Takadimi, Indo-Jazz Fusion

Since its formation, Manjit Singh’s Indo-Jazz Fusion group Takadimi has appeared a number of times at the CJC (Creative Jazz Club). With each appearance there have been varying instrumental configurations and often, new musicians. Each version felt like a natural evolution, arising out what went before, and with each iteration, new possibilities were explored. Until recently, Takadimi has been an instrumental group.

Manjit Singh

Last year, bandleader Singh brought his wife Daljeet Kaur to the bandstand. The group was ‘Haines, Crayford, Singh’ and it was immediately obvious that she would become a regular fixture. She is classically trained in the Northern-Indian vocal traditions, but like her husband, has an open approach to music. Last time she accompanied herself on harmonium, but this time her focus was the vocals. With her contributions, the sound leaned closer to the Indian traditions, and challenges like that are always relished by good improvisers.  

Since arriving in New Zealand and studying Jazz, Manjit Singh has become a popular figure on the scene. He is highly regarded by visiting Indian Classical musicians and features often at cultural festivals. Jazz audiences will recall Shakti or the Trilok Gurtu bands and with McLoughlin and Gurtu numbers turning up on his setlist, that tradition is honoured. These fit nicely with his own compositions and it is good to see these seldom-performed fusion standards played. Because the tabla set up was so perfectly mic’d, we were able to hear the subtleties and the harmonics. It is such a lovely instrument and when played by a musician of this calibre, it sings. 

Apart from Singh on tablas, there has been one constant in the various lineups, keyboardist Alan Brown. When putting together such a band it would be impossible to overlook Brown. His abiding interest in the multiple forms of improvised music characterises his journey, and his adventurous explorations are always matched by superb musicianship and an intuitive understanding of mood. When he embarks on a project he brings commitment.  Bravely, he counted talas with Singh and in addition to his usual keyboards, he added piano this time. 

Unlike previous bands, there was no longer a kit drummer and the upright bass of previous lineups had been replaced by electric bass. Alto saxophonist Charlie Isdale was new and he doubled on electric fiddle. Isdale has an instinctive feel for this music and I suspect that he has studied traditional Indian forms at some level. Although he performed mostly on saxophone, the fiddle also worked well. I am reminded of the astonishing contributions that L. Shankar contributed to fusion bands. The McLoughlin number benefitted from the addition and I hope that this is developed further. Bass player Mostyn Cole was also a good inclusion. It was obvious that he was enjoying himself. He anchored the sound and along the way delivered some tasteful solos.

This was a great show and we were fortunate it occurred, as a lockdown was only a few days away. There was talk of Takadimi going on tour, but with current restrictions I suspect that is still undecided. If the band does tour, I recommend that you catch them. 

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts appear on Radio13.co.nz – check it out.

Multiple Streams, Deeper Rivers

I have been absent during the last month as my computer was deliberately unplugged. I needed time to walk among trees, read and spend time with visiting family. None of the above kept me from checking out new music and it afforded me some time to reflect more on the global changes feeding Jazz. There is nothing quite like a pandemic to make us re-evaluate our place in the world and to make us value comity over isolation. These connecting threads lead us into every corner of the improvised music diaspora. 

Just in time for the holidays, I gave several Christmas presents to myself. The first was Keith Jarrett’s magnificent ‘Sun Bear Concerts’ box-set, recorded in Japan (which I had long lusted after). It was fitting in light of the news that Jarrett is unlikely to perform or record again due to a debilitating stroke. This boxset has often been overlooked. It is a musical statement of pure genius.  The second album was a recent release ‘Architexture’ by the German Jazz musician Florian Ross. ‘Architexture’ is an extraordinary album, sitting astride the broader traditions of ensemble Jazz. It is configured atypically and consequently it has a distinctly airy feel to it. 

The album features a traditional jazz quartet, augmented by a conducted seven-piece wind ensemble. Ross is a gifted composer (and pianist) and his music has often been performed by large jazz orchestras such as the WDR. In this case, a more unusual configuration has let in additional light, while at the same time offering a rich and diverse textural soundscape. Using this palate Ross has crafted a programatic and personal journey through the world’s architecture.   

The music speaks strongly of place, but not just Germany (where Ross lives). It speaks of the locations where his favourite architecture is found, and out of that comes an idiosyncratic chiasma. The streams that feed this album are plentiful and among them the twentieth century western classical tradition. The only composition not his own is an arrangement of Elgar’s Nimrod (var.9) for saxophone and wind ensemble. Elgar composed many of his works in a rented cottage and it is ‘Brinkwells Cottage’ in conjunction with Elgar’s works which inspired that particular arrangement.  

From start to finish, this is a worthwhile journey, an evocation of archtectural visions, the places and sounds that inspired their constructions, and of course of Ross’s connection to those places. Alvaro Siza of Portugal, Antoni Gaudi of Catalonia Spain, the incomparable Oscar Niemeyer who designed Brasilia and many more. His Developments 1-4 are short through-composed pieces dedicated to specific architectural spaces or forms; Brazilian Architecture, the floor plan of a cathedral, the suburban prefabricated house, Bavarian Rococo; and dear to my heart ‘Glebe Cottage’ the home of Jazz pianist John Taylor.  

The Album is out on the German Naxos label and can be accessed on streaming sites. I urge you to buy a physical copy as the booklet is a small masterpiece. Featured are some wonderful musicians, Florian Ross (piano, compositions) Sebastian Gille (saxophone), David Helm (double bass), Fabian Arends (drums), The Event Wind Ensemble, Susanne Blumenthal (noted conductor). The album can be ordered in stores or online. For more information check out www.florianross.de 

Just before Christmas I attended a concert by Auckland based Musician Ben Fernandez. The occasion was the release of his latest album ‘The Music Never Stopped’ but it also served as a homage to the spirit that was evident in the community during the New Zealand COVID lockdowns. Fernandez is of Goan extraction but was musically active in Mumbai before settling in New Zealand. He studied Jazz at several Auckland institutions and is a regular performer about town. He has also maintained a connection to the Bollywood Film industry. Along the way his musical influences have been rich and varied and he showcased many of those during his concert of mostly original compositions.  

There was a spontaneous improvised piano piece, A tribute to his former teacher Phil Broadhurst, tunes written for various family members and of particular interest to me, a duo involving Persian musician Rasoul Abbasi.  Abbasi played a Kamancheh which is an ancient-bowed instrument with a wonderfully mournful tone. The composition itself, and the contrast between piano and Kamancheh worked to the advantage of both (I have posed a sound clip). This ability to make strong and authentic intercultural connections is where Fernandez excels. It spoke to the universality of the improvised music traditions, and of empathy and the Jazz sensibilities. 

Another tune of Fernandez which captured a pan-global essence was a piece written for a beloved family member ‘Chuchi’.  I have included that as a video clip. The line-up was varied and featured many of the musicians he had studied with such as Andrew Hall (who gave a great saxophone solo on the heartfelt tribute to Phil Broadhurst). The musicians on the trio number were Jo Shum (bass) and Ron Samsom (drums).  The concert finished up with Auckland vocalist Maria O’flaherty singing a great rendition of the much-loved standard ‘What a Difference a Day Makes’. In light of the pandemic, the tune had added resonance. ‘The Music Never Stopped’ features Ben Fernandez (compositions, arrangements, piano), Jo Shum (bass), Ron Samsom (drums), Warren Mendonsa (guitar), Rasoul Abbasi (Kamancheh), Jess Rogers (vocals), CeleBRationChoir conducted by Alison Talmadge. The album is available from benfernandez.com 

While writing this, a number of interesting review copies and new releases hit my inbox. Among them, a soon to be released album from a Lebanese Jazz bassist Makram Aboul Hosn titled ‘Transmigration’. This wonderfully inventive musician has released his first album under extremely adverse conditions. As well as facing the devastation of COVID19 in Lebanon, there have been ongoing violent political upheavals, Banks froze the artists touring money, and if that were not enough, there was a devastating Port Explosion. The recording of ‘Transformation’ went ahead anyhow only three days after that last mentioned cataclysm. His is an album well worth checking out and to top off the stelar ensemble performances there are a number of guest artists like Joe Locke (who appeared remotely). The album will soon be available from all major streaming platforms. This is proof that high-quality Jazz exists everywhere. The artists are Makram Aboul Hosn, Nidal Abou Samra, Christopher Shaheen, Khaled Yassine, Joe Locke, Tariq Amery, Sima Itayim. Release date 18th February.

The last album to be mentioned is an ECM offering by Norwegian Kantele player and folk/Jazz vocalist Sinikka Langeland. The cut I will post is from her last release and it is so measured and so beautiful that it sends a shiver down the spine. Langeland is accompanied by Jazz Nordic legends in this album. She performs with the likes of Arve Henriksen, Trygve Seim and Anders Jorman. The YouTube track posted is ‘Deep in the Forest’. Available from all music stores and from streaming sources.  

All of the above demonstrate the multiplicity of influences feeding Jazz. From multiple streams come deeper rivers. 

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

What Jazz Musicians Read (The lost libraries of Impronesia)

There are projects which begin with a bold imaginative vision, only to founder on the reefs of overreach. This was just such a project.  It was during the first lockdown that an idea formed; triggered by an email exchange with a New York Jazz musician. During our communications, the discussions had shifted from music to books and we both drew comfort from that. The gigs had all vanished and musicians everywhere were suffering. We had lost Lee Konitz and Henry Grimes to the virus and the bad news kept coming at us like an out of control freight train. By common assent we realised that there was little use in dwelling on the horrors at the door, so we sought solace in the warm embrace of classic literature. 

The rebuke from my bookshelf

‘I see that you’ve been reading ‘Don Quixote’ he said, as I often post reviews of my reading material on Facebook. ‘It’s next on my must-read list’ he added. The discussion then shifted to plague literature as I had been reading ‘Samual Pepys Diaries’ to see how he navigated the 1665 London plague. That was followed by ‘The Plague’ by Albert Camus and ‘A Journal of the Plague Year’ by Daniel Defoe. The books were strangely comforting; proving that there is nothing new under the sun, just variations on ancient themes. Books like that, with the clarity of hindsight, can reveal what is currently obscured by proximity. 

What have you been reading I asked? He replied with an impressive list of books which ranged from ‘The History of the Peloponnesian War’ by Thucydides to modern political biographies and sociological studies of the American psyche. 

At that point and without real evidence, I decided that Jazz musicians were voracious readers. It made sense due to the preternatural sparking of the improviser neurons. I further speculated that creatives may handle adversity better than others, as they possess a richer interior life. My own encounters with improvisers reinforced that view as they are overwhelmingly articulate, liberally minded and they understand the arc of history. What arose out of that was my big idea. 

That improvisation was not only fed by notes and imaginings but by artistic cross-connections; resulting in subliminal intertextuality. 

At the time I was conducting ZOOM interviews for the US-based Jazz Journalists Association website. As I interviewed the musicians I would glance over their shoulders to see what was on their bookshelves. What I saw reinforced my view. Convinced that I was onto something, I became the voyeur, hunting online for Jazz lockdown interviews and living room gigs: looking behind the subjects to the books in the background. Writers are obsessed with others reading habits and seldom grasp how uncomfortable it can make people.

My next step was to design a survey and this is where my vision crashed to earth. I have designed many surveys in my life, but for some reason, I forgot the basic elements. Survey basics 101: (1) ensure that the survey captures a wide enough sampling of your target demographic to be truly reflective of the group. (2) randomise the selection within target areas and don’t cherry-pick in order to get the answer you expect. (3) anonymise the forms and the returns to ensure that the answers that you receive are without prejudice. (4) choose the wording carefully and never preempt a conclusion by telling the participants what you expect to find. (5) never send out a survey just before Christmas. 

Apologies to Alberto Manguel for defacing his wonderful cover art

It is fair to say, that I not only failed to meet the basic design standards, but I also managed to scare off almost all of the participants. Even those who were normally happy to engage with me. It was the worst of all worlds from their point of view. Because they were replying under their own names, their choices were as follows: (1) risk looking like a geeky bespectacled barn owl. (2) risk looking like a dumb-arse in front of their intellectual peers. (3) tell lies, then risk exposure later when an ex-girlfriend called them out on the lie and mocked them on social media, posting pics of empty bookshelves.  (4) play it safe and pull down the cone of silence. 

Here is an overview of the replies: Only one musician fulfilled all of my expectations and his replies revealed both breadth and depth. A gifted European musician said he read manuals for relaxation and little else. He had no books on his plan-to-read list and confessed, that the only library in his home was his wife’s (I take that reply with a large pinch of salt owing to the many erudite references in his song titles). Another replied that he had read half a comic during the lockdown. Yet another prominent local musician, from whom I regularly receive erudite reading lists, went ominously silent. 

Hindsight is an exact science and the flaws in my methodology never occurred me until after I had sent out the survey. The results, such as they were, revealed a different story than intended. I had wasted a perfectly good theory on the altar of poor design. I still ascribe to the theory of subliminal intertextuality, but a better scholar than me will have to pursue that study. I have no doubt that it is real and my abject failure to nail it down will taunt me, every time I spot a clever literary reference in a Jazz tune or in an album title. 

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. His blogs also appear on the Radio13 website

Dixon Nacey Band ~ CJC December 2020

With 2020 nearly done, the penultimate gig at the CJC was an optimistic signpost; signalling hope and possibility. After a long and turbulent year, the music had bounced back better than ever and in spite of the obstacles along the way new energies were flowing. In amongst the offerings from our up-and-coming artists were gigs and albums by our finest. Last Wednesday’s Dixon Nacey Band and the release of Kevin Field’s ‘Soundtology’, stand out as musical high points. In a year of plague and pestilence, the music only grew stronger. There is a thing about genuine creatives; when the bats start to circle, they work with the chaos and create better. Dixon Nacey is very much in that category; what an extraordinary musician. 

Nacey appeared this time, with the same lineup that accompanied him on his Tui award-winning ‘Edge of Chaos’ album. There were numbers from the album, plus a few new tunes. In addition, he played a blues and two arrangements of Pat Metheny tunes which delighted everyone. I had missed his Ponsonby Road Metheny gig, which everyone who attended, raved about for weeks afterwards. 

Punching Bag (Nacey)

Nacey is a musician who keeps moving forward, and with each passing year, he reaches new heights. He is less inclined these days to rely on pedals and an uncluttered spaciousness is evident in many of his compositions. What he has absorbed has now been internalised, so there is no over-thinking, and out of that comes clarity and a cleaner sound. This enables him to say more and to give deeper meaning to the notes and phrases and underlying everything is some great writing. Playing like this demonstrates the best features of his Godin guitar, which in return, reveals its best self. The tune above is a recent Nacey composition. New Zealand Jazz at its finest.

And Then I knew (Metheny)

The band were superb and the tricky unison lines were executed well. Roger Manins is an excellent reader, and you could not have slid a cigarette paper between his and Nacey’s lines in the head arrangements. And behind those, adding fills or comping unobtrusively was Kevin Field. Responding exactly as he should and consequently giving the music a floating quality. There were rhythmic complexities on many of the numbers, but because they were navigated so well, they were rendered as easy. One or two pieces came close to being a shuffle beat, but not quite. This was a layered sound and the complexity of the overlaying time signatures needed skilled craftsman to make them fit properly. The reason it held together so well was down to Oli Holland on bass and Andy Keegan on drums. This is how a tight unit should function. What we got was a superb night of engaging music and it brought us end-of-year joy.

