Anthony Donaldson

Devils Gate Outfit

Devils Gate Outfit was recorded live at Wellington’s Meow two months ago. The album is bursting with restless spirits, and I am not surprised that such a powerful genie was let out of the bottle so quickly. There are multitudes of spirits hovering over the recording, fragmentary echoes of Ornette and Miles, but the predominant voices are those which haunt the ragged windy Wellington coastline. All are paid their due, but the album is unconfined by the many streams that feed it. It is above all a succinct commentary on the breadth of improvised music that is thriving in Aotearoa right now. 

The album is out on Kiwi Jahzz, a natural home for adventurous and original free music. And it captures a particular night at Meow where the band holds a residency. The playing is great, and so is the overarching vibe. Delivering great performances without defaulting to any ‘look at me’ moments. It is a band uncoupled from tired old formulas and thus able to move as freely as it desires. Sometimes this results in tantalisingly fleeting glimpses of the past, then just as suddenly you are plunged into the forward-looking improvised groove music favoured by younger audiences.  

The album is loosely programmatic but does not follow a linear storyline. It establishes a theme, then drops kaleidoscopic images. letting the music paint evocative sound pictures. There is a wealth of musicianship evident here as well. I am familiar with most of the players (apart from Steve Roche and David Donaldson). Although new to me, I am delighted to hear both for the first time. It was also good to hear Cory Champion expanding his percussion role to Vibes.

I am picking that drummer/composer Anthony Donaldson is the nominal leader in this outfit and around him are a truly formidable crew. The interactions between them are impressive as they navigate that fine line between spontaneity and cohesion. The slow-burning bluesy Wood Drift is the closest thing to straight ahead and it is a delightfully spacious piece of music – it could (and should) find cut-through with any Jazz taste. And I can never hear enough of Blair Latham’s playing. On Wood Drift, his woody sonority and captivating lines caress the melody against a gentle background of Daniel Beban’s understated guitar and Callwood’s bass, setting up Champion, Roache and Beban for solos, such a languid and appealing groove tune. 

Contrasting nicely, The Portal to Red Rocks is a burner and a showcase for Latham on saxophone and the very capable Roche. Here the bass and drums provide propulsive energy as they navigate the shifting rhythms and washes of electronic effects. If I had to pick a tune that best exemplifies the album it would be the opener Storm of the Century. Anthony Donaldson owns this track and it is his pulse that sets the others free. I will be surprised if this isn’t a contender for Tui Jazz Album of the year.

The Devils Gate Outfit: Anthony Donaldson (drums), Tom Callwood (double bass), Steve Roche (cornet, baritone horn, Cassio), Blair Latham (saxophones, bass clarinet, David Donaldson (bass banjo, percussion), Daniel Beban (guitar, electronics), Cory Champion (vibes, percussion, synthesizer) It was released 19 October 2021, on Kiwi Jahzz and is available digitally on Bandcamp: kiwijahzz.bandcamp.com 

School of Hard Nocks ~ by Village of The Idiots

This amazing recording is extracted from a number of live shows organised by the visionary drummer Anthony Donaldson. Among the shows referenced are ‘Seven Samurai’ ‘Oils of Ulan’ Po Face’ and others. The overarching implied theme is the Samurai film genre. This is an album where open conversations occur between two art forms. It belongs to an interesting subgenre of improvised music and in my view an avenue worthy of continued exploration. You encounter it convincing in Zorn’s Filmworks. These were reimagined soundtracks, or more accurately, soundtracks to reimagined movies. Music aligned to the essence and untethered from any strict narrative form. Auckland/Canadian guitarist Keith Price did just this with his reimagined The Good the Bad and the Ugly score. Jazz has always been associated with the cinema, but extending the brief and pushing into clearer air is where the gold lies.   

The album is painted on a vast canvas and has a cast that must rival that of a Spaghetti Western (or Carla Bley/Paul Haines Escalator Over the Hill). Thirty-one musicians are credited here and a significant number of them are high profile improvisers. Throughout, they come and go, as larger and smaller ensembles change places, with some artists like Jonathan Crayford appearing on a single track. The mood can shift at lightning speed, as a tune ends abruptly and a fresh exploration emerges. Another aspect that can’t be overlooked is the underlying humour. Music like this is not pitched at the serious-faced, dinner suit/ball gown-clad denizens of dress circles (although I’d love to see that attempted). It is anarchic and plays with imagery. The open-eared will quickly grasp this point and every piece of mind-fuckery will bring them joy. 

There are so many good performances and so many great musicians here that it is beyond my scope to enumerate them all. When you see names like Anthony Donaldson, Jeff Henderson, Bridget Kelly, Daniel Beban, John Bell, Patrick Bleakley, Lucien Johnson, Jonathan Crayford, Chris O’Connor, Steve Cournane, Riki Gooch, Richard Nunns and Tom Callwod on a setlist, you check it out immediately. The way the units are configured creates a unique set of textures and there can be no doubt that this is a drummers band.  Donaldson’s drumming leaves a powerful impression, but he leaves plenty of space for other percussionists. A  glance at the lineup tells that story best, as I counted seventeen drummers and percussionists on the album. As they come and go, they never get in each other’s way and this is a tribute to the arranging. Some of course are doubling on percussion instruments (e.g. Noel Clayton plays guitar, bass banjo and punching bag, while Maree Thom plays electric bass, upright bass, bass drum and accordion). And to complete the illusion of filmic authenticity, Donaldson adds foley to his drum/percussion roles.   

For a full listing of the musicians involved check out Donaldson’s site. Better yet buy immediately. The album was digitally released on Bandcamp in early November 2021 and it can be located at anthonydonaldson.bandcamp.com   

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

SNJO ~ Where Rivers Meet

‘Where Rivers Meet’ is a celebration of adventurous improvised music and it offers us a fresh window into the works of three departed titans (one still among us). The composers examined are Ornette Coleman, Albert Ayler, Dewey Redman and Anthony Braxton, and while the spirit of these extraordinary musicians is evoked, this should not be regarded as a retrospective. What the SNJO have achieved is an in-the-moment exaltation of free spirits. The charts and performances are living breathing entities, rooted in the now. 

This is another waypoint on the open-ended journey that Coleman, Ayler, Redman and Braxton embarked upon. A journey that had no final destination in mind and the SNJO has approached these suites in that same enquiring spirit. Improvised music is at its best when it is not time-locked. 

Were lesser hands involved, it could be risky to combine arranged orchestral music with compositions that are famously organic, but here, it works well. The orchestration is never overdone and it adds contrast and unexpected texture to these vibrant open tunes.  The charts were orchestrated by four arrangers, Tommy Smith, Geoffrey Keezer, Paul Towndrow and Paul Harrison. Each suite is made up of three tunes by the composers and there are four soloing saxophonists involved, each tackling a different suite. 

