The Melbourne group Spirograph Studies was exactly as described, modern and eclectic. In this quartet, there were no horns to carve out melodic lines. Instead, a guitar and piano spun intricate layers one on the other, focussing more on well-crafted motifs and harmonic development. There was melody but it was mostly implied, nestling comfortably among richly dissonant textures and emerging out of the subtle interplay. It was often voice-led but not as we know it and the overall effect was beguiling.
The playing was great but what also stood out were the compositions. What we experienced was an unmistakable Jazz Americana vibe. There were no actual Frisell tunes played but the great man’s essence hung in the air; residing most strongly in the interactions between leader Tamara Murphy and her bandmate Fran Swinn; Murphy the enabler and Swinn the ideal vehicle for realisation. As Swinn stroked the chords, the soulful utterances reeled us in; urged on by the bass. With music as delicately layered as this, no band member can afford veer off coarse and none did. This was a disciplined ensemble but in spite of that, the music flowed effortlessly. Their overall sound was warm and yet it tugged on the heartstrings, hinting at a distant sadness. The signature sound of Americana, where every note is weighted with nostalgia.
The other core band member was drummer James McLean. A drummer who showed his ability by responding appropriately to the textural subtleties and propelling the gentle swing feel. His brushwork was crisp and his stick-work understated so as to reside inside the music and not all over it.The pianist on the ‘Kindness not Courtesy’ album was Luke Howard, but on their Australasian tour, his role was alternated with Sam Keevers. I have heard Keevers before as he is a well respected Australian pianist. For a long period, he held the piano chair in the Vince Jones group (a coveted position held before him by Barney McAll).Having Keevers onboard during the New Zealand leg worked a treat. A skilled accompanist who knows a lot about supportive playing and comping. The Piano and guitar interacting seamlessly and moving in and around each other’s phrases like dance partners.
Andy Sugg’s collaborative album ‘TTTenor’ was cut in Melbourne back in 2006 and rightly, it has garnered praise. In a land of significant horn-players, the tenor triumvirate of Sugg, Oehlers, and Wilson was a standout. Three gifted saxophonists who capitalised on the imaginative charts to showcase their formidable skills. Completing the original sextet was an immaculate rhythm section – Paul Grabowsky (piano), Gary Costello (bass) and Andrew Gander (drums). Since then, Sugg has recorded other albums like ‘The John Coltrane Project’ ‘The Berlin Session’ ‘Brunswick Nights’ ‘Wednesday at M’s’ and ‘Tenorness’.He has also been involved in numerous International projects (including writing and lecturing). He was an adviser during the making of the John Coltrane feature-length documentary film ‘Chasing Trane’. All of the above have brought him critical acclaim.
In spite of Sugg’s busy schedule, the ‘TTTenor’ project was never retired. Last week he teamed up with Auckland’s Roger Manins and Canberra’s John Mackey to present a new and exciting iteration of the TTTenor group. To complete the sextet were, Mark Lockett on drums, Kevin Field on piano and Cameron McArthur on upright bass.This was not a reprise of the older material as new compositions and interesting charts had been created.This time, the different stylistic approaches from the three tenor players gave added contrast during solos and a rich texture was noticeable during the head arrangements. Three-tenor-gigs are not commonplace and I suspect that writing for three instruments occupying the same total range presents challenges.Throughout the head arrangements, the skillful voicing was evident. Dense beautiful harmonies which set the mood for the solos which followed. Inviting the soloists to mark out their points of difference in that space.
Sugg is a versatile artist and on many of his albums, the influence of Coltrane is unmistakable. It is there in spades on soprano offerings but on tenor, there is an added something that perhaps draws on earlier influences. He is a muscular player and the phrases which flow from his horn seem so right that it is hard to imagine any other possible note choices. This fluidity when storytelling is perhaps his greatest gift. Manins while also a muscular player takes a different path. He is a disciplined reader in an ensemble situation and it, therefore, amazes those unfamiliar with his playing when he dives into his solos, urgently seeking that piece of clear sky ahead and reaching for joyous crazy. While there is considerable weight to his sound, he frequently defies gravity when the excitement of his solos bursts free of the expected.John Mackey was previously unknown to me, but I found him compelling. His approach to solos was thoughtful, leaving lots of space as he backed into a piece. His storytelling developed methodically, taking you with him as he probed the possibilities. His skillful use of dynamics, a softer tone early in his solos and during ballads. His solo destinations were often heart-stopping in their intensity. This Contrasted with the other tenor solos and gave the project added depth.
