CJC Creative Jazz Club gigs, emerging artists, Guitar

Emerging Artists Hwang & Tomacruz

Hwang (2)Two weeks ago the CJC Creative Jazz Club profiled two more emerging artists; Seungeil Thomas Hwang and Kathleen Tomacruz. Hwang and Tomacruz are both guitarists but with quite different approaches to their craft. Hwang leans heavily toward the fusion and rock end of the spectrum while Tomacruz, although adventurous, sits comfortably inside the tradition. Both underscore the value of the University of Auckland, Jazz programme; a programme which prepares musicians in the best possible way; fitting them for whatever musical path they choose. Hwang (1)

Some, go on to become high-skilled ghosts in the machine of popular music. Others follow their dreams and journey deeper into the sublime and multi-faceted world that is modern improvised music. They arrive on the scene ready to learn from the gig life, but with enough knowledge to make them adventurous. I see them in Indie Rock bands and I see them in the experimental avant-garde ensembles – I see them in audiences listening carefully to Dixen Nacey, Jonathan Crayford, Roger Manins or Jeff Henderson. Long may that quest for lifelong learning and the striving towards excellence continue. I can only hope that the current short-sighted obsession for pruning back the humanities, doesn’t touch the UoA Jazz Course; a programme that enriches us culturally and delivers well.Hwang (3)

Hwang finished his Masters at the UoA Jazz School in 2016 and this is his first gig with his fusion band Finesse. He is a formidable and ‘chopsy’ guitarist who makes fast and furious look easy. His set showcased his various musical interests and in spite of their divergence, he never looked phased at any point. With Crytal Choi, Wil Goodison and Adam Tobeck at his back he had the bases well covered.

During the second set, Tomacruz emerged as a thoughtful and confident performer. Her big personality overshadowing her physically diminutive presence. I have seen her perform in other’s lineups but this was a new and commanding Tomacruz. She engaged with the audience and joked with the band; turning on a well rounded and imaginative performance. Again we saw Choi on keys and the talented Goodison on bass – with the addition of  Lukas Fritsch on Alto and Ron Samsom on drums. Choi is such a delight to hear in these situations; so in-the-moment and adventurous. Keep them coming UoA Jazz course.

Finesse: Seungeil Thomas Hwang (guitar, compositions), Crystal Choi (keyboard), Wil Goodison (bass), Adam Tobeck (drums).

Kathleen Tomacruz Quartet: Tomacruz (guitar, compositions), Crystal Choi (keyboards), Wil Goodison (upright and electric bass), Lukas Fritsch (alto sax), Ron Samsom (drums).

The gig was at the Backbeat Bar, CJC Creative Jazz Club, May 16, 2018.

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Backbeat Bar, CJC Creative Jazz Club gigs, Guitar, Straight ahead

Samsom/Nacey/Haines

SNH (1)This particular group is an uncommon thing on the Auckland scene. A Jazz guitar trio formed by three of our best musicians and each of the musicians in it for the long haul. Samsom/Nacey/Haines have been playing and recording together for a long time and the commitment has remained constant throughout. Their longevity is clearly about musical chemistry, but also about their combined approach to composition. Each band member writes in their own style, but each instinctively understands how the others will react to the chart. This is how mature bands operate; the familiarity enabling the collective to dive into the heart of a composition and extract the best from it. While their original compositions form the bedrock of their output, they also tackle standards; especially when performing live.SNH (2)

Their approach to standards and the arrangement of them is flawless; leading you away from the familiar, while somehow retaining an essence of what you know and how you remember it. This ability to interpret while mixing comfort and risk in equal parts is a gift. It requires a degree of expertise that younger bands seldom possess. Samsom, Nacey and Haines know a thing or two about focusing the attention and on challenging audiences to listen more deeply. They have recorded three acclaimed albums already and a fourth is almost certainly lurking in the wings.

