Choi/Howell ~ Kõmanawa

Kômanawa is a duo, and duos are seldom heard in the bigger Jazz clubs. The gig was billed as a first for the CJC, but what of ‘Showa 44’ I thought? That was an Australian duo featuring Carl Dewhurst & Simon Barker, so I checked back, and although Showa 44 was a duo, they had included Roger Manins as guest. So yes, Kõmanawa was a first. 

There is a unique kind of intimacy to a Jazz duo performance and it is quite unlike other configurations. It is a fluid conversation between equals and in that regard Chrystal Choi and Michael Howell were well matched. They may have different styles, but they are both attentive listeners and they showed respect for each other’s musical space. 

Over the years there have been plenty of fabulous Jazz duos and the best of the duo albums remain perennially popular: Charley Haden & Pat Metheny, (also Haden with Hank Jones or Kenny Barron), Bill Evans & Jim Hall, and my favourite, Carla Bley & Steve Swallow. The Jazz duo is a unique form and especially suited to nuanced musical conversations.  Out of that a skillful interplay arises. People took particular note when Evans cut the two albums with Hall, because a piano and guitar can all too easily occupy the same register and get in each-others way. 

All of the above had been assimilated by this duo and they wove around each other with care. Their performance was also warm and engaging, and as they played, you felt like you were eavesdropping on an intimate conversation. That is how a duo performance works best, avoiding any fireworks, and by modulating showiness. The audience got that and paid close attention. 

While both musicians contributed tunes, the majority were from Choi. I was so engaged that I failed to notice that I had not switched on the external camera mic. The absence of the small green light dawned on me just before the end of the gig and the tune that I most wanted to post is recorded as a well-choreographed silent movie. The tune in question was titled ‘Playground Song’ (Choi) and it swung softly like a Carla Bley/Swallow tune. You will have to take my word for that, but it really did. There is an EP or an LP waiting to happen here, and I hope that they record this material. I captured only one tune, the second to last tune. It is an arrangement of a tune that Choi wrote for her Indie pop group.

Throughout, Choi moved between the piano and vintage Wurlitzer, Howell sometimes used a slide and produced wonderfully atmospheric sounds. The gig took place at the Creative Jazz Club, Anthology, November 18, 2020.

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Kevin Field ~ Soundtology

With closed borders and venue restrictions biting, the release date for Kevin Field’s ‘Soundtology’ album became a movable feast. The original proposal would have seen some of his New York band appear, but because of the pandemic, that plan was ditched. If he was flustered by these frustrating circumstances it didn’t show. Making a virtue out of necessity he engaged local musicians and launched his album anyway. It was a night to remember.

Field is one of our finest musicians and his reputation stretches far beyond these shores. He has previously recorded with highly-rated New York Jazz musicians and also with the best of New Zealand’s improvisers. As an adventurous musician, Field eschews stasis and his developmental arc is particularly evident with this latest album. He is an artist who arrives at a successful formula and then turns it on its head. With each album, he makes references to his earlier works, and then he moves foreword. Everything that has gone before becomes a springboard to a new moment and each iteration is better than that preceding it. 

There is a lot to like about Fields new album ‘Soundtology’. The tunes are sublimely melodic, and as always, his trademark harmonic developments astound. I have always enjoyed his avoidance of cliche and in this case, there is something else. Even when upbeat, the tunes feel more contemplative, and the space afforded, lets the music speak with clarity.  This is the album of a mature composer and it is deserving of wide acclaim.

‘Good Friday’ Live in Auckland

The album has eleven tunes and features two quartets (alternating throughout). This provides contrast while not affecting the flow and continuity. All of these tunes belong together and each unit locates something special. The first quartet features Field (Piano Rhodes),  Nir Felder (guitar), Orlando Le Fleming (bass) and Charles Haynes (drums). The second quartet has Field (piano, Rhodes) Mike Moreno (guitar), Matt Penman (bass) and Nate Wood (drums). These are heavy hitters and Field could not have chosen better crews to spin gold out of his compositions. I was immediately drawn to the inclusion of Moreno, one of the worlds great guitar improvisers. I once flew to Sydney just to catch a concert of his. 

‘Soundtology’ is a beautifully presented album and it was recorded to perfection.  It is an album to be enjoyed on many levels; for its beauty and freshness and for its accessibility. If ever there was an example of complex music made to sound easy, it is here. The tunes are beguiling and memorable, but underlying them are twists and turns which elevate the tunes into listening adventures. A good example is the first track Quintus Maximus. It opens over an ostinato sequence, where a broken rhythmic pattern is established by bass and Rhodes. The intro is a teaser as it hints at possible directions without necessarily committing to them; then the melody soars and brings it together until the underlying ostinato phrases reappear. An interesting and enjoyable piece of music. 

The second tune, ‘Good Friday’ is a great composition. It is among the most melodic of Fields tunes and it has been around since he first recorded it on his 2012 Warner release ‘Field of Vision’. Back in 2012, the tune was a slower-paced offering. Over the last few years, I have heard it performed often; now, it has emerged as a punchier version of its former self. It is fascinating to hear good tunes like this under constant development. This is what Field does and it is his impulse toward reinvention that elevates him beyond the pack.  It is not surprising that he was recently awarded a doctorate.

