Alargo Live @ CJC

If Alargo had appeared in the year 1644, Matthew Hopkins, the Witchfinder General would have instigated an urgent investigation. Such was the supernatural wizardry and shapeshifting that occurred last Wednesday. On that night we were invited into new sonic worlds and transported beyond the mundane. The event occurred just after the passing of Jon Hassell and that made it especially appropriate. Hassell was a standard bearer for this measured, avant-garde music; and there were others. Eddie Henderson and Miles spring immediately to mind

The point of improvised music is to establish a form and then to craft something afresh. To build, shape and react in the moment, and above all to surprise. Sometimes the surprise comes softly, as a shape is crafted from an unexpected whisper. In the modern world the sources of sound are limitless, but the world is a frenetic and noisy place and we tend to overlook the deeper sounds or the slower journeys. 

This particular style of free improvised music takes its time to unfold, and in the process, moments of rare beauty are revealed. However, like all music, it has its structure. It is linear and it ebbs and flows according to the specifics of mood and pulse. Harmonies appear fleetingly then shift or fade. They exist to enhance mood. 

While it was technically a duo performance it was more than that. There were two musicians but they spoke in numerous instrumental voices. All of the voices were shaped in real time and shaped on machines both ancient and modern. It was acoustic and electric. It was analogue and digital and it worked well because the musicians understood and exploited the possibilities. It is seldom that you hear the subtler dynamic possibilities explored as effectively as this. 

There have been two Alargo albums released to date, and the good news is that another is on the way. This time Rattle is involved and the experimental nature and quality of the music renders it a perfect fit for the label. There were three tunes from Alargo’s Central Plateau album, two from the Primacy album and the rest were either new pieces or those to feature on the up-coming album. I have posted Actopia which is from Central Plateau, the longest piece of the night and a good showcase for this band. 

Keyboardist Alan Brown is a popular and celebrated Auckland musician. He is known for his versatility and deep grooves. It was nice to learn that his famous Blue Train band was performing again recently. As co-leader of Alargo Brown played (utilised) 2x iPads (as sound sources) with synths and effects-apps controlled through a MIDI keyboard, he also played an analogue synth, a darbuka drum and a Suzuki Andes recorder keyboard. 

Kingsley Melhuish is well known around town as a multi-instrumentalist. He is as likely to pick up a conch shell as a trumpet; vocalise or play reeds and other brass instruments. He is also a noted academic, composer and educator. On this gig he played trumpet, tuba, conch shells, percussion, vocal effects, a Boss Loopstation and iPad for effects.  

The Alargo albums are available via alanbrown.co.nz or in stores. Keep an eye on the Rattle releases for the up-coming album. 

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

Bonita ~ July 2021

The Bonita Project is fueled by good compositions, nice arrangements and above all by the exuberance of leader Chelsea Prastiti. It is the second time that Bonita has appeared at the CJC in recent times and people returned for more. It is a worthy project as it reimagines a time and rides on a powerful vibe; the sort that the world needs right now. There was always an easy-going breezy quality to post-war Brazilian music and that quality could beguile. Underneath, however, there is a powerful engine, as the melodies float over a plethora of complex rhythmic structures. 

It is impossible to listen and to keep your feet still as the urgency underlying the beachy vibe captures you. It is also true that in this golden era there were dangerous political undercurrents. Out of that dashed hope came a flowing of art forms and the authoritarian colonels who tried to snatch it all away could not silence the music. Many of the musicians like Elis Regina were harassed, but the music never faltered.

There were three arrangers credited on the gig, Prastiti, Sinclair and Passells. The compositions were by Prastiti (and with one co credited to Kenji Hollaway). Some of the tunes we had heard before, including the lovely ‘Cassandra’ (posted as a video last time). There were also new tunes and among them ‘Peter Pan’ was especially appealing.  The band had changed slightly from last time, with Connor McAneny replacing Crystal Choi. McAneny had been out of the country for a few years and his return is welcome. His piano playing has a muscular quality to it, which was less evident before he left. 

The opportunity afforded by a diverse sound palette was well utilised by the arrangers; bringing out the best in the music without overwhelming melody. This was achieved with three vocalists, an acoustic guitar, piano, double bass, percussion, kit drums, trumpet + flugelhorn,  clarinet + flute, tenor saxophone and a second flute. It was pleasing to hear a 12 piece ensemble perform in this way. A configuration like this allows an arranger to impart a degree of airiness out of a large ensemble sound. This was achieved by having the instrumentalists or the vocalists moving in and out of the mix as required. The tunes had lyrics, but just as often there was wordless singing. I love to hear the human voice used as a (non-verbal) instrument. Perhaps because of my ongoing enthusiasm for Winston/Wheeler/Taylor in their ECM ‘Azimuth’ days. This was a nice project and all the more so because it was presented with infectious enthusiasm.

Bonita: Chelsea Prastiti (vocals, arranging), Eamon Edmondson-Wells (upright bass), Ron Samsom (percussion), Tristan Deck (drums), Connor McAneny (piano), Michael Howell (guitar), Roger Manins (tenor saxophone), Elizabeth Stokes (trumpet/flugelhorn), Ben Sinclair (clarinet, flute, arranging), J Y Lee (flute), Rachel Clarke (vocals), Gretel Donnelley (vocals), Callum Passells (arranging). 

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

Andy Sugg NZ Tour

With the opening of borders between New Zealand and Australia, it was hoped that improvising musicians could begin touring again. Apart from three returnees and several stragglers who chose to shelter in place, we had not seen an international for fifteen months. Unfortunately, the pandemic reestablished itself in Australia and that window closed within a week of its opening. There was, however, one musician who timed it perfectly and that was saxophonist Andy Sugg. 

He flew out of Melbourne just days before another lockdown was announced and we were very pleased that he had slipped the net. Sugg is a gifted saxophonist with broad appeal and there was no better way to break the tour drought. The tour was billed as an album release but the setlist also included earlier compositions and two tasty standards. The album titled Grand & Union was recorded in New York in mid-2019 and released last year. For obvious reasons Sugg was unable to take to the road and certainly not with his New York-based bandmates. 

Grand & Union is a rail hub in Brooklyn but it is also a metaphor for the album. ‘A musical intersection where styles and motifs merge before moving somewhere else’. It is an album of diverse stylistic influences but the musicians’ craft a tasteful amalgam from the underlying base metals. In the liner notes, the leader mentions Stravinsky as a prime inspiration and ‘The Rite Stuff’ with its deep propulsive groove is the most overt reference; a stunning piece, which evokes the now without jettisoning the history underpinning it.  

Sugg is a particularly coherent improviser who takes a listener along as he tells his ear-catching stories, and his tone is particularly arresting. Warm as toast and seldom straying into the lower registers. On the soulful ‘Ruby Mei’, his sound reminded me of the great melodic improviser, Ernie Watts. Much credit is also due to his New York bandmates who are seasoned musicians all, and who worked as a tight cohesive unit. 

