Blair Latham trio @ CJC

September 7, 2014September 7, 2014 / JazzLocal32.com / Leave a comment

There are musicians who have the ability to create vibrant pictures out of sound, deftly carving shapes, daubing them with colour, texture, leaving images suspended in the air, as tantalising spectres. Blair Latham is one of these. He brings to the bandstand a tropical exoticism, redolent of the central Americas, but somehow still Kiwi.

I first saw Latham at the Rogue & Vagabond during the Wellington Jazz Festival. The project was to re-create the vibe of the Headhunters album and it certainly did. In the hands of Hayles, Latham and others a wild, hyper-energised brew of sounds radiated among us. They took the brief to its outer limits and for the audience (who were undoubtedly Hancock enthusiasts), it was an immensely satisfying experience. As Latham’s tenor wailed, the milling crowd urged him on, each phase wilder than the last.

The Rogue & Vagabond channeled North American funk grooves, this gig took us a long way south of that, to central Mexico. A Mexico seen through Kiwi eyes, a musicians eyes, the eyes and ears of a careful observer. The energies had shifted as well. A more thoughtful approach was evident. Latham was telling stories that came from the heart, from experience and reflecting the altered light and filtered sounds of that populous country.

As the band started playing there were powerful overwhelming images created. I reached for my note pad and wrote the word Fellini. This is how I heard it, the sounds of a happy and slightly chaotic Mexican circus, peopled by tumblers, clowns on stilts, parading animals and long lazy hours fuelled by Mezcal. A rich mesmerising spectacle that took your breath away. There were no high energy excursions, no roof blasting squalls of sound. This was a journey of measured steps, full of subtleties. At times the trio sounded like a bigger unit and as Latham switched between his rich woody bass clarinet and classic Selmer tenor saxophone, the effect amplified. Each phrase, each line, hung in air long after the breath that created it had subsided. There were a number of Latham’s compositions and some beautiful, haunting Mexican ballads. Emotion and sentimentality are bound up in that world. There is nothing buttoned-up about Mexican music.

Latham is unusual in New Zealand as his principal horns are bass clarinet and tenor saxophone. A handful of musicians double on bass clarinet, few are as proficient as he is.

It often happens that the best laid plans unravel unexpectedly. The trio was initially advertised as Latham, David Ward & Chris O,Connor. The trio we saw was Latham (bass clarinet, tenor saxophone, leader), Neil Watson (guitar, lap slide guitar), Stephen Thomas (drums). I rate both Ward and O’Connor highly but this lineup worked extraordinarily well. It was hard to believe that these musicians had not played together often. The challenge of playing this music, reading these often complex charts, brought out the best in Watson and Thomas. Both gifted musicians. both good readers. Together they merged perfectly and we could see Latham’s pleasure at this.

The drum charts called for a colourist approach, an oblique subtle rendering of rhythms that were as much rooted in Mexican folk music as in avant guard jazz. Thomas was exceptional as he tapped, scraped or made the kit whisper; even his solos were original and entirely appropriate. This guy can tackle anything it seems. Watson is a veteran of the unusual and a superb reader. It was a joy to see him working counterpoint or even unison lines with Latham. He is perfect for gigs like this as his unbridled imagination is not tethered to norms. He moved between lap guitar and Fender solid body, enabling him to move closer to the Frissel like Americana sounds that so clearly influence him.

The word Mexico brings to mind a jumble of exotic but occasionally troubling images. For me the source is literature, films, art, photography and music. The nearest that I got to Mexico was in books like ‘Under the Volcano'(Lowry), ‘On The Road’ (Kerouac) or ‘The Teachings of Don Yuan’ (Castaneda); in films like ‘The Night of the Iguana’, numerous cowboy movies; in crazy photographic images from the ‘night of the dead’ festival of Santa Muerte, in articles about the loathsome human traffickers or murderous drug cartels. I have travelled extensively in Spain and down the Californian Coast, places where this beguiling country felt almost within reach. This gig took me one step closer.

“How’s the mezcal” he said. “Like ten yards of a barbed wire fence. It nearly took the top of my head off. I had a Tequila outside with the guitar hombre” – ‘Under the Volcano’ -Malcolm Lowry

Who: Blair Latham (bass clarinet, tenor saxophone), Neil Watson (guitars), Stephen Thomas (drums)

Where: CJC (Creative Jazz Club), 1885 Britomart, Auckland, New Zealand, 3rd September 2014 – www.creativejazzclub.co.nz

Pleasure Point Sextet @ CJC

September 3, 2014September 3, 2014 / JazzLocal32.com / Leave a comment

The end of August CJC gig featured Wellington based ‘Pleasure Point Sextet’. The Sextet represents an interesting project, formed by Californian based pianist/composer/arranger Steve Abrams when he visited Wellington in 2005. Under the guiding influence of well-respected Jazz educator, drummer Greg Crayford, the project has continued. Abrams maintains contact, supplying the occasional chart and encouragement. Abrams charts are original and have a certain airiness about them, a sense of place; perhaps reflecting his home base of Santa Cruz, hinting at the palm trees and seemingly endless surf beaches.

There are two Crayford’s in the Pleasure Point Sextet. Greg Crayford the leader is on traps and his son Miles on piano. The former Wellingtonian Miles Crayford is increasingly known around Auckland where he sometimes gigs (usually with bass player Mostyn Cole). The sextet had the appearance of a classic hard bop line up with trumpet, tenor saxophone, piano, bass, traps drums and percussion. While they tackled a few hard bop classics, they were more often about the sensuous latin infused rhythms of the southern Americas. The beats were infectious and none more so than the cha-cha they played. It is unusual to hear a cha-cha in Jazz but it worked just fine. As the choppy infectious rhythms were laid down you could easily imagine the ubiquitous dancers who peopled early Fred Astaire movies. That it worked so well is particularly due to the percussion skills of Raphael Ferrer Noel. Watching him rolling his palms and stinging the skins with crisp decisive blows was an essential part of the theatre generated by this sextet. This was nicely offset by Crayford on traps. All the while Noel swayed and grinned (and occasionally sung).

There were a few Jazz standards selected for the sets, some lessor known, but all well-chosen. ‘Bb Blues’ by hard bop trumpeter Donald Bird and the stunning melancholic ‘Angel Eyes’ (Taylor/Jones). I have always liked the ballad ‘Angel Eyes’ and the way musicians approach it is varied and generally interesting (My two favourite versions being the Anita O’Day/John Poole quartet version and the contrasting slow burning funked up rendition by tenor-man Gene Ammons). Mike Booth who took the main solo did not disappoint in this regard. The remaining band members were Tait-Jamierson and Cole. James Tait-Jamierson is a melodic tenor player who conveys strength without being forceful. I have heard Mostyn Cole play many times and have found his arco-bass and straight bass work convincing. His punchy electric bass on this gig illustrated his versatility.

Who: ‘Pleasure Point Sextet’ – Greg Crayford (leader, traps), Miles Crayford (piano), James Tait-Jamierson (tenor saxophone), Mike Booth (trumpet), Mostyn Cole (electric bass), Rafael Ferrer Noel (percussion, vocals)

Where: CJC (Creative Jazz Club), 1885 Britomart, Auckland, New Zealand. 27th August 2014 www.creativejazzclub.co.nz

John Bell – Horn Free @ CJC

August 27, 2014September 6, 2014 / JazzLocal32.com / 1 Comment

John Bell is an iconoclast, always bringing something new and unexpected to the bandstand. There is also a rich vein of tongue in cheek humour that runs though his onstage banter. Like his music, it takes unexpected twists and turns. That is not to say that his shows lack serious intent as he utilises quality musicians; doing what they do well. It is perhaps best to describe his gigs as full of Zen humour, the sort that Carla Bley is so adept at. The slap in the face accompanying a sly tickle of the ribs. Even Bells instruments are other than the expected. A metallophone instead of a vibraphone (vibes, sans motor and Leslie unit as played by Gary Burton these days). A horn in a gig titled Horn Free (and an obscure tenor horn at that). I was equally unsurprised when I was invited to their live recording date; “Last Modern Jazz Qtet Concert’. Perfect.

To do justice to his music Bells gigs require quirky and talented musicians. Good readers, good time keepers, prepared to veer off at a moments notice into uncharted realms. No genre remains un-pillaged in the source material for John Bells compositions; Korean folk songs, bebop or brass band music. When he announces a standard it is best to think popular Korean TV program theme, Sonny Sharrock or Sankey Hymn. Nothing is what it seems in his Kaleidoscopic world of shimmering sweet and suddenly dissonant sounds. The music is weighed up and re-evaluated long after the event. It leaves an impression hanging in the air for weeks and because of that it is somehow more satisfying than predicable gigs. Perhaps it is in the ears of the listener, but to my ear this was brave and satisfying music. It made me happy.

Watching an animated vibes player is pure theatre. They throw themselves into the task more than other instrumentalists. At times Bell would launch him self forward with apparent fury. His left foot trailing behind him as the energy released. This wonderful two or four mallet dance was a product of the reduced amplification. Body, mallet and instrument interacting with intensity.

The rest of the lineup consisted of guitar, drums and bass. A mix of veterans and up and coming players. Neil Watson was on guitar and he is the perfect foil for Bell. He is at least as iconoclastic as Bell, with wild forays ranging from the joyously punk to fusion bebop. Watson is a respected musician about town and if he has boundaries they are not immediately obvious. Stylistically he is often somewhere east of Frissel, Montgomery and Ribot. He has gradually been adding more slide guitar into his repertoire (and now a pedal steel guitar is part of his bag of tricks). Watson provided one composition to the gig and while different to Bells compositions it was equally enjoyable. A well-known musician sitting beside me whispered, “That is in the time signature of Take Five, but it is way further out”.

Eamon Edmunson Wells was on bass and Cameron Sangster on traps. While Bell and Watson often leave the known universe to explore the outer reaches, Edmunson Wells and Sangster hold the ship intact. I have heard both often, but never in this context. I was extremely impressed by their efforts and my respect has deepened for both. If you do something well in a straight-ahead context that doesn’t necessarily translate into a more avant garde setting. Musicians like Joey Baron show us just how far you can stretch if you are so minded. It pleases me to see younger musicians following this braver path.

The audience numbers were not as good as they could be and that was a pity. This music is a rare treat and it deserves our attention. All you need to enjoy music like this is a pair of open ears. If you listen, really listen, you will soon have a smile on your face.

(an updated audio to clip to be added shortly in this space)

Who: John Bell (metallophone, tenor horn), Neil Watson (guitars), Eamon Edmunson Wells (bass), Cameron Sangster (drums).

Where: CJC (Creative Jazz Club), 1885 Britomart, Auckland, New Zealand www.creativejazzclub.co.nz

Asher Truppman Lattie / J Y Lee emerging artist series

August 24, 2014August 25, 2014 / JazzLocal32.com / Leave a comment

Thirty years ago Jazz students kept close to the safer standards for a first time club gig. Post millennium Students reference a variety of genres; even during a single number. That may sound like a recipe for disaster and if handled ineptly it would be. What I heard on this gig was at times clever and perhaps even cheeky. It bodes well for the adventures ahead. It is important that Jazz retains a sense of adventure and joy. There is certainly room for serious explorations, but music that takes itself too seriously is a downer.

