Groove & Funk, Guitar, Review

‘Shuffle’ Manins/Samsom

RAT-J-1044+ShuffleSometimes an album blows straight into your heart like a warm breeze off the summer ocean. ‘Shuffle’ is exactly that album. There is an easy-going familiarity to it and you instantly feel good as your body connects with the rhythms. Shuffle achieves that rare feat of sounding both new and familiar. This is the sound that I grew to love many years ago, as practitioners like Jimmy Smith, Big John Patton, Gene Ammons, and Brother Jack McDuff fused Soul and Jazz into a rare amalgam. To appreciate this music you need no acclimatisation; no understanding of Jazz. To appreciate this music you only need one prerequisite, a human heart. It’s ‘groove’, it is sensual and it’s my guilty pleasure.

While the album has immediacy, a long story underpins that. Roger Manins, Ron Samsom, and Michel Benebig have played together for many years, and whenever they get together they thrill audiences. At some point, Benebig, the New Caledonian B3 organ master, decided that he wanted to play with the American guitarist Carl Lockett. In B3 circles, Lockett is a legendary figure having played with Jimmy Smith and Jimmy McGriff. The problem was that Lockett had no Facebook presence, no current management, and no listed phone number. Eventually, he was located and agreed to a tour (he has since played with Benebig on a regular basis). During a trip to New Zealand in 2016, the album was cut.

With the exception of two tunes, ‘Blackwell’ (named after drummer Ed Blackwell) and ‘Patton 8’ (named after groove icon Big John Patton), all of the tunes are Shuffles. If you look up Shuffle in a musical dictionary you will see that it has a deceptively complex structure and that it is hard to describe in rhythmic terms (it has an 8 note feel, essentially playing 3/4 over a 4/4 beat to make the music swing). It is sometimes called the ‘flat tire’. My dictionary gives up trying to explain it and simply states, ‘when you hear it you will understand it perfectly’. It has a loping swing and it’s infectious – or as Samsom writes so beautifully in the liner notes, “The Shuffle is the shit for me. It isn’t just flat, it’s broken, and that’s where the music lies. It’s so beautifully wrong’.

The songwriting duties on the album are shared. One tune by Benebig, two by Samsom and five by Manins. The album begins with a slow, smouldering burner by Samsom titled ‘BB gun’ – what a great way to begin an album – this has that Gene Ammons ‘take me home baby’ feel and it sets up the faster-paced numbers to follow. By the time you get to the solos, you are there, in the zone and understanding why Lockett was so essential to the project. What a great composition and how in the pocket every one plays, and then as you progress through the album you realise that every track is a gem.  Manins ‘Shuffle ONE’ (big leg Shuffle), or his ‘Blackwell’ which takes a faster route and gives the soloists a chance to shine while moving at pace. Man, these guys sure can write.  Benebig’s tune is a 12 bar blues ‘Dog Funk Walking’. It made me think of John Mayall at his peak (once upon a time I listened to a lot of John Mayall).  On this track, in particular, you hear the powerful blues credentials of Lockett laid bare. It is impossible to sound more soulful than he and Benebig do on this. The compositions are all great, but so is the playing.

Samsom and Manins have realised something special here and in the process, they’ve showcased real artistry. I have posted two tracks as sound clips – ‘Gout Foot Shuffle’ (Manins) & ‘Dog Funk Walking’ (Benebig). So it’s Christmas and you know what you have to do now. Rush out and buy at least one copy of this stellar album and experience the joy of North & South Pacific musicians playing up a groove storm. Support local music and tell your friends to do the same. You will never have a moments regret owning an album like this. IMG_0462

The album is a thing of beauty thanks to Rattle and the amazing cover designer UnkleFranc. As always I acknowledge the hard work and the deft touch of Rattle’s Steve Garden and ‘Roundhead Studios’ in Auckland. The ‘Shuffle’ Lineup: Roger Manins (tenor saxophone), Ron Samsom (drums), Michel Benebig (Hammond A100), Carl Lockett (guitar). You can buy a copy from your local store, Amazon or better yet from rattle.co.nz or online from rattle-records.bandcamp.com

Advertisements
CJC Creative Jazz Club gigs, Post Millenium, vocal

Lauren Nottingham Tour

 Whenever a young and talented vocal improviser appears on the scene, it piques the interest of Jazz lovers and beyond. Lauren Nottingham fits this bill perfectly and she is definitely someone we should take notice of. She is bound to have an upwards career trajectory over the coming years and with the talented pianist Mark Donlon as a collaborator, this is all the more assured. She has previously toured as co-leader with Donlon, but this time she stepped out as sole leader.