His Auckland gig featured a local rhythm section and they also acquitted themselves well. The first set opened with the title track Grand & Union and was followed by Ruby Mei and other tunes from the album, Then came a more expansive offering in several sections. This enabled Sugg and the band to stretch out. This was a gig of highly melodic offerings and as an added treat, the second set featured two popular standards. A musician said to me recently; playing a popular standard to a discriminating audience, means, that you must play it extremely well and you must insert something of yourself into it. They did. The standards were the gorgeous ‘Someday My Prince Will Come (Churchill/Morey) and the much loved ‘In a Sentimental Mood’ (Ellington). The audience shouted their approval, obviously delighted.  I have posted a YouTube clip from the Auckland gig. 

While each of the local musicians has experience playing with offshore artists, considering how long that has been, they were very much on form. Of particular note was Wellington drummer Mark Lockett. I could hear people commenting enthusiastically about his drumming between numbers. They were right to comment as he pulled one out of the bag that night. He and Sugg go back a long way and the connection was obvious. 

The gig took place at Anthology for the CJC Creative Jazz Club on 14 July 2021. I recommend the album and it’s worth checking out Sugg’s earlier album also. To order physical copies, download or stream, visit AndySugg.Bandcamp.com    

The album personnel: Andy Sugg/tenor saxophone. Brett Williams/piano & keyboards, Alex Claffy/acoustic & electric bass, Jonathan Barber/drums.

Gig personnel: Andy Sugg/tenor saxophone, Keven Field/piano, Mostyn Cole/acoustic bass, Mark Lockett/drums

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

O’Connor/Derrick/Johnson

Last Wednesday’s CJC gig brought us a feast of truly adventurous music and it was beautifully executed. It was ‘free’ and ‘experimental’ and although within the improvised music spectrum, it is probable that many in the audience would not have encountered a prepared piano before. At the heart of the trio was the critically acclaimed pianist Hermione Johnson with drummer Chris O’Connor and reeds player Reuben Derrick. Anyone unfamiliar with a ‘prepared piano’ trio performance could not have wished for a better introduction. 

The beauty of experimental music is that you can put away the straight jacket of preconception and bring your imaginings to bear. New and unexpected worlds can be crafted out of the fragmentary detritus of the old. This is surely the ultimate purpose of improvised music. Freeing us from the tyranny of the obvious. 

This performance dove into the heart of sonority; creating sounds not generally associated with the instruments that made them. The piano had been prepared before the audience arrived and I wish that I had seen it. I have been lucky enough to witness this ritual on previous occasions, and ritual it is. There is a concentrated delicacy required in instaling the objects which muffle or extend the range of a piano. It is an installation and the precursor of new music. Items like chopsticks are inserted precisely between adjacent strings or perhaps a metal bowl is positioned. Few if any in New Zealand exceed the artistry of Johnson in this regard. 

Excerpts from concert

And it was not only the piano that reached for new sounds. No one thinks twice when they hear an instrument’s range extended by electronic means, nor should they when this is achieved acoustically. O’Connor, the drummer’s drummer is the most familiar to CJC audiences. He is one of Aotearoa’s best-loved and most adventurous drummers as he sits astride many genres with deceptive ease. During this performance, he added colour via fingers, mallets, sticks, gongs or rims, and no available surface or drum position was left unexplored. And he underscored the deep pulse emanating from the piano, tapping out some passages with surprising delicacy. 

Completing the trio was Christchurch based reeds player Derrick. The last time I saw him perform was in 2013 with his ‘Hound Dogs’. That particular unit performed a Monk heavy set that was well-received as I recall. Since then he has travelled extensively to places like Warsaw, Colombo, Vienna and Ljubljana. He is a noted composer and has collaborated across many cultural traditions. His fluency on the clarinet automatically singles him out, as the instrument is famous for punishing anyone who takes it up half-heartedly. On this gig, he doubled on tenor saxophone and his uncanny ability to locate the acoustic possibilities on both was evident. It’s a pity that he doesn’t live closer, I am up for more of what he has to offer.

Derrick, O’Connor, Johnson

This was music but it was also performance art of the highest order. It stretched us as improvised music should. It was wonderful. The only way that I can begin to do it justice is by abandoning written syntax. Filigree, texture, tropical thunder, raindrops, gamelan orchestra, quasar, delicate motifs, deep pulse, sighs, dance, hot tiles, exquisite, exotic. It reminded me of the first time that I heard Bley/Giuffre/Swallow’s Freefall.  My ears were realigned after that experience.     

Hermione Johnson (prepared grand piano), Chris O’Connor (drums, percussion), Reuben Derrick (clarinet, tenor saxophone). The gig took place at Anthology, for the CJC Jazz Club, 7 July 2021

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

Henrique Morales Sextet

As pandemic upheavals continue, in New Zealand we count ourselves lucky. Not only are we one of the safest nations on earth at present, but we have also been experiencing more live music than most. Over recent months various streams of Latin music have come our way and last week we heard the Brazilian born Kiwi Henrique Morales at the CJC Jazz club. 

Morales has just released his first New Zealand album as leader ‘Alô Brasil’.  He has long been the frontman for the funky Batucada Sound Machine and Santiago Soul Stars and his current band is increasingly popular around town. His musical journey began at a young age in South Brasil, soon bringing him into contact with the most respected musicians of his region. This grounding proved fortuitous as it enabled him to become familiar with the many styles of Latin American music and in particular the regional variations of Brazilian music. 

While the music of central America frequently sheds sparks, the Brazilian musical styles are generally associated with a different vibe. They feel like a warm embrace.  Once the Jazz world had encountered Yao Gilberto, Elis Regina and the towering twentieth-century genius Tom Jobim, the linking of the two swing based styles was conjoined forever. Brazilian music in all its forms remains popular throughout the world and western influences like reggae and Jazz have readily been adapted and absorbed. Morales interprets the many styles of his home country including Brazilian popular music and Latin Jazz fusion. The material was mostly original compositions by Morales.

He appeared at the CJC with a slightly different lineup to that on the album. The saxophonist Thabani Gapara had been replaced by Daniel McKenzie. The remaining band members were Mark Baynes on the keyboard, Gustavo Ferreira on the bass, Jono Sawyer on drums and Fabio Camera on percussion. I liked the arrangements as they never overwhelmed the warm rhythmic pulse and the melodicism, both of which are so central to this music. 

After a long absence from the club, it is good to see Dr Mark Baynes back (twice in a month).  He has been concentrating on Latin musical styles for some time now and I can think of no one else locally who is better fitted to accompany South American artists on piano. He also brings his Jazz credentials to the music. His playing was a highlight for me with his Jarrett like vocalisations (freeing the spirit) and his Latin swing feel. Another treat was hearing the soft rich tone Morales evoked as he plucked the strings of his Godin A6 Ultra, a prince among guitars and perfect for Morales’s music. For a copy of the album check out a local store or best of all catch the band around town. 


JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites.

CTI All-Stars Tribute

Jazz Funk is a subgenre of Jazz and although it draws on R & B and Soul it is a distinct niche. While it draws on many sources, it never completely overlaps them. It is a black American sound. it is accessible with a strong backbeat, good arrangements and shorter but tightly focussed solos. Above all it is danceable and that brings joy. Back in the seventies, it received a measure of grief from both sides of the spectrum. Jazz purists complained that It was not cerebral enough or too reliant on electric instruments while some in the broader music press complained that it was too much like mainstream Jazz. 

From today’s perspective, such nonsense is laughable. When Jimmy Smith, Gil Scott-Heron, Herbie Hancock, George Benson and Freddy Hubbard started releasing stunning Jazz Funk albums the naysayers were left with album sized chunks of egg on their faces. 

A few days ago Ben McNicoll brought his popular Jazz Funk unit to the CJC. His unit is called the CTI All-stars Tribute band and the reference is a potent one. The original CTI Allstars were leaders who came together for a large California concert: George Benson, Freddie Hubbard, Hubert Laws, Stanley Turrentine, Hank Crawford, Johnny Hammond, Ron Carter, Billy Cobham and Airto Moreira. The CTI label was the brainchild of record producer Creed Taylor. 

Povo

A man whose legacy is incalculable. He worked at Bethlehem Records, ABC-Paramount, Verve, Impulse and A&M before founding CTI (and its imprints). He signed John Coltrane for Impulse, Antonio Carlos Jobim and Stan Getz to Verve. He signed Oliver Nelson, Gil Evans, Bill Evans, Wes Montgomery and many more. His last great project, the CTI label captured a moment in Jazz history, bringing with it those warm funk-infused albums and for a time, a wider audience.  

Crab Apple

McNicoll is a musician who puts in the hard yards and he captured the CTI vibe perfectly. While featuring a gig of covers is not a CJC thing, this was much more than that. Yes, CTI covers were aired, but only in the context of an over-arching project. McNichol’s band offered us a valuable window into this epoch and his selection of overlooked standards captured the vibe to a tee.  It was great to see these numbers aired as they are often left languishing in the shadows. 

The tunes were infectious and they soon brought people to their feet and on a chilly winters night, what could be better? They were tunes redolent of an era and they were happy tunes. For those in the audience around during the seventies, they brought back fond memories, for the rest, the joy of discovery. Among the tunes played were Freddy Hubbards ‘Red Clay’, ‘Gibraltar’ and ‘Povo’. The ‘Taxi’ theme, Herbie Hancock’s ‘Hornet (a funky tune written around two notes), A Bob James and a Wayne Shorter tune and very pleasingly Idris Muhammed’s ‘Crab Apple’, a Louisiana funk classic. This is the music that you can hear in the New Orleans clubs. A unique sound that rides a groove to the moon and back. 

McNicoll

I have put up the ‘Povo’ and ‘Crab Apple’ cuts. The band featured Ben McNicolls on baritone saxophone, soprano saxophone and tenor saxophone, Joe Kaptein on Rhodes, Mostyn Cole on electric bass, Kurt Dyer on percussion, Andy Keegan on drums and special guest Jason Herbert on guitar.  The gig was at Anthology, CJC Jazz Club, 9 June 2021.

I would also like to acknowledge McNicoll for his tireless work on behalf of the Auckland Jazz scene. Most know him as the person who introduces the gigs each week, but the observant will be aware that he also helps set-up and pack-down; he does the sound checks and sits at the ‘desk’ and on top of that he frequently organises gigs for other musicians. He is a prime example of how a not-for-profit organisation remains functional. In short, he us the archetypal (unpaid) A & R person.


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, poet & writer. Some of these posts appear on related sites.

Steve Barry Quartet

I clearly recall the first time I heard Steve Barry. It was around eleven years ago at the1885. He was not long back from Australia, bringing with him bass player Alex Boneham and drummer Tim Firth. At that time the Creative Jazz Club was located in a dark atmospheric basement; an ill-lit venue bordering on gloomy and perfect for a Jazz club. You would grab a drink, sink into a well-worn leather armchair with broken webbing and wait for the band to begin. 

The music that night was unforgettable. Somewhat denser than I was accustomed to at the time, but never-the-less fully engaging and exciting. When the second tune was announced I pushed record on my iPhone because I knew that I was hearing a piece of music that merited further attention. It was a tune that he was working on and it would appear on his first album a short time later. That was the year of Aaron Parks and his Invisible Cinema, and Barry’s tune was titled ‘Parks’. I listened to that phone clip an awful lot over the following months and I could hear the future. 

Each time Barry has appeared in New Zealand he has showcased fresh ideas. He is a forward-thinking and innovative composer/pianist and as such he never rests on his laurels. Although born in New Zealand, Australia claimed him long ago. He is popular there, has obtained a doctorate and awards there and teaches at the Sydney Con. As expected, he brought us new compositions this visit, but as I listened I was also reminded of that first gig. While he moves on constantly and is not composing or playing in the way he did back then, there is still a hint of that younger player. Of past learnings gathered and picked through as he builds fresh iterations, crafted in part from the bones. I am not surprised that he studied with Craig Taborn.

His compositions are no doubt demanding and require good responsive players. He had assembled just such a crew for his CJC Anthology gig. Callum Passels on alto, Cameron McArthur on bass and Ron Samsom on drums. Local musicians of the highest quality. Passels has a gorgeous tone, but what sets him apart is his ability to push at the boundaries. His best work occurs when playing compositions that afford him certain freedoms and these compositions worked well for him. At times he would run over the lines which contrasted nicely with his tight unison playing. The sort of advanced musical thinking I associate with Warne Marsh. Perhaps because this was a quartet, the music also felt more spacious. The density and serialism were still evident but as always with Barry, there were fresh vistas revealed at each turn. 

The gig took place at Anthology K’Road for the (CJC Creative Jazz Club). 2 June 2021. For Barry’s album visit Rattle Records or stevebarrymusic.bandcamp.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, poet & writer. Some of these posts appear on related sites.

New Dog Extra Strength

The genesis of DOG goes back a long way as I first reviewed them in 2012. Over that period they have gained various accolades and awards. They are Dr Lonnie Smith in reverse because the group began their journey as Dr DOG but then ditched the title to better accord with their egalitarian street-dog ethos. Their reputation extends well beyond New Zealand shores and their second album was recorded with guest Australian guitarist James Muller. They have two albums out on Rattle and both are exceptional. 

Their first album featured the core group, and each of them contributed compositions: Roger Manins, Kevin Field, Oli Holland and Ron Samsom, The second album followed the same pattern, but with James Muller contributing as well. These are all exceptional players and the albums have allowed them to place a deeper focus on their writing skills. When musicians of this ability come together they are better able to push past arbitrary limits. 