The programming of CJC gigs ensures that a variety of acts. This is a particular strength. I have remarked upon this before and it is this practice that enables the Jazz club to hold ’emerging artists’ gigs every so often. It is far from being a weak commercial proposition as these nights usually draw significant crowds. Everyone who follows this music knows that artists don’t emerge from their studies fully formed. They develop incrementally; as they practice, play beside better musicians and as they perform in front of discriminating audiences. Having a project in hand like the ’emerging artists’ series is an important step. There are a number of Jazz schools in New Zealand (and some very good teachers in the private sector). It is therefore important that we evaluate the students. So far the quality of emerging artists has been impressive.

There was a double billing on the 6th August. First up was the Asher Tuppman Lattie quintet, followed by the J Y Lee Sextet. Following tradition the band members were all fellow students or recently graduated students and the reasoning behind this practice is sound. If they appeared with well established and highly competent musicians, a lingering doubt could remain. Would they have sounded as good without the latter? Choosing from fellow students gives context and synergy. Everyone needs to step up in unison.

I have posted a number titled ‘Tango’ which provides a context for my initial comments. At first it appears to be traditional Jazz Tango fare as it briefly utilises the raspy sounds made famous by Gato Barbieri. Then you get a sense of fun, as it playfully takes the genre apart. We get bebop and the merest hint of free in what follows. The vaudevillian feel of the piece worked well. It is similar to the sounds I heard during my explorations of Italian Jazz, a country where the blurring of Jazz, folk and free is often elevated to high art. Jazz Tango is something that I love and I’m not sure Kiwi’s get this. Listen to Gerry Mulligan with Aster Piazzolla or Gary Burton or even Carla Bley and you will find Tango gold. The Jazz Tango master who appeared to acclaim at the recent Wellington Jazz Festival was probably ignored by most Jazz fans. Their loss. The pianist Connor McAneny played the first set. He is an imposing presence; not because he is dominant, but because his assuredness when comping and his tasteful solos grow ever more confident.

Second up was J Y Lee, a young alto player who is often seen around town. He is heard in many lineups and his taste for the avant garde has added a piquancy to his sound. His played a varied set, giving him the ability to demonstrate a range of his writing and playing skills. Utilising Chelsea Prastiti on vocal lines was a masterstroke as the colour she adds to an ensemble is unique. As in the Asher Tuppman Lattie set the second horn player was Sam Weeks. Sam had played Alto in first set but took up tenor duties for the second set with J Y Lee. I have put up a piece which shows Weeks and Lee playing together. The arranged head is tight and melodic and as the piece opens out, everyone is given a chance to stretch a little.

The pianist for the second set was Chrystal Choi. She is a gifted pianist and it is a real shame that we don’t see her more often. In spite of having well-developed chops she never over-plays. Every note counts and she is definitely one to watch. Bass player Djordje Nikolic and drummer Tristan Deck played both sets. I have only heard Nikolic a few times but he acquitted himself well. Tristan Deck is increasingly seen about town and it is no wonder that he is employed more often. His time feel and confidence mark him out.

There was a good attendance for the gig and judging by the whoops and cheers everyone enjoyed it.

Where: CJC (Creative Jazz Club) www.creativejazzclub.co.nz

Mark Lockett Trio @ CJC Winter 2014

August 6, 2014 / JazzLocal32.com / Leave a comment

Mark Lockett lives in New York these days but he manages to visit Auckland every so often. This year, as he did in 2012 when he released ‘Sneaking out after midnight’, he appeared with a trio. Lockett is an engaging personality and his often quirky good humour spills into his playing. He is probably the most unusual drummer I have seen. One manifestation of this is the way he holds his sticks which is sometimes more than a third of the way down. It’s as if he puts his entire body into the task in hand, partly lowering himself over the kit and listening intently to each sound and sensing each player; feeling for the spaces in between.

There is an apparent deliberation that accompanies each beat or flurry, holding back for a micro second , then dropping the stick. What is more interesting is his ability to convey the maximum of effect when playing quietly. He isn’t a loud drummer but he conveys a world of sound. Reminding us as he uses elbows, hand palms, rims and stands, that the drum kit is a subtle and incredibly musical instrument in the right hands. His are the right hands. Lockett’s compositions are also quirky and there is always the hint of a delightful joke in the offing. These jokes stretch beyond the humorous titles, unfolding as musical stories with clever narrative lines. His communication skills are such that the audiences follow with delight. The humour is gentle but deeply imbedded and perhaps this is the best hook of all. This tour was appropriately titled, ‘Flying by the seat of my pants’.

There are definite risks with trios like this, as they tempt saxophonists to self indulgently noodle once freed from chordal constraints. Manins was perfect with this trio and used the opportunity to build upon the existing narratives. At times playing outside but never once disconnected from the bass in drums. He clearly took his lead from Lockett. He is known for his intuitive reading of varying bandstand situations, a particular strength of his.

The bass player Umar Zakaria had never played at the CJC before and in fact when I saw his name on the web site I thought that he had come from New York with Lockett. When I spoke to him it surprised me to hear a Kiwi accent. Zakaria has been attending the School of Music in Wellington and I believe that he is doing his honours at present. My belief that he was an experienced offshore musician was not dispelled until I spoke with him after the gig. His solos were interesting and he ably supported the others. This was a good night of music from a solid band, that entertained without taking itself too seriously.

Who: Mark Lockett Trio – ‘By the seat of my pants tour’. Mark Lockett (drums and compositions), Roger Manins (tenor saxophone), Umar Zakaria (upright bass).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland New Zealand. www.creativejazzclub.co.nz

Alan Brown Trio @ CJC Winter 2014

July 30, 2014August 6, 2014 / JazzLocal32.com / 1 Comment

Alan Brown remains perennially popular about town as does his regular guitarist the virtuosic Dixon Nacey. Last time the trio played at the CJC the gifted groove drummer Josh Sorensen was on traps, but for this gig the replacement was Adam Tobeck. Tobeck proved a sensible replacement, with his ability to hold down a tight propulsive groove while at the same time imparting that something extra. Tobeck had even mastered the regulation groove drummers face, which is indispensable in situations like this. With an organ trio the ability to lock down a groove is essential and the drummer is central to this. Alan Brown did not have his immaculate (but hernia inducing) C3 with him this time, as he had sensibly turned up with a new Hammond SK2. As an approved Hammond artist he now has access to such wonders.

The SK2 came complete with pedals, but as if to acknowledge its illustrious ancestors a vintage Leslie unit sat beside it. While nothing can replace the B3 sound exactly, the SK2 is a big leap forward. Brown is a multi skilled keyboardist and he navigated the differences between this instrument and his usual keys with ease. The only deficit was in the sound mix as those furthest away from Nacey could barely hear him at times. I suspect that this was down to the Leslie unit, which generates such a strong pervasive sound.

Those on the other side of the room clearly heard everything and with the utmost clarity. The looks of pure enjoyment radiated from the row of faces nearest to Nacey. With each chord or bent string they would gasp in delight and pull back grinning, as if reeling from mock blows. That is the legacy of this trio, to engage audiences on an intensely visceral level. That is at the very heart and soul of groove. It is a music that makes you want to smile and dance, while all the while marvelling at the musicians as they shimmer before your eyes.

Brown had composed a number of new tunes as well as bringing us interesting reinterpretations of his best-loved old ones. ‘Shades of Blue’, ‘Charlie’s here’ and ‘Inciteful’ brought the house down. ‘Inciteful’ was the very last number and the band threw themselves into it with extraordinary vigour. Each member of the trio gave everything they had and the audience loved it. The three guys sitting near Dixon Nacey looked as though they had entered an altered state of pure ecstasy.

Video by Ron Drake – ‘Inciteful’ (Brown)

What: The Alan Brown Trio – Alan Brown (keyboard, compositions), Dixon Nacey (guitar), Adam Tobeck (drums). www.alanbrown.co.nz

Where: The CJC (Creative Jazz Club), 1885 Britomart, Auckland, New Zealand 23rd July 2014 www.creativejazzclub.co.nz

yeahyeahabsolutelynoway @ CJC

July 23, 2014 / JazzLocal32.com / 3 Comments

An array of guitar pedals is sometimes deployed to hide a multitude of sins, but in the hands of a skilful improviser the opposite occurs. Yeahyeahabsolutelynoway! illustrate the best of modern guitar work as they invoke past, present and future. Their gigs feature their own compositions, with performances drawing upon influences as diverse as rock, country, experimental improvised music and traditional Jazz. They juggle these competing influences skilfully while still imparting a surprising degree of subtlety. I have sometimes seen Jazz guitar traditionalists roll their eyes at the sight of pedals, but I would respectfully suggest that they haven’t been paying proper attention to their Jazz history.

Everyone from Charlie Christian onwards embarked upon a never-ending quest to change, modify, enhance and above all to extend their sound options. Without those open skies explorers and without enhancements, the use of the guitar in boisterous Jazz lineups would have reached its high-water-mark with Freddie Green. I love Freddie Green with a passion but the guitar is about more than chords. Almost every instrument used in Jazz today is modified or extended in some way. Putting a trumpet through a pedal and working in real-time with loops created by multi phonic effects does not mean that the musician is cheating. It must be about integrity and the sound. Beneath the right fingers improvisational integrity and storytelling always come to the fore. Yeahyeahabsolutelynoway! understand that.

‘Yeahyeahabsolutleynoway’ are the latest addition to the impressive Rattle Records stable. On the 16th July they did an album release gig at the CJC and for those who braved the winter night it was a treat. I had listened to the album in advance and so I knew what to expect, but to see them in action held a few surprises for me. I had wrongly imagined that there would be pre-recorded loops but this was strictly live music. Every effect we heard was created in realtime, with the constant adjustments from both guitarists giving them an immense palette to work with. If the sound scape was impressive the tunes were even more so.

There is something special going on with Australian guitarists at the moment and this band and ‘The Grid’ are occupying a unique space in the antipodean Jazz spectrum. In the case of ‘yeahyeahabsolutelynoway’ there is no bass guitar, not even a five string. It is not that unusual to see two six string jazz guitars together in a trio with drums. What is more unusual is when neither of them takes on the traditional rhythm duties. These guys were often working the same space, swapping lines or converging on a passage to create a subtle filigree. While they worked as equals, they never appeared to intrude or crowd in on the other, so attuned they were. Their focus was always on the subtleties of the music and this made for a good listening experience. On a beautiful Ibanez solid body guitar was James Brown, who looked more like a member of ‘Z Z Tops’ than his namesake. On a classy looking blond Fender Tele was Sam Cagney. Both could be seen crouching at various times throughout the sets, as they coaxed beguiling sounds out of the pedals and all the while playing on through. The drummer Stephen Neville was vital to the mix and created a seamless flurry of beats or subtle whispers on brushes as required. It would be hard for me to pin down his drum style other than to say that it was effective and impressive.

