New Zealand Jazz Gigs

‘Pasif.ist’ Natalia Mann – an Oriental Dreamscape

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The music I cover here may not be Jazz in the purest sense but it is music that transcends the limitations of musical boundaries.  It has its own pulses and rhythms and it is improvised around themes.    This is a delicious orientalist dreamscape of the sort painted by Lord Leighton, Alma Tadema, Edward Lear and Eugene Delacroix.  It is redolent of sultry afternoons in an Ottoman palace or of the winding streets of Istanbul.   In the unfolding subtleties, one can hear the merest snatches of older themes; Constantinople and even Byzantium are hinted at but never confined.   This is not traditional Turkish music but an exotic vision of a landscape just beyond our reach.  This achieves what all great music does – connects us with a world that we would want to explore further.

In early December I received an email from Rattle Records inviting me to the ‘Pacif.ist’ CD launch and at that point I had scant information on the event.    I had every intention of requesting more details but the workaday world drowned me in trivia and I soon forgot.    One week later I was sitting in a meeting when the reminder flashed up on my iPhone; the launch was starting in an hour.

The venue was the spectacular Iron Bank building.   An imposing piece of modernist architecture towering far above the rainy Auckland streets.   The launch was held in an intimate minimalist space and the invited guests were mainly musicians associated with Rattle.  To one side of the dimly lit room was a beautiful red lacquered harp and beside it the barest bones of a drum kit (snare and cymbals).   Soon, harpist, Natalia Mann sat down to conduct a brief sound check and when she had finished I spoke to her about the lovely voicings that she was creating as she plucked and stroked the strings.   They were pianistic Jazz chords, but with all of the extensions added.   In the conversation that followed, we spoke of BeBop harpist Dorothy Ashby and of the later avant-garde stylist Alice Coltrane.   At this point, I was intrigued to hear the music, as this was a gap in my musical knowledge that I was very happy to fill.

I have long been a fan of Mediterranean, Middle Eastern Jazz and its Jazz/World Music offshoots, but I can’t recall ever hearing Turkish Musicians.   The launch used only a duo but they captured the mood perfectly – Natalia Mann (harp) and the well-known local, multi-instrumentalist Kody Neilson on drums. The album could perhaps be described as improvised World-Music but with Jazz inflexions – the sort that ECM presents so convincingly.   With top rated musicians like Tigran Hamasyan and Dhafer Youssef bridging the World/Jazz continuum we will see a lot more of this music on offer.   If you open your ears Jazzers and listen carefully, this gentle melodic music with its rich percussion will get to you.

After Natalia had returned to her busy life in Istanbul I conducted an email interview with her and this will be posted as an addendum to this post in a few days.

The Album Pacif.ist is available in download or hard copy from Rattle Records.    I would strongly urge buying the CD, as the artwork and liner notes are so good that it would be a crime against art to circumvent them. http://www.rattle.co.nz

The musicians on the album are; Natalia Mann (harp, compositions), Izzet Kizil (percussion & drums), Sercan Halili (classic Kemence & Alto Kemence), Abdullah Shakar (fretless bass & electric bass), Dine Doneff (double bass), Richard Nunns (taonga puoro [6]), Lucien Johnson (soprano & tenor sax [3]), Riki Gooch (percussion [1,2,3]), Naomi Jean O’Sullivan (gongs [9], co- writer), Serdar Pazarcioglu (violon [5]), Deniz Gungor (aqua [5]).   The album was mainly recorded in Turkey but with some instruments recorded in New Zealand.  That rich-voiced exotic string instrument you hear is the ancient Kemence (see interview).

After I had written this, I saw an article in the latest Downbeat about the growing Jazz scene in Turkey titled ‘Emerging Turks’.  The New York times has also highlighted this in a recent article.     Natalia is New Zealand born and of Samoan/European descent.   She is at present doing a master’s degree in Jazz at Skopje and is in demand with various European orchestras.   She loves Jazz and has projects on the way which will lean more in that direction.     

Istanbul – Pacif.ist cover art

Weaver of Dreams – Andrew Dickeson Quintet

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For those Aucklanders addicted to live Jazz, the month over which the CJC Jazz club was closed for Christmas seemed like an eternity.   The first of the New Years bookings made up for it though as premier Australian drummer Andrew Dickeson came to town and he brought with him a solid lineup (including a couple of ex-pat New Zealanders now living in Australia).  It was Andrews first time at the CJC but it will hopefully not be his last.

