Beyond category, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Fusion & World

Mark de Clive-Lowe ~ Heritage Tour

De Clive-LoweMusic is the highest form of communication. It is universal. It reveals truths, tells stories, entertains, and in Mark de Clive-Lowe’s case, it evokes other realities. This was a masterclass in storytelling; an unfolding kaleidoscope where the contradictions and sublime realisations about the human condition were brought into focus. ‘Heritage 1 + 2’ the albums reflect his personal story, a journey of reconnection, an exploration of culture and of family history. He revealed it through moments of spoken narrative, but above all through his reverential musical examination of Japanese art forms. This was a musical journey where the highly personal overlapped the philosophical. It was a journey back to his Jazz roots and undertaken entirely on his own terms.  

At least twenty years have passed since I last heard MdCL perform in Auckland. Back then he was regarded as a youthful Jazz prodigy and people flocked to hear him.  Accompanying such acclaim comes expectations and that can be a straight jacket. It was the era of the media-hyped ‘young lions’, when up and coming Jazz musicians were expected to showcase standards and reclaim a glorious past. While the die-hards repeated their time-worn mantras, something else bubbled beneath the surface; musicians like MdCL shucked off others expectations; in his case moving a world away to engage with the hybrid music/dance scene in London. From there he moved on to LA where he built a solid and enduring reputation. These days Auckland has a flourishing improvised music scene and audiences value innovation. In this space, Jazz and other genres merge effortlessly. Because of that, it was exactly the right moment for MdCL to bring this project home. Auckland heard the call and the concerts reached capacity club audiences.   

When MdCL introduced the sets he talked about his childhood and of cultural disconnection. Experiences like this although disquieting feed the creative spirit. The recent album and the tour follow a time spent in Japan where he immersed himself in his mother’s culture. The album opens with ‘The Offering’ an apt and beguiling introduction piece. Like a ritual washing of hands before a tea ceremony, a moment to sweep away preconceptions. Another standout honoured his mother by evoking her family name. ‘Mizugaki’ is perhaps the most reflective and personal tune of the sets. This cross-cultural feel is evident from the opener to the tunes which follow. While the scales and moods speak of Japan, the interpretations belong to an improviser. Throughout, MdCL maintains this fine balancing act. Evoking the unique moods of the haiku or ink wash. Illusory moods that are best described in the Japanese as no English phrase is adequate. And to all of this, he brings his lived experience. A kiwi-born musician with a foot in many camps.

With the exception of two traditional folk tunes, the compositions (and arrangements) are his own, other elements of his musical journey are also evident: tasteful electronics, drum & bass, Jazz. For copies of the two albums and MdCL’s other recordings go to Bandcamp (links below). Perhaps we can lure him back more often as he certainly has a following here. On the New Zealand leg of his tour, he was joined by Marika Hodgson on electric bass, Myele Manzanza on drums (and in Auckland by Lewis McCallum on flute and alto). The Kiwi contingent sounded good alongside MdCL and for a return-home tour, there was a rightness to utilising Kiwi musicians. I have posted a tune from the Auckland gig titled ‘Silk Road’. The Silk Road carried music, ideas, goods and culture, travelling by any means and from Japan to Spain; and now New Zealand.   

https://markdeclivelowe.bandcamp.com/album/heritage

https://markdeclivelowe.bandcamp.com/album/heritage-ii 

Heritage (Auckland): Mark de Clive-Lowe (keys, electronic wizardry), Lewis MacCallum (alto saxophone, flute, effects), Marika Hodgson (e-bass), Myele Manzanza (drums). CJC Creative Jazz Club, Anthology, K’Road, 4 September 2019.

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Anthology, Avant-garde, Beyond category, CJC Creative Jazz Club gigs

Elsen Price (Aust)

Elsen Price (5)Two bass, two drummer gigs while not unknown usually occur in service of a chordal instrument or of a horn line, and when a solo bass concert occurs, an audience is frequently shown ‘cleverness’. On this occasion, the bass of Elsen Price freed the instrument from the narrow confines of the standard rhythm section or the conventional solo bass repartee; instead, exposing the beautiful resonances and the reach of the instrument. This was sublime music and complete unto itself. It celebrated a gifted musician and a wonderful instrument but without displays of egocentricity. The feat was achieved by inviting us inside the music, and into a sonic cornucopia. We listened and we were captivated.