The tunes in the set list and on the recording were varied in approach. A fun number is the rock influenced ‘Why Sleep?’ When I put the album on at home my partner Darien immediately replayed ‘Why Sleep over and over. It is the one to hook you and draw you in. I liked the Americana feel of ‘Down home’. It wouldn’t have been at all out-of-place on a Bill Frisell album. The album was recorded live in Adelaide South Australia where the bands originates from. Rattle is definitely on a roll this year (yeah, shake rattle & roll) and as the label goes from strength to strength, the CJC (Creative Jazz Club) and the Jazz audiences benefit. Keep them coming Steve Garden!

A foot note: I see that Columbia University is now running a Computer Science course on programming for Jazz Musicians. As Melhdau and others increasingly follow the footsteps of Herbie Hancock in using programmable devices to extend their range, such courses can only grow in number. Don’t be too dismayed, this is improvised music folks! Jazz will strike out in any direction that musicians take. It is up to us to keep up.

Who: yeahyeahabsolutelynoway! – James Brown (guitar, effects) Sam Cagney (guitar, effects), Stephen Neville (drums & cymbals)

What: A Rattle Jazz Album: UM.. yeahyeahabsolutelynoway! http://www.rattlejazz.co.nz

Where: Live album release at CJC (Creative Jazz Club), 1885 Britomart, Auckland, New Zealand www.creativejazzclub.com

Chelsea Prastiti 2014

July 20, 2014August 2, 2014 / JazzLocal32.com / Leave a comment

Chelsea Prastiti could be said to represent an intergenerational change in the direction Jazz Vocals are headed. I have watched her grow in confidence since her time at the Auckland University Jazz School and she is always ready to try brave new experiments. Because her default is the use of wordless vocal lines, she has better been able to explore the relationship between voice and the other instruments. This integrated approach is possible for two main reasons. Her keen awareness of what is happening around her and above all her compositional skills.

Chelsea Prastiti is writing good material. At times it feels brave and edgy, but it is always interesting. Perhaps another factor is the musical familiarity with her band mates. Her bands generally feature Matt Steele (piano), Callum Passells (alto saxophone), Liz Stokes (trumpet), Eamon Edmunson-Wells (bass) and Tristam deck (drums). Because they were students together and because she has played with them often, I have gained the impression that she may even write material with them in mind. One of her best recent performances was as guest artist on Callum Passells last CJC gig. These two always work well together, but hearing them moving in lockstep as they traversed standards and amazingly innovative free numbers was a joy.

There were a few newer compositions and some re-arranged takes on earlier compositions. Everything in the sets was composed by Prastiti. I like ‘Bells’ which begins with a simple peal of bells, but quickly evolves into an altogether more complex piece. Steele was standout on this, never over-playing but making every note count. His comping was at times minimalist but he conveyed a certain strength. The rhythmic feel that he laid down was further enhanced by Deck and Edmunson-Wells. This allowed Passells and Prastiti to explore the tune in a methodical manner. Steles solo is worth a particular mention on ‘Bells’, as it underscores his growing maturity as a pianist.

Prastiti is involved in a number of local projects including an ethnically influenced a capella group. It is however her ability to edge toward the avant-garde that always interests me the most.

What: Chelsea Prastiti (vocals, compositions), Matt Steele (piano), Cameron Passells (alto saxophone), Eamon Edmuson-Wells (bass), Tristan Deck (drums) – Guests; Liz Stokes (trumpet), Cristal Choi (vocals)

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand. 9th July 2014. http://www.creativejazzclub.co.nz

James Wylie/Miles Crayford Group

July 16, 2014 / JazzLocal32.com / Leave a comment

James Wylie last passed through Auckland in late 2012 when he played two gigs at the CJC (Creative Jazz Club). A gifted alto saxophonist who doubles on clarinet, he has always been popular here. In his travels around the world, his natural creativity has found endless new avenues for expression, examining, dissecting and assimilating the sounds around him. What you get from Wylie is authenticity, an authenticity fuelled by indigenous music, country music, his own imaginings and all through a Jazz lens. Last time he appeared, Greek singer Egli Katsiki accompanied him for two numbers. This time we were again treated to some improvisations around traditional Greek melodies and to my delight a particularly lovely medieval Arab melody. This interface between the ancient streams of Mediterranean music and Jazz is one that I am always up for, but seldom get a chance to hear in New Zealand. Wylie is these days a resident of Greece.

The co-leader Miles Crayford, now based in Auckland, has appeared at the CJC several times in recent months. An interesting pianist and composer who compliments Wylie in unexpected ways. This meeting of musical minds stimulated both artists. The bass player was Mostyn Cole, but Crayford’s usual drummer, the Wellington based Reuben Bradley was replaced by Ron Samsom. While all respected musicians in their own right, putting such combinations together is not in itself a guarantee of success. In this case it worked well. I like Reuben’s drumming enormously, but Ron Samsom gave the lineup an unusual colour that would not otherwise have been there. Samsom can draw on an endless array of styles, in each case arriving at a feel that is indispensable to the improvisers around him. Like Wylie and Crayford, Cole contributed an original composition or two. Cole is also based in Auckland these days and that is our gain. He often incorporates passages of arco bass into his arrangements, perhaps more so than his local contemporaries.

The musical connection between Crayford and Wylie was obvious, with the deliciously dark voicings of the pianist giving the alto player much to work with. The first tune up titled ‘Taniwha’ (Crayford), set the tone for the evening. A compelling tune with a melodic head, opening out to reveal depth upon depth. In the second set Wylie showcased some traditional Greek tunes, unmistakable as to their origin, but somehow imparting a hint of that familiar Kiwi sound. Kiwi musicians are reflections of our national character, often excelling at what they do but seldom acknowledging their achievements. Many are deliberately self-effacing, only letting their music speak for them. Telling their stories in other ways is a writers job.

I enjoyed this band and judging by the enthusiastic applause, so did the audience. There was a time when I dreaded our more talented improvising musicians moving overseas as it felt like a loss. Now I think differently. Every-time James Wylie, Jonathan Crayford or Mike Nock returns home they bring back something new. Nothing is ever lost if we listen properly and keep supporting the music. These musicians and the many students who tread the same path are our legacy; where ever they live.

Who: James Wylie/Miles Crayford Group. – James Wylie (alto saxophone), Miles Crayford (piano), Mostyn Cole (bass), Ron Samsom (drums).

Where: CJC (Creative Jazz Club), 1885 Brittomart, Auckland, New Zealand. http://www.creativejazzclub.co.nz

Brian Smith quartet 2014

July 6, 2014July 9, 2014 / JazzLocal32.com / Leave a comment

For a man who says that he’s “taking it easy these days”, Brian Smith is remarkably active. He has been a strong supporter of the recent CJC Sunday Jam sessions, he still teaches and regularly fronts CJC gigs. Many regard him as the elder statesman of the tenor saxophone in New Zealand and he certainly has the credentials to fit that title. It is only when you see him playing his Cannonball or Selmer tenor that you realise just how youthful he is. Like many experienced tenor players he appears ageless on the bandstand. That is the alchemy of the instrument and the alchemy of the born improviser.

Advertised as Brian Smith (tenor saxophone), Kevin Field (piano), Kevin Haines (bass) Frank Gibson (drums) but on the night Oli Holland replaced Kevin Haines on bass.

It takes a lot of space to list Brian’s musical credentials and it is all too easy to miss out important elements, but here is a brief summary that I have gleaned from elsewhere;

‘Brian relocated to London in 1964, performing at Ronnie Scott’s and working & touring with such names as: Humphrey Littleton, Alexis Korner, T-Bone walker, Georgie Fame,Alan Price, Annie Ross, Bing Crosby, Mark Murphy, Jon Hendricks, John Dankworth, & Tubby Hayes. He was a founder member of ‘Nucleus’ alongside Ian Carr, which won the European Band competition in Montreaux in 1970, resulting in gigs at Newport Jazz Fest and tours of Italy, Germany, Holland, and America. In 1969 he started working in the Maynard Ferguson band, staying with them until 1975 including touring and recording. He also backed acts like Nancy Wilson, The 4 Tops, Gladys Knight & the Pips, Donovan, Dusty Springfield, Sandy Shaw and Lulu.’

The programming at the CJC is mostly centred around musicians projects. The gigs are therefore heavily focused on original material or perhaps an oblique take on a particular oeuvre. We do hear standards but seldom more than one or two a gig. The exception occurs when international artists arrive in town or when iconic musicians like Brian Smith front a gig. On occasion it is nice just to sit back and enjoy familiar tunes. Letting them wash over you, being able to anticipate the lines and comparing them in your head to the versions that you have grown up with. The very fact that some tunes become standards implies that they have a special enduring quality. These are vehicles well suited for improvisation and having musical hooks that invite endless exploration for listener and musician alike. Standards composers are the greatest writers of the song form, but the inside joke is that these wonderful tunes often came from musicals which failed miserably.

It was great to hear the quartet play ‘You and the night and the music’ which is a firm favourite of mine. Composed by Arthur Schwartz (lyrics Howard Dietz), it came from the musical ‘Revenge with music’ which closed on Broadway after a few months. Frank Sinatra and Mario Lanza revived it and it became popular with Jazz musicians for a while during the 50’s and 60’s. While the earlier popular renderings tended toward the saccharine, Jazz musicians like Mal Waldren purged the tune of its syrupy connotations. It was the obscure tartly voiced Lennie Niehaus Octet version (with Lennie on alto, Jimmy Giuffre on baritone and Shelley Manne drums) which won me over. Over a decade ago I heard HNOP and Ulf Wakenius perform a killing version of it at the Bruce Mason centre and I had not heard it since. That is until last Wednesday.

Another great standard was Horace Silvers ‘Song for my father’. Standards have the power to move us deeply and this tune in particular brought a lump to my throat as my father was slipping away that very week. One of pianist Kevin Field’s tunes ‘Offering’ was also played and while not a standard it is a favourite about town. Everyone played well that night with Oli Holland and Kevin Field up to their usual high standard; Frank Gibson on drums was in exceptional form. His brush work and often delicate stick work was perfect and it reminded everyone why he is so highly regarded about town.

I have chosen a video clip from the gig which is arguably the most famous standard of all. Cole Porters ‘What is this thing called love’. Cole Porter would always say that the song and lyrics wrote themselves and this version is certainly a worthwhile addition to the selection. Unlike many of the vocal versions it is fast paced and authoritative.

Who: Brian Smith Quartet – Brian Smith (tenor saxophone), Kevin Field (piano), Oli Holland (bass), Frank Gibson Jr (drums).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand – June 25th 2014 http://www.creativejazzclub.co.nz

Lex French Quintet @ CJC 2014

June 25, 2014 / JazzLocal32.com / Leave a comment

The trumpet is arguably the first instrument of Jazz but we hear it infrequently in Auckland. When we do it is seldom the lead instrument. To redress the balance, the CJC (Creative Jazz Club) featured Lex French last week, an impressive musician who is garnering increasing attention on the Jazz scene. This gig was one to look forward to. The occasion was the launch of his new Rattle album ‘The Cut’, which is an international affair; recorded at McGill University’s MMR & Studio ‘A’ utilising top rated young Montreal musicians. The mixing and mastering done in Auckland by Rattles Steve Garden. For the album release tour French had assembled a quintet of Wellington based musicians, people he has played with before and all well-respected.