Dixon Nacey: guitar, arrangements, compositions – Roger Manins : tenor saxophone – Kevin Field: piano – Olivier Holland : bass – Andy Keegan : drums

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, December 9, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Umar Zakaria ~ Fearless Music Collective

Umar Zakaria is an easy-going soul, but on the bandstand, he is a sonic warrior. He evokes a Mingus like presence with his powerful resonating bass lines; pushing, urging, as he rides the momentum. Although he was situated behind the horn line, his presence was palpable. You could see him dancing in the shadows, as his bass moved frenetically, and your ears took you straight to the nexus of fingers and strings.

 It is good to see that a band arising from Zakaria’s award-winning Fearless Music album survives. The album was marvellous and I would urge anyone who has not checked it out to do so. It brought a new perspective to New Zealand’s Jazz scene and one which we embraced. The album won the 2018 Jazz Tui against some very stiff opposition and deservedly so. It was a showcase for Zakaria’s compelling compositions, which drew upon the music of his Malaysian roots. It was a quartet featuring Roger Manins, Leo Coghini and Luther Hunt. 

The current Fearless Music Collective has an expanded lineup. This time, there was a four-piece horn-line and that opened up new possibilities. Zakaria’s arrangements, in particular, were impressive, as the players were given room to interact organically. It was nowhere more evident than on ‘Deadline’ with its textural qualities and interwoven communicability. It kept to a simple theme but told a big story. It was slick and appealing, but with a controlled raggedness that you usually find in a New Orleans street-band (or in a Mingus ensemble).  

The over-arching kaupapa of any collective is to provide a vehicle for its members to contribute, and they did. The compositions were varied in nature and often quirky, like the trombone players ’See You on the Launchpad’.  Others were more reflective like Zakaria’s ‘100 Homes’, evoking the impermanence of his student years.  Apart from the leader’s tunes, I was impressed by the pianist’s tune ‘Well Kept’, and the trumpeter’s titled ‘Freight Train’. The latter was a recreation of the trumpet led Hard-Bop era and it crackled with life. It is good to see young trumpet and trombone players coming through. Compared to Australia, New Zealand has lagged behind. 

Throughout, however, it was the powerful presence of the bass which guided and spoke from the music’s heart. It was not that the bass overwhelmed, but that it spoke with such authoritative clarity. It was obviously a bass players band, and no one would wish it otherwise. The album can be sourced from https://www.umarzakaria.com or purchased from NZ retail outlets.

The Fearless Music Collective: Umar Zakaria (bass), George McLaurin (piano), James Guilford (trumpet), Martin Greshoff (trombone), Nicholas Baucke-Maunsell (alto saxophone), Aiden McCulloch (tenor saxophone), James Feekes (drums). 

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, December 9, 2020JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13

Bonita ~ Chelsea Prastiti

Chelsea Prastiti’s Bonita gig was a phantasmagoria of warm evocative sounds. I have the greatest respect for her work and in this case, she curated something rare; she conjured up the vibe from another place and time, and she did so without a hint of contrivance. The Brazil of the sixties and seventies with its Bossa Nova soundtrack was an era of infinite possibility. In the end, the dream was stolen by a repressive authoritarian regime but the music, a timeless gift to the world, lived on. Over the last half-century, the Jobim songbook, in particular, has remained popular, and while some interpretations have been breathtaking, others, have been pale imitations. 

What Prastiti has done here is both respectful and innovative. She has composed a suite of tunes that nails the vibe as it taps into the essence of New Wave Brasileira while evoking the founding era. The concept for this gig and many of the tunes were conceived years ago. Prastiti had other projects cooking back then, and so she waited her time. As it turns out, she timed it perfectly. With our borders closed, the desire for high-quality Kiwi music is at an all-time high. Audiences are not being distracted by ‘once again and for the very last time’ tours by fading greats, and the realisation is dawning that homegrown is often better. 

Stars above water below

Another plus for holding the gig now was that her friends and collaborators were all within reach: notably, Elizabeth Stokes and Ben Sinclair of ‘The Beths’. The recent winners in the Best Group category at the NZ Music Awards would probably have been back on a world tour right now, but the pandemic curtailed that. The ensemble members all go back quite a way with Prastiti and I believe that the warmth they radiate arises from those long-held connections. 

Cassandra

The ten-piece ensemble oozed a Brazilian vibe, with its flute players and fingerstyle acoustic guitar. Add to this the unmistakable rhythms of Samba and Bossa Nova and the course was set. There was a horn section of trumpet and a tenor saxophone and one of the flute players doubled on clarinet. Behind them was an upright bass, drum kit and percussion and in the darkness, and to one side, a piano. The arrangements were beautifully textured and the harmonies absolutely gorgeous. As well as the instrumental harmonies, there were vocal harmonies contributed by two of the instrumentalists (one being Stokes, who has a fabulous voice – the success of the Beths underscores that). Prastiti composed all of the tunes and arranged most of them. The other credits go to Sinclair who arranged Prism, Callum Passells who arranged Bumblebee and Kenji Iwamitsu-Holdaway who is co-credited for the composition titled ‘Stars Above and Water Below’. 

Chelsea Prastiti is one the most innovative vocalists to appear on the local scene and she is never afraid to take risks or to explore new territory. The rest of her ensemble were: Elizabeth Stokes on trumpet and vocals, Crystal Choi, who appeared last week, this time on piano and vocals; bringing a beautifully voiced minimalism to the proceedings and echoing Tom Jobim’s delicate spidery lines. Roger Manins was on tenor saxophone with fills and some tasteful solos – J Y lee played an edgy melodic flute (it is not his primary, but he brought expression to an instrument that in the wrong hands can lack it). Beside him was Ben Sinclair (bass guitarist from the Beths), alternating between clarinet and flute, the ever-reliable Adam Tobeck was on the drum kit, with Ron Samsom on percussion. Lastly, and hidden in the shadows was Michael Howell, utilising the voicings and fingerstyle of the Brazilian acoustic guitar. He absolutely nailed those warm pulsing rhythms which fell about us like a warm summer shower.  

Eleven years ago, I began this Jazz blog and one of my first posts was an opinion piece about this era. I looked back at it today for the first time since writing it, and apart from a few missing commas, it stands up. I was worried when I wrote it that it might get something wrong, but a Brazilian musicologist messaged me to thank me for it. Anyone wanting to gain an additional sense of this era could follow the link to my original post. It is an opinion piece, but it could serve as a springboard to more authoritative, Brazilian-sourced information. https://jazzlocal32.com/2011/06/07/wave-antonio-carlos-jobim/

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, November 25, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Choi/Howell ~ Kõmanawa

Kômanawa is a duo, and duos are seldom heard in the bigger Jazz clubs. The gig was billed as a first for the CJC, but what of ‘Showa 44’ I thought? That was an Australian duo featuring Carl Dewhurst & Simon Barker, so I checked back, and although Showa 44 was a duo, they had included Roger Manins as guest. So yes, Kõmanawa was a first. 

There is a unique kind of intimacy to a Jazz duo performance and it is quite unlike other configurations. It is a fluid conversation between equals and in that regard Chrystal Choi and Michael Howell were well matched. They may have different styles, but they are both attentive listeners and they showed respect for each other’s musical space. 

Over the years there have been plenty of fabulous Jazz duos and the best of the duo albums remain perennially popular: Charley Haden & Pat Metheny, (also Haden with Hank Jones or Kenny Barron), Bill Evans & Jim Hall, and my favourite, Carla Bley & Steve Swallow. The Jazz duo is a unique form and especially suited to nuanced musical conversations.  Out of that a skillful interplay arises. People took particular note when Evans cut the two albums with Hall, because a piano and guitar can all too easily occupy the same register and get in each-others way. 

All of the above had been assimilated by this duo and they wove around each other with care. Their performance was also warm and engaging, and as they played, you felt like you were eavesdropping on an intimate conversation. That is how a duo performance works best, avoiding any fireworks, and by modulating showiness. The audience got that and paid close attention. 

While both musicians contributed tunes, the majority were from Choi. I was so engaged that I failed to notice that I had not switched on the external camera mic. The absence of the small green light dawned on me just before the end of the gig and the tune that I most wanted to post is recorded as a well-choreographed silent movie. The tune in question was titled ‘Playground Song’ (Choi) and it swung softly like a Carla Bley/Swallow tune. You will have to take my word for that, but it really did. There is an EP or an LP waiting to happen here, and I hope that they record this material. I captured only one tune, the second to last tune. It is an arrangement of a tune that Choi wrote for her Indie pop group.

Throughout, Choi moved between the piano and vintage Wurlitzer, Howell sometimes used a slide and produced wonderfully atmospheric sounds. The gig took place at the Creative Jazz Club, Anthology, November 18, 2020.

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Kevin Field ~ Soundtology

With closed borders and venue restrictions biting, the release date for Kevin Field’s ‘Soundtology’ album became a movable feast. The original proposal would have seen some of his New York band appear, but because of the pandemic, that plan was ditched. If he was flustered by these frustrating circumstances it didn’t show. Making a virtue out of necessity he engaged local musicians and launched his album anyway. It was a night to remember.

Field is one of our finest musicians and his reputation stretches far beyond these shores. He has previously recorded with highly-rated New York Jazz musicians and also with the best of New Zealand’s improvisers. As an adventurous musician, Field eschews stasis and his developmental arc is particularly evident with this latest album. He is an artist who arrives at a successful formula and then turns it on its head. With each album, he makes references to his earlier works, and then he moves foreword. Everything that has gone before becomes a springboard to a new moment and each iteration is better than that preceding it. 

There is a lot to like about Fields new album ‘Soundtology’. The tunes are sublimely melodic, and as always, his trademark harmonic developments astound. I have always enjoyed his avoidance of cliche and in this case, there is something else. Even when upbeat, the tunes feel more contemplative, and the space afforded, lets the music speak with clarity.  This is the album of a mature composer and it is deserving of wide acclaim.

‘Good Friday’ Live in Auckland

The album has eleven tunes and features two quartets (alternating throughout). This provides contrast while not affecting the flow and continuity. All of these tunes belong together and each unit locates something special. The first quartet features Field (Piano Rhodes),  Nir Felder (guitar), Orlando Le Fleming (bass) and Charles Haynes (drums). The second quartet has Field (piano, Rhodes) Mike Moreno (guitar), Matt Penman (bass) and Nate Wood (drums). These are heavy hitters and Field could not have chosen better crews to spin gold out of his compositions. I was immediately drawn to the inclusion of Moreno, one of the worlds great guitar improvisers. I once flew to Sydney just to catch a concert of his. 

‘Soundtology’ is a beautifully presented album and it was recorded to perfection.  It is an album to be enjoyed on many levels; for its beauty and freshness and for its accessibility. If ever there was an example of complex music made to sound easy, it is here. The tunes are beguiling and memorable, but underlying them are twists and turns which elevate the tunes into listening adventures. A good example is the first track Quintus Maximus. It opens over an ostinato sequence, where a broken rhythmic pattern is established by bass and Rhodes. The intro is a teaser as it hints at possible directions without necessarily committing to them; then the melody soars and brings it together until the underlying ostinato phrases reappear. An interesting and enjoyable piece of music. 

The second tune, ‘Good Friday’ is a great composition. It is among the most melodic of Fields tunes and it has been around since he first recorded it on his 2012 Warner release ‘Field of Vision’. Back in 2012, the tune was a slower-paced offering. Over the last few years, I have heard it performed often; now, it has emerged as a punchier version of its former self. It is fascinating to hear good tunes like this under constant development. This is what Field does and it is his impulse toward reinvention that elevates him beyond the pack.  It is not surprising that he was recently awarded a doctorate.

There is no better example of its ongoing trajectory than the version of Good Friday we heard at Wednesday’s live performance. It had been rearranged to include a bass clarinet and a soprano saxophone. There were two guitarists as in the album, but the addition of the horns gave us yet another vantage point from which to examine the composition. A band member told me afterwards that the charts were interestingly structured. They forced the soloists to think outside of the square and to avoid any formulaic approach. 

‘People factory’ was the perfect vehicle for Moreno, Penman and Wood. This number is like silk in a ruffling breeze, I have never heard Moreno sound better (and he always sounds good). The responsiveness Field extracts from Wood and Penman is also marvellous. This is seamless interplay at its best.  Actually, everything is great on this album and there’s plenty of variety.  This one is 4.5 stars. My advice is, buy multiple copies and impress everyone with your hip good taste.

‘Soundtology’ by Keven Field ~ Released on TimezoneRecords.com 2020

Album: Keven Field (piano, Fender Rhodes), Mike Moreno, Nir Felder (guitar), Matt Penman, Orlando Le    Fleming (bass), Charles Hayes, Nate Wood (drums).   

Live gig: Kevin Field (piano, Fender Rhodes), Michael Howell & Kieth Price (guitars), Nathan Haines (tenor, soprano saxophones), Lewis McCallum (bass clarinet), Cam McArthur (bass), Stephen Thomas (drums).

The live gig took place at Anthology K’Road for the CJC Creative Jazz Club, November 11, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Caitlin Smith ~ You have reached your destination

This has been a season of upheavals and delays, and Caitlin Smith’s album, ‘You Have Reached Your Destination’ was no exception’. The gig sold out long ago, but then it was delayed twice. It finally went ahead last Wednesday and there was a rush to get a good seat. In typical kiwi fashion, what passes for a queue had formed; a ragged line, reordering itself in illogical surges as it snaked across the footpath of K’ Road. Smith is popular and like many vocalists, she has followers from across the music spectrum. 

She brought a medium-sized ensemble with her, including backing vocalists, piano, keyboards, two guitars, drums, basses and a pedal-steel/slide-guitarist. I am used to hearing Smith with her trio, but this was new to me. 

The band had a warm and enveloping sound, with Smith, clearly relishing the energy surrounding her. She has a strong voice, and it cut through. The first number was pure Americana, not just because of the pedal steel guitar, but the organ and backing vocals, and above all the lyrics. On several of the later numbers, they were joined by the gifted Nigel Gavin, and if anyone can channel authentic Americana he can. 

The setlist followed the album order (minus a few tunes). There were few introductions, and this was intentional. The night was about letting the music speak and to achieve that best it needed an uninterrupted flow.  I enjoyed the gig and couldn’t wait to hear the recorded album. 

The physical album comes in exceptionally beautiful packaging, and importantly, the front cover has a brail title. In doing so, the senses are immediately directed within, or as Smith puts it, ‘let your ears guide you through this experience without other sensual distractions’. It was an invitation to a deep listening experience. The first tune, Grand Companion, was the perfect start point and from that point on you are guided between tracks by footsteps.

Much as Joni Mitchel or Rickie Lee Jones did, Smith uses predominantly Jazz Musicians in her bands. Musicians who can respond to nuance and work with her (not just back her). On the album’s opening track, Grand Companion, you hear John Bell on vibes, and what an inspired choice. His silken fills adding textural contrast: and Keven Field on Rhodes and piano. The live gig featured 10 musicians, but the album has a bigger cast (for example, pedal steel guitarist Janek Croydon, other backing vocalists and drummers). Paul Symons picked up this role on Wednesday and he doubled on slide guitar and vocals. The well known Aaron Coddel on bass(s).