The SNJO was established by Smith in 1995 and it is regarded as one of the pre-eminent jazz orchestras in Europe. It is also one of the most innovative. No matter what your taste in improvised music, you will find much to enjoy in this album. Ornette Coleman’s “Peace’ is a familiar and much-loved standard and the rendition by Towndrow is fabulous (on alto). The same applies to Dewey Redman’s lovely ‘Joie De Livre’ (Konrad Wiszniewski on tenor), or Ayler’s ‘Going Home’ (Tommy Smith on tenor). 

The meatier out-material is there also, Martin Kershaw is outstanding on the Braxton suite. I love this and ‘Composition 245’ especially. This is pure exaltation and Kershaw is killing. Here the spirit of Braxton shines brightest: minimalism, keening reeds, discordant joyfulness, space, tantalisingly distant vocalisations, swooping descents into quiet. Smiths sensitive, gorgeous rendition of Ayler’s ‘Ghosts’ is in a similar spirit. 

The performance took place in St Giles Cathedral Edinburgh while the gifted Russian expressionist, Maria Rud painted the cover artworks in real time (and in the presence of the orchestra). Spontaneous conversations between open art forms is the new realty and executed perfectly here. While there were no audience members present due to COVID, the artists have somehow magicked us into this hallowed space.

It also is nice to see some younger players alongside the veterans. I have been following James Copus rise with considerable interest. A wonderful player with an abundance of interesting ideas to communicate. 

Anyone who follows JazzLocal32.com will know that I endeavour to keep a focus on local improvised music, or that of Aotearoa in general. In this case, there is a strong local connection between the SNJO, Smith, and Wellington drummer John Rae. Smith and Rae formed their first band in Edinburgh when Rae was 14 and later they recorded together. Between 2000 and 2003, Rae was the SNJO drummer. 

The album was recorded in Edinburgh but it crosses a multitude of borders. Reminding me that local is about more than mere geography. Local can be a community of interest, a connectedness – beyond borders. The degree of separation is minimal in the Jazz world anyhow. Perhaps, Dave Holland put it best when he pled, ‘let’s not over-analyse the nationalist tendencies in Jazz’. No matter where we are from, it’s how well, and how authentically we tell our story. This is truly great music, universal music, full stop.  

To purchase visit the SNJO site or the SNJO Bandcamp page   http://www.snjo.bandcamp.com

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

The Brian Smith Interview

As Aotearoa’s Jazz musicians become increasingly confident of their place in the world, it is timely to acknowledge those who paved the way. A significant figure in this journey is saxophonist and winds player Brian Smith. I had been meaning to interview him for some time and the recent lockdown provided the ideal opportunity. I have long been aware of just how innovative London Jazz was during the 60s and 70s. The output was considerable, different from what was happening elsewhere and it stands up well to this day and there is an increasing interest among jazz fans and Jazz historians in pouring over this material. Over a lengthy Zoom call, we discussed his musical career and in particular his involvement in the UK Jazz scene. What follows is extracted from that wide-ranging discussion. 

Where Smith grew up and how he first engaged with music was the obvious place to start, but then as we proceeded I was struck by how modest Smith was, quietly brushing aside his considerable achievements in true Kiwi fashion. And the more we talked, the more I realised that a colourful piece of Jazz history was unravelling. 

JL32: Hi Brian, thanks for agreeing to the interview. 

Smith: Greetings John, where would you like to start? 

JL32: Where were you born?

Smith: I was born in Wellington but I grew up in Stratford, Taranaki. It was there that I learned piano and later switched to the saxophone.

JL32: Did you start gigging in the Naki?

Smith: Yes as a schoolboy I was part of a band that played for local dances. It was so much fun that I stayed at school an extra year; beyond when I’d intended to leave. 

JL32: what were your musical interests at that time?

Smith: It was then that my friends and I encountered 78s by the likes of Humphrey Littleton, Bennie Goodman, Louis Armstong, Lionel Hampton. I still have those under my bed (laughs and points). So, my first jazz interest was more Eddie Condon and I particularly liked the clarinet player Edmund Hall. It was his ‘feel’. It was hard to get records here then. But also among those recordings, I soon discovered Joe Newman, Wardall Grey, and early Miles. 

JL32: Did Wardall Grey lead you to discover Dexter?

Smith: No, I discovered Dexter later, also Miles album ‘Around Midnight’ a little later again, those was significant albums for me. 

After playing in a few small bands, Smith moved to Auckland (1958) and it was there, that he joined the Bob Paris dance band, later moving to Australia with them. During his time in Auckland, he became increasingly active on the jazz scene, playing at places like Trades Hall. When the Bob Paris band moved across the ditch,  he went with them, joining the exodus of Kiwi musicians like Mike Nock who had left for Australia a few years earlier. 

JL32: When we were discussing the Auckland clubs and musicians, you mentioned trumpeter Dave Ironside. I knew Dave well and I often wonder what became of him as I went to Sydney with him in 1967.

Smith: Yeah, Dave was a great bloke, he had a really good sense of humour, very funny.

JL32: And when was your move to Australia?

Smith: It was in 1960, I went on the Wanganella with Rick Laird, Barry Woods, Neddy Sullivan and Mike Walker, I was sick for two or three days as I recall (laughs). The trip cost us £30 each, a fortune in those days.

JL32: Did you get much work across the ditch?.

Smith: Well, after moving to Australia with the band, I met up with lots of musicians, such as Kiwi pianist Dave McCrae and our association was to continue later in London. (reaches into a box and produces a few Bob Paris recordings – one with vocalist Ricky May ). Later I obtained a residency on the Gold Coast through Bob Paris. That was where I met my wife. We were given accommodation and a percentage of the door. My wife was a receptionist at that hotel, she made sure that I was fed.

JL32: You connected with a lot of interesting Jazz musicians while in Sydney, notable Aussies, Kiwis such as Mike Nock, and others from much further afield.     

JL32: Did you by any chance meet up with a blind multi-instrumentalist Claude Papesch while you were there? 

Smith: Yes, I was driven around Kings Cross by him. (much laughter as we reminisced about this as we had both been nervous passengers while Papesch drove). Bob Gillett, Andy Brown, and I lived near Claude, and once after he’d painted his flat, he asked us to check the bits he’d missed and tap the wall to show him. He was such a character, a nice guy, he would call around and knock, and we would sit there quietly, then he would enter and find us one by one, feeling our ears and faces and naming us. I heard that he eventually became mayor of the Blue Mountains. Anyhow, after two years of gigging around Australia I moved back to Auckland. Once back home I played regularly with the likes of Tony Hopkins. 

JL32: Lachie Jamieson was around then, did you know him?

Smith: Oh yes, a great drummer and vibes player. I played with him a bit too, and another drummer back from the USA, Ray Edmundson. Lochie was a big deal in Auckland as he’d played with Sonny Rollins, Ira Sullivan, and bands around Chicago. And apart from Tony Hopkins, I played regularly with Mike Walker, Marlene Tong, different people. Some tours happening around then. 

