Backbeat Bar, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Jazz Journalists Association, World Jazz Day/Month

Neutrino Funk Experience / Music Soup & the ​healing vibe

Neutrinos (2)March fifteenth began as good days should, with sunshine, a cool breeze off the ocean, and a message from a Jazz Journalist colleague in Australia. ‘Would I like to meet some award-winning Greek Jazz musicians’? I had stuff planned, but the plans were easily shelved and I drove from my leafy hilltop retreat into the city. The musicians had flown into Auckland to join a passing cruise ship and were only in town for eight hours. Ahead of them lay four months of playing standards, original material (if lucky), and the inevitable but often regrettable requests. We met up in a central city cafe. ‘John’, they yelled as I walked around the corner. For the briefest second, I wondered how they had recognised me, ascribing it to a Jazz sixth sense, then remembering my tee shirt was emblazoned with the words Prahu Jazz. We introduced ourselves, and headed for the waterfront at my suggestion, chatting as if we’d known each other for years. That’s the way in the Jazz community. You travel to a place you’ve never been before and someone will message you with the contact details of ‘cats’ to hang with. Such hangs generally follow a well-trodden path. ‘Do you know this or that cat – killing?’ Always followed by outrageous road stories and laughter.     

Evgenia Karlafti is a B3 organist, pianist, and vocalist. Her husband Nester Dimopoulos is a guitarist. They were joined on the cruise by Argentinean bass player Julia Subatin and Mexican drummer Gerardo Lopez. Everyone spoke English which is lucky because I have no Greek or Spanish. After hours of discussing music, the topic took a political turn. Earlier the musicians had made a point of referencing the peaceful laid back Auckland vibe. I recall boasting that our geographical isolation, independent foreign policy, and nuclear-free legislation protected our Island from many of the problems besetting other parts of the world. “We are an independent social democracy very like Norway,” I said, little realising how strong the synergies were. I pointed towards the Pacific ocean at our doorstep, adding, “trouble is inclined to lose its way long before it reaches our shores”. We discussed the Greek political situation and I asked how the Syrian refugee situation had impacted on everyday life. We discussed compassion and the problem of compassion fatigue. We discussed Turkey and the unhelpful belligerence of President Recep Erdogan. Neutrinos (3)

Evgenia and Nestor promised me a physical copy of their latest album titled ‘Cut to the chase’, messaged me a link and we agreed to meet up again when the ship was in port next. After we had parted I grabbed my phone and listened to a track from their album titled ‘Senior Citizen’. Perfect. As I drove home I recall thinking that this was a day among days and then I turned on the car radio. The news spoke of an attack on a Muslim community. I am used to hearing such reports. Tragedies which occur elsewhere – reported on by Christiane Amanpour or Lyse Doucet. In this case, I heard a tearful Kiwi voice. Had one of our foreign correspondents been caught up in a terror attack in London or Paris? The word Christchurch soon dispelled that notion and numbness set in as more facts emerged. A massacre of fifty innocents was happening on our soil and perpetrated by an Australian Neo-Nazi white supremacist. The carnage had started at around the exact time I was boasting about our immunity from such horrors. I don’t remember driving the rest of the way home.

Our amazing Prime Minister set the tone for what followed while we glued ourselves to the TV sets silently grieving. Why here we all asked and the Prime Minister gave us the answer we needed.  For those of you who are watching at home tonight, and questioning how this could have happened here, we, New Zealand, we were not a target because we are a safe harbour for those who hate. We were not chosen for this act of violence because we condone racism, or because we are an enclave for extremism. We were chosen for the very fact that we are none of those things. Because we represent diversity, kindness, compassion. A home for those who share our values. Refuge for those who need it. And those values will not and cannot be shaken by this attack”. Norway and New Zealand were now linked in more ways than I had ever imagined. 

The next day New Zealand fell silently numb as people watched TV or visited the local mosque with flowers and cards. The Prime Minister’s words “They are us” rang out as we donated millions of dollars to the survivors and their families. Biker gangs offered themselves as bodyguards and our sadness grew as we contemplated the fifty innocents slain in our midst. Powerful images flashed across our screens. Jewish Rabbis, Imams, Anglicans, Catholics, Buddhists, Hindus and Coptic Christians arm in arm outside the Mosques. For the first time, our police carried weapons in public as our terror alert went from low to high. It had never been anything else but low. The unusual spectre of armed police, softened by the policewomen wearing headscarfs and clutching roses to their weapons. An entire nation heard the muezzin call the Adhan when the Islamic prayer rang from our Parliament the next day and from our public broadcast outlets. Surely, one of the most beautiful and evocative pieces of music ever conceived. For a day, following the lead of the Prime Minister, secular and Christian woman donned the hijab out of respect.  