On both the album and at the gig, the interaction between the chordal instruments was central. What a delight to hear Alan Brown and Kevin Field finishing each other’s musical sentences or trading fills. And Dixon Nacey, a guitarist who can accompany a vocalist with incredible sensitivity and a first-choice musician for a gig like this. 

Track two ‘The Story so Far’ has a southern soul feel and the backing singers are the icing on a beautiful cake. ‘No Mans Land’ picks up the overarching theme of the album which is self-realisation on a sometimes difficult journey. Prayer for a miracle reminds me of Patrice Rushen’s disco-funk, ‘Tug of War’ closer to a straight-ahead Jazz number. 

This is an honest album that touches on loves lost, inner struggles and sobriety. Smith is sight impaired, but she never complains. It is part of who she is, and she occasionally jokes about it. In between numbers, a few band members slipped off stage to grab a drink and when it was time to call them back, she said, ‘I can see what you’re doing’. ‘What can you see’ yelled someone in the front row, ‘Very little actually’ she replied, grinning. 

When I looked at the album liner notes, I was surprised to see when it was recorded. This album is a gem. It was worth the wait and I hope it puts Smith where she deserves to be; a widely acknowledged vocalist among our greatest. It has been over 10 years in gestation and now it has arrived. It is a credit to Smith and to all involved, and it also underscores just what magnificent work Roundhead Studios do. As I played it through, a tug of emotion brought a lump to my throat. The mahi paid off royally and the wait was worth it, we have our own Joni.

Album: Caitlin Smith (vocals, Wurlitzer, and compositions), Kevin Field (piano, Rhodes), Alan Brown (keys, B3), John Bell (vibes), Janek Croydon (pedal steel), Dixon Nacey (guitar), Aaron Coddel (bass), Nick Gaffaney (drums), Chris OConnor (drums), Jeremy Hoenig (tabla loop), Finn Scholes (trumpet), Oliver Emmitt (trombone), vocal backing: Mate Ngaropo, Rebecca Le Harle, Callie Blood. 

Gig: Caitlin Smith (vocals, piano), Kevin Field (piano), Alan Brown (keys), Dixon Nacey (guitar), Nigel Gavin (guitar), Aaron Coddel (bass), Paul Symons (pedal steel, slide guitar, vocals), Jono Sawyer drums, Callie Blood + Chelsea Prastiti (backing vocals).

 The gig took place at Anthology K’Road for the CJC Creative Jazz Club, Nov 4, 2020. Order the album from stores or Caitlin Smith.com

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Clo Chaperon ~ Chapters

The usual fare of the CJC (Creative Jazz Club) is the instrumental gig, but over the last fortnight, the club has featured two vocalists. Vocalists have a broad appeal and can bring different audiences to a Jazz club. This is a good thing and it helps with the club outreach and kaupapa. Last week brought Clo Chaperon to the bandstand and although she has been performing around town for several years, this was her first solo gig at the club. On two previous occasions, she has appeared in bands led by the popular pianist, Kevin Field. 

Wednesday was the release of her ‘Chapters’ EP, featuring five of her own compositions and it was her first release. She kept the EP numbers for the second set and during the first set, we heard a selection of tunes that had influenced her musical journey. The list was an eclectic offering of Jazz standards and all of them interesting.

There were surprises like Something Cool, a tune written by Bill Barnes in 1954, first released by the wonderful June Christy where she was accompanied by the Pete Rugolo Orchestra. Christy wrote the lyrics (check out the 1959 video from the Playboy Penthouse).  Material like this gets lost in time and big ups to Chaperon for including it. There were modern Jazz standards like Butterfly (Hancock – Gretchen Parlato version) and some soulful numbers like ‘Jazz is Nothing but Soul’. The perennial favourite ‘Dat Dere’ by Bobby Timmons also went down a treat. You can’t miss with that particular number as it conveys such a sense of joy.  

Her own compositions leaned toward modern soul-jazz or ballads and they were an indication of her future direction. I liked the arrangements (possibly by Nacey), and the tune that I have posted is titled ‘Holding On’. It has a funky propulsive groove and a nice vibe. This is reminiscent of her vocals on the Field Album. 

Chaperon has a presence on stage, and she is down with a pleasing line of banter. This is an essential accoutrement for a vocalist as people respond instantly to warm human interactions. Expressive vocalists know that they are selling the lyrics and that a stone-faced look is a turn-off. 

Having Dixon Nacey on the bandstand was of unmistakable benefit. He is a strong player with a distinctive style, but on this occasion, his job was one of support. He kept his solos short and his comping was nicely understated: he was not showy, but every note counted. This is the hallmark mark of professional, making others sound good. 

Peter Leupolu, Mostyn Cole, Percy Watson and Stephen Thomas rounded off the group and it was nice to see the percussionist in the lineup. Adding percussion was especially appropriate, given Chaperons French Mauritian, Sega heritage. Perhaps we will hear some of those traditional songs interpreted sometime soon. I hope so. If you wish to purchase her album, she is contactable through her website clochaperon.com

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, October 28, 2020. Clo Chaperon (Vocals) Peter Leupolu (piano & keys), Mostyn Cole (bass), Percy Watson (percussion) and Stephen Thomas (drums).

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Haines/Crayford/Singh

Any jazz club gig involving Nathan Haines, Jonathan Crayford and Manjit Singh is bound to catch the attention. It was programmed to occur months ago and unsurprisingly tickets sold out so quickly that many missed out. Then, out of the blue, the virus crept back among us and we found ourselves back in lockdown. There was a new date suggested, but for safety reasons that did not transpire, and we waited. October brought us warm weather, freedom of movement, and above all, it gave us our gigs back. This time the Haines/Crayford/Singh gig actually happened and more tickets were released as restrictions no longer applied. 

The gig was a fusion of Jazz and the Indian musical traditions and in particular the northern styles. Accompanying them on harmonium and with vocals as a guest artist was Daljeet Kaur, the wife of Tabla player Manjit Singh. Chelsea Prastiti also appeared as a guest artist on one number. To pull off this type of fusion and yet do so respectfully, requires careful programming and good musicianship. The three co-leaders were particularly suited to this task. 

Singh was a respected Tabla player and teacher long before he travelled from the Punjab region to New Zealand. He has since completed a musicology degree at Auckland University and his involvement with the UoA Jazz School brought him into frequent contact with local jazz musicians. Haines and Crayford are internationally renowned and together they are a versatile dream-team. Bringing Singh into their orbit made perfect sense as both can comfortably play outside of the strictures of genre. 

There are particular subtleties to Indian music and perhaps most formidably the rhythms. The scales, although model, and thus familiar to Jazz practitioners also have aspects of difference. The northern Indian scale has twelve notes and is moveable. When western harmonies are added, unusual challenges crop up. Jazz, however, is the art form of flexibility and its practitioners thrive on playing over drones and exploring harmonies. I believe that is why this worked so well. 

As soon as I heard the harmonium and tabla together I was transported back in time; back to a night in the Himalayan foothills where I once heard a wandering troupe play. Two youths who we had befriended in Katmandu, called by late one night and led us up into the mountains. We walked in the moonlight and eventually arrived at a rustic farmhouse; cattle on the ground floor, a farmer ushering us up a ladder to the first level. A troupe of wandering musicians who crossed borders secretly at night and played in private homes by invitation only. A four-piece unit of sitar, tambura, flute, harmonium and vocals. They were brilliant. Not the sort of thing anyone could forget.   

I had always assumed that that the harmonium was a traditional Indian instrument, but I have since learned, that it came from the West around 250 years ago. Once adopted by Indian musicians, it was modified, and it entered the repertoire of the northern part of the sub-continent. Its entry was not without controversy. Because it sits at the juncture between east and west, it feels an appropriate instrument to bring to an Indian, Jazz fusion gig. 

There were a number of original tunes, a classical piece, a Beatles tune and an old Pakistani folk tune. The arrangement of Norwegian Wood was well adapted. The Beatles had been exploring modal Indian music at the time. When Chelsea Prastiti joined them, she and Daljeet Kaur sang a New Zealand composition, Olympic Girl. That number received wild applause, but my favourite segment was when the trio played Heitor Villa-Lobos Bachianas Brasileiras No 5. This gorgeous tune with its sensual Latin rhythms and Spanish tinge has been played and adapted by Jazz musicians before – notably by Wayne Shorter. The trio’s version paid it homage in the very best way. 

 Nathan Haines|flutes, soprano saxophone – Jonathan Crayford | piano & keys – Manjit Sigh | Tabla, tala & percussion – Daljeet Kaur | harmonium & vocals – Chelsea Prastiti | vocals

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, October 21, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Kang / Rainey ~ Christchurch

Last weeks CJC/Anthology gig brought the Christchurch Brad Kang/ Jimmy Rainey duo to Auckland. While I have heard both artists before, this gig was a step up for them. Both looked comfortable on the bandstand and their confidence was justified. It is always a pleasure to witness early promise being realised and while neither could be considered veterans, both have received a measure of favourable attention. Both are well travelled and tested in the wider Jazz world.

I am more familiar with guitarist Kang as he has gigged in Auckland several times. The last time he played here he was just about to depart for the USA and that and his other trips have yielded dividends. He was always a competent player but a noticeable change has occurred. He is now playing fewer notes and the way he phrases resonates. I know that he has studied with Mike Moreno and it showed. The virtuosity is still there, but never at the expense of the music itself. 

The last time I heard Rainey was at a CJC emerging artists gig but much has happened since then. He has benefited from overseas experience and his exposure to new ideas; particularly in his writing. This is a duo that writes to their strengths and because they understand that, they can play up a storm in consequence. At one point Rainey studied in Amsterdam, a Jazz loving genre-diverse proving ground. Anyone who has attended ‘Bim’ gigs will know what I mean. There’s a lot of freedom and innovation happening in that city.

From the first to the last tune they held us. The tunes while of varying tempos and alternating between the two composers, all spoke of the now. This is the type of music that is owned by younger players. It was unselfconsciously forward-looking and immediately brought ‘James Farm’ to mind. It did not lean heavily on harmony but the harmonic development was implied; there were clean unison lines and above all, the melody dominated. It was evident on the tune Spiral, where the cascade of lines emerged in sonic waves, while behind them piano, bass and drums carved up the rhythms. 

And this was made possible by the skilled anchoring of Tom Botting’s bass lines and by the steady pulse from drummer Adam Tobeck. With Field, comping minimally the effect was enhanced. Wise heads and good players always adjust to accommodate. If he was alive today, it is tempting to think that Tristano might have embraced this direction?

The first tune Herfst was a majestic and evocative composition by Rainey. Herfst is a Dutch word meaning August (majestic and the season). This was a good warm-up tune as it gave us an idea of what would follow and the course once set, remained steady.  Other tunes that Rainey penned were ‘Daze’ and ‘jubilate’. As well as the piece that I have posted on YouTube (Spiral), Kang composed ‘Passing Thoughts’ ‘A Quiet Place’ and ’Five Five Four’. 

Brad Kang|guitar, Jimmy Rainey|tenor saxophone, Kevin Field|piano, Tom Botting|bass, Adam Tobeck|drums. The gig took place at Anthology K’Road for the CJC Creative Jazz Club October14, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

JCJ ~ Baxendale /Allardice /Lovell-Smith

As our local pandemic restrictions were lifted, so our spirits rose, and the easing brought us, welcome travellers, from Wellington. It felt like our old lives were creeping back, but we should not underestimate how difficult these lockdowns have been for musicians. They are performing again, but with fewer venues, and reduced availability of flights. To top that there is the perpetual hassle of finding affordable accommodation. Because this is a new reality, music lovers need to redouble their commitment; religiously attending gigs, purchasing albums and getting the word about town. Luckily, Jazz audiences get that and there was a solid audience on Wednesday. 

The Band is named JCJ, which may or may not be a play on Auckland’s CJC Jazz Club; it does, however, align with the initials of the co-leaders forenames: Jasmine Lovell-Smith, Callum Allardice and Jake Baxendale. Together they represent a formidable presence on the bandstand with their international experience, various awards and accolades. In addition, the gig leaned heavily on their much-vaunted compositional skills. All have appeared on successful albums but never together as a co-led unit.

The soprano is Lovell-Smith’s primary horn and it shows. She is dextrous and inventive, she conveys deep emotion or surprises, but of equal appeal is her tone. There is a depth to it and because of that, she can move from the reflective to the edgy as naturally as breathing. When you hear her playing a ballad, it is tempting to think, how beautiful — that’s her forte then; but she will play completely free on the next number. I have heard her in a free ensemble and she’s as comfortable there as when tugging at the heartstrings with a lovely folksy ballad. 

Baxendale like his co-leaders is Wellington-based and we have seen him in a variety of visiting bands since the Creative Jazz Club’s earliest days. Aucklanders will likely associate him with ‘The JAC’ ‘Antipodes’ or ‘The Troubles’, but he has fronted or played in a number of Wellington bands. He is primarily regarded as an alto player, but on this gig, he played mainly bass clarinet. The instruments earthy underpinning, providing a lush cushion beneath the airy registers of the soprano and guitar.  

Allardice has had a long and fruitful association with Baxendale. They often share a bandstand, they have toured together, and both have won prestigious awards. I have always liked his tone on guitar, which is best described as silken. The first time I heard him perform there was an unmistakeable Rosenwinkel influence, but now I am hearing an original voice. His compositional skills have always been a forte and these were very much in evidence during this gig. 

The set opened with a gorgeous number by Lovell-Smith. It was titled ‘leaves of grass’ and its Whitman reference was apt. Whitman was the bravest of poets and a favourite with Jazz composers (‘I Sing the Body Electric’ Weather Report or tributes by Fred Hersch). And this was not the only literary reference by Lovell-Smith as a later tune was titled ‘The Pillow Book’ — this had an appropriately Japanese vibe.  Her other tune ‘Song for May’ is a stunner. I have heard it before as it is on her New York album ‘Towering Poppies’.  I would have put it up as a video, but a music stand had obliterated all view of her (note to artists: if you are being filmed, angle the music stands sideways or keep them low).  

Allardice’s compositions were as intriguing as ever, his moody ‘Dark Love’ and especially his upbeat tune with a beautifully memorable intro titled ‘Peaceful’. Baxendale brought some great tunes as well, and as he often does, he injected some off-beat humour. A tune titled ’Sleep (a glimpse of Plimpse)’ recounted a guilt-wracked dream. His tune ‘The Test’ was all that remained, of a failed attempt to break into the fantasy gaming genre (I think that I got that right). It was free-ranging and delightful and I have put that up as a video clip.

The pick-up rhythm section were Aucklanders. All three have been delighting Auckland audiences for years. To have them playing together and bouncing off a Wellington lineup was a rare treat. Firstly, Crystal Choi, who never puts a foot wrong and who is one of Auckland’s most inventive pianists. She is similar to her bass playing friend and bandmate, Eamon Edmundson Wells. Both lean heavily toward the avant-garde. On drums, there was Julien Dyne. Dyne is a powerhouse drummer and his beyond-genre approach allows him to excel in any given situation.  These three are the other reason that I put up ‘The Test’ video clip. This is a space that the Aucklanders relish, and the Wellingtonians matched them note for note. A little freedom never hurts a gig. 