Then a few years later, I packed up and decided to move to the UK as my wife came from Lancashire. On the way, I had a one-night stopover in New York, and during that night, I attended three gigs. I heard John Coltrane, Charles Mingus, and Herbie Hancock.  Clifford Jorden was the tenor player with Mingus which was at the Half Note.

JL32: What was your first destination in the UK?

Smith: I went to Manchester and met a few people on the scene. One of them was a bloke called Ernie Garside, who managed a Jazz Club there. I would sit in from time to time and my wife’s brother would come with me. He eventually became Maynard Ferguson’s manager. At that time Maynard was playing in Manchester. This was not long before his London concerts. Ernie Garside asked if I wanted to play in Maynard’s band and I did. It got busy as I was juggling three bands.

JL32: If it’s 69/70 you would have been playing with Nucleus, Tubby Hayes Big Band, and Maynard Ferguson.

Smith: Yes, and one or two other things were happening. I was playing with Alan Price as well.

JL32: I have listened to recordings of Tubby Hayes from that period. Nice band.

Smith: There was a TV Show and bits that were recorded. I had no solos but I was in the saxophone section with Alan Skidmore and Peter King. Peter King was great, I played with him quite a bit, a real nice guy.

JL32: I have jotted down a list of the significant UK bandleaders of that era you’ve played and recorded with: Graham Collier (70), Maynard Ferguson (65-75), Michael Gibbs (63-70), Keith Tippett (78), Mike Westbrook (69), Humphrey Littleton, Tubby Hayes, and particularly the Scottish horn player and composer Ian Carr (69-82). You have regularly played alongside UK-based Jazz greats like Kenny Wheeler, Stan Sulzman, John Marshall, Alan Holdsworth, Peter King, Tony Oxley, Stan Tracey Barre Philips, Jack Bruce, John Surman, and many more. And course Alexis Korner, the proto blues unit that influenced John Mayal, the Stones, etc. That’s some list.  

Smith: It was a busy time.

JL32: I want to spend a bit of time on ‘Nucleus’, but before I do, I see you played regularly with Kenny Wheeler.

Smith: Yes and he was such a humble guy. He would come away from a concert or recording session after playing well, look concerned and ask us if he played alright. 

JL32: At around that time was Kenny working with John Taylor and Norma Winstone, right?

Smith: Yes Norma Winstone and John Taylor were actually in Nucleus at one point, during my time the only other vocalist was Joy Yates (a Kiwi). But back when I first arrived, there were other people important to me. Rick Laird was in London by then and he was working at Ronnie Scotts. He introduced me to a drummer, percussionist called John Stephens who ran the Spontaneous Music Ensemble.

JL32: He was a notable early free player. Tell me more?

Smith: He was good to me. He had a caretaker flat off Harley Street. He let me stay there and I played with him at the ‘Little Theatre Club’, with Trevor Watts. I played with the Spontaneous Music Ensemble a bit at that time. Dave Holland would come up, Kenny Wheeler, Jeff Klien, Evan Parker. One night Chick Corea turned up and sat in and I didn’t know who he was at the time. We were playing a lot of free stuff and he was stomping and slapping the piano sides.   

JL32: Anyone else?

Smith: Oh yes I was with Alexis Korner between 1965-66).

JL32: Did you ever encounter the legendary Phil Seaman?

Smith: yes, once I recall we were on the same gig. 

Note: Alexis Korner Blues Incorporated was a very important band at the time and the great British blues bands like the Stones and John Mayal were all heavily influenced by it. Musicians like Jack Bruce, Mick Jagger, Charlie Watts, Ginger Baker, and Graham Bond were all in the band at some point. The Alexis Korner band moved freely between jazz and blues venues and included Jazz standards in the repertoire.

JL32: Was the 1970 album ‘Elastic Rock’ the first Nucleus album you were on? I think that you were a founding member of that band.

Smith: I was. The band was formed by the Scottish trumpeter and arranger Ian Carr and multi-instrumentalist (Sir) Karl Jenkins, I was with them right up to when I left the UK and on many of the albums between 1970-82, except when I was touring with Maynard Ferguson. 

JL32: It was very successful. I arrived in London in 1985 and it was still popular then. Don’t you think the term Jazz-Rock Fusion was a bit of a marketing exercise? To my ears, you were a jazz unit edging at times into free territory. Not nearly as rock-sounding as in the guitar-heavy fusion bands. Listening again I find stronger synergies between Nucleus and the late 70’s output by Bennie Maupin or Eddie Henderson etc. And it sounded like a true collective with no egos dominating.

Smith: Yes we were a collective and you could argue that there was a synergy between our music and the era you mention. Nucleus did do well and there were a few other Kiwis who joined the band after I did. Billy Kristian, Dave McCrae, Roger Sellers, Joy Yates. 

JL32: Overall, 45 members are listed as passing through the band, and there were 21 albums by my count. You are credited on many of those albums. And some well-known figures from the London Jazz scene came and went; Kenny Wheeler, Tim Whitehead, Tony Coe, Gordon Beck, John Taylor, Norma Winstone, Allan Holdsworth, Neil Ardley and so many more. And of course, you were in the core group. I notice that your playing attracted favourable mentions from reviewers. 

Smith: Oh well (downplaying it), I got along with Ian and it worked out for me. There were quite a few of us (Kiwis) in London during the 70s, Frank Gibson and Bruce Lynch for example. We were all doing different things. Anyhow, the last tour I did with Maynard was March 75, and I went back to Nucleus and played with them right up until when I returned home. Bob Bertles the Australian saxophonist filled in while I was touring with Maynard. 

During his time in London, Smith was often in brass sections accompanying well-known popular musicians or visiting artists. These included: Gladys Night And The Pips, Donavan, Dusty Springfield, Nancy Wilson, T Bone Walker, Georgie Fame, Alan Price.

JL32: You played tenor, soprano, and alto flute. Your soprano sounded great and the arrangements were interesting. Did you write any of the tunes?

Smith: Yes I wrote a few.

JL32: I’m guessing that the tune Taranaki would be you, there’s a clue there.

Smith: Yes that’s me (laughs).

JL32: What about arranging?

Smith: The arranging was basically whoever wrote the tune and then everyone had input.

JL32: And so not long after, Nucleus won the Best European Band competition at Montreux.

Smith: Yes that was 1970 around the time we released Elastic Rock, our first album. The big radio stations used to sponsor bands, all of the big European stations, and our sponsors were the BBC and we won (laughs). So because we won at the Montreux Jazz Festival, as best European band, the prize was an appearance at the Newport Jazz Festival.

JL32: How was that?

Smith: Fantastic, yeah, so after Montreux, we travelled to Newport. It was in the afternoon, I can’t remember which day, but it was funny actually, because Dave McCrae and Rick Laird were there also with the Buddy Rich band. And Mike Nock with Fourth Way on the same weekend as well. 

JL32: So you got together for a hang?

Smith: Yeah, because we hadn’t seen each other for quite a while. And then we played one night in New York at the Village Gate. It was amazing.