Andrew Dickeson is one of the most respected drummers in Australasia and in stepping out as a leader he has enhanced his already solid credentials.   Andrew has for some time been regarded as the drumming lynch pin of the Australian Jazz scene and when a visiting artist requires a percussionist he would be the first choice.

The band began with the fabulous number ‘Ill Wind‘ (Arlen/Koehler) and it was obvious from the get-go that the tasteful drumming was a cushion of energy powering the group.   As good as the musicians were it was the drummer that caught the attention first; not by showing off his chops but by his sheer musicality.   You were also aware of his powerhouse propulsive swing.   The drums managed to preside without ever overwhelming the rest of the band and to achieve this takes real skill.    This is the sort of maturity that experienced drummers like Jeff Hamilton bring to their gigs and it was nice to witness.

A point which illustrates this perfectly occurred when I spoke to Andrew the next day.    After listening to the CD I had wondered how he had managed to obtain such a crisp but soft sound from his ride cymbal on the ‘Weaver of Dreams’ track (Young/Elliot).    I asked him if he had muffled the cymbal in some way or ‘miked’ it down during mixing.   “No’ he said, “It is all about awareness of the situation.  I just play very gently when that is required”.    I had not known that you could play so gently on a ride cymbal without losing clarity of sound.   At this point Roger Manins leaned over and said, “this is what separates a good drummer from a great drummer.  The ability to fit perfectly into any given situation and to adjust your volume accordingly”.

Those appearing on the album are: Andrew Dickeson (drums, leader, arranger), Roger Manins (tenor sax), Steve Barry (piano), Alex Boneham (bass), Eamon McNelis (trumpet).    For this gig the latter two were replaced by Tom Botting (bass), Pete Barwick (trumpet, flugal horn).  The two acquitted themselves well.

Andrew had used Roger Manins on the album and witnessing his performance at this gig it was easy to see why.    Roger is undoubtably the best tenor man in New Zealand but we sometimes forget how well-regarded he is beyond these shores.    I have written about his playing many times and each time I see him I wonder if he will better his last performance.  He usually does.   As a born story-teller he can captivate from the first few phrases, but the magic he weaves is also due in part to his stage presence.   On ‘Ill Wind’ the pianist had laid-out for a number of bars and in this space Roger mined the bones of the tune to the marrow.  That is his way and as the solo developed there was an increasingly ecstatic quality to his performance.   I have witnessed this before and it draws me to his playing again and again.   In Jazz authenticity is everything.

Pianist Steve Barry grew up in Auckland but he later migrated to Australia in search of greater opportunity.   He is no stranger to the CJC and his occasional gigs at the club are happily anticipated by his ever-increasing fan base.   For some years now he has been working on the Australian scene and he is exceptionally well-regarded there.   Some pianists have an X-factor and Steve is one of those.   The history of Jazz piano is somehow referenced in his playing but he is more than that.  While unafraid of the past he is not owned by it.   This is a journey of stylistic development that we are privileged to witness and it is an ongoing story.    In this setting he was not only a good soloist but the perfect sideman, as his comping and sense of timing were superb.   We get one more chance to hear Steve before he returns to Australia; next week he is co-leader of a quartet performing at the club.

Tom Botting and Pete Barwick had been engaged for this one gig and they fitted in seamlessly.   I had not seen Pete Barwick play before tonight but he handled the charts with ease and performed each solo convincingly.   His strongest performance was on the Strayhorn balad ‘Isfahan.    His burnished ringing tone and clear articulation were just great.   Tom was a fixture at the club before moving to Australia and his bass playing is familiar to CJC attendees.     He is a reliable time-keeper but he can also be adventurous when challenged.  On this night he injected a sense of urgency into the uptempo numbers.  Sitting in for Alex Boneham would be quite intimidating to many bass players but Tom took it in his stride.   He had returned to New Zealand in disguise (no beard and shorter hair) but his signature bandstand persona was fully in tact.   Tom always looks and sounds extremely convincing and it is nice to have him back for a few weeks.