JCJ were Jasmine Lovell-Smith (soprano saxophone), Jake Baxendale (alto saxophone & bass clarinet), Callum Allardice (guitar) with – Crystal Choi (piano), Eamon Edmundson Wells (bass) and Julien Dyne (drums). The gig was held at Anthology, CJC Creative Jazz Club, K’Road, Auckland October 7, 2020.

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Frank Gibson Jr ~ New Bop Quintet

Frank Gibson Jr is a legendary figure on the New Zealand Jazz scene. A drummer like his father before him and a Jazz touchstone throughout much of my life. He and I attended the same Grammar school and although he and Murray McNab were two years ahead of me, they were known even then as being cool Jazz- guys. Gibson’s love of Monk and of the Hard Bop era has always been his thing, and it is evidenced in his gigs. No one about town does it better. 

With the New Bop Quintet, we get a fresh Gibson line up this time; within minutes of hitting the stage, they’d recaptured the joy of that era. The setlist was broad and included a few tunes that we seldom hear; it also included a nicely penned original by bass player Cameron McArthur titled ‘Three Up, Three Down’. There was only one Monk tune (Straight no Chaser), and the applause after that was thunderous. Everyone loves Monk. 

As an opener, the band gave a crackling rendition of a favourite Shorter tune ’Speak No Evil’ and there is no better way to commence a standards gig. Gibson is a strong drummer and his style exemplifies this era; his bop-influenced grooves being unmistakable. In this unit, he has changed things up by including some different musicians. This gave the gig an interesting edge and it worked a treat.  Keven Field could fit into any line-up, but he is seldom in a Hard Bop unit. His distinctive harmonic approach edged the sets into new territory, and everyone stepped up to meet the challenge. 

You could not have a Hard Bop gig without featuring Benny Golson tunes; there were two of them, ‘Along Came Betty’ and ‘Stablemates’. These are essential Hard Bop classics, and no one ever tires of them. The tune which really stood out though was a seldom played composition by Dexter Gordon, ’Soy Califa’. This was the opening track on his ‘A Swingin’Affair’ album and once heard, loved forever. To do justice to a tune like this requires chops and bravery and the evidence of both was very much on display last Wednesday.  

On ‘Soy Califa’, the opening drum beats and the tightly executed head arrangement hooked us, then Pete France took it to a different level entirely. He and Mike Booth gave memorable solos. It is a common complaint that we see too little of France (a Scottish born saxophonist). He is highly regarded about town and when his tenor-saxophone sings, it is wonderful to behold.  I have posted a clip of New Bop’s ‘Soy Califa’.

Soy Califa (Gordon)

There were also flawless performances from Mike Booth, as this is the style and era where we hear the best of him. He and France were very well matched and as the band played on, you could feel their enjoyment and their deep love for this music. Field and McArthur while hidden in darkness, were the essential ingredients that rounded off a heady brew.

Whether it’s playing with locals or with Jazz greats, travelling or teaching, Gibson has achieved much in his life; to top that off he has recently gained a doctorate.  This was the first CJC gig as we emerged from the second lockdown and it attracted a capacity audience. It was great to have the music back and nice to have it ushered in by a quality Hard Bop unit like this. 

New Bop Quintet: Frank Gibson (drums), Mike Booth (trumpet), Pete France (tenor saxophone), Kevin Field (piano), Cameron McArthur (upright bass). The gig took place at the CJC (Creative Jazz Club), Anthology, K’Road, Auckland. September 30, 2020. 

Life is Brut[if]al ~ Andrea Keller

By any measure, Andrea Keller is an extraordinary musician and her latest release, ‘Life is Brut[if]al’ is the proof of the pudding.  This is music for our times, and it reflects her well-documented and highly original creative journey. Keller is Melbourne based and like most musicians in recent months, her activities have been severely curtailed. The insidious grip of the virus is causing ever tighter lockdown restrictions, but creatives are used to working in challenging conditions, and happily, her prodigious output continues. This artist has a work ethic that few can equal, and we are the beneficiaries. 

The term tune is wholly inadequate to describe how the pieces unfold and although the substitute term journey is somewhat cliched, it is accurate.  As we listen, we find ourselves in a world located far from the mundane, a world full of intricacy and wonder, but revealed via the medium of minimalism and kaleidoscopic shifting patterns. This is Keller’s preferred space as her various influences have led her here.  She is an extraordinary pianist with a deft touch, but her compositional skills are very much to the forefront in this work.  

As one would expect, Keller has gathered some of Melbourne’s finest musicians about her for this project. Her ensemble writing is always about collaboration: Scott McConnachie (soprano and alto saxophone), Julien Wilson (tenor, saxophone and bass clarinet) and Jim Keller (voice), alongside Five Below band members Stephen Magnusson (guitar), Sam Anning (double bass), Mick Meagher (electric bass), James McLean (drums). Andrea Keller plays piano throughout. 

The first piece ‘Meditations on Light’ is the longest and it is the perfect opener as it invites a reflective mood before diving deeper.  It opens with a soft pulse, followed by guitar; the latter evoking the sound of a wine-soaked finger rubbed on crystal. Then you hear Keller, moving slowly and purposefully; a T. E. Lawrence riding out of the distant desert haze. By this point, anyone with open ears and a receptive heart will be fully engaged. You listen and the realities and cares outside the door fade into obscurity.  The soprano, when it enters, soars ecstatically above the drums and bass. It has the feel of a Fellini movie and the album is worth buying for this track alone.  

The second track ‘Dear John/Joan’ is more somber and mysterious. It reminded me of church bells and mourners in an Italian village, and again it is eerily filmic. Perhaps it reflects the loss of connection that the world is currently experiencing. Bley and Burton achieved a similar effect with ‘A Very Tang Funeral’.  That is followed by the title track ‘Life is Brut[if]al’; a powerful track which takes a freer path over a long earthy vamp. I love this track, especially, as the freedom seeking soprano dances so unbound. This track best sums up that happy place where freer music talks to its growing audience. An intersection for the adventurous and a place where the finest of improvised music is headed. 

After that comes ‘Suicidal Snails’ and ‘Blip ‘the former featuring reeds in unison and the latter, a short but sweet segment featuring tenor saxophone. The penultimate, ‘Youth Unleashed’ finds us exploring the free again.  

The final track incorporates portions of Rainer Maria Rilke’s profound prose, from ‘Letters to a young poet’. The track is ‘Love in Solitude (disassembled)’. This intertextuality is the icing on the cake and perhaps the point where the album makes its strongest claim to greatness. This is art music and it is timeless. 

Uptown Jazz Cafe – photograph J Fenton

Born of Czech parents and growing up in the ethnically and musically diverse city of Melbourne, Keller has been gifted an ecumenical viewpoint. Her album speaks to the world and beyond, and due to its originality, depth and fluid interplay it is a five-star achievement.  This album and its predecessor ‘The Composers Circle’ are part of her ‘Monday Nights at Jazzlab’ series. ‘Five Bellow Live’ won the 2019 Jazz Bell Award for the best Jazz Ensemble. 

Keller is a multi-award winner, renowned educator and mentor. She was contemplating a visit to New Zealand in the New Year, but travel restrictions will likely prevent that. Until then, I will remember Keller performing at the Uptown Jazz Cafe (and the night before at Jazzlab). They were wonderful performances, and my photographs and these albums, reinforce that memory. 

During the writing of this post, an email arrived in my inbox, informing me that Keller is about to release yet another album; this time of solo piano titled ‘Journey Home’. There is also a related film to be released on DVD. The latter, a collaboration with filmmaker Hayley Miro Browne; a tale of their fathers, fleshed out with graphics and Erik Keller’s photographs of the 70’s Czech Republic. Again, this speaks to the work ethic and the creativity of this gifted artist. I have my order in. To purchase the above or any of Keller’s self-released albums, visit her Bandcamp site. It is a treasure trove. There is also merchandise available, and who could resist that gorgeous artwork by Luke Fraser.  AndreaKeller.Bandcamp.com

Artemis ~ Blue Note Records

In 2017, seven leading Jazz performers came together as a group and toured Europe. The group was so successful that they embarked on a bigger project. They chose the name Artemis, which is appropriate for an ensemble of musically formidable women. Artemis (or Diana to the Romans) was the Goddess of the hunt & of nature; the goddess with nothing to prove. In an ancient universe crowded with ubiquitous male gods, Artemis was universally popular. 

When you bring a group of band leaders together in the Rock world, the term Supergroup is often applied; in the jazz world, it is applied sparingly.  It is commonplace for Jazz greats to move between groups and when the term is applied, it is seldom as a marketing formula.  Artemis is a supergroup by any definition, but it is the musicianship that makes it so. Anyone of these musicians is a drawcard on a bill and while a group of leaders in itself, offers no guarantee of success, this project proved the pudding. The lineup of Rosnes, Aldana, Jenson, Cohen, Ueda, Miller and Mclorin Salvant was a winner. 

The nominal leader is Renee Rosnes, pianist and arranger.  Five of the band have penned tunes and there are several well-chosen modern standards (Fool on the Hill – Lennon/McCartney) (If it’s Magic – Stevie Wonder). The first track, Alison Miller’s ‘Goddess of the Hunt’ comes closest to a title track and it is a marvellous vehicle for improvisation. It begins with an arresting ostinato pulse, and as other voices enter, the intensity increases. The tune has lush harmonies which flesh out the sound to make it sound a larger unit.  Miller is a great Jazz drummer, but her compositional skills should not be overlooked either. Check out her ‘Glitter Wolf’ Album on Bandcamp, is a favourite of mine.

The second tune ‘Frida’ is by Aldana. A ballad evoking wistfulness and inviting reflection (was it Frida Kahlo)? Fool on the Hill (Lennon/McCartney) is cleverly reharmonised and has a similar mood. The contrasts are delicious; sweet and tart tastefully juxtaposed. Here, trumpeter Jenson reminds me of fellow Canadian, the much-lamented Kenny Wheeler; a nice arrangement. ‘Big Top’ (Rosnes) uses stop-time and surprise to great effect; the tasty solos by Rosnes and Aldana having more edge than a blindfolded knife-thrower. 

There are two tracks featuring Mclorin Salvant and they are as breathtaking as you’d expect from this world acclaimed Jazz vocalist. ‘If it’s Magic’ (Wonder) will surely turn up in her repertoire as will Cry, Butterfly, Cry (Rocco Accetta).  Nocturno (Cohen) is a moody slow burner with an ancient to modern feel. Cohen’s origins are evident here, a sound painting of a sultry sunset. Her clarinet is sublime. Step Forward (Ueda) is a fast-paced tune which opens with bass and clarinet dancing around each other in a joyous abandon, while Miller and Rosnes urge them on to greater heights. 

 If there was one track that had me gasping from the first phrase it was Lee Morgan’s composition Sidewinder’ – in truth, it made more impact than the famous original. This snake, unlike his forbear, has slowed its slither and is luxuriating happily as it grooves across a sunlit clearing. The voicings are reminiscent of an Oliver Nelson arrangement and the interplay between the musicians is quite extraordinary. Muted trumpet, clarinet and that unhurried, luscious, undulating groove. 

Artemis may be a multi-national and multi-ethnic line up but in the end, the thing that counts most is the universality of their music; Renee Rosnes (piano), Melissa Aldana (saxophone), Ingrid Jenson (trumpet), Anat Cohen (clarinet), Norika Ueda (upright bass), Alison Miller (drums), Cecile Mclorin Salvant (vocals). 

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Tigran Hamasyan ~ The Call Within

Any album by the brilliant Armenian Jazz pianist Tigran Hamasyan is going to elevate our spirits, and his new release, ‘The Call Within’ does just that. The title suggests quiet introspection, but instead, a vast cosmology is revealed. It is infinitely expansive and any expectations of meditative reflection should therefore be set aside. In the album, Hamasyan utilises the richness of his birthplace Armenia, but in doing so he paints the tunes onto a broader canvas. 

‘The Call Within’ features a core trio plus guests. The guests however, are so well integrated into the mix that the unit feels like a medium-sized ensemble. Alongside Hamasyan: Evan Marien (bass) and Arthur Hnatek (drums). Guests: Tosin Abasi (guitar), Areni Agbabian (vocals) and Artyom Manukyan (cello). The generous use of keyboards interwoven with piano is also a factor in providing this unusually rich palette.  

The first track, ‘Levitation 21’ begins with a meditative chant over a simple motif. Then, without warning, the music comes at you like a freight train. This sudden mood switch is deftly executed and it sets up an other-worldly syncopation. The effect constantly catches you off guard as the tension rises then drops. It is call and response and it is stop-time, but not as we know it. 

The use of stop-time is even more pronounced on ‘Our Film’ and as the album progresses, the listener becomes aware of many such contrasts. Some of these contrasting figures are deftly interwoven, placing one inside of the other. The heavily percussive co-exists with gently rippling arpeggios, which by contrast, are played with extraordinary delicacy. And over this come the drums and bass who dance like magical dervishes. 

On ‘Old Maps’, rippling arpeggios introduce a celestial choir and the notes fall from Hamasyan’s fingertips like rain drops. I especially loved this track, as it felt like the universe singing to humanity. Poets and musicians are beguiled by maps and love them as archetypes. The maps theme is again updated in the last piece titled ‘New Maps

There are quieter moments as well, such as the intriguingly titled ‘At a Post-Historic Seashore’ but whatever the mood, your attention never flags. As each new vista appears you feel like a wayfarer on a beguiling quest. This is the genius of the album and what ever the phrase or section, you feel like it is was just for you. Throughout, Hamasyan draws on ancient Armenian scales and on modality. Perhaps that is why it sounds both familiar and exotic. 

At each turn, Hamasyan and his collaborators deliver energised performances and in doing so they shake us from our pandemic-induced inertia. This is the album we need right now. It is an affirmation of all that is wonderful in the world. It is European Jazz at its finest. Like three of his previous albums, this one has been released on the Warners ‘Nonesuch’ label. It is available through Bandcamp or from record stores.

Tigran Hamasyan (keyboards, piano, voices), Evan Marien (electric bass), Arthur Hnatek (drums) and with guests: Tosin Abasi (guitar), Areni Agbabian (vocals), Artyom Manukyan (cello)

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz

Bach In Reykjavik

It has long been acknowledged that Bach’s DNA is deeply embedded in Jazz practice. While Bill Evans surprised some fans when he named Bach as a primary influence, the Baroque composers influence is actually widespread in all of western improvised music. Over the years there have been numerous Bach crossover albums and while the best were marvellous, others sounded slightly awkward. The more recent Bach referencing albums have moved beyond the swing approach and in doing so they have reached deep inside the essence of the music. Like a good Jazz head-arrangement, Bach’s music provides an exquisite architecture for improvisers to explore. I am enthusiastic about a number of these modern explorations.

A few days ago a review copy of ‘On Goldberg Variations’ (Backlash Music) arrived. I was immediately intrigued, as the album was recorded in Reykjavik. The musicians are classical improvising pianist, Mathias Halvorsen and Jazz percussionist, Jan Martin Gismervik. Both are Norwegian although Halvorsen is at present living in Iceland. I am an enthusiast for Nordic and Icelandic artistry and I wondered if those spacious northern landscapes would influence their approach. After listening, my answer is yes. Halvorsen pointed out that the two are more closely aligned with the Norwegian scene, but it is no stretch to imagine how recording in Iceland can add a layer of influence. 