This was an outrage hard to talk about; it was so new to us and so raw. We let the images guide us through our grief and as if urged by an unspoken force, started to debate our colonist past. The evils of racism and wrongs yet to be righted. Some days later I was back in our local Jazz club and the place was packed. There was no mention of the horror but it hung in the air. We had come there to be transported and to heal. Albert Ayler put it well when he said, ‘Music is the healing force of the universe’. On offer was Ron Samsom’s much-loved band ‘The Neutrino Funk Experience’. The band, understanding the vibe went absolutely wild as they sent their crazy danceable tunes heavenward. They turned happy into crazy happy and the barman, moved by it all, turned on the rock-effect strobe lighting. Each funk ridden note healed our bruised souls. We didn’t need overly complex or sad tunes; we just needed this.

Ted Gioia recently tweeted a finding by scientists, indicating that music may possess mass. A day later I read a piece by a prominent scientist reminding us of the absolute interconnectedness of life forms. It is likely then, that music is the glue; music that most ancient of languages. In my world, improvised music is super glue and the balm for all life’s ills.  I have played both the Neutrino Funk Experience album and the Music Soup album endlessly during the last few weeks and with each hearing, my belief in humankind restores.  

Dedicated to the victims of the Christchurch Massacre and to the musicians who heal us.  

With thanks to Rom Samsom, Roger Manins, Grant Winterburn and Cam McArthur of The Neutrino Funk Experience & to Evgenia Karlafti and Nestor Dimopoulos of Music Soup.

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Backbeat Bar, CJC Creative Jazz Club gigs, Straight ahead

The Turtlenecks @ CJC Backbeat

Garden (1)In the late 1950s and early ’60s, anyone with an ounce of cool wore a coarse-knit black polo neck jersey. While they sat there feeling cool their necks would start to itch and angry red rashes would creep up to their chins. Chins made all the itchier by the regulation chinstrap beards or ‘hip’ goatees.  Then in act of blatant cultural appropriation, Playboy invited the middle class to co-opt some of that hipness. Along the way, ‘Hef’ sensibly revised the polo neck jersey requirement, which morphed into a white cotton turtleneck and slim white jeans. Anyone who has seen David Hemmings in Antonioni’s arthouse movie ‘Blowup’ (one of the best films ever made), will quickly realise that sleazy old ‘Hef’ got it right. The Beatniks, on the other hand, got it woefully wrong. The better option had us wearing scratch free cotton turtlenecks and ‘Hef’s’ crowd wearing the itchy coarse knit jerseys (they never kept them on for long anyhow). So, when I saw that a band called the Turtlenecks was appearing in a Jazz joint and in cotton, I yelled Hallelujah. At last a serious wrong turn is being corrected.

The band was formed by saxophonist Jimmy Garden, a musician who obtained his wings in Auckland, then flew away to join the Australian scene for a number of years. Upon his return he formed the ‘Turtlenecks’, aided and abetted by musicians from his cohort.  I recall his departure well, as a lot of gifted musicians left around then. Thomas Botting, Peter J Koopman, and Steve Barry to name a few. This cohort, be they ‘leavers’ or ‘remainers’, were a hothouse of improvisational experimentation and it is always good to see them back among us. A few of those friends joined him on the bandstand Wednesday night.  

The compositions, all by leader Garden, are catchy and with more than a nod to groove.  There is also a pinch of humour evident and this informed last weeks performance. Although they are competent musicians, they never tried to overwhelm with cleverness.  What was more evident was their joy of playing together and that bonhomie overshadowed all else. They did what (cotton clad) Turtlenecks should. They played without a hint of itchiness.