The other stand out number was ‘Soy Califa’ (Dexter Gordon).   To have Roger play a Dexter Gordon number is a no brainer.  He aced it and then some.  This was a great night out and once again it reinforced the strength of the Trans-Tasman Jazz alliance.

This album is well worth buying : ‘Weaver of Dreams’ – The Andrew Dickeson Quintet – Rufus Records (a division of Universal Music group).     rufusrecords.com.au – or  – andrewdickeson.com

Miles Espanol – New Sketches of Spain

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Late last year as I was reading Jazz Times I spotted an article about Bob Belden’s new ‘Miles Espanol’ project.  I like Bob Belden’s work but my first thoughts were, why mess with perfection?  I need not have worried because he has created something quite fresh and original; using ‘Sketches of Spain’ as a springboard into the now.

Like many Jazz listeners I had been deeply immersed in Miles Prestige recordings and his seminal ‘Kind of Blue’.    Soon after that ‘Sketches of Spain’ came into my life and along with ‘The Maids of Cadiz’, ‘Flamenco Sketches’ and ‘Teo/Neo’; Miles (and Gil’s) Spanish tinged music was seldom off my turntable.  As a guitar fan I was already quite familiar with Rodrigo’s ‘Concierto de Aranjuez’ and Flamenco.

Miles Davis and Gil Evans took this wonderful material and reworked it in ways that only master musicians could.  This was visionary and a new type of jazz – perhaps a fore-runner of the ECM Jazz which a decade later would unselfconsciously  absorb the music of cultures far removed from the American heartland.   Miles later described this Flamenco music as a type of blues – the voice of a people’s struggle against oppression.   I had not realised it before writing this, but my fascination in recent years with Mediterranean Jazz (and particularly Sufi/Moorish/Italian/Spanish Jazz) probably began right there.

This was a mammoth project to take on, but Bob Belden has a track record of realising such crazy visions.  He also has serious pull with musicians and industry players.

First on board appears to have been Chick Corea and Jack DeJohnette soon followed.   After that things came together in an organic fashion – each artist seeming to recommend the next.  He had not initially planned to ask 33 musicians to participate, but that is how it ended up.

Bob Belden is a well-known horn player producer/arranger/composer.  On this double album he does not play his warm-toned tenor sax (only Timpani and Marimba on one track).   As arranger producer his presence is never-the-less over-arching; like a Gil Evans for our times.   While he has guided the 33 musicians firmly towards the realisation of his vision, he also appears to have known exactly when to loosen the reins.

The artists were flown into New York from a number of countries but mainly from Spain, North Africa and South America.   The American musicians are mostly Miles alumni – a who’s who of Jazz royalty.   Chick Corea (p), Jack DeJohnette (d), John Scofield (g), Sonny Fortune (f), Ron Carter (b), Vince Wilburn jnr (d).  Add into that heady mix; Tim Hagans (t), Gonzalo Rubalcaba (p) Eddie Gomez (b), Antonio Sanchez (d), Alex Acuna (d) (perc), Jerry Gonzalez (fh) (c) and more -(the full list of musicians is at the bottom of the post).

Of note is the well know Jazz-Flamenco pianist Chano Dominguez (p).   I first obtained an album of his in the nineties and he is very impressive.    Other notable Mediterranean musicians are Rabih Abou Khalil (oud), Edmar Castineda (harp), Nino Joseles (g), Lou Marini (fl)(bass flute), Jorge Pardo (f), Christina Pato (Spanish bagpipe).

My favourite small group tracks are; (1) ‘Trampolin’ (by Chic Corea) – Chic Corea (p),Jorge Pardo (f), Ron Carter (b) Antonio Sanchez (d).  This builds in intensity until the grove is rock solid and it swings hard without losing the complex polyrhythms.   Chick understands this music very well. (2) Spantango (by John Scofield).

Larger pieces; Saeta/Pan Piper (Gil Evans- traditional)

The concept is so big that the overall album lacks a little in cohesion, however the tracks range from very good to marvelous.