Ten years on there is a new guest in the lineup and as always there are new compositions from everyone. I hope that this recent gig is the prelude to a third album because together this iteration is crackling hot. With guitarist Keith Price on board, they moved into fresh territory and alongside the burners, there were touches of big-vista Americana. No wonder the gig was billed as the New Extra Strength Dog. At times it was Industrial strength.

Although the group is co-led, Roger Manins is the compare. Any gig that he fronts will have X-factor and this was no exception. The first set opened with a tune by Price and it was blistering. From the front row, it was like being in a jet-stream but it was not just bluster. Price is a terrific composer and this tune rode a freight train of tension and breathtaking harmonic shifts. It was initially titled #3unnamed, but now titled ‘Karangahape’ (a nearby street with interesting tensions). That set the pace. 

With one exception (the encore), these were all new tunes and each complemented the other. This was a feast of good writing, tunes played and written by musicians at the top of their game. In spite of their long association, it is obvious that these guys enjoy playing together. The respect and warmth shine through the music. They are in sync because they respect the music and each other. The large club audience picked up on that, thus completing the virtuous circle.

I  have posted the first and last gig tunes as YouTube clips. ‘Karangahape’ (Price) and ‘Schwiben Jam’ (Manins). Both of the DOG albums remain popular and they are available from stores or directly from Rattle (and on Bandcamp). If you don’t own copies grab one now, and if you do, buy one for a friend. We are lucky to have artists of this calibre in Auckland and if we show our support, more albums will surely follow. www.rattle-records.bandcamp.com 

Keith Price

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, poet & writer. Some of these posts appear on related sites.

Keith Price Double Quartet 2021

Jazz and Cinema are natural bedfellows and there was no better proof of this than with Keith Price’s Double Quartet gig. A few days ago the CJC held the New Zealand premiere of Price’s ‘New Improvised Soundtrack to The Good the Bad and the Ugly’ and what a rare treat that was. The two art forms have complemented each other since the early twentieth century. Even before the talkies, a pianist would sit watching a flickering screen while he or she would churn out improvised music. In the cinemas segregated for coloured audiences, there were aspiring Fats Wallers, and in the white-only theatres’ grandiose theme music was conjured out of thin air. 

While seldom defined as Jazz it was never-the-less reactive to the moment and the first talkie was a (now) controversial film called ‘The Jazz Singer’. Soon after came some iconic Jazz themed movies and in the era of the Neo Realists, a Jazz soundtrack or an incidental jazz segment was indispensable: Elevator to the Scaffold (Miles), Breathless (Martial Solal), Blow Up [Herbie Hancock). 

It is not always obvious that a Jazz musician has composed a movie soundtrack but a surprising number of films can lay claim to this connection. John Williams who wrote the Star Wars soundtrack (plus ET Jaws, Schindlers List etc) was a Juilliard trained Jazz pianist (who once worked as a Jazz musician in New York bars). We have Jazz musicians in our own community who often appear in the credits (Crayford, Langabeer etc)

In the case of Ennio Morricone, the reverse is true. He was never a Jazz pianist but his compositions have become jazz standards. I mention Morricone because he composed the original soundtrack to The Good the Bad and the Ugly. This work by Keith Price is not in any way based on Morricone’s score. Price has turned the concept on its head and created something vital and new, and in this case, drawing on the film images to blaze a new trail. 

Here, the images are subordinate or equal to the music and there is no incidental music to enhance the segments of dialogue. And because there is no spoken narrative something extraordinary occurs. We feel the music and absorb the images in new ways. It comes to us through many senses, through ears, body and eyes. 

This is a through-composed work, but with space and opportunity for the musicians to react to the images (and to each other). It features group improvisation, but there is nothing aimless about the work. Each segment is built on what proceeds it with the charts guiding the ensemble forwards as they interact.  

Excerpts from the concert

The ensemble was a double quartet and this doubling up of instruments required skilful playing and very good writing. Luckily we got both, and although the gig was loud, the intensity never tumbled into chaos. Each musician took on agreed roles, resulting in a heady, textural mix. There were two keyboards (piano and digital), two drummers, two basses (one upright, the other electric), a tenor saxophone and a guitar.  

Price was on guitar and guiding the music with prompts. In a semi-circle facing the screen and keeping an eye on the leader were, Ron Samsom (drums), Olivier Holland (electric bass), Mostyn Cole (upright bass), Malachi Samuelu (drums), Kevin Field (piano), Ben Gailer (keyboards) and Roger Manins (tenor saxophone). 

Ben Gailer, Malachi Samuelu, Mostyn Cole & Eli

An unexpected plus for me was having the cinematography of Sergio Leone untethered from the screenplay. A new piece of music to a timeless movie. He was a towering genius of the cinema and it was nice to be reminded of that as we appreciated the preternatural framing of each shot. Leone drew on Samurai tales for his Dollar Trilogy and in doing so he reached beyond genre. These are ancient archetypes reframed and more profound than the faux wild west of John Wayne or ‘Hopalong’ Cassidy. The function of archetypes is to live on through reinterpretation and thanks to Keith Price, this story lives on.

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, poet & writer. Some of these posts appear on related sites.

Mark Lockett Quartet

The Spirit of Ornette Coleman hung in the air last Wednesday, manifesting itself in the form of the Mark Lockett Quartet. It was a quartet devoid of chordal instruments. It was Coleman, not Mulligan. It was original music and an example of Coleman induced Lockdown creativity. The inspiration may have come from Coleman’s approach, but Lockett is a true original. He drums musically and tells stories at every turn. His tune titles, his solos and his announcements are tales from a true raconteur. He is a storyteller with an open vocabulary.   

I am always enthusiastic about a Lockett gig and with Lucien Johnson in the line-up, it was a sinch. I have reviewed several of Johnson’s albums, the last one, Wax///Wane, was especially fine. Like Lockett, he is adventurous and his musical fearlessness was an asset here. While Lockett composed the tunes (excepting two Monk tunes), Johnson was the principal arranger. 

The resulting gig was a tribute to freedom. The sort that shocked in 1959 and doesn’t know. Colman never abandoned the rules, he just invented new ones. His hard to nail down theory of ‘harmolodics’, an evolving rearrangement of hierarchy, with harmony, melody, speed, rhythm, time and phrases jostling for equality. I think that he would have enjoyed this gig as he never wanted followers. What he wanted, was fellow travellers and he found that with this band.

I can’t recall when I last saw a trumpeter, Oscar Laven. He was smokin’ last Wednesday and his forthrightness and bright tone, balanced out the thoughtful and softer toned explorations of Johnson on tenor saxophone. Everyone took solos and the notes they blew added something worthwhile. Behind them and pounding out meaty basslines was Umar Zakaria. We saw Zakaria recently when he fronted his own gig. Here, he was at his best, a Mingus like figure powering the music to greater heights. He was just the right anchor and the others benefitted from his solid earthy cushion.   

