range from low down raspy bluesiness to the light vibrato-less sound of ‘Pres’; and all of this in a clear authentic voice.

Crayford is an extraordinary musician, but last week he pulled out something extra. This was about personal chemistry (or perhaps alchemy). It was largely down to him that the project was conceived and he certainly made the most of it. He is the New Zealand ‘Tui’ Jazz artist of the year, a respected international troubadour, a pioneer reaching beyond the stars. The CJC quartet gig was a satisfying and joyous occasion but there was even better to come. When I interviewed Rodriguez a few days later he and Crayford invited me to a private event; the mysterious duo gig: so here I was in this amazing space, the mirrored dance studio, an oasis hidden in deep suburbia.  As soon as they began playing the conversation deepened, each revealing new subtleties and wearing their hearts on the sleeves; … humanity. As far as I know, none of it was recorded and while that is sad, perhaps it is only right. Sometimes magic should be left well alone – left untrammelled, lest it changes like Schroedinger’s cat.Jay JoCray (4) During the dance studio gig, their song choices delighted and astonished. For example, Monk’s ‘Epistrophy’, A Puccini aria, Michel Legrand’s ‘You must believe in spring’, McCartney’s ‘Long and winding road’; all in all an improbable and extraordinary journey. The CJC set list included Yusef Lateef’s stunningly beautiful ‘Morning’, Victor Young’s ‘Golden Earrings’ Keith Jarrett’s ‘Rich (and the poor man)’ – from the Dewey Redman/Jarrett/Haden Impulse era, John Coltrane’s ‘Alabama’ and a lovely original by Rodriguez (I think it was titled ‘Your Sound’). Mostyn Cole and Ron Samsom were amazing as well. They are both fine musicians and a good choice for this line-up.

When you look at the Jay Rodriguez discography or bio, it is no wonder he is so comfortable in such a variety of musical spaces. He started on saxophone as a child and soon came under the tutelage of the greats. His mentors along the way included Paquito D’ Rivera, Phil Woods, Sir Roland Hannah, Barry Harris, Kenny Werner, George Coleman, Joe Henderson, John Gilmore, Gil Goldstein and so it goes on. It reads like the history of Jazz. I can think of few players who have worked with both Doc Cheatham and John Zorn (yes he evidently played Cobra and has performed at the Knitting Factory). He is Grammy nominated and has guested on the Jimmy Fallon show.  Music is a universal language, but its primal source is often overlooked. Scientists tell us that it is, the original and most profound form of communication; it is the lingua franca of our polyglot planet. All too often we focus on the scaffolding or the dialect; all too often we marvel at technical skills or frown at the lack thereof. The older I grow, the more I desire something different; the sound of the human spirit; communication straight from the heart. While Jay Rodriguez and Jonathan Crayford possess a grab bag of wizardry, they also transform notes into an unforgettable life experience. Long may this collaboration continue.

Rodriguez/Crayford Quartet: Jay Rodriguez (tenor saxophone, soprano saxophone, bass clarinet, Flute), Jonathan Crayford (Rhodes, electronics), Mostyn Cole (upright bass), Ron Samson (drums). 30th August 2017, CJC Creative Jazz Club, Thirsty Dog, Auckland.

Rodriguez/Crayford Duo: Jay Rodriguez (tenor saxophone, soprano saxophone, bass clarinet, flute) – Jonathan Crayford (piano). 1st September 2017, Grey Lynn.

Craig Walters / Mike Booth Quintet

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Booth-Walters (3)The popularity of ‘hardbop’ is enduring but we seldom hear it on the band stand. The probable reason is its very familiarity; if you play this music you will be judged against the source. There is also the evolutionary factor: improvised music strives to outlive its yesterdays. It is even less common for musicians to write new music in that idiom or to create a vibe that calls back the era. Such an enterprise invariably falls to experienced musicians; those with the wisdom to reverence the glories without it being merely slavish. Booth and Walters are especially well suited to that task. They have the chops, charts and the imagination and above all, they make things interesting. If you closed your eyes during this gig, you could easily imagine that you were listening to an undiscovered Blue Note album. It was warm, swinging and accessible.Booth-Walters (2) Booth and Walters are gifted composers and on Wednesday the pair reinforced their compositional reputations. Some of Booth’s tunes have appeared recently in orchestral charts. Walters’ tunes while heard less often are really memorable (‘as good as it gets’ stuck in my head a long time ago). These guys write and arrange well. Notable among Booth’s compositions were ‘Deblaak’, “A Kings Ransome’ and ‘On track’.  From Walters; ‘Begin Again’, ‘Queenstown’ and ‘Wellesley Street Mission’. There was also a lovely version of the Metheney/Scofield ‘No Matter What’ from the ‘I Can See Your House From Here’ album. I have posted Booth’s ‘A Kings Ransom’ as a video clip, as it captures their vibe perfectly. Booth has such a lovely burnished tone – a sound production that no doubt comes with maturity and a lot of hard work.Booth-WaltersThe last number was Walters ‘Wellesley Street Mission’ and I would have posted that, but my video battery ran out. This is a clear reference to the appalling homeless problem which blights our towns and cities. The bluesy sadness and the deep compassion just flowed out of Walters’ horn – capturing the issue and touching our innermost beings, challenging our better selves.  I may be able to extract a cut of this and post it later – we’ll see!

While the gig felt like classic Blue Note Jazz it was not time-locked. As the tunes unwound, the harmonies became edgy and modern and with Kevin Field on piano, they could hardly be otherwise. Here a sneaky clave move, there, an understated flurry, (even a few fourths); mainly though, his typical wild exuberance. Again we saw the maturity and effortless cool of drummer Stephen Thomas. This guy is exceptionally talented. On Wednesday he played like a modern drummer, but somehow, and wonderfully, he managed to include some Art Blakey and Philly Joe Jones touches (crisp pressed rolls and asymmetrical rim shots).  Wednesday was the third time that I have heard bass player Wil Goodinson. We should pay attention to this young artist – he is a rapidly developing talent. His tasteful solo’s and his effortless bass lines were great.Booth-Walters (1) Lastly, there was that mysterious dancer, appearing from nowhere, drawing sustenance from the music until the street swallowed her again.  

Walters & Booth Quintet: Craig Walters (tenor saxophone), Mike Booth (trumpet and flugelhorn), Kevin Field (piano), Wil Goodenson (upright bass), Stephen Thomas (drums) @ CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, 23rd August 2017.

 

 

George Garzone Down Under

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GarzoneRoger Manins uncoupled the microphone and looked around the club. It was winter outside but you wouldn’t have known it. The windows were steamed up from the heat of a capacity crowd; all eyes were fixed on the stage and the stocky man holding the tenor saxophone. “You know how lucky you are …. right,” Manins asked the audience?  A loud cheer went up accompanied by whistles and foot stomping. George Garzone was in town and no one was in any doubt.