Full listing of musicians: Bob Belden, Ron Carter, Jack DeJohnette, Sonny Fortune, Eddie Gomez, Gonzalo Rubalcaba, John Scofield, Rabih Abou-Khalil, John Clark, Tim Hagans, Jerry Gonzalez, Adam Rudolph, Jorge Pardo, Alex Acuña, Carlos Benavent, John Benítez, Chick Corea, Sammy Figuerova, Scott Kinsey, Lou Marini, Michael Rabinowitz, John Riley, Antonio Sanchéz, Vince Wilburn J, Mike Williams, Chano Domínguez, Luisito Quintero, Charles Pillow, Edsel Gomez, Jaco Abel, Dominick Farinacci, Victor Prieto, Cristina Pato, Edmar Castaneda, Brahim Fribgame, Niño Joseles.

Nathan Haines Fourtet – live@CJC

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Some weeks ago it was posted on the CJC website that Nathan Haines would be bringing his new band to the club and that this particular band was to be an acoustic Jazz lineup.   The talk among local musicians was that Nathan had been wrestling with some bold musical ideas and that after a trip to France and three months of wood-shedding he was now ready to unleash those ideas on a Jazz audience.

Anyone interested in the Auckland music scene will have followed Nathan Haines career and know that he has wide crossover appeal (here and overseas).   As a multi-reedist and flutist he is proficient on a number of horns and for a while people wondered which instrument he would play for this gig.  That was soon made clear when the details were posted.  He would be playing a classic 1963 Selmer Mk VI – purchased from Brian Smith earlier in the year.   This is an instrument with real provenance and in a way that set the bar even higher.        

The acoustic feel that the band are striving for goes way beyond the choice of instruments, because they intend to record in a few weeks and will wherever possible avoid using modern equipment.    It is Nathan’s view that recording technology has deteriorated over the years and so they are intending to use old style Neuman mics, the fabled EMI Neve desk and to record directly to tape with no mixing or overdubs.  There is also talk of them hiring a Steinway B for the recording.

As the threads of information gradually came together it was clear that this would not be any run of the mill gig and in line with expectations the band attracted the biggest crowd the club has yet seen.

The members of this band are all well-known to club attendees, but Nathan Haines and Kevin Field (piano) are obviously the veterans here.    The name Kevin Field alone is enough to pull a good crowd, but couple his name with Nathan Haines and a capacity standing room only audience is the result.  On bass was Thomas Botting (who has recently taken Movember to its extreme limits).    He may be young but he is a terrific bass player.   I often stay back for the Jam Sessions just to hear Thomas and his friends, (usually playing alongside Peter Koopman and Dan Kennedy).    Thomas can edge up the tension by executing a well placed pedal point or walk his bass lines in a way that is reminiscent of Jimmy Garrison.   This makes him a good choice for this uber-acoustic hard-driving lineup.    The remaining band member is drummer Alain Koetsier.  This is the third time that I have seen Alain play and I have always been impressed.   His ability to lay down complex polyrhythms and push a band hard is well-known.   On this night he was at his fiery best.

The first number ‘Universal Man’ (by Nathan Haines) was intense and up tempo and this signaled the get-down-to business mood of the band.    They were ready for this gig and clearly ready to push at the boundaries.  While they conveyed a strong sense of purpose this did not constrict them in any way as they ate up the changes; hungry for the next layer of the tune to be unraveled.   Nathan soared on this and on other numbers, reaching into the past for reference points but more importantly bringing all of his recent experience and learning to the moment.    This was a 2011 version of a classic jazz lineup.

Next came a ballad ‘Poet’s embrace’ which was both lyrical and deeply probing.   Nathan continuously mined the tune for newer and deeper meanings.   His tone was luminous and his playing (even on the ballads) conveyed the intensity of the moment.

That chiaroscuro effect established the vibe; which became a hallmark of the programme.    These contrasts in tempo and mood were well placed as they kept the audience focused.    Two pieces perfectly illustrate this skillful placement.

While Nathan had written and arranged most of the pieces, the fourth number, Ravel’s Pavan (Pavane pour une infante défunte) deserves comment.     This famous piece was a miniature of perfection.     To have added another bar or even another note would have ruined the mood.     Very few bands can resist the inclination to over-egg-the-pudding in situations like this and I congratulate the band for keeping to the spirit of the piece.    What was added was subtle and it revealed a deep understanding of the music.    Colourist drumming, well placed bass lines and skilful minimalist chord placement; giving Nathan the platform he needed.  This illustrated perfectly the maxim that less is sometimes more.