As the tour progresses throughout the Islands, the audiences will find much to enjoy, and as a bonus, they will hear Lockett’s tall tales of New York and elsewhere. His banter is worth the ticket price alone and if you add to that the joy of fresh sounding music, it’s a bargain. 

Mark Lockett Quartet: Mark Lockett (drums), Lucien Johnson (tenor saxophone), Oscar Laven (trumpet), Umar Zakaria (upright bass). The gig was at Anthology, CJC Creative Jazz Club, 22 April 2021.

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, poet & writer. Some of these posts appear on related sites.

Michal Martyniuk Trio + Dixon Nacey

The old adage ‘good things are worth waiting for’ proved correct last Wednesday. After two lockdown cancellations, the Michal Martyniuk Trio (+ Dixon Nacey), finally performed their long-awaited CJC gig. There had been much anticipation as the band is popular, and when the gig finally happened, everyone was excited. The European continent is a long way away and so we don’t hear many European bands live. The Martyniuk Trio (whether playing alongside Kiwi or Polish musicians), always manages to capture a piece of that northern vibe for us. 

I have previously reviewed Martyniuk gigs and they never disappoint. I like them because they are uplifting. I like them for their melodic and harmonic richness. Martyniuk is a gifted pianist, but his compositions and arrangements are real standouts. The Awakening, The Opening’ Jazz Dance etc. His tunes feel like modern standards and I never tire of hearing them interpreted afresh. He doesn’t rest on his laurels either, bringing memorable new tunes to the bandstand with each gig. 

A case in question was a soulful tribute to Lyle Mays (For Lyle). A reflective ballad, celebrating a creative giant now lost to us. The tune, captured the essence of Mays the musician while evoking sadness at his untimely passing. It was also somehow fitting that Martyniuk’s own tunes should be bookended by two Metheny tunes. Metheny’s and Martyniuk’s had been the last gigs I attended in the hours prior to the first lockdown. When tours stopped I recall wondering; when will I ever hear live music again? I listened to both Metheny and Martyniuk over the turbulent months that followed and recaptured the joy of those events. We are lucky to have live music again, and especially when so many others are deprived of it.

Another obvious reason for adding Metheny tunes to a programme of originals was the inclusion of Dixon Nacey in the band. Nacey’s interpretations of Metheny tunes are standouts. During recent gigs, he has introduced many of these into his repertoire and to much acclaim. He was very much on form last week and his soaring smooth as silk delivery filled the room. His warm sound also complimented the richness of the Martyniuk compositions. One of Nacey’s own compositions was also played.

Videoing this gig proved extremely difficult, as the room was dark and the sightlines impossible. It was also a packed house and so capturing the sound from a suitable location was compromised Those who want to hear more of the group should buy an album or go see them live.

The remaining band members, Cameron McArthur (bass) and Ron Samsom (drums) have long been part of the Martyniuk trio (NZ), having played with him for years and having appeared with him at ‘Java Jazz’. They are highly experienced musician’s and familiar with the material so they can explore its facets.  

Dixon Nacey

My recommendation is to buy Martyniuk’s records and to check out some of the recent YouTube vids captured in his native Poland or Auckland. I don’t know how long he will remain in New Zealand as his career in Poland is on the rise. While he remains here, do check his band out.  It’s a treat you should not deny yourself – from michalmartyniuk.bandcamp.com

The gig was at Anthology, CJC Creative Jazz Club, Wed 14 2021. Michal Martyniuk (piano), Dixon Nacey (guitar), Cameron McArthur (bass), Ron Samsom (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, poet & writer. Some of these posts appear on related sites.

Wouldland ~ Michael Gianan

Michael Gianan’s ‘Wouldland’ gig caught my attention immediately.  First off, was that wonderfully evocative title (and accompanying poster), suggesting a balm to ease our way through troubled times. For a lover of forests and explorative sounds, it was irresistible. I was hopeful that this event would hit the mark because I have kept an eye on the leader’s trajectory since he graduated with honours from UoA Jazz School two years ago. During that time he has been associated with some diverse and interesting bands. This was his second CJC gig as a leader and the proof was to be in the pudding. 

The gig title suggested an elemental offering and in many ways it was. While it referenced many ideas and styles, all were distilled to their essence. Out of this, Gianan had forged a clear vision. It was a surprisingly mature offering and his strength as a leader became apparent as the sets progressed. He knew exactly what he wanted from the musicians and he signalled his intentions as the tunes progressed. The compositions, while structured, did not confine the musicians. They were pieces written with the ensemble in mind.  

It was particularly evident in the head arrangements, which were anchors for the developments which arose from them. Brief exchanges between guitar and saxophone, momentarily broke free of the structure, and this contrasted with the steady bass lines and drum pulses. There were burners and ballads, and every twist and tune seemed to balance what had preceded it. 

Gianan’s guitar can be either nimble or deliberate, but he never tries to make it just about him. His comping is supportive while the flurry of exchanges with the other musicians are to the point. Gianan’s Jazz school alumni Lukas Fritsch was the perfect foil for him here. His alto lines tight in the heads, and stretching during exchanges. His lines are often elided and I like that, he can say a lot with what he leaves out. Knowing when to leave space is important and again this says something about the quality of the compositions. 

Completing the line up were two experienced musicians, Bass player Mostyn Cole and drummer Ron Samsom. Cole’s electric bass work has appeal. There were fragments of vibrato-tinged melody, played in unison; at other times a pumping groove. He was a late addition to the lineup and a good choice. We expect much from Samsom and we are never disappointed. He seemed to relish playing alongside his former pupil. He was on fire. 

I have put up a clip titled ‘Manara’. Unfortunately, the battery on my Rode mic gave out, so the filming relied on the camera mic. It is not ideal, but the music shines through. All of the compositions were Gianan’s. The tune titles were intriguing and added something to the vibe. Often Jazz musicians pay scant attention to titles, but not so with Gianan ( Wouldland’  ‘B B Tressler’  ‘Maegraeneous’ ‘Astigmatisn’ Manares etc). Enigmatic titles can add value and these felt like they belonged to the tunes.

It is noticeable when a gig flows naturally. Afterwards, something remains with you, an essence, not just a tune, but a sense of what the musician is communicating.  At times, this gig evoked a wistful feel, but it mostly suggested what could be. I for one will wait for what comes next with interest. 

The gig was at Anthology, CJC Jazz Club Auckland 7 April 2021 Michael Gianan (guitar), Lukas Fritsch (alto saxophone), Mostyn Cole (electric bass), Ron Samsom (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. Some of these posts appear on other sites by arrangement.

