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.

Advertisements
CJC Creative Jazz Club gigs

‘GRG67’ / ‘Shem’

 

IMG_2657GRG67 ‘The Thing‘; When I obtained a copy of the ‘GRG67’ album, I knew that I would encounter interesting music and some interesting creatures. I instinctively knew that the creatures would not be of the sort populating Facebook memes, but creatures who are often overlooked; in this case, crabs and domestic fowls. Anyone who knows Roger Manins knows him to be an empathetic being and this shines through in both his playing and in his compositions. As with all Rattle albums, the artwork is stunning and I detect the bold strokes of Manins black marker pen (and of course the genius of UncleFranc). GRG67 formed some time ago, primarily as a vehicle for composition, gigging at venues great and small and always encountered with enthusiasm.

The bulk of ‘The Thing’ album was recorded during Manins Doctoral recitals and the remaining few pieces were added later that day. It is the perfect material for such a recital as it adds something distinct and perhaps unique to the Jazz spectrum. Although a chordal instrument is deployed to great effect the music does not lean on it unduly. The harmonies are incredibly rich but what draws you in are the unison lines, the infectious rhythm and the counterpoint. The writing is interesting because melody lines dominate without appearing to – at no point do any of the instruments fall into an orthodox comping pattern behind a soloist – this is a space where everyone speaks in an equal voice and they do so while acknowledging those they share the stage with.  

Of course when Manins or Howel solo you sit back and wonder at the inventiveness and the execution. When Cole on bass spins out his bold lines and when Deck’s edgy drum beats rain down on you, every crazy-wonderful moment resonates, but everyone is noticeably present in the mix.  This music has a life force, perhaps a west coast life force and it completely owns its asymmetrical musicality. There are also wild shouts and exhortations woven into tunes and this bolsters the sense of immediacy. Again, New Zealand musicians are punching above their weight and I reflect on how blessed we are to have the scene we do.

All of the tunes except one are by Manins (one tune is credited to Cole). I have posted ‘Crab Empathy’ (Manins) as a sound clip as it’s happy crazy vibe captures the ethos of the album best. GRG67: Roger Manins (tenor saxophone), Michael Howell (guitar), Mostyn Cole (electric bass), Tristan Deck (drums). Rattle.co.nz

IMG_4756Shem: Everyone on the New Zealand Jazz scene is familiar with Michel and Fabienne ‘Shem’ Benebig. We have long enjoyed Michel Benebig’s warm B3 grooves and Shem’s straight from the heart vocals as they win over an ever-increasing New Zealand fan base. And every time they land they bring with them a part of their small Island, a sultry swinging New Caledonian vibe that warms even the coldest of Kiwi nights. Because Shem identifies so strongly with ‘place’, she often writes tunes about flora & fauna and as she travels, her every note speaks of who she is as a South Sea Islander. In spite of that her vocals are also laden with a French sophistication. Her long years on the road have gifted her the ability to shift seamlessly between moods – one minute a powerhouse soul vocalist fitted for big band, the next, a late night heartbreaker, embracing an audience with a whisper.

Shem has recorded often with husband Michel, but this album is very much her own.  She is clearly the guiding force here; a singer/songwriter of considerable talent showcasing her compositions and setting the tone. She opens with the lovely ‘Un oiseau’ a gentle swinger ending with her trademark indigenous New Caledonian styled vocalisations and whistles. Throughout the number, Kiwi saxophonist Roger Manins adds tasteful fills and is perfectly in sync with the vocalist. The title track ‘Kuic’ (meaning yam in the Kanak Nemi Language) is a groove number, strongly underpinned by the beats of New Zealand Drummer Ron Samsom. Track five ‘State Highway’ is my favourite of the selection as I first heard it soon after Shem had penned it. It is a soulful road blues and who better to tell this age-old story than Shem. She owns this song from start to finish.  

Her band, all well-known musicians, but on this album, they coalesce into a warm supportive role. The great US groove guitarist Carl Lockett is an astonishing technician and a man of impeccable musical taste. It is impossible to imagine him playing badly and he is heard at his bluesy best on State Highway. Roger Manins and Ron Samsom need no introduction either, both provide the best of what New Zealand has to offer. Lastly, there is Michel Benebig on his beloved B3. When this man solo’s he can mine a groove to unplumbed depths, but when he accompanies Shem’s vocals he reigns in his bravura impulses and provides her vocals with the caressing comping they deserve.  AMJBCA

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.

