Jonathan Crayford @ CJC

February 24, 2014February 25, 2014 / JazzLocal32.com / Leave a comment

Jonathan Crayford has long intrigued me as a musician so I make a point of catching him when the situation presents itself. He’s an artist embedded so deeply within his music that his persona reflects in those terms. It’s as if he were the embodiment of sonic shapes and forms.

I have seen him perform on a number occasions but there’s no second guessing what will materialise on any given night. His experiences in music lead him in many directions and all of them interesting. While some describe him as genre busting, I think the descriptor is overly simplistic. I have heard him perform a killing version of, “I Pity the Poor Immigrant” (Bob Dylan). Yes, he appropriates the sounds about him and often performs with artists from outside of the Jazz spectrum, but at heart he’s an improvising musician. No matter what notes he plays you can feel the integrity; the perpetual questioning of a deep level interpreter.

For the CJC gig he showcased a folder of new tunes; the charts interpreted by a six piece band that he had assembled for the gig. As he explained, “this band is work shopping some new ideas which I will record later in Europe”. The numbers were all in extended form, giving the musicians space to develop the themes and ideas. Many of the tunes began and ended with a percussive vamp and as a groove established the horns congas, bass and drums swelled the sound. The textures and complex layers of sound created an implied centre over which the soloists improvised. Watching over this was the leader, a benevolent presence who knew just when exhort, when to extend or curtail a solo and when to pull the explorations back to the head. The tune titles where intriguing also; ‘Groove 21’, ‘Strange Tune’ and others which told a more cerebral story.

‘Bruno’s Dream’ in particular piqued my interest. Jonathan Crayford has worked extensively on film scores and his association with the actor/musician Bruno Lawrence gives us the context for this piece. After Bruno’s passing Jonathan dreamed this tune, a kaleidoscope of images as imagined through Bruno’s eyes. This is wonderful expansive music and the band entered into the spirit of it. As with all dreams the evolving and often surreal story has several parts. In this piece we saw the best of Crayford’s keyboard artistry and writing skills. There were solid solo performances by Kim Patterson on valve trombone and Finn Scholes on trumpet. Kim Patterson is the elder statesman here, having recorded over his long career with most of the luminaries of New Zealand Jazz. The last section of the tune, an intense modal sequence was a gift to Scholes, who grabbed the opportunity with glee mining it convincingly for all it’s worth (echoes of ‘Teo’).

Early in the second set a brief change in pace occurred, when we heard a duet between Crayford and Patterson. They performed the only standard of the evening, the gorgeous ‘Old Folks’ (Robison). It lived up to its heart-string tugging potential. At the end satisfied sighs were heard from the audience. Piano and valve trombone work extremely well together and I was briefly minded of the duet recordings between Bob Brookmeyer and others.

Having both traps drums and congas was integral to the sound as they added heft and edge. On traps was Julien Dyne, an energetic and multi faceted drummer who has worked previously with Jonathan Crayford ( ‘Pins & Digits’ – Dyne’s album). On congas (and facing the band) was Miguel Fuentes, a highly experienced percussionist who never flagged during the long and energised grooves. The remaining band member was Chip Matthews on electric bass. His presence was integral to the mix and he managed to provide both an anchor and groove lines without crowding out the others. The sound scape was dense at times and intentionally so, but the overall momentum was never lost. With Jonathan Crayford at the helm this is hardly surprising.

The other departure from the format occurred when Jonathan invited Miles Crayford to sit in for a number. Miles a pianist and keyboardist also, came to wider attention when he participated in Reuben Bradley’s award-winning ‘Resonator’ album.

If you ask Jonathan Crayford where he lives now you will get vague answers. He lives where the current project is happening and where the music is. For the next two month’s he’ll be gigging around New Zealand and then returning to New York to mix and master his next album (with the well-known New York bassist Ben Street and drummer Dan Weiss). The album is intriguingly named ‘Dark Light’. Crayford tells me that he wrote the music during a long winter sojourn in London, where the seemingly endless days of low light are commonplace. Having lived in London I understand this focus with radiating light. The interplay and intensity of light occupies your thoughts there as it never does in sunnier climes.