The band has a number of drum, bass and guitar personnel it can call upon, while the two horns remain constant.  The personnel at the CJC gig were leader Jimmy Garden – tenor saxophone (tasteful), J Y Lee – alto saxophone (always a pleasure to hear), Michael Howell – (a popular local guitarist), Cam McArthur (one of our finest NZ bass players), and Adam Tobeck (a versatile drummer, well-known about NZ). The gig was at Backbeat K’Road, CJC Creative Jazz Club, 20 March 2019

Backbeat Bar, CJC Creative Jazz Club gigs, Concerts - visiting Musicians

Jay Rodriguez @ Backbeat Auckland

Jay 2019 (1)Anyone who saw Jay Rodriguez play the last time he was in town will have tripped over themselves to catch him again last week. Rodriguez is a talented and engaging improviser and when he steps onto the bandstand he wins hearts from the get-go. This seemingly innate ability arises from a keen understanding of what will work best with a particular audience. He picks ups on and feeds off the energies in the room. He is also a skilled technician, but he is not there to show off his undoubted chops. His purpose is to involve and to engage at the deepest level; offering musicians and audience alike an unforgettable musical experience.    

These days, dozens of talented musicians pour out of the prestigious Jazz schools and as good as they are, they often have a similar approach and sound. Over time the best of them shake this off, but it takes work and road experience to do so. While Rodriguez attended music school, he also gigged from a young age; cutting his musical teeth on the bandstand and learning his craft at the feet of masters (Tito D’Rivera, Phil Woods and Joe Henderson – playing lead alto with Tito Puente at 15 years of age). Those early days shaped his trajectory and enabled him to move effortlessly across the breath of the Jazz world – and later – traversing the wider music scene (Elvis Costello, Prince, Ribot etc).  You gain the impression that every day on the road added a certain something to his sound. He can channel a raw Texas tenor sound in the same gig as he has people swooning over a ballad.  Once this was a commonplace accomplishment, but as the old road warriors pass, we hear this stylistic breadth less and less.

Here I must offer a disclaimer; I was involved in this Auckland gig. Rodriguez had reached out and generously suggested that we could join forces, adding some spoken word into his show. We had a number of exchanges while he was touring with Marc Ribot (the Songs of Resistance project). Various ideas were canvassed – unlike many improvisers, he is experienced in working with poets as he has associated with many including the late lamented Amiri Baraka. From across the time zones, we explored possible rehearsal times and as is often the case, a quick rehearsal just before the gig was the only possible option. When it came to hiring the band, he made another generous suggestion; he was happy to have some younger and freer spirited musicians on board – in fact, he welcomed that. Crystal Choi and Eamon Edmundson Wells joined Ron Samsom as the core group, with special guests Jonathan Crayford and myself appearing on select numbers. 

Rodriguez is proficient on multi-reed and wind instruments and he frequently travels with most of them. This time he arrived with one flute, a soprano, and a tenor saxophone. When rehearsal time came he unpacked dozens of charts and spread them around clock fashion. My favourite author does this, slowly walking among short stories until an order is fixed. So it was with Rodriguez. We had been pre-warned that what was rehearsed would not necessarily be what was played, as he often changed things around as he read an audience (and often mid-tune by way of signals).

The setlist had a few well-chosen standards and of course, tunes from his critically acclaimed ‘Your Sound’ album.  Although he amended the setlist as the gig progressed and extended numbers, fusing the tunes into a heady new amalgam, the performance had a flow that was preternatural. Working with a musician like this and trusting his instincts to guide you forward is exhilarating. I know that the band enjoyed themselves – the gig became bigger than the individual musicians and that how good gigs should work.    

I have posted a longish clip from the gig, one which demonstrates the energies flowing between the musicians. The clip reminded me of the early Alice Coltrane projects. Deeply spiritual and unafraid to move with the vibe. Choi delighted the audience with her wholehearted engagement, moving from minimalist figures to crystalline arpeggios as the moment demanded. Edmundson Wells, like Choi, often appears on the avant-garde scene and was perfect for the gig.  Samsom, the other experienced hand, offered solid support, creating a cushion and a heartbeat. Last, but not least was Crayford, a generous enabler, a mentor to musicians like Choi. He would normally have appeared as the listed keyboardist, as he and Rodriguez have a deep friendship and they collaborate when they can. This time he was heavily engaged in a project of his own and arrived back in town hours before the gig. He waited out the first set, respecting the established line-up, joining the band with keys for the second. This added a whole new dimension to an already great gig – creating the broader palette that Rodriguez thrives on. The capacity audience reacted to every facet of the gig with enthusiasm and Rodriguez return is eagerly anticipated.

In my case, the overall experience was particularly rewarding – a true learning experience – note to self – let my spoken lines breathe more at the start. When you fit words around live music quick decisions are required, Sometimes you have mere seconds to judge the rhythms of an unfamiliar tune. An opportunity like this is rare and precious and I’m glad I took it.

