Month: October 2019

Ocelot

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OcelotA while ago the program director of the Creative Jazz Club, Roger Manins mentioned that he had booked a great young group from Christchurch to appear in the emerging artist’s slot. He went on to say that many of these young emerging artists were so good that he was considering renaming the slot, something like ‘young guns’. He was right. Ocelot exuded easy-going confidence, uncommon in younger players and by the second number they owned the bandstand; navigating some slippery lines with disarming ease and swinging. This was a tight unit and it was obvious that they had put in the necessary work beforehand. That gave them the freedom to relax into the music and the results were evident.

While a little hesitant at first, they progressively engaged with the audience. This has been a theme of mine in recent months, a desire to sense the person behind the instrument. It is not about exhibitionism but about something infinitely more subtle. Something that tells a live audience that they are an essential part of a performance triangle, instrument, musician and audience. Seasoned Jazz audiences are fine-tuned to detect enthusiasm on the bandstand and likewise, they can detect disengagement.  Ocelot got that and was well received. 

The setlist was nicely thought through as it balanced originals with tasty tunes by established and lesser-known artists. Bravely, and to their credit, they played a Jazz arrangement of Prokofiev’s (Concerto No 2). These forays can be fraught with danger, but this interpretation was handled with ease as was Jonathan Kreisberg’s ‘Strange Resolutions’. The latter required them to navigate some tight Tristano-like unison lines in the head and emerge swinging. They did, and to see a young band do this with apparent ease was pleasing.  I have posted Strange Resolutions in the YouTube clip.

 

The originals in the setlist were penned by the bass player and guitarist and a tune which took my fancy with its danceable Klezmer vibe was titled ‘Rakia Nightmares’ (Jonah Levine Collective). The bar is being lifted all the time, as our various Jazz Schools flourish, but what is most encouraging about this, is that they are not producing clones. 

Ocelot: Finley Passmore (drums), Mitchell Dwyer (guitar), Finnzarby Richwood (piano), Callum McInnes (bass), Cheena Rae (alto saxophone). The gig took place at Anthology for the CJC Creative Jazz Club, K’ Road, Auckland CBD, 23 October 2019

  

 

Dixon Nacey ~ The Edge Of Chaos

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Nacey.jpgThis Dixon Nacey album has long been anticipated and although Nacey has previously recorded as co-leader, this is the first album to be released exclusively under his name. Nacey is firmly on the radar of Jazz loving Kiwis, but his fan base extends well beyond that. He is a professional musician of considerable standing, an in-demand teacher and in recent years the musical director of CocaCola Christmas in the Park. To up and comers he is a guitar legend and on this album, they have something to aspire to; twenty years of experience distilled into excellence.     

The material arose from his Master’s degree which focused on advanced compositional techniques and which was completed last year at the UoA Jazz school. In the process, he gained important realisations and applied these to his art. As listeners, a music degree is not needed as the album has visceral appeal. Just follow your ears and you will get to the heart of things, and that is the point of compelling Jazz performance. 

I have caught many of Nacey’s performances over the years and they never disappoint. I have also gained a sense of the man. He is generous, open-hearted, enthusiastic and very hard working. He takes his craft seriously, but never at the expense of his human qualities. All of the above are evident in his warm playing. The man and his music are not separate. He was aiming at a modern sound here and he has achieved this beautifully and done so without a hint of contrivance. This is how guitarists sound post-Rosenwinkel or Moreno, but he has made the sound his own. A more exact equivalency would be to place him alongside the top-rated Australian guitarists. Price (1).jpg

On the album, he is accompanied by former colleagues and friends and it reminds me how lucky we are to have such musicians in our city. Keven Field on Rhodes and piano, Roger Manins on tenor saxophone, Olivier Holland on upright bass and Andy Keegan on drums. One track features Chelsea Prastiti and Jonathan Leung on vocals. With friends like this to help him realise his vision, he has received an added boon. They are all in peak form here and Rattle Records has also done the artist proud. Steve Garden and UnkleFranc you are extraordinary.