If you Google this artist you’ll notice that he’s recorded as ‘currently living’ in Spain or Paris; throw in London and New York and the picture becomes a little clearer. This is a musician chasing the music and living in the moment. In Spain he records two solo albums, in New York trios and a sextet and then on to new projects in other cities. We gladly claim him as an expat Kiwi but in reality he’s a citizen of the world.

Who: Jonathan Crayford (piano, keyboards, compositions, leader), Kim Patterson (valve trombone, percussion), Finn Scholes (trumpet), Miguel Fuentes (percussion), Chip Matthews (electric bass), Julien Dyne (drums).

Where: CJC (Creative Jazz Club), 1885 Britomart, Auckland. 19th February 2014

Jonathan Crayford albums (and streamed samples) are available from his website, Rattle or iTunes – jocray.com

The Jac launch ‘NERVE’ @ CJC & Meow

February 19, 2014February 19, 2014 / JazzLocal32.com / Leave a comment

I don’t know as much about the Wellington Jazz scene as I’d like to, but I’m working on that. Recently an opportunity presented itself; two days in Wellington and a chance to catch up with some musician friends. I did my homework and learned that ‘The Jac’ would be playing at ‘Meow’. They had just recorded for Rattle and that made me keen to hear them; knowing that they were initially inspired by the ‘San Francesco Jazz Collective’ all the more so.

While not a dedicated Jazz venue Meow is a great supporter of the music and a good place to experience live music in general. The club has regularly hosted class Jazz acts like ‘The Troubles’ (and its various offshoots). Located on a sharp right angle bend, down a narrow winding alley; intriguing car head-light effects sweep across the band when cars negotiate the turn. This reminds me of the new Bimhuis Jazz club in Amsterdam, which has brightly lit trains passing right behind the band as they play. From the first few bars I loved what I heard and was pleased to learn that they would be playing in the CJC (Creative Jazz Club) in Auckland a few weeks later.

This band ticks a lot of boxes for me with their ancient to modern feel. I love the Octet or Nonet sound and especially when a brass heavy front line is in evidence. With ‘The Jac’ the four horns up front assault the senses in the best possible way; solidly augmented by two keyboards, drums and bass. The original lineup (and the one recorded), features piano and guitar. With the guitarist (Callum Allardice) overseas a Rhodes was added to replace the guitar. While I like both configurations I’m particularly impressed by the added colour that the Rhodes brings to the mix. In the hands of Dan Hayles it often sounds like Vibes and this takes the group closer to the sound-palette of the SFJC.

There was a good audience at the CJC and ‘The Jac’ were received with enthusiasm. It is all too rare to see such configurations in New Zealand and I wish more would surface. There were solid performances from the soloists but the real stars were the stunning arrangements. The charts sound modern, but implicit within is the Nonet/Octet tradition. The Birth of the Cool is momentarily evoked but this is not the anchor point. A modern aesthetic is at work here (listen to ‘Thieves in the Night’ composed by alto player Jake Baxendale and streamed below).

They opened with a tune titled ‘Major,major, major, major’ (to which Jake added – “in a minor key”). Next we heard ‘New York Axel Man’, an airy free-flowing tune which highlighted the skills of Jake Baxendale (alto) and Alexis French (trumpet). I was particularly taken with the skills of Lex French, as trumpet players of his calibre are not thick on the ground in New Zealand. I asked him who his recent teachers were and learned that he had been studying at McGill University in Canada. His articulation, clean lines and the ability to communicate an idea in a short space took my attention. In a line up of competent musicians he managed to stand out.

Jake Baxendale is the predominant soloist and his alto work is interesting. As one of the writers and the collective’s front man, he rightly garners the lions share of attention. The other Baxendale composition on the album is ‘Armada’. A delightful piece with rhythmic complexity and a strong bass line underpinning it. It is my sense that he is central to the octets success.