The last piece ‘Consequence’ was a powerhouse performance.   So intense was the mood and so up-tempo was the pace that the audience seemed to lean back; as if a freight train was passing.   Each instrument soloing often and with each solo the tension increasing.    The drumming was so powerful that one of the audience swore that the kit remained airborne throughout.   This was an in-the-pocket performance and over that crescendo of sound Nathan blew up a storm.

At one point Brian Smith had joined the band and to see him and Nathan performing Wayne Shorter’s  ‘Speak no Evil’ was great (I have always loved Shorter’s material).   Two of our best tenor players belting out the unison lines and constantly challenging each other during solos.    Kevin Field had also contributed one piece ‘Raincheck’.  Kevin’s compositions are well constructed and appealing.

The band finished after two long sets looking exhausted but satisfied. So were we.

I will await the new recording with great interest.  This was a performance that it would be hard to improve on, but with a band this focused that may just occur.

Michel Benebig: soul on Pacific soul

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Noumea resident Michel Benebig is a mavin of the B3 and its compact love-child the Nord C2. He is the sort of musician that sets the world to rights and sets your feet tapping.

He is a story-teller on the B3 organ (C2) and through his fingers flows the history of this wonderful instrument. The chords that he uses are rich and warm and capture the instruments journey from the African-American southern church’s to the Jazz heartland. While his voicings contain hints of the greats that he references like Brother Jack McDuff, Jimmy McGriff and Jimmy Smith; Michel is comfortably settled in his own style. He speaks with the unmistakable authority of a South Pacific Soul-Jazz master and it reinforces the view that Pacific Islands like New Caledonia and New Zealand have unique contributions to make to this music.

Michel was accompanied on tour by Shem Benebig (his wife) and the French drummer Johan Cazalas. Shem is a fabulous singer and she knows how to enhance the mood by a lowered tone, a hand gesture and a quick smile. When others were soloing she would stand a little to one side and dance; her movements contained more than a hint of the sensuous Kanak rhythms. Shem guided the proceedings with the consummate skill of a professional; holding the attention or directing it to the other musicians as required. No audience is ever going to be disappointed when this husband and wife team are performing. Johan was an observant and tasteful drummer. He would watch during a solo and lift the performance exactly when it was required. Never over-crowding the others and always supportive.

The band had a Kiwi horn section to assist them and if I heard correctly these guys had not seen the charts until a few hours before the performance. If that is true they did doubly well. The horns provided added heft to an already powerhouse sound and in doing so followed the best traditions of the Soul-Jazz genre. Ben McNicoll (Baritone sax), Chris Neilson (trumpet, flugal horn, alto sax), Jimmy Garden (tenor sax). The tight ensemble playing and a particularly lovely baritone solo by Ben earned them good applause.

The first set had begun with a tune called ‘Mr Jim‘. One full-throated blast from the organ and we were immediately locked into a warm soul-Jazz groove that never abated. As the night progressed we heard slow burners and heart stopping up tempo tunes. My favourite was a tribute to Jack McDuff titled ‘Captain Jack‘. This was not only a fitting tribute to the long departed B3 master, but an up-to-date comment on the Pacifica Jazz renaissance. Another tune Papillon about a tiny butterfly was a perfect vehicle for Shem and it tapped right into the ‘rythmes Kaneka‘. Michel could move from a quiet soulful chord to a stuttering tidal wave of sound in an eye blink and that is partly because of his chops and because of the unique qualities of this instrument.  An organist has to control many things at the same time but he is particularly required to control the following; Swell pedal, bass pedals and the two keyboards. When you consider what improvisers must do mentally and add in the above, this becomes a truly impressive feat.

I spoke to Michel at length during the break, and at the house-party a few days later. He is in the mould of great Jazz Musicians everywhere. Self effacing and engaging as a conversationalist. Full of wonderful stories about Joey DeFrancesco, Jimmy McGriff, Tony Monaco, Lewis Nash and others. As we talked I mentioned my liking for the great French B3 player great Eddy Louiss. “Oh yes Eddy Louiss is a monster” he said dropping his voice to a reverential whisper. “I met him in France a few years ago and it made my knees weak just to be in his presence”. I suspect that many up-and-coming B3 players will find meeting Michel has the same effect on them.

When music like this is playing it is good to be alive.