 

 

 

Beyond category, CJC Creative Jazz Club gigs, experimental improvised music, vocal

Leda’s Dream 2018 – Chelsea Prastiti

Prastiti (1)Chelsea Prastiti was not long back from Cyprus when her band Leda’s Dream appeared at the Backbeat Bar. Prastiti is well known in the Auckland improvised music scene and especially so at the avant-garde end of town. She’s a compelling vocalist and composer who approaches her craft as a free spirit, unfettered by others expectations. When she sings she dives deep and puts herself out there fearlessly but her risk-taking is not a mere academic exercise; it cuts to the very heart of what it means to be a thinking, feeling human. Her compositions are therefore always interesting and out of that a raw beauty and an honesty arise.  Prastiti (2)Although the ensemble played material that we have heard before, they sounded incredibly fresh – even different. Crystal Choi confined herself to accompanying vocals (no keys), Michael Howell stepped further into a measured chordal role and Callum Passells on alto and voice effects was the archetypal minimalist (saying a lot more with less). This felt very right and the re-configuration gave the ensemble a lot more freedom. They stretched out as the spirit took them and the first two tunes filled the entire first set. The voices, in particular, were liberated by the change and this gave wings to the melodic lines and mood. The harmonies were there in spades but that was not what drew you in. It was ‘mood’ and the pictures that those moods created.  PrastitiPrastiti’s is a brave path and I would expect no less from her. This is a musical space that is sparsely populated and more’s the pity. Think Sera Serpa (duos or trios), Think Norma Winstone (Azimuth 85) or perhaps the brilliant Nordic vocalist Sidsel Endresen (Endresen live with Jan Bang). In this ensemble, she has the musicians to give her the freedom she deserves. Passells, who is unafraid of soft trailing notes or of minimalism, Howell who can follow a vamp to eternity and make it sing, Choi who instinctively makes the right moves, and Eamon Edmundson-Wells and Tristen Deck who know when to lay out and when to add colour or texture. The music drew from free improvisation, standard Jazz and deep Folkloric wells. It did so without undue introspection. The band brought the audience along with them and the bouts of enthusiastic applause proved it. For some reason, and it was partly their attire, the gig felt like a postmodern version of a Pre-Raphaelite tableau. Oh yes indeed, that always works for me.

Leda’s Dream: Chelsea Prastiti (vocals, compositions), Crystal Choi (vocals), Michael Howell (guitar), Callum Passells (alto sax, sound effects), Eamon Edmundson-Wells (upright bass), Tristan Deck (drums), Backbeat Bar, 8 August 2018

Australian Musicians, Backbeat Bar, CJC Creative Jazz Club gigs

Eamon Dilworth Quintet @ Backbeat Bar

DilworthTomasz 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. Dilworth (2)

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.

 

 

Backbeat Bar, CJC Creative Jazz Club gigs, Small ensemble, Straight ahead

Steve​ Sherriff Sextet @ Backbeat Bar

Sherriff (1)This project was bound to happen sometime and it was long overdue. On the night of the bands first gig, the pent-up energy that had long been building found a voice. As they kicked off, the room filled with potent energy and the enthusiasm of the band was met in equal parts by the capacity audience. Steve Sherriff is fondly remembered from Alan Browns Blue Train days and he brought with him an interesting group of musicians. Most of them were compatriates from earlier bands and their familiarity with each other musically paid dividends.

On keyboards, was Alan Brown and this was an obvious and very good choice. Brown has a long history with Sherriff and this was evident as they interacted. On trumpet was the veteran Mike Booth; a musician more than capable of navigating complex ensemble situations and delivering strong solos. Ron Samsom was on drums, another well-matched band member, ever urging the band to ever greater heights as he mixed organic grooves with a hard swing feel. Then there was Neil Watson on pedal steel and fender guitars and Jo Shum on electric and acoustic bass. When you put a group of strong soloists and leaders together there is a degree risk, but these musicians worked in perfect lock-step. As in sync as they were, Sherriff was the dominant presence on stage and no one doubted who the leader was.  Sherriff