The Garzone phenomenon is hard to pin down, there are so many facets to it. While incredibly famous in Jazz education circles, revered by elite saxophonists; loved by club audiences and improvising musicians, he is under-mentioned in the Jazz press. The reason for this apparent contradiction cuts right to the heart of the man himself. Garzone has always plotted his own course and his playing reflects this. He travels less than most musicians of his stature, but he has never the less carved out a unique space; that of the underground hero, the musician to have on your tenor player bucket list, the artist that is talked of in hushed whispers, ‘the guy’. While a monster player, he is always happy to share his knowledge and to share the bandstand. Garzone (4)Most of the tunes were in long form and most were Garzone originals. All were perfect for the occasion. As you might expect, the Garzone tunes were springboards for deep improvisation; the heads, however, were memorable and so well-arranged that they stood out. I failed to catch all of the titles because the applause often drowned out the announcements. There was a catchy tune referencing Bourbon Street, A moving tribute to his friend Michael Brecker and a tune titled ‘The Mingus that I know’. They all had pithy stories attached. The two standards were Billy Eckstine’s ‘I want to talk about you’ and a wonderful earthy take on John Coltrane’s ‘Impressions’. I read somewhere that Garzone plays like he talks, in a Bostonian/Calabrian dialect. The cadences and rhythms of speech are part of who we are, it is, therefore, logical that they encompass how musicians express themselves and especially on a vocal instrument like the saxophone.Garzone (1)His pick up band were Kevin Field, Ron Samsom, Mostyn Cole and Roger Manins. Like every international who passes through, he heaped praise on the local musicians. Coming from Garzone this really counts. He and Manins go back a way and the synergies between them are evident (the Garzone influence is worldwide and Manins is no exception). Whether playing in unison or in counterpoint, they sounded right together – tenors who knew just how to compliment or when to keep clear. This was a very big sound and when trading fours they cajoled each other as friends might. The rhythm section was energised as well; Cole, Samsom and Field providing rhythmic and harmonic trickery.  And at one point, ‘Hey great, I heard some Salsa in that solo’, said Garzone looking in Fields direction.

The tour was put together by Roger Manins on behalf of the CJC Jazz Club and other clubs throughout the New Zealand Jazz touring circuit. Those who attended the two master classes at the Backbeat Bar and the two sold out Thirsty Dog gigs certainly knew how lucky they were. This was the night that Boston’s best; one of Americas finest tenor-men, came to town and blew like crazy. You had to be there to fully comprehend it, but this was a night to tell our grandchildren about.Garzone (3)

George Garzone (tenor saxophone, compositions, arrangements), Roger Manins (tenor saxophone), Kevin Field (piano), Mostyn Cole (upright bass), Ron Samsom (drums). CJC Creative Jazz Club at the Thirsty Dog, Auckland, K’Rd 16th August 2017.

Daniel Cho / Leo Coghini

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Cho (3)Last week brought us another emerging artist’s gig and this time it featured a Wellington band followed by an Auckland band. Each brought different aspects of improvised music to the bandstand and in a very nice touch, jammed together at the end; a happy meeting place between approaches. With so many international acts scheduled over coming months, it was great to see these young emerging bands given a shot: Again, this was good programming by the CJC.Cho (8).jpgThe Leo Coghini Quartet from Wellington took a straight ahead approach and it was obvious from the first number by Coghini, a solo rendering of ‘It Could Happen To You’ (Van Heusen/Burke), that he was an interesting pianist. He is classically trained, but with a good feel for swing oriented tunes. There were some nice originals in the set, but they were most comfortable on standards. I particularly liked the way they played Parker’s latin infused classic ‘My Little Suede Shoes’, also Kenny Garrett’s ‘Wayne’s Thang’. Both were approached in interesting ways (especially the nicely phrased Parker tune). The last number the quartet played was Stevie Wonders swinging groove classic ‘Isn’t She Lovely’ (which I have posted). Cho (6)In relation to ethnicity and gender, the modern New Zealand Jazz scene is increasingly reflective of the wider population; It is, therefore, good to see women picking up instruments that were once regarded as being exclusively in the male domain. Louisa Williamson was up front on tenor. She overcame some initial nervousness and played well. The other band members were electric bassist Zane Hawkins and Jeremy Richardson drums (both accomplished players).Cho

The second group, a quintet, had a very different approach. Their set list was entirely originals; they also took a loose no prisoners route. The set was clearly owned by the leader, altoist Daniel Cho. During his introduction, he placed a firm marker down; I am on a lifelong spiritual journey and this informs my music. While some ballads were played, he clearly favoured the ecstatic; that mood was reinforced throughout as he embarked on a very Coltrane fueled journey; and late Coltrane at that. His modal approach on some numbers would often move outside, at times leaning toward microtonality. In listening to him, one thing cut through above everything else, the deeper intent of the music; something beyond melody or harmony. This is a brave path for a young musician to take and one that requires enormous self-belief. He certainly possessed that attribute and he communicated it with a confidence beyond his years. Communicating intent is a hard thing to do; it’s selling an impression; it also requires audience deep listening.Cho (1)The tune ‘Within Hymn’ had clear references to Coltrane, but it was also interestingly modern. Although there were distinct parts to it, the piece made more sense as an entirety. It began with a bold statement on the horn, then unwound as it momentarily descended into chaos; next came the body of the piece, a building story, a probing at an idea, then changing again and ending with a climax. None of this would have been possible without the right support. Crystal Choi’s percussive chromaticism as she stabbed at the keyboard, the fourths, dissonant flurries; sometimes swinging as if to provide a counterbalance. Her solo was immaculate and each time I hear her now I’m amazed. Watching her musical journey encompass the avant-garde end of town and everywhere on the way is a treat.Cho (10) It was not just Choi who made this work, but Denholm Orr and Dean Rodrigues as well. Watch the clip through and judge for your self – these guys are amazing. Now a few bars of arco bass, now free or walking bass, and all the while, edgy polyrhythms dancing underneath. I was also pleased to see Kathleen Tomacruz on guitar – a very credible first gig for her.. The stylistic divergence was fused in the last two numbers when the bands became one on the bandstand. The way they achieved such unity in an impromptu jam says a lot about them all. Big ups to the musicians.

Leo Coghini Quartet: Leo Coghini (piano), Louisa Williamson (tenor saxophone), Zane Hawkins (electric bass), Jeremy Richardson (drums).

Daniel Cho Quintet: Daniel Cho (alto saxophone), Crystal Choi (piano), Kathleen Tomacruz (guitar), Denholm Orr (bass), Dean Rodrigues (drums).