Zoo: Tom Dennison

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‘Zoo’ is bassist Tom Dennison’s first album as leader and it is a thing of beauty. This is a concept album and such albums focus around a theme. The very best of them stimulate the imaginings as well; leading the listener into subtle dreamscapes that can shift and change endlessly. ‘Zoo’ does that.

Five of the seven tracks are named after animals, but we get no sense that these are the anthropomorphic playthings of humans. The Stingray, Owl, Llama, Cat and Antelope all gain distinct lives of their own; that not withstanding the whole is greater than the sum of its parts.

The first thing that the purchaser will notice is the exceptional art-work & design (by Caravan + Vivienne Frances Long). While the album can be purchased as a download, it would be a shame to miss out on the 3-fold cover or the best fidelity option. Every part of this album belongs together and perhaps that is its genius.

Once again the Auckland Jazz scene has surpassed itself and with these musicians it is hardly surprising. I know and admire most of the band members and Tom could hardly have picked better. There are a number of firsts as far as I can see and this being Toms debut album, the most obvious one. I have seen Tom Dennison play around town, but the first time I saw him was at an ‘Alan Broadbent‘ concert in the Auckland town hall. When the trio played ‘My Foolish heart‘ I could imagine Scotty La Faro nodding in approval – so perfectly did Tom execute the piece. He also played with pianist Mike Nock and not long after that went to New York to study with Larry Grenadier and the equally renowned Kiwi Bass player Matt Penman. It was after this sabbatical that he returned home to work on the ‘Zoo’ album and the results of his efforts are available for all Jazz lovers to enjoy. With chops and writing skills like this he was never going to disappoint.

I am pleased that the album features the New Zealand born but Sydney based pianist Steven Barry on piano. He is an astonishing musician and to have him recorded this well is pure bliss. While comparisons are often odious I cannot help but place him stylistically somewhere between Steve Kuhn and Brad Mehldau. When he played at the CJC a few months ago he floored us all. Those that knew him nodded with an “I told you so” look – while those who were less familiar became fans for life. This guy can breathe new life into any old warhorse and his own compositions amaze. He is a shaman of the keyboard and a perfect foil for the other players. He demonstrates this time and again as the album unfolds.

We also get to hear him in trio format on the final track. ‘The secret life of Islands‘ is intensely beautiful and it leaves you wanting more. This is the perfect bookend to the album. Introducing a song about an Island rounds off the ‘Zoo’ concept perfectly and gives it another Kiwi reference point. In my view the song could not have been written by anyone other than a Kiwi.

Also appearing is the gifted and much admired guitarist Peter Koopman Jr. Peter is both tasteful and innovative on this album and his long intelligent probing lines mark him out as a born improviser. His maturity as a player is more than evident here. Sadly for us he is to depart for Sydney in a week and that is Australia’s gain.

The veteran of the lineup is Roger Manins and he always pleases. We have come to expect Roger to play like there is no tomorrow and to play what is appropriate to whatever lineup he is in. On this recording he gives us his best and that is most evident on the ballad (track 5). Any song called the ‘The cat’ was always going to work for me and I was especially pleased with this composition. Roger plays this so convincingly that it sounds like a much-loved and familiar tune. That is also due to the skill of the writing.

The drummer Alex Freer is the remaining quintet member. I have not seen him play live, but he is like his band-mates, perfectly suited to the job in hand. I realise now that Alex, Tom, Peter and Steven have played together for a long time, because You Tube clips show them performing in their mid teens.

This album is New Zealand’s own version of ‘Empyrean Isles‘ and like Herbie’s album I am hoping that a ‘part two’ will be recorded someday . Perhaps featuring a rare and secretive pelagic bird like the New Zealand Storm Petrel?. Those particular birds were hidden in plain view and lived a secret life on nearby islands for 100 years. This album has been discovered from the moment of its inception and it will hopefully suffer no such fate.

Once again thanks to Rattle Records’ and to Steve Garden for recording this so beautifully. Order from http://www.rattlejazz.com

Afterword – ‘Mother Tongue live’

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This was an amazing night of music and to those who missed it – shame on you. If you have a domestic air ticket lying about or are living in the lower North Island or South Island you can still catch the act (see previous post). Carolina is quite something on her ‘Mother Tongue’ recording but to see her perform live is to experience much more. She is a singer who should be experienced live because she is also a stellar performer. The intricate sinuous hand gestures as she sings, create an added texture to an already rich and evocative music.