While French has been around for some time and amassed an impressive CV he is not as well-known in Auckland. After this album (and gig) that should change. In spite of his relative youth he has already worked extensively overseas and has long been an essential component of the Wellington scene. He came to my attention earlier this year when ‘The JAC’ toured New Zealand and he really stood out, as trumpet players of his calibre are few and far between in New Zealand. His ability to engage an audience goes way beyond mere chops as the way he connects is personal. His tone is impressive as is his control of dynamics. While a strong decisive player, he can also whisper a beguiling phrase. ‘The Cut’ features his own compositions and these are as strong as the playing on the album.

If I had to pinpoint a particular mood, a particular composition I would draw your attention to ‘Metro’. Montreal has an impressive metro, teaming with cosmopolitan life. This track (2) and the others on the album connected me back to a city I love; a great Jazz city. This is what Jazz does best, paints sound pictures, reconnects us to fading memories while at the same time pointing to the unknown. ‘The Cut’ has an up to the moment feel with strong edgy interplay between instruments. Strangely it conveyed to me the vibe of Miles ‘Sorcerer’ album. Perhaps it was the compositions, perhaps it was the phrasing and intonation of the trumpet, but whatever the reason it evoked memories. Over the week I have played the album over and over and with each acquaintance a new pleasure discovered.

French is from Wellington New Zealand and there he obtained a B Mus with honours before moving to Montreal’s McGill University to complete a Masters. McGill has a highly respected Jazz Studies course (the Schulich School of Music). As an aside, New Zealand has another respected McGill alumni in drummer Ron Samsom (now head of Auckland University’s Jazz Studies Program). The musicians on ‘The Cut’ are all from McGill, Montreal. They are Lex French (trumpet), David Bellemare (tenor saxophone), Nicolas Ferron (guitar), Nicolas Bedard (bass) and Mark Nelson (drums). French is clearly the leader, giving a consistently strong performance, but with impressive sounding musicians like this behind him he is extremely well supported. For the New Zealand tour he had Jake Baxendale (alto saxophone), Dan Hayles (Rhodes, Piano), Scott Maynard (bass) and Lauren Ellis (drums). Having keys replace guitar changed the feel somewhat, but both configurations were effective in their way. With the authoritative French upfront it could hardly be otherwise.

French is impressive in an ensemble but he is a standout when leading his own unit. Buy this CD to show your support for an up and coming artist, but above all buy it for the pure enjoyment of sampling the best of contemporary Jazz. We can also chalk this up as another win for Rattle, in what is already an impressive 2014 Jazz catalogue.

What: Lex French ‘The Cut’ Album release for Rattle Records www.rattlerecords.net

Who: Lex French Quintet: (‘Album) Lex French (trumpet, leader), David Bellemare (tenor saxophone), Nicolas Ferron (guitar), Nicolas Bedard (bass), Mark Nelson (drums). (NZ tour) Lex French (trumpet, leader), Jake Baxendale (alto saxophone), Dan Hayles (Rhodes, piano), Scott Maynard (bass), Lauren Ellis (drums). www.alexisfrenchmusic.com

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand, 18th June 2014 www.creativejazzclub.co.nz

‘The Grid’ land @ CJC

June 18, 2014June 18, 2014 / JazzLocal32.com / 2 Comments

There are some musicians who arrive on earth fully formed, having journeyed from distant planets. Sun Ra was one of those. There is yet another category of musicians who are not aliens, but who clearly hitch a ride with aliens from time to time. The Grid is one of the latter, as there is no other explanation for their mix of in your face humour, outrageous musicality and otherworldliness. They have been to Auckland before when I reviewed them for this blog (read ‘The Grid off the Grid’). This is their second coming and it has long been anticipated by local musicians, metal jazz fans, mental Jazz fans and those who enjoy amazingly improbable improvised music. People of all ages attended, as the censorship restrictions had obviously been overlooked.

Reinforcing the view that ‘The Grid’ had been beamed in from a spaceship, was a light show that eerily played across them as they performed. The gig was not in the usual basement spot, as we had been booted upstairs for the night by the building owners. Being upstairs means psychedelic light show and being upstairs means playing to people at barely visible tables rather than to people sprawling on leather couches or sitting cross legged on the floor. Some musicians are less comfortable in this space, but The Grid appeared to thrive on it. As ever changing patterns played on the walls above them, or descended to spotlight their instruments, they worked with it. This gave the gig an oddly surreal atmosphere, as isolated instruments or disembodied heads floated strangely in the air.

The set list was replete with new tunes, all introduced by Ben Vanderwal as he joked his way from number to number. This was proper Antipodean humour; highly irreverent, at times dry and always delivered with a pinch of intellect. At one point a dissertation on Kylie Minogue’s lyrics occurred (she should be so lucky), at another a series of imponderable questions were left hanging in the air. “What if god were one of us? What if U2 were from Brazil? Before we could grasp the enormity of these questions, the band had launched into an astonishingly good version of ‘Sunday Bloody Sunday’ (U2) based upon that premise. The ideas may have appeared random, but they actually supported an interesting narrative that runs through all of their gigs. These guys are very good musicians and it is not hard to fathom why alien beings would want to abet them on their journey.

I have included a video clip of a composition by Dane Alderson titled ‘Hitch’. The tune was written to honour iconoclast Christopher Hitchens at the time of his passing. Sometime during the second set the guitar amp blew up and after a bit of head scratching it was mysteriously re-routed. A casual observer might think that it was appropriate that a band delivered to us by mysterious forces should disappear in shower of coloured lights and sparks. I am confident that someone will find a way to beam them back soon. We like them here in Aotearoa.

The Grid is: Ben Vanderwal (drums), Dane Alderson (electric 5 string bass, pedals), Tim Jago (guitars and pedals). Perth/USA

Where: The CJC (Creative Jazz Club) Britomart 1885, Auckland, New Zealand. www.creativejazzclub.co.nz

Barney McAll trio @ CJC

June 10, 2014June 14, 2014 / JazzLocal32.com / Leave a comment

Last week was my two hundredth post and I was casting about for something extra special to put up. Something to celebrate a rite of passage for JazzLocal32.com. Happily I found that special something right at my doorstep. Brooklyn based pianist Barney McAll was in town. There are a lot of exceptional pianists on the global scene and in spite of diligent explorations on my part, there are many that I haven’t yet heard. Barney McAll was one of those but the omission is now rectified. He is firmly on my radar and I will track his every move.

Barney McAll is an expat Australian, moving to New York in the mid nineties. There are 104 albums and films which credit him as either leader, sideman, arranger or collaborator and the people he has worked with defy belief. If I added all of their names here it would be a very long post, but to give you an idea of the diversity of his projects I will list a handful of his collaborators. Dewey Redman, Kurt Rosenwinkel, Kenny Garret, Marceo Parker, Jimmy Cobb, Eddie Henderson, Vernel Fournier, Billy Harper, Josh Roseman, Gary Bartz and Andy Bey. This guy is an established heavyweight but as if to round out an already fat resumé, his most recent activity focuses on solo piano. He has a long-standing weekly spot at a Brooklyn church and his Sunday gig is shaping his work in interesting ways. He is a deep improviser and his output of late has a spiritual dimension; embodying a personal journey. Spiritual in the way that eighties Jarrett or sixties Coltrane were.

When he plays solo piano or leads an intimate trio, Barney McAll appears protean. Changing form before your very eyes as he rolls to the music and enters into a state of absorption. Sometimes merging with the shadows, as fleeting shards of light fall across his face and fingers. I once read an account of a Tibetan Shaman who appeared to change shape as the wailing ceremonial trumpets and resonant sub-bass chanting engulfed him; reflecting the ebb and flow of the music. This is how I perceived McAll.

He mostly played his own compositions, but at times he augmented these with lessor known tunes from the margins of the Jazz repertoire. A good example of the latter was his joyful take on “Mendez takes a Holiday’ by Donny Hathaway. Whatever he played took you to the beating heart of the tune. McAll is like the perfect tour guide. Pointing out the things that you should know, while leaving you at the brink of deeper secrets. His own compositions were particularly fine, brimming with interesting musical ideas, original viewpoints, but always engaging. There is never the slightest suggestion of noodling about his playing. He shares his experiences and the audiences sit enthralled at every turn.

It is always instructive to watch musicians during such gigs as they hear things differently from the rest of us. The last time I saw so many open mouths was during feeding time at a seal colony. Occasionally someone would whisper “oh what a total mofo”. A recent Jazz studies graduate Chelsea Prastiti said to me later, “The flow of ideas had enormous coherence. They all made perfect sense while sounding quite original. I wish I had thought of them”. In the break he spoke enthusiastically to me about his new band mates Cam McArthur and Ron Samsom. “These guys are great and they really prepare well ” he said. He was right to praise them as they did not put a foot wrong. He later told the audience, “Sometimes I hear the first contact with the crash symbol and I think, oh dear, this will be a long night. This is definitely not the case with Ron Samsom”. He also complimented Cameron McArthur, “You saved my ass twice man, and its my tune”.

His tune ‘FlashBacks’ imparts a wistful sadness, of the sort so wonderfully portrayed in ancient Japanese haiku. Darkly beautiful, redolent of the shadows and the play of light, chiaroscuro. There is something about those voicings and their relationship to each other that evokes a haunting elegiac portrayal of how life is, but hinting also at how it should be. It is humanism in its purest form. The other composition that grabbed my attention was ‘Non Compliance’ an invective against the NRA (National Riffle Association). In his inimitable way McAll conjures ‘Sandy Hook’ and the ghastly ever mounting toll of lost children. This is a call for sanity in a gun-toting culture gone mad. An expose of a strange irrational twilight world where frightened people think more guns will solve the problem. All of that imparted so succinctly, and done over a simple pedal point.

Telling stories is what good Jazz musicians do and McAll is a very good jazz musician. So good that a few (including me) followed him to Wellington for more.

Who: Barney McAll trio – Barney McAll (piano), Cameron McArthur (bass), Ron Samsom (drums). www.barneymcalljazz.bandcamp.com/

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand. www.creativejazzclub.co.nz/

Acapollinations/Carolina Moon @ CJC

June 4, 2014June 14, 2014 / JazzLocal32.com / Leave a comment

One of the strengths of the CJC (Creative Jazz Club) is its varied program. Sixty years ago improvised music meant only one thing to the western world. Mainstream Jazz. From the late fifties onwards the music drew from an ever-widening array of influences, experiments with unusual and exotic instruments occurred, not always successful as the attempts were often self-conscious. At worst they felt like a size twelve-foot being jammed into a size six shoe, at best they tantalised, leaving us wanting more. Among the best of these explorations were Jimmy Giuffre’s. A Texas tenor man with open ears and an innate ability to double on reeds and winds. By the sixties his folk tinged Jazz with Jim Hall and Bill Crow (Train and the River) was considered mainstream. By then Giuffre had moved on to explore open skies atonal explorations with Paul Bley and Steve Swallow and to dabble in the ‘third stream’. The third stream referenced modern classical music as it sought to make a hybrid of the two forms. Attempts to bring in the exotic sounds of the Mediterranean, in spite of Django, were slower coming. The exotic of the sixties was more likely Cuban influenced Jazz or the music of Tom Jobim. Both wonderful, but unmistakably music rooted in the Americas, in spite of their ancient African influences.