Alan Broadbent ​& Georgia Mancio – ‘Songbook’ – Broadbent ‘Developing Story’ at Abbey Road

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Songbook Qrt LIVE by Carl Hyde 2016.IMG_8193Since ‘Songbook’ was released three months ago the accolades have come pouring in and it’s no wonder. This is a superb album and destined to remain forever embedded in the Jazz songbook lexicon. The worldwide release was timed to coincide with Broadbent’s seventieth birthday; opening to an enthusiastic audience at Ronnie Scotts; then touring the major clubs and festivals throughout Europe and New York. Much about ‘Songbook’ is classic Broadbent; warm, lyrical, and intimate; not to take anything away from the co-credited Georgia Mancio, a highly acclaimed UK-based vocalist. Unknown-1This pairing of voice and harmony, lyrics and melody could hardly be improved upon: it is therefore unsurprising that comparisons are made with the classic songbook era. Here, Broadbent has found the ideal foil for his engaging brand of lyrical Jazz, and as a first, every one of his tunes has accompanying lyrics crafted by Mancio. In Songbook, Broadbent’s Quartet West classic, ‘The Long Goodbye’ has become ‘The Last Goodbye’; a moving reference to the passing of Mancio’s father. Tunes like that have long begged such lyrics and it’s nice to see them penned so beautifully. Back in New Zealand, we watch Broadbent’s ever unfolding story with wonder. UnknownWe are proud of him here in his hometown, understanding that his many projects keep him busy; so busy that so we seldom see him these days. As long as we have his albums it is enough, they all have a generous portion of New Zealand buried deep within them. Last month he recorded a new album in the Abbey Road studios, an album with former Woody Herman band mate, drummer Peter Erskine and the amazing bassist Harvie S – plus the London Metropolitan Orchestra. These arrangements could only be Broadbent’s – lush and achingly beautiful. Could there be more Grammy’s on the way?  .

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Sam Swindells: ‘Quiet’​ Octet

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SSw (1)During the first half of 2017, a significant number of respected international artists and established local artists appeared at the CJC Creative Jazz Club. While everyone enjoys such a cornucopia of riches, it is also important to keep sight of emerging artists, those who are just below the radar. No local venue manages to showcase the rich diversity of improvising talent as well as the CJC.  This is no accident, as there is a guiding philosophy behind the programming of gigs. No artist, however good, gets an ongoing residency; the gigs, therefore, are different every week, are identifiable projects, and this keeps the audiences engaged. An important part of this is showcasing emerging artists.SSw (3)

Sam Swindells recently completed an Honours degree at the University of Auckland Jazz School and although not a new-comer to the scene, it is his first gig at the CJC. I recall someone telling me that his Honours recital created a buzz; that those who attended were impressed by it. On Wednesday he brought us that project and it was well received. One of the exciting things about the New Zealand Jazz scene is the growing strength of the writing and arranging. In Swindells case, he has taken a path less trodden; arranging and composing for an unusually configured brass-heavy octet. His inspiration was the stunning 1990’s John Scofield octet album ‘Quiet’.

When arranged music is at its best, the skillful management of contrasts is at its heart; tension and release, textural variance, tricks of modulation, surprise, clarity emerging from density; and if done well, presented as a coherent whole. This was an ambitious project, but in spite of that it worked. I would like to see Swindells develop the concept further, write or arrange more material like this, coral a group of musicians and rehearse them to within an inch of their lives. I have long thought that the nonet/octet ensemble form is under represented in Auckland (better represented in Wellington).SSw

There are some marked stylistic differences between the Scofield ‘Quiet’ band and Swindells’. Scofield used an expanded ensemble, which at times numbered eleven and included tubas, French horns, English horns and bass clarinets (and an acoustic guitar). Swindells worked with a smaller palette and in spite of being brass-heavy, he managed to achieve a delightful airiness. With fewer instruments utilised, the arrangements were closer to Frisell’s ‘This Land’ in effect. The combination of brass instruments (flugelhorn, trumpet, and two trombones) acted as a counterweight to his guitar and that required skillful arranging.SSw (4)The first number was ‘Tulle’ from the Scofield album, after that we heard a number of his own compositions interspersed with standards. His ‘Who is Kenneth Meyers?’ appealed as did an angular rendition of ‘Surrey with the Fringe on Top (Hammerstein). Given the project in hand, it was unsurprising that he included ‘Boplicity’ by Miles Davis; ‘Birth of The Cool’ being the springboard from which all such arranging sprang. In the second half we heard trumpeter Mike Booth’s ‘Major Event’ – Booth is a skilled arranger and an experienced ensemble composer. It is possible that he has also influenced Swindells’ direction.

The octet was a mixture of older hands and younger musicians. The ever popular Finn Scholes on trumpet, Mike Booth on trumpet and flugel, Jonathan Tan and Jonathan Brittain trombones, Roy Kim alto saxophone and flute, Wil Goodinson bass and Tom Leggett drums. The stand out instrument was the guitar – A confident and competent performance from Swindells throughout.

Performed at the CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, August 2nd, 2017.

 

Chris Mason-Battley Group

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CMB (1)Hearing people talk about the Chris Mason-Battley Group reminds me of the Hindu parable – the blind man and the Elephant.  “Oh yeah, that guy has a smooth sweet sound’ one said as if that settled the matter. Well yes, he has got a smooth sound when playing a ballad, but anyone who thinks that defines his music has simply not been paying attention. This band has enormous depth; playing anything from a melodic ballad to music that is way off the grid. What we experienced on Wednesday was music with integrity; at times raw and inventive, drawing us into its heart, emotionally engaging and above all satisfying.  CMB  The first number was ‘Mountain Song’ (by CMB); then they moved to a series of pieces from the CMB John Psathas project ‘Dialogos’ (progressing through excerpts from ‘Song for Simon’ and ‘Demonic Thesis’). As that set progressed we heard a new composition or two and lastly ‘Tahuna Caravan Park’ from his ‘Two Tides’ album. This gave us a broad sweep of his past projects and the Psathas album in particular. Dialogos was widely acclaimed as an exciting and bold step forward for the band – I can highly recommend the album (out on Rattle). Before the band left the stage for a break, Mason-Battley said; “That was the nice half – the second set is nasty half” (quoting from an album titled ‘The Jaberwocky comes to Town’ which had a ‘nice side’ and a ‘nasty side’.)CMB (3) As pleasing as the band were in the first set, they reached much deeper for the second; pulling out an utterly engaging and masterful performance. It began with several of the blacker pieces from ‘Dialogos’, ‘The Calenture Suite’. The drummer Stephen Thomas must be mentioned at this point – His work was integral to the overall performance and it underlined his maturity as a musician. At times subtle, at others incredibly complex – and all made to look easy in his hands. Thomas was extraordinary throughout and although a relative newcomer to this long-established band, his searing flames licked at their underbelly, an indispensible presence. In perfect contrast to the complex drum flurries was Sam Giles on electric bass. Giles is a master of the ostinato – repeated motifs, perfect time feel and the voodoo factor writ large. He is also an influence on the bands direction; favouring Zorn like explorations and paths less trodden. CMB (4)The CMB Group keyboardest is David Lines, an intersting and in my view under-rated musician. On this gig he played a Roland RD-700. What a beautiful piano and Rhodes sound. A  machine hardly heard these days, replaced by the Nord Stage or modern Korgs. While the newer keyboards have more bells and whistles, I am unconvinced that their piano sound is an improvement. Perhaps it sounded so good because of Lines touch? He is not a busy pianist and every note counts, in this gig his often voice leading role was perfect for the project (his solos were stunning). I only wish we saw him more often.