The pianist Grabowsky is a very hard act to follow but Field managed to carve his own space with ease. His signature harmonies and rhythms giving the others much to work with. His own solos a thoughtful reprise from the front line horns.CameronMcArthur is a first choice Auckland bassist and he lived up to his reputation on this gig.
Mark Lockett is an original drummer and perfect for the gig as he has worked with Sugg before. He certainly pleased the audience last week, accenting phrases and pushing them to greater heights. Near the end, he gave an extraordinary solo, not a fireworks display but a master class of melodic and rhythmic invention, aided by gentle and occasional interjections from Field and McArthur.
This was the first gig at the new venue. The attendance was good and everyone appeared wowed by what was on offer. This gig sets the bar high and why not. Australasian Jazz produces some amazing talents. I have put up a clip ‘TTTenor’ playing John Coltrane’s ‘Naima’ – the sound quality is less than perfect as the bass drops right out once the tenors begin – I am working on that – spacious new venues can definitely be a challenge, sound wise.
‘TTTenor’ was: Andy Sugg (tenor saxophone), Roger Manins (tenor saxophone), John Mackey (tenor saxophone), Kevin Field (piano), Cameron McArthur (upright bass), Mark Lockett (drums). 5 June 2019, Anthology K’Road – CJC Creative Jazz Club
The value of having a Jazz Club in your city should never be underestimated as the experience of hearing quality live music in an intimate setting is far superior to anything that you will experience in a concert hall. Even international musicians tell you this although it is against their best interests to say so. What you pay the big bucks for in the concert hall or stadium, you buy for a pittance at a small club doorway. In addition, you get to meet the musicians and best of all experience the music up close. This post is to remind people that Auckland’s premier Jazz Club, the CJC has moved to Anthology 375 K’ Road, Auckland City. Tonight, TTTenors with Manins, Sugg & Mackey.
The CJC came into being around eleven years ago and since its inception, there have been at least five moves. The audience always follows like pied pipers and I have no doubt that they will make the switch from Backbeat to Anthology seamlessly. What we have in the CJC is a gift of inestimable value. Its mission is simple. Showcase high-quality original improvised music and provide a place for musicians to play. As a not-for-profit enterprise, it runs on good-will. Underpinning this is the hard work of its founder/administrators Roger Manins, Caro Manins & Ben McNichol. On hand to assist them are numerous Jazz Students and other volunteers. The final ingredient is the listening audience and keeping the attendance levels high is essential to its continuance. Tonight, Wed 5th June 2019 sees the new venues launch gig and please note, it’s at Anthology, not the Backbeat as previously advertised. Don’t miss the chance to hear three of Australasia’s top tenor players (with Kevin Field, Cam McArthur, and Mark Lockett as rhythm section) You can get up to date gig information at www.creativejazzclub.co.nz
If there are Jazz Lovers who don’t love Mike Nock’s music, I have never met them. Should any be located send them to me and I will arrange for remedial education. I have just returned from Australia and while there I caught up with Mike. Over dinner, we discussed, the dismal state of the music industry and the tenacity of musicians – who keep producing great music in spite of that. I read a quote recently by the preeminent Jazz writer Ted Gioia who penned the following; (paraphrased slightly) ‘Jazz musicians get frustrated, even angry, at the lack of opportunity – but they keep playing and in playing at such high-level they experience a rare joy that few people get to experience’. And they share this with us in spite of the poor remuneration and industry marginalisation. As many will know, Mike Nock was badly injured last year when an inattentive driver bowled him at a pedestrian crossing.