JL32: Did this lead to more work for Nucleus?

Smith: After we returned, we toured a lot, Italy and Germany in particular, Festivals and clubs. It became a regular thing.

Nucleus gained a significant following and after Elastic Rock, many successful albums followed. They reflected the times and the restlessness of 70s youth culture, complete with psychedelic cover art and cross-genre appeal, but they were firmly grounded in the Jazz tradition. The albums following: We’ll Talk About it Later, Solar Plexis, Belladonna, Roots, Labyrinth, Under The Sun, Snakehips Etcetera, Alleycat, In Flagranti Delicto, Out of The Long Dark, Awakening (and more after Brian Smith left). The labels during the 70s were Vertigo, Capitol, Mood. Some are still on issue and most will be available on streaming sites (one Nucleus album is also available on Bandcamp featuring Smith) 

JL32: You played with Kieth Tippett’s Frames around then? You are credited on ‘Music for Imaginary Films.  With Stan Tracey.

Smith: Yes I played with Stan a few times, but there was a trombonist named Malcolm Griffiths. He and I got a quintet together for just a little while in 1977, and we did a couple of gigs and a broadcast and Stan Tracey was on that with Brian Spring and Dave Green. And another one I did some playing with was a great piano player, Gordon Beck. I was in a band with him called Gyroscope right at the beginning. At around that time I started touring America with Maynard and Gyroscope hired Stan Sulzmann.

JL32: I associate him most strongly with Kenny Wheeler’s ‘Music for Small and Large Ensembles’. (we agree that this double album is an essential desert island disk) 

Smith: yeah Stan and I were pretty good friends and still keep in touch. Oh, and in the late 70s, Dave McCrae put a band together called ‘Pacific Eardrum’. That band did two or three albums, one before I joined, and several later, including one after I returned which we all did back here in New Zealand. 

JL32: So looking back over that period, what gave you the most satisfaction?

Smith: Well playing Nucleus, but playing with Maynard especially so. I’d always had this thing about the big band era, the bands that toured America constantly, and (having) the chance to do that in 1974. I spent a whole year in America and I was touring around the whole time. It was just that whole road thing, being on the bus with a bunch of guys and having a good time, playing some good music. Once upon a time, it was like going to school, that’s where musicians made a name for themselves. I learned a lot playing with that band. Sometimes it was the incidental things, like playing at the Bulls Head in Barnes, playing with small units, like the Tony Lee Trio as a guest, or with Martin Drew. And Paz, that was a Latin Band run by Dick Crouch and we recorded a few things. That was a great band and I enjoyed that.

JL32: Do you think that it gives you an edge playing with big bands?

Smith: Well it depends on the person, but it is a good training ground, and for young players, they must play with lots of different people, whether in small ensembles or large. Learning to read but also learning to blend in, hearing the phrasing, and knowing how to react.

JL32: When you returned to New, Zealand I guess people wanted to take lessons. I heard somewhere that you taught Roger Manins for a while. 

Smith: He used to come to my place in Glenfield when I lived there, maybe for a year or so. I like Roger, we get along fine.  

JL32: And in the years after you returned I recall the Brian Smith Band and an album ‘Southern Excursions’.

Smith: Yes that was with Frank (Gibson) and Billy (Kristian), and my friend Jeff Castle, a pianist from England. He came out here and lived with us for a year in 1984. And then there was the collective ‘Space Case’. We did three or four albums with that band. There was Kim Paterson on trumpet, Murray McNabb on piano and Bruce Lynch on bass (and later on, Andy Brown) and George Chisholm did some trumpet things as well, that was around 84-86. I also did an album with Jacqui Fitzgerald in the 80s. Then there was the time when Roger Fox brought Anita O’Day out and Louis Bellson and we did a brief tour. Lastly my album Taupo (Ode), with Billy Kristian, Kevin Field, Kim Paterson, Lance Sua, Kevin Haines, Alain Koetsier. The two Moonlight Sax albums did pretty well also.

JL32: Have you done much teaching?

Smith: Yes I’ve done a lot. I taught at Northcote College for 20 years and other schools, Papakura, Rosehill College, Kings College. The last school I worked at was Whangaparaoa College. 

JL32: I don’t suppose musicians ever retire because I’ve seen you doing gigs about town over recent years.

Smith: Yes there have been a few, and I had a regular gig at a local bar called the Paroa Bar until this lockdown. With Frank, Dean Kerr, and Neville Grenfell on trumpet. Then we had a band with Dean and his brother and a Sunday spot at Muldoon’s in Orewa for a time. Again that was with Frank and Dean, and an occasional gig at Downbeat as well. We don’t know what will happen at present, but I’m hoping the Paroa Bar opens up soon. They’ve got a nice big stage. 

JL32: We’ve covered a bit of ground.

Smith: Yes that’s about all I can recall at the moment but there may be a few holes in it. 

JL32: Thanks for giving me so much of your time Brian. 

Smith: Well, I’m off to play a few notes. 

 The interview covered a lot of ground, but I knew that there would be much more to uncover. I have always had an interest in British Jazz and so when a new Bandcamp label, Jazz in Britain Archival Project was launched, I took note. Going through it this morning I have located four albums featuring Brian Smith. Some of these contain never-before-released material. Smith expressed a particular fondness for Paz and there is a Paz recording among the Ron Mathewson archival tapes. There is an unreleased Live Nucleus session titled Solar,  and best of all Neil Ardley’s ‘Kaleidoscope’ and Alan Cohen’s band Oracle. Here is the lineup on the Oracle Album: Kenny Wheeler, Henry Lowther, Mike Osborne, Alan Skidmore, Brian Smith, John Surman, Chris Pine, Mike Gibbs, Martin Fry, Ron Mathewson, Trever Tomkins. I will watch this space with keen interest. 

I can’t help but wonder if the kids’ Smith taught, realised, that he’d once played a part in the wild and heady days of London’s music scene.  

Additional sources: The Penguin Guide to Jazz on CD, The Rough Guide to Jazz, The British Jazz Project, ephemera such as posters and pamphlets. Acknowledgments British Jazz Archives.

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

Bonita ~ July 2021

The Bonita Project is fueled by good compositions, nice arrangements and above all by the exuberance of leader Chelsea Prastiti. It is the second time that Bonita has appeared at the CJC in recent times and people returned for more. It is a worthy project as it reimagines a time and rides on a powerful vibe; the sort that the world needs right now. There was always an easy-going breezy quality to post-war Brazilian music and that quality could beguile. Underneath, however, there is a powerful engine, as the melodies float over a plethora of complex rhythmic structures. 

It is impossible to listen and to keep your feet still as the urgency underlying the beachy vibe captures you. It is also true that in this golden era there were dangerous political undercurrents. Out of that dashed hope came a flowing of art forms and the authoritarian colonels who tried to snatch it all away could not silence the music. Many of the musicians like Elis Regina were harassed, but the music never faltered.