Jay Rodriguez: (tenor & soprano saxophone, flute), Crystal Choi (piano), Eamon Edmundson Wells (upright bass), Ron Samsom (drums, percussion), – guests Jonathan Crayford (keys), John Fenton (spoken word) – at ‘Backbeat’, CJC (Creative Jazz Club), 27 February, 2019 – Jef Rodriguez recent album ‘Your Sound’ is available on Amazon, through record stores or go to jayrodriguez.com

Backbeat Bar, CJC Creative Jazz Club gigs, Straight ahead

‘Orange’ Chisholm/Meehan/Dyne

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This is the second Unwind album and everyone who purchased the original will be delighted that the project is ongoing. The first gig promoting their new release ‘Orange’ took place at the CJC (Creative Jazz Club) in Auckland last week. For that gig, the trio was expanded to include the well-known Auckland drummer Julien Dyne. Hayden Chisholm, Norman Meehan, and Paul Dyne go back a long way and in spite of Chisholm living in Germany, they have maintained their creative connection. This is an exceptionally fruitful association and it is our good fortune that they maintain it. These are seasoned musicians and able to draw upon a wealth of diverse musical experience.

Chisholm, in particular, brings qualities to the tunes which are unique and compelling; his tone production simply wonderful. He can produce a Konitz like tone but without a hint of mimicry. He is ancient to modern and his avant-garde credentials give him that finely tuned edge; especially evident when tackling reflective tunes like these. In live performance especially, he often embarks on fantastical introductions. Using a Shruti box and augmenting that with his quiet and always amazing throat singing. It works so well because it is applied judiciously. When playing the alto he takes you with him and each step along the way counts, his improvisations having a distinctly narrative quality.  When he plays the audience listens, really listens.

Norman Meehan and Paul Dyne are the perfect foils for Chisholm. They respond to every nuance – feed him lines – but also leave space for the music to breathe. Meehan’s voicings are notable for their delicacy, but counter-intuitively, his minimalism feels expansive. The notes (and silences) fleshing out the endless possibilities while never once crowding the melodic arc. Meehan is soon to move to America and we wish him well, provided that he returns often and with more performances like this one. Although the venue lacks a grand piano, Backbeat’s Kawai is an instrument of quality. Under Meehan’s touch, it rang clear.

Paul Dyne is a respected Wellington bass player and for the Auckland gig, he was joined by his son Julien. Both are exceptional musicians. Dyne senior makes the upright bass seem effortless and this is his forte. Co-led ensembles like this are all about interplay and the quality of Dynes bass work was evident. It was notable because it held the centre without seeming to do so.

The compositional duties were also shared.  Many tunes from the album were played but during the CJC gig, we heard a few recent compositions.  All three trio members contributed tunes and their compositions although very different were complimentary.  I have included a sound clip from the album, but to hear more and to purchase, go to Rattle Records and click-through to Rattles new Bandcamp site.

The album ‘Orange’ is released by Rattle Records. The band personnel: Hayden Chisholm (alto saxophone, Shruti box, throat singing), Norman Meehan (piano), Paul Dyne (upright bass) and for the live performance Julien Dyne. The gig took place at the Backbeat Bar for the CJC (Creative Jazz Club), March 13, 2019

 

Backbeat Bar, CJC Creative Jazz Club gigs, Review, Small ensemble

Umar Zakaria Fearless Music – Review – Kang/Lockett/Zakaria

Fearless MusicI was out of the country when Umar Zakaria came to the Backbeat Bar in September. I was particularly sorry to have missed Zakaria’s Fearless Music Tour as they had just won the 2018 Jazz Album Of The Year. Because I was away it took me a while to get my hands on the album and when I did I was deeply impressed.  While the name Zakaria may be unfamiliar to many outside of Wellington, he is hardly a newcomer to the scene. He is a graduate from the New Zealand School of Music and the Boston Conservatory and he has performed and studied with significant improvisers from around the globe. Already, accolades are coming his way and when you consider the fact that he is at the beginning of his career, you comprehend just how significant that is.