Lines

While the album is directly informed by the notation of the Goldberg Variations, it is also referred to as new music. Here, the musical ideas have been examined with care, extracted and then reduced to their essence. In the track titled ‘other voices’ a sub-minimalist approach is evident; with the musicians utilising fragments; and the results are both familiar and unfamiliar. To quote Halvorsen:

(It) can best be compared to looking at a familiar world through a continuously changing kaleidoscope’.

Stripped of ornament, and elided, the silence between the notes becomes essential in the decoding. We sense what lies between and it is visceral. We follow and are surprised as the motifs and rhythms fall into place. Those familiar with the Goldberg Variations will find themselves attempting mental reconstructions as fragments of rhythm or melody, appear and then vanish. Humans are hard-wired to look for patterns, and in searching for them here, we are drawn inside a spacious pristine world. We compare what we know, or what we think we know and out of that comes the new.

Halvorsen & Gismervik

The pieces reveal a filmic soundscape of stark beauty. ‘Numbers’ beguiles us with long ostinato passages and again the minimalist approach allows us to explore the sonic subtleties. ‘Running’ takes us closer to a known form but then injects long bars of silence between the phrases. ‘Together’ comes closer to Jazz sensibilities with its resonant voicings, which dance. Everything merits a deeper listening here as the journey is in part, subliminal; it will stretch some listeners toleration as avant-garde music frequently does. It worked for me and took me back to the extraordinary Bley/Giuffre/Swallow albums such as ‘Freefall’ (ECM). 

For those keen to hear some other contemporary approaches to improvised Bach, I recommend Brad Mehldau’s ‘After Bach’ (Nonesuch). This album achieved tremendous cut through and juxtaposes Mehldau’s own compositions with Bach’s. That album references ‘The Well-Tempered Clavier’. It is closer to the original Bach charts. A sumptuous delight from start to finish. 

For another unusual look at the ‘Goldberg Variations’, people could check out Uri Caine’s ‘Goldberg Variations’ album. This was released by ‘Winter & Winter’ and is gorgeously packaged. Like Mehldau, Caine plays some of the variations as written, but the rest appear as blues, electronica, gamba quartet and in many unusual ensemble configurations. There is also humour and joy.

If you’re afraid of iconoclasm, these will not be for you; but if you are up for sonic adventures, dive in and go with it.

Pianist Mathias Halvorsen

 

 

Percussionist Jan Martin Gismervik

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz

Dr Tom Botting Rediscovers Aotearoa

Bass player Tom Botting recently returned to Aotearoa and his first Auckland gig was well received. Even as a gangly student he impressed, and the regular attendees at the CJC hold fond memories of those Britomart Jam Sessions where he featured so prominently. Soon after that, he moved overseas, gaining a doctorate at the Sydney Conservatory. Like many of our musical exports, he returning annually, and many of the tunes that we heard last Wednesday were first showcased during those back-home tours. 

His compositions are always memorable and often evocative. Now, he has returned to weather out the pandemic, bringing with him some new tunes, and updated arrangements of older ones. They are no longer isolated in a disparate setlist but are played sequentially and in geographical alignment. While the tunes are not presented as a suite, they nevertheless evoke a strong sense of place. And whether intended it or not, they present a cinematic journey across our landscapes. Here, Botting has achieved what locals often cannot. His yearning from afar for our landscapes and archetypes has led him to create something sublime. 

The tune titles in these sets speak of mountains or the places immediately in their shadow; Mitre Peak, Mt Aspiring, The Remarkables, Hamner Springs, etc. I have posted a YouTube clip titled Hidden Waterfall and it is one of his more recent compositions. It begins with a pedal tone on piano, around which the bass introduces striking motifs, and then, a new line is introduced by the alto. 

The piece is simply captivating and clarity is achieved by ensuring that no instrument gets in the way of another. It’s not easy to strike that fine balance and it’s extremely clever writing. Each segment stands on its merits, and yet, sits comfortably within the arc of the overall composition. It is a good example of less being more or to put it another way, as something complex rendered into ear-grabbing approachability. 

Botting is a superb bass player and he poured everything into his tunes. He was always one to absorb himself in his playing and that has not changed. As he plays you see nothing but hair and fingers, but what you hear is the essence of the man. Beside him was Callum Passells on alto and he pulled out a great performance. An approach at times reminiscent of Shorter, and always with that gorgeous tone.  Partially hidden on the left of the stage was guitarist Michael Howell, and again a good performance from him. His newfound confidence is reaping dividends. To complete the quintet were Kevin Field and Jono Sawyer. Both are consummate professionals and they maintained the standard of playing that we have come to expect of them. Pick up bands of this quality make a visitor happy to return.     

There is a rich tradition of pastoral music in Aotearoa, most notably Douglas Lilburn. There is also the extraordinarily beautiful Ondas Album (ECM) by our premier Jazz Export Mike Nock. It is good to see a body of work of this quality adding to that tradition. Botting had already performed a concert in Wellington prior to reaching Auckland and a recording from that gig may soon be in the offing. The Auckland concert was recorded by RNZ and those unable to make the gigs should watch out for the broadcast. This music will appeal to most Jazz lovers, whatever their preferences. 

Tom Botting (upright bass, compositions), Kevin Field (piano), Michael Howell (guitar), Callum Passells (alto saxophone), Jono Sawyer (drums).  The gig took place at Anthology, K’Road for the CJC Creative Jazz Club, 5 August 2020

Joe Kaptein / Ben Gailer

The gigs introducing young emerging artists are a time-honoured tradition at the CJC Jazz Club. It is one of the reasons why Carolyn and Roger Manins formed the cooperative well over a decade ago. It is a vital part of club programming, as it tests the metal of emerging musicians by exposing them to a seasoned Jazz audience. The gigs also give us a glimpse of the future; they reveal who has yet to shine, and who will soon be nipping at the heels of seasoned musicians.

Both Joe Kaptein and Ben Gailer are students at the University of Auckland Jazz school.  Kaptein is in his third year of studies and Gailer has recently completed his honours studies. Stylistically, the musicians presented very different offerings and the contrasting approaches gave us a unique insight into the breadth of teaching available at the Jazz school. It was a showcase for the band leaders and a showcase for their tutors, with many of the latter hiding in the shadows and beaming throughout. 

First up, was the Joe Kaptein sextet. The band was a mixture of former and current Jazz students (plus two tutors), with Kaptein leading on keyboards, Michael Gianan on guitar, Roger Manins on tenor saxophone, Will Goodinson on electric bass, Elijah Whyte drums and Ron Samsom on percussion. The compositions were all Kapteins and it was immediately obvious why he chose keyboards over the piano. I have heard Kaptein perform as a sideman on several occasions, and his preferred palette is that drawn from the older analogue keyboard instruments. On this occasion, he had a Render Rhodes as his primary keyboard and a variety of augmentations (one machine in an intriguing case, the knobs and dials reminiscent of the moon landing console). 

The first time I heard Kaptein was like hearing 70s Jazz reimagined. I have always thought that the era deserved further appraisal, as the journey back then was curtailed by the Jazz police. It is possible, that Kaptein found this style without reference, but nevertheless, he has encapsulated a modern version of that older trippy explorative vibe. His compositions are mature and packed with surprise.  In typical post-bop fashion, there were references to the waypoints of the jazz journey; but above all, these numbers spoke of joy.  

The second set featured a sixteen-piece ensemble led by Ben Gailer and what he presented wowed everyone in the room. Arranging and composing for an orchestra is a complex task, but to bring such an orchestra to a Jazz club on your first gig there is beyond brave. All of the charts had been arranged by Gailer and many of the compositions were his own. His own material stood up very favourably amongst the standards ’There will Never be Another You’ and a fresh sounding take on Hancocks ‘Maiden Voyage’. That speaks for itself.

It’s hard to know where to start in evaluating a set like this as it covered so much fertile ground. There was his energised conducting, somewhat reminiscent of Darcy James Argue with its expressive flourishes as he urged the sections on. There were the finely textured arrangements which balanced dissonance with melodicism in a precise and pleasing measure, and then, there was his pianism which shone through all of that. That is a lot to bundle together but he did so with real class. I can’t wait to hear where his journey takes him next.

Ben Gailer

Because of the sight-lines and the seating, I could not set my video up for that set and I cursed that I had not brought audio-recording equipment with me. What I did, was record it on my phone as an aid in evaluating the performance. Posting iPhone capture is not ideal, but with luck, a better recording of this large ensemble may become available at a later date. I certainly hope so.

Joe Kaptein Sextet: Kaptein (keyboards, effects), Roger Manins (tenor saxophone), Michael Gianan (guitar), Will Goodinson (electric bass), Elijah Whyte (drums), Ron Samsom (percussion)

Ben Gailer Orchestra: Ben Gailer (compositions, arrangements, piano, Fender Rhodes), Lukas Fritsch (reeds), Cameron Kelso (reeds), Felix Hayes-Tourelle (reeds), Daniel McKenzie (reeds), Charlie Harmer (reeds), Jake Krishnamurti (Trumpet), Jack Thirtle (trumpet), Nick Curry (trumpet), Caleb Probine (trumpet), Jono Tan (trombone), Esther Simpson (trombone), Zachary Lim (trombone), Michael Gianan (guitar), Hank Trenton (bass), Rhohil Kishore (drums).

The orchestra was a mixture of present and recently graduated UoA Jazz school pupils.

Passells/Howell/Deck

This trio has been around for a while, but the musicians are all active with a variety of other projects. They frequently appear as sidemen and they first teamed up during their Auckland University Jazz School years. Passells has been teaching, composing, appearing as an altoist (and a drummer), and adding his skills to some adventurous and diverse projects. Howell is a member of various bands, such as the Jazz Tui nominated Alchemy and the Jazz Tui Award winning GRG67 who launched their second album recently. It was reviewed on this site. Deck is a gifted and versatile drummer and his work as a member of the much lauded Indie Pop group The Beths is as noteworthy as his Jazz offerings.  He is also a member of GRG67.

 As a composer and a performer,  Passells takes a path less followed. He’s a melodicist and often appears in units where the arc is not reliant on chordal harmonies.  This moves the attention to melody, and most of all, it reveals his lovely tone. The alto is an unusual instrument in this regard, as its tonal qualities can alter markedly, depending on who plays it. Perhaps, because it is aligned so closely to the human voice? It has also been suggested that the airway of an alto player can exert a stronger influence than with other horns. While a tenor can also be individualised, it is more inclined to speak on its own terms. Passells alto voice is distinctive,

There was no bass with this unit and without such anchoring, the melody lines seemed to float unencumbered. When the alto was playing the guitar would either play unison lines, lay out or provide timely interjections. The reverse occurred when Howell played. The drums however, were a solid presence and provided continuity and momentum. As a result, the tunes felt conversational and at times, thoughtful. And the ears followed the musical dialogue easily, in spite of the elided grammar. Passells introduced the tunes as he usually does and his trade-mark humour was evident. He has an easy going banter, often self-deprecating, and laden with random references.

The band played in near darkness which provided atmosphere, but made filming a difficult proposition. By the second set, the lighting had improved slightly and I have posted a tune from that set. The tune I posted is interesting, as there are frequent unison lines played, with guitar and alto speaking as one. It is reminiscent of Marsh with Konitz, but the drums pull the music in a different direction. Out of that confluence come interesting tensions. This is ripe territory for a group of this configuration and the seasoned listeners picked up on the various references. 

Callum Passells (alto sax), Michael Howell (guitar), Tristan Deck (drums)

The gig took place at Anthology K’Road, for the CJC, Auckland 22 July, 2020

Keith Price Double Quartet

Last week saw the welcome return of Canadian born guitarist Kieth Price to the bandstand. This time with his re-formed Double Quartet. The question that immediately arises, is an octet a double quartet? If you were looking for a point of difference, it is hard to find in dictionaries, as the terms are generally interchangeable, but a doubling up of a particular voice is often indicated for the latter. That brings us to the Kieth Price Double Quartet: two drummers two keyboards and two bass players. A big sound.

Two drummer gigs are well established in the lexicon, becoming more prominent with the arrival of the New Thing and Hard Bop; similarly with the doubling up of keyboards and bass. Ornette Coleman had a notable double quartet. Doubling up like this can be tricky, but skilful writing and good musicianship mitigate such difficulties. Loud and strong, but not leaden, is the aim. 

The Canadian recorded Double Quartet and the contemporary Auckland unit, both convey raw power. Price summed it up with his tongue in cheek comment on Wednesday.

‘I couldn’t make enough noise with a single quartet’.

It was loud but it was also nuanced, drummers blending as if one or finishing each other’s sentences, crafting a rhythmic polyphony.  The keyboards keeping out of each other’s way, but adding accents throughout. The upright and an electric bass taking different roles, balanced against  guitar and a tenor saxophone. 

While not strictly fusion, the band had a funky fusion feel and would have been welcome at Bill Graham’s Fillmore gigs. There were interesting contrasts in the music, and the interplay between the stylings was especially appealing to those who like full-on adventurous music.

It is unusual to see Olivier Holland on the electric bass, but he obviously relished the chance. The audience enjoyed it also. Instead of pedals, he fed his bass through a laptop. This gave him interesting options and he deployed them enthusiastically.  The blending of electric bass and Cam McArthur’s upright was seamless. 

Many of the tunes conveyed a deep-funk feel, driven by punchy interwoven bass lines. When Kevin Field took his piano solos, Joe Kaptein, on keys, laid out, and when Kaptein soloed, he brought a classic 70s analogue vibe to the proceedings. The pairing created texture, and best of all, the fabulous club Yamaha piano was back. With Ron Samsom and Malachi Samuelu on drums, and with Roger Manins’ channelling a wild saxophone funk, you were soon cocooned inside a spacious and warm soundscape.   

It was Price’s deft hand guiding all of these interactions as he cued the musicians. While not quite free jazz, it was freedom within walls, and it sounded free. The springboard for the solos, the solid grooves sitting underneath the lead instruments. Price providing an interesting contrast as his playing was deliberate and at a lower volume. When he ran unison lines with Roger Manins crazy it set up the mood for what was to follow. It was a good gig to catch.

Keith Price Double Quartet, Canada (CD): 

available from www.keithprice.ca

Keith Price: Guitar

Neil Watson: Alto saxophone

Jeff Preslaff: Keyboards

Dallas Nedotiafko: Keyboards & synthesiser 

Marty Thiesson: Electric Bass

Julian Bradford: Acoustic Bass

Jamie Carrasco: Drums

Kevin Waters: Drums

Keith Price Double Quartet ( Auckland)

Keith Price: Guitar

Kevin Field: Piano

Joe Kaptein: Keys & Synth

Roger Manins: Saxophone

Olivier Holland: E-bass

Cameron McArthur: upright bass

Ron Samsom: Drums

Malachi Samuelu: Drums

The Auckland gig took place at CJC, Anthology, K’Road Auckland, 15 July, 2020

For a fuller version, go to Radio13 – Portions of the above have been excerpted from that article which can be located at Radio13.co.nz

GRG67 ~ Happy Place

The first gig after lockdown restrictions brought a record audience to the Creative Jazz Club.  Now, a week later, with a second gig achieving similar results, it is obvious that the thirst for quality live-improvised music in Auckland has not been dented. And what better way to whet the appetite than with the 2019 Tui Award-winning band, Roger Manins  GRG67. This is a truly magnificent quartet and it occupies a special place in the lexicon of Kiwi improvised music. Sitting at the juncture between free and inside, and doing so with an ease that pleases everyone.