Post millennium, there are interesting and innovative Jazz Projects proliferating across the globe. ECM in particular has long been adept at broadening Jazz tastes and over the last two decades it is repeatedly voted as the best-loved Jazz Label. Not once has it compromised its mission. Not once has it tried to travel down the populist route. It survives in a space where the iconic Jazz labels disappear, engulfed by amoral corporate machines or buried in an increasingly harsh market place. One ECM album in particular comes to mind, a wonderful collaboration between premier Italian Jazz trumpeter Paulo Fresu and a traditional Corsican mens choir, ‘Mystico Mediterraneo’. This acapella song form is combined with improvisation much like Caroline’s and Tui’s projects. Improvising around ancient forms and bringing back deeply evocative all but forgotten songs. This feels natural in 2014 and this brings me to the original point. Jazz now coexists comfortably around a variety of genres, from deep Americana (Bill Frisell), to Middle Eastern music (Dhafer Youssef). The self-consciousness is gone and the younger audiences in particular are more open. This feels right in a globalised world and from an ethnomusicological view-point, it helps catalogue musics that are fast fading from thecollective memory.

The ‘Acapollination’ project illustrates the above points perfectly. This acapella group, four women (two established Jazz vocalists), explore the harmonies and rhythms of Bulgarian folk music. I knew little of Bulgarian music but was keen to learn. What I now know is that there is an ancient tradition of folk singing and that the style is quite distinct. Differing markedly from other European or Slavonic music. When Bulgaria became communist the authorities appropriated these folk songs and under their guiding hand they morphed in propaganda tools. Complex meters became the norm, no longer left in the sole hands of peasants who had preserved them by oral tradition. In some cases purged of unwelcome minority ethnic influences. It is to the credit of Ron Samsom and the Auckland University Jazz School that this project was accepted. There are many improvising traditions in the world, some new, some ancient. When they meet new horizons open before us.

The second set was Carolina Moons Mother Tongue. This project has been around for a few years and has travelled extensively. There have been a few changes to the original line-up but the core performers remain. Wherever the Mother Tongue project has appeared it’s received to wide acclaim. Once again this is an ancient music, a hybrid form emerging from multiple sources in medieval Sephardic Spain. Not only are the melodies of the Jewish Diaspora heard, but the songs of the Moors and the other races surrounding them. This truly exotic and rich music just begs for modern interpretation and Carolina Moon has achieved that exceptionally well. Her voice is wonderful and her arrangements perfect. I have heard this group many times, but at each listening I gain new insights, fresh enjoyments. They are evolving with time and different facets emerge or fade as they progress. Nigel Gavin is always extraordinary but Roger Manins intense short modal improvisations on Bass Clarinet, Flute or Soprano saxophone make this special. Carolina Moon, Roger Manins, Kevin Field, Ron Samsom and Nigel Gavin are the original members. Cameron McArthur is a newer addition. This is a cohesive working group and long may they remain so.

What: Acapollinations – Tui Mamaki (leader, voice), Chelsea Prastiti (voice), Carolina Moon (voice), Siobhan Grace (voice). acapollinations@gmail.com

What: Mother Tongue Project – Carolina Moon -Manins – (Leader, arranger, vocals, bells), Kevin Field (piano), Roger Manins (winds and reeds), Nigel Gavin (guitars), Cameron McArthur (bass), Ron Samsom (drums) http://www.moonmusic.com

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland New Zealand, 28th May 2014 www.creativejazzclub.co.nz

Mad Hatters Guitar Amp Fundraiser @ CJC May 2014

May 27, 2014 / JazzLocal32.com / 1 Comment

On Wednesday 21st May the CJC (Creative Jazz Club) replaced their normal program with a fundraiser as the club has long been in need of a good quality guitar amp. Relying on borrowed guitar amps is a risky practice and moving one down winding staircases follows the Rhodes & B3 as being the quickest way to get a hernia. A large number of established musicians and many Jazz studies students volunteered to play and so an impressive pool of artists formed. No musician asked for pay but the audience still paid an entry fee. To augment the door take, raffle tickets were also on the sale. The many prizes included a double pass to the Larry Carlton concert and all donated by CJC supporters.

In these situations it is usual for the more experienced musicians to suggest a number they would like to play. They would then liaise with their preferred band mates from the volunteer pool or perhaps strong-arm a few others who had not yet volunteered.

Roger Manins the creative director of the CJC was having none of that. He had a cunning and innovative plan up his sleeve and one worthy of John Zorn. All the musicians would have their names placed in a hat (a pork pie hat as it turned out) with no set list predetermined. Just to put an additional burr under the musicians saddles, the ‘feel,’ (time signatures, tempo style etc) were written on a slip of paper drawn from a second hat. Once a name came out of the hat it was not put in again, with the number of musicians performing dictated by Roger prior to each draw.

In summary: a pool of musicians assembled, two hats determined what they played, how they play it, and with whom.

If the slip read fast bossa, slow ballad or fast waltz the task was easy. A quick negotiation determined which tune and if not predetermined by the slip, which key. If however the second draw indicated that odd time signatures; changing constantly throughout the tune, then the task was formidable. There was one draw in particular which took my fancy and that was when seven names appeared and the second draw indicated that they must play completely free. “No discussion, just play”, was the instruction. This was a recipe for chaos and mayhem but what they pulled together was interesting. The band (which I will dub the ‘FreeJC’ ensemble) had a mixture experienced musicians and Jazz studies students. Contrary to popular belief Free Jazz very often has rules or principles guiding the improvisation. For example John Zorn’s game pieces like Cobra have strict confines and free improvisation occurs cued by the conductor; a set of spontaneous but connected conversations. Butch Morris was the master of this ‘Conduction’ methodology but in longer form. He coaxed wonderful creations out of musicians by using hand signals (or in Zorn’s case cued by a rapid succession of flash cards).

The older hands knew better what to do here, conversing in the time-honoured way of call & response, moving with the ever shifting patterns and shapes. Some portions of this ten minute long Free exploration worked better than others. When they reached for a commonality of ideas interesting shapes formed. Like all good conversations it is the listening that is as important as the talking. When this openness is evident a deeper intuitive communication occurs. I have put up a blended excerpt of this free number.

As well as the many of the many regular performers there were a number of impressive students on the band stand. It was also great to hear Julie Masson again.

Among those performing were: Frank Gibson Jr, Phil Broadhurst, Julie Mason, Neil Watson, Ben McNicoll, Carolina Moon, Oli Holland, Kevin Field, Andy Smith, Ron Samsom, Cameron McArthur, Paul Nairn, Chelsea Prastiti, Djordje Nikolic, Michael Howell, Tom Leggett, Tristan Deck, Matt Steele, Rob Thompson, Sam Weeks, Timothy Andrew Shacklock.

What: CJC Mad Hatters Guitar Amp Fundraiser

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand. 21st May 2014 http://www.creativejazzclub.co.nz

Neutrinos Jazz Funk + Rob Thompson

May 21, 2014May 21, 2014 / JazzLocal32.com / 2 Comments

If you have seen the Neutrinos perform at the Albion you will know how intensely funky they are. Because they are a pub band, the music is beat focussed, danceable and outrageously cheerful; making people whoop with joy at the sheer exuberance of the music. Ron Samsom is the Neutrino’s leader and he has contributed most of the tunes. I have only recently begun to grasp the breadth and depth of his compositions. He is as a gifted writer. Roger Manins has also contributed some great tunes from his popular earthy funk projects. In his inimitable way he is also shares comparing duties. The Albion band is Ron Samsom (drums), Roger Manins (tenor), Grant Winterburn (organ) and Cameron McArthur (bass). As a unit they are the ultimate live experience. Grant Winterburn’s solos scuffle and sing their way into your soul, taking your breath away with their brilliance. Roger Manins brings down the happy ghosts of the funk tenor greats, Cameron McArthur makes the music dance and Ron Samsom’s drives endless flurries of killing beats out from his kit. Being bombarded with something faster than light and more mysterious; neutrinos. leaving in their wake pulsing rays of warmth. More later on that gig as I will be writing a post on the Albion Funk Jazz Neutrinos shortly.

The CJC Neutrinos while composed of the same parts approached the music from a different angle.

The Neutrinos lineup at the CJC was promoted as Jazz Funk (not Funk Jazz) and this offered a clue to the change of focus. Visiting Canadian keyboard player Rob Thompson also replaced resident organist Grant Winterburn for this one gig. Instead of the tone wheel simulating Nord C2D which Winterburn uses, there was a Nord Stage 88ex. The sounds are very different. Because the CJC is a listening space this opened up other possibilities; beat driven funk can follow ballads or introspective pieces. We heard many of the tunes from the Albion repertoire, but the real surprise of the evening came when Rob Thompson moved from keyboards to piano. He made a brief announcement and then proceeded to play two numbers strongly associated with Bill Evans. Appropriately the quartet shrunk to a trio at this point. Leaving just Thompson, McArthur and Samsom.

It is unusual to see anyone interpret Bill Evans these days as modern pianists tend to shy away from this material. There are a number of reasons for this and I suspect the sheer recognisability of his style, and of his particular approach to harmony invites unwelcome comparison. A recent exception would be the album by Eliane Elias with husband Marc Johnson (an Evans alumni). That particular album is Evans and Elias in equal proportions. Rob Thompson has been studying Evans for a year or so and in situations like this there is a fine point between sounding like a particular artist and strongly referencing that artist. How to approach the tunes is the perpetual conundrum. The first tune of two was ‘Morning Glory’ (Bobby Gentry). It was typical of Evans to appropriate an unlikely pop tune, film theme or country & western tune and then make it his own. In this case ‘Morning Glory’s’ country and western origins dissolved into crystalline beauty. Quite uncoupled from the Tallahatchie Bridge and Billy Joe McAlester.

From the intro to the end it spoke of Evans without being a slavish imitation. The voicings and the approach were close enough to Evans to evoke him, but different enough to feel that you had gained a fresh perspective. His second Evans number was ‘Re: Person I Knew” (Evans), a tune he wrote as a tribute to his friend Orrin Keepnews of Riverside Records. The title is a clever anagram of Keepnews name, an intellectual challenge that Evans could seldom resist. This introspective, wistful tune is among those most associated with Evans. It is not only Keepnews who’s referenced here, as the song contains a haunting echo of the Scott Lafaro sessions at the Village Vanguard. I have put up a clip of this. Later I asked Cameron McArthur if he had ever played this material before and he had not. With Evans bass playing changed. Chuck Israels was the bass player when Evans wrote this tune and he said, “My voice is left open because Bill doesn’t play the bass in his left hand”. Both McArthur and Samsom responded appropriately to Thompson’s explorations and both displayed a high degree of sensitivity. Then it was back to the quartet format and higher octane tunes: with Roger Manins playing boisterously and to his usual high standard.

It is always worthwhile to see familiar material examined afresh and played from a new perspective. It was not just the Evans but the Neutrino song book reinterpreted on this night.