As good as the rest were, Mason Battley stood out; especially on soprano and alto. He has a real stage presence and his luminous lines are always well conceived. It is great to hear him reaching ever deeper as time goes by. The number I have posted is a tune of his titled ‘Drum Dance 4 (Psathas)’; a Coltrane-esk exploration that exemplifies a way-point on their interesting journey. On that tune, everything is in perfect balance, Thomas taking a leading role while the others work off that, each bar taking us deeper, highly charged and sparse.CMB (2) The last tune of the evening was free and political. It was titled ‘The Emperor Has No Clothes’; an obvious reference to the greedy authoritarian amoral elites that hold sway in the world; particularly the Trump administration.  It was free and it was raw emotion – in the background a loop recited ‘billions and billions’ – then, faintly at first, we heard the strains of ‘The Star Spangled Banner’. The band read the mood of the audience well with that one – people stomped and cheered afterwards as if someone had taken the words right out of their mouths and rendered them into abstract musical form.

CMB Group: Chris Mason-Battley (soprano, alto, tenor saxophones, compositions arrangements, electronics), David Lines (keyboards), Sam Giles (electric bass), Stephen Thomas (drums) @ CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, July 26, 2017

Rubim de Toledo (Canada)

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Rubim (1)There have been two bass-player led groups at the CJC in as many months and both have been excellent. Last weeks featured group was a trio led by Rubim de Toledo: a Canadian from Alberta, of Brazilian origin and a well-established musician. Like many modern improvisers, his influences are diverse; that said his music fits squarely into the Jazz mainstream. The first thing to grab me was his big rounded tone, gifting the tunes with a richness and beauty that captivated from start to finish. While most bass sits deep within the mix, de Toledo’s voice spoke clearly; not by overcrowding his band-mates nor by punching through the others as an electric bassist might, but because every musical utterance sounded right. His melodicism and clarity of ideas were enhanced by devices which I found appealing; his occasional and appropriate use of vibrato at the end of a line, sometimes, rarely, he combined this with a slight bending of the note. He is definitely a successor to the Evans trio model; a bassist who communicates as an equal.Rubim (2)In a live setting and with unfamiliar sidemen, the best plan is to loosen the reigns. This he did and with Kevin Field on Rhodes and fellow Canadian and long time friend Ron Samsom on drums the gig gelled. Much of the gig showcased his compositions, some from his 2014 album ‘The Bridge”. The three standards he played were a killing version of Maiden Voyage (Herbie Hancock), Work Song (Nat Adderly) and a rendering of ‘Recordeme’ (Joe Henderson). His own compositions ranged from the thoughtful ‘Autumn Celeste’ to evocative panoramic tunes like ‘The Gap’ (about the Rockies) and ‘Red Eye’ (about a Brazilian train known locally as the train of death). The gig was a pleasure from start to finish and the enthusiastic audience response said it all.RubimAs I was leaving de Toledo handed me a copy of his recent album ‘The Bridge’ and it wasn’t until yesterday that I found time to play it. What a truly beautiful album this is; beautifully crafted arrangements and tunes which burn with a quiet intensity at any tempo.  On ‘The Bridge’, he is surrounded by an ensemble of talented Albertans and a guest artist from the USA. The lineup of bass, trumpet, saxophone, trombone, keyboards, drums (and on track 8 a vocal) is well conceived – balancing airiness with textural richness. The musicianship throughout is noteworthy; particularly Sean Jones on trumpet, a well respected musician from the USA: the keyboardist and everyone making this album memorable. As you would expect with an ensemble and with an album as skillfully recorded as this, de Toledo is less dominant. Here he lets his charts tell the story and they certainly do.. The audio clip is ‘Winters Here’ from the album.

Rubim de Toledo Trio: Rubim de Toledo (upright bass, leader), Kevin Field (Rhodes), Ron Samsom (drums), The trio played the CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland, July 19, 2017.

The Bridge (Album): Rubim de Toledo (bass), Guest artist: Sean Jones (trumpet), Jim Brenan (saxophone), Carsten Rubeling (trombone), Chris Andrew (keyboard), Jon McCaslin (drums), Allison Lynch (vocals).Rubim (3)

Stephen Thomas – No Hawkers

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Steve Thomas (1)In spite of his relative youth, Stephen Thomas is counted as one of New Zealand's better Jazz drummers. He approaches his craft with care and intelligence and it shows in his playing. While his technical skills are superb, he can also communicate on a human level and this is important as it speaks of character. Thomas is a regular on the scene, but like many sidemen and most drummers, he prefers to remain in the shadows. On Wednesday he changed that focus and convincingly staked his claim as band leader.Steve Thomas (4)The ingredients that contribute to a successful gig are often intangible, but this gig ticked a number of those boxes. While tailored to suit a Jazz audience, it did so without being remote or elitist. Another reason the gig worked was because Thomas used humour to good effect; not just his on stage banter but in the music as well. In a live setting this is important – interacting with the listeners on some level, bringing them inside the circle.Steve Thomas (3)Thomas has an abiding interest in the Ellington/Mingus/Roach, 'Money Jungle' recording and Wednesday provided him with a further opportunity to explore that project. While unusual as a source of standards material, it is a great album to focus on – the perfect vehicle for deconstruction. At the time it was recorded, it stood out for a number of reasons. In fact it shouldn't have worked at all, as the trio members reputedly disliked each other. Each had marked stylistic differences and Ellington was of an earlier generation. Ellington told the others that what they would play on the record should be a collective decision; then he turned up with a set list of his own tunes. The one tune which was not Ellington's was by Juan Tizol – a man who Mingus had once been in a knife fight with and because of whom, he was sacked by Ellington. What should have been a disaster for many reasons was a success. A brave post-bop recording by artists firmly rooted in other eras.Steve Thomas

Chosen from the Money Jungle material were 'Wig Wise and 'African Flower' (Ellington). Both of these tunes were given interesting treatment. The latter rendered into a dreamy fusion like vibe and the former, given a wonderful vaudevillian twist; the head melody line played on an analogue Prophet 08 synth. Reverence and open exploration in equal parts.Thomas's own tunes were interesting as well. 'No Hawkers' was a cleverly constructed solo piece; his engaging beats triggering pre-recorded samples, which he played over. 'Rat Race' was another great tune, this time with the full ensemble.Steve Thomas (5)

The other two standards were Giant Steps (Coltrane) and 'Fascinatin' Rhythm' (Gershwin). His quintet featured Crystal Choi, Michael Howell, Tom Dennison and J Y Lee and what a great band they were. Choi was especially wonderful; she's comfortable in a variety of settings and she just keeps growing as a musician – she really digs in and the sky's the limit for her. Howell was also decisive in his playing and it really suited him. Lee and Dennison are seasoned professionals and we are never disappointed by either. I was still buzzing from Dennison's previous weeks gig on electric bass – that boy can do no wrong.