There were three arrangers credited on the gig, Prastiti, Sinclair and Passells. The compositions were by Prastiti (and with one co credited to Kenji Hollaway). Some of the tunes we had heard before, including the lovely ‘Cassandra’ (posted as a video last time). There were also new tunes and among them ‘Peter Pan’ was especially appealing.  The band had changed slightly from last time, with Connor McAneny replacing Crystal Choi. McAneny had been out of the country for a few years and his return is welcome. His piano playing has a muscular quality to it, which was less evident before he left. 

The opportunity afforded by a diverse sound palette was well utilised by the arrangers; bringing out the best in the music without overwhelming melody. This was achieved with three vocalists, an acoustic guitar, piano, double bass, percussion, kit drums, trumpet + flugelhorn,  clarinet + flute, tenor saxophone and a second flute. It was pleasing to hear a 12 piece ensemble perform in this way. A configuration like this allows an arranger to impart a degree of airiness out of a large ensemble sound. This was achieved by having the instrumentalists or the vocalists moving in and out of the mix as required. The tunes had lyrics, but just as often there was wordless singing. I love to hear the human voice used as a (non-verbal) instrument. Perhaps because of my ongoing enthusiasm for Winston/Wheeler/Taylor in their ECM ‘Azimuth’ days. This was a nice project and all the more so because it was presented with infectious enthusiasm.

Bonita: Chelsea Prastiti (vocals, arranging), Eamon Edmondson-Wells (upright bass), Ron Samsom (percussion), Tristan Deck (drums), Connor McAneny (piano), Michael Howell (guitar), Roger Manins (tenor saxophone), Elizabeth Stokes (trumpet/flugelhorn), Ben Sinclair (clarinet, flute, arranging), J Y Lee (flute), Rachel Clarke (vocals), Gretel Donnelley (vocals), Callum Passells (arranging). 

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

Sanctuary ~ Lovell-Smith/Baxendale

If you follow the New Zealand improvised music scene, you need to check out  ‘Sanctuary’, a collaborative album released by the Wellington-based saxophonists’ Jasmine Lovell-Smith and Jake Baxendale. And although the release date was only a month ago, it is already receiving significant attention, including from outside these shores. When you listen to Baxendale’s Walt Whitman referencing ‘Leaves of Grass’ Suite or Lovell-Smiths gorgeous ‘Sanctuary’ suite you will understand why.

The album is replete with imaginative writing. Of tastefully painted brush strokes from an unusually rich colour palette, and this enabled by the configuration of the eleven-piece ensemble. It is saying something important but never at the expense of approachability, for example, Baxendale’s suite, the opener, brings Mingus to mind. Mingus in a Felliniesque wonderland.  

The album is getting cut through because it is superbly realised and above all because it speaks convincingly of our times. In Lovell-Smith’s case, there is a distinct pastoral quality to her work and it invites us to reflect. This is similar to the approach that Maria Schneider takes, drawing attention to what is often passed over in haste and clothing the political in a softer raiment. 

Check it out here JasmineLovellSmith.bandcamp.com

Because of the writing and the quality of the musicianship, this is an especially cohesive ensemble; but nevertheless, the voices of the individual musicians shine through strongly. First and foremost among the soloists are the co-leaders, Baxendale on alto saxophone and Lovell-Smith on soprano saxophone, each featuring strongly on the album. Both give stunning performances. They have assembled a formidable line up here and no one falls short. Among the fine performances, Blair Lathem on bass clarinet and baritone, Ben Hunt on trumpet, Louisa Williamson on tenor, Hikurangi Schaverien Kaa on drums, Aleister Campbell on guitar and Anita Schwabe on piano (with her innate sense of swing). 

Baxendale is acknowledged as an important New Zealand composer and he has frequently been nominated (and has won) Jazz Tui awards. He is the spokesperson for the award-winning group The Jac (the winner of this year’s Tui with ‘A Gathering). He has travelled the world with his music and is associated with a number of New Zealand’s finest jazz units. Also a noted composer is Lovell-Smith who has resided, taught and performed in a number of countries, especially the USA and Mexico. Her return to New Zealand has enriched the scene here as she brings valuable insights and experience with her. Her innovative group the Noveltones is well worth catching.    

The subject matter for the two suites, and for the additional pieces are perfectly pitched. Whitman the beloved poet and humanist who spoke his truth in unforgiving times. His love of nature and his common cause with open-minded souls. And Sanctuary, that loaded word that evokes both safety and confinement. The album was recorded after our borders with the world had closed. And while the album evokes a sense of our enforced isolation, it also speaks to our interconnectedness; of human beings existing in a complex ecosystem, and hopefully realising that this is a rare window of opportunity. Music like this helps illuminate our way.    

To purchase or download the album visit jasminelovellsmith.bandcamp.com – Tell friends about it and support New Zealand music.  

Rachel Eastwood (flute), Ben Hunt (trumpet), Jasmine Lovell-Smith (soprano saxophone), Jake Baxendale (alto saxophone, bass clarinet), Louisa Williamson (tenor saxophone), Kaito Walley (trombone), Blair Latham (baritone saxophone, bass clarinet), Aleistair James Campbell (guitar), Anita Schwabe (piano), Chris Beernink (bass), Hikurangi Schaverein Kaa (drums) 

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites

Multiple Streams, Deeper Rivers

I have been absent during the last month as my computer was deliberately unplugged. I needed time to walk among trees, read and spend time with visiting family. None of the above kept me from checking out new music and it afforded me some time to reflect more on the global changes feeding Jazz. There is nothing quite like a pandemic to make us re-evaluate our place in the world and to make us value comity over isolation. These connecting threads lead us into every corner of the improvised music diaspora. 

Just in time for the holidays, I gave several Christmas presents to myself. The first was Keith Jarrett’s magnificent ‘Sun Bear Concerts’ box-set, recorded in Japan (which I had long lusted after). It was fitting in light of the news that Jarrett is unlikely to perform or record again due to a debilitating stroke. This boxset has often been overlooked. It is a musical statement of pure genius.  The second album was a recent release ‘Architexture’ by the German Jazz musician Florian Ross. ‘Architexture’ is an extraordinary album, sitting astride the broader traditions of ensemble Jazz. It is configured atypically and consequently it has a distinctly airy feel to it. 

The album features a traditional jazz quartet, augmented by a conducted seven-piece wind ensemble. Ross is a gifted composer (and pianist) and his music has often been performed by large jazz orchestras such as the WDR. In this case, a more unusual configuration has let in additional light, while at the same time offering a rich and diverse textural soundscape. Using this palate Ross has crafted a programatic and personal journey through the world’s architecture.   

The music speaks strongly of place, but not just Germany (where Ross lives). It speaks of the locations where his favourite architecture is found, and out of that comes an idiosyncratic chiasma. The streams that feed this album are plentiful and among them the twentieth century western classical tradition. The only composition not his own is an arrangement of Elgar’s Nimrod (var.9) for saxophone and wind ensemble. Elgar composed many of his works in a rented cottage and it is ‘Brinkwells Cottage’ in conjunction with Elgar’s works which inspired that particular arrangement.  