There is no better example of its ongoing trajectory than the version of Good Friday we heard at Wednesday’s live performance. It had been rearranged to include a bass clarinet and a soprano saxophone. There were two guitarists as in the album, but the addition of the horns gave us yet another vantage point from which to examine the composition. A band member told me afterwards that the charts were interestingly structured. They forced the soloists to think outside of the square and to avoid any formulaic approach. 

‘People factory’ was the perfect vehicle for Moreno, Penman and Wood. This number is like silk in a ruffling breeze, I have never heard Moreno sound better (and he always sounds good). The responsiveness Field extracts from Wood and Penman is also marvellous. This is seamless interplay at its best.  Actually, everything is great on this album and there’s plenty of variety.  This one is 4.5 stars. My advice is, buy multiple copies and impress everyone with your hip good taste.

‘Soundtology’ by Keven Field ~ Released on TimezoneRecords.com 2020

Album: Keven Field (piano, Fender Rhodes), Mike Moreno, Nir Felder (guitar), Matt Penman, Orlando Le    Fleming (bass), Charles Hayes, Nate Wood (drums).   

Live gig: Kevin Field (piano, Fender Rhodes), Michael Howell & Kieth Price (guitars), Nathan Haines (tenor, soprano saxophones), Lewis McCallum (bass clarinet), Cam McArthur (bass), Stephen Thomas (drums).

The live gig took place at Anthology K’Road for the CJC Creative Jazz Club, November 11, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Caitlin Smith ~ You have reached your destination

This has been a season of upheavals and delays, and Caitlin Smith’s album, ‘You Have Reached Your Destination’ was no exception’. The gig sold out long ago, but then it was delayed twice. It finally went ahead last Wednesday and there was a rush to get a good seat. In typical kiwi fashion, what passes for a queue had formed; a ragged line, reordering itself in illogical surges as it snaked across the footpath of K’ Road. Smith is popular and like many vocalists, she has followers from across the music spectrum. 

She brought a medium-sized ensemble with her, including backing vocalists, piano, keyboards, two guitars, drums, basses and a pedal-steel/slide-guitarist. I am used to hearing Smith with her trio, but this was new to me. 

The band had a warm and enveloping sound, with Smith, clearly relishing the energy surrounding her. She has a strong voice, and it cut through. The first number was pure Americana, not just because of the pedal steel guitar, but the organ and backing vocals, and above all the lyrics. On several of the later numbers, they were joined by the gifted Nigel Gavin, and if anyone can channel authentic Americana he can. 

The setlist followed the album order (minus a few tunes). There were few introductions, and this was intentional. The night was about letting the music speak and to achieve that best it needed an uninterrupted flow.  I enjoyed the gig and couldn’t wait to hear the recorded album. 

The physical album comes in exceptionally beautiful packaging, and importantly, the front cover has a brail title. In doing so, the senses are immediately directed within, or as Smith puts it, ‘let your ears guide you through this experience without other sensual distractions’. It was an invitation to a deep listening experience. The first tune, Grand Companion, was the perfect start point and from that point on you are guided between tracks by footsteps.

Much as Joni Mitchel or Rickie Lee Jones did, Smith uses predominantly Jazz Musicians in her bands. Musicians who can respond to nuance and work with her (not just back her). On the album’s opening track, Grand Companion, you hear John Bell on vibes, and what an inspired choice. His silken fills adding textural contrast: and Keven Field on Rhodes and piano. The live gig featured 10 musicians, but the album has a bigger cast (for example, pedal steel guitarist Janek Croydon, other backing vocalists and drummers). Paul Symons picked up this role on Wednesday and he doubled on slide guitar and vocals. The well known Aaron Coddel on bass(s).

On both the album and at the gig, the interaction between the chordal instruments was central. What a delight to hear Alan Brown and Kevin Field finishing each other’s musical sentences or trading fills. And Dixon Nacey, a guitarist who can accompany a vocalist with incredible sensitivity and a first-choice musician for a gig like this. 

Track two ‘The Story so Far’ has a southern soul feel and the backing singers are the icing on a beautiful cake. ‘No Mans Land’ picks up the overarching theme of the album which is self-realisation on a sometimes difficult journey. Prayer for a miracle reminds me of Patrice Rushen’s disco-funk, ‘Tug of War’ closer to a straight-ahead Jazz number. 

This is an honest album that touches on loves lost, inner struggles and sobriety. Smith is sight impaired, but she never complains. It is part of who she is, and she occasionally jokes about it. In between numbers, a few band members slipped off stage to grab a drink and when it was time to call them back, she said, ‘I can see what you’re doing’. ‘What can you see’ yelled someone in the front row, ‘Very little actually’ she replied, grinning. 

When I looked at the album liner notes, I was surprised to see when it was recorded. This album is a gem. It was worth the wait and I hope it puts Smith where she deserves to be; a widely acknowledged vocalist among our greatest. It has been over 10 years in gestation and now it has arrived. It is a credit to Smith and to all involved, and it also underscores just what magnificent work Roundhead Studios do. As I played it through, a tug of emotion brought a lump to my throat. The mahi paid off royally and the wait was worth it, we have our own Joni.

Album: Caitlin Smith (vocals, Wurlitzer, and compositions), Kevin Field (piano, Rhodes), Alan Brown (keys, B3), John Bell (vibes), Janek Croydon (pedal steel), Dixon Nacey (guitar), Aaron Coddel (bass), Nick Gaffaney (drums), Chris OConnor (drums), Jeremy Hoenig (tabla loop), Finn Scholes (trumpet), Oliver Emmitt (trombone), vocal backing: Mate Ngaropo, Rebecca Le Harle, Callie Blood. 