No Hawkers: Stephen Thomas (arrangements, drums, samples), Crystal Choi (keyboards), Michael Howell (guitar), J Y Lee (alto saxophone), Tom Dennison (upright bass) – CJC Creative Jazz Club, Thirsty Dog, K' Road, Auckland, July 12, 2017

Ari Hoenig as Time Lord

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When drummer Ari Hoenig was among us recently, it was as if he came from another dimension; he was future and past – a Jazz time lord. The elements of the old were all there at his finger tips, but also something that was forward looking. He could lead with a melodic line, he could set up a groove, he was a colourist plus and he could subdivide time in ways that made me doubt reality. As he played, stuff happened on the kit that I had not seen before; it felt like a new dawn of drumming, but here’s the thing; as fresh as it was, it was also the most natural thing imaginable – nothing jarred – everything flowed from a deep well of musical knowledge. He was deep inside the music, looking half crazy – inside the tune and outside. He was so integrated with the keyboardist Nitai Hershkovitz that they appeared as a single unit. I detect Ari’s influence in modern drummers and because his influence is so palpable, I thought it a good idea to engage some local Jazz drummers on the topic. Here are Ron Samsom, Mark Lockett and Stephen Thomas with a few insights.Hoenig (2).jpg

JL32: Ron, when you introduced Ari and Nitai in Auckland you spoke of Ari’s influence on modern Jazz drumming. You described him as an innovator; suggesting that he may not be aware himself of the extent of his influence. Could you expand on that and tell us why?

Ron Samsom: Well, Ari is a pretty humble guy really and I didn’t want to embarrass him in my introduction. But in reality, what he has accomplished in terms of the development of new drumming language, is pretty remarkable. I mean coming out of the tradition of implied pulse modulation with drummers like Tony Williams, Elvin Jones or even newer generation players like Jeff Watts, Ari has developed the ability to stay “outside” the ground rhythm for what seems like an eternity. The influence on younger players coming out of NYC is pretty evident. Just check out Henry Cole, Marcus Gilmore to name a couple of guys who seem to be going even further with this concept and their own language.

JL32: Mark, I think that you have had previous contact with Ari and maybe with Nitai as well. Can you tell me something about that and about bringing the project to New Zealand?

Mark Lockett: I studied with Ari for six years, I would travel to NYC and take several lessons go away transcribe my lessons and practice like crazy for a few months then do it all again.  Last year we were hanging at Smalls after Ari’s gig one night and I said ‘Hey you should come out to New Zealand sometime I’ll hook it up.’  As soon as we moved back to NZ Ari contacted me and asked if we could do something so I organised a New Zealand tour on the back of him visiting Australia.

JL32: Stephen, I saw you at the Auckland gig and like the rest of us you were blown away. How do you evaluate Ari’s work and how do you see his place among modern drummers?

Stephen Thomas: Ari Hoenig is the type of drummer who has inspired a whole generation of jazz drummers and music enthusiasts in general. Because of this, we were all amazed to see Ari play “in the flesh” as for us kiwis, our exposure to his playing comes from things like YouTube and mp3’s and the like. When I went to his gig in Auckland, from the very first stroke of the cymbal it was clear to me he was on a completely different level to anything I’d really seen before. Ari is clearly a pioneer of modern jazz drumming that has inspired a whole generation of musicians. His mastery of rhythmic subdivisions, polyrhythms and musical time has inspired not just jazz drummers but musicians in general far and wide. He really is at the forefront of modern drummers.

JL32: Ron, Ari appeared to hold the sticks differently, firmer, at times further down – perhaps because of this his flurries and modulation were so precise. Old school drummers must puzzle at this. Can you tell me a little about these evolving hand positions?

Ron Samsom: When he was in the workshop, Ari was quick to point out that “praying mantis” was a visual term used by one of his early teachers as a descriptor of his unorthodox style. I think we need to remember that the ‘drum set’ is a fairly new instrument and there are lots of options in terms of technical approach. The bottom line is really ’the sound’ and I don’t think you could ever fault Ari in terms of dynamic control and timbre. I think he is all about the sound. He plays drums that are wide open in tuning and resonance but finds a way to control this through his approach. You can hear him use the harmonics of the drums to create colour and depth – it’s a beautiful thing. How he achieves this is a great question.

JL32: Mark, I have seen you hold the sticks in a similar way. Can you talk us through this and explain how it alters control?

Mark Lockett: A lot of drummers in NYC e.g. Bill Stewart and Paul Motian hold the sticks a bit more rigidly and different to a lot of drummers I see out here.  I remember Michael Brorby at Acoustic Recording Studio (NYC) saying that this grip which is using more forearm helps create a much more accurate and defined cymbal pattern.  It was the great Australian drummer Darryn Farrugia who turned me on to holding the sticks a lot further up closer to the middle as this gives you more bounce and it worked for me.

JL32: Stephen, I think that so called Jazz drumming orthodoxy is being subtly deconstructed post millennium. Can you comment on his technique from a drummers perspective?

Stephen Thomas: I think this question really sums up the music world we find ourselves in post millennium especially in the internet era. We are exposed to such a wide variety of music through online mediums that it is hardly surprising the traditional art form of “jazz” is evolving at a rapid pace and taking on influences from many other sonic worlds and styles of music. I think in this same vein, individual drummers are finding their own voice which is informed not just by the history of jazz but also by other distinct styles and sounds of music. Although this is not a new concept, Ari Hoenig is very far down this road, as he is such a unique voice behind the instrument, you would know his playing from just hearing the first few measures of music. This is no easy feat and something we all aspire to.

In terms of technique, I think Ari has developed his own technique which has allowed him to pursue this unique voice. In some ways, his technique is quite unorthodox and from my humble observation, it seemed to me he was using a lot of tension in his physical body to generate his sound. The fact he has been able to make this work for him is very unique and I think is a good reminder that there is no real ‘right or wrong’ in terms of technique as it is what brings the individuality out in drummers. As as a small side note, however – although this works for Ari, mere mortals like myself who have had body tension/pain issues in our playing have found it to be a stumbling block that we are seeking to overcome and I think long term, too much tension can become an issue.