Life is full of unexpected sonorities and if we believe ourselves to be familiar with them all we are deluded. It is a paradox of modern life that popular music, while prolific, is cursed by formula-driven compositions. On Wednesday, Price and his ensemble teased the new from the familiar. Each instrument adding colour-tones and texture. Hands, fingers, ‘broom’ sticks, standard sticks, mallets, all deployed to good effect. Clicks, taps, scrapes on parchment, rim shots, gongs, bells and balloons under cymbals. And Price leading the way; a conduction answered by each musician and often in unison; acts of collective intuition. 

It is rare to hear Jazz arco bass played so well, it filled the room and swelled, but during the pizzicato passages Price was equally stunning. He is clearly a master technician but this was not about chops. He oversaw the ensemble as a true democrat, giving space and responding to the others. The first set was solo bass. Here Price showed us the breadth of his vision. He employed a looper peddle and would set up a drone or a motif. He would play counterpoint, either arco or plucked, sometimes creating a second loop over the first. He did not rely overly on the live samples, but harnessed them for discrete passages and always under his precise control. 

What we experienced in the second set were energised permanences by Price and his ensemble. Each revealing in their own way what lay deep within the music. That particular set ran a full hour and without interruption. It was a composition for improvisation but with no music on display and as far as I’m aware, no prior rehearsal. Price guided them with gestures or by changing pace. For these types of gigs to work well, the combined energies must feed a room. Music like this leans heavily on interplay, an intuitive reading of cues and deep listening by the musicians. Such high wire acts can easily falter, but this didn’t. That the terrain was navigated so effectively is because the right people were in place on the bandstand. 

Besides Price, on the second bass, was Eamon Edmundson Wells. Although the youngest member of the ensemble he is well versed in playing avant-garde situations. He would be among the first you go to for anything adventurous and he always delivers. On drum kit was Ron Samsom and it was pleasing to have him on this gig. Nothing daunts him and he has few stylistic limitations. He clearly relished the opportunity to play in the ensemble and to interact with another drummer. As he initiated cymbal scrapes, tapped with mallets and scuffed the ‘broom’ sticks the textures richened. This was colourist drumming of the best kind; extending the kit beyond the role of mere timekeeping. On hand drums and percussion was Chris O’Connor; the drummer most often seen in line ups like this. His ability to move seamlessly between genres is legendary; in these situations, he adds inestimable value. With O’Connor you get an ‘Art Ensemble of Chicago’ experience; all the tiny bells and gongs and with each one appearing exactly where it should for best effect.

Gigs like this can sometimes be difficult for audiences, especially those unfamiliar with a freer type of music. In this case, the audience showed enthusiasm, obviously enjoying the experience.

Elsen Price (upright bass, looper), Eamon Edmundson Wells (upright bass), Ron Samsom (drums), Chris O’Connor (drums, percussion) @ Anthology, CJC Creative Jazz Club, Auckland 14 August 2019

Anthology, CJC Creative Jazz Club gigs, Straight ahead

Kushal Talele

Kushal (3)It was four years ago and almost to the day, that Kushal Talele was last at the CJC. Then, as now, he had just returned from a long period overseas. I heard him for the first time then and I was impressed. That was in the cellar of the 1885, a place now a fond but distant memory. A few days ago he returned to the CJC and although he played with a different band, his unmistakeable upwards trajectory was evident. There is nothing unduly flashy about Talele as he radiates calm and absorption. At the microphone, he talks quietly, but there is passion in those subdued tones.  

It is especially evident when he plays, as you are taken directly to melody and it’s heartfelt melody carried on his distinctive sound. There were many influences evident last time, but on this gig one thing was clear. We were now hearing something closer to a modern New York tenor sound; the tonal qualities, the clarity of articulation when in full flow. On ballads, however, there was a hint of vibrato and at the end of phrases, the merest whisper of breath. Taken as a whole package, these stylistic approaches are appealing. 

Talele does not play at high volume, or at least he didn’t on this gig. He stood back from the microphone and this emphasised a number of acoustic subtleties. Small flurries, slight changes in modulation, nothing demanding greater amplification. Playing at lower volume allowed for more interplay and the conversations between instruments were more nuanced. There was however one uptempo number and to everyone’s delight, that channelled a bebop vibe. 

Talele’s compositions were also noteworthy and most of the tunes we heard were originals. In all of those, it was the melodic arc which grabbed your attention. Harmonically, they leaned toward romanticism, but every voicing was in service of the melody. Reinforcing this was his rhythm section, drawn from among the finest that Auckland has to offer; Kevin Field, Olivier Holland and Ron Samsom. Having the piano away from the bandstand is at times a little disconcerting, but Field always makes the best of any situation. He made that white piano sing and because the sound was well mixed, the proximity of the piano was not an issue.