The setlist was a mixture of original compositions and reharmonized standards from well outside of the Jazz songbook; David Bowie’s ‘The Man Who Stole The World’ and The Beatles ‘Lady Madonna’ (McCartney). Both of the latter went down well. There were also a number of compositions by a singer-songwriter Matt Sagen and above all Nottingham’s own offerings. We also heard a tune by her drummer and one by Donlon. Her satirical ‘You can’t spell triumph without Trump’  and ‘Who you are’ felt personal while the composition ‘On a rooftop in China’, composed by drummer Dexter Stanley-Tauvao had a delightfully swinging feel to it. I have posted Donlon’s tune titled ‘Sarabande’ (Nottingham wrote the lyrics for this).  This was a nice band all round with tasteful playing from Beernink and Stanley-Tauvao.

Nottingham began singing publically at around the age of fourteen and before long she was singing in the National Youth Choir. She always had an interest in Jazz and in her senior year won a competition run by the NZSM. Later she completed a Jazz Studies degree with the NZSM. Following that she spent a year in Berlin, where according to her bio, she worked in a Jazz bar and did a lot of listening. For any developing artist, moving out of their comfort zone is important as academic learning is only a starting point; character and authenticity arise from life experience. The harder won and the greater the risks the better the stories. Nottingham through composition and her vocal interpretations has tales to tell us and her original approach is already evident.

Some time ago I heard a different tune by Donlon also titled ‘Sarabande’. I particularly love this latter one, as in Nottingham’s hands, the tune conveys a crystalline and even a lachrymose quality – entirely fitting for the wistful sarabande; that slow dance beloved of Baroque composers and with ancient Spanish origins. My only complaint about the gig – I hope that we get more wordless vocalising next time – we love her doing this (ref. her work with Mark Donlon’s Shadowbird Quartet).

The Band: Lauren Nottingham – leader, vocals, Mark Donlon – piano, Chris Beernink – bass, Dexter Stanley-Tauvao – drums. The gig took place at The Backbeat Bar for the CJC (Creative Jazz Club), November 14, 2018.

CJC Creative Jazz Club gigs, Straight ahead, vocal

Julie’s Gap Year

Julie Mason’s gap year gig came hot on the heels of my returning home from Northern Europe. Unlike Mason (who was in Europe for a year), I was only missing for two months but my fogged brain was telling me otherwise. As I headed for the CJC, using my windscreen wipers as indicators and constantly telling myself that driving on the left-hand side of the road was now acceptable, I congratulated myself. I was back into the rhythms of my normal life. This self-congratulatory phase was all too brief as I soon discovered that I had forgotten to charge the camera and the video batteries. A few hours later an unscheduled power outage occurred, making me wonder if that was caused by an oversight on my part. Luckily, none of the above spoiled an enjoyable gig.

The gig title ‘Julie’s Gap Year’ references two recent and significant events in Mason’s life. Firstly the year she spent in France with her partner Phil Broadhurst during which time she wrote some new material and reworked a few favourites. And secondly, it drew a line under some very tough years health-wise which occurred preceding the Paris sojourn. The latter is thankfully now behind her. At one point during the night, she played a solo piece which referenced her mental health struggles and every one was deeply moved by the honesty and raw beauty of it. Everything she played and spoke about she did with confidence and her skills as a vocalist, composer and pianist were all on display. This was the Mason of old and the audience was delighted.

Her rhythm section was Ron Samsom (drums) and Olivier Holland (bass). Her guests were Phil Broadhurst (piano), Roger Manins (saxophone), Maria O’Flaherty & Linn Lorkin (backing vocals) and for the last number a French accordionist. The night was not without its challenges though, as the power outage could have brought the gig to an abrupt close. Instead under Mason’s guidance, the band morphed seamlessly into an acoustic ensemble and played on in the darkness.  Nothing of the previous mood dissipated during a half hour of darkness and when the club regained partial lighting the programme continued as if the whole thing had been planned.

This was a nice homecoming and In spite of passing through a number of wonderfully exotic places and experiencing interesting music on my travels, it was nice to be back home.

The gig took place at the Backbeat Bar, K’Road, 5 November 2018 – a CJC (Creative Jazz Club) event.