Roger Manins is a drawcard and the highest level of playing is always expected of him. His long years of playing on the bandstand, and often in challenging situations, has honed his craft to a fine point. To burnish his already impeccable credentials he has now added a Doctorate of the Musical Arts to his resumé. Most of the compositions and arrangements on the album are Manins, but as with the previous GRG67 album, there is also a tune by Mostyn Cole featured. 

The GRG67 album The Thing won a Jazz Tui, but the band has not rested on its laurels. Happy Place is not just more of the same. On this album, the writing and playing have taken on an additional edge. It explores form in many oblique ways and then roams into freer air. They sounded cohesive before, but now they sound even more so. There is new confidence to their playing and it is nowhere more evident than with guitarist Michael Howell. 

Howell has long shown such promise and it is pleasing to see it realised. He took obvious delight in sparring with Manins and his solos were masterful. Tristan Deck on drums likewise. His role here was to stretch the ensemble, to urge them on when the moment called for it. He achieved that while never losing sight of his interactive role. Deck has many irons in the fire, but I wish we saw him playing here more often. On electric bass was Mostyn Cole, a regular bass player at CJC gigs. He is reliable and experienced and one of an elite group of first-call bass players when an overseas artist is in town. In this band, he was liberated from that role and his obvious delight in the music shone through. 

I have posted a clip titled ‘Frizz’ which is deliciously melodic. Listen to more tracks on Rattle Bandcamp, and if you do, purchase a copy. The tight unison lines on MayWayDay will blow you away and the free-spirited Shoint 67 will groove you to your soul. 

There were no weak links in this chain. They wove in and around each other and fired off crazy lines over urging pulses, and from the safety of our chairs, those present swayed along. This was also our happy place. So this is where Jazz sits in 2020. Forward-looking, but bringing the old into bright fresh spaces, and doing so without contrivance.  

Roger Manins (tenor saxophone)

Michael Howell (guitar)

Mostyn Cole (electric bass)

Tristan Deck (drums)

https://rattle-records.bandcamp.com/album/happy-place

Now, Where Were we?

Michal Martyniuk reprised.

The last live gig that I attended was just before the level 3 lockdown. That seems like forever ago now, but in truth, it was only in March. Now, in the closing days of June, here I was, strolling down Karangahape Road; the home of indie music and the Creative Jazz Club. Live improvised music was back. 

I can remember every moment of my last pre lockdown gig and I savoured the memories during my period of isolation. As the weeks rolled into months, I managed the interregnum well, but the absence of live music cut deep. I missed its sweet voice in my ear, so music, please never leave me again. 

By a strange coincidence, the last band I heard, the one on that March night, was the Michal Martyniuk Trio. Now, here they were, performing the very first post lockdown gig. As I dashed across K’Road to avoid the rainstorm I wondered if the weather would affect the turnout. The restaurants and the streets were eerily empty, but huddled in the stairwell of Anthology were people shedding raincoats and talking excitedly. Long before the gig started the club had filled to capacity. 

The trio was now a quartet, having added 2020 Tui Award-winning guitarist Dixon Nacey to their number. It turned out to be a match made in heaven. Four highly rated and award-nominated artists merged into one killer unit.

After months of being deprived of live gigs, the musicians were pumped and similar energy flowed from the audience. When expectations are this high, what stretches ahead, is a dangerous high wire act. Also, the piano had been idle for months, lonely and unloved. In truth, the instrument is a difficult beast, but Martyniuk soon found his way to its heart and he coaxed it to sing again. Harnessing unruly forces is the anvil on which good improvisers produce their best work. 

Most of the tunes were Martyniuk’s and although his music is quite different from Nacey’s, the contrast worked nicely. Martyniuk’s post-bop European voicings and memorable melodies were gifted an interesting edge.  Nacey’s tunes, which often feature surprising twists and rhythmic complexity, were turned in fresh directions. Out of contrast comes the best Jazz and this was truly the sound of surprise.  

Michal Martyniuk Quartet: Michal Martyniuk (piano), Dixon Nacey (guitar), Cameron McArthur (bass), Ron Samsom (drums). The clip recorded is Martyniuks Polish unit (not the Auckland band as reviewed above)

michalmartyniuk.bandcamp.com  

Adventurous Spirits

The Following albums are all adventurous in their own way. All reach beyond the strict confines of genre and while each approaches from a unique vantage point, they offer a cross-section of trans-Tasman pandemic era music. The music may or may not have been influenced by the lockdown itself, but the association resonates. We are on a long journey. Moving from isolation towards an unfamiliar landscape. We will inevitably cling to yesterday, but we will hopefully also take the braver step of jettisoning what has become superfluous. We do not need bankers and snake oil merchants to guide us, but we do need adventurous musicians. 

Dark Energy: Paul Williamson Quartet

A few years ago a visit to Melbourne coincided with the launch of Paul Williamson’s ‘Finding The Balance’ album at JazzLab. There was a lot to like about the album and I wrote a review after I had returned to New Zealand.  Now in the midst of the pandemic, Williamson has released a new album titled ‘Dark Energy’. This time he invokes different spirits and in doing so he taps into new and exciting realities.  

This is an edgy and forward-looking album and although it offers glimpses of the familiar, it quickly strikes out for freer air. Popular music seldom strays beyond the angst of loves lost, but Australasian improvisers increasingly move beyond the confines of gravity. In fact, astrophysics is often an inspirational touchstone for our down-under improvisers. In the early seventies, these themes were convincingly referenced by the likes of Bennie Maupin and Eddie Henderson. Dark Energy picks up the batten, combining galactic revelations with the discovery of wondrous interior worlds.

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On certain tracks, Williamson’s trumpet playing contains hints of Tomasz Stanko or perhaps the quieter moments of Kenny Wheeler. A wistful moody quality is evident and especially on tracks like Al-egance; his tone is especially gorgeous in these settings. On the more ethereal tracks, he utilises extended technique and skilfully embeds the instrument into the spectrum of the bands sound. In all of these explorations, his band is in lock-step. Letting the compositions speak with clarity, and understanding, that close confinement is unnecessary in space. 

On guitar, Theo Carbo displays a deft touch, clean and appropriate to the task in hand. Again there is a gentle moodiness and one which owes much to improvised Americana. The bass and drums also strike the right balance, never overreaching, and yet every voice and flurry is heard perfectly. 

Paul Williamson (trumpet, compositions), Theo Carbo (guitar), Hiroki Hoshino (double bass), Miles Henry (drums)

paulwilliamson.bandcamp.com

 

Wind & Wire: Alan Brown solo piano

‘Wind and Wire’ is a third of a set of solo albums that Alan Brown has released. His first two albums teased out the subtitles of an acoustic piano, and they did so in a setting which allowed the acoustics of the room to inform the improvisations. This album compliments the earlier albums while expanding the sonic possibilities. With keyboards and digital enhancements come fresh choices, and this is a logical progression for which Brown is well-fitted. He is an acknowledged master of the digital and analogue keyboard, and he understands how to judiciously apply enhancements. 

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The album is a set of 10 improvised pieces and the titles set up the mood for each. ‘Mood’ is an important ingredient in any ambient composition for it is the mood and not melody or rhythm which invites us inside a piece. Brown is always careful to establish this. His improvisational development follows a logic evolved from the preceding phrases. It is more than sound shaping as it flows like a river from start to finish, and this in spite of being unconfined by written charts or cycles of scales. 

In Wind and Wire, there are varying moods and not all are quiet or reflective. Where you start is not always where you expect to finish. There are surprises embedded within. While these are essentially interior landscapes they are no less real for that. They invoke vistas and engage with our ever-changing realities. Something we have hopefully learned to value in these days of inner reflection.

alanbrown.bandcamp.com

 

Trouble Spots: Ivan Zagni/Steve Garden)

A few days ago ‘Trouble Spots’ appeared in the Rattle Records Bandcamp catalogue. I listened and was captivated. Because humans are hard-wired to categorise I looked for descriptors. Among the tags were: acoustic instrumental, experimental, atmospheric, improvised. I listened to the rest of the album and then once through again. Wow, I thought, this is engaging but it studiously evades categorisation. How can something so enjoyable and so strangely familiar remain so elusive?  

The cover art was also mesmerising. So much so, that for a while I failed to register, that the album was the result of a long collaboration between Steve Garden and Ivan Zagni. Garden, the local Manfred Eicher, the presiding spirit of Rattle Records (and what is often overlooked, a fine drummer and percussionist). Zagni is the co-leader and a significant figure in the music world, long acknowledged as a gifted multi-genre experimentalist. Born in London and moving to New Zealand many years ago where he soon became a significant presence on the local scene. The Rattle label grew out of Garden’s early work with Zagni and Don McGlashan. 

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Keen to get the low-down I contacted Garden and during our conversation, he suggested some additional tags for the album: absurdist, filmic, musical jokes, sonic circus, accidental improvisation, sonic collages and experimental music. Most musical disciplines have a vocabulary and the listener is therefore accustomed to locating fixed reference points; seeking out the elements that indicate genre. If a style is too rigid however, then that implies stasis and the improvising arts are the antitheses of stylistic inertia.

So this is an album that tells wonderful stories and the stories are best constructed (or deconstructed) in our heads. The music here facilitates that with its evocative but elusive cover image, it’s glimpses of Beirut or Nicaragua, of Punch & Judy, Cat & Mouse. Think of it as musical Dada or a Zen Koan. There is serious intent and good musicianship here, but that should not prevent us from laughing in pure delight. 

rattle-records.bandcamp.com

 

 

Leonardo Coghini ~ A Brave Path

As New Zealand adjusted to the first easing of the pandemic restrictions, Leo Coghini, a young Wellington musician released a set of three improvised solo piano albums. They were recorded at studio 310, New Zealand School of Music, Victoria University and all on a single day. 

The albums titled ’Wellington Solos’ were released on the SkyDeck label and an immediate drawcard was the gorgeous brooding cover art. When a package looks that good, there is the lure of promise, and in that spirit, I sat down, closed my eyes and played all three.

part 18 (Coghini)

As I listened through, it became obvious that these albums were something unique. Only the bravest of improvisers record abstract solo piano albums and those who do so are generally seasoned musicians with established avant-garde credentials. Coghini is modest, perhaps even shy, but what confidence he mustered on that day in November, and how astonishing the result. 

As I evaluated the material it was impossible not to bring Jarretts 70’s explorations to mind; the joyful free improvisation built on delicate motifs, the way the tunes begin; unwind, are reconstructed and concluded. When you consider that this is Coghini’s first recording in his own name and that he is still an undergraduate, it is all the more impressive. You can feel his absorption, but he fully engages. This not a musician abstracting for mere abstraction’s sake; here there is clarity of purpose and the images he conjures are accessible to the listener.

Part 02 (Coghini)

In a project like this, the nakedness of the piano is exposed and a recording must capture the pivot between instrument and artist. It should achieve that without the hand of the recording technicians being discernible. This recording achieved that to perfection. The right piano in the right hands when recorded properly sings.  

I first encountered Coghini in 2017 at an emerging artists gig. On that occasion, his band played standards and I noticed his gentle swing feel. Later I heard him in a different context, as a sideman on the award-winning ‘Fearless Music’ album by Umar Zakaria. By then a confident and adventurous Coghini had emerged and after this latest offering, we can be certain that he will continue to impress. 

Purchase at leonardocoghini.bandcamp.com

Italy & New Zealand ~ Lockdown Releases

Creativity is essential to human survival. It is the fuel of adaption and as Darwin pointed out, those who fail to adapt fail to thrive. Creatives understand this and none more so than improvising musicians. It is therefore not surprising that musicians increased their outpoint in a variety of ways during lockdown.

In the early weeks, I noticed a feverish burst of activity from improvisers as solo concerts streamed and unreleased albums materialised; appearing as if conjured out of nowhere. Many of these albums landed in my inbox but because I was caught up in an international journalism project I put them aside for a time. As my posts appeared more frequently and in far away places an increase in review copies landed.

It has been my usual practice to confine my posts to New Zealand or to Australian artists and I try to confine offshore posts to artists I’ve heard live. I rarely venture beyond those self-imposed limits, but during the pandemic, I have broken that rule and moved beyond. These albums provide a snapshot of two diverse locations. They portray an interrupted world but also the constancy of improvisers. Their creativity is what keeps us sane. Improvised music illustrates our connectedness as it builds new languages out of old. It is a universal heart beat created from the babel that is life on earth.  

The Gathering’ (The Jac) New Zealand

From the time of their formation, accolades for the ‘The Jac’ have kept coming. They are an eight-piece ensemble with a great sound and underpinning that are experienced players, nice compositions and some tasteful arranging. Although they are essentially a Wellington ensemble they have attracted musicians from all over, this giving them a distinct and cosmopolitan flavour. The talented Jake Baxendale is the front person, but there is also real depth surrounding him. On this latest album the quality of the overall musicianship is particularly evident.

While some long-established groups remain static, ‘The Jac’ keeps reaching for new heights. They are rooted in the now and reflect multi-genre inclusiveness. The future of Jazz demands this, as it is not a dead language.  

The sound clip I have embedded is titled Tui (composed by Jake Baxendale). This delightful tune is nominated in the composition category for this year’s New Zealand Jazz Awards. The powerful contribution of Nick Tipping on bass and Mathew Allison on trombone especially grab the attention.

Tui (Baxendale)

This is the Jac’s third studio album but the release plans have been impacted by the pandemic. They have therefore decided to release part of the album on Bandcamp and to release the rest closer to 2021. Why not download the early release digital tracks now and pre-order the rest? The musicians deserve your support. You really need to hear this.

Jake Baxendale (saxophones, compositions),

Alexis French (trumpet)

Matthew Allison (trombone),

Chris Buckland (saxophones)

Callum Allardice (guitar, compositions),

Daniel Millward (piano, compositions)

Nick Tipping (bass),

Shaun Anderson (drums)

www.jakebaxendale.com

‘Totem’ ( Ferdinando Romano / w Ralph Alessi) Italy

Some albums take a few listenings to get inside, but I fell for this one instantly. With further listening, the attraction increased. Having a modern trumpet stylist like Alessi on board was an inspired choice, but it was also Romano’s engaging compositions that reeled me in. This is a master class in less being more. It is minimalism but it is not stark, perhaps, because it’s from the warmer south. 

The musicians move like dancers. Gliding between the fluid embrace of the ensemble playing and the crystalline melodic solo lines with ease, and also playing with real conviction. This is definitely a European sound and at times reflective, but while the music resonates cerebrally, it can find the heart in an instant. 

Compositions as finely balanced as this could easily be overwhelmed, but the band reacts to every nuance. There is texture, but melody is dominant. There is dissonance, but never overdone. The tone is set from the first number titled ‘Gecko’; opening over the leader’s pedal on bass, Alessi beguiling us with gentle smears and caressing lines. Then, seamlessly, Caputo picks up the thread, Magrini next, then the ensemble and outro. As a composition, it flows beautifully.