Gig: Caitlin Smith (vocals, piano), Kevin Field (piano), Alan Brown (keys), Dixon Nacey (guitar), Nigel Gavin (guitar), Aaron Coddel (bass), Paul Symons (pedal steel, slide guitar, vocals), Jono Sawyer drums, Callie Blood + Chelsea Prastiti (backing vocals).

 The gig took place at Anthology K’Road for the CJC Creative Jazz Club, Nov 4, 2020. Order the album from stores or Caitlin Smith.com

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Clo Chaperon ~ Chapters

The usual fare of the CJC (Creative Jazz Club) is the instrumental gig, but over the last fortnight, the club has featured two vocalists. Vocalists have a broad appeal and can bring different audiences to a Jazz club. This is a good thing and it helps with the club outreach and kaupapa. Last week brought Clo Chaperon to the bandstand and although she has been performing around town for several years, this was her first solo gig at the club. On two previous occasions, she has appeared in bands led by the popular pianist, Kevin Field. 

Wednesday was the release of her ‘Chapters’ EP, featuring five of her own compositions and it was her first release. She kept the EP numbers for the second set and during the first set, we heard a selection of tunes that had influenced her musical journey. The list was an eclectic offering of Jazz standards and all of them interesting.

There were surprises like Something Cool, a tune written by Bill Barnes in 1954, first released by the wonderful June Christy where she was accompanied by the Pete Rugolo Orchestra. Christy wrote the lyrics (check out the 1959 video from the Playboy Penthouse).  Material like this gets lost in time and big ups to Chaperon for including it. There were modern Jazz standards like Butterfly (Hancock – Gretchen Parlato version) and some soulful numbers like ‘Jazz is Nothing but Soul’. The perennial favourite ‘Dat Dere’ by Bobby Timmons also went down a treat. You can’t miss with that particular number as it conveys such a sense of joy.  

Her own compositions leaned toward modern soul-jazz or ballads and they were an indication of her future direction. I liked the arrangements (possibly by Nacey), and the tune that I have posted is titled ‘Holding On’. It has a funky propulsive groove and a nice vibe. This is reminiscent of her vocals on the Field Album. 

Chaperon has a presence on stage, and she is down with a pleasing line of banter. This is an essential accoutrement for a vocalist as people respond instantly to warm human interactions. Expressive vocalists know that they are selling the lyrics and that a stone-faced look is a turn-off. 

Having Dixon Nacey on the bandstand was of unmistakable benefit. He is a strong player with a distinctive style, but on this occasion, his job was one of support. He kept his solos short and his comping was nicely understated: he was not showy, but every note counted. This is the hallmark mark of professional, making others sound good. 

Peter Leupolu, Mostyn Cole, Percy Watson and Stephen Thomas rounded off the group and it was nice to see the percussionist in the lineup. Adding percussion was especially appropriate, given Chaperons French Mauritian, Sega heritage. Perhaps we will hear some of those traditional songs interpreted sometime soon. I hope so. If you wish to purchase her album, she is contactable through her website clochaperon.com

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, October 28, 2020. Clo Chaperon (Vocals) Peter Leupolu (piano & keys), Mostyn Cole (bass), Percy Watson (percussion) and Stephen Thomas (drums).

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Haines/Crayford/Singh

Any jazz club gig involving Nathan Haines, Jonathan Crayford and Manjit Singh is bound to catch the attention. It was programmed to occur months ago and unsurprisingly tickets sold out so quickly that many missed out. Then, out of the blue, the virus crept back among us and we found ourselves back in lockdown. There was a new date suggested, but for safety reasons that did not transpire, and we waited. October brought us warm weather, freedom of movement, and above all, it gave us our gigs back. This time the Haines/Crayford/Singh gig actually happened and more tickets were released as restrictions no longer applied. 

The gig was a fusion of Jazz and the Indian musical traditions and in particular the northern styles. Accompanying them on harmonium and with vocals as a guest artist was Daljeet Kaur, the wife of Tabla player Manjit Singh. Chelsea Prastiti also appeared as a guest artist on one number. To pull off this type of fusion and yet do so respectfully, requires careful programming and good musicianship. The three co-leaders were particularly suited to this task. 

Singh was a respected Tabla player and teacher long before he travelled from the Punjab region to New Zealand. He has since completed a musicology degree at Auckland University and his involvement with the UoA Jazz School brought him into frequent contact with local jazz musicians. Haines and Crayford are internationally renowned and together they are a versatile dream-team. Bringing Singh into their orbit made perfect sense as both can comfortably play outside of the strictures of genre. 

There are particular subtleties to Indian music and perhaps most formidably the rhythms. The scales, although model, and thus familiar to Jazz practitioners also have aspects of difference. The northern Indian scale has twelve notes and is moveable. When western harmonies are added, unusual challenges crop up. Jazz, however, is the art form of flexibility and its practitioners thrive on playing over drones and exploring harmonies. I believe that is why this worked so well. 

As soon as I heard the harmonium and tabla together I was transported back in time; back to a night in the Himalayan foothills where I once heard a wandering troupe play. Two youths who we had befriended in Katmandu, called by late one night and led us up into the mountains. We walked in the moonlight and eventually arrived at a rustic farmhouse; cattle on the ground floor, a farmer ushering us up a ladder to the first level. A troupe of wandering musicians who crossed borders secretly at night and played in private homes by invitation only. A four-piece unit of sitar, tambura, flute, harmonium and vocals. They were brilliant. Not the sort of thing anyone could forget.   

