Large Ensembles, Review

‘Last Works’ ~ Tom Pierson

Serendipity, by its very definition, denotes the uncontrived. It is a felicitous happenstance which brings unexpected joy. Last week, a serendipitous package fell my way. It began as many good things do in a small Jazz Club. I was hardly through the door when Roger Manins the club coordinator handed me a package with a Japanese postmark. I glanced at the address and smiled. It was addressed to me care of The Creative Jazz Club, Backbeat Bar, Aotearoa, New Zealand. That appealed to me greatly, an improbable address which found me in a city of nearly two million people. Apollo and Artemus clearly had a role in guiding it to my hands as the address on the label no longer exists. Within days of delivery it hit its mark.

I shoved the package into my bag and promptly forgot about it as the live music demanded my full attention. The next morning I was fishing for something in my bag and I located it again. The return address gave few clues as to its origin as it was in Japanese. Inside was a handwritten note in English and the words, ’Dear John, I hope you will be curious’. It was signed, Tom Pierson. No writer worth their salt lacks curiosity and I am no exception. I love riddles and musical riddles are the best of all.

Inside the package was a double album titled ‘Last Works’. The cover, plain in multi-hued claret and to one side, in a discrete white font, that simple title. Understated cover art is an act of confidence and in this case, no wonder. The first track, a long-form piece titled ‘Abandoned’ offered a compelling foretaste of the musical journey ahead. ‘Abandoned’ is a brooding and captivating piece, with splashes of bright light illuminated against a dark textural background. I put it on and sat down as it was impossible not to be drawn inside the music. As I listened, every fibre of being told me that I was hearing a monumental work. A work to experience without distractions; a grab a cup of coffee, hang a ‘do not disturb’ sign on the door sort of experience.  

That opening sequence of ‘Abandoned’ set the tone for me. My attention was immediately drawn to the lower register, its bass trombones and baritone pumping out an earthy pulse. Each utterance hitting my solar plexus with an angel punch. Oh yes, I thought, this music is visceral. The strong bass presence and the uncluttered mid-range gifted the winds airy freedom. The track titled 45/8 is another gem. It unselfconsciously gathers up all Jazz; a history lesson in one breathtaking sweep.

I have seldom heard charts like this and it is little wonder that Jazz greats like Gil Evans drew attention to Pierson. Evans described him as ‘the best unknown composer I know’. I hope that changes as this musician deserves wider recognition. Writing orchestral charts can be a time consuming and lonely occupation. And if you have exiled yourself to a country far from your old home, all the more so. Perhaps that is why the humanism shines through the music so strongly. The orchestral voicings resonating so deeply; capturing the bittersweet sounds of modern life while communicating the hope that a better way could be found.  

The orchestra is a sixteen-piece ensemble and it’s clearly a multi-national affair. A name that stands out is the inimitable Lew Soloff. Sadly, Soloff is no longer with us, and poignantly, this was his final recording. He is impossible to miss on the disks with his stratospheric high notes, growls and that edgy harmonic-rich bite (especially tracks 4 + 10). In truth there are many great performances on the album as Pierson has selected a stellar line-up. I hope that the title is tongue in cheek as ‘Last works’ can be read two ways. Last as in final, or last as in recent. I hope it’s the latter.

There are thirteen tracks on the album and thirteen reasons to buy a copy. Go to Bandcamp/Tom Pierson and purchase the download in a high-quality audio format. Listen to a few tracks first and reflect on the artistry. If you do, you will surely make a generous contribution when asked how much you are prepared to pay. Not a lot of musicians make orchestral charts of this quality and without our continued support, they could easily vanish. 

The musicians: Tom Pierson (leader, arranger/composer, piano), Blue Lou Martini, Mark Vinci, Stu Enomoto, Neil Johnson, Michael Lutzeier (winds + reeds), Dominic Derasse, Mike Ponella, Tim Leopold, Lew Soloff (trumpets), Ben Harrington, Robinson Khoury, Dan Levine, Jeff Nelson (trombones), Tom Pierson (piano), Kanoa Mendenhall (electric bass), Pheeroan Aklaff (drums), recorded at Systems2 Brooklyn

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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, Large Ensembles, Straight ahead