This was an enjoyable gig and I hope that Talele gets to stay a while. New Zealand and Australian saxophonists are gradually developing their own distinct thing. They absorb what they hear elsewhere and bring an antipodean perspective to it. Perhaps a bit of the Chris Potter vibe, so evident in players like Talele will accelerate that process. 

Kushal Talele (tenor saxophone), Kevin Field (piano), Olivier Holland (upright bass), Ron Samsom (drums). The gig took place at Anthology, CJC Creative Jazz Club, Auckland 7 August 2019.   

Anthology, CJC Creative Jazz Club gigs, Post Millenium, Small ensemble

Daniel Waterson / Wil Goodinson

How we hear and process music is the result of endless debate. When a resonant voicing or melodic fragment is freed from the wood, wire or chip, the vibrations refract; entering our consciousness through individualised prisms, and each note coloured by preference, mood and previous exposure. What I heard last Wednesday I can only process through my own lens and how I heard it may not be how it was conceived. The opening number took me directly to a place that I visit often. A warm and familiar place situated in a time before these musicians were born. That place was the early electric Jazz fusion era (I love that shit) and in the second set, to the atypical small ensemble arranging by the likes of Carla Bley, Jimmy Giuffre or French horn player John Graas.

I am not saying that either band were reprising those eras because they weren’t. What they played was freshly minted, modern and innovative. The connection and the intense pleasure both groups afforded me was that meeting place between my point of reference and what they created. This is the eternal triangle of improvised music; musician, instrument and listener. A cycle with an endless feedback loop, which brings me to a second point. The players communicated their passion well; something of themselves. It manifested in the leader’s smiles of delight or in the shouts of mutual encouragement. As young, as they were they had cracked a vital code of musical communication. It is not just chops or clever compositions that push you over the line, but putting yourself at risk, exposing a glimpse of the human being and the joy feeding the music. 

The musicians were mostly from the UoA Jazz Studies programme and the sets were interesting contrasts. First up was the Daniel Waterson Quartet with drums, keys, guitar and bass. The first number was titled ‘Not enough Lithium’ and it was this piece that contained embedded echoes of 70’s fusion. It had various motifs but as it developed, mood predominated. This enabled me to make my own emotional connection to the music. The piece didn’t tell us how to engage but it invited the listener in and I believe that that is important. Some tunes are so nailed down that they feel like a lecture. This was not. All of these musicians are a credit to the Jazz School and I was familiar with everyone except the keyboards player (more on him later). Michael Gianan showed how far he’d come since we last heard him at the club. I last heard Waterson when he played in the Indian Jazz fusion group Takadimi. He is an engaging and innovative drummer and it was good to hear his own compositions.

The second set up was the Wil Goodinson Septet and it was unusual in that it featured bassoon, bass clarinet, cello, bass, guitar and piano.  Goodinson is well thought of as a bass player and it is not unusual to catch him in others lineups. This was a chance for him to showcase his arranging skills and his charts were quite exceptional.  Apart from the first tune by Joe Henderson, all of the rest were his own compositions. All arrangements were his. This was an interesting ensemble and they navigated the charts with ease. The bassoon and bass clarinet were complimentary and their textural possibilities were well utilised (Asher Truppman Lattie demonstrated his skills here and I applaud his work on this lovely under-utilised horn). The guitar, while not dominant in the mix, was essential as it gave brightness, a gently articulated voice to contrast the bass-rich sound. Holding everything together was the bass. We could not see the leader but his cues were evident as he guided the others through the charts.

The drums and piano contributed with accents, pulse and solos and both were well placed in the mix I also have a fondness for cello in Jazz and the instrument was well deployed. When bass and cello played unison arco, the air vibrated as the low notes tugged at the senses. It was the sort of ensemble that ECM might feature, but the originality made it hard to pigeonhole as just that. 

For a few months now, people have asked me, have I heard Joe Kaptein play. Until last Wednesday I had not and after hearing him on Wednesday I admit to being caught off guard. What I heard was a high degree of pianistic maturity; unusually so for a Jazz Studies student partway through his second year. He leaned on no particular style and was as much at ease playing in a freer percussive mode as he was where gentler minimalism was called for. His comping was notable, as was his sense of time. He understood when to play and most importantly when not to; he could lay-out or enter a groove and milk it for possibilities. It felt good to be in on this at ground level and I will watch his journey with great interest. Kaptein and Goodinson played in both sets

.