JL32: Ron, I saw some astonishing neo-colourist drumming; subtle accenting and gentle cymbal work, but then turning on a dime. Ari seemed to extend the concept way beyond the Paul Motian model. He would suddenly create a melodic line or just tap out an accelerating beat in the centre of the snare. Can you comment on this extension of the colourist palette?

Ron Samsom: I don’t really know enough of Paul Motian’s playing to offer a solid opinion – but the trio records with Joe Lovano and Bill Frisell are pretty great examples of how a drummer can colour and support melodic ideas or become an entity in its own right. I think what Motian’s playing did for everyone, is suggest that the drummer could be more. Drums could be melodic, textural, a motivating soloist/accompanist, a complete musical statement onto itself. Ari’s playing has all of these things in spades but I’d hesitate to say it’s beyond Motian’s achievements – It’s just context. Ari is communicating with his generation of improvisers that are versed in rhythm scale, odd time, implied modulation etc. but these are just tools to convey music. They are not music without context and personalisation.

JL32: Mark, that was some seriously deep stuff that Nitai was playing. I have heard Brad Mehldau do something similar. This is brave, as it will leave the purists behind. It sounds exciting to me. Would you like to comment on their use of deep improvisational groove music as a vehicle?

Mark Lockett: I don’t really think this is anything new, but in this setting, there was only a duo so this gave Ari and Nitai lots of space to stretch out and they weren’t confined to a bass player or another comping instrument being in the mix.  I think the rhythmic vocabulary they draw upon brings a real element of excitement to the music.  I think Ari chooses his sidemen very wisely and consequently, they sound like a band and want to play together rather than have their own agenda.

Stephen Thomas: I really dug how at the Auckland show I was at, Nitai had some PHAT bass synth going on. So much so that at one point, because he and Ari were so locked in, I thought the bass drum had like a sub-bass mic or something on it which was a good indication of how impeccable their time feel was and how locked in they were even just as a duo! This is probably what I meant before about jazz taking on influences from other sound worlds and musical styles, with electronic timbres in the fold more and more. What stood out to me and I said this to Ron after the show, was that although there were only two musicians playing, you never felt like there was any lack in terms of sound or textures which was kind of mind blowing. Also, it was clear that both Ari and Nital are so versed in jazz vocabulary that even though some of what they played was “non-traditional”, there was a depth to what they were playing which was hard to describe. The well of musical concepts and language that they both had was very deep, to say the least, and I was left feeling very inspired indeed.

JL32: Guys, what do you want your students to take away from this experience?

Mark Lockett: The students I spoke to after the concerts were totally blown away and I saw them beaming.  I heard one student say ‘this concert changed my whole musical trajectory’.  I think if the students can be inspired to listen, learn, practice, want to get better and create that’s really all anyone could hope for their students.

Stephen Thomas: think Ari gave us a fantastic provocation to pursue individuality behind the instrument, whilst reminding us to pursue a depth of knowledge and language of the jazz tradition. Although this can sound like an oxymoron, Ari Hoenig seems to personify this as he is such a unique voice whilst having all the language and depth there too. This is inspiring for students to keep checking out the history whilst also pursuing what gets them going musically and sonically, to hopefully find their own place in the music world and create something which is ultimately fun and rhythmically/musically satisfying! Every time I see an inspiring player, the thing that really gets me is the amount of joy and playfulness they have whilst making music and Ari had this in spades, which I think we can all learn from. It’s a great reminder that music ultimately should be a joyful and playful experience which we can bring our own personality and emotions to which can ultimately move people and bring joy and healing to a world which needs it!

JL32: Thanks for your insights guys. I know how busy you all are and I appreciate that you put down the sticks to answer these questions so thoroughly. Finally, thanks for supporting JazzLocal32.com.

Ron Samsom is a Canadian born Kiwi and the course coordinator at the University of Auckland Jazz School. He is well recorded and has worked with Jazz musicians from many continents. Mark Lockett has just returned after many years in New York and he teaches, tours and gigs around Australasia. Stephen Thomas is a gifted New Zealand drummer who is increasingly in demand for high-end gigs and highly regarded on the New Zealand Jazz scene.Hoenig.jpg

Tom Dennison Quintet

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Tom D (6)Dennison is a first class musician and someone we don’t hear nearly enough of on the Jazz circuit. He rarely gets to the CJC but when he does it is always a treat. These days he is mostly found doing session work or backing visiting artists and it is hardly surprising that he is a bass player of choice. Whether on upright bass or electric bass he is equally proficient; always an engaging presence, always demonstrating a deep musicality. He has one more string to his bow which can’t be overlooked and that is composition. His tunes are often whimsical, but whatever the mood, a deftly crafted structure sits beneath every phrase. Never over done, bass driven and just right. There is also a thread of melancholia and wistfulness in his ballad writing: these are difficult emotions to evoke and anyone with knowledge of poetry will know, that only the most skilful poets do the moods justice. Dennison can.Tom D (4)Passels playing was another high point of the evening for me. He just gets better every time we hear him. He is also exactly the right person to interpret mood. I liked the way he approached the tunes, working his way inside them methodically. Sometimes angular, at other times teasing at the melody. During the ballads, he often began with sparse phrasing, establishing mood without overstatement; then, slowly telling his story as if looking at the theme from differing viewpoints. Although he plays decisively, he carefully modulates; generally without flourish or vibrato – pushing at a note until subtle multiphonic textures form – his paper-thin Konitz-like tone saying more than any honk. His versatility is also an asset. Any player who can comfortably move outside and inside while still maintaining a theme is a person worth listening to.Tom D (3)McAneny, who initially faced a cable problem, overcame it quickly and delivered a fine performance. Having a Rhodes and a guitar together can be problematical, but the charts and McAneny’s nimbleness enabled him to avoid crowding the space. Howell gave a nice performance and his lines are terrific; He knows what he’s doing but I’d like to hear him bite into his solos a bit more. Drummer Adam Tobeck was on solid ground with this group, he obviously enjoyed the company and reacted well to whatever was thrown his way. After not playing here for a few years, he is now a regular on the bandstand. I like his drum work very much.

Dennisons post-Zoo material is terrific. Fresh, adventurous and deeply appealing. I hope this gig presages a ‘Zoo Two’ album (or ‘Zoo Two by Two’?).  From Zoo we heard ‘The Cat’ – of the newer material there were many great pieces – I loved ‘Unkindness’, also the punkish take on the Beatles ‘Day Tripper’ and ‘J Y Lee’ (a contrafact of ‘Donna Lee’ which in turn is a contrafact of ‘Indiana’).

Tom Dennison Quintet: Tom Dennison (5 string electric bass, compositions), Callum Passels (alto saxophone), Connor McAneny (Rhodes), Michael Howell (guitar), Adam Tobeck (drums). CJC Creative Jazz Club, Thirsty Dog, July 5th 2017.