Sam Swindells: ‘Quiet’​ Octet

SSw (1)During the first half of 2017, a significant number of respected international artists and established local artists appeared at the CJC Creative Jazz Club. While everyone enjoys such a cornucopia of riches, it is also important to keep sight of emerging artists, those who are just below the radar. No local venue manages to showcase the rich diversity of improvising talent as well as the CJC.  This is no accident, as there is a guiding philosophy behind the programming of gigs. No artist, however good, gets an ongoing residency; the gigs, therefore, are different every week, are identifiable projects, and this keeps the audiences engaged. An important part of this is showcasing emerging artists.SSw (3)

Sam Swindells recently completed an Honours degree at the University of Auckland Jazz School and although not a new-comer to the scene, it is his first gig at the CJC. I recall someone telling me that his Honours recital created a buzz; that those who attended were impressed by it. On Wednesday he brought us that project and it was well received. One of the exciting things about the New Zealand Jazz scene is the growing strength of the writing and arranging. In Swindells case, he has taken a path less trodden; arranging and composing for an unusually configured brass-heavy octet. His inspiration was the stunning 1990’s John Scofield octet album ‘Quiet’.

When arranged music is at its best, the skillful management of contrasts is at its heart; tension and release, textural variance, tricks of modulation, surprise, clarity emerging from density; and if done well, presented as a coherent whole. This was an ambitious project, but in spite of that it worked. I would like to see Swindells develop the concept further, write or arrange more material like this, coral a group of musicians and rehearse them to within an inch of their lives. I have long thought that the nonet/octet ensemble form is under represented in Auckland (better represented in Wellington).SSw

There are some marked stylistic differences between the Scofield ‘Quiet’ band and Swindells’. Scofield used an expanded ensemble, which at times numbered eleven and included tubas, French horns, English horns and bass clarinets (and an acoustic guitar). Swindells worked with a smaller palette and in spite of being brass-heavy, he managed to achieve a delightful airiness. With fewer instruments utilised, the arrangements were closer to Frisell’s ‘This Land’ in effect. The combination of brass instruments (flugelhorn, trumpet, and two trombones) acted as a counterweight to his guitar and that required skillful arranging.SSw (4)The first number was ‘Tulle’ from the Scofield album, after that we heard a number of his own compositions interspersed with standards. His ‘Who is Kenneth Meyers?’ appealed as did an angular rendition of ‘Surrey with the Fringe on Top (Hammerstein). Given the project in hand, it was unsurprising that he included ‘Boplicity’ by Miles Davis; ‘Birth of The Cool’ being the springboard from which all such arranging sprang. In the second half we heard trumpeter Mike Booth’s ‘Major Event’ – Booth is a skilled arranger and an experienced ensemble composer. It is possible that he has also influenced Swindells’ direction.

The octet was a mixture of older hands and younger musicians. The ever popular Finn Scholes on trumpet, Mike Booth on trumpet and flugel, Jonathan Tan and Jonathan Brittain trombones, Roy Kim alto saxophone and flute, Wil Goodinson bass and Tom Leggett drums. The stand out instrument was the guitar – A confident and competent performance from Swindells throughout.

Performed at the CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, August 2nd, 2017.

 

Beyond category, CJC Creative Jazz Club gigs, experimental improvised music, Large Ensembles

Leda’s Dream

Chelsea‘Leda’s Dream’ has been around for some time, but this is the ensemble’s first appearance at the CJC. When vocalist Chelsea Prastiti first conceived of the project, she saw it as a vehicle for unfettered collective improvisation. Her writing cleverly expands on that concept, encompassing real places, the past, abstract ideas, and opening the listener to endless possibility. There is a structure to her vision, but to grasp it you must let go of what you think you know. The pieces are mirage-like; if you look too closely they will disappear.  As you listen, fragments of the familiar appear, then dissolve. These are seamless journeys; cleverly fusing reality with dreamscapes. Leda’s Dream is to be experienced and enjoyed, not pigeonholed.Chelsea (1)

