‘The A List’ release has been a long time coming, or so it seems. Every recording of Kevin Field’s is noteworthy and when rumours of a New York album circulated I attempted to pin him down. Whenever I saw him playing as sideman about town or met him in the street I would pull him aside and say, “Kev, how is the album progressing, when will you release it?”. I invariably received iterations of the same cryptic answer; a knowing smile and a brief “it’s getting there, not too far away now”. the lack of specifics only fed my appetite. I have learned to read the signs and I can sense when an album pleases an artist. It is all in the body language, readable over the self-effacing vagaries of banter. Field had a look about him; a look that told me that he was nurturing a project that pleased him.    As the months progressed I gleaned additional fragments of information in bite sized chunks. Firstly that Matt Penman was on the recording, and incrementally that Nir Felder, Obed Calvaire, Miguel Fuentes, Clo Chaperon and Marjan Gorgani also. The substantive recording took place at Brooklyn Recording in New York with additional recording in Roundhead Studios Auckland. That was pretty much the extent of my knowledge. I have encountered this phenomena before. Treating an album as a child, holding it close before sending it out into the world. It generally presages good things to come. In this case it certainly did.    The title is probably tongue in check, but it speaks truth. There are a number of A List personnel on the album. Field is arguably Auckland’s first call pianist. No one harmonises quite like him and his consistency as pianist and composer is solid. New Zealand Jazz lovers also regard Matt Penman highly. His appearances with leading lineups and his cutting edge projects as leader always impress. In the same vein is Nir Felder; frequently mentioned in the same breath as the elite New York guitarists. Obed Calvaire the same in drum circles. This was an obvious next step for Field; having risen to the top of the local scene, it was time to record with New Yorker’s.

The album is a thing of beauty and satisfying on many levels. Under Field’s watchful eye a flawless production has emerged. Having an album released by Warners is a coup. The big labels rarely release New Zealand Jazz (Nathan Haines being an exception). All compositions are by Field (on the vocal numbers he is co-credited with Clo Chaperon & Marjan Gorgani). From the title track onwards the album engages. We generally hear Field in a straight ahead context but he wisely followed his instincts here. This album extends the explorations of his well received ‘Field of Vision’ release; turning his conceptual spotlight on genres like disco funk and the brightly hued guitar fuelled explorations of the New York improvising modernists. The album also features Miguel Fuentes tasteful percussion which is subtle but effective. Field has done what brave and innovative artists should do. Take risks in the search for new territory.     The CJC (Creative Jazz Club) Auckland launch substituted ‘A’ List locals for the famous New Yorker’s. On guitar was Dixon Nacey, on bass Richie Pickard and on drums Stephen Thomas. The vocal section was; Clo Chaperon & Marjan Gorgani (as on the album). These musicians are superb and so the comparison with the album was favourable (Field is a little higher in the mix on the album and guitarist Felder is a little lower).  The CJC was in different venue this time, owing to the refurbishment of the 1885.  The Albion is no stranger to Jazz and in spite of the ‘livelier’ acoustics, it was a good space in which to enjoy the music. Dixon Nacey always sounds like a guitarist at the peak of his powers, but somehow he manages to sound better every time I hear him. This time he used less peddling and spun out wonderfully clean and virtuosic lines. Apart from a tiny amount of subdued wah-wah peddle on the disco number his beautiful Godin rang out with bell-like clarity (the clipped wah-wah comping was totally appropriate in recreating the tight disco funk vibe).  The other standout performance was from Stephen Thomas, who is able to find a groove and yet mess with it at the same time. His complex beats added colour and he mesmerised us all. At the heart of the sound was Richie Pickard. Some of the material was definitely challenging for a bass player as timing was everything. Pickard navigated the complexities with ease. There are were three vocal numbers at the gig (two on the album). Chaperon and Gorgani are impressive together and well matched vocally. Hearing them on the album showcases them to best advantage, as sound mixing is harder in a club. Their presence certainly added excitement to the gig.Buy the album and if possible see Field perform this material live. This music is exciting and innovative; past and present rolled into a forward looking Jazz form.

Kevin Field: The A List – Keven Field (Piano, Keys), Nir Felder (guitar), Matt Penman (bass), Obed Calvaire (drums), Miguel Fuentes (percussion), Clo Chaperon & Marjan Gorgani (vocals).  – Live performance: Kevin Field (piano, keys), Dixon Nacey (guitar), Richie Pickard (bass), Stephen Thomas (drums), Clo Chaperon & Marjan Gorgani (vocals). Performed at the CJC (Creative Jazz Club), Albion Hotel, Auckland, 19th August 2015. Available from all leading retailers.