There were a quite few new compositions (some as yet untitled), some familiar tunes from earlier albums and a tasteful assortment of cleverly arranged standards. Three of the standards grabbed my attention: Nica’s Dream (Horace Silver), In Your Own Sweet Way (Dave Brubeck) and Detour Ahead (Herb Ellis/ Johnny Frigo).  I have posted a clip of the Brubeck number as it typifies the adventurous nature of the trio. True improvisers often extract gold from this composition, a case in point being Brubeck himself.  He seldom played it the same way twice and on a 1964 Belgian clip, he exposes the bones while Desmond lays down a new tune entirely (a miraculous example of melodic re-invention captured on film for posterity).

Anyone of the musicians could have introduced these tunes, but the duties fell to Kevin Haines.  His easy-going banter struck just the right note. He was engaging and above all funny. I have often observed how easily this comes to the more seasoned performers. Years of standing at the microphone teach them that a few well-chosen words can enhance any performance – especially a good performance. SNH

Samsom/Nacey/Haines are – Ron Samson (drums, compositions), Dixon Nacey (guitar, compositions), Kevin Haines (upright bass, compositions). The gig was at the Backbeat Bar, K’Road, for the CJC Creative Jazz Club, on April 18, 2018.

CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Guitar, vocal

Nanny Assis & Maggie Gould

Nanny Assis Maggie Gould (4)I like South American music and the more I hear, the deeper I am drawn in. A rich and ancient fusion of African, European and Amerindian music, each coast and region nurturing distinct flavours. There are also highly localised variations; all rhythmically complex and all deeply infectious. This week the CJC featured the highly respected Brazilian musician Nanny Assis and New Zealand born vocalist Maggie Gould. Assis was born in Salvador, North Eastern Brazil; a region especially rich in musical traditions and heavily influenced by African rhythms.  The coast below Bahia nurtured Tom Jobim, Roberto Menescal and a cohort of like-minded innovators; the creators of the Bossanova (new music) form. In a world where saccharine versions of great music often assail us, it is necessary to return to the source from time to time in order to refresh our ears. Listening to Tom Jobim and Elis Regina on the album ‘Elis & Tom’ – ‘Chovendo Na Roseira’ especially, is a good place to start. The time feel is subtly different from North American versions and the unique rhythmic tensions dance with life. Jobim is long gone but authentic practitioners of the various traditions are still there if we look. Assis is just one of these; a master of rhythm and of the many distinct Bahia styles.Nanny Assis Maggie Gould (6)Gould was a successful photojournalist in an earlier life. When the pressures of that lifestyle became too much, she decided to abandon the frenetic media world and follow her passion instead. Rekindling a youthful dream she became a Jazz vocalist and has followed that path ever since. Eventually, her journey took her to New York where she met Assis and a musical collaboration began. While living in New York Gould has performed with a number of luminaries, notably the pianist John de Martino (who has also recorded with Assis). Gould and Assis have just toured New Zealand, appearing in festivals and clubs throughout the two Islands. They have toured with great musicians and they intend to record soon in Auckland. When they do, the well-known New York-based ex-pat Kiwi bass player Richard Hammond will join them.