I cannot imagine a world without him performing and amazingly, bravely, he is doing just that. While I was there his Quartet performed at the 616 Foundry Jazz Club in Ultimo and he demonstrated to everyone that it takes more than an out of control 4×4 to keep him down. It is all intact, that Nock magic, the great compositions, the surprises, the deep – deep blues, the unconfined breath of freedom, and that innate swing. On stage with him were a few old friends – expat Kiwi bass player Brett Hurst (always marvelous), ‘Pug’ Waples (a treat) and for the first time I met tenor player Karl Laskowski – anyone familiar with the Nock recordings will be familiar with his lovely sound and clean lines. When Mike is up to it he will come back and perform for us at the new venue – as he said – ‘Godzone is my home man’.
Keep your ears open, attend the live gigs, buy the albums – this music feeds the soul and is an oasis of sanity in a fractured world.
Eamon Dilworth is a frequent visitor to New Zealand and we hope that continues. His projects draw on many sources and he is unafraid to change direction completely. His last visit saw the release of his beautiful Viata album. An album that would sit comfortably in the ECM catalogue with its unhurried atmospheric Euro Free ethos. The haunting deliberations leaving crystalline arcs trailing behind each note. The time before he came with ‘Tiny Hearts’ and before that with ‘The Dilworth’s’. All of these projects were enthusiastically received and the albums that resulted were popular on both sides of the Tasman.
His most recent project, the Crawfish Po ‘Boys’ is yet another step change. It is rooted in the sounds of the southern USA. Although a take on the contemporary New Orleans sound, it also harks back to the vibe of Louis Armstrong and Big T.Unlike Viata or its predecessors, the latest album is an EP (around 20 mins long). As I listened to it, two things stood out. The focus on vocals and the choice of musicians. The vocals are led by Dilworth with a number of backing vocalists adding heft. With respected musicians like Stu Hunter (organ), Julien Wilson (saxophone), Chris Vizard (trombone) and Paul Derricott (drums) it could hardly be less than engaging.
The first gig took place at the Auckland Jazz & Blues club and it focussed on traditional fare. At the CJC the following night Dilworth gave us contrasting sets, and unlike recent visits where Australian musicians like Alistair Spence joined him, he worked with a local lineup.Roger Manins was on tenor sax, Andy Keegan on drums and from Wellington, Daniel Hayles on the organ.He opened with some tunes from Viata, but they were given a different treatment this time.The biggest point of difference was the inclusion of Daniel Hayles, a groove inclined keyboardist who quickly found his place and pushed the tunes in a different direction.This was achieved without resorting to showy bravura runs and by creating an underlying chordal pulse. It was particularly evident during Toran where he played ostinato; using subtle variations to enhance the performance of the melodic lines from saxophone and trumpet.
The second half was shorter and some of those tunes came closer to his Crawfish Po’Boys material. His version of Iko Iko was fun. Dilworth, Keegan, Manins, and Hayles obviously enjoy playing together but I’d like to hear them tackle the raunchy old New Orleans tunes someday. Pushing deeper into the bluesy heartland of Jack Teagarden – the time is ripe for such a re-appraisal.
Eamon Dilworth (trumpet, compositions), Daniel Hayles (Hammond organ), Roger Manins (tenor saxophone), Andy Keegan (drums). Backbeat, CJC Creative Jazz Club, Auckland, Mayday 2019
Steve Barry left these shores many years ago and these days Australians count him as their own. It is hardly surprising that they do because since his departure he has raked in the accolades, won numerous awards and completed a Doctorate. Given the above, we can hardly begrudge his move. Music is like water it will always find its level, no matter where the wellspring. Everyone on the New Zealand Jazz scene looks forward to Barry’s yearly trips home as he never rests on his laurels. He brings us new and diverse projects and above all he showcases innovation.
The ‘Blueprints’ Trio is a good example as it was formed primarily as a vehicle for his doctrinal compositions. For any student of pianism, these works are compelling as they combine strong elements of modern classical composition balanced against Jazz innovation. That Barry achieves this with such clarity, while never completely abandoning the history of jazz speaks strongly of his vision. Very few can achieve this without the music sounding contrived or lopsided. Barry’s compositions, although often challenging, are neither. Audiences listen and above all they smile as the music unfolds. Picking the references and enjoying the journey beyond. Those with a sense of history will hear Monk and Strayhorn; others will hear new music and neither is wrong.