Completing the horn section is Chris Buckland on tenor and Matthew Allison on trombone (Allison is a member of the NZSO). This is highly arranged music and so tenor, alto, trombone and trumpet need to work as one entity. As they negotiated the often complex charts they showed just how tight they could be. This is a big sound, but one with a world of implied space.

On bass is the talented Nick Tipping who is another well-respected Wellington musician. Like Jake Baxendale he regularly plays with the Roger Fox Wellington Jazz Orchestra. Often backing international artists when the come to town. Buckland replaced Richard Thai (who played on the album) and as alluded to earlier, Dan Hayles on Rhodes replaced the guitarist. This gave the ensemble two keyboards and the alignment worked extremely well in my view. On the CJC Club piano was Dan Milward (he played keys at Meow). The juxtaposition between Piano and Rhodes worked so well because the musicians were able to compliment each other while keeping out of each others way. Milward took the subtler approach but his presence was never-the-less strongly felt.

Dan Hayles took several solos’ (which the audience loved) but his main role was to augment the mix with well placed fills and to add a sense of depth to the ensemble. I have heard him on several previous occasions and rate him highly. The remaining member is drummer Shaun Anderson and his stick work is superb. A supportive and in-the-pocket drummer who can also breathe fire into proceedings. It was Anderson and Hayles who took the more organic approach; both regularly stepping free of the charts and to great effect. Both made the pulse quicken and this balanced out the carefully crafted shapes and forms of the ensemble.

The compositions on the album are all by Baxendale and Allardice and it is these that give momentum to the project. In future it would be interesting to hear some of the soloists given additional space, but not at the expense of those gorgeous rich harmonic voicings. With a label like Rattle behind them this bodes well for future projects.

What: ‘The Jac’ at the release of their album ‘NERVE’ – Rattle Jazz (the album can be purchased direct from Rattle or at retail outlets).

Where: The CJC (Creative Jazz Club) 12th February 2014 and Meow 29th January 2014

Who: Jake Baxendale (alto, arrangements, compositions), Alexis French (trumpet), Chris Buckland (tenor sax), Matt Allison (trombone), Dan Hayles (Rhodes), Dan Milward (piano), Nick Tipping (upright bass), Shaun Anderson (drums) – Album only – Callum Allardice (guitar, arrangements, compositions), Richard Thai (tenor).

Steve Russell & Leigh Carriage

February 12, 2014February 12, 2014 / JazzLocal32.com / Leave a comment

Thanks to Roger Manins extensive connections and the ever widening reputation of the CJC (Creative Jazz Club) Auckland now attracts many gifted offshore Jazz artists. On the 3rd of February Steve Russell (piano) and Leigh Carriage (vocals) each led a set at the CJC. Leigh is from Lismore in Northern New South Wales and Steve (from Byron Bay) teaches at the Southern Cross University in Brisbane. Both have worked extensively in the bigger Australian cities. Steve Russell has appeared with James Morrison and done support gigs for the likes of Wynton Marsalis and John Scofield while Leigh Carriage has performed in many Australian Jazz festivals and at the Monterey Jazz Festival in America.

Steve Russell opened with a quartet set which comprised himself on piano, Roger Manins (tenor), Cameron McArthur (bass) and Stephen Thomas (drums). His choice of bandmates was fortuitous as Roger is a phenomenon and the other two are fast establishing themselves as the premier local musicians in their field. The band was extremely tight considering that the musicians had been holidaying in far flung disparate locations. I later learned that they had been sent the charts a few weeks earlier and had put in some time familiarising themselves with the music. Sometimes flying by the seat of the pants works just fine and sometimes a little work prior to a gig yields dividends. This was the latter.

Steve Russell is highly regarded as an accompanist (which is a specialist skill that all too few master). He is also a gifted leader, and composer. It was well that he chose three experienced musicians for his set because the complex time signatures and edgy rhythms of some tunes certainly demanded that. He began with a tune called ‘Belongil Blues’ which laments the loss of access to a much loved wilderness area around Lismore. The warmth and soulfulness of this number made it the perfect choice as a starter, because what followed was often edgy and crackling with fire. Fine musicians like these can always extract gold from well used forms (this tune is a good illustration of that as it is simply lovely. You can hear it as track 7 on Steve’s fine ‘Dark Matters’ album and in the streamed sample below).