Daniel Waterson Quartet: Daniel Waterson (drums, compositions), Michael Gianan (guitar), Joe Kaptein (keyboards), Wil Goodinson (bass).

Wil Goodinson Septet: Wil Goodinson (bass), Joe Kaptein (piano), Kathleen Tomacruz (guitar), Asher Truppman Lattie (bass clarinet), Karen Hu (cello), Monica Dunn (bassoon), Tom Legget (drums) 

@ CJC Creative Jazz Club, Anthology, K’Road, Auckland New Zealand 31 July 2019

Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Post Millenium

Brad Kang Quintet

Brad Kang @ CJC (1).jpegBrad Kang has previously appeared at the CJC, but this time he was here with his own quintet. It is not too much of a stretch to say that most emerging Jazz guitarists during the last decade have demonstrated a liberal dose of Kurt Rosenwinkel in their playing. It is in their sound and their approach to melody and it was unmistakable with Kang. That clean bright tone and the fluent unison lines as he and saxophonist Louisa Williamson ran through the head arrangements.

His compositions were vehicles for showcasing a formidable technique and the tunes were internalised, allowing him to play the sets with barely a glance at his charts. It is common for older and more experienced musicians to internalise the music, but less common for younger musicians who like to keep the charts close at hand.  Kang’s confident familiarity with the music paid dividends for him.

Kang and Williamson are a natural fit; not only when they run those tight unison head lines, but also during solos. Williamson adding a necessary weight to counter-balance Kang’s guitar, which mostly traverses the higher register. On stage, Williamson tends to hide behind the horn, giving little of her self away. That is, until she solos. Then, she’s suddenly authoritative and an expansive storyteller. Her tone rich and her fluency beyond question.

Unlike Williamson and Kaa, the pianist George Maclaurin was new to the audience as were bass player Hamish Smith and drummer Hikurangi Schaverien Kaa. They hail from either Wellington or Christchurch; part of a nationwide and pleasing renaissance invigorating the New Zealand Jazz scene. 

Since his return from North Texas where he studied previously, Kang has become a fixture on the Wellington and Christchurch Jazz scenes. This New Zealand tour will be his last for a while as he is moving to New York shortly to study at the Manhattan School of Music.  When he returns, his musical journey can be updated and he will no doubt share that with New Zealand audiences.  

Brad Kang Quintet: Brad Kang (guitar), George MacLaurin (piano), Louisa Williamson (tenor saxophone), Hamish Smith (bass), Hikurangi Schaverien Kaa (drums), at Anthology, CJC Creative Jazz Club, 24th July 2019. Photograph by and with thanks to Barry Young.

 

Anthology, CJC Creative Jazz Club gigs, Post Millenium

A Love Requited~Myele Manzanza

Manzanza1.jpg

The Myele Manzanza ‘A Love Requited’ gig opened with a heart-stopping rendition of his tune ‘Ritual’. As the leader’s beats drove out the grey of winter, it left no room for doubt; this was a drummer gig. He moved his body to the music and rained down rhythms and everyone was mesmerised. As drummers move, their feet and hands blur and dance, but few move their upper bodies like Manzanza. This gig was all about sublime motion; kinetic transportation into pulsing parallel worlds. It was very ancient, eternally present, and futuristic. As he bent close to the kit or circled the snare he looked like a hawk circling his prey. This was different drumming and while it was firmly rooted in Jazz, it also mined deeper timeless roots. It also felt intensely personal.

With him on the New Zealand leg of the tour were genius pianist Jonathan Crayford and the powerhouse Wellington bass player Johnny Lawrence. His bandmates needed to be chosen well, because what was on offer was not your usual piano trio music. Everything about the compositions centred around the percussive and was juxtaposed against compelling rhythms; whether soft or loud, piano or bass. Powerful ostinato patterns established, evolving into figures or melodic lines before turning back on themselves. This had the effect of intensifying the vibe and drawing the audience deeper into the soundscape. The drums on the gig were often loud and at times really loud, but when the quieter more reflective passages occurred the intensity remained.  