Fearless Music is a beautiful album in so many ways; the artwork, recording quality, compositions, and individual performances. An increasing number of highly regarded Jazz recordings come from outside of the US and this must surely count among them.  It frequently draws on motifs and themes from outside of the European or American world and perhaps that is the secret to its authenticity. There are no awkward attempts to blend styles here as everything falls naturally; the music is deeply rhythmic and recognisably Jazz in spite of the obvious Middle Eastern or Asian influences and scales. ‘Suite Melayu’, the bulk of this recording is the gem within. it sticks with you. There is undoubtedly a good story behind the suite segment titles but there are no liner notes, the music, however, is more than enough. Suite Melayu felt like the sort of material that the brilliant Dhafer Yousef might write. Zakaria

The tune ‘Archimedes’ has a deeply contemplative quality to it. Archimedes was a polymath who lived in Siracusa Sicily and he is a hero of mine. This feels like a fitting tribute to the greatest physicist, engineer, mathematician, astronomer, and inventor of the ancient world. There is a subtle Mediterranean feel to this track and if like me you’ve travelled around that ancient Island you will pick up the Moorish vibe right away. -especially in Leonardo Coghini’s lines. Zakaria is a gifted bass player but his compositions, in particular, mark this out as an exceptional album. He deserved to win the Jazz Tui with this project and I look forward to the sequels which must surely follow.

His fellow musicians are also exceptional here. Coghini I have heard before and after this performance, I will pay him much closer attention. His touch is so clean and purposeful, but also delicate. His lines breathe as good lines should.  The drummer Luther Hunt, has been around on the wider Wellington music scene for some years and more recently he studied Jazz Performance at the New Zealand School of Music. Again, an exceptionally sensitive performance, knowing when to lay out and when to be supportive. Lastly, there is Roger Manins. I hear him in so many diverse situations and in every one of them, he sounds as if that is his thing. This excellence in versatility is the mark of a really good musician. At his best, which is almost all of the time, there is no one in New Zealand to touch him. What he brings to performances like this is professionalism with heart. We are lucky to have him in our midst. Zakaria (3)

Auckland got a chance to see Zakaria again when he came to Auckland recently in a co-led trio. the Kang/Lockett/Zakaria trio.  Of these, drummer Mark Lockett is the best known as he has appeared at the CJC numerous times and is a popular performer. He also runs the WJC in Wellington. Brad Kang, a formidable technician on guitar did a gig earlier in the year. The writing duties had been spread between the three musicians and many of the numbers were hard-hitting burners, especially in Kang’s hands. Zakaria (1)

Fearless Music: Umar Zakaria (bass, composition), Roger Manins (tenor saxophone), Leonardo Coghini (piano), Luther Hunt (drums) – Recorded and mixed and produced by David Lisik at New Zealand School of Music, SkyDeck Records http://www.skydeckmusic.com

Kang/Lockett/Zakaria appeared at the CJC (Creative Jazz Club), 5 December 2018

 

 

 

 

 

 

 

 

 

Backbeat Bar, Beyond category, CJC Creative Jazz Club gigs, Space Jazz

Cam Allens Phobos The Scary Moon

Cam Allen (4)Perhaps it’s the anniversary of the moon landings, or perhaps it’s the crazy-arsed nonsense happening down on planet earth, but deep space has been very much on my mind lately.  I have not been alone in this preoccupation as I appear to share this with a group of explorative improvising musicians. I was recently on local radio taking about a favourite topic, ‘space dreams and analogue machines’ and it occurred to me then, that space dreamers have always shaped our other-world view. Frank Hampson (Dan Dare Comics), Gene Rodenbury (Star Trek) and musicians like Eddie Henderson (Sunburst), or Sun Ra (Space is the Place). Humans have always looked to the stars for inspiration but only writers and musicians have the courage to describe what others cannot yet imagine.  Cam Allen (1)

For the second time in a month I attended a space themed gig and this time it was titled Phobos the scary moon’. Phobos circles Mars and it was only discovered in 1877. It is a small moon, but since its discovery it has exerted an outsized influence on the human imagination. The Greek god Phobos is a god of a fear associated with war. The word Phobia comes from this. For those with open ears and a love of adventurous grooves there was only joy to found here. Nothing about Cam Allen’s Phobos gig required the listener to seek Freudian analysis afterwards. This was an enjoyable night and the scariest part came later as I was walking back to the car and heard an off-key wail from a nearby karaoke bar.  Cam Allen (3)

The band – intergalactic warriors all; Cam Allen on saxophones, gongs and percussion, John Bell on vibes and horn, Julien Dyne on drums, Eamon Edmudson-Wells on upright bass and Duncan Cameron on keys. I rate John Bell’s Aldebaran quartet highly and for similar reasons I rate this band. This type of improvised music is still under explored and it is long overdue for more careful examination. It has form but the structure is not beholden to form; it has melody and hooks but not at the expense of mood or texture. The musicians here conveyed real enthusiasm for the project and that enhanced the effect.  Cam Allen

Seeing Dyne in such good form was a special treat for me. Later as I reviewed the clips I realised what a powerhouse he is. His rolling polyrhythmic beats reminiscent of the young Alvin Jones. Polyrhythmic drummers often sound as if they are powered by rocket fuel and Dyne did. Allen deftly played three horns (plus gongs) and his nicely open compositional structure permanently altered the time-space-continuum. The clip that I am posting initially took me back to those wonderfully transporting forays of the Art Ensemble of Chicago. Keep these space gigs coming people I am up for more.