I had always assumed that that the harmonium was a traditional Indian instrument, but I have since learned, that it came from the West around 250 years ago. Once adopted by Indian musicians, it was modified, and it entered the repertoire of the northern part of the sub-continent. Its entry was not without controversy. Because it sits at the juncture between east and west, it feels an appropriate instrument to bring to an Indian, Jazz fusion gig. 

There were a number of original tunes, a classical piece, a Beatles tune and an old Pakistani folk tune. The arrangement of Norwegian Wood was well adapted. The Beatles had been exploring modal Indian music at the time. When Chelsea Prastiti joined them, she and Daljeet Kaur sang a New Zealand composition, Olympic Girl. That number received wild applause, but my favourite segment was when the trio played Heitor Villa-Lobos Bachianas Brasileiras No 5. This gorgeous tune with its sensual Latin rhythms and Spanish tinge has been played and adapted by Jazz musicians before – notably by Wayne Shorter. The trio’s version paid it homage in the very best way. 

 Nathan Haines|flutes, soprano saxophone – Jonathan Crayford | piano & keys – Manjit Sigh | Tabla, tala & percussion – Daljeet Kaur | harmonium & vocals – Chelsea Prastiti | vocals

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, October 21, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Kang / Rainey ~ Christchurch

Last weeks CJC/Anthology gig brought the Christchurch Brad Kang/ Jimmy Rainey duo to Auckland. While I have heard both artists before, this gig was a step up for them. Both looked comfortable on the bandstand and their confidence was justified. It is always a pleasure to witness early promise being realised and while neither could be considered veterans, both have received a measure of favourable attention. Both are well travelled and tested in the wider Jazz world.

I am more familiar with guitarist Kang as he has gigged in Auckland several times. The last time he played here he was just about to depart for the USA and that and his other trips have yielded dividends. He was always a competent player but a noticeable change has occurred. He is now playing fewer notes and the way he phrases resonates. I know that he has studied with Mike Moreno and it showed. The virtuosity is still there, but never at the expense of the music itself. 

The last time I heard Rainey was at a CJC emerging artists gig but much has happened since then. He has benefited from overseas experience and his exposure to new ideas; particularly in his writing. This is a duo that writes to their strengths and because they understand that, they can play up a storm in consequence. At one point Rainey studied in Amsterdam, a Jazz loving genre-diverse proving ground. Anyone who has attended ‘Bim’ gigs will know what I mean. There’s a lot of freedom and innovation happening in that city.

From the first to the last tune they held us. The tunes while of varying tempos and alternating between the two composers, all spoke of the now. This is the type of music that is owned by younger players. It was unselfconsciously forward-looking and immediately brought ‘James Farm’ to mind. It did not lean heavily on harmony but the harmonic development was implied; there were clean unison lines and above all, the melody dominated. It was evident on the tune Spiral, where the cascade of lines emerged in sonic waves, while behind them piano, bass and drums carved up the rhythms. 

And this was made possible by the skilled anchoring of Tom Botting’s bass lines and by the steady pulse from drummer Adam Tobeck. With Field, comping minimally the effect was enhanced. Wise heads and good players always adjust to accommodate. If he was alive today, it is tempting to think that Tristano might have embraced this direction?

The first tune Herfst was a majestic and evocative composition by Rainey. Herfst is a Dutch word meaning August (majestic and the season). This was a good warm-up tune as it gave us an idea of what would follow and the course once set, remained steady.  Other tunes that Rainey penned were ‘Daze’ and ‘jubilate’. As well as the piece that I have posted on YouTube (Spiral), Kang composed ‘Passing Thoughts’ ‘A Quiet Place’ and ’Five Five Four’. 

Brad Kang|guitar, Jimmy Rainey|tenor saxophone, Kevin Field|piano, Tom Botting|bass, Adam Tobeck|drums. The gig took place at Anthology K’Road for the CJC Creative Jazz Club October14, 2020

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

JCJ ~ Baxendale /Allardice /Lovell-Smith

As our local pandemic restrictions were lifted, so our spirits rose, and the easing brought us, welcome travellers, from Wellington. It felt like our old lives were creeping back, but we should not underestimate how difficult these lockdowns have been for musicians. They are performing again, but with fewer venues, and reduced availability of flights. To top that there is the perpetual hassle of finding affordable accommodation. Because this is a new reality, music lovers need to redouble their commitment; religiously attending gigs, purchasing albums and getting the word about town. Luckily, Jazz audiences get that and there was a solid audience on Wednesday. 

The Band is named JCJ, which may or may not be a play on Auckland’s CJC Jazz Club; it does, however, align with the initials of the co-leaders forenames: Jasmine Lovell-Smith, Callum Allardice and Jake Baxendale. Together they represent a formidable presence on the bandstand with their international experience, various awards and accolades. In addition, the gig leaned heavily on their much-vaunted compositional skills. All have appeared on successful albums but never together as a co-led unit.

The soprano is Lovell-Smith’s primary horn and it shows. She is dextrous and inventive, she conveys deep emotion or surprises, but of equal appeal is her tone. There is a depth to it and because of that, she can move from the reflective to the edgy as naturally as breathing. When you hear her playing a ballad, it is tempting to think, how beautiful — that’s her forte then; but she will play completely free on the next number. I have heard her in a free ensemble and she’s as comfortable there as when tugging at the heartstrings with a lovely folksy ballad. 