This band is first class and what they brought to the music was simply wonderful. Having two of Auckland’s best drummer/percussionists in the one band did not hurt at all. They were similar in style to Manu Katche and Nano Vasconcelos who have often performed together in such Jazz/World music. It was the second time that I had caught Chris O’Connor at a gig and I can see why he is so in demand – especially for intricate drum work like this. Ron Samsom’s skill on the drum kit was already very familiar to me and it was fascinating to watch these two percussion masters swap roles throughout the performance.

Roger Manins did not play his usual tenor saxophone but showed his chops on the bass clarinet (Eric Dolphy and others used this axe to great effect). The deeper and woodier sounds were entirely appropriate for this ancient music and Roger still managed to stretch out convincingly. He also played the more traditional clarinet and the flute.

Nigel Gavin used a resonator guitar and a manouche guitar, and he stunned with his combination of lightening speed and middle eastern modal riffs. Although his guitars were amplified and had the usual array of pedals, his contributions were so well placed and appropriate to the music that it was hard to imagine the pieces without him. Kevin Field (piano), Matthias Erdrich (bass) and Jessica Hindin (violin) performed their parts with ease and this underscores their musicianship as none can have been that familiar with such diverse musical genres.

Apart from the Sephardic music we heard songs in Hebrew, English and Gaelic. There was also a standard, ‘Black is the colour’. This old english ballad was so beautifully executed that the audience seemed to hold their breath at each phrase. No one wanted to miss a single note.

I have long wondered why Jan Garbarek‘s compositions and arrangements are not used more by Jazz musicians and on Wednesday I had that view reinforced. A version of Garbarek’s arrangement of the traditional Nordic piece ‘Gula Gula‘ from ‘I took up the Runes‘ was played. It was the best version you could ever hope to hear and Carolina who is a gifted linguist had learned the Gaelic pronunciation of the song. During this piece the band stretched out and went crazy. It was one of those moments when you hoped that the music would never stop. If I have one plea it would be; perform more Garbarek compositions and arrangements please – perhaps with a bowed electric bass Eberhard Weber style.

‘Mother Tongue’ – Carolina Moon (the Sephardic music of medieval Spain)

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Carolina’s wonderful album ‘Mother Tongue’ is beguiling and all it takes is a single listen, for the mysterious beauty of this ancient music to stay with you forever.   This album speaks of medieval Spanish Sephardic culture with absolute authority and in partaking of the journey we are connected to a time and place most New Zealanders know little about.

The Moors ruled much of Southern Spain (Al Andalus) for nearly 700 years and what is little known is that they welcomed the Jewish diaspora to live among them.     This tolerance by Islamic Spain lasted until the Reconquista by the Catholic Christian armies of the north and after their arrival (15th century), the Judeo-Spanish faced the ultimatum of expulsion, conversion or death.  The songs of the Sepahardic Jewish are rich in imagery and the cadences of their unique language are evident in these sensual and often wistful songs.     Contained in this music are the rhythms of Arab, Hebrew and Spanish life.    A truelly blended music that has been deeply enriched by the streams that have fed it.    Ladino (Latin) is the term for this ancient language, which has also helped form the distinct Catalan variant of Spanish.

Carolina Moon (Mannins) is a fine Jazz singer but she is also a multi-lingual singer and well versed in other musical genres.  She is British by birth but has worked extensively as a musician and music teacher in the UK, Australia and for some time now New Zealand.   This is our gain.   The excellent arrangements on ‘Mother Tongue’ are Carolina’s and it is this factor, coupled with her unmistakably rich voice,  that gives the album that extra depth and authenticity.  It is obvious that she has invested everything in these performances.   This has never been just another gig for her

I would like to make mention of several songs that are on the album.  The first is the wonderful ‘Ondas’ (13th century Spanish).  The word in Spanish means wave or ripple and she could not have chosen a better track to open with.  The timbre of her voice is rich and filled with the passion and longing of the song.   At certain points the emotion is so visceral that it sends a shiver down the spine.     I have not reacted to a voice in that way since I last heard Sassy on ‘tenderly’.  The second and contrasting song is ‘Tres Hermanicas’ (track 8).    This is a traditional Sephardic song and the full band is used to very good effect.    Because of the arrangement and the rhythm it sounds closer to the Manouche traditions.