Jazz Journalists Association, Straight ahead

The Baker coordinates

I had been to Amsterdam before but never tracked down Chet Baker. I blame the city for this oversight because it swallows travellers whole, reorders their plans, confuses them with a multiplicity of offerings. You arrive, you drift through the alleys and before you know it, it’s time to check out. This time I was not to be distracted. As soon as I awoke I grabbed an early breakfast, noted down Chet’s address and headed for the red light district. His hotel was located in Prins Hendrikkade, a street on the edge of sanity. A quarter where bored women knit cardigans behind dimly lit shop windows.

At first, I missed the address as the hotel was being refurbished. I wandered up and down confused and eventually stopped for a coffee. After gulping it down I asked the young barista for directions. ‘Oh yeah – Chet’ he said shaking his head sadly. I was amazed that he had heard of Chet Baker as he looked about eighteen. He grabbed me by the arm and led me onto the pavement and pointed to a spot directly above us. A third story window was propped half open- and behind it – Chet in silhouette. “Talk to Pim next door”, he said. “He’s the man to help you”. I navigated my way around a stack of building offcuts and entered a crowded lobby. “Chet Baker”, I said and the man behind the desk beamed in my direction. “I’ll be with you in a minute,” he said, pointing me toward a glass cabinet containing a few items of Baker memorabilia. It was an odd assortment, a copper bugle, secondhand books on Chet, some faux Delftware and two paperweight trumpets.

When Pim was free of his duties he led us to a padlocked door which in turn led us to where the construction was happening. Inside, behind the plywood panels and stacked tools was another smaller door which hid a commemorative brass plaque. “He died right here,” he said, pointing to the ground below the plaque. We all stood silent for a time, reflecting on this gifted but flawed genius and his legacy. The beautiful youth with James Dean looks who morphed into a drug-ravaged parchment skull. The trumpeter who impressed Parker, the melodic improviser, the man with the mesmerizing androgynous voice. The man who could break your heart because he fell in love too easily.

Looking up at the third-floor window I pondered over the many versions of his untimely death. I ran them past Pim who had clearly heard them all before: (1) he had nodded off in front the open window, (2) he owed money and was trying to escape angry drug dealers by climbing across to the next balcony, (3) he was pushed out the window by the drug dealers, (4) he was locked in his room by mistake and was trying to jump to the next balcony (5) suicide. Pim looked thoughtful for a minute and then spoke, “There’s another credible theory” he said as he paused for effect. We were all ears. “I believe that he was abducted by aliens because he was so uniquely talented, and after they had mapped his brain they tried to return him to his room. At this point, a tragic miscalculation occurred as their coordinates were out by a metre. It is rumoured that one of the younger aliens had forgotten to allow for the warping of time during transportation. A rookie mistake that robbed us of his musical genius”.

As we returned to the foyer I asked him if he would accept a tip as he had gone to so much trouble. He nodded happily and I handed him ten Euros. He held it up to the light, beaming as turned it over. “I like this so much,” he said, “that I will take it on holiday with me next week”. I now favour this new theory. It gives me hope that the aliens, appalled by their miscalculation, are working to correct it, planning to travel back in time and return Chet to his room in the Prins Hendrik. If they do I am certain that Chet and Pim will appreciate each other’s company.

Posted from San Francisco – John Fenton October 21, 2018.

New Zealand Jazz Gigs, Small ensemble, Space Jazz

Aldebaran Quartet @ Wallace Arts Trust

Bell Aldebaran (1)While pop music briefly looked up and saw satellites and Rock music headed for the dark side of the moon, Jazz musicians lifted their vision further, aiming beyond Voyager and reaching for the farthest corners of deep space. Exploring those regions is the beautifully realised Aldebaran Quartet, an ensemble which pleases me greatly. It’s not often that I encounter a band like this and I can’t wait for them to record.  Bell Aldebaran (2)

I first reviewed them in March of this year, hoping that this would not be a one-off project and thankfully it wasn’t. They are fresh, modern and original while conjuring up memories of an era that I am still passionate about. 70’s Modal Jazz – Space Funk, Alice Coltrane, Bobby Hutcherson, Bernie Maupin and Eddie Henderson. This was an era of space dreams and old analogue machines. It stretched the imagination beyond known horizons and in so doing, encapsulated the true ethos of improvised music. Happily, this band is true to the original mission directive; reach beyond fearlessly.Bell Aldebaran

Aldebaran is an Arabic word meaning follower and it refers to the giant orange star Aldebaran which follows the Pleiades Constellation into the night sky; sitting somewhere to the left of Orion’s Belt. It has long exited the human imagination. The Egyptians, Greeks Persians and others were particularly fascinated by its presence as it is the largest entity in the Taurian configuration. It is a mere 65.3 light years away from Earth and 7 billion years old. It is therefore entirely fitting that an improvising unit pays reverent homage to the ‘Watcher of the East’.Bell Aldebaran (3)