From start to finish, this is a worthwhile journey, an evocation of archtectural visions, the places and sounds that inspired their constructions, and of course of Ross’s connection to those places. Alvaro Siza of Portugal, Antoni Gaudi of Catalonia Spain, the incomparable Oscar Niemeyer who designed Brasilia and many more. His Developments 1-4 are short through-composed pieces dedicated to specific architectural spaces or forms; Brazilian Architecture, the floor plan of a cathedral, the suburban prefabricated house, Bavarian Rococo; and dear to my heart ‘Glebe Cottage’ the home of Jazz pianist John Taylor.  

The Album is out on the German Naxos label and can be accessed on streaming sites. I urge you to buy a physical copy as the booklet is a small masterpiece. Featured are some wonderful musicians, Florian Ross (piano, compositions) Sebastian Gille (saxophone), David Helm (double bass), Fabian Arends (drums), The Event Wind Ensemble, Susanne Blumenthal (noted conductor). The album can be ordered in stores or online. For more information check out www.florianross.de 

Just before Christmas I attended a concert by Auckland based Musician Ben Fernandez. The occasion was the release of his latest album ‘The Music Never Stopped’ but it also served as a homage to the spirit that was evident in the community during the New Zealand COVID lockdowns. Fernandez is of Goan extraction but was musically active in Mumbai before settling in New Zealand. He studied Jazz at several Auckland institutions and is a regular performer about town. He has also maintained a connection to the Bollywood Film industry. Along the way his musical influences have been rich and varied and he showcased many of those during his concert of mostly original compositions.  

There was a spontaneous improvised piano piece, A tribute to his former teacher Phil Broadhurst, tunes written for various family members and of particular interest to me, a duo involving Persian musician Rasoul Abbasi.  Abbasi played a Kamancheh which is an ancient-bowed instrument with a wonderfully mournful tone. The composition itself, and the contrast between piano and Kamancheh worked to the advantage of both (I have posed a sound clip). This ability to make strong and authentic intercultural connections is where Fernandez excels. It spoke to the universality of the improvised music traditions, and of empathy and the Jazz sensibilities. 

Another tune of Fernandez which captured a pan-global essence was a piece written for a beloved family member ‘Chuchi’.  I have included that as a video clip. The line-up was varied and featured many of the musicians he had studied with such as Andrew Hall (who gave a great saxophone solo on the heartfelt tribute to Phil Broadhurst). The musicians on the trio number were Jo Shum (bass) and Ron Samsom (drums).  The concert finished up with Auckland vocalist Maria O’flaherty singing a great rendition of the much-loved standard ‘What a Difference a Day Makes’. In light of the pandemic, the tune had added resonance. ‘The Music Never Stopped’ features Ben Fernandez (compositions, arrangements, piano), Jo Shum (bass), Ron Samsom (drums), Warren Mendonsa (guitar), Rasoul Abbasi (Kamancheh), Jess Rogers (vocals), CeleBRationChoir conducted by Alison Talmadge. The album is available from benfernandez.com 

While writing this, a number of interesting review copies and new releases hit my inbox. Among them, a soon to be released album from a Lebanese Jazz bassist Makram Aboul Hosn titled ‘Transmigration’. This wonderfully inventive musician has released his first album under extremely adverse conditions. As well as facing the devastation of COVID19 in Lebanon, there have been ongoing violent political upheavals, Banks froze the artists touring money, and if that were not enough, there was a devastating Port Explosion. The recording of ‘Transformation’ went ahead anyhow only three days after that last mentioned cataclysm. His is an album well worth checking out and to top off the stelar ensemble performances there are a number of guest artists like Joe Locke (who appeared remotely). The album will soon be available from all major streaming platforms. This is proof that high-quality Jazz exists everywhere. The artists are Makram Aboul Hosn, Nidal Abou Samra, Christopher Shaheen, Khaled Yassine, Joe Locke, Tariq Amery, Sima Itayim. Release date 18th February.

The last album to be mentioned is an ECM offering by Norwegian Kantele player and folk/Jazz vocalist Sinikka Langeland. The cut I will post is from her last release and it is so measured and so beautiful that it sends a shiver down the spine. Langeland is accompanied by Jazz Nordic legends in this album. She performs with the likes of Arve Henriksen, Trygve Seim and Anders Jorman. The YouTube track posted is ‘Deep in the Forest’. Available from all music stores and from streaming sources.  

All of the above demonstrate the multiplicity of influences feeding Jazz. From multiple streams come deeper rivers. 

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.

Bonita ~ Chelsea Prastiti

Chelsea Prastiti’s Bonita gig was a phantasmagoria of warm evocative sounds. I have the greatest respect for her work and in this case, she curated something rare; she conjured up the vibe from another place and time, and she did so without a hint of contrivance. The Brazil of the sixties and seventies with its Bossa Nova soundtrack was an era of infinite possibility. In the end, the dream was stolen by a repressive authoritarian regime but the music, a timeless gift to the world, lived on. Over the last half-century, the Jobim songbook, in particular, has remained popular, and while some interpretations have been breathtaking, others, have been pale imitations. 

What Prastiti has done here is both respectful and innovative. She has composed a suite of tunes that nails the vibe as it taps into the essence of New Wave Brasileira while evoking the founding era. The concept for this gig and many of the tunes were conceived years ago. Prastiti had other projects cooking back then, and so she waited her time. As it turns out, she timed it perfectly. With our borders closed, the desire for high-quality Kiwi music is at an all-time high. Audiences are not being distracted by ‘once again and for the very last time’ tours by fading greats, and the realisation is dawning that homegrown is often better. 

Stars above water below

Another plus for holding the gig now was that her friends and collaborators were all within reach: notably, Elizabeth Stokes and Ben Sinclair of ‘The Beths’. The recent winners in the Best Group category at the NZ Music Awards would probably have been back on a world tour right now, but the pandemic curtailed that. The ensemble members all go back quite a way with Prastiti and I believe that the warmth they radiate arises from those long-held connections. 

Cassandra

The ten-piece ensemble oozed a Brazilian vibe, with its flute players and fingerstyle acoustic guitar. Add to this the unmistakable rhythms of Samba and Bossa Nova and the course was set. There was a horn section of trumpet and a tenor saxophone and one of the flute players doubled on clarinet. Behind them was an upright bass, drum kit and percussion and in the darkness, and to one side, a piano. The arrangements were beautifully textured and the harmonies absolutely gorgeous. As well as the instrumental harmonies, there were vocal harmonies contributed by two of the instrumentalists (one being Stokes, who has a fabulous voice – the success of the Beths underscores that). Prastiti composed all of the tunes and arranged most of them. The other credits go to Sinclair who arranged Prism, Callum Passells who arranged Bumblebee and Kenji Iwamitsu-Holdaway who is co-credited for the composition titled ‘Stars Above and Water Below’. 