The accompanying musicians are all top rated and many are the cream of the Jazz world.   New Zealand’s finest acoustic guitarist Nigel Gavin is the only choice for this music, as his Manouche credentials and guitar chops are impeccable.    Kevin Field is on piano and once again he has managed to be the perfect accompanist. Caroline’s husband Roger Manins weaves his usual magic and his abilities as a multi reedist are manifest here.   Ron Samsom and Chris O’Connor (percussion and drums), Jessica Hindin (violin), Matthias Erdrich, Mostyn Cole, Steve Haines (acoustic bass).

Every music lover should purchase a copy of this, which is produced and mixed by Steve Garden for Ode records (with the assistance of Creative NZ).    To learn more about this gifted artist go to;  http://www.moonmusik.com – better yet come and hear her perform live during the tour – underway at present.   The next performance is at the CJC (Basement of 1885 Galway St) Wednesday 2nd November.

Footnote: The first merger of western music and African Music was always thought to be Jazz, but musico- ethnologists are now pointing to Moorish Spain (over a 1000 years before), as the first time this occurred.    The improvising traditions are deep streams within all good music.

‘Melancholy Babes’ + Eric Boeren – out cats@CJC

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Any club that was attempting to present a wide spectrum of Jazz styles would commit a sin of omission if they failed to include some of the more experimental Jazz on offer.    The CJC management have open ears and so on Wednesday they offered up the well-respected Wellington based new-jazz ensemble the ‘Melancholy Babes’ (plus guests).  The Melancholy Babes are: Jeff Henderson (alto sax), Anthony Donaldson (drums), Tom Callwood (bass) – [replaced by Gerard Crewdson (tuba)]. – special guest Eric Boerens (trumpet), John Bell (vibraphone).

The ‘Melancholy Babes’ appeared with guest trumpeter Eric Boeren of Amsterdam, who has long been touring the world and setting audiences on fire with his free ranging improvisation.    Eric has a long history in avant-garde music having played with titans like ‘Malachi Favors and  Roscoe Mitchel (of Art Ensemble of Chicago & AACM fame).   The usual Bass player (Tom Callwood) had been replaced for this gig by Gerard Crewdson on Tuba and a vibraphone was added for the last number (which occupied the entire second set). In Auckland we seldom get the chance to hear such groups, as Wellington is the New Zealand home of the experimental music scene.

In experimental music you are seldom going to get a gentle melodic swinging introduction to a tune and this is perhaps the point of the music.    It will find its own rhythms and develop an organic logic as the pieces progress.   The band opened with an explosion of sound and the force of it was initially startling.  The quick runs on the horns rose and fell, often ascending into squalls of sound or multi-phonic effects.  The insistent propulsive drum beats and the steady pulse of the tuba sent them even further out.     While the music was often wild, it took the sometimes incredulous audience along with it and as the journey progressed we felt ourselves to be part of what was unfolding.

At times the band would mysteriously coalesce into a gentler incarnation of its wilder self and in this reflective space, miniatures or tiny motifs would be crafted.  Perfect creations that stood apart, but somehow augmented the whole.  I was surprised at just how drawn into the process I had become and others felt the same.    We were hearing hints of something vaguely recognisable and intriguing, but for a number or two, just what, remained elusive .    Then it hit me; this felt like the history of Jazz and improvised music unfolding.    Rambunctious would be Buddy Bolden‘s swaggering up an ancient New Orleans street as the crowd egged them on.   1930’s Harlem bands, Hoe-downs & Jigs, raggedy defiant funeral marches.   They were all in the mix and our collective Jazz memory was being teased and refreshed.     I was not alone in arriving at this realisation as my friends Jason and Catherine and Sarah heard similar echoes arising from the music.

Having the Tuba was inspired as it gave the music a depth and a foothold in history that it would otherwise have lacked.   The Tuba nearly always took up the bass line in early Jazz as the bass would not have been heard above the brass dominant bands.   It was not until the advent of better recording techniques and amplification that double bass replaced it.   Tuba player Gerard Crewdson has solid credentials on the experimental scene and