The launch at the CJC Jazz Club, Anthology room had Alan Brown on Keys and piano instead of Keven Field. I looked into my database and learned that it was exactly six years ago to the night that Dixon Nacey led a band at the CJC, and as it was last Wednesday with Alan Brown on keys. It was a great night filled with enthusiastic applause as everyone bathed in the vibe; and the soaring runs which glissed and glowed like silken fire. As well as numbers from ‘The Edge of Chaos’ album we heard a few earlier Dixon compositions like ‘Sco’ and ‘The all Nighter’. I have posted a video of The all Nighter from the gig – how could I resist. To listen to a sample of the album go to Rattle Bandcamp where you can order a hard copy or download it in any format. Try a sample track and you will certainly buy. And while you are at it, take time to reflect on our extraordinary musicians. 

The gig took place at Anthology for the CJC Creative Jazz Club, K’Road Auckland, 16 October 2019. Purchase the album from Rattle Records Bandcamp

Keith Price ‘Upside Downwards’

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coverCanadian Jazz guitarist Keith Price is a welcome addition to the Auckland scene. He brings with him fresh ideas and a musical connection to his hometown. Manitoba is associated with Lenny Breau and Neil Young who both grew up there. Perhaps it’s the proximity to the open spaces which echo in the music, that wide-open sound (and in Young’s case an overlay of dissonant melancholia)? Whatever it is, it certainly produces distinctive musicians. Lenny Breau is an important Jazz guitarist and one who is sadly overlooked, Hearing Price’s respectful acoustic homage on Wednesday, cast my ears in that direction again.  

Before moving to New Zealand, Price recorded a collaborative album in his home state of Winnipeg and that material formed the basis of what we heard last Wednesday. While the album features Canadian musicians, it was released on our premier Kiwi label Rattle. ‘Upside Downwards’ is a terrific album and from the first track, you become aware of how spaciousness informs the compositions, a note placement and phrasing which allows the music to breathe deeply. This feeling of expansiveness is also underscored by a certain delicacy. In the first track especially, you marvel at the touch; the skilfully deployed dynamics grabbing your attention, but it is the artful articulation of Price’s playing that is especially evident. Listening through, it impossible not to feel the presence of the open plains and of Lenny Breau. 

The co-leaders are perfectly attuned to each other throughout; playing as if one entity. There are no ego-driven flights here and in that sense, it reminded me of an ECM album. I had not come across either the pianist or the drummer before but they impressed deeply. From Jeff Presslaff, that delicate touch on the piano and the ability to use a minimalist approach to say a lot. The drummer Graydon Cramer a colourist and musical in the way Paul Motian was.  

Wednesday’s gig was in part an album release, but Price also traversed earlier albums and played a short acoustic set. The album was a trio, but this time he brought four of Auckland’s best to the bandstand. The quintet format worked beautifully and his bandmates were clearly enjoying themselves. These guys always sound good, but it felt like they there were especially onboard for this. In the acoustic set, Price played what looked like a Martin (a Breau and a Young tribute). The other standard was a killing arrangement of Wayne Shorter’s Ju Ju. Why do we not hear that more often?

When setting up my video camera I made the mistake of locating myself near the bar and because of that, there is bleed-through from the air conditioners (the curse of all live recordings). The sightlines are also poor from that end. Never-the-less, I have put up a clip from the first set titled ‘Solstice/Zoom Zoom’. It was worth posting in spite of the defects. I have also posted a sound clip from the album titled ‘6 chords commentary’.  

Album: Keith Price (guitar), Jeff Presslaff (Piano), Gradon Cramer (drums)

Auckland Quintet: Keith Price (guitars), Kevin Field (piano), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums). Anthology, CJC Creative Jazz Club, K’Road, 09 October 2019. Recoding available at Rattle Bandcamp.

Noveltones & Knotted Throats @ AF

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Noveltones (7)There is a world of interesting music happening at the Audio Foundation and this three-set gig exemplified the foundations imaginative ahead of the game programming. The evening featured a cross-section of music from the fully arranged to the unconstrained and free. From the open dialogue of the Knotted Throats to the carefully crafted texturally rich four-piece voicings of a jazz ensemble. Then, and perhaps this is the essence of the programming, the two groups merged and out of that came a declaration. Sound exists without boundaries. The borders and demarcation lines as we organise or sculpt sound are only human constructs and beyond these artificial barriers, the various languages merge. When that occurs music is the richer for it. Improvised music is always on the move and just as post-bop moved seamlessly between free, fusion, hard bop, bop and groove, so the journey continues. Noveltones (3)

