I was out of the country when Anita Schwabe performed at the CJC two years earlier. While I had seen her perform at the Bruce Mason Centre with the Rodger Fox Orchestra, I wanted to hear her in a more intimate setting. Her live (and recorded) performance on ‘Journey Home’ was impressive and as I recall a jet lagged Alan Broadbent watched her segments from the wings during the Auckland concert. As good as that concert and a later concert were, hearing an artist in close proximity is always a different experience. Schwabe didn’t disappoint. The first thing you observe when you meet her is her understated manner. Like many New Zealand improvising musicians she is self-effacing to the point of being dismissive of her own abilities. This contrasts strongly with the engaging confidence of her playing. From the first few bars you become aware that there is something special going on.
There is something of Broadbent in her ballad playing, perhaps even a hint of Evans, but she has a sound of her own. She initially evokes a sense of the familiar, but then you hear something deeper; a subtle richness underpinning her voicings. A lushness implied but not overtly stated and this quality lingers in memory long after the notes are played – above all she swings like crazy. Perhaps it was having Roger Manins, Ben McNicoll, Ron Samsom and Cameron McArthur in her band that created this particular rub. What ever it was they quickly gelled and played off each other like a band that had been together for years.Schwabe’s first number referenced the under-acknowledged and recently departed pianist Clare Fischer. “I like his unusual voicings”, she said before she played through her composition,’Fisching for Compliments’. The tune was intensely melodic, filled with clever references and a fitting tribute. Although a more reflective number (and her first of the night) we saw what she could do. The tune drew us in with a spacious intro and then imperceptibly we felt the swing. Block chords suddenly dissolving, close voicings appearing, disappearing; right hand running off the back of a phrase, subtly playing with time and rubbing against the chords in the left hand. This interaction between right and left hands created subtle and pleasing tension and we were to hear that often throughout the evening. That first number gave us a foretaste of what was consistently enjoyable music throughout the sets.
There were various ensemble configurations; trio, quartet and quintet. The bigger lineups with Manins and McNicoll were absolute cookers and the pair excelled themselves. An end of year holiday spirit had obviously descended upon them; the musicians interacting in a summery sweet spot. ‘The You Tube clip is ‘Fisching For Compliments’ (trio).The second number was a bossa, ‘No Winter Lasts Forever‘ and for that number she induced Manins (who is famously averse to putting aside his tenor), to play alto. There were whoops of delight and a lot of teasing, but Manins is killing on any of his horns. This was Manins at his formidable best. The saxophone deities of Conn and Selmer sensing the importance of the moment reacted and as he raised his alto, a halo of light formed directly above his head. This was clearly a sign of the gods pleasure. I have put the ‘alto’ bossa number up as the second sound clip. The last number of the evening titled ‘Anger Management’ burned with intensity (the first sound clip). This hard swinging Tyner-esk cooker had everyone on their feet. For Jazz lovers, burners like this are Christmas and New Year rolled into one and they fill us with endless joy.It was great to hear McNicoll and Manins together – both playing their asses off and McNicoll sounding great on soprano. They obviously enjoyed playing together and we were the beneficiaries. Their different horns and their different approaches to soloing entirely complimentary. With McArthur, Samsom and Schwabe you had a formidable rhythm section. McArthur kept a wonderful pulse and Samsom was right in the zone, ever urging them to go one step further. This band floods the body with endorphins – they are a trip. A musician in the audience behind me said – “man that’s some rhythm section – some horn section – yeah thats how its done alright”.
Anita Schwabe: (leader, piano, compositions), Roger Manins (tenor, alto), Ben McNicoll (soprano, tenor), Cameron McArthur (bass), Ron Samsom (drums). performing at the CJC (Creative Jazz Club), Britomart, Auckland 16th December 2015