Hot Foot @ Creative Jazz Club

Happenstance is the midwife to surprise and in the musical universe, random events occur often. They appear unheralded, bringing chaos or joy and for seasoned improvisers, they are welcome visitors. So it was with Hot Foot, a band cobbled together in haste; a sonic singularity, a concentration of energy. The advertised gig was an organ trio, but at the last minute, that event was rescheduled, so with hours to spare, Roger Manins revived Hot Foot and how fortuitous that turned out to be. 

There is provenance to Hot Foot, but the details remain sketchy. Leader Manins hinted that they had once played at a village market but a long time ago. He introduced the trio with a story about a Sydney band of similar configuration. A saxophone trio he’d played in as a much younger man. For him, that had been a formative experience, a chance to play without the safety net of a chordal instrument. A chance to cut his musical teeth alongside more experienced players and to road test the Sonny Rollins Way Out West trio thing. 

On Wednesday, the spirit of Rollins hung over the proceedings, the way Manins gnawed away at a tune and tugged at its fabric without losing the form. We were treated to long intros where a familiar melody was hinted at, then abandoned to a flurry of arpeggios. It was riveting to watch and to hear. There were clear signals and subtle hints as the intros unfolded; sometimes accompanied by verbal exclamations or questions directed at the audience or to Jazz School students. The solos were extracted from the tunes by paring them back and then exposing the naked ideas; sometimes stopping at the brink of freedom. If this sounds chaotic it was not. It was a masterclass for Jazz lovers and it was realised in a spirit of joy and levity.

A saxophone trio reveals the melodic lines unadorned, but in doing so there are specific responses required from a bass player and a drummer. Cameron McArthur’s bass gave us some pared-back harmonic references and more importantly, he centred the trio. In this instrumental configuration, it is important that a bass player holds the form, and McArthur did so admirably. This not only gave the saxophonist the room he needed but opened up opportunities for the drummer.

Drummer Ron Samsom made the most of his space and his musical intelligence came to the fore. His was a modulated voice as there was nothing that intruded or jarred, there was a pulse but it was mainly implied. He explored the kits melodic possibilities and added flashes of colour. Improvisers function best in a high trust environment and that was what we saw last week. It is here where experience counts and where a band manifests personality. 

The gig also unleashed Manins alter ego, Comedian Roger. There are often flashes of humour in his musical performances and it is especially evident when he introduces tunes. He never takes himself too seriously and this balances his serious commitment to his art form. His humour is unplanned and you never know what is coming next. The CJC audiences love to see this side of him. The clip I have posted is a Monk tune titled ‘Ask Me Now’. This is a favourite of mine and judging by the whoops of delight when the coda morphed into the tune, it is an audience favourite also. The bravura, the exploration, the verbal interactions; Among the tunes played were songbook standards like favourite ‘Sunny Side of the Street’ (Dorothy Fields/ Jimmy McHugh), Strode Rode (Rollins) and an Australasian Jazz standard, the blistering rendition of Bernie McGann’s ‘Latitude’. Ask Me Now is a question I am happy to answer. Yes, this was a very good night.   

Hot Foot Saxophone Trio: Roger Manins (tenor saxophone), Cameron McArthur (upright bass), Ron Samsom (drums)

The gig took place at Anthology, CJC (Creative Jazz Club), Auckland. March 2021

Ben Frater & Rachel Clarke

Emerging Artists night

It’s impossible to over-estimate the influence that the CJC (Creative Jazz Club) has had on the Auckland and wider New Zealand Jazz scene. For those unfamiliar with its history, the club was set up over a decade ago, as a place to bring original improvised music to discriminating listening audiences. A secondary function was to ensure that emerging artists were given a shot on select gig nights. Last week brought two bands, the Ben Frater Band and the Rachel Clarke band. 

Frater is an undergraduate at the UoA Jazz School and for an emerging performer, his drum-work shows surprising maturity. In common with many up-and-coming performers, his approach is not confined to any particular style and this openness has informed his approach. The gig was billed as swing influenced, but leaning towards fusion, and the descriptor was accurate. Frater is a compelling drummer and he will further enrich the local scene. 

The leader enrolled former and current students for this gig and in consequence, a shared vision was evident. CJC audiences are by now quite familiar with guitarist Michael Gianan and with keyboard wiz  Joe Kaptein; both have featured often during the last year. The other band members were Jimmy Olsen on electric bass, Andrew Isdale on tenor saxophone and Jack Thirtle on trumpet.   

Olson was a powerhouse with those urgent pumping bass-lines; the sounds of Jazz-fusion deserve slippery grooves like that. And Kaptein impressed as he always does, his calm demeanour belying what was flowing from his fingertips. He backed into the pieces like a pro and established grooves on top of grooves; then he reached underneath the bonnet and messed with the sound in a good way.  

The groove tunes took a bold step in the direction of improvised Jazz electronica; the direction of Eivind Aaset in particular. I hope that Frater takes us further down that road. It has until now been a Nordic sound and it is extremely popular in the northern regions. This band gave it a Kiwi flavour, and I for one am ready for more. I have posted a clip titled ‘Montgomery’ (Frater).

The second set brought us, vocalist, Rachel Clarke’s band. Clarke had assembled some formidable firepower. Ben Frater and Jimmy Olsen were present again, Gretel Donnelly and Chelsea Prastiti as backing vocalists, Nathan Haines on flute, Alex Pies on guitar and Ron Samsom on percussion. Clarke is a recent graduate from the UoA Jazz Programme and I first heard her when she was called on at short notice to replace Caitlin Smith at a live gig, just days before the first lockdown.   

All of the tunes in Clarke’s set had a Latin flavour and more specifically, a Portuguese flavour. Many of the tunes were sung in Portuguese. Again, it is a credit to the Auckland University Jazz School that they nurture such diversity within their programme structure. Out of this diversity, an Auckland sound is being forged. 

It can be daunting to find yourself in front of a large discriminating Jazz audience, but Clarke demonstrated her ability to win an audience over. She has a fine voice and she mastered the rhythmic complexities of her Latin tunes with ease. Alex Pipes also nailed the rhythms, with Olsen, Samsom and Frater adding counter pulse and texture. Nathan Haines provided perfect fills and a gorgeous solo or two. His Latin Flute chops are legendary.   

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. 

Ruckus, 2021

For those who don’t live where we live, live gig reports could feel like salt rubbed into a wound. I write from a warm Pacific Island. A place where the virus is not in the community but where we can roam free (we don’t have snakes) and where we have live music available. We have had two short sharp lockdowns this year and as we emerged from each of them, the music venues filled up with enthusiastic punters; so what better way to exit the last lockdown but with joyful noise. Ruckus is a genre defying, assemblage of anarchic improvisers under the guidance of David Ward. 

 Last week saw the inclusion of saxophonist J. Y. Lee in the Ruckus lineup and his bold delivery added piquancy. There were three Monk tunes performed, and on these, Lee played Baritone saxophone. The richer palette worked well and the contrasting instrumentation gave the jagged bouncing lines of Monk’s compositions a rich earthy feel.  Ruckus is one of several local groups which invariably include Monk tunes in their repertoire. Ward’s quirky Monk arrangements are always worth listening to.