This is avant-garde music, perhaps the bravest we have heard at the CJC this year. The traditional Jazz references were there, but the freedom to expand or contract themes characterised the tunes. During ‘Faster down ice’ I heard echoes of Mingus; driving, pulsating rhythms over which freedom was explored. Tristan Deck and Eamon Edmundson-Wells at the heart of this pulse (on drums and bass respectively). With a human voice in the mix, the ideas became multi-dimensional. The human voice is the oldest of instruments and when it moves beyond words, the forms which anchor it – a rawer emotion is exposed. Sometimes it is pretty or melodic, at other times a primal scream. Listening to this music is to experience sound on its own terms.Chelsea (5)Prastiti’s ‘Time Lapse Photography’ was filmic. Revealing the essence of unfolding plants – magical realism – biology expressed as music. In a similar vein was her piece,’Rain Flood’. As she sang, you experienced the droplets of water – falling slowly at first, then faster until they became a deluge. Communicating in this way is a gift few possess, the images seeming to emerge from nature or from experience, not from the musical form. I immediately thought of my favourite Bengali filmmaker Satyajit Ray and his mystical Monsoon scene from ‘Pather Panchali’. The effect created by Ray there, also swept us to the heart of a poignant interaction between man & nature (musically assisted in that case by Ravi Shankar and Mingus alumni Charlie Mariano).Chelsea (3)The Leda’s Dream ensemble are alumni from the UoA Jazz School. A lot of talent emerged during the years they attended and during this particular gig it coalesced. It was a pleasant surprise to see Crystal Choi playing this innovative abstract music. Choi is a musician who is fast evolving and growing in interesting ways. At Jazz school she stayed closer to traditional forms, or those referencing the folk infused ECM albums. Later I saw her giving a concert on solo piano, Jarrett like in its scope and quite wonderful. On Wednesday she embraced freedom. She was innovative, interactive and confident.

Callum Passells was the lead-horn on alto saxophone. Beside him in the front line for part of the gig was Liz Stokes on trumpet.  Passells is especially comfortable in this space. Playing sparingly and never playing a note for the sake of it, each note meaning something. Michael Howel came on stage for the second set as the full Leda’s Dream experience emerged. First as a quintet then sextet and finally as a septet.

Leda’s Dream: Chelsea Prsatiti (voice, compositions), Chrystal Choi (piano, voice), Callum Passells (alto saxophone, voice), Liz Stokes (trumpet), Michael Howell (guitar), Eamon Edmudson-Wells (upright bass), Tristan Deck (drums), 16th May 2017, CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland.

Big Band, Large Ensembles, Review

‘Firefly’ – Glen Wagstaff & the Symposium Jazz orchestra

FireflyThe postie brings more music to our house than he does bills and so I always welcome the sound of the small motorbike pausing outside. This time she delivered a wafer thin parcel with the sender identified as Glen Wagstaff; Firefly had arrived. Looking back over my blog posts revealed that I first encountered the Glen Wagstaff Project in October 2013. At that time we heard several compositions now on the album and in particular to the title track ‘Firefly’. The first Auckland lineup was an eight piece ensemble, all Christchurch musicians. I was only familiar with two of them, Tamara Smith and Andy Keegan. The ensemble impressed and especially notable were the compositions; well constructed charts which magically exceeded the limits of eight piece instrumentation.

The other memory of that visit was the evocation of Kenny Wheeler. Few other New Zealand ensembles worked in that space. A year later in November 2014 Wagstaff appeared again. This time engaging the seventeen piece Auckland Jazz Orchestra. Bigger charts, more complexity and additional compositions, this was a precursor to the album. ‘Firefly’ was a Kickstarter project and many of us around the country were keen to pitch in. When a project has strong enough bones Kickstarter is a reasonable way to proceed. Wagstaff had sewn the seeds well The ease in which he reached his target was ample proof that he had found a solid support base. As we reach for new workable distribution models, this tool is worth considering; if like Wagstaff you can deliver the goods. Road testing and winning over a solid core of contributors is essential.

Sound Clip: Escape Artist (featuring guest saxophonist Manins)

The tracks have a number of moods but the album flows beautifully. The cohesion comes from the writing and the sense of vision imparted. As good as the various artists are, it is the writing that grabs you. The rich orchestral voicings in ‘Maylie’ reach deep and send shivers down the spine. There is a sense of nostalgia evoked, a longing for what is just of out of reach; even of pleasurable melancholia (The melancholic voice is often invoked by poets and it is nice to see it explored in this context. In earlier centuries this mood included pleasurable feelings ‘Pleasing myself with phantasms sweet, methinks that time runs very fleet, all my joys to this are folly, naught so sweet as melancholy’). In the title track ‘Firefly’ the mood is light and airy. Once again Wagstaff has found the right voice; a dusky sense of joy prevails. The tune Sakura based on a traditional Japanese melody follows a well trodden path among improvising musicians; again well done and showcasing Wagstaff on guitar. He is soft toned and his sound lovely. In this piece subdued orchestration allows the melodic aspects of the piece to unfold without clutter.

Sound clip: Maylie (featuring guest vocalist Elen Barry)

The Symposium Orchestra is a nineteen piece Jazz orchestra and with guest artists and doubling it swells to twenty-three instruments. Wagstaff utilises this rich palette well; avoiding the pitfall of over-orchestration. No mean feat with that firepower behind you. Roger Manins guested on tenor saxophone and Elen Barry added wordless vocal lines.

Writing orchestral charts is a monumental task and when you consider that this is a young musician’s first album, the respect for what he achieved deepens. In the USA there is much angst over the dearth of support for Jazz. In New Zealand we have never had that support and so artists create for the joy of it. When albums like this emerge, the New Zealand Jazz scene grows in stature. Wagstaff has put an important  marker in the ground, his future now assured.

Buy the album from www.glenwagstaff.comFirefly (1)

Beyond category, CJC Creative Jazz Club gigs, Large Ensembles, Post Millenium

Crystal Choi ‘Skogkatt’ @ CJC

Crystal Choi Skogkatt 098I looked forward to the ‘Skogkatt’ gig because Crystal Choi is a young musician with plenty of interesting ideas. She recently graduated from the UoA Jazz school and this project is largely drawn from her output as a student. Her arrangements and musical ideas show an evolving musician and her performance skills speak of energy and a growing confidence. When you speak to her there is a hint of shyness, but this evaporates the minute her hands touch the keyboard. At the piano her touch is decisive and the thinking behind the pieces is strongly communicated. She has grasped an important truth, how to play with space. One minute she is playing boldly with both hands raining down on the keys, the next dropping back to a gentle whisper or laying out. Her choice of project was a brave one as it tackled areas well beyond the usual Jazz orbit. Writing for strings and an unusually configured horn section an indicator of where she could be headed.Crystal Choi Skogkatt 101Her compositions and charts were of particular interest as they evoked more of a Northern European, or South American ethos than a North American one. While all Jazz arises from American roots, there are other forces at work in a globalised jazz world. As musicians from different ethnic backgrounds embrace improvised music something fresh is added. It is right that New Zealanders, Northern Europeans or people from other regions bring something of their own life experiences to the music. Jazz from the outer rim is particularly interesting at present.Crystal Choi Skogkatt 090There were solo, trio, sextet, septet and tenet pieces. Her writing for the ten piece band was notable. Although an uncommon configuration of instruments these oddly configured, medium-sized ensembles have been a feature in modern classical music since Saint-Saens ‘Carnival of the Animals’ (that was an eleven piece). In Jazz since the late 40’s. Having a front line with two violins and cello alongside trumpet/flugel, bass-clarinet, clarinet and flute/alto saxophone worked well. The unusual textures gave depth and interest to the composition. The slightly tart voicings of the Bartok like string section contrasting nicely with the woody richness of the woodwind horns. These sort of excursions are not embarked upon lightly but I feel Choi pulled it off. My only quibble, and it is a small one is that the ensemble needed to tighten up somewhat in places.Crystal Choi Skogkatt 087Another side of Choi is her singing. While certainly not a big voice it has charm and originality. Like many improvisers she sings while digging into a solo. These are wordless songs of the sort that you would hear on a Norma Winstone album. At times there is a Debussy feel to her solo and trio compositions.Crystal Choi Skogkatt 096This project while far-ranging begs developing further and perhaps recorded at some future point. It had a Kiwi ECM feel to it. I hope that she works with the material and refines it further. It is well worth doing.  Note: The Skogkatt is native to the forests of Scandinavia and the original Maine Coon cat.Crystal Choi Skogkatt 094

Crystal Choi – ‘Skogkatt Project‘ : Crystal Choi (piano, compositions, arrangements), Eamon Edmunsen-Wells (bass), Tristen Deck (drums), J Y Lee (alto sax & flute), Eizabeth Stokes (trumpet & flugel), Asher Truppman Lattie (clarinet, tenor saxophone), Sean Martin-Buss (Bass clarinet & tenor sax), Charmian Keay (violin), Milena Parobczy (violin), Yotam Levy (cello).

CJC (Creative Jazz Club), Britomart 1885, Auckland 24th June 2015

CJC Creative Jazz Club gigs, Jazz April, Large Ensembles, New Zealand Jazz Gigs

The JAC @ CJC & Tauranga

JAC 11-3-2014 071I first heard the JAC two years ago and I liked what I heard immediately. Their sound has textural complexity, but the charts are so well written that the band manifests as if it is a single organic entity. As they move through the pieces, rich horn laden voicings appear, shimmer and fade seamlessly into the next phrase. In spite of the heavy punch of the front line, the band can float airily over passages. This affords them choices that are seldom realised by larger ensembles. They have a real nimblenessJAC 11-3-2014 075 and this is surprising considering their large musical footprint. A bigger footprint than the size of the band would suggest. The really good nonets and octets achieve this.

The solid four-part horn line is the power house of the unit, while guitar and piano balance out the sound. I have to mention Cameron Allardice at this point as he is so integral to the JAC’s sound mix. I have heard them play with and without Allardice and with him is my strong preference. He has grown so much as a performer and soloist over the last year that I hardly know where to start. He is not a loud player but his authoritative solo’s and fills just sing. He gives a soft but penetrating edge to the mix.JAC 11-3-2014 072

I watched him at the Tauranga Jazz festival and he approached his solos like Rosenwinkel. Not so much in phrasing but in energy as he gained momentum during solos; lifting free of the earth as the sound flowed among us, like water over a spillway. And all the while maintaining an absolute clarity of purpose. These high wire acts require courage and confidence and he showed these attributes in spades.  He is also one of the main composers of the group and his charts are stunning.

This is an ensemble of stars and leader, altoist Jake Baxendale is certainly one them.  He can deliver searing heart stopping solos and then drop into the mix in an eye blink.  He is the other contributor of compositions (and arrangements) and his principle guidance that moulds the unit. His ‘Thieves in the Night’ is a masterpiece of composition. Their album ‘Nerve’, recorded early in The JAC’s life has wide appeal. Since its release they have been on the road (or gigging) almost constantly. The time on the road has sharpened them considerably and that must show in the new album; The recording session takes place in a few weeks and judging by the material that we heard at the CJC gig (and at The Tauranga Jazz Festival), an already polished band will jump up another notch.JAC 11-3-2014 076Every player is integral to this project but trumpeter Lex French certainly stands out. He arrived back in New Zealand from Montreal a seasoned performer; his credentials are impeccable. He is a strong ensemble player and during solo’s he pulls off feats of brass bravura that New Zealand audiences seldom hear. He has chops and ideas and the confidence to pull them off. I have at times worried about the meagre numbers of high-quality trumpet players on the local scene. French may well address this as he will certainly inspire others.

Daniel Millward on piano (and keys at Tauranga) gave impressive performances as did Chris Buckland (tenor) and Mathew Alison (trombone). Millward is a fine pianist but for some reason, probably the sound mix, he shone through more on keys at Tauranga. Buckland gave some stunning solos and again the Tauranga performances come to mind. Last but not least are bassist Nick Tipping and drummer Shaun Anderson.  Behind every solid group are musicians like these.  Tipping is the most experienced of the JAC musicians and he instinctively understands how to keep the groove. Linking rich and complex harmonies like these to the rhythmic flow requires just such a musician. Anderson likewise performs strongly.  Working with Tipping and bringing that big band drum feel to the unit. JAC 11-3-2014 074

If you love to hear well written charts played to perfection, referencing everything from fifties jazz up to modern times, purchase the JAC’s albums.  Once again we must acknowledge Rattle here. Without a quality local label like this, such albums would have less chance of being released. The JAC were deservedly nominated as finalists for the Jazz Tui 2015. Expect to see them nominated next year.

Who: The JAC – Jake Baxendale (alto, compositions, flute), Lex French (trumpet), Chris Buckland (tenor), Mathew Allison (trombone), Callum Allardice (guitar, compositions), Daniel Millward (piano, keys), Nick Tipping (bass), Shaun Anderson (drums).

Where: The CJC (Creative Jazz Club) Britomart 1885 Auckland 1st April 2015 and The Tauranga Jazz Festival Easter Weekend 2015.

Additional: Rattle Records  and  Tauranga National Jazz festival