It was not only the gentle Bossa rhythms that we heard on Wednesday but other livelier types of South American influenced music as well. These were danceable and energy fueled treats. During one such number, the room morphed into a seething mass of swaying bodies, hands raised as they danced. The last number, Magalena was a type of North-Eastern Brazilian rap – fast-paced and reminiscent of Jon Hendricks’ scatting.   There were also quieter numbers, some Brazillian and a few from the USA; the standout among the latter being Gould singing the gorgeous ‘Some other time’ (Bernstein). On that, Roger Manins added whispering fills and Kevin Field provided the perfect understated accompaniment on piano. Nanny Assis Maggie Gould (8)It is said that Latin American music is ‘the other swing music’. That makes for great synergies between Jazz and Latin musicians. It can work well, but only if the musicians have the ears and the courage to submit to the weave. Utilising the considerable skills of pianist Kevin Field, Alex Griffiths on 5 string bass and drummer Ron Samsom (plus for the CJC gig, saxophonist Roger Manins). The mix of Jazz musicians and Brazilian created a spark. Alex Griffiths is obviously well versed in Brazilian rhythms as his lines could not have been better placed. Field has for some time been immersed in this music and he is no stranger to the various clave rhythms either. His understated delicate lines in place of comping held the echoes of Jobim’s own tasteful piano accompaniment. During solo’s he gave both hands full reign in clave rich explorations. Samsom is a talented drummer and throughout the night, he and Assis worked in concert. With Assis on percussion and Samsom on the kit, a wonderfully rich sound scape emerged. At one point Assis beat a cowbell to hold the centre – allowing Samsom additional freedom to move.  This was a moment of pure magic.

ReubenI read once, that a Jazz drummer playing Bossa or Samba is doing three basic things; the right hand replaces the shaker or cowbell, the left hand has the clave pattern and the kick drum follows the bass line. Add in actual congas shakers or cowbell and the interplay has the magnitude of a sonic earthquake.The number that I have posted is ‘O Barquinho’ or ‘My Little Boat(of Love)’ – a tune by Roberto Menescal and sometimes wrongly attributed to Jobim. It is a nice example of the Brazilian Bossa rhythms; rich in subtlety and contrast. It is a long-held tradition in this music to have a female and a male voice – call and response. Gould in English, imparting the wistfulness of the lyrics – Assis in Portuguese – taking me back to the master Joao Gilberto. The Portuguese language is extremely pleasant to the ear, while often masking incredibly sad songs. We didn’t need a dictionary or interpreter on Wednesday as we were transported without them. Nanny Assis’s voice, like his percussion and guitar playing, is pure magic – together the musicians gave us a great night.

They open the Wellington Jazz Festival this year on 30 November. The bottom photograph is by Reuben – the top 3 are mine.

Nanny Assis (percussion, vocals, guitar), Maggie Gould (vocals, arrangements), Alex Griffiths (electric six-string bass), Kevin Field (piano), Roger Manins (tenor saxophone), Ron Samsom (drums) – at the Thirsty Dog, CJC Creative Jazz Club, 25 October 2017

 

 

Auckland Jazz Festival, Beyond category, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Guitar, Large Ensembles

Auckland Jazz Festival 2017

akljazfst2015The fourth Auckland Jazz Festival was appropriately launched at the Thirsty Dog Tavern in Karangahape Road. A welcoming venue, nestled among ethnic food joints, strip clubs and private art galleries. It is timely that we pay tribute to the Thirsty Dog, who a year ago, generously offered the CJC (Creative Jazz Club) a regular Wednesday night slot. This occurred when the club most needed it. It is a good performance space and many visiting musicians have remarked on the rooms warm vibe.ZeaThe first festival gig I attended was the Jennifer Zea group. The last time I saw her perform I liked by her Latin interpretations of the standards, but I particularly liked her rendering of the songs particular to her region (Cuba/Venezuela). She introduced more standards this time but it was the second set; a set of Venezuelan and bossa fused music that had the audience enthralled. These tunes were so infectious that they followed me home. I even woke up with one of them singing in my head the next morning. ‘Moliendo Cafe’ (Blanco/Perroni) has been popular in Venezuela (and the wider world) since 1959. Everyone from Jose Feliciano on has benefited from it. As Zea sang this wonderfully infectious tune, she danced to its rhythms, and along the back wall, a chorus of her countrymen and women sang along in unison. We seldom hear music like this and it is her forte. I have posted a bolero, Lagrimas Negras (or Black Tears – by Matamoras) a Cuban tune from the 1920’s. She was ably assisted by Kevin Field, Mostyn Cole and the wonderful Miguel Fuentes on percussion.buttery