Baxendale like his co-leaders is Wellington-based and we have seen him in a variety of visiting bands since the Creative Jazz Club’s earliest days. Aucklanders will likely associate him with ‘The JAC’ ‘Antipodes’ or ‘The Troubles’, but he has fronted or played in a number of Wellington bands. He is primarily regarded as an alto player, but on this gig, he played mainly bass clarinet. The instruments earthy underpinning, providing a lush cushion beneath the airy registers of the soprano and guitar.  

Allardice has had a long and fruitful association with Baxendale. They often share a bandstand, they have toured together, and both have won prestigious awards. I have always liked his tone on guitar, which is best described as silken. The first time I heard him perform there was an unmistakeable Rosenwinkel influence, but now I am hearing an original voice. His compositional skills have always been a forte and these were very much in evidence during this gig. 

The set opened with a gorgeous number by Lovell-Smith. It was titled ‘leaves of grass’ and its Whitman reference was apt. Whitman was the bravest of poets and a favourite with Jazz composers (‘I Sing the Body Electric’ Weather Report or tributes by Fred Hersch). And this was not the only literary reference by Lovell-Smith as a later tune was titled ‘The Pillow Book’ — this had an appropriately Japanese vibe.  Her other tune ‘Song for May’ is a stunner. I have heard it before as it is on her New York album ‘Towering Poppies’.  I would have put it up as a video, but a music stand had obliterated all view of her (note to artists: if you are being filmed, angle the music stands sideways or keep them low).  

Allardice’s compositions were as intriguing as ever, his moody ‘Dark Love’ and especially his upbeat tune with a beautifully memorable intro titled ‘Peaceful’. Baxendale brought some great tunes as well, and as he often does, he injected some off-beat humour. A tune titled ’Sleep (a glimpse of Plimpse)’ recounted a guilt-wracked dream. His tune ‘The Test’ was all that remained, of a failed attempt to break into the fantasy gaming genre (I think that I got that right). It was free-ranging and delightful and I have put that up as a video clip.

The pick-up rhythm section were Aucklanders. All three have been delighting Auckland audiences for years. To have them playing together and bouncing off a Wellington lineup was a rare treat. Firstly, Crystal Choi, who never puts a foot wrong and who is one of Auckland’s most inventive pianists. She is similar to her bass playing friend and bandmate, Eamon Edmundson Wells. Both lean heavily toward the avant-garde. On drums, there was Julien Dyne. Dyne is a powerhouse drummer and his beyond-genre approach allows him to excel in any given situation.  These three are the other reason that I put up ‘The Test’ video clip. This is a space that the Aucklanders relish, and the Wellingtonians matched them note for note. A little freedom never hurts a gig. 

JCJ were Jasmine Lovell-Smith (soprano saxophone), Jake Baxendale (alto saxophone & bass clarinet), Callum Allardice (guitar) with – Crystal Choi (piano), Eamon Edmundson Wells (bass) and Julien Dyne (drums). The gig was held at Anthology, CJC Creative Jazz Club, K’Road, Auckland October 7, 2020.

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Frank Gibson Jr ~ New Bop Quintet

Frank Gibson Jr is a legendary figure on the New Zealand Jazz scene. A drummer like his father before him and a Jazz touchstone throughout much of my life. He and I attended the same Grammar school and although he and Murray McNab were two years ahead of me, they were known even then as being cool Jazz- guys. Gibson’s love of Monk and of the Hard Bop era has always been his thing, and it is evidenced in his gigs. No one about town does it better. 

With the New Bop Quintet, we get a fresh Gibson line up this time; within minutes of hitting the stage, they’d recaptured the joy of that era. The setlist was broad and included a few tunes that we seldom hear; it also included a nicely penned original by bass player Cameron McArthur titled ‘Three Up, Three Down’. There was only one Monk tune (Straight no Chaser), and the applause after that was thunderous. Everyone loves Monk. 

As an opener, the band gave a crackling rendition of a favourite Shorter tune ’Speak No Evil’ and there is no better way to commence a standards gig. Gibson is a strong drummer and his style exemplifies this era; his bop-influenced grooves being unmistakable. In this unit, he has changed things up by including some different musicians. This gave the gig an interesting edge and it worked a treat.  Keven Field could fit into any line-up, but he is seldom in a Hard Bop unit. His distinctive harmonic approach edged the sets into new territory, and everyone stepped up to meet the challenge. 

You could not have a Hard Bop gig without featuring Benny Golson tunes; there were two of them, ‘Along Came Betty’ and ‘Stablemates’. These are essential Hard Bop classics, and no one ever tires of them. The tune which really stood out though was a seldom played composition by Dexter Gordon, ’Soy Califa’. This was the opening track on his ‘A Swingin’Affair’ album and once heard, loved forever. To do justice to a tune like this requires chops and bravery and the evidence of both was very much on display last Wednesday.  

On ‘Soy Califa’, the opening drum beats and the tightly executed head arrangement hooked us, then Pete France took it to a different level entirely. He and Mike Booth gave memorable solos. It is a common complaint that we see too little of France (a Scottish born saxophonist). He is highly regarded about town and when his tenor-saxophone sings, it is wonderful to behold.  I have posted a clip of New Bop’s ‘Soy Califa’.