Who: Ron Samsom’s Neutrinos – Ron Samsom (drums), Roger Manins (tenor saxophone), Cameron McArthur (bass) with guest artist Rob Thompson (piano, keys)

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand 13th May 2014. www.creativejazzclub.co.nz

Sam Blakelock @ CJC

May 14, 2014 / JazzLocal32.com / 2 Comments

Sam Blakelock is a guitarist open to the various streams and influences around him and he is clearly going places. Formerly from Christchurch where he completed the Christchurch University Jazz Studies course, he found himself attracting wider attention. A best guitarist award and the Jack Urlwin scholarship were to follow. After a stint on luxury cruse ships he settled in New York where he is about to embark upon a Masters at NYU.

Like a number of Jazz guitarists these days Sam Blakelock plays a Fender. With Fender playing Bill Frisell cleaning up the ‘best of’ Jazz guitar polls year after year, the instruments emergence in mainstream Jazz is unsurprising. It is hard to imagine Marc Ribot ripping up the rulebook on a classic hollow-body. These warhorse guitars can be coaxed gently or smote with force and in the hands of a Jazz trained guitarist the sound palate is open-ended. Blakelock’s approach is more to coax the instrument and the clip I am posting illustrates that approach. While the quality of an instrument matters, it is the inventiveness and the ability to communicate interesting musical ideas that matters more. The compositions were all original, many composed for this New Zealand farewell tour. They felt like markers laid down at a waypoint in the journey. A point to delineate his hometown success from the success that is surely to follow.

For bandmates he chose two ex-pat Christchurch musicians, Richie Pickard (bass) and Andy Keegan (drums). Completing the quartet was popular local alto player Callum Passells. Having an alto in the mix gave him a very specific palate; giving the arranged heads a distinctive sound. A certain freedom in voicing made possible. Blakelock’s upper register lines blended perfectly with the clean toned melodic alto; playing in unison or subtly accenting solos with minimalist comping. Keegan and Pickard anchored the quartet.

At one point Blakelock played a riveting solo piece and on another he stole the limelight with a slow blues that burned like a torch song and sang like an exotic bird. It is when he is in complete charge or playing alone that we see him at his best. It will be interesting to see him in a few years time, when New York has further polished his already considerable skills. When he has a moment I hope he passes this way again.

What: The Sam Blakelock Quartet Farewell Tour. Sam Blakelock (guitar, compositions), Callum Passells (alto sax), Richie Pickard (upright and electric basses), Andy Keegan (drums).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, 7th May 2014. www.creativejazzclub.co.nz samblakelock.com

‘DOG’ unleashed on International Jazz Day

May 7, 2014 / JazzLocal32.com / Leave a comment

The DOG project was conceived two years ago and during its public outings the band garnered enthusiastic support. Those who heard DOG urged them to record and eventually they did. The long-awaited album was ready for release on International Jazz Day 2014; a gestation time roughly equivalent to that of an elephant. The time however has been very well spent, as the band members have composed a wealth of new material. DOG (formally Dr Dog) is Roger Manins, Kevin Field, Oli Holland and Ron Samsom. Manins, Field & Holland are lecturers at the Auckland University School of Music (Jazz program), Samsom is the senior lecturer. They are all in demand for the best gigs about town. They are the big dogs on the block.

International Jazz day was the perfect time to release this album, underscoring as it does a local Jazz scene crackling with life and teeming with invention. Anyone familiar with the Auckland Jazz Scene will know that these musicians are a driving force; inspiring, challenging and empowering emerging artists. It is a band of titans but it is also a true band of equals. In the Jazz world bands made up of many leaders often fall short. A juggling act’s required to unify a multiplicity of visions. That problem does not apply here. These men appear to breathe in unison and react to each other intuitively. At the ripe old age of two DOG is in peak condition.

The album is beautifully recorded and the mix could hardly be improved upon. Credit to the York Street Studios in Auckland and to the tasteful mixing by Rattle’s Steve Garden (and DOG themselves). ‘Rattle Records’ are going from strength to strength and if the last three months output is anything to go by, this will be their best year yet. From the first few notes the album reels you in and holds your attention throughout. There is a virtuosity and a tightness to the performances but it is more than that. Beneath the unquestionable musicianship there is a radiating warmth and a bounty of good humour which shines through. This was especially evident during the International Jazz Day performance at the CJC. It was a humour filled affair and delightfully laid back.

Roger Manins was the front man for the release gig and the dog jokes and banter had people in fits of laughter. He teased the band mercilessly and they responded with sad looks or dismissive gestures. The Zeppo Marx to Manins Groucho. This is a role that he is well suited to and his jokes are quintessential Kiwiana. Some of the titles contained obscure dog references. ‘Race to Space’ honours the Russian dog which led off the space race, others inspired by loveable but hapless dogs of good breeding as in ‘Evolution’. At one stage Manins directed people to a comparative dog intelligence chart. “This is my spaniel rated at number fifty three, which is around the middle of a descending scale”. Next he asked, “Does anyone here own an Afghan Hound?”. No one owned up, perhaps guessing what was to transpire. “Ladies and gentlemen they are number ninety two on the list, almost at the bottom of the intelligence scale”. Some brave soul responded, “Surely not”. “Have you ever tried to play cards with an Afghan Hound” was Manins quick response. Roger Manins drawings for the cover art say it all.

Because there are four composers, the tunes have a variety of moods and tempos. I like them all, but if forced to choose one I would go for Hollands ‘Didel Didel Dei’. There are burning solos on this uptempo track and the interplay is quite exceptional. On this track you will hear Manins at his best. As usual there is no sugar-coating as he pushes the tenor to its outer limits. Field, Holland and Samsom responded in kind. This music they play has the utmost integrity and the audience laps it up.

International Jazz Day has become the premier event on the International Jazz Calendar with the brightest stars in the Jazz firmament showcased. Auckland, New Zealand can hold its head high in the midst of these international celebrations. This album and this live performance did us proud.

Who: ‘DOG’ is Roger Manins (tenor Sax), Kevin Field (piano), Oli Holland (bass), Ron Samsom (drums) – compositions by all band members

Where: CJC (Creative Jazz Club), 1885 Britomart, Auckland, New Zealand. http://www.rattlerecords.net/ http://www.creativejazzclub.co.nz/

Jonathan Crayford – ‘Dark Light’ Trio @ CJC #jazzapril

April 28, 2014 / JazzLocal32.com / Leave a comment

I attended three Jonathan Crayford gigs while he visited New Zealand. All of the bands were different and all were exceptional in their way. This tells me something important about the artist; a leader able to communicate a vision with the utmost clarity and bring out the best in other musicians. Just over a month ago I interviewed Crayford and my first question was, “What projects do you have in the pipeline?”. He told me about an album that he is going to record in New York in a few months. We then talked about ‘Dark Light’, his new ‘Rattle’ album. As the title implies this is about that mysterious place behind the light. This recurring theme is regularly mined by improvising musicians. Monk, Jarrett, Maupin, Towner, Pieranunzi and others have peered into this chiaroscuro world, where the shadows between light and dark reveal subtle wonders. This piano trio album recorded in New York in late 2013, has the stellar sidemen Ben Street on bass and Dan Weiss on drums. The album was pre-released to New Zealand audiences during Crayford’s gig on Wednesday which was the fourth of the Creative Jazz Club’s 2014 #jazzapril series.

I hear a lot of music these days and much of it I like, but occasionally an album comes your way that really stops you in your tracks. This is just such an album. It has a profundity and a depth to it that works on so many levels. It is an album that deserves hearing over and again and since obtaining a copy I have done just that. At first impression I thought of game changing pianists like Esbjorn Svensson or some of the modern Scandinavians, but this has a strongly original feel. As in all Crayford’s compositions, we hear a skilfully written head, that gradually evolves into an ever-widening groove, begging deeper exploration. While it is music played at the highest level it is neither self-indulgent nor introspective. The album has real depth but it is also incredibly accessible. This is music that everyone will recognise at some level: partly because it is so articulate, but also because the blues and a myriad of other familiar song forms are neatly distilled into it.

It was obviously not practical to fly Street and Weiss (who are New York based) down for the CJC launch and so Crayford engaged two New Zealand musicians. While not hearing the full recorded trio was a shame, we were not disappointed by their substitutes. He could hardly have chosen better. On bass he had Wellington musician Patrick Bleakley and on drums was Auckland musician Chris O’Connore. I am less familiar with Bleakley but I certainly know him by reputation. The last time I saw him was with ‘The Troubles’, a delightfully anarchic Wellington band. He is an experienced and melodic bass player with an instinctive feel for time. On the album with Street and with the New Zealand trio, the bass player anchored the pieces; leaving piano and drums to react to each other. O’Connore is one of the finest drummers on the New Zealand scene and he routinely plays in diverse situations. This open skies approach gives him a real edge. He is a drummer and percussionist with a highly developed sense of space and dynamics and in this case his colourist tendencies were strongly in evidence.

The tracks have an organic logic in the way they’re ordered and a natural ebb and flow is discernible. The set list at the gig followed that order, creating the sense that we were on a journey. The titles of the pieces reference the ‘Dark Light’ theme and none more so than ‘Galois Candle’. Galois was a genius French mathematician (1811 – 1832) who used abstract algebra to prove the links between field theory and group theory. He suffered unbelievable bad luck in his short life and was not appreciated or understood until the 20th century. Many of his proofs were accidentally or careless destroyed by others, hence the title. As I play this sad evocative piece, the story of Galois unfolds before me. This is what Jazz can do well; steal a moment out of time and create a compelling narrative.

There is a luminous quality to Crayford’s playing; a quality which sounds newly minted and yet familiar. Crayfords contribution to Jazz deserves wider recognition and with this album it could happen. I would therefore give the album four and a half stars out of five, not out of some Kiwi patriotism but purely on merit. No Jazz lover will regret the purchase

I have posted a track titled ‘Bikes in Space’ below.

Who: Jonathan Crayford (piano) Ben Street (bass *album), Dan Weiss (drums *album) – Patrick Bleakey (bass *CJC), Chris O’Connore (drums, percussion *CJC)

What: ‘Dark Light’ released by Rattle Records http://www.rattlerecords.net

Where: Pre release CJC (Creative Jazz Club), Britomart 1885, Auckland 23rd April #jazzapril

Michele Benebig @ CJC #jazzapril

April 23, 2014 / JazzLocal32.com / Leave a comment

When a Hammond B3 artist hits town, organ combo fans cheer and roadies duck for cover. The B3 is not the sort of instrument that musicians bring with them on a plane (unless they have chartered a Lear Jet or a Hercules). These mysterious musical behemoths are now harder to find, as the Hammond company folded in 1986 and the original tone-wheel B3/C3 has not been made since 1974. The instrument barely fits into a utility van and weighs more than 435 lb; with the accompanying Lesley Unit you can add 150 lb. The first problem for a travelling B3 artist is therefore to source a well restored working machine in the town where the gig will be held. Auckland is lucky in this respect as there are a few of the instruments around. To locate one in full working order is often difficult but the first port of call in Auckland is always keyboardist/organist Alan Brown. Alan has just restored his beloved C3 (an even heavier version of the B3).

