Mark Lockett is a New York based drummer who visits Australasia once a year. Each time he returns he brings with him a piece of his adopted city. He is an original drummer comfortable in diverse situations; a benign but strong presence in any lineup. His artistic approach under-pinned by an easy confidence and this enables him to interact well and to read every nuance. His wide open ears, communicating the pulse and possibilities of the life he lives as a working musician in a big metropolis. There is also a humour he radiates, which peppers his comments and drumming like aromatic seasoning. A Mark Lockett gig is always original and always enjoyable.
It is less than a month since Ornette Coleman’s passing and if ever there was an appropriate night to celebrate his life, this was it. While not an exclusively Ornette Coleman night, his compositions were well represented; every number played had Ornette’s fingerprints on it. The band came together at short notice and as is often the case in improvised music, happenstance served us well. Roger Manins, Callum Passells and Mostyn Cole are no strangers to the freer musical styles. With Locket propelling them they soared. We heard tunes by Coleman, Ellington, Monk, Foster & Lockett. The music of Ornette Coleman while not without constraints frees the artists from many of the hard-wired rules. It doesn’t sound at all out-of-place now but I can remember the storm that surrounded its arrival. A treat for me was the groups rendition of ‘Congeniality’ from the seminal ‘The Shape of Jazz to Come’ album. The controversy surrounding this material is long behind us and every improvising musician has a little of Ornette in them whether they acknowledge it or not.Lockett often forms trios or ensembles that have no chordal instruments. While the musicians played ‘inside’ and ‘out’ they also attempted something we seldom hear in New Zealand. The opening number of the first set was Shiny Stockings (Frank Foster) and they played this in the style of the Mulligan piano-less quartets. Bass, Alto and Tenor in counterpoint and working within the changes. This was nice hear. I have an appetite for more of this.
The band was great and they reacted to each other as if they had been playing as an entity for many years. There was a lot of Charlie Haden in Mostyn Cole’s bass lines and in his warm fat sound. He is an engaging bass player and perfectly fitted for this freer approach. Rogers Manins and Callum Passells are always in lockstep and above all they are open to adventurous explorations. Both are superbly intelligent free-players. Watching Lockett I was again drawn to his precision. I have discussed this with him before and his control of the sticks is especially fascinating. After the gig I teased this theme out further, his hand positions and the intense locomotive propulsion that he generates. At times musical and at times like a freight train rolling over you.“Playing like that (fast and furious) is meat and potatoes in New York”, he said. He was once told that he could get better control if he held his sticks further down than usual. Because of that and because of his melodic approach, he is very interesting to watch. Somehow the sound is cleaner and with musical drumming like this who needs a chordal instrument. I can’t wait until his next visit.
Mark Locket CJC Quartet: Mark Locket (drums, leader), Roger Manins (tenor saxophone), Callum Passells (alto saxophone), Mostyn Cole (upright bass).
CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand, 16th July 2015.