As the set progressed we heard a Caprice, a latin infused tune (Sambol) and several tunes not from the album. Stylistically there are hints of Evans in Steve’s playing but he is entirely modern for all that. He is an artist that I will gladly seek out when the chance presents itself. His compositions, his feel for time and the sheer exuberance of his playing won me over completely.

Roger Manins has been busy moving house over the holidays but he certainly didn’t need easing into giging again. He hit the bandstand in exceptional form and his solo work on numbers like ‘Sambol’ can only be described as incendiary. In certain light there appeared to be sparks and coloured orbs emanating from the bell of his classic 60’s Selmer. Roger Manins is a musician at the peak of his powers and given the right bandmates he burns brighter than the sun. I had not seen Cameron McArthur for over a month but he is also in peak form. He’s always worth hearing and never more so than when he is challenged and well supported. Stephen Thomas is a widely respected drummer and his work across various genres is gaining him a significant following. He’s a musician well worth hearing because of his originality, chops and the deep intuitive feel for what ever music he’s playing.

When Leigh Carriage began her set she was accompanied by Steve Russell (her usual accompanist) plus Roger Manins, Cameron McArthur and Stephen Thomas. A set like this required an entirely different set of skills and the band moved into this supportive role seamlessly. Leigh Carriage has a voice that reaches deep into your soul. There is a certain purity to it; a quality that is not always evident in Jazz singers. What she does with her voice is special, using subtlety and nuance to reveal a thousand colours and shapes. Leigh Carriage is also a composer of note. She performed a number of self penned songs from her most recent album ‘Mandarin Skyline’ and one standard ‘Get Out of Town’, which she made her own. She has also released an album titled ‘Get out of Town’. There is often a wistful melancholic edge to her songs and the album is largely in that vein. In the club she added a few upbeat numbers and it was a delight to hear her voice and Roger Manins tenor saxophone merging in unison. Although she is far from a blues belter, hers is an exceptionally strong voice. Of her own material ‘I’m not leaving’ stands out particularly’.

As expected Steve Russell took an altogether different role during the vocal set. Though his note placement was sparser and his attack more subdued, his strong presence was still felt.

Who: Leigh Carriage and Steve Russell – with Roger Manins, Cameron McArthur, Stephan Thomas.

Where: The CJC (Creative Jazz Club), Britomart, 1885 building, Auckland – 5th February 2014

Album – Leigh Carriage; ‘Mandarin Skyline’ with Jonathan Zwartz (bass), Steve Russell (piano), Matt McMahon (piano), Sam Keevers (piano), Phil Slator (trumpet), Matt Smith (guitar), Hamish Stuart (drums).

Album –Steve Russell; ‘Dark Matters’, Matt Smith (guitar), Greg Lyon (bass), Scott Hills (drums).

Andrea Lisa Band – CJC

February 5, 2014April 10, 2014 / JazzLocal32.com / 3 Comments

It’s been a long time since the Andrea Lisa band were in Auckland and a considerably longer time since they were last at the CJC. Those who attended the CJC on August 7th 2011 saw many of this lineup perform in the ’emerging artists’ category. At that appearance they played one or two originals and memorably two or three Pat Metheny numbers. The band specialises in a brand of fusion which incorporates Jazz, Soul, Funk and R & B.