Nick Granville

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NickThe last time Nick Granville played in Auckland was 2014.  A year prior to that he released his Rattle Jazz album ‘Refractions’ here  At that time the CJC was located in an old downtown basement venue and that feels like a lifetime ago. Wellington is his home base and Wellington keeps Granville busy. He teaches, he gigs about town, he backs visiting artists, he plays in shows, he records, he tours and he is the featured guitarist in the Rodger Fox Big Band. The last time I saw him play was in Wellington, but that was a few years ago. Much water has passed under the bridge since then and his reputation has meantime grown apace. I have also kept an eye on his teaching clips, and his ongoing evolution as a musician is evident in these.  Almost everything Granville plays is coloured by the blues in some way; that is his thing. On a mid-winter night, it is my thing as well.Nick (1)With the exception of ‘Alone Together’ by Schwartz/Dietz, all compositions were Grenville’s.  Some were from his Rattle Album, such as Tossed Salad & Scrambled Eggs or Blues For Les, while others were much newer. The compositions were all ear-grabbing and most appeared to reference geographical locations or old TV programs. ‘Funky New Orleans Groove Thing’ was certainly true to label; a rhythm-driven groove piece that generated white heat. With Stephen Thomas on the job, the New Orleans beat never sounded better. Thomas is an exceptional drummer.Nick (2)A tune that I have heard Granville play previously is ‘Somewhere You’ve Been’. The title is a clever play on Wayne Shorter’s ‘Footprints’. The tune, although not a contrafact of Footprints is close enough to bring it to mind, It is nicely constructed and a good vehicle for a band to play off. For this gig Granville had wisely engaged old friends; Roger Manins, Oli Holland and Steven Thomas. Together on the bandstand, they represented genuine firepower and everyone dug deep when it came to delivering solos

Footnote: If things go according to plan, Granville will soon be off to the Monterey Jazz Festival with the Rodger Fox Big Band, followed by a recording session in a famous LA recording studio.

Nick Granville (guitar, compositions), Roger Manins (tenor saxophone), Olivier Holland (bass), Stephen Thomas (drums). The gig took place at the Thirsty Dog K’Road for the CJC Creative Jazz Club, 28th June 2017.

 

 

After ‘Ours Odyssey

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This album had me from the first listen. The vibe is very much in the vein of Robert Glasper’s 2012 album ‘Black Radio‘; but while the comparison is inescapable, this tells a very Pacific story; one based on our own urban grooves.  Anyone who has ever walked the black-sand beaches of Auckland’s west coast or chilled out with friends on a long summer evening will feel that this album is just for them. While Jazz rich it is beyond category; a Neo-soul, Jazz Funk, Hip hop album with a pinch of Disco groove thrown in. If you browse the credits you will immediately be grabbed by the line up; many are important figures from the New Zealand or European Jazz/Soul scene, but having such an international cornucopia of talent has in no way spoilt the broth. The album works all the better for it. It is beautifully mixed, the tracks flow together like a dream and the quality of the production is immaculate.

The project was the brainchild of Jazz keyboardist Michal Martyniuk, with the assistance of percussionist, multi-instrumentalist and producer, Nick Williams. If there was ever an album that oozes urban cool from start to finish, this is it. Along with the talented Martyniuk and Williams are instrumentalists Nathan Haines, Miguel Fuentes, Mike Patto, Karika Turua, Adam Cabacinski, Andy Smith, Jacub Skowbonski and others;  on vocals Sharlene Hector, Keven Mark Trail, Matt Nanai and Angie Saunders. It took a while from conception to finish but the wait was well worth it. Martyniuk is at present in his native Poland and the album was well received there – last month it was featured as album of the week on a Polish radio station. This is an album that really deserves to do well. ‘After ‘Ours Odyssey’ is out on Studiozone and can be found in leading record stores, @afteroursnz – also at Bandcamp, Apple Music or iTunes   When Glasper was asked why he blended Soul Funk and Jazz he replied: “It was a slap on the arse of Jazz”.  This album is more like a long kiss on a sultry summer evening

Monsters of the Deep (Crayford/Haines)

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Monsters (4)This was trippy stuff. A band that gnawed at the bones of form while the music swept us along; taking us ever deeper, forcing us to loosen our grip, as the waterfalls of sound consumed us. This was most definitely filmic music; throwing up subliminal specters like a Burroughs cut-up montage: an indie soundtrack, Voodoo but with four Papa Docs urging us toward trance.Monsters (1)Attempts to confine improvised music within historic boundaries is plain foolishness. Never has this been more obvious to me than at last week’s ‘Monsters of The Deep’ gig.  Superficially it sounded like, looked like classic fusion; but it was and it wasn’t.  The keyboard instruments were classic analog, the lighting otherworldly; various delays, distortions or effects echoed across the room. While the overall vibe nodded in the direction of Jazz/Rock, the musical language was that of deep improvisation. The accessibility hiding worlds of complexity and there’s the wonder of it. Few local musicians could pull this off as well as Crayford and Haines did.Monsters (2)The collaboration between Crayford and Haines is certainly not their first; that took place in New York a long time ago. Since then they have both gained international reputations, recording in the UK or in New York. Both have separately won the Best New Zealand Jazz album of the year during the last decade, both attract sizable audiences. These artists are generally offshore but we caught a break this year –  they are domiciled in Auckland at the moment.Monsters (3) While the project draws on various inspirational sources like Alice Coltrane and Igor Stravinsky it is also brimming with originality. This is ‘spiritual music’ of the highest order and it uses the devices of the Shaman: long intensifying vamps and hypnotic beats which slip deftly into the consciousness. Throughout the night, it was Haines who took the melodic path while Crayford provided magnificent architectural structures. If even one element was removed, the edifice could fail; this was a music built from layers, each balancing delicately on the one beneath; only exposed incrementally, like a nested Russian doll. Marika Hodgson was the perfect choice for running those long ostinato bass lines. Her time feel is impeccable and she creates a gut punch while blending seamlessly into the mix. Not many know it, but Crayford is also a gifted bass player – he knows exactly what is needed and he trusts Hodgson to deliver.  The one musician that I had not seen before was Mickey Ututaonga. He has a long history with Haines and again he was a good choice. Because the music was so carefully balanced, the last thing it needed was a busy splashy drummer. Ututaonga synced with the others, his every beat enhancing the overall hypnotic effect. MonstersThe other stars of the show were the instruments and pedals. For Crayford a Fender Rhodes and an equally vintage Clavinet; for Haines, his beautiful horns fed through a vintage SM7 Shure Microphone, then into a preamp and guitar FX board.