It is natural that Alessi grabs our attention as he is a master of his instrument, but in spite of that, the septet sounds like a band of equals. There are no weak links. This is an album I am likely to play often and hopefully, there will be more like this from Romano. 

Ferdinando Romano (bass, compositions)

Ralph Alessi (trumpet)

Tommasso Lacoviello (flugelhorn)

Simone Alessandrini (alto, Soprano sax)

Nazareno Caputo (vibraphone, marimba)

Manuel Magrini (piano)

Giovanni Paolo Liguori (drums)

https://ferdinandoromano.bandcamp.com/album/totem-feat-ralph-alessi

‘Giulia’ (Francesco Cataldo)  Italy

Giulia’ was the second Italian album to come my way during the lockdown period and like the first, it is close to the ECM aesthetic. There is deliberation and a sense of purpose behind each phrase and you can feel this especially in the spaces between. At the centre, the clarity and silken softness of Cataldo’s guitar work. 

The airy compositions are all the leaders.  For the project, he engaged Marc Copland and Adam Nussbaum, both celebrated American musicians and both perfectly suited to realise his vision. The remaining band member is Pietro Leveratto, an Italian bass player of repute. Together they weave a cohesive storyline and in doing so enter the listener’s consciousness. Before you realise it you are on the journey with them. 

Levante (Cataldo)

I have often visited the Mediterranean and hold a deep love for Sicilia which is Cataldo’s home base. The moods here speak of languid salty air and of the startling blue of the Siracusa seafront. I can think of few places on earth so evocative or beautiful. It is the birth and the death place of Archimedes. When an errant Roman soldier was about to slay him, his last words were ‘do not disturb my circles’. Was this in mind when Cataldo wrote his epilogue piece ‘Circles’? 

The pieces here all evoke strong images. Some of the connections are obvious as with Levante (my favourite piece), while others are illusive. And presiding over all is the haunting cover art. Was there ever a more beautiful image. Giulia, the daughter of Cataldo and the presiding spirit over this beautiful album.

I live on another island deep in the South Pacific Ocean and that is a long way distant from Sicilia. It is physically distant but this music somehow connects the two places and for those who live on Islands, and who love Islands deeply, those connections hold mystical power. 

Francesco Cataldo (guitar, piano, compositions)

Marc Copland (piano)

Pietro Leveratto (bass)

Adam Nussbaum (drums)

AlfaMusic

https://www.francescocataldo.eu/prodotto/giulia-francesco-cataldo/?lang=en

John Pål Inderberg talks of Norway in lockdown & Lee Konitz

A few days ago I conducted a Zoom interview with the noted Norwegian musician John Pål Inderberg. I was interested to learn how the lockdown was affecting the musicians there, as Norway took a preemptive approach, much like my own country. That course of action happily yielded positive results and low risk concerts are now on the horizon for them. John Pål had many insights to share and his account of a long and fruitful association with the late Lee Konitz was especially poignant. 

Norway moved decisively to head off the COVID-19 disaster and normal life was temporarily placed on hold. Inderberg lost over 30 concerts overnight but his government stepped in with an income package which provided 80% of earnings based on the previous 3 years. Musicians along with everyone else were entitled to this. 

We learn how Konitz and Marsh combined differing approaches to improvisation and how Konitz was no fan of close mic’ing. Over the years Inderberg has toured and played with many greats including Warne Marsh and Chet Baker, and for a while he was in Gil Evans European orchestra. We learn that Lee Konitz liked to swim on his back and towards his feet, but my favourite insight was his recounting a time spent studying in East Germany during the cold-war years. The course was tiled ‘Socialistic Music Aesthetics.  

“We learned the right music and not the right-wing music”

There were many left-wing musicians in the Norway of his youth and so a left wing approach to music was important. 

Interviews with good talkers are the best sort and especially when they tell quirky stories. Our countries share political views but also a love of off-beat humour.       

His latest trio album, titled ‘Radio Inderberg’ is crisp and beautiful and I have included a clip from that. He has been credited in over 100 albums and a favourite of mine is the 2007 album titled ‘Live in Oslo’ staring Lee Konitz. That was awarded 5 stars.  

Radio Inderberg: John Pål Inderberg (baritone saxophone), Trygve Fiske (bass), Håkon Mjåset Johansen (drums), released by AMP Music & Records

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. There Jazz Journalists Association created a Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/

Phil Broadhurst Obituary

In a month where sad tidings constantly emerged from the Jazz diaspora, we lost one of our own. Phil Broadhurst was not claimed by the virus, as so many were, but by a cruel and familiar disease. As he battled through his various treatments he played on regardless. Seldom wavering, as he composed new tunes; organised concerts or met friends for coffee, and all the while managing to put us at ease. Phil had a gift for that. He was dignity personified. 

During his last concert at the Auckland Jazz & Blues Club, he bantered with a capacity audience while delivering a formidable set or two. Beside him on the bandstand were his loyal friends from the London Bar days and never far away, his beloved Julie. I suspect that the last gig took all that he had, but you wouldn’t know it. During hard times jazz musicians shine brightest and Phil did. 

He was well established on the Jazz scene long before he left the UK for New Zealand. Upon arrival he quickly made his mark. In clubs and bars and in the recording studio, in education and in broadcasting, and all through the lean years he kept the flame burning. Now we mourn along with his family for the music not yet formed and denied us, knowing that the scene will be poorer for his passing. 

Many years ago as I was taking my first tentative steps in documenting the local Jazz scene, Phil phoned me. He made an offer that no Jazz writer could refuse.

‘How would you like to spend time with Bennie Maupin and Dick Oatts’ he asked? A phrase from a review of Bitches Brew flashed across my consciousness, ‘Maupin, who patrols the lower register like a barracuda’. I uttered a strangulated sound (which translated as yes) and in fact I got to spend two days with them. It was a kindness that I will never forget. 

I learned two important things that weekend. Never ask a doubling musician why they are equally proficiant on seven reeds & winds. I was told sharply that the secret was, practice until you drop and then do it seven times more. The second thing I learned was that Phil was an enabler. He put people in situations where they could grow. 

Last year, Phil invited me to observe and photograph his quintet as they recorded ‘Positif’, his fourth Rattle album. I have posted images and a link to that and his other albums. Today all Bandcamp revenue goes back to the artists. There is no better way to celebrate the life of an artist than by buying their works. Go to Phil Broadhurst Bandcamp.

Phil was a powerful presence on the New Zealand Jazz scene and we will miss him dearly. Over the years his output has been considerable and his Rattle albums in particular provide us a lasting testimony. A multi awards winner, a friend, but now we must wait until the lockdown is over for his final parade. Until then, and ever after, let his tunes and recordings remind us. And beyond that, the teachers of tomorrow, the ones who Phil mentored are bringing on another generation of improvisers. Perhaps, that is the ultimate legacy.

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. There Jazz Journalists Association created a Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/ 

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association

Vanessa Perica ~ Love Is A Temporary Madness

Jazz on Lockdown Releases

On a gloomy autumn lockdown day, nothing is more welcome than a fresh and exciting piece of music. It brings sunshine, and if the artist is a gifted up-and-comer, it brings hope. In the days before lockdown, I saw a press release for Vanessa Perica’s ‘Love Is A Temporary Madness’. It could easily have been lost among the hundreds of emails warning me of the impending crises, but happily, it wasn’t. I listened to the sample track and found it instantly compelling.

There is nothing easy about composing and arranging Jazz orchestral charts and few musicians embark on this tortuous path. Thankfully Perica did, and her charts are magnificent. On ‘Love is a Temporary Madness’ she draws on a large palette, a seventeen-piece orchestra. Using contrast, texture, and modulation to great effect; she balances piano, guitar and the various soloists against a fulsome horn section and all to the best advantage. Big orchestras like this can easily maroon soloists, but these charts nurture the individual voices as much as the ensemble.

I know many of these musicians and I can’t help but wonder if she wrote with specific artists in mind; Andrea Keller in particular, as she is always such a distinctive performer? Very few pianists speak with such clarity and few can imply so much with well-crafted understatement. Add in renowned Australian musicians like Julien Wilson, Jamie Oehlers, Ben Vanderwal, and the other first raters and you understand why the ensemble sound is so fine. A sound that breathes in unison and when required urges a soloist to greater heights. 

This is the first time that I have encountered Vanessa Perica’s work and I am slow off the mark there. She’s increasingly coming to attention of the wider Jazz world and no wonder. When you’re compared to Maria Schneider and praised by luminaries like Ted Gioia, you are well on your way.

The world as we knew it has been upended by a virus and the unfamiliar now demands constant attention; but as we reel from a plethora of new realities, we must not resile from re-examining what was under our nose. In isolation, few of us crave a conversation with our banker. Our desires centre around the arts. With our minds free to roam we form tableaus of reimagined paintings, we craft wonders out of found objects, we sculpt gardens, and above all, we immerse ourselves in music. 

Everyone loves music and as consumers, we have greedily accessed it without a second thought for the musicians. Now, they are our lifeline, our passport to sanity, and when we need them most they are there for us, giving us free concerts or releasing albums at the worst possible time. Income streams in the creative sector have been slashed drastically but the composing and performing continues unabated.  Artists must create, and for that to continue we need to support their endeavours. Buying albums like ‘Love is a Temporary Madness’ is the perfect way to do just that.  Purchase from Vanessa Perica Bandcamp

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. There Jazz Journalists Association created a Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association

 

 

Jazz On Lockdown ~ Florian Ross

Florian Ross ~ Reason and Temptation

The German musician Florian Ross is accustomed to working around the globe, but like the rest of us, he is now confined to home and studio. A prolific artist with more than 25 recordings to his name and a musical interconnectedness with countries as far-flung as Scotland and New Zealand. A few days ago he released a new album titled Reason & Temptation and releasing an album in these conditions is a challenge. There is no possibility of a live release tour, but happily, this album reached escape velocity and found us. It is a beautiful album and it will surely be grabbed up by improvised music lovers everywhere.  

I first came across Ross when his first album was released on Naxos. Since then he has constantly moved forward, listening carefully to the world about him and reflecting it back in his recorded output. His style while unmistakably European, draws on many sources, sometimes evoking a crystalline melodicism, at other times the jagged and joyful lines of Monks post-bop successors. His works are often composed for larger ensembles where the deftly woven textures are the first thing that come to mind. This album is about intimacy and space and the accompanying video gives it that context; manicured forests, vivid snowscapes, and comfortably distant cityscapes.

The album was recorded in a single day in July 2019 following a large ensemble recording. There is such clarity in these conversations and consequently, they bring a deep calm to the listener. In tunes like ‘Celeste’, the musicians interact without impeding each other’s space. One instrument becomes another and I found myself holding my breath so as not to spoil the magic.  In contrast ‘Teriyaki Terrier’ moves us closer to the profound otherness of Bley/Swallow/Giuffre’ in ‘Freefall’. Again, beautifully realised. ‘Shallow’ evokes snow falling through fir branches, ‘Swish’ is counter-punctual but as one voice, and so the album progresses. While these tunes offer differing moods or viewpoints, the whole ties together perfectly and the compositions rhyme as one. 

This is music to lose yourself in, to savour, so find a quiet place and take an inner journey. Perhaps there has never been a better time to do that with the traffic and aircraft all on mute.  You can purchase the album at www.florianross.de or the usual online outlets. The best way to support musicians is to buy their albums and to recommend them.

 

The musicians: Florian Ross (piano, compositions), Sebastian Gille (saxophone), David Helm (bass), Fabien Arends (drums), Recorded in Köln.

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. The Jazz Journalists Association created Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association

 

 

Jazz on Lockdown ~Hear it Here ~ John Rae

John Rae Wellington Musician

With humankind and their dogs confined to home, I set up a Zoom call with an innovative Wellington-based Jazz musician, John Rae. I knew instinctively that he was the right musician to initiate the lockdown interview series with. Rae is an important musician; here and well beyond these shores. He is a natural storyteller. 

Born in Edinburgh to a musical family, he began gigging at age sixteen. Accompanying him on those youthful gigs was his friend, saxophonist Tommy Smith. Later Rae worked with Smith in the Scottish National Jazz Orchestra. Rae’s recording output is prodigious and there is much to bring a listener joy among those offerings. I will add links.

While those in Scotland or England will associate him with his two BBC albums of the year or his ‘Herald Angel Award’ from the Edinburgh Festival,  New Zealanders will love him for his work with The Troubles. A Joyous anarchic Mingus like ensemble telling it like it is. Rae’s compositional work looks out toward the world and it frequently blends with ethnic music; Celtic, Japanese Koto, Middle Eastern. As a drummer he exhorts the band, standing up and urging them on, while his beats roil beneath them like a gathering storm cloud supporting the sky above. I was not surprised to learn that he had frequently visited New Orleans (and played there). I can hear that unique influence in his drumming. The perfect cushion and always conversational.

The good news is, that he has a number of albums ready for release or re-release. The re-releases include his ‘Best of John Rae’s Celtic Feet’ from the 1990s and amongst his newer offerings, a Troubles album ‘KAPOW’ (live at Meow).  His website is johnrae.biz  His current recording labels are: Thick Records at www.thickrecords.co.nz, Rattle Records at Rattle-Records.bandcamp.com  Please buy these albums and keep this important original music alive. Check out the samples on the website.

John Rae: composer, bandleader, arranger, educator, drummer, Celtic Fidler ~ improviser in all styles from swing to free.  

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. The Jazz Journalists Association created Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/ 

 

Jazz On Lockdown ~ Hear it Here ~ Exiles

Michal Martyniuk

At the beginning of the pandemic, it all seemed so far away. As of today 1/3 of the world’s population are in lockdown and New Zealand with them. A busy South Pacific Island was suddenly disconnected from the world; adrift except for an undersea fibre-optic cable. As confusion dominated the interim period, aircraft were grounded without warning and among the travellers unable to proceed was a touring musician; an improvising exile. Now, we are all exiles from our former lives and major cities have fallen silent.

I refer above to the Polish Pianist Michal Martyniuk, here on holiday and about to return to Poland. Luckily, he has family here and a reason to feel safe in New Zealand. With East European travel curtailed, he organised a gig at the only place he could find, a showroom. This was the last gig I attended before the curtain of isolation fell and it is therefore special to me. 

The venue was the Lewis Eady piano showroom with space for only a dozen chairs, the audience encompassed by a circle of Steinways. Beautiful instruments all; dark polished lacquer and keys gleaming like fashion-models teeth. We were all beginners at social distancing and a few random hugs occurred. After greeting friends, I approached Martyniuk to ask about the format. 

 ‘Eadys have provided me with their finest Steinway B and the acoustics here are so good that the piano will not be mic’d. Nor will the bass or drums naturally’. 

Although the floors were marble, the soft curtains and the cavalcade of pianos soaked up any liveliness. I was able to record the entire concert (mostly Martyniuk originals plus three standards). When leaving home I had realised that I had no video equipment ready, so I grabbed a Zoom recorder and a high-end Rhode mic. They sat on a wooden chair a metre away from the piano.

Cameron McArthur and Ron Samsom completed the line-up; both players having a long association with Martyniuk, accompanying him at Java Jazz and on an album. A few days ago I uploaded the material, savoured the experience. I might not experience live music for quite some time to come. This recording may be unmixed but it sounds special to me.