After leaving New Zealand they settled in Brisbane (where they are now based) and we periodically received reports that they were doing well. They had hardly settled into the Brisbane scene when they hit the road again and this time the destination was Dubai. I know little of Dubai (other than it has modernist architecture, It’s very hot and it’s a mecca for well healed shoppers). The Andrea Lisa band appears to have worked there for around six months and then they headed for Europe. That must have worked out extraordinarily well for them also, as gig reports were coming in from Marseille and other choice Mediterranean locations. A highlight was performing in Pablo Picasso’s former home with Thijs Van Leer (from the group Focus). The band will soon be returning to Brisbane and so those wanting to catch them need to check out Andrea’s Facebook page ASAP – Andrea Lisa Fan Page

While much of what the band played was from Andrea’s 2012 EP album ‘So Sweet’ there were also some new numbers. All were originals. The type of material was familiar but the band had tightened up noticeably. Being on the road for so long had polished their performances and it was especially noticeable with Lenny Church. Even before I asked him, I realised who his main drum tutor had been. It just had to be Josh Sorenson (and it was). He got huge applause for his intense groove based solos. Nick Taylor laid down solid support on the electric bass and his pulsing lines added a lot of weight to the bands slick sounds. The remaining quartet member is Alex Churchill who plays keys, reeds and flute. His role has evolved considerably since I last saw him and it was good to see him on the club piano for one number.

Andrea is a solid guitarist and vocalist but it’s her guitar work that comes across most strongly. Those soaring lines and occasional Wes like voicings place her squarely at the heart of the unit. An attractive diminutive performer with a big guitar and a confident presence on the band stand. Her main guitar is still the reddish tinged Ibanez (a very nice instrument) but there’s a new guitar as well. She performed three numbers on a stunningly beautiful Godin guitar, which has nylon strings (Acs Synth access multiac encore model). This super responsive guitar just sang under her finger tips. Ever since Dixon Nacey started using Godin guitars we are seeing more of them here and this pleases me immensely.

They have retained an enthusiastic New Zealand following and a considerable number of people new to the CJC turned up to hear them.

Who: Andrea Lisa (guitars, leader, composition), Alex Churchill (keys, reeds, flute, arranging), Nick Taylor (bass), Lenny Church (drums).

Where: CJC (Creative Jazz Club) 1885 Britomart, Auckland 19th Jan 2014

The Fondue Set – Review

February 2, 2014February 4, 2014 / JazzLocal32.com / 2 Comments

There are a number of enigmas in the music world and why this Fondue Set album lay unreleased for so long is one of them. A recent New Zealand Herald article described Caitlin Smith as one of New Zealand’s best known singers and that’s true. Because she is so well respected I can’t help wondering why she’s not profiled more often in the mainstream media. Her voice is simply stunning and the material she choses, her choice of musicians and the way she plays with the lyrics sets her apart.

The Fondue Set have been part of the music scene for more than a decade. Founded by Graeme Webb, the group has gone on to gain a kind of cult status and perhaps that imparts an added cache. There have only been two previous Fondue Set CD’s released and both remain popular. This album was recorded on mini disc in 2004 and it will be a welcome addition to their recorded output.

Caitlin’s voice is a real draw card, but as anyone who has seen her perform will know, her stage presence adds yet another compelling dimension. As this is a live recording much of that magic is communicated. Founding member Graeme Webb is not performing on ‘Down To The Rind’ but the other original member Steve Gerrish is. The new addition is Nigel Gavin who is well known about town for his stellar musicianship and the wonderful sounds he coaxes from his guitars. These musicians work well with Caitlin, providing all the support she could wish for.

The arrangements are by Smith, Garrish and Webb and what fine arrangements they are. Caitlin Smith is known for appropriating songs from other genres and turning them into earthy Jazz vehicles. It’s the fine arrangements that underpin that process. I was particularly drawn to ‘Wayfaring Stranger’ (Trad), ‘Secret Love’ (Pain/Webster) and the red hot treatment of ‘Goodbye Pork Pie Hat’ (Mingus). There is also a gorgeous version of ‘Tennessee Waltz’ (Stewart/King). This song is very much in vogue with Jazz-Americana musicians and well it might be. Nigel Gavin works his special brand of magic on Tennessee Waltz and the echoes linger happily in the memory long after the track is finished.

This is available from record stores, iTunes or from http://www.caitlinsmith.com/music

Who: Caitlin Smith (vocals, arrangements), Nigel Gavin (7 string Tui guitar), Steve Gerrish (guitars, arrangements) – Graeme Webb (arrangements)

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Month: February 2014