The next night was the Guy Buttery gig, a World musician who appeared at Backbeat. Buttery is a renowned acoustic guitarist from South Africa and a distinctive stylist. His musical influences are varied but always harnessed to his own vision. Although he played a six-string guitar (a truly beautiful instrument), he often reminded me of Egberto Gismonti (or perhaps Ralph Towner). His mastery of the instrument was simply astounding and his choice of material perfect for the occasion. He memorably played a saw at one point and accompanied the piece with a delightful story. Evidently, the piece has been adopted as a theme by a group of Roswell styled ‘alien watchers’.  There were many devoted fans in the room and some who had travelled a long way to hear him. His gift is sound shaping, every harmonic given voice, every note sublimely resonant. The sounds he coaxed from his instrument were at times orchestral. All who came were delighted with the performance.

Two days later I picked up the Belgium pianist Jef Neve and his crew from the airport.  I spent the next three days with them and wrote about the experience in my previous post. I got home at around midnight on Saturday after sitting through nearly 5 hours of rehearsal and a two-hour concert. I loved every second of it. If that makes me an improvised music geek then so be it. jazzlocal32.com/2017/10/18/jef-neve-spirit-control/

Marj (2)On Tuesday, Marjan appeared with the ‘Experience Band’ at the Auckland Jazz and Blues Club. The Experience Band is an 11 piece ensemble and consequently, it provided a very different flavour to her appearance with a quartet at the CJC last month. Her voice has real power and she’s a compelling performer; easily able to adjust to the bigger sound. The audience loved her. Her set list was skillfully tailored to the room as the audience was older than the CJC crowd. In particular, her cheeky take on ‘Making Whoopie’ brought the house down. At one point she paid tribute to her high school music teacher, saxophonist Markas Fritsch, who was in the front line of the ensemble. She credits him with steering her towards Jazz – something we should all thank him for.Marj (3)On Wednesday, the third headline festival act was presented at the Thirsty Dog. It has been over a year since the world-renowned bassist David Friesen was in New Zealand. During last years tour, his trio was recorded at the 1885 venue. The night was captured perfectly in the newly released Rattle album ‘Another Time Another Space’. Frieson is an improvised music celebrity and it was good to have him back. He has a unique approach to composition and performance and he caps that off with his engaging and witty bandstand banter. He was again accompanied by Dixon Nacey on guitar and Reuben Bradly on drums. This trio communicates superbly, reacting to each other like old friends. The recording is amazingly good, especially so considering that it was captured in the 1885, which is an acoustically lively space. Nacey’s singing lines blend perfectly with Frieson’s – the sort of woody resonance that high-end luthiers aim for.CMB (1)On Friday the Chris Mason-Battley band returned to the Thirsty Dog. I really like this band with their predilection for tasty modal grooves. There is no one in New Zealand who plays quite like the Mason-Battley – and as an entity, the group have a distinct footprint. I have written about them recently and I suggest you check them out if you get the chance – they are not heard about town very often and more’s the pity.  As with the last gig; on the keyboard was David Lines, on electric bass Sam Giles and on drums the innovative Stephen Thomas. There is now talk of a new CMB project and perhaps one with more electronics? Friday nights are the hard-yards for Jazz musicians and this one was no exception. Throughout the performance, you could hear two blokes yakking, obviously pleased to be catching up and seemingly unaware that this was a listening gig. A number of ray-like stares were beamed in their direction but they proved quite impervious to hints. Loud chatting seldom happens on a mid-week night where listeners and improvisers own the space.Jim L (2)The last gig at the Auckland Jazz Festival was Jim Langabeer’s ‘Secret Islands’ album release’.  This is another Rattle album and the musicianship is stunning. A project which arose out of Langabeer’s multi-phonics explorations at Auckland University. There is a lot that is referred to as fusion these days and most of it is not. In this case, the term could be a good descriptor. Indigenous instruments, multiple reeds and winds; pedal steel guitar and fender; beautiful melodies placed in Mingus like settings.  While the album sits comfortably on the Jazz spectrum, the material takes us way beyond that. With the authoritative elder statesman Langabeer at the helm, and assisted by Rosie Langabeer, Roger Manins, Eamon Edmundson-Wells, Neil Watson and Chris O’Connor, what else would you expect. For this and other ‘Rattle’ recordings, go to www.rattlerecords.net/