Manzanza is the son of a Congolese master percussionist and the name Manzanza derives from beat out rhythms. All of that is implicit in his compositions, but it is also a doorway into a bigger story. ‘A Love Requited’ is also about fine composition and superb arranging. Out of that rich rhythmic brew and long evolving history comes an album filled with surprising subtlety. The album is well mixed and the individual players in the ensemble are given ample room to breathe. There are various arrangers credited and all serve the music well. That said, Manzanza arranging Manzanza is what stands out for me.

The album features a medium-sized ensemble with additional players appearing on certain tracks. This band has connections far and wide but it is mainly an Australasian affair. Manzanza and Jake Baxendale are from New Zealand as is ex-pat Mark de Clive-Lowe. The remaining band members, mostly Australian, feature talents such a Matthew Sheens (full personnel list below) and co-producer Ross McHenry. A number of the above musicians are either resident in or regular performers on the USA scene.

If you get a chance, catch the live gigs. More importantly, grab a copy of the album as it is one that you will want to keep on hand for repeat plays. The best option is to visit Bandcamp, where you can order a physical copy or grab an uncompressed download; available in many high-quality formats. In the nineteen fifties Ellington and Strayhorn penned a suite titled Such Sweet Thunder. They were referencing Shakespeare’s ‘A Midsummer night dream’; the full quotation being, ‘So musical a discord, such sweet thunder’.  Such sweet thunder certainly applies to this album. 

Myele Manzanza Bandcamp

‘A Love Requited’ Auckland: Myele Manzanza (drums, leader), Jonathan Crayford (keys), Johnny Lawrence (bass). CJC Creative Jazz Club, Anthology, K’Road, 10 July 2019

Album: Myele Manzanza, Matthew Sheens, Jake Baxendale, Ben Harrison, James Macauley, Jason McMahon, Adam Page, Django Rowe, Mark de Clive-Lowe, Brenton Foster, Jack Strempel

Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Straight ahead, vocal

Talbot/Dunbar-Wilcox @ CJC

Emerging Artists (Wellington) Talbot-Dunbar (1)

As Wednesday nights at the new Anthology venue move into high gear, a tried and trusted CJC programming philosophy remains constant. To provide a quality venue for local and international musicians to showcase their original projects, and to provide a performance space that up and comers can aspire to. As before, two or three gig slots are kept for emerging artists, and this year those slots have expanded to include Wellingtonian and Christchurch improvisers. Performing on Wednesday were Wellington musicians Frank Talbot and Ella Dunbar-Wilcox. Both sets had the same rhythm section; pianist Kevin Field, Bassist Cam McArthur, and drummer Adam Tobeck.

First up was Frank Talbot. A tall tenor player with a clean tone and nimble articulation. Talbot is a recent graduate of the New Zealand School of Music and he is currently completing his honours degree. New Zealand produces many good tenor players and judging by Talbot’s confident performance on Wednesday, he will go from strength to strength. He is certainly making all of the right moves and testing himself in varied situations, so he will certainly be one to watch.  On his setlist, there were all originals and I have posted his interesting tune ‘Inquisition’. I also liked ‘Intervalic’ and a moving tune (which I heard as) ‘Steak and kidney pies, no goodbyes’. The latter was dedicated to his mother who is going through very tough times health wise. A nice heart-felt tribute. Talbot-Dunbar

The second set featured Ella Dunbar-Wilcox. A vocalist in her third year of studies (also at the New Zealand School of Music). Her performance showed considerable maturity as she tackled some challenging arrangements and tunes. Not many emerging vocalists would tackle the more upbeat Coltrane tunes or a tricky stop-start McLorin Salvant arrangement. She navigated these charts with ease. I also liked the balance in her set list which provided us with pleasing contrasts. The cheerful, upbeat (and rarely heard) Bobby Timmons number ‘That There’. This followed her own ballad ‘Lonely Eyes’.  Then there was ‘Night Hawks’, a reference to the Edward Hopper painting and capturing perfectly that sense of isolation and ennui.  I have put up her interpretation of ‘I didn’t know what time it was’.

Engaging a quality local rhythm section for both sets was a sensible move. Field, McArthur, and Tobeck are adept accompanists and used to working with unfamiliar musicians. And more importantly, all have worked extensively with vocalists. This draws upon very different skills and in this regard especially, Field is superb.

Frank Talbot (tenor saxophone)

Ella Dunbar-Wilcox (vocals)

Rhythm Section: Kevin Field (piano), Cameron McArthur (upright bass), Adam Tobeck (drums) The gig was for the CJC (Creative Jazz Club) @ Anthology, K’Road, Auckland, 3 July 2019