We caught a piece of luck when vibist John Bell returned to our shores and that was reinforced by the return of drummer Steve Cournane. It also coincided with the return of the pianist Phil Broadhurst who had been sojourning in Paris for a while. Add in either Eamon Edmundson-Wells or on this gig Cameron McArthur on bass, and you have a winning combination. At the Wallace Arts Trust gig, we heard new compositions by Bell and one each by Broadhurst and Cournane. We also heard the premiere of a new Bell composition ‘Corona’, a suite in four parts. I have posted the last two parts as the entire suite nears 20 minutes in length. It is so beautifully composed that ‘Corona’ could easily be extended even further without ever taxing an audience.

If you get a chance to catch this band, do so. The journey that they will take you on is very worthwhile. This was only their second public performance and judging by their form to date, we can look forward to what follows with happy anticipation. The Aldebaran Quartet on this gig was: John Bell (vibraharp), Phil Broadhurst (piano), Steve Cournane (drums) and Cam McArthur (bass). The gig was held at the Wallace Arts Trust 19 August 2018.

 

Australian Musicians, Review, Straight ahead

Eat Your Greens / No Dogs Allowed

The decision to review these two albums together makes sense for a number of reasons. They were both released on the Rattle Label earlier this year and both are quite exceptional. I predict that both albums will be nominated for Jazz Tui’s next year, it’s a no-brainer. Once again, Rattle has served us up a tasty fare. Albums that are beautifully presented and which compare favourably with the best from anywhere.

IMG_0442‘Eat Your Greens’ is an album by to the popular Wellington pianist and educator Anita Schwabe. It was recorded at the UoA Kenneth Myers Centre in Auckland during her recent tour. Her band also performed live before a capacity audience at Auckland’s CJC Creative Jazz Club and it was immediately obvious that they were in great form. Schwabe normally plays with Wellington musicians and regularly with the Roger Fox Big Band. The idea of recording in Auckland was formed while sharing gigs with Roger Manins earlier and it was with his assistance that the Kenneth Myers Centre was made available for recording.

The semi-muted acoustics in the KMC auditorium work well for smaller ensembles and especially when John Kim captures them. Schwabe is a delightful pianist and her swinging feel was elevated to the sublime by the inclusion of Manins on tenor saxophone, Cameron McArthur on upright bass and Ron Samsom on drums. Having such fine musicians working in sync is the first strength of the album; the other strength is the compositions.

The album is a hard swinger in the classic post-bop mould, and in spite of the references to past greats, the musicians insert a down to earth Kiwi quality. The compositions are superb vehicles for momentum and improvisation and the band wastes no opportunity in exploiting those strengths.  In light of the above and unsurprisingly, a track from the album. ‘Spring tide’, won Schwabe an APRA Award for best New Zealand Jazz composition this year. As you play through the tracks you will be grabbed by Manins bravura performance during ‘Anger Management’ or by his sensitive playing on the lovely loping ‘The way the cards Lay’ (Manins is Getz like here); at how beautifully McArthur pushes that little bit harder in order to get the best from his bandmates or how finely tuned Samsom is to the nuances of the pulse (plus a few heart-stopping solos).

It is, however, every bit Schwabe’s album and it is her playing and her compositions that stay with you. I am particularly fond of ‘There once was a Time’ – a fond smile in Bill Evans direction and evocative from start to finish. That such a fine pianist should be so under-recorded is a mystery to me. Thanks to Rattle that may well change. This is an album that Jazz-lovers will play over and over and each time they do they will find something new to delight them.

Anita Schwabe: (piano, compositions), Roger Manins (tenor saxophone), Cameron McArthur (upright bass), Ron Samsom (drums). Released on Rattle

IMG_0441

‘No Dogs Allowed’ is the follow-up to the acclaimed 2015 Jazz Tui winning album ‘Dog’. The earlier album set such a high standard that it was hard to contemplate that offering being improved on. This, however, is not a band to rest on their laurels and the restless creative forces driving their upward trajectory have resulted in another album that feels like a winner. This time around there is an Australian in the mix, as they have added the astonishingly gifted Adelaide guitarist James Muller as a guest. It was a brave move to mess with a winning combination and to expand the quartet to a quintet but anyone who has heard Roger Manins play alongside Muller will know that this addition was always going to work to their advantage.