I have put up a clip titled ‘Stravinsky Thing‘ (Crayford). The piece is inspired by Igor Stravinsky; first an intro, then building slowly over a vamp, ratcheting up the tension on keyboards as an ostinato theme builds – the insistent bass line, the hypnotic drums, these freeing up the horns – soprano and tenor saxophones exploring; weaving in threads of vibrant colour. If only Stravinsky had been there – he was never afraid of modernity. These musicians are real monsters and their music is deep. I hope that they hang around in Auckland long enough to do it again.

Monsters of the Deep: Jonathan Crayford/Nathan Haines.  Crayford (Clavinet, Rhodes, effects, compositions), Haines (tenor saxophone, soprano saxophone, flute, effects, compositions), Marika Hodgson (electric bass), Mickey Ututaonga (drums). CJC Creative Jazz Club, Thirsty Dog, K’Road, Auckland, June 21, 2017.

 

 

Vivian Sessoms (New York)

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Vivian SessomsWhen Vivian Sessoms sings, she takes you deep inside the music. Whether singing the American Songbook, or her own compositions, her storytelling resonates. She sings of American life with all its contradictions; joy and pain both laid bare. Her rendering of Herbie Hancock’s ‘Butterfly‘ tender: the rendering of her own composition, ‘I Can’t Breathe‘, a song referencing the ‘black lives matter’ struggle – raw.  As she sang ‘I Can’t Breathe‘, people brushed tears away; feeling the loss, the injustice; sharing in the incomprehension. She sang it for the families of the young lives so senselessly snuffed out; dying at the hands of those sent to protect them – she sang it for us, a people located an ocean away. We listened and understood the message. Art is at its best when it is fearless and truth-telling – Sessoms gets this.Vivian Sessoms (6)Sessoms is Harlem born and bred; an activist, the niece of Nancy Wilson, the daughter of musicians and a gifted performer with a long string of credits to her name. She was raised in the Jazz world but found early acclaim as a soul singer. Now she is returning to her Jazz roots with her ‘Life‘ album. The tour reviews have been overwhelmingly positive and no wonder; At age 9 she opened for Marvin Gaye, later working with Michael Jackson, Cher and Stevie Wonder. As a performer she is simply riveting; her voice a miracle  – to have her here in an intimate Jazz club setting, a rare treat.Vivian Sessoms (5)What we were hearing was counter-intuitive. A voice of incredible power, but a voice filled with subtlety: A voice that dominated a room, but never at the expense of nuance. Although powerful, her instrument never strained, a voice which flowed as naturally as breathing. These are rare qualities when considered together in one package. Her material was also well thought out; The standards timeless but each one interestingly reinterpreted: ‘Tenderly’, ‘Love for Sale’, ‘Round Midnight’, ‘Never Let Me Go’, ‘I’ve Got You Under My Skin’ and others. Sessoms New Zealand pick-up band was assembled at short notice and credit must go to Caro Manins for organising this. She chose well, but with Jonathan Crayford on keyboards, it was always going to work out fine. Just days after winning the New Zealand Jazz Tui album of the year, he stepped in as an accompanist, giving us a truly magical performance. His solos often stunning us with their brilliance, especially so the extended solo on Nina Simone’s ‘Feeling Good‘.  The others in the rhythm section were Mostyn Cole (electric and upright bass) and Adam Tobeck (drums). They were every bit the professionals an artist like this deserves. Sessoms looked about her at one point and asked the audience; “Just what do you put in the water here – your musicians are amazing”?Vivian Sessoms (7)Sessoms is a generous entertainer, happy to mingle with the audience, comfortable enough to tease them a little; posing for endless selfies and promising faithfully to return.  She even shared the microphone with several first-year students. That is the common touch – a thing Kiwis love; she read our love of informality well. For details about her ‘Life‘ album go to the website link below. If we support the album, it might just hasten her return.Vivian Sessoms (1)She departed New Zealand the next morning on an early flight; arriving in the USA to be greeted by the news, that yet another jury had acquitted a police officer of killing an unarmed black youth. In these troubled times, more power to her.

Vivian Sessoms (vocals, composition), Jonathan Crayford (keyboards), Mostyn Cole (electric bass), Adam Tobeck (drums). CJC Creative Jazz Club, Thirsty Dog, Auckland, June 14th, 2017 – viviansessoms.com

Alan Brown Trio + guest

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Alan Brown 2017 (3)While some of us didn’t make it to the Wellington Jazz Festival, we had no need to cry into our beer. What Auckland had on offer was the Alan Brown Trio, returning to the Creative Jazz Club after a long hiatus, and in very good form. I have long thought that an organ trio is the best dish to serve up on a wet winter’s night. This trio proved the pudding with its down-home goodness, tasty grooves, and with all the trimmings. While Brown is across many genres, this is the one most music lovers associate him with. His deft touch calling down the good times and bathing us in a warm orb of sound.Alan Brown 2017 (4)We heard mostly new material with a few well-chosen standards thrown in; all of it sounding fresh, the arrangements for the standards updated and interesting. Brown is a prolific composer – he always writes interesting tunes. His Between the Spaces album came out years ago, but I can still remember the tunes note for note. He is never afraid of melody either, balancing it nicely with his rich harmonies and all the while providing a solid improvisational vehicle. His final strength, and perhaps his greatest, is his feel for a groove. Although rooted firmly in the organ groove tradition, much of the new material felt evolutionary – taking us in a similar direction to that of Lonnie Smith. There is a lot to like about this direction. Alan Brown 2017 (2)

This was essentially the original Grand Central band; Dixon Nacey on Guitar, Josh Sorenson on drums and for some of the gig, vocalist Chris Melville. Even though many of tunes were new to the rest of the band, they got down to business quickly. Nacey, as ever, the consummate professional – at times reading the chart before him, but always diving deep inside the groove as he internalised the music.  Sorenson is a groove drummer from way back and although he works with his own rock group these days, he had no trouble doing what an organ trio drummer should; laying down a steady rhythmic cushion.Alan Brown 2017 (1) It was good to see Melville perform again. I had not seen him on the bandstand since the Grand Central days. He’s an in-demand vocalist these days and deservedly so. I think that it was on his insistence that ‘I didn’t know what time it was’ was included (the Cecile McLauren-Salvant treatment). I have always loved his wonderful ”Come what may’ (Melville/Nacey) – surprisingly it is seldom heard.  Alan Brown 2017 Although my battery died half way through, I have uploaded a clip from the gig – one of Alan Brown’s newer compositions. The trio’s incredibly warm vibe is well captured on this clip – a sound enhanced by the use of a Leslie Unit and of course by Nacey’s Godin guitar. This was the place to be; as the woody tones and warmth enveloped us, Winter was dispelled from our lives.

Alan Brown Trio: Alan Brown (B3 organ with Leslie Unit), Dixon Nacey (Guitar), Josh Sorenson (drums),  – Guest Chris Melville (vocals). The gig took place at the Thirsty Dog Tavern for the CJC Creative Jazz Club, 7th June 2017.