Sherriff is a fine saxophonist with a compelling tone on each of his horns. On this gig, he alternated between tenor and soprano (though he sometimes plays alto in orchestral lineups). He has an individual sound and it is especially noticeable on tenor ballads and on tunes where he plays soprano. His other strength lies in his compositions. He and Brown contributed all of the numbers for this gig, but in future, other band members will be contributing also.  This was small-ensemble writing of the highest order – tightly focused – melodically and harmonically pleasing. The faster-paced numbers were reminiscent of hard bop – the ballads memorably beautiful. Brown and Sherriff set a high compositional bar.Sherriff (2)

It was Watson though, who took the most risks and the audience just loved it. At times he appeared to be stress testing his Fender as he bent strings and made the guitar wail. At other times he was the straight-ahead guitarist in Kenny Burrell mode – then on a ballad number, he would gently coax his pedal steel guitar and play with such warmth and subtlety that you sighed with pleasure. It had been a while since I’d seen Jo Shum perform and this was a setting where she shone.

Although the band was only formed recently, they will be ready to record sometime in the near future.  The material and the synergy of the band is just too good to squander.

Steve Sherriff (compositions, leader, saxophones), Alan Brown (keyboard, compositions), Mike Booth (trumpet), Neil Watson (pedal steel and Fender guitar), Jo Shum (upright + electric bass), Ron Samsom (drums). The gig took place at the Backbeat Bar, K’Road, Auckland, for the CJC Creative Jazz Club, July 25, 2018.

 

CJC Creative Jazz Club gigs

Alan Brown – Between the Spaces – 2018

Alan Brown (1)I have a special connection with this band and specifically with the recording that this gig was reprising. It felt like something of a milestone at the time, as the New Zealand scene was hungry for a fresh take on classic funk. This was a sound that many had been waiting for. Guitar and Rhodes rich with a punchy e-bass and modern drum pulse. A sound which hinted at classic prog-rock or the soaring fusion of Focus. Some listeners were reminded of the heady days of funk’s urban dominance while others felt reconnected with High Street of the nineties; a decade of danceable Jazz crossover. It was, however, considerably more than a glance into the past; it effectively leapt into the space opened up by the release of Aaron Parks, Invisible Cinema.  It scratched many itches at once and it was loved by forward-looking Jazz audiences, Funk aficionados and Rock audiences alike.

I will state my personal connection up front. After hearing the ‘Between the spaces’ recording and the band live, my partner and I hired them for a house party. It is not an event that I will forget in a hurry. We rolled back the carpets, chilled the beer, carved the roast and warned the neighbours. Seeing a band like this set up in your living room is a special feeling. It creates a deep connection on a very personal level. As they played into their first tune the air sizzled with electricity and everyone drifted in from the other rooms, the garden and the deck. One by one the neighbours started to turn up – some were definitely not Jazz fans but before long they were dancing along with the rest and feeling amazed that they had discovered a new genre of music. Some danced, most smiled, and everyone was mesmerised by the groove. Alan Brown (2)

My partner Darien was a Labour MP then and that attracted other MP’s to the gig.  The then recently elected back-bencher Jacinda Ardern (our current Prime Minister), Chris ‘Chippy’ Hipkins (now Minister of Education and house leader), David Shearer (then opposition leader and now a senior UN diplomat protecting the most vulnerable in Africa).  But most of all I remember that our dear friend Helen Kelly flew up for the party. She loved the band and purchased a copy of the album. We lost her a few years later – New Zealand lost her – so yes, these memories are very personal.

The band at the Backbeat Bar featured most of the original core band, Alan Brown on keys (playing an Arturia KeyLab 88), Andy Smith (dusting of a semi hollow-body for the occasion), Jono Sawyer (drums) and David Hodkinson (electric bass). Hodkinson often appeared when the original band performed live, but Marika Hodgson was the bass player on the album. The Backbeat Bar CJC gig was right up to the mark, as the band had lost none of their spark. You could tell that they still loved playing this material and the audience, a mixture of old and new fans, were clearly delighted with what they heard.  While the gig reprised many of the older numbers we also heard some interesting newer material. I have it on good authority that Alan is seriously considering a Between the spaces two. I certainly hope so – the original album was long ago integrated into my life’s soundtrack.

The gig took place at the Backbeat Bar for the CJC Creative Jazz Club, July 18, 2018. For copies of the original ‘Between the spaces’ album or for subsequent Alan Brown albums, you could try your local record store, but the best place to purchase is through Brown’s Bandcamp site, which is at AlanBrownBandcamp.com