The Noveltones are an assembly of gifted equals, collectively shaping sound while expressing individual voices. Soprano saxophonist Jasmine Lovell-Smith, who studied in the USA is at present working toward a doctorate in composition at the NZSM. Bass clarinettist Blair Latham who spent years in Mexico is fluent with many horns. Bass player Tom Callwood (mostly playing arco), who we saw recently with the Melancholy Stinging Babes (a formidable figure on the avant-garde scene), and Tristan Carter, a violinist who rounds off the ensemble sound beautifully. The music initially reminded me of Gunter Schuller’s third stream pieces, but this ensemble is in no way time locked. The principal composer for the first set was Lovell-Smith and her compositional experience was especially evident in the harmonic concepts. There were also compositions by Latham. The pieces often balanced a spiky beauty with voice-led passages. There was also an appealing textural quality. The current ensemble hasn’t yet recorded, but I hope that they do. I have put up a Noveltones sound-clip from the gig.

The second set was another aural feast as it featured Jeff Henderson, Hermione Johnson and Tom Callwood. Henderson (on baritone saxophone) is the heavyweight of the New Zealand avant-garde scene and he never disappoints. There are few musicians who can muster such authority or draw you in as deeply. He taps into the primal essence of sound itself. Johnson is a renowned experimental musician, the foremost voyager with prepared piano, a noted composer and an organist. She is particularly known for her bold originality. Callwood, who we heard earlier, is exactly the bass player you would want in this situation. His gift for adventurous arco and extended technique was put to good use. What we heard were essentially reflective pieces; pieces tailor-made for deep listening and wonderfully mesmerising. As the motifs repeated a brooding presence hung over the room, the voice of unquiet spirits released from constraint. Happily, this is a zone located well beyond the reach of the music police. I found this set profoundly engaging and I count myself lucky to have caught it.

The last set brought both ensembles together and this time with the addition of the gifted drummer and percussionist Chris O’Connor. A great evening of music.

Noveltones (6)

For those keen to hear more of Henderson’s explorations, they can’t go wrong by accessing an album he recorded with Clayton Thomas (bass) and Darren Moore (drums). It is titled, ‘For a Clean Cut – Sharpen the Blade’. This gem was recorded in the basement of an old Auckland Church and it is a cause for rejoicing. If ‘free’ music scares you then this may not be your bag; but if it does, why? Sculpting sound is what musicians do. 

The album is on Bandcamp at iiiirecords.bandcamp.com 

The gig artists were Jasmine Lovell-Smith (soprano saxophone), Blair Latham (bass clarinet), Tom Callwood (upright bass), Tristan Carter (violin), Jeff Henderson (baritone saxophone), Hermione Johnson (prepared piano), Chris O’Connor (percussion) IMG_1256

10th October 2019 Audio Foundation, Auckland Central.

Reuben Bradley ~ Shark Variations

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SharkPost Trump’s inauguration, improbability is the new normal and in keeping with the mood of the times Wednesday’s gig emerged from improbable beginnings. It began with an international cat rescue mission, an attempt to thwart a ‘catricidal’ former neighbour. Before the mission had even been concluded a subplot had emerged; one involving the inhabitants of three cities, two countries, and assorted sharks. Those familiar with Reuben Bradley will not be surprised at this turn of events as he’s known for his humour, good nature and above all for his ability to turn improbable adventures into really good music. ‘Shark Varieties’ is a drummer led trio and a vehicle which showcases a bunch of the leader’s original tunes. It also showcases a joyful reunion.

The Shark Variations album was released by Rattle in 2017 and it followed a successful tour by the band a few months earlier. Bradley was in the process of moving to Australia at the time and he was keen to record with longtime collaborators Roger Manins and Bret Hirst. He needed to do this while they were all in the same place and this was his best window of opportunity. Hirst is an expat Kiwi who lives in Sydney, Manins is based in Auckland and Bradley was at that point, about to head for the Gold Coast. Because of their shared history, the musicians knew exactly what they were aiming for; an open-hearted collaborative and spontaneous expression of their art form. That they realised this vision will be apparent to those who listen to the album.