Chelsea Prastiti is one the most innovative vocalists to appear on the local scene and she is never afraid to take risks or to explore new territory. The rest of her ensemble were: Elizabeth Stokes on trumpet and vocals, Crystal Choi, who appeared last week, this time on piano and vocals; bringing a beautifully voiced minimalism to the proceedings and echoing Tom Jobim’s delicate spidery lines. Roger Manins was on tenor saxophone with fills and some tasteful solos – J Y lee played an edgy melodic flute (it is not his primary, but he brought expression to an instrument that in the wrong hands can lack it). Beside him was Ben Sinclair (bass guitarist from the Beths), alternating between clarinet and flute, the ever-reliable Adam Tobeck was on the drum kit, with Ron Samsom on percussion. Lastly, and hidden in the shadows was Michael Howell, utilising the voicings and fingerstyle of the Brazilian acoustic guitar. He absolutely nailed those warm pulsing rhythms which fell about us like a warm summer shower.  

Eleven years ago, I began this Jazz blog and one of my first posts was an opinion piece about this era. I looked back at it today for the first time since writing it, and apart from a few missing commas, it stands up. I was worried when I wrote it that it might get something wrong, but a Brazilian musicologist messaged me to thank me for it. Anyone wanting to gain an additional sense of this era could follow the link to my original post. It is an opinion piece, but it could serve as a springboard to more authoritative, Brazilian-sourced information. https://jazzlocal32.com/2011/06/07/wave-antonio-carlos-jobim/

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, November 25, 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.

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.

Vanessa Perica ~ Love Is A Temporary Madness

Jazz on Lockdown Releases

On a gloomy autumn lockdown day, nothing is more welcome than a fresh and exciting piece of music. It brings sunshine, and if the artist is a gifted up-and-comer, it brings hope. In the days before lockdown, I saw a press release for Vanessa Perica’s ‘Love Is A Temporary Madness’. It could easily have been lost among the hundreds of emails warning me of the impending crises, but happily, it wasn’t. I listened to the sample track and found it instantly compelling.

There is nothing easy about composing and arranging Jazz orchestral charts and few musicians embark on this tortuous path. Thankfully Perica did, and her charts are magnificent. On ‘Love is a Temporary Madness’ she draws on a large palette, a seventeen-piece orchestra. Using contrast, texture, and modulation to great effect; she balances piano, guitar and the various soloists against a fulsome horn section and all to the best advantage. Big orchestras like this can easily maroon soloists, but these charts nurture the individual voices as much as the ensemble.

I know many of these musicians and I can’t help but wonder if she wrote with specific artists in mind; Andrea Keller in particular, as she is always such a distinctive performer? Very few pianists speak with such clarity and few can imply so much with well-crafted understatement. Add in renowned Australian musicians like Julien Wilson, Jamie Oehlers, Ben Vanderwal, and the other first raters and you understand why the ensemble sound is so fine. A sound that breathes in unison and when required urges a soloist to greater heights. 

This is the first time that I have encountered Vanessa Perica’s work and I am slow off the mark there. She’s increasingly coming to attention of the wider Jazz world and no wonder. When you’re compared to Maria Schneider and praised by luminaries like Ted Gioia, you are well on your way.

The world as we knew it has been upended by a virus and the unfamiliar now demands constant attention; but as we reel from a plethora of new realities, we must not resile from re-examining what was under our nose. In isolation, few of us crave a conversation with our banker. Our desires centre around the arts. With our minds free to roam we form tableaus of reimagined paintings, we craft wonders out of found objects, we sculpt gardens, and above all, we immerse ourselves in music. 

Everyone loves music and as consumers, we have greedily accessed it without a second thought for the musicians. Now, they are our lifeline, our passport to sanity, and when we need them most they are there for us, giving us free concerts or releasing albums at the worst possible time. Income streams in the creative sector have been slashed drastically but the composing and performing continues unabated.  Artists must create, and for that to continue we need to support their endeavours. Buying albums like ‘Love is a Temporary Madness’ is the perfect way to do just that.  Purchase from Vanessa Perica Bandcamp

The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. There Jazz Journalists Association created a Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/

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

 

 

Astrolabe ~ Chris Cody

No one is more fitted to sonically sketch the journey of the Eighteenth-century French explorer known as La Perouse than the Australian born Jazz pianist Chris Cody. In his bios, Cody is referred to as a French Australian musician and that is an obvious qualification. He also possesses an exquisite sensitivity when it comes to communicating complex truths. The colonist versus the indigenous peoples, the scientist versus the open seas adventurer.

 On this album, Cody’s improvisational compass has deftly navigated his way inside a vast sprawling seascape; found ways to lift the veil on colliding realities and woven them into a compelling saga. For all that, the album is not mired in abstract musings; it is grounded in the tangible. Cleverly, he avoids the strictures of the programmatic; opting instead for memorable glimpses, interesting mileposts. He weighs past against present, the science against belief, and all the while carefully preserving the mythologies that feed the spirit.  And like all of Cody’s work, the album evokes a timeless sense of place.  

When you live on the Pacific Rim it is inevitable that tales of ancient navigators capture your attention. Our present realities were shaped by them and for better or worse we are their descendants. There were so many notables, but the epic voyages of the ancient Lapita peoples are always omnipresent. While the Pacific was opened by these early navigators, the European late-comers are no less interesting. Cook is much talked about and the legacy of his voyages is mixed. Other men followed in his wake, as this was the age of scientific exploration, the age of enlightenment. In truth, the scientific voyagers served both science and the expansionist desires of empire builders. La Perouse on his ship Astrolabe was more scientist than colonist, but for all that, his untimely death contains an eerie echo of Cooks violent demise.  

In 1786, navigators relied on the compass for fixing latitude. To fix an approximation of longitude an instrument called the Astrolabe was used; an instrument with its origins in Greek antiquity. Complex mathematical calculations were required and losing your way was a constant hazard. As Harrison’s Longitude fixing watch was still under development, the methodology of open sea navigation often relied on dead reckoning. Dead reckoning sent more sailers to the bottom of the sea than to their destinations.  

Something akin to dead reckoning is close to what skilled improvisers do; risk being at the heart of an improviser’s performance. ‘Astrolabe’ the album, is a work composed for medium-sized ensembles. Piano, trumpet, multi reeds, trombone/didgeridoo/conch, violin, accordion, double bass and percussion. This offered Cody unique options and the textures he creates are marvellous. 

Mundus Vetus (old world) opens with the baritone clarinet establishing a motif over a measured vamp. This piece clearly references the court of Louis Sixteenth who commissioned the voyage. You can sense the courtly processionals and the formality. From that point on we are afforded glimpses of the new and exotic places along his journey.  The sounds of accordions, drums and pacific flutes come and go. ’Becalmed’ opens with trombonist James Greening on didgeridoo, soon overtaken by the crystalline unhurried pianism of Cody. This is music that absorbs and it is best experienced by letting yourself fall into it. It rewards deep listening. 