Ward’s arrangements for Ruckus are also notable for their eclecticism, their lack of cliche. blues, Americana, latin tinge, free and swing and all fused into a jazz-grounded brew. There were folksy ballads and a tango referencing tune (I have posted the latter). This time, there was less Americana influence but it was still evident. The band’s sound is crafted from pedal steel guitar, a standard electric guitar (or guitars), drums, upright bass and multiple saxophones. 

As always, Neil Watson alternated between pedal steel guitar and standard electric guitar. He and Ward are old hands at this material and they play off each other well. When both played guitar they never got in each other’s way, throwing challenging lines between them or else comping quietly as they laid down a cushion for the other. 

Eamon Edmundson Wells upright bass work stood out on this gig. He sounded great. This is the type of band where he is at his best, the type of band where a degree of freedom is afforded him.  Tristan Deck again proved his worth as a multi-faceted and capable drummer. I loved the stick work on the tango-esque number.

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. Some of the posts also appear on other sites.

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. 

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

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

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

Griffin / Chisholm / Meehan

Norman Meehan and Hayden Chisholm are always well received when they perform at Aucklands CJC Creative Jazz Club. There have been various iterations of their line ups over recent years and all of them compelling in different ways. The Unwind quartets attract big audiences and rightly so. This particular band was co-led by Chisholm, Meehan and Griffin, with Julien Dyne and Cameron McArthur rounding off the quintet. I was particularly delighted to see Hannah Griffin on the bill, as she occupies a unique and interesting musical space among improvising vocalists. The gig showcased iconic twentieth century New Zealand poets and Griffin’s impressive vocal skills were exactly what was required.   

Jazz lovers of a certain age often categorise vocalists according to how well they enunciate their lines. Whether that is important or not is debatable and it depends very much on context. I am generally more focused on phrasing and time feel and I like to hear a word stretched to fit an interpretation. If it’s a standard, then we know the words and having them messed with is part of the joy. I also listen to a lot of wordless vocal improvisors like Sidsel Endresen. 

When it comes to interpreting poems though, the clarity of the words does matter and Hannah Griffin gave a master class in balancing the many aspects of vocalisation. She does not merely intone a poem, she is part of the band and her melodicism is paramount in the mix. She can enunciate and still pay phrasing its due.

The first thing about this band is the way they respond to each other, sometimes finishing each others musical sentences. This seamless interaction is especially evident between the three leaders. Meehan is a master of understatement and his gentle swing can quickly bring a smile.  His default minimalism always serves the music well but it is on reflection that you realise just how powerful and judiciously placed those chords and sparkling runs are. He doesn’t require a percussive touch to make a big statement. I suspect that most of the arrangements are his as well. 

Chisholm always takes your breath away and from the first note, the emotional content in his playing is quite unmistakable. This is the sort of gorgeous alto playing seldom heard and you dwell on each note and phrase, marvelling at the purity of tone and the compelling story telling. His ability to deploy his multi-phonic technique, simply jaw dropping.

The other thing which grabs you is the sheer beauty of the bands sound. By that, I do not mean just pretty for it goes well beyond that. All of the emotions are engaged and the effect on a room is noticeable. Dyne is a popular local drummer who works across genres and who is sought after  around town. He has played with Meehan and Chisholm previously. Griffen has appeared predominantly with Meehan and in gigs similar to this. McArthur was the new-comer to this particular lineup but you wouldn’t think so. His reading abilities and his intuitive grasp of the music maintaining his usual high standard.   

At the previous Griffin, Chisholm, Meehan gig the band had Bill Manhire on stage, and as icing on the cake he introduced the poems. Gigs like that are hard acts to follow, but fast forward to 2020 and the band more than pulled it off. By extending the range of poets and poems our interest was engaged in new ways. My greatest pleasure was hearing more poems by the much lamented Dave Mitchell. More gigs like that please. You can purchase albums featuring these artists from Rattle Records at rattle-records.bandcomp.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. 

Porter / Rozenblatt @ CJC

It is seldom that we encounter a critically acclaimed New York Jazz Trumpeter with an Auckland tour itinerary, but this week the drought was broken. Charlie Porter is a versatile musician and one with impeccable credentials. He is a Grammy-winning artist whose star is on the rise. When you check out his bio you learn many things of interest, for instance, that he has parallel careers in Jazz and classical. The inclusion of Auckland was partly down to bass player Mat Fieldes (and of course Roger Manins). Fieldes is a popular musician who has recently returned from a long stint in New York and he has worked with Porter previously. Sharing the top billing was Grammy-nominated New York drummer David Rozenblatt.  Rozenblatt is another musician who works across genres and like Porter, his Jazz chops are something to behold. 

Charlie Porter

I arrived early and watched the brief rehearsals, noting that Porter exhibited a focussed down-to-business demeanour on the bandstand. The sort of discipline you need to survive in New York. As soon as he was satisfied he smiled and thanked the musicians, then moving among those setting up the club, he introduced himself, friendly and relaxed. These are the hallmarks of the professional. Playing with an unfamiliar rhythm section may be commonplace in Jazz but pulling together a good performance while on the road, and with pick-up musicians requires a good leader. Porter and Rozenblatt share a history, performing together often. The remainder of the group were Mat Fieldes (bass) and Dixon Nacey (guitar). The latter was meeting the two New Yorkers for the first time.

David Rozenblatt

Porter possesses a fulsome clean tone (think Brownie), but his rich strong sound can change in an instant when he swoops to the lower register, his trumpet emitting a dirty growl and rises as the bell emits a cascade of fluttering squeaks.  While the growls and flutters are not dominant features of his playing they add vital splashes of contrast and colour. You can hear the deep south in his sound, and especially New Orleans, but on upbeat numbers, he can edge closer to the second Miles quintet. The elided phrases, the sting. His compositional strength was on show as well and although there were a variety of moods there was a logical arc to the setlist.  His eponymous new album has the same logical progression and on that, there is an even greater stylistic variance. He is not a slave to style or even genre and perhaps this why he sounds so fresh.

Dixon Nacey

When performing before an audience Porter exudes easygoing confidence, that belies his years. Such confidence is usually found in older musicians, but check out his story and all of the above makes perfect sense.  He was trained in classical trumpet and won a Fulbright scholarship to study in Paris, he was mentored by Winton Marsalis and is connected spiritually to the music of the deep south. During the evening he played one or two numbers which referenced New Orleans (particularly Rhumba for Sticky) and on his album, the tune ‘Morning Glory’ caught my attention. I have just returned from New Orleans and Morning Glory connected me back to Henry Red Allen.  