The YouTube clip that I have posted illustrates this clearly as there are distinct Monkish references. When you listen closely though, you realise, that this is a twenty-first-century version and a Monk who has absorbed a whole lot of very contemporary ideas. The angular leap into ultra-modernity is abetted by his Australian bandmates; both completely at home in this adventurous new world.
With him in Auckland were the other members of the current Blueprints trio, Jacques Emery on Bass and Alex Inman-Hislop on drums. With Emery often playing arco bass and Inman Hislop splashing bold colour strokes, the distinctive vibe was complete. While this was very much Barry’s show, no one was in the background. For a copy of the latest Blueprints Trio album ‘Hatch’ go Rattle Records or to view his complete discography go to stevebarrymusic.bandcamp.com/
The Steve Barry ‘Blueprints’ Trio appeared at Backbeat, 100 K’Road, for the CJC Creative Jazz Club on 10 April 2019
The decision to review these two albums together makes sense for a number of reasons. They were both released on the Rattle Label earlier this year and both are quite exceptional. I predict that both albums will be nominated for Jazz Tui’s next year, it’s a no-brainer. Once again, Rattle has served us up a tasty fare. Albums that are beautifully presented and which compare favourably with the best from anywhere.
‘Eat Your Greens’ is an album by to the popular Wellington pianist and educator Anita Schwabe. It was recorded at the UoA Kenneth Myers Centre in Auckland during her recent tour. Her band also performed live before a capacity audience at Auckland’s CJC Creative Jazz Club and it was immediately obvious that they were in great form. Schwabe normally plays with Wellington musicians and regularly with the Roger Fox Big Band. The idea of recording in Auckland was formed while sharing gigs with Roger Manins earlier and it was with his assistance that the Kenneth Myers Centre was made available for recording.
The semi-muted acoustics in the KMC auditorium work well for smaller ensembles and especially when John Kim captures them. Schwabe is a delightful pianist and her swinging feel was elevated to the sublime by the inclusion of Manins on tenor saxophone, Cameron McArthur on upright bass and Ron Samsom on drums. Having such fine musicians working in sync is the first strength of the album; the other strength is the compositions.
The album is a hard swinger in the classic post-bop mould, and in spite of the references to past greats, the musicians insert a down to earth Kiwi quality. The compositions are superb vehicles for momentum and improvisation and the band wastes no opportunity in exploiting those strengths. In light of the above and unsurprisingly, a track from the album. ‘Spring tide’, won Schwabe an APRA Award for best New Zealand Jazz composition this year. As you play through the tracks you will be grabbed by Manins bravura performance during ‘Anger Management’ or by his sensitive playing on the lovely loping ‘The way the cards Lay’ (Manins is Getz like here); at how beautifully McArthur pushes that little bit harder in order to get the best from his bandmates or how finely tuned Samsom is to the nuances of the pulse (plus a few heart-stopping solos).
It is, however, every bit Schwabe’s album and it is her playing and her compositions that stay with you. I am particularly fond of ‘There once was a Time’ – a fond smile in Bill Evans direction and evocative from start to finish. That such a fine pianist should be so under-recorded is a mystery to me. Thanks to Rattle that may well change. This is an album that Jazz-lovers will play over and over and each time they do they will find something new to delight them.
Anita Schwabe: (piano, compositions), Roger Manins (tenor saxophone), Cameron McArthur (upright bass), Ron Samsom (drums). Released on Rattle
‘No Dogs Allowed’ is the follow-up to the acclaimed 2015 Jazz Tui winning album ‘Dog’. The earlier album set such a high standard that it was hard to contemplate that offering being improved on. This, however, is not a band to rest on their laurels and the restless creative forces driving their upward trajectory have resulted in another album that feels like a winner. This time around there is an Australian in the mix, as they have added the astonishingly gifted Adelaide guitarist James Muller as a guest. It was a brave move to mess with a winning combination and to expand the quartet to a quintet but anyone who has heard Roger Manins play alongside Muller will know that this addition was always going to work to their advantage.