Soy Califa (Gordon)

There were also flawless performances from Mike Booth, as this is the style and era where we hear the best of him. He and France were very well matched and as the band played on, you could feel their enjoyment and their deep love for this music. Field and McArthur while hidden in darkness, were the essential ingredients that rounded off a heady brew.

Whether it’s playing with locals or with Jazz greats, travelling or teaching, Gibson has achieved much in his life; to top that off he has recently gained a doctorate.  This was the first CJC gig as we emerged from the second lockdown and it attracted a capacity audience. It was great to have the music back and nice to have it ushered in by a quality Hard Bop unit like this. 

New Bop Quintet: Frank Gibson (drums), Mike Booth (trumpet), Pete France (tenor saxophone), Kevin Field (piano), Cameron McArthur (upright bass). The gig took place at the CJC (Creative Jazz Club), Anthology, K’Road, Auckland. September 30, 2020. 

Artemis ~ Blue Note Records

In 2017, seven leading Jazz performers came together as a group and toured Europe. The group was so successful that they embarked on a bigger project. They chose the name Artemis, which is appropriate for an ensemble of musically formidable women. Artemis (or Diana to the Romans) was the Goddess of the hunt & of nature; the goddess with nothing to prove. In an ancient universe crowded with ubiquitous male gods, Artemis was universally popular. 

When you bring a group of band leaders together in the Rock world, the term Supergroup is often applied; in the jazz world, it is applied sparingly.  It is commonplace for Jazz greats to move between groups and when the term is applied, it is seldom as a marketing formula.  Artemis is a supergroup by any definition, but it is the musicianship that makes it so. Anyone of these musicians is a drawcard on a bill and while a group of leaders in itself, offers no guarantee of success, this project proved the pudding. The lineup of Rosnes, Aldana, Jenson, Cohen, Ueda, Miller and Mclorin Salvant was a winner. 

The nominal leader is Renee Rosnes, pianist and arranger.  Five of the band have penned tunes and there are several well-chosen modern standards (Fool on the Hill – Lennon/McCartney) (If it’s Magic – Stevie Wonder). The first track, Alison Miller’s ‘Goddess of the Hunt’ comes closest to a title track and it is a marvellous vehicle for improvisation. It begins with an arresting ostinato pulse, and as other voices enter, the intensity increases. The tune has lush harmonies which flesh out the sound to make it sound a larger unit.  Miller is a great Jazz drummer, but her compositional skills should not be overlooked either. Check out her ‘Glitter Wolf’ Album on Bandcamp, is a favourite of mine.

The second tune ‘Frida’ is by Aldana. A ballad evoking wistfulness and inviting reflection (was it Frida Kahlo)? Fool on the Hill (Lennon/McCartney) is cleverly reharmonised and has a similar mood. The contrasts are delicious; sweet and tart tastefully juxtaposed. Here, trumpeter Jenson reminds me of fellow Canadian, the much-lamented Kenny Wheeler; a nice arrangement. ‘Big Top’ (Rosnes) uses stop-time and surprise to great effect; the tasty solos by Rosnes and Aldana having more edge than a blindfolded knife-thrower. 

There are two tracks featuring Mclorin Salvant and they are as breathtaking as you’d expect from this world acclaimed Jazz vocalist. ‘If it’s Magic’ (Wonder) will surely turn up in her repertoire as will Cry, Butterfly, Cry (Rocco Accetta).  Nocturno (Cohen) is a moody slow burner with an ancient to modern feel. Cohen’s origins are evident here, a sound painting of a sultry sunset. Her clarinet is sublime. Step Forward (Ueda) is a fast-paced tune which opens with bass and clarinet dancing around each other in a joyous abandon, while Miller and Rosnes urge them on to greater heights. 

 If there was one track that had me gasping from the first phrase it was Lee Morgan’s composition Sidewinder’ – in truth, it made more impact than the famous original. This snake, unlike his forbear, has slowed its slither and is luxuriating happily as it grooves across a sunlit clearing. The voicings are reminiscent of an Oliver Nelson arrangement and the interplay between the musicians is quite extraordinary. Muted trumpet, clarinet and that unhurried, luscious, undulating groove. 

Artemis may be a multi-national and multi-ethnic line up but in the end, the thing that counts most is the universality of their music; Renee Rosnes (piano), Melissa Aldana (saxophone), Ingrid Jenson (trumpet), Anat Cohen (clarinet), Norika Ueda (upright bass), Alison Miller (drums), Cecile Mclorin Salvant (vocals). 

JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.

Dr Tom Botting Rediscovers Aotearoa

Bass player Tom Botting recently returned to Aotearoa and his first Auckland gig was well received. Even as a gangly student he impressed, and the regular attendees at the CJC hold fond memories of those Britomart Jam Sessions where he featured so prominently. Soon after that, he moved overseas, gaining a doctorate at the Sydney Conservatory. Like many of our musical exports, he returning annually, and many of the tunes that we heard last Wednesday were first showcased during those back-home tours. 

His compositions are always memorable and often evocative. Now, he has returned to weather out the pandemic, bringing with him some new tunes, and updated arrangements of older ones. They are no longer isolated in a disparate setlist but are played sequentially and in geographical alignment. While the tunes are not presented as a suite, they nevertheless evoke a strong sense of place. And whether intended it or not, they present a cinematic journey across our landscapes. Here, Botting has achieved what locals often cannot. His yearning from afar for our landscapes and archetypes has led him to create something sublime. 