Young unsuspecting musicians and a few experienced ones who should have known better, cajoled by Roger manins, moved this fabulous machine halfway across town, down two flights of stairs and into the basement of the 1885 building. They suffered for our enjoyment.

Its been over a year since Michele Benebig and Shem were in town and we love them here. Their blend of hard swinging old school B3 Jazz groove and evocative South Sea Island referencing vocals is a perfect fit for New Zealand audiences. The Author Lawrence Durrell* once described a rare disease called ‘Islomania’. This affliction of the spirit causes a form of intoxication; an overwhelming desire to live on lush green Islands surrounded by limitless expanses of sea. For the afflicted this is a source of inner happiness. While Michel and Shem are often seen on the West Coast of America; in Australia, New Zealand or France, it is their Island home base of New Caledonia that defines them. Shem in particular fills her compositions with descriptions of exotic papillon (French for butterfly), colourful birds who warn the locals of impending storms and of the Pacific. She and Michel are clearly afflicted by Islomania and as a fellow sufferer I empathise. When this affliction meets the Jazz B3 obsession a potent hybrid arises and from the grip of this there is no escape.

After seemingly endless months of blue skies it poured down on the night of the gig. This was bound to affect attendance, but those who braved the storm heard something exceptional. If there is one compelling reason to brave wind and rain it is to hear a B3 Combo. There is a primal warmth radiating from a B3 that seeps into your body. From the first few chords you feel at one with the world and during the intense slow burning grooves you are lost to your cares altogether.

Several numbers into the first set we heard ‘State Highway Blues’, composed and arranged by Fabienne Shem Benebig (the previous day) while driving up the North Island. This blues in Ab was absolutely captivating and the way the musicians gently pulled back on the beat gave it a deep swing (a number that reprised in my dreams for days to come). This number had enough tension and release to power Big ben. There were many new compositions from both Michel and Shem plus the odd tune from Michel’s earlier albums ‘Black Cap’ and ‘Yellow Purple’. One notable exception was the inclusion of a number by the French organist Eddie Louiss. Several years ago Michel wrote ‘Blues for Rog..’ (for Roger Manins) and in this number much of his formidable technique is evident.

Fabienne Shem Benebig always accompanies Michel on the road and she is also a gifted musician. Her well thought out compositions and strong vocal presence are integral to the combo. ‘Shem’ mainly sings in her native French tongue and hearing the blues in that language is pleasant to the ear. That said she is not there for mere novelty value as her voice is authoritative. Whether whispering a ballad or belting out a Basie number she is equally compelling. Like Michel she has a captivating stage presence and her playful humour is the perfect foil to his studied cool.

Michel Benebig is gaining wider attention and his recent trips to California have resulted in two stellar albums. His command of the B3 is astonishing and if you want a masterclass in technique and cool watch him in action. He has an intuitive feel for this genre and every move, every pregnant pause and every gesture becomes part a his unfolding story. As the last of the old B3 masters leave us, Michel Benebig and others like him will be swiftly identified as the new cadre, ready to move up and occupy that hallowed space.

No organ combo is going to work properly without the right sort of guitarist and for this gig Michel used Auckland’s Dixon Nacey. Dixon Nacey and drummer Ron Samson had not long been back from New Caledonia where they joined Michel and Shem for the official opening of the new Astro Jazz Club (run by Michel and dedicated to organ Jazz and in particular Brother Jack McDuff). Dixon always looks happy when playing, but never more so when playing blues or groove. He really pulled out some great performances on this gig and the chemistry between he and Michel was evident. The multi faceted (and by default polyrhythmic drummer) Ron Samsom was cast in the unusual role of groove drummer here. He exercised restraint and kept the tight focus needed, stepping free at appropriate moments. The most important role for a groove drummer is to lock into the organs groove and he achieved that. Roger Manins and Ben McNicoll made up the horn section and while Roger played the heads and an occasional solo, Ben mostly played counterpoint. The tenor sax and baritone sounded wonderful together. Everything about this gig felt right and the genre was well served.

We are now halfway through the CJC (Creative Jazz Club) #jazzapril series and the program offers depth and variety. As we approach International Jazz Day we should reflect on the gift that we have at our disposal. While it is tempting to say that we’re lucky (and we are) I also mindful that the music we call Jazz is the result of hard work and dedication. This American art form has long had global outreach and down at the bottom of the Pacific we legitimately own a piece of that, thanks to a plethora of gifted musicians and enablers like Roger, Ben and Caro.

*Reflections on a Marine Venus – L Durrell

Who: Michel Benebig (Hammond C3), Fabienne Shem Benebig (vocals), Dixon Nacey (guitar), Ron Samsom (drums), Roger Manins (tenor sax), with Ben McNicoll (baritone sax).

Where: CJC (Creative Jazz Club), 1885 Britomart, Auckland New Zealand. 16th April 2014

Phil Broadhurst Quintet @ CJC Jazz April gig

April 14, 2014April 14, 2014 / JazzLocal32.com / 1 Comment

The second gig in the CJC #jazzapril series featured a quintet led by veteran Auckland musician Phil Broadhurst. Phil is a very familiar figure on the New Zealand Jazz scene thanks to his many recordings, his broadcasting, gigs and Jazz education. He is also a finalist in New Zealand’s 2014 Jazz Tui awards and we will hear the results this coming Easter weekend. The last two years have certainly been busy for Phil. In between running the Massey University Auckland Jazz Program and hosting visits by overseas Jazz musicians he has found time to compose new material and to record several highly rated albums. I have previously reviewed his passionate tribute to the diminutive Jazz pianist Michel Petrucciani ‘Delayed Reaction’ (he’s an authority on Petrucciani’s work), and his beautifully crafted ‘Flaubert’s Dance’ (now up for the Tui).

Phil Broadhurst compositions are well constructed and seldom just head arrangements. There is always a subtler framework behind the obvious; something that invites you to look beyond the tune. The song titles and the stories that accompany them give a strong sense of place or sometimes touch upon an all but forgotten quirky interlude from the past. Phil Broadhurst is well read in several languages and it shows in his work. His compositions reference this but never in a preachy way and there is a strong sense of seeing the world through his eyes. This experiential vantage point rather than any particular idiom informs his work most. His compositions also convey ideas and at the conclusion of a piece we feel like examining them further.

The first set began with ‘Delayed Reaction’ from his Petrucciani album, followed by a number of newer tunes. I have posted a You Tube clip from the latter titled ‘Precious Metal’. It initially sounded familiar but I couldn’t quite grasp why. It is a tribute to Horace Silver and the form here is recognisably hard bop. This gives a strong impression of the famous Jazz pianist and it was that impression which sounded so tantalisingly familiar. This is what Phil Broadhurst does so well.

As is normally the case with busy musicians there had been no time to rehearse other than a twenty-minute run-through before the gig. In situations like this it is essential to have good readers and if you are lucky musicians who are familiar with your work. With Roger Manins (tenor sax), Mike Booth (trumpet, flugelhorn), Oli Holland (bass) and Cameron Sangster (drums) it was always going to go well. There is a subtle difference between bands who work well together and those who really gel. There were no high octane numbers and the mood was consistent rather than variable. This worked very much to the bands advantage and the laid-back feel gave them a chance to delve deeply into the compositions during solos. Everyone pulled out great performances and you could tell afterwards how pleased they were that the gig had gone so well. It just goes to prove that nights like this can bring about just as pleasing results as the edgier higher octane ones.

Roger Manins and Mike Booth blended perfectly and Booth has never sounded better. Their solos were thoughtful, probing and often intensely melodic. They clearly understood what Broadhurst had in mind and worked with it. Oli Holland who sings lines during his bass solos was in great form (when is he not). Having played with Manins and Broadhurst often he needed no prompting, his powerful bass lines giving just the right momentum. Phil has used several drummers in the past but he obviously likes working with Cameron Sangster who is the youngest band member. “He has subtlety and gives colour where it’s needed” said Broadhurst afterward.

#jazzapril is a about sharing the joy of Jazz and it is about celebrating the diversity of the music. Improvised music is increasingly embraced by younger audiences and those audiences and the many younger musicians performing bring exciting new sounds to the mix. Getting the mix right between the experienced and the up-and-coming is a challenge but at the CJC appears to get it right. Jazz has long been established in New Zealand and this is a time to celebrate its longevity and its diversity.

Auckland’s CJC (Creative Jazz Club) has created a Jazz Appreciation Month program with all of the above in mind. This week there is a B3 master from French New Caledonia, next week the globe-trotting genius of the keyboard Jonathan Crayford. Best of all is the long anticipated album launch of ‘Dr Dog’ on International Jazz Day. I feel lucky to live near a club that can present such wonderful artists. Grab this opportunity by the ears Kiwis, now is the perfect time to enjoy this music and above all share it with others.

Who: Phil Broadhurst Quintet – Phil Broadhurst (compositions, piano), Roger Manins (tenor sax), Mike Booth (trumpet), Oli Holland (bass), Cameron Sangster (drums).

Where: CJC (Creative Jazz Club), Britomart 1885 Building, Auckland, New Zealand, 9th April 2014

Jamie Oehlers @ CJC #JazzApril 2014

April 9, 2014April 10, 2014 / JazzLocal32.com / Leave a comment

#JazzApril is International Jazz Appreciation Month (JAM) and the CJC (Creative Jazz Club) in Auckland New Zealand has lined up an impressive roster of artists. The opening gig for Jazz April was the acclaimed saxophonist Jamie Oehlers from Perth Australia and the club could hardly have done better than engage this titan of the tenor. Anyone who had heard Jamie Oehlers on previous visits needed no second invitation; the club filled to capacity. Jamie is tall, so tall in fact that I managed to chop off his head while filming the first video clip (having foolishly set up the camera during the sound check when he was not present). In fact everything about Jamie Oehlers is larger than life. His presence fills a room in ways that it is hard to adequately convey. The sound of his tenor has a warm luminous quality about it and it seems to penetrate every nook and cranny of a room; whether playing softly or loudly it reaches deep into your soul.

Two hundred years ago ( November 1814) a young Belgium instrument maker Adolphe Sax was born and in the 1840’s he patented the tenor saxophone. It has gone through relatively few modifications since that time. Fast forward to the Jazz age and the instrument came into its own. Nobody brought the instrument to the wider public’s attention more than Coleman Hawkins and few took it to such dizzying heights as John Coltrane. Listening to Jamie Oehlers perform made me think of the tenor’s history and above all it reconfirmed my deep love for the instrument. Last time he was in Auckland he played ‘Resolution’ from Coltrane’s ‘A Love Supreme’ (it is the 50th anniversary of ALS this year). Among other numbers in the set list this year was Coltrane’s ‘Dear Lord’ (recorded by JC in 1963 but only released in the 1970’s on the ‘Dear old Stockholm’ album). Jamie Oehlers was born to interpret Coltrane and he certainly held our rapt attention last Wednesday.