David Rozenblatt’s drumming fascinated me. It was joy-filled, wildly exuberant but purged of unnecessary clutter. Many of the younger drummers I hear are time tricksters, and while this is impressive it can also clutter up a sound canvas. Rozenblatt had something of the swing drummer about him, but overlaying that was a colourist sensitivity, the warmth of a great rhythmic conversationalist. Fieldes was also right on the money. His melodicism and lovely time feel filling out the sound without getting in the way. We export many great bass players from New Zealand, but having Fieldes back on home ground is our good fortune. Dixon Nacey needs no introduction to either Aucklanders or to wider New Zealand. He is rightly regarded as one of our finest guitarists and consequently, his work schedule is frantic. Because of the many projects he juggles, he has less time to perform in local Jazz venues but happily, he was available for this. He is a favourite with club audiences and a draw in his own right. We have come to expect the best of him over the years as his trajectory is ever upward. He has long been noted for his Sco-like credentials but as we saw last Wednesday, he can adapt to a variety of improvising situations with ease. 

I have posted a track from the gig titled ‘divergent paths’.  It was the first up and it set the tone for a crackling evening to follow. To purchase the album go to www.charlieportermusic.com (digital downloads, CD’s and vinyl available. The posted track was supplied by Charlie Porter. 

Mat Fieldes

Alex Ventling Trio (Switzerland)

The summer break seemed endless with its hot nights, warm breezes and parchment dry days.  Nature shrivelled as the birds stopped singing and the trip to the Hi-Fi became too onerous. There is something about a prolonged heatwave that makes you both lazy and restless at the same time. This is also the time of year when Aucklands premier Jazz club takes its Christmas break and so the resumption of the gigs was happily anticipated.  The first gig of the year was the Alex Ventling trio and what a great way to ease into February. Ventling is a New Zealand ex-pat, but one who settled in Switzerland many years ago. He and his fellow musicians are all from Basel, a part of the Swiss Confederation and speakers of a German dialect.  I passed through there once but all that I can remember was a recommendation from a friend. Stop there if you can, Basel is a jazz city.

This was Ventling’s first gig for the CJC Creative Jazz Club and it attracted a large audience. They poured through the doors escaping the evening’s heat; needing cool and finding it. The venues piano is not without its challenges but on this night it sang sweetly. Partly because it had just been tuned but it was mainly because of Ventling’s sensitive touch. Many pianists tend toward the percussive in a larger room, but this programme required subtlety, room to breathe. The set-list tunes were well crafted and with a heavier touch, the expressiveness would have been sacrificed.  We don’t get too many piano trios through and this trio operated as the best of them do. The musicians listening to each other, reacting, and playing as if they were one entity. It is almost impossible for this level of communication to occur unless a trio has been together for a time, and in this case, they were not only long term bandmates but on the last stop on the tour.

Most of the tunes were originals, but two were interesting reharmonisation of Jazz standards. For instance ‘All Blues’ which hinted at Mehldau Americana voicings;  the astonishing reharm of ‘Someday My Prince Will Come’; the latter truly delightful, surprising, and decidedly edgy. The original melody cast to the four winds as new joys were plucked from the changes. The originals were captivating and especially ‘Expecting the Unexpected’ and ‘Vorfreude’. The later title, one of those uniquely precise German words meaning the joy you feel when looking forward to something. Whatever the German word is for looking back with pleasure, that was the emotion the audience was left with at gigs end. The interactions throughout were impeccable, reminding me of a Pieranunzi trio. The bass player James Kruttli and the drummer Phelan Burgoyne were as riveting as the pianist. This was a trio where your eyes and ears moved constantly from one to the other. We watched in utter absorption and for two hours we forgot the swelter looming ominously outside.

A recent album by the Alex Ventling Quartet was on sale at the door and it is stunning. ‘Alex & the Wavemakers’ has a different lineup and features a vocalist Yume Ito. This is closer to the ECM esthetic and is Jazz Art Music at its very best. The fourth track ‘Trailblazer’ was to my ears furthering the blissful journeys begun by Norma Winstone, John Tayler and Kenny Wheeler. You can find Alex Ventling on Bandcamp or at http://www.alexventling.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. 

Emma Gilmartin & James Sherlock

Gilmartin Sherlock.jpgI was barely off the plane and my brain was full of dense fog, no doubt a legacy of San Francisco Karl who had been circling me like a spectre for a good month. I gamely fought the malaise off and because I am a creature of habit, dutifully made my way down to Auckland’s CJC Creative Jazz Club. In my experience, it pays never to miss a live improvised music gig, because if you do, you risk bitter regret. Believe me, I often lie awake lamenting a missed chance to see John McLaughlin. 

Last week the Australian Duo, Emma Gilmartin and James Sherlock were on the bill accompanied by Christchurch Bass player Michael Story and Wellington drummer Mark Lockett. Lockett, who helped organise the tour, is a mainstay of the Wellington Jazz scene and offshore musicians like this arrive due to the skilful tour-on-a-shoestring wrangling of his ilk. We get to hear these Aussie, European and American bands in our New Zealand Jazz clubs, largely because of the work put in by a handful of dedicated musicians like Roger and Caro Manins (and Lockett). These organisers pitch in uncomplainingly as they lock down the events and we benefit as a result. Consequently, New Zealand has developed a rich improvised music circuit and a debt of gratitude is owed to the organisers (and to the volunteers who quietly assist). 

Emma Gilmartin is a Melbourne based vocalist, composer and teacher and it was her first time performing in Auckland. She has received praise from the Australian music press and is one of an increasing number of gifted vocalists emerging out of the Australian Jazz scene. She is pitch-perfect and her appealing voice finds the corners of a room with ease. Like all good Jazz vocalists, she imparts a mood of engaging intimacy. Her co-leader on this tour, was guitarist James Sherlock, a notable musician and the perfect foil for a vocalist. An accompanist who understands how to enhance vocal performance by offering challenges and he knows how to comp without getting in the way. He is a gift to any vocalist.  On solos, he also excels, at times bringing to mind earlier greats like an Oscar More (behind Nat Cole). Christchurch Bass player Michael Story rounded off the quartet nicely and it was obvious that he was enjoying himself. Again, he was the right person for the ensemble.

The program was a mix of tasteful standards and interesting originals. I have put up a clip which demonstrates the strengths of the quartet – witness the tasteful musicality of Lockett’s drum solo as the band digs into a swinging version of ‘Nica’s Dream’ by Horace Silver.  Gilmartin appeared to be relishing her time in New Zealand and she announced that she would try and return next year. We hope so.

Emma Gilmartin (vocals), James Sherlock (guitar), Michael Story (bass), Mark Lockett (drums). The gig took place at Anthology, K’Road, for the CJC Creative Jazz Club, 4 December 2019

Ocelot

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

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

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

 

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

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

  

 

Dixon Nacey ~ The Edge Of Chaos

 

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

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

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

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

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

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

Keith Price ‘Upside Downwards’

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

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

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

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

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

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

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

Reuben Bradley ~ Shark Variations

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

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

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

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

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

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