Thanks to the CJC and the Auckland Jazz Festival 2017 for the music
Billy Collins

An appropriate excerpt from a Billy Collins poem ‘1960’  – out of ‘The Rain in Portugal’ – a recently published volume of verse by Collins.

CJC Creative Jazz Club gigs, Guitar, Review

Rob Luft – ‘Riser’ reviewed

Riser Rob Luft.jpgRob Luft is one of those rare musicians who has seldom put a career foot wrong, first coming to attention at the age of fifteen in the (UK) National Youth Jazz Orchestra. From then on he has regularly come to notice and although still in his early twenties he is now a musical force to be reckoned with. Anyone who has heard him play will know that the growing number of accolades are well deserved. As each year passes he garners fresh awards, last year, second place in the Montreux Jazz guitar competition and recently receiving the coveted Kenny Wheeler Award.

A little over a month ago, Luft released ‘Riser’ and it is hard to believe that this is a debut album. While incorporating a variety of Jazz guitar styles it is definitely forward-looking. Like many post-millennial improvisers, Luft reaches across styles and genres with ease. Mike Moreno and John McLaughlin are obvious reference points, but the album moves beyond such comparisons. His innate skills and good taste have enabled him to craft beautiful charts and out of this comes a unique sound. The first number of the album,’Night Songs’, is a cornucopia of wonders, a lesson in virtuosity, a seamless but ever-shifting voice of the London streets. The organ adding warmth, the rest of the band texture and heart, and Luft soaring above like a patrolling night-hawk. ‘Slow Potion’ has a dreamy surf guitar vibe, other tracks bubble with street life (Jamaican and African influences in evidence), while ‘Riser’ and ‘Different colours of silence’ invoke the more ambient hued Nordic Jazz. While the influences are varied the album has a strong cohesive feel, nothing is out-of-place here. Luft’s project has also benefited from his choice of band mates and from deft hands in the studio and the mastering. When he played in New Zealand last year, he wowed the audiences. Rumour has it that he will return next year. For updates keep an eye on JazzLocal32.com CJC Creative Jazz Club or Wellington Jazz Cooperative.

The artists: Rob Luft (guitars, compositions), Joe Wright (tenor saxophone), Joe Web (Hammond organ, piano, harmonium), Tom McCredie (bass), Corrie Dick (drums).

To sample or purchase the album visit Bandcamp www.robluft.bandcamp.com  or Google Edition Records Ltd UK.

CJC Creative Jazz Club gigs, Guitar, Straight ahead

Nick Granville

NickThe last time Nick Granville played in Auckland was 2014.  A year prior to that he released his Rattle Jazz album ‘Refractions’ here  At that time the CJC was located in an old downtown basement venue and that feels like a lifetime ago. Wellington is his home base and Wellington keeps Granville busy. He teaches, he gigs about town, he backs visiting artists, he plays in shows, he records, he tours and he is the featured guitarist in the Rodger Fox Big Band. The last time I saw him play was in Wellington, but that was a few years ago. Much water has passed under the bridge since then and his reputation has meantime grown apace. I have also kept an eye on his teaching clips, and his ongoing evolution as a musician is evident in these.  Almost everything Granville plays is coloured by the blues in some way; that is his thing. On a mid-winter night, it is my thing as well.Nick (1)With the exception of ‘Alone Together’ by Schwartz/Dietz, all compositions were Grenville’s.  Some were from his Rattle Album, such as Tossed Salad & Scrambled Eggs or Blues For Les, while others were much newer. The compositions were all ear-grabbing and most appeared to reference geographical locations or old TV programs. ‘Funky New Orleans Groove Thing’ was certainly true to label; a rhythm-driven groove piece that generated white heat. With Stephen Thomas on the job, the New Orleans beat never sounded better. Thomas is an exceptional drummer.Nick (2)A tune that I have heard Granville play previously is ‘Somewhere You’ve Been’. The title is a clever play on Wayne Shorter’s ‘Footprints’. The tune, although not a contrafact of Footprints is close enough to bring it to mind, It is nicely constructed and a good vehicle for a band to play off. For this gig Granville had wisely engaged old friends; Roger Manins, Oli Holland and Steven Thomas. Together on the bandstand, they represented genuine firepower and everyone dug deep when it came to delivering solos