He had requested the same local musicians for this visit as last time; Kevin Field (piano), Oli Holland (bass) and Frank Gibson (drums). Roger Manins joined the band for the last two numbers and the two tenor masters unsurprisingly wowed everybody by the way they cajoled each other to new heights. There were introspective ballads, freshly interpreted standards and a few fire-breathing fast burners. I filmed quite a few numbers and have posted a duo performance of Mal Waldrons ‘Soul Eyes’ (Jamie Oehlers and Auckland pianist Kevin Field). It is during ballads and especially the slower paced duo numbers that a musician is left naked. No pyrotechnics to hide behind, no lightening strike runs or off the register squawks to dazzle us with. This clip says everything about Oehlers as a man and as a musician. Thoughtful, compelling and always authoritative.

He was right to request Field, Holland and Gibson for this gig. They showed repeatedly that they were up to the task and gave of their best. It is gigs like this that make us proud of our down-under musicians and we know when we hear performances like these that we can hold our heads high in the wider Jazz world. There was no more appropriate gig than this in which to kick off Jazz April. Listen to the You Tube clip and I’m certain that you will agree.

Who: The Jamie Oehlers Quartet – Jamie Oehlers (tenor sax), Kevin Field (piano), Oli Holland (bass), Frank Gibson (drums).

Where: The CJC (Creative Jazz Cub), Britomart 1885 basement, Auckland New Zealand, 2nd April 2014

‘Drums by Candlelight’ Reuben Bradley/Matt Mulholland

April 8, 2014 / JazzLocal32.com / 4 Comments

Every so often an album comes along which causes you to slap your forehead in amazement and grope for a chair. ‘Drums by Candlelight’ is just such an album. It fills an important niche in the music market; one which surprisingly has long remained empty. In these days of crass commercialism it is common for albums to recycle hackneyed themes. I normally avoid any album with ‘Candlelight’ in the title, but if there is one which confounds a doubtful first impression it is ‘Drums by Candlelight’.

While superficially appearing to follow in the illustrious footsteps of Richard Clayderman, this album offers so much more. The album track list offers the first clue to the hidden treasures which await. Timeless classics such as ‘Locked out of Heaven’ by Bruno Mars sit comfortably beside lesser known works such as “Hooker with a Penis’ by Tool. As if ‘Drums by Candlelight’ were not enjoyment enough, there are two bonus albums thrown in for those who purchase ‘Drums by Candlelight’ in a timely fashion. This suggests that Bradley and Mulholland are anticipating significant sales.

While it has been difficult to single out one particular track for attention, I have settled on Whitney Houston’s ‘I’ve always loved you’ for comment. This is where Reuben Bradley’s drum chops are most evident. Here he has surpassed himself by what can only be described as an implied beat. The meditative state that he evokes through his skilful use of space is only broken once the drumstick falls (after a bar or two). Crisp and to the point, the surrounding silence speaking volumes. I am also impressed by Bradley’s impeccable dress sense and Mulholland’s tasteful promotion. It has been hard to find adequate words for such a towering achievement but perhaps a simple WOW will suffice.

‘The Antipodean 6tet’ Tour @ CJC

March 31, 2014April 10, 2014 / JazzLocal32.com / Leave a comment

There are a number of factors that make music special to a listener and for most it is the familiar that attracts them. Improvised music is a different beast and the most valued quality is what Jazz essayist Whitney Balliet termed “the sound of surprise”. When Jazz listeners are fully engaged it is seldom the melody line or a familiar riff that holds their attention. While melody, chord voicings or an ostinato groove bring us to the moment, it is the promise of the new that creates a state of joyous anticipation. So it was with the ‘Antipodean 6tet’ and the rewards were immediately evident. Mike Nock told me recently that some of the young Australian bands are on a par with the best of what’s on offer in America. A statement like that from a person of Mike’s undisputed authority causes you to take notice. Some of the members of this group were among those mentioned by him.

The idea for the ‘Antipodean 6tet’ was conceived in Berlin when Jake Baxendale, Aiden Lowe and Luke Sweeting decided to create a vehicle for their music. By the time of the Australasian tour they had added Ken Allars, James Haezelwood Dale and Callum Allardice.

Those of us who pay close attention to Australian and New Zealand Jazz knew that we were in for something out of the ordinary. A heightened sense of anticipation followed the tour announcement. Earlier this year Rattle records released JAC’s ‘NERVE’ album. The album featured Wellington musicians Jake Baxendale (alto, compositions) and Callum Allardice (guitar, compositions). Many saw Jake as he toured with JAC during the launch tour and enjoyed his alto playing. Callum Allardice was in Germany at the time of the launch, but his compositions and arrangements were also appreciated. These two musicians form the New Zealand contingent of ‘The Antipodean 6tet’.

Luke Sweeting is an Australian pianist who conveys more with his light touch than many do by playing percussively. His playing is thoughtful, airy and interesting. He has previously composed for sextets and is obviously central to the bands well crafted ensemble sound. Sweeting, Aiden Lowe (drums), James Heazelwood Dale (bass) and Ken Allars (trumpet) are well established on the Australian scene with the former two having toured Europe extensively. They have all attracted positive attention around Australia. All have worked as leaders, but melded into an ensemble the instruments speak in a unified authoritative voice.

A Sydney bass player contacted me a few weeks ago saying that I would be mad to miss this innovative band. He was right in his estimation of their impact, as they appear to bring something fresh and exciting to the scene. A northern European aesthetic with an authentic Australasian feel.

To best illustrate the above I must focus on Ken Allars. I have been aware of Allars for some years but it was probably his compelling trumpet work on Mike Nock’s critically acclaimed 2011 album, ‘Here and Know’ that first grabbed my attention. I received a review copy shortly after the 2011 release and was immediately struck by his use of dynamics and strong improvisational abilities. Later I saw him in the horn-line of the JMO (Jazzgroove Mothership Orchestra) when it toured Auckland with Darcey James Argue. Now seeing him with ‘The Antipodean 6tet’ my positive first impression is reconfirmed. On the opening number we saw his use of extended technique. Not so much the usual growls or smears, but a skilful deployment of flutter tonguing and airstream effects. The whistles, breathy explorations and pops augmented the contributions of Jake Baxendale who wove in quiet upper register ostinato responses (like Evan Parker in the opening few bars of ‘The Lady and the Sea’ – Kenny Wheeler). So controlled was the sound production that at times Allars sounded like he was playing a flute. When he did blast out a phrase it was doubly effective as it contrasted with the softer moments.

I have seen bands who lower the volume for a ballad or a thoughtful meditative piece, but never quite like this. They skilfully utilised the pianissimo and piano and diminuendo to impart an infinite array of subtleties and within that space communicated a world of information. Earlier I mentioned the European aesthetic and perhaps I refer more specifically to the Norwegian ECM sound. I detected a strong influence of this future-facing aspect of modern Jazz in Allars playing. Later I asked him whether he had listened much to the modern Norwegian trumpeters. Yes he had checked them out in person. We then discussed people like Arve Hendriksen, Nils Petter Molvaer, Mathias Eick and others. While Molvaer and Eick often use electronics and loops there were no such effects used by Allars.

This band is purely acoustic and the impressive range of sounds and effects at their disposal will have pedal manufacturers smiting their brows in frustration. Because of the sound balance, the imaginative drum work and the punchy bass lines are as strong in the mix as the other instruments.

They are due to record shortly and I look forward to that. I urge anyone who can to catch this tour or subsequent outings. I guarantee that you will not regret it.

What: ‘The Antipodean Sextet’ Luke Sweeting (piano), Jake Baxendale (alto saxophone), Ken Allars (trumpet), James Heazelwood Dale (bass), Aiden Lowe (drums), – in New Zealand – Callum Allardice (guitar).

Where: The CJC (Creative Jazz Club) Britomart 1885 building, Auckland. 26th March 2014

‘Mr M’ @ CJC

March 26, 2014April 10, 2014 / JazzLocal32.com / Leave a comment

‘Mr M’ is an enigmatic title but the meaning is more straightforward than might be supposed. The trio members are Miles Crayford, Reuben Bradley and Mostyn Cole; take the first three letters of their forenames and you have ‘Mr M’. Attempting to challenge our sense of time and place they introduced themselves as a Wellington band with a majority of the musicians based in Auckland. When they played the CJC last Wednesday these small puzzles were swiftly cast aside. What we heard was to the point and the quality of the music beyond disputation. This was my first opportunity to hear a popular trio, one that my Wellington friends had told me about.

Throughout the night we heard original compositions with all of the band members contributing tunes. I am increasingly impressed by the writing skills of New Zealand musicians and it tells me a lot about the quality of New Zealand Jazz education. The quality of their musicianship did not surprise me as I am familiar with each of them. Anyone who follows the New Zealand Jazz scene will know that they form part of the ensemble on Reuben Bradley’s ‘Resonator’ album ‘(which won the Vodafone Tui’ Jazz Award in 2011). This is probably the best starting point in evaluating ‘Mr M’. Anyone who doesn’t have a copy should grab one. It is still available in most big record stores (and from Rattle). What ‘Resonator’ established was that these musicians at the core of the recording work well together. Forming a trio was a logical step.

Reuben Bradley has regularly been featured at the CJC. He is not only a highly respected drummer but an important figure on the scene. He has a vision for the music and communicates that well. When you hear him for the first time the musicality of his playing strikes you. His drum chops are immediately evident but there is an extra something that he brings to the kit; an innate sense of time and a magical spark that makes you sit up and pay attention. All good drummers understand dynamics and know exactly where they should sit in the mix at any given moment. Reuben epitomizes tastefulness in this regard. He is probably the best known of the three, having regularly performed about New Zealand and further afield. His most recent Rattle Album ‘Mantis’ is deservedly a finalist in this years Tui’s. It is one of a very few New Zealand Jazz albums to garner broad attention from the media. ‘Mantis’ is another must-have album (both ‘Resonator’ and ‘Mantis’ have Roger Manins on them which of itself is enough to recommend them).

Miles Crayford is from an impressive musical Dynasty. He is well-known about Wellington as he regularly gigs there. Apart from a guest appearance with his uncle Jonathan Crayford a few weeks ago, he has not played at the CJC before. When he plays you know that you are listening to a modern stylist. There is a certain intensity evident and his voicings are often dark and brooding. The focus on composition as well as performance gives an added depth to his work. He has not yet recorded as leader, but his sideman credentials in recordings are very well established.

Mostyn Cole also appears on a number of top rated local recordings. Like the others he is a fine composer. The clip I have included is from a tune of his titled, “I was therefore I am”. I love the tongue in check reference to Rene Descartes’ maxim. Incidentally unlike many Australasian composers he names his tunes well (as opposed to ‘first tune’, ‘not yet unnamed’ etc). He is a strong bass player and his recorded output is best represented on two Rattle albums, Reuben Bradley’s ‘Resonator’, Roger Manins ‘Trio’ and the World Jazz album Carolina Moon’s ‘Mother Tongue’. He also stood in for Matt Penman during many of the ‘Mantis’ gigs. His sound is unusually warm and his ability to react to the musical ideas of others instinctive.

This is a trio of equals.

Who: ‘Mr M’ are Miles Crayford (piano), Mostyn Cole (upright bass), Reuben Bradley (drums).

Where: CJC (Creative Jazz Club) 1885 building Britomart, Auckland, 19th March 2014

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