The tune titles in these sets speak of mountains or the places immediately in their shadow; Mitre Peak, Mt Aspiring, The Remarkables, Hamner Springs, etc. I have posted a YouTube clip titled Hidden Waterfall and it is one of his more recent compositions. It begins with a pedal tone on piano, around which the bass introduces striking motifs, and then, a new line is introduced by the alto. 

The piece is simply captivating and clarity is achieved by ensuring that no instrument gets in the way of another. It’s not easy to strike that fine balance and it’s extremely clever writing. Each segment stands on its merits, and yet, sits comfortably within the arc of the overall composition. It is a good example of less being more or to put it another way, as something complex rendered into ear-grabbing approachability. 

Botting is a superb bass player and he poured everything into his tunes. He was always one to absorb himself in his playing and that has not changed. As he plays you see nothing but hair and fingers, but what you hear is the essence of the man. Beside him was Callum Passells on alto and he pulled out a great performance. An approach at times reminiscent of Shorter, and always with that gorgeous tone.  Partially hidden on the left of the stage was guitarist Michael Howell, and again a good performance from him. His newfound confidence is reaping dividends. To complete the quintet were Kevin Field and Jono Sawyer. Both are consummate professionals and they maintained the standard of playing that we have come to expect of them. Pick up bands of this quality make a visitor happy to return.     

There is a rich tradition of pastoral music in Aotearoa, most notably Douglas Lilburn. There is also the extraordinarily beautiful Ondas Album (ECM) by our premier Jazz Export Mike Nock. It is good to see a body of work of this quality adding to that tradition. Botting had already performed a concert in Wellington prior to reaching Auckland and a recording from that gig may soon be in the offing. The Auckland concert was recorded by RNZ and those unable to make the gigs should watch out for the broadcast. This music will appeal to most Jazz lovers, whatever their preferences. 

Tom Botting (upright bass, compositions), Kevin Field (piano), Michael Howell (guitar), Callum Passells (alto saxophone), Jono Sawyer (drums).  The gig took place at Anthology, K’Road for the CJC Creative Jazz Club, 5 August 2020

Joe Kaptein / Ben Gailer

The gigs introducing young emerging artists are a time-honoured tradition at the CJC Jazz Club. It is one of the reasons why Carolyn and Roger Manins formed the cooperative well over a decade ago. It is a vital part of club programming, as it tests the metal of emerging musicians by exposing them to a seasoned Jazz audience. The gigs also give us a glimpse of the future; they reveal who has yet to shine, and who will soon be nipping at the heels of seasoned musicians.

Both Joe Kaptein and Ben Gailer are students at the University of Auckland Jazz school.  Kaptein is in his third year of studies and Gailer has recently completed his honours studies. Stylistically, the musicians presented very different offerings and the contrasting approaches gave us a unique insight into the breadth of teaching available at the Jazz school. It was a showcase for the band leaders and a showcase for their tutors, with many of the latter hiding in the shadows and beaming throughout. 

First up, was the Joe Kaptein sextet. The band was a mixture of former and current Jazz students (plus two tutors), with Kaptein leading on keyboards, Michael Gianan on guitar, Roger Manins on tenor saxophone, Will Goodinson on electric bass, Elijah Whyte drums and Ron Samsom on percussion. The compositions were all Kapteins and it was immediately obvious why he chose keyboards over the piano. I have heard Kaptein perform as a sideman on several occasions, and his preferred palette is that drawn from the older analogue keyboard instruments. On this occasion, he had a Render Rhodes as his primary keyboard and a variety of augmentations (one machine in an intriguing case, the knobs and dials reminiscent of the moon landing console). 

The first time I heard Kaptein was like hearing 70s Jazz reimagined. I have always thought that the era deserved further appraisal, as the journey back then was curtailed by the Jazz police. It is possible, that Kaptein found this style without reference, but nevertheless, he has encapsulated a modern version of that older trippy explorative vibe. His compositions are mature and packed with surprise.  In typical post-bop fashion, there were references to the waypoints of the jazz journey; but above all, these numbers spoke of joy.  

The second set featured a sixteen-piece ensemble led by Ben Gailer and what he presented wowed everyone in the room. Arranging and composing for an orchestra is a complex task, but to bring such an orchestra to a Jazz club on your first gig there is beyond brave. All of the charts had been arranged by Gailer and many of the compositions were his own. His own material stood up very favourably amongst the standards ’There will Never be Another You’ and a fresh sounding take on Hancocks ‘Maiden Voyage’. That speaks for itself.

It’s hard to know where to start in evaluating a set like this as it covered so much fertile ground. There was his energised conducting, somewhat reminiscent of Darcy James Argue with its expressive flourishes as he urged the sections on. There were the finely textured arrangements which balanced dissonance with melodicism in a precise and pleasing measure, and then, there was his pianism which shone through all of that. That is a lot to bundle together but he did so with real class. I can’t wait to hear where his journey takes him next.

Ben Gailer

Because of the sight-lines and the seating, I could not set my video up for that set and I cursed that I had not brought audio-recording equipment with me. What I did, was record it on my phone as an aid in evaluating the performance. Posting iPhone capture is not ideal, but with luck, a better recording of this large ensemble may become available at a later date. I certainly hope so.