As a leader, Bradley never shies away from an opportunity to leaven his gigs with humour. He tells jokes against himself (the trademark of all good Kiwi humour) and as you peruse his tune titles you find a plethora of throwaway lines and in-jokes. During live gigs, the titles become hilarious stories and his delivery is always pitch-perfect. Improvising musicians frequently tell an audience that the title came after the composition and that they struggled to name tunes. In Bradley’s case, I suspect the reverse is true; that a series of off-beat incidents have stimulated his already vivid imagination and the incidents become the catalysts for his compositions. ‘Wairoa or L.A.’ ‘Wake up call’ Makos and Hammerheads’ are all examples, the latter giving rise to the title, in spite of the fact that he could only name two shark types (which he felt was more than enough). 

Humour aside, this is seriously good music. Bradley is a gifted and popular drummer and musicians love having him alongside. It is therefore not surprising that he would choose these collaborators. Manins is undoubtedly the best known contemporary New Zealand saxophonist and a musician whose formidable abilities are attested well beyond these shores. Hirst left New Zealand many years ago and is regarded as a bass heavyweight on the Australasian scene. He is frequently found performing with Mike Nock and his resume includes playing alongside James Muller, Greg Osby and other notables. 

The reunion gig took place on a cold wet Auckland night and many gladly braved the chill to get a piece of this. I have put up a video from the gig titled ‘Wake up Call’, which Reuben assured the audience had only the thinnest connection to an actual wake up call. In keeping with the ‘spirit’ of the gig, I miscalibrated my camera and the resulting shot turned Bradley and Manins into ghosts. The album is available from Rattle Records. The gig took place at Anthology, for the CJC Creative Jazz Club, 02 September 2019. 

Footnote: The cats were rescued safely and after an unfortunate travel accident they both found asylum abroad.

Louisa Williamson Quintet

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Louisa Williamson (1)Louisa Williamson is a gifted young tenor saxophonist who has visited Auckland on previous occasions. This time, and for the first time, she visited as a bandleader, showcasing her beautiful compositions. I have always admired her tone and improvisational abilities, but this was a step up. Freed from the comfort of a band she knew well, she cast herself among an array of experienced Auckland musicians. Stephen Thomas on drums, Tom Dennison on bass and Michael Howell on guitar. The only Wellingtonian (besides Williamson) was pianist George Maclaurin and together as a band they delivered. This was engaging straight-ahead Jazz. 

In the history of this music, only a handful of female tenor or baritone saxophonists have received their due. If Williamson keeps playing like this she will surely inspire others and that is how the music grows. She has already come to international attention when she became the first New Zealander to join the JM Jazz World Orchestra in 2016. She is at present working towards a Masters in composition at the NZSM. After hearing her compositions on this date, the outcome should prove interesting. Her tunes possess an appealing melodicism while underpinned by an unfussy harmonic cushion. It is post-bop mainstream but there is nothing stale about it.  Afterwards, a band member from among the Auckland pick-ups remarked how well the charts were constructed.Louisa Williamson

I have put up the first tune from the first set titled ‘Slightly run-down’.  A tune where the underlying motifs are opened up as the theme develops. It is a story with a beginning, middle and ending and it is told without artifice. Everything felt in balance, the short phrase of arco bass during a changeup, the staccato restatement of the theme on the guitar, and above all the horns careful parsing of the melody.

The keyboardist Maclaurin was familiar with the leader’s tunes and consequently, he was the perfect harmonic anchor point. He also delivered some nice solos. The Auckland contingent of Howell on guitar, Dennison on upright bass and Stephen Thomas on drums took no time in establishing their credentials. I was particularly happy to see Dennison on the bandstand as he is seldom seen at the club these days. A fine bass player who always finds the best notes; a melodicist and a musician who has an impeccable feel for time. Howell and Thomas we see regularly and both are deservedly popular with audiences. I look forward to Williamson’s continued journey as she is learning to show more of herself. Being the leader, she spoke and told stories and I hope she does more of that. Jazz is at its best when it shows some emotion and in live performance, the artist’s engagement with an audience is the X factor lifting the music ever higher.

Louisa Williamson Quintet: Louisa Williamson (tenor saxophone, compositions), George Maclaurin (keyboards), Michael Howell (guitar), Tom Dennison (upright bass), Stephen Thomas (guitar). The gig was at Anthology for the CJC Creative Jazz Club, 25 September 2019Louisa