While Muller has chops to burn and manifests a rare tonal clarity, you will never hear him deploy a note or a phrase needlessly. Here you have five master musicians speaking a common language and communicating at the highest level. Although each is a seasoned veteran and bursting with their own ideas, they harness those energies to the collective and the result is immensely satisfying. It must be hard for gifted musicians to set ego aside this way, but these five did just that.
While the album is the perfect example of Jazz as an elevated art form it is never for a moment remote or high brow. As with the 2015 album, the core Dog members shared compositional duties. There are two tunes each from Manins, Field and Holland and three from Samsom. Their contributions are different stylistically but the tracks compliment. Place Manins, Field, Holland and Samsom in a studio and the potion immediately starts to bubble. Add a pinch of Muller and the magical alchemy is complete. When you are confronted with a great bunch of tunes like this and have to pick one it’s hard. In the end, I chose Manins ‘Schwiben Jam’ for its warm embracing groove. The album and particularly this track connects your ears directly to your heart.
The Album is released on Rattle and was recorded in Adelaide at the Wizard Tone Studios. DOG: Kevin Field (piano and keys), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums) + James Muller (guitar).
Tomasz Stanko died two days before the Eamon Dilworth gig and I was feeling the loss. I don’t know why this particular musician’s passing affected me so much but it did. Perhaps it was the untimeliness, a great artist gone too soon. It was as if a vital soundtrack to my life had been placed on pause. As I moped about the house, playing Wislawa and The New York Quartets, I remembered that Dilworth was playing soon and I cheered up immediately. I had reviewed the Viata album a month previously and loved it. I knew that it would be a balm and I knew that it would connect me to that place which Stanko took me. It did.
The Viata album had an astonishing array of gifted musicians on it, Dilworth, Alister Spence, Carl Morgan, Jonathan Zwartz and Paul Derricott. When Dilworth flew into Auckland he was only accompanied by the pianist Spence. The rest of the Auckland lineup would be local pick up musicians. Dilworth has a very distinctive sound and hearing his tunes played on different instruments or by other musicians was going to be interesting. Replacing Morgan on guitar was tenor player Roger Manins, on drums Andy Keegan and on upright bass Wil Goodinson. Manins needs no introduction to Australasian audiences and I was looking forward to hearing him in this context. People associate him with burners and that is his shtick, but Manins is also a master at blowing in these spacious atmospheric situations. I hadn’t seen Andy Keegan for a while but I rate his playing – he thinks through what he’s doing, listens carefully and responds appropriately. The last of the New Zealand players, Wil Goodinson, is a gifted newcomer with big ears, a terrific sound and with great things ahead.
This was the first time that I have heard Alister Spence. He is truly an extraordinary pianist and I could hardly believe what I was hearing. A minimalist whose voicings gave power to the spaces – leaving behind in the wake of each note, a gentle otherworldly dissonance. There were long ostinato passages, often a single chord, which shifted the focus imperceptibly. He crafted minute changes without once losing the ostinato vibe. Floating arpeggiated chords, at times Debussy like – as if Terry Riley had appropriated a Debussy moment and made it airy as it floated heavenward. And all of this creating the perfect platform for Dilworth.
It is a brave musician who explores space with such lightness of touch. Dilworth is exactly the right person to do this. His playing and compositions create dreamscapes, warm interludes from the harshness of the post-truth world. This allows us to rise far above the mundane. It is as much about his worldview as it is about sound. He is a musician who thinks about life and then forges a sonic philosophy out of those musings. It is unmistakably, the sort of sound that ECM thrives on. It is time they profiled an Australian. Here, all is subordinate to mood, with the harmonies often implied; the tempos are measured, nothing is hurried and the melodies are miniatures; elided and markers on an interesting journey. Dilworth utilises the extended techniques in his trumpet playing but there is nothing ostentatious on display. Every whisper of air or long-held note is a story in itself.
We heard most of the album during the night and a tune from his earlier Tiny Hearts album. It was hard to decide which tune to post as a video, but I chose Toran which is the last track on the Viata album. To get the most out of it, sit down, slow your breathing and close your eyes. This is a masterclass in subtlety and well worth the effort. The gig took place at the Backbeat Bar, K’Road, Auckland for the CJC Creative Jazz Club.