Joe Kaptein Sextet: Kaptein (keyboards, effects), Roger Manins (tenor saxophone), Michael Gianan (guitar), Will Goodinson (electric bass), Elijah Whyte (drums), Ron Samsom (percussion)

Ben Gailer Orchestra: Ben Gailer (compositions, arrangements, piano, Fender Rhodes), Lukas Fritsch (reeds), Cameron Kelso (reeds), Felix Hayes-Tourelle (reeds), Daniel McKenzie (reeds), Charlie Harmer (reeds), Jake Krishnamurti (Trumpet), Jack Thirtle (trumpet), Nick Curry (trumpet), Caleb Probine (trumpet), Jono Tan (trombone), Esther Simpson (trombone), Zachary Lim (trombone), Michael Gianan (guitar), Hank Trenton (bass), Rhohil Kishore (drums).

The orchestra was a mixture of present and recently graduated UoA Jazz school pupils.

Passells/Howell/Deck

This trio has been around for a while, but the musicians are all active with a variety of other projects. They frequently appear as sidemen and they first teamed up during their Auckland University Jazz School years. Passells has been teaching, composing, appearing as an altoist (and a drummer), and adding his skills to some adventurous and diverse projects. Howell is a member of various bands, such as the Jazz Tui nominated Alchemy and the Jazz Tui Award winning GRG67 who launched their second album recently. It was reviewed on this site. Deck is a gifted and versatile drummer and his work as a member of the much lauded Indie Pop group The Beths is as noteworthy as his Jazz offerings.  He is also a member of GRG67.

 As a composer and a performer,  Passells takes a path less followed. He’s a melodicist and often appears in units where the arc is not reliant on chordal harmonies.  This moves the attention to melody, and most of all, it reveals his lovely tone. The alto is an unusual instrument in this regard, as its tonal qualities can alter markedly, depending on who plays it. Perhaps, because it is aligned so closely to the human voice? It has also been suggested that the airway of an alto player can exert a stronger influence than with other horns. While a tenor can also be individualised, it is more inclined to speak on its own terms. Passells alto voice is distinctive,

There was no bass with this unit and without such anchoring, the melody lines seemed to float unencumbered. When the alto was playing the guitar would either play unison lines, lay out or provide timely interjections. The reverse occurred when Howell played. The drums however, were a solid presence and provided continuity and momentum. As a result, the tunes felt conversational and at times, thoughtful. And the ears followed the musical dialogue easily, in spite of the elided grammar. Passells introduced the tunes as he usually does and his trade-mark humour was evident. He has an easy going banter, often self-deprecating, and laden with random references.

The band played in near darkness which provided atmosphere, but made filming a difficult proposition. By the second set, the lighting had improved slightly and I have posted a tune from that set. The tune I posted is interesting, as there are frequent unison lines played, with guitar and alto speaking as one. It is reminiscent of Marsh with Konitz, but the drums pull the music in a different direction. Out of that confluence come interesting tensions. This is ripe territory for a group of this configuration and the seasoned listeners picked up on the various references. 

Callum Passells (alto sax), Michael Howell (guitar), Tristan Deck (drums)

The gig took place at Anthology K’Road, for the CJC, Auckland 22 July, 2020

GRG67 ~ Happy Place

The first gig after lockdown restrictions brought a record audience to the Creative Jazz Club.  Now, a week later, with a second gig achieving similar results, it is obvious that the thirst for quality live-improvised music in Auckland has not been dented. And what better way to whet the appetite than with the 2019 Tui Award-winning band, Roger Manins  GRG67. This is a truly magnificent quartet and it occupies a special place in the lexicon of Kiwi improvised music. Sitting at the juncture between free and inside, and doing so with an ease that pleases everyone.

Roger Manins is a drawcard and the highest level of playing is always expected of him. His long years of playing on the bandstand, and often in challenging situations, has honed his craft to a fine point. To burnish his already impeccable credentials he has now added a Doctorate of the Musical Arts to his resumé. Most of the compositions and arrangements on the album are Manins, but as with the previous GRG67 album, there is also a tune by Mostyn Cole featured. 

The GRG67 album The Thing won a Jazz Tui, but the band has not rested on its laurels. Happy Place is not just more of the same. On this album, the writing and playing have taken on an additional edge. It explores form in many oblique ways and then roams into freer air. They sounded cohesive before, but now they sound even more so. There is new confidence to their playing and it is nowhere more evident than with guitarist Michael Howell. 

Howell has long shown such promise and it is pleasing to see it realised. He took obvious delight in sparring with Manins and his solos were masterful. Tristan Deck on drums likewise. His role here was to stretch the ensemble, to urge them on when the moment called for it. He achieved that while never losing sight of his interactive role. Deck has many irons in the fire, but I wish we saw him playing here more often. On electric bass was Mostyn Cole, a regular bass player at CJC gigs. He is reliable and experienced and one of an elite group of first-call bass players when an overseas artist is in town. In this band, he was liberated from that role and his obvious delight in the music shone through. 

I have posted a clip titled ‘Frizz’ which is deliciously melodic. Listen to more tracks on Rattle Bandcamp, and if you do, purchase a copy. The tight unison lines on MayWayDay will blow you away and the free-spirited Shoint 67 will groove you to your soul. 

There were no weak links in this chain. They wove in and around each other and fired off crazy lines over urging pulses, and from the safety of our chairs, those present swayed along. This was also our happy place. So this is where Jazz sits in 2020. Forward-looking, but bringing the old into bright fresh spaces, and doing so without contrivance.  

Roger Manins (tenor saxophone)

Michael Howell (guitar)

Mostyn Cole (electric bass)

Tristan Deck (drums)

https://rattle-records.bandcamp.com/album/happy-place