While Muller has chops to burn and manifests a rare tonal clarity, you will never hear him deploy a note or a phrase needlessly. Here you have five master musicians speaking a common language and communicating at the highest level. Although each is a seasoned veteran and bursting with their own ideas, they harness those energies to the collective and the result is immensely satisfying. It must be hard for gifted musicians to set ego aside this way, but these five did just that.

While the album is the perfect example of Jazz as an elevated art form it is never for a moment remote or high brow. As with the 2015 album, the core Dog members shared compositional duties. There are two tunes each from Manins, Field and Holland and three from Samsom. Their contributions are different stylistically but the tracks compliment. Place Manins, Field, Holland and Samsom in a studio and the potion immediately starts to bubble. Add a pinch of Muller and the magical alchemy is complete. When you are confronted with a great bunch of tunes like this and have to pick one it’s hard. In the end, I chose Manins ‘Schwiben Jam’ for its warm embracing groove. The album and particularly this track connects your ears directly to your heart.

The Album is released on Rattle and was recorded in Adelaide at the Wizard Tone Studios.  DOG: Kevin Field (piano and keys), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums) + James Muller (guitar).

 

 

 

Backbeat Bar, CJC Creative Jazz Club gigs, Post Millenium

Watson meets Ward @ Backbeat Bar

Watson & WardIt is not often that you attend a gig where a set list covers such a range of styles but still pays due respect to each. If anyone could pull off such a gig; traversing the heights of Monk, Murray McNabb, Frantz Casseus, Bill Frisell and Ornette Colman it was these two. In lesser hands, the trajectory would have faltered, the items come across as disembodied. Here, the connecting threads, however improbable, made perfect sense. The centre held and the arc of the journey was a joyous adventure. Watson & Ward (1)

Neil Watson is a musician who musicians flock to hear. He breaks rules and strikes out in directions where few dare to follow. Everyone from Sharrock to Montgomery is referenced in his sound; with a generous pinch of Ribot thrown in for good measure. He sometimes hides in pit bands backing dancing fools, tours with famous country stars, opens for people like Marc Ribot, but whatever he does, he does convincingly. In recent years he purchased a pedal steel guitar and that is now an essential part of his repertoire. He exudes real warmth on stage, both as a storyteller and a musician.

I have only seen David Ward play on the odd occasion but it is always a treat. Like Watson, he is a master of diverse styles and he is particularly noted for his award-winning theatre compositions. He has toured extensively and gained a formidable reputation over the years. In Jazz and alternative music circles, it is the improvising band RUKUS that we mostly associate him with. RUKUS has featured a who’s who of adventurous improvisers such as Chris O’Connor, John Bell, Jeff Henderson, Eamon Edmundson-Wells, Cameron Allen, Finn Scholes & Rui Inaba. Watson & Ward (2)

The pairing of Watson and Ward guaranteed that creative sparks would fly.  It was always on the cards that they would perform together but until now the opportunity had not presented itself. I am certain that this project will develop from here –  logic tells me it has to. The quality of their musicianship was very much on display at the Backbeat Bar. On the three Monk tunes, they either ran unison lines or interwove an intricate counterpoint, and miraculously, the jagged phrases often created a fat Monkish dissonance; each guitarist deliberately landing on different voicings- creating a piano cluster chord effect. This was a quality band as Watson & Ward were backed by Cameron Allen (tenor and Baritone saxophones) Cameron McArthur (upright bass) and Chris O’Connor (drums). Understanding exactly what was required here the three left the lion’s share of the limelight to the guitarists. O’Connor displayed his usual eclectic virtuosity as the drum styles required were many and varied. Watson & Ward (3)

At one point Watson played solo, a composition by Frantz Casseus (a folksy classical guitarist who has influenced the likes of Marc Ribot). Out of his Fender came a delicate classical guitar sound – a moment of whispering clarity and magic. The pair also showcased their own compositions and again these contrasted in a good way. Ward’s ‘Mango’, ‘Shebop’ and ‘Hip replacement’ – Watson’s ‘Trash talkin’ (a Western Swing) and his extraordinarily ‘Murray’ – an apt tribute to the lost lamented and much-loved Jazz musician Murray McNabb. Among the tunes, we heard some heartfelt Americana (rare in New Zealand Jazz clubs and it is especially rare to hear Western two-beat Swing).

The high points were many, but I will put up two clips; The first is a Bill Frisell number ‘I am not a farmer’ from his moody atmospheric album ‘Disfamer’. The second up is a short clip where Watson plays a Frantz Casseus tune ‘Improvisations’ solo on Fender.

The gig took place at the Backbeat Bar, K’Road Auckland for the CJC Creative Jazz Club, 15 August 2018.