The gig took place at the Backbeat Bar, K’Rd, 29 August 2018, for the CJC Creative Jazz Club.  I am finishing this post just a few hours before I fly to Scandinavia. I hope to experience some music as I travel and will post occasionally. Otherwise I’ll be posting as normal in November. I know that I missed a few posts but I hope to catch up over Christmas. Keep following live improvised music people, your inner life depends on it.

Backbeat Bar, CJC Creative Jazz Club gigs, Post Millenium

Watson meets Ward @ Backbeat Bar

Watson & WardIt is not often that you attend a gig where a set list covers such a range of styles but still pays due respect to each. If anyone could pull off such a gig; traversing the heights of Monk, Murray McNabb, Frantz Casseus, Bill Frisell and Ornette Colman it was these two. In lesser hands, the trajectory would have faltered, the items come across as disembodied. Here, the connecting threads, however improbable, made perfect sense. The centre held and the arc of the journey was a joyous adventure. Watson & Ward (1)

Neil Watson is a musician who musicians flock to hear. He breaks rules and strikes out in directions where few dare to follow. Everyone from Sharrock to Montgomery is referenced in his sound; with a generous pinch of Ribot thrown in for good measure. He sometimes hides in pit bands backing dancing fools, tours with famous country stars, opens for people like Marc Ribot, but whatever he does, he does convincingly. In recent years he purchased a pedal steel guitar and that is now an essential part of his repertoire. He exudes real warmth on stage, both as a storyteller and a musician.

I have only seen David Ward play on the odd occasion but it is always a treat. Like Watson, he is a master of diverse styles and he is particularly noted for his award-winning theatre compositions. He has toured extensively and gained a formidable reputation over the years. In Jazz and alternative music circles, it is the improvising band RUKUS that we mostly associate him with. RUKUS has featured a who’s who of adventurous improvisers such as Chris O’Connor, John Bell, Jeff Henderson, Eamon Edmundson-Wells, Cameron Allen, Finn Scholes & Rui Inaba. Watson & Ward (2)

The pairing of Watson and Ward guaranteed that creative sparks would fly.  It was always on the cards that they would perform together but until now the opportunity had not presented itself. I am certain that this project will develop from here –  logic tells me it has to. The quality of their musicianship was very much on display at the Backbeat Bar. On the three Monk tunes, they either ran unison lines or interwove an intricate counterpoint, and miraculously, the jagged phrases often created a fat Monkish dissonance; each guitarist deliberately landing on different voicings- creating a piano cluster chord effect. This was a quality band as Watson & Ward were backed by Cameron Allen (tenor and Baritone saxophones) Cameron McArthur (upright bass) and Chris O’Connor (drums). Understanding exactly what was required here the three left the lion’s share of the limelight to the guitarists. O’Connor displayed his usual eclectic virtuosity as the drum styles required were many and varied. Watson & Ward (3)

At one point Watson played solo, a composition by Frantz Casseus (a folksy classical guitarist who has influenced the likes of Marc Ribot). Out of his Fender came a delicate classical guitar sound – a moment of whispering clarity and magic. The pair also showcased their own compositions and again these contrasted in a good way. Ward’s ‘Mango’, ‘Shebop’ and ‘Hip replacement’ – Watson’s ‘Trash talkin’ (a Western Swing) and his extraordinarily ‘Murray’ – an apt tribute to the lost lamented and much-loved Jazz musician Murray McNabb. Among the tunes, we heard some heartfelt Americana (rare in New Zealand Jazz clubs and it is especially rare to hear Western two-beat Swing).

The high points were many, but I will put up two clips; The first is a Bill Frisell number ‘I am not a farmer’ from his moody atmospheric album ‘Disfamer’. The second up is a short clip where Watson plays a Frantz Casseus tune ‘Improvisations’ solo on Fender.

The gig took place at the Backbeat Bar, K’Road Auckland for the CJC Creative Jazz Club, 15 August 2018.