Michal Martyniuk Trio (NZ). Michael Martyniuk (piano), Cameron McArthur (upright bass), Ron Samsom (drums). recent album Resonance – michalmartyniuk.bandcamp.com

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. There Jazz Journalists Association created a Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/ 

Jazz on Lockdown series

Some missing music for those missing music. Hear it Here

Mark de Clive-Lowe (keys) in Auckland’s CJC a few weeks ago with Brandon Combs (drums) and Marika Hodgson (bass)

‘Don’t Dream it’s Over (N Finn), Chelsea Prastiti (vocals), Kevin Field (piano), Mostyn Cole (bass), Stephen Thomas (drums), Mike Booth (trumpet). CJC Auckland at Alchemy Live

Bird Song (Smirnova) Simona Smirnova (vocals), Alan Brown (piano), Cameron McArthur (bass), Jono Sawyer (drums) at Auckland’s CJC, March 2020.

The lockdowns won’t stop jazz! To assist musicians who’ve had performances canceled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to
https://news.jazzjournalists.org/category/jazz-on-lockdown/

Jazz on Lockdown ~ Hear it here series

My normal weekly post has been sitting in my ‘drafts’ folder for over two weeks. Since writing it,  my attention has been focused elsewhere.  Although in isolation, I am not referring to my personal situation but to the J JA ‘Jazz on Lockdown’ project which has rallied Jazz Journalists from every corner of the globe and asked them to respond collectively to the pandemic. My colleagues and I are now working together using an online workspace and our individual blogs may be delayed. Those who are able to have volunteered to join an editing working group as we grapple with the challenges of a fast-moving situation. This is a Jazz Journalists Association project aimed at keeping improvised music current and to get updates to and from countries on lockdown. 

Because of that, Spain first captured our attention. When the virus hit, a popular Jazz musician succumbed and soon every resident was under lockdown. As the virus spread, so did our focus and within days the problem had reached every country. One by one the great Jazz centres like New York closed and the iconic and much-loved Jazz clubs closed with them. When the city that never sleeps locks down, you know that you have urgent work to do. Jazz Journalists are not going to sit around moping; nor will we restrict ourselves to watching another era’s YouTube clips. It is the current musicians who need us the most. We are learning new ways of working and it is our intention to direct you to live gigs or the gigs of working musicians where we can. 

We need Jazz fans and Improvised alternative music fans to keep buying current albums. If there is a live-stream concert with a tip-button give them a few dollars. This is a new version of the pass-the-bucket tradition which goes back to the earliest days of Jazz. Many of the live-streamed concerts will be free, some could be pay-per-view. Buy their music and on Bandcamp or their website if possible. ‘Jazz on Lockdown’ will inform you of the links.  

Barry/Metheny/de Clive-Lowe/Alchemy/Smirnova/Martyniuk

The week before the virus arrived was a week of plenty in Auckland, but the above-named artists did not all appear in the same band. Nor at the same gig. They probably won’t mind if you think that though. Attending Ronnies a few years ago, I caught English pianist Kit Downes at the late show. This followed a sold-out earlier show featuring Kurt Elling. I informed Downes that my write up would begin ‘Elling opens for Downes at Ronnie Scotts’. He liked that. 

Arriving in a rush, as if waiting for the cooler weather came Pat Metheny, Steve Barry, Mark de Clive-Lowe, Alchemy, Callum Passells, Trudy Lyle, Simona Smirnova, and Michael Martyniuk gigs. As always, painful choices were required. 

Steve Barry Trio: Barry left Auckland many years ago; settling in Sydney and returning yearly to perform. Each time he visited there were new directions on offer, highly original material and each iteration offering glimpses of lesser-known composers. His recent albums have taken him into deeper waters still, moving beyond the mainstream. For those of us who like adventurous music, they have been compelling. Two albums were released last year. The first is on Earshift Music and the second on Rattle; both available on Bandcamp.  

‘Blueprints and Vignettes’ trod a path reminiscent of 60’s Bley; boldly striking out for freer territory and edging its way confidently into the classical minimalist spaces. That album was followed by ‘Hatch’ which is an astonishing album of stark pared-back beauty. It is an album pointing to new possibilities in improvised music. This concert felt more exploratory, with denser compositions and jagged Monk-like moments. He played one Monk tune halfway through and this reinforced the connection. 

Mark de Clive-Lowe: It was barely six months ago since de Clive-Lowe passed through Auckland during his ‘Heritage’ album release tour. He attracted capacity audiences then (and now). After years of living away from his home city, he is now reconnected to the Auckland improvised music scene and we hope that he will maintain that link. Having a room like ‘Anthology’ certainly helped, as its capacity is significant. During this tour, he treated us to a wider range of his innovative music; especially his Church Sessions. Showcasing the genre-busting underground gigs that he began in LA and which spread like wildfire throughout the world; giving fresh impetus to the improvised music scene and the endless possibilities looking forward.  

On tour with de Clive-Lowe was the respected LA drummer Brandon Combs. A drummer who can hold down a groove beat while working it every which way; able to interact intuitively with the electronic beats generated by de Clive-Lowe as he dances across the multitude of keyboards and devices. Together with locals Nathan Haines and Marika Hodgson, they created wizardry of the highest order. This artist is the wizard of hybridity and we are happy to remind people that he came from this city. Live re-mix, dance, groove beats, jazz, whatever: it has all been captured, mined for its essence and released for our pleasure.

Alchemy Live: This was the first live performance of the ‘Alchemy’ project. It followed the successful release of the eponymous album which got good airplay and deserves ongoing attention. The concept was the brainchild of producer Mark Casey and its realisation by the musical director and Jazz pianist Kevin Field. The pianist has created some truly fine Jazz charts and the assemblage of musicians he brought into the project brought it home in spades. The tunes have been selected from the New Zealand songbook. Perennially popular and chart-busting classics like ‘Royals’ and ‘Glad I’m not a Kennedy’. Artists as diverse as Herbs, Split Enz and Phil Judd. Because of mounting travel restrictions, several of the artists on the recording were replaced for the live gig. New to us, was Jazz student vocalist Rachel Clarke and she won us over that night.

Pat Metheny: This concert had been long anticipated and it was only the second time that he has appeared in New Zealand. In spite of the looming health scare, the town hall was packed. This was a retrospective of sorts as it featured his best-known tunes. Who would not want to hear a fresh version of Song for Balboa or the joyous ‘Have you Heard’? I loved the concert but two quibbles. I didn’t like the way the piano was miked and mixed except for one number. Gwilym Simcock is a great pianist. It would be nice to hear him in a trio and with an acoustically mic’d up Steinway. The star of the show (Pat aside) was bass player Linda May Han Oh. How stunningly melodic and how sensitive she was in each situation she encountered; solos to die for.

Simona Smirnova: This was Smirnova’s third trip to Auckland. By the time she had arrived in the country, people were becoming cautious about attending crowded gigs. She still attracted a good audience and those who did come were delighted with her show. The setlist was similar to her last year’s show but in the bigger Anthology venue, it sounded stronger. Smirnova interacts extremely well with audiences and they respond in kind. Her beautiful ballads (accompanied on the Lithuanian Kanklas) and her upbeat Slavonic styled scatting were the highlights. Her material is delightfully exotic, being an original blend of Jazz, Lithuanian folk music and beyond. Her voice is simply beautiful and her zither playing beguiling. She was accompanied by Auckland veterans Alan Brown on keys, Cam McArthur on bass and this time, Jono Sawyer on drums & vocals). I have some nice footage which says it best.

Michal Martyniuk: The last gig I attended before isolating myself was the Michal Martyniuk Trio. I did not have video equipment with me but I captured the concert in high-quality audio. I will post on that shortly and will be adding sound clips. You can purchase Michal Martyniuk’s albums at michalmartyniuk.bandcamp.com His ‘Resonance’ album review can be viewed on this site if you enter his name in the search button.

Jazz On Lockdown‘ posts will now move to the principle page and the Jazz on Lockdown page will feature information and links from around the world as the information comes in.

The lockdowns won’t stop jazz! To assist musicians who’ve had performances canceled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to
https://news.jazzjournalists.org/category/jazz-on-lockdown/.

The artists featured were:

Steve Barry (piano), Jacques Emery (bass), Alex Inman Hislop (drums),

Mark de Clive-Lowe (keys), Brandon Combes (drums), Marika Hodgson (bass), Nathan Haines (saxophones).

Marjan Nelson (v) Allana Goldsmith (v) Chelsea Prastiti (v) Lou’ana Whitney (v) Rachel Clarke (v) Kevin Field (piano), Roger Manins (saxophone), Mike Booth (trumpet), Mostyn Cole (bass) Ron Samsom (drums), Stephen Thomas (drums)

Pat Metheny, Gwilym Simcock, Antonio Sanchez, Linda May Han Oh

Simona Smirnova (v, Kanklas) Alan Brown (piano, keys), Cameron McArthur (bass), Jono Sawyer (drums).

Michal Martyniuk (piano), Cameron McArthur (drums), Ron Samsom (drums).

Jazz on Lockdown ~ hear it here

Buy from Bandcamp March 20 to help the Musicians during Covid-19 lockdown

Bandcamp informed us that they would be supporting artists during the Covid-19 pandemic. In an effort to raise awareness around the impact on musicians, they are waiving their revenue share on Friday, March 20. 

Jazz Journalists are supportive of the Bandcamp platform for a number of reasons. Firstly because it gives musicians control, and they can choose a pricing range for their albums. Of equal importance are the revenue returns where the artists share easily outstrips the other models. Bandcamp takes only a 15% share of revenue on albums and 10% on merchandise. Compare this to Spotify, Pandora or other platforms that can pay less than a cent per stream. The Bandcamp share drops even further once the album sales exceed $5,000. Buyers can also pay more than the artists recommended price and surprisingly over 50% do pay more. This feels more like a community than a business enterprise. It can also accommodate self-released material as well as cater to independent labels.

The Bandcamp site is beautifully designed and user friendly, unlike Spotify which is clunky by comparison. You can listen to a track once for free and it’s yours to keep for unlimited streaming (or download) once purchased. Remember iTunes downloads which had an expiry date? The app is free to download and once done you can set up your identity and share your playlists if you choose.

For Jazz lovers, there are other considerations and in particular sound quality. Lately, I have been downloading albums from Bandcamp in a whopping 32bit/48kHz format. That is audiophile quality and there are gizmos that enable you to stream this directly into your Hi-Fi system. 

Another benefit is that liner notes, artwork and full credits are back. When the big streamers stopped providing artists details it was insulting. I listen to high quality streamed music while reading the liner information on my iPad. Old school, new school rolled into one

The above paragraphs illustrate the divergence in philosophy between Spotify, other streamers and Bandcamp. Bandcamp is a grassroots platform and on the app, you can interact directly with the musician via a message box or post a recommendation. Spotify works a different way and it is aimed at the less engaged listener. An artist can do really well on Spotify if an album is streamed millions of times, but that is another world entirely from ours.  

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to
https://news.jazzjournalists.org/category/jazz-on-lockdown/.

https://daily.bandcamp.com/features/bandcamp-covid-19-fundraiser

https://news.jazzjournalists.org/category/jazz-on-lockdown/

My Bandcamp playlist recommendations for this month are: Rattle Records at rattle-records.bandcamp.com catalogue plus Chris Cody ‘Astrolabe’ chriscody.bandcamp.com and ‘This World’ Nock/Wilson/Stuart/Zwartz on lionsharerecords.bandcamp.com

I am moving the Jazz on Lockdown posts to this main page, but check out the blog page titled Jazz on Lockdown for cancellations and smaller notifications.

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association

Astrolabe ~ Chris Cody

No one is more fitted to sonically sketch the journey of the Eighteenth-century French explorer known as La Perouse than the Australian born Jazz pianist Chris Cody. In his bios, Cody is referred to as a French Australian musician and that is an obvious qualification. He also possesses an exquisite sensitivity when it comes to communicating complex truths. The colonist versus the indigenous peoples, the scientist versus the open seas adventurer.

 On this album, Cody’s improvisational compass has deftly navigated his way inside a vast sprawling seascape; found ways to lift the veil on colliding realities and woven them into a compelling saga. For all that, the album is not mired in abstract musings; it is grounded in the tangible. Cleverly, he avoids the strictures of the programmatic; opting instead for memorable glimpses, interesting mileposts. He weighs past against present, the science against belief, and all the while carefully preserving the mythologies that feed the spirit.  And like all of Cody’s work, the album evokes a timeless sense of place.  

When you live on the Pacific Rim it is inevitable that tales of ancient navigators capture your attention. Our present realities were shaped by them and for better or worse we are their descendants. There were so many notables, but the epic voyages of the ancient Lapita peoples are always omnipresent. While the Pacific was opened by these early navigators, the European late-comers are no less interesting. Cook is much talked about and the legacy of his voyages is mixed. Other men followed in his wake, as this was the age of scientific exploration, the age of enlightenment. In truth, the scientific voyagers served both science and the expansionist desires of empire builders. La Perouse on his ship Astrolabe was more scientist than colonist, but for all that, his untimely death contains an eerie echo of Cooks violent demise.  

In 1786, navigators relied on the compass for fixing latitude. To fix an approximation of longitude an instrument called the Astrolabe was used; an instrument with its origins in Greek antiquity. Complex mathematical calculations were required and losing your way was a constant hazard. As Harrison’s Longitude fixing watch was still under development, the methodology of open sea navigation often relied on dead reckoning. Dead reckoning sent more sailers to the bottom of the sea than to their destinations.  

Something akin to dead reckoning is close to what skilled improvisers do; risk being at the heart of an improviser’s performance. ‘Astrolabe’ the album, is a work composed for medium-sized ensembles. Piano, trumpet, multi reeds, trombone/didgeridoo/conch, violin, accordion, double bass and percussion. This offered Cody unique options and the textures he creates are marvellous. 

Mundus Vetus (old world) opens with the baritone clarinet establishing a motif over a measured vamp. This piece clearly references the court of Louis Sixteenth who commissioned the voyage. You can sense the courtly processionals and the formality. From that point on we are afforded glimpses of the new and exotic places along his journey.  The sounds of accordions, drums and pacific flutes come and go. ’Becalmed’ opens with trombonist James Greening on didgeridoo, soon overtaken by the crystalline unhurried pianism of Cody. This is music that absorbs and it is best experienced by letting yourself fall into it. It rewards deep listening. 

Departure – Astrolabe

I must also mention the striking physical appearance of the album. The outside cover features a misty ink wash Japanese style by Maya Cody. Inside, you will find extraordinary engravings by Jean de Bonnot and a booklet containing translations from the La Perouse ships journals (translated by the multi-lingual Cody)   

This album will definitely appeal to wider audiences and although it is a first-rate Jazz album it is also beautifully arranged. This is a journey to be enjoyed as a whole. I would place this album in the must-have category, so buy a copy early, preferably by visiting chriscody.bandcamp.com or by ordering it online. 

#random facts: a young Napoleon applied to join the crew and was rejected. Joseph Banks gave La Perouse some of Cook’s navigation instruments. La Perouse sailed into Sydney harbour a few days after Captain Phillip – a few days earlier and perhaps Australasians would be speaking French. Chris Cody lived 25 years in Paris working as a Jazz Musician. If you visit Cody’s Bandcamp page you can obtain all three of his recent albums digitally for $22.10 AUD

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association.