Footnote: If things go according to plan, Granville will soon be off to the Monterey Jazz Festival with the Rodger Fox Big Band, followed by a recording session in a famous LA recording studio.

Nick Granville (guitar, compositions), Roger Manins (tenor saxophone), Olivier Holland (bass), Stephen Thomas (drums). The gig took place at the Thirsty Dog K’Road for the CJC Creative Jazz Club, 28th June 2017.

 

 

CJC Creative Jazz Club gigs, Guitar, Post Millenium, Straight ahead

DOG meets KOOPMAN

KoopmanDog (1)There is never a guarantee that two good acts blended into one will work. This one did. DOG and the various iterations of the Peter Koopman trio are each in their way self-contained; exuding a confidence born out of time spent with familiar musicians. Bands that play together over long periods anticipate and react instinctively. Stepping outside of that circle can be a risk, but that is a large part of what improvised music is about.  DOG are a tight unit with quick-fire lines and nimble moves.  By adding a guitar, DOG risked crowding their musical space; with Koopman, this did not happen. He is an aware and thoughtful musician. The pairing aided by some well-written charts, a pinch of crazy and good humour. The result was a looser sound, but the joy and respect provided all the glue it needed for the gig to work well.

The first number up was Roger Manins ‘Peter the Magnificent’, a tune featured on the award-winning DOG album. Manins penned it years ago, but this is the first time we have seen he and Koopman play it together (the Peter referred to in the tune is Koopman).  Next up was Koopman’s ‘Judas Boogie’, a terrific catchy tune and a great vehicle for improvisation. It has memorable hooks and a feel good factor about it. It’s the third time that I have heard the tune and it is always mesmerising – weaving in and around a dominant bass note, a relentless pulse drawing you ever deeper into the theme. I like tunes like that, they are a gift to good interpreters.KoopmanDogThe unison lines and exchanges between guitar, tenor saxophone and Rhodes were just lovely. Kevin Field is always on form and the Rhodes with its chiming clarity was the perfect foil for Koopman and Manins. Field is the complete musician, tasteful, original and with impeccable time feel; Koopman’s guitar benefitting from the well-voiced chords, gently and sparsely comping beneath. Manins also gave a nice solo, and as we have come to expect, he reached for a place beyond the known world. Olivier Holland had a slightly different approach to Koopman’s regular bassist Alduca. Both approaches worked well on Judas Boogie. The interplay between Holland and Samsom was also instructive. As is often the case with good Jazz; the complicated was made to sound easy.KoopmanDog (2)

The craziest tune of the night was Manins ‘Chook 40’ – a crazy humour filled romp which swerved close to the avant-garde.  A Zappa moment filled with joy, and above all abandon. The last tune was titled ‘Home Schooled’.  This is a newer Field composition, one that regular CJC attendees will recall hearing during his last quartet gig. In this expanded context it sounded truly amazing – the tune was too long to post as a clip today, but I will try to do so later. The unison lines in that are particularly striking and the changes in mood and tempo revealed hidden delights.

DOG: Roger Manins (tenor saxophone), Kevin Field (Rhodes), Olivier Holland (bass), Ron Samsom (drums) – with Peter Koopman (guitar).