Departure – Astrolabe

I must also mention the striking physical appearance of the album. The outside cover features a misty ink wash Japanese style by Maya Cody. Inside, you will find extraordinary engravings by Jean de Bonnot and a booklet containing translations from the La Perouse ships journals (translated by the multi-lingual Cody)   

This album will definitely appeal to wider audiences and although it is a first-rate Jazz album it is also beautifully arranged. This is a journey to be enjoyed as a whole. I would place this album in the must-have category, so buy a copy early, preferably by visiting chriscody.bandcamp.com or by ordering it online. 

#random facts: a young Napoleon applied to join the crew and was rejected. Joseph Banks gave La Perouse some of Cook’s navigation instruments. La Perouse sailed into Sydney harbour a few days after Captain Phillip – a few days earlier and perhaps Australasians would be speaking French. Chris Cody lived 25 years in Paris working as a Jazz Musician. If you visit Cody’s Bandcamp page you can obtain all three of his recent albums digitally for $22.10 AUD

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. 

Albums to check out this Summer

My general rule is to confine my posts to New Zealand or Australian bands, or to local gigs by visiting musicians. Very occasionally, I post from further afield or review albums from the wider Jazz diaspora. In this case, my self imposed categories both fit and they don’t. The first album is Polish in origin, but the leader, Michal Martyniuk, has lived in both New Zealand and Poland. Each alternate track was recorded with Kiwi musicians. The second album is the astonishing New Yor-Uba ensemble and I have a story to tell about my brief but memorable online interactions with the leader, New York-based Michele Rosewoman. The next album is by the Italian born pianist Roberto Magris, who I narrowly missed catching up with when I was in Prague and Trieste. And lastly a heads-up. Jason Miles is about to release an album featuring Jay Rodriguez, a frequent visitor to New Zealand. Anything with Rodriguez will be worth checking out. 

 

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Resonate (Michal Martyniuk)  

Resonate is an album that has shaped itself over time. The recordings took place in different countries and in three instances, the recordings were separated by more than four years. In spite of that, there is a remarkable cohesion throughout. I have reviewed Martyniuk previously and I follow his journey carefully. Anyone who has paid attention to his live performances and to his recorded output will understand why the spacial and time disparities are irrelevant. Martyniuk has an intense artistic focus and his mind-set is not to move on until he is completely satisfied. While it may not be a formula for producing albums in swift succession, it is a recipe which pays dividends for him. Like all strong leaders, he communicates his vision to the musicians and because of that, we get synergy and flow between tracks.

It is an album of beautiful pianism and an album that I would place firmly in the European modern jazz mainstream. I believe it is equal to the best coming out of Europe. He also has a keen sense of which musicians will work with his compositions and more importantly, which will react to the other musicians. His New Zealand trio is Martyniuk (keys) with Cameron McArthur (bass) and Ron Samsom (drums) (plus the Polish guitarist Kuba Mizeracki track two). His Polish quintet features Martyniuk (keys), Jakub Skowronski (tenor saxophone), Mizeracki (guitar), Bartek Chojnacki (upright bass) and Kuba Gudz (drums. Since reconnecting with his Polish roots and performing in Poland, Martyniuk has carved a strong niche for himself. With his career on the rise, we may see him less and less, but if you do get wind of a visit, grab a ticket. You can purchase the album through his Bandcamp site and if downloading I recommend the Wav option. 

https://michalmartyniuk.bandcamp.com      

 

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Hallowed: Michele Rosewoman. 

No matter how many times I listen to ‘Hallowed and I have listened often, my evaluation is always the same. This is an album of extraordinary depth and a testament to Rosewoman and her unique perspective on Afro Cuban music in America. Hallowed is the culmination of thirty-six years work, and of many successful and innovative collaborations. This latest album follows her acclaimed ‘New Yor-Uba, 30 Years: a musical celebration of Cuba in America’. Rosewoman deservedly garnered a Cuban Jazz Grammy for that. It was rated #1 by NPR in the Latin Jazz category. Although what she plays is always accessible, Rosewoman has long been regarded as an adventurous musician but she defies easy pigeonholing. Her early influences like Mingus informed her trajectory while her association with the likes of Greg Osby, Steve Colman, Julien Priester,  and Oliver Lake plus a plethora of gifted Cuban musicians set her final course. The bulk of this latest album was the result of a commission by Chamber Music America. Long ago when websites were new, I decided to check out some online Jazz sites. I was enthusiastic about Rosewoman’s Quintessence albums and I found her site and typed her name into a message box. Within minutes her reply came back and it astounded me that I could talk to a musician in real-time. In the mid-nineties that felt like magic.

In the wrong hands, a large ensemble, weaving intricate clave rhythms can overwhelm. On Hallowed, the charts are meticulously crafted, allowing the music to breathe naturally. The orchestration here is simply exquisite. Each track begins with a particular rhythm, moving subtly to other rhythms and moods as the listener is drawn into the essence of the music, which in spite of its intricacy takes you on an expansive and heartwarming journey. As you listen you feel the warmth and undulating caress of a Cuban breeze. The heart of the album is the commissioned work titled Oru de Oro (Room of Gold). This should be listened to following the track order and the 10 tracks enjoyed as a whole. As with most Cuban music, the rhythms of the Bata are the threads upon which all else rests and although the warp and weft pulse and change, the centre always holds. There are many master musicians on this album and it could be described as an amalgamation of worlds, a uniting of times past and present.  Although not prolific as a recording artist, this is Rosewoman at her best. It is hard to see how she could surpass this, but given her previous albums, she probably will. 

https://michelerosewomansnewyor-uba.bandcamp.com/album/hallowed-michele-rosewomans-new-yor-uba-featuring-oru-de-oro

 

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Sun Stone: Robert Magris Sextet

To date Robert Magris has led or co-led around 30 albums and ‘Sun Stone’ is a recent offering from the Kansas City ‘JMood’ label. He is a veteran of the European Jazz scene and his consistent output has frequently brought him into contact with respected American Jazz musicians.  He travels widely, performing at festivals and gigs throughout the world. These fruitful collaborations have frequently taken him to America where he has cut some well-received albums in recent years. While a mainstream Post-bop stylist, he is never-the-less difficult to categorise precisely. Like many pianists who have been around a while, he has absorbed many influences and to these, he has added his own southern European voice. 

‘Sunstone’ the album features the respected multi-instrumentalist Ira Sullivan and the rest of the sextet apart from Magris hail from either Florida or Chicago. The first number and title track is a crackling energised number which sets the tone for much that follows, but there are also some reflective numbers. On several of the later tracks, Sullivan is heard to great effect on flute.  Magris is from Trieste and he often performs in nearby Prague with the MUH trio. It was in those two cities where I almost caught up with him a few years ago. Trieste appeals to me greatly, so perhaps next time?  

http://www.Jmoodrecords.co

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. 

 

‘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

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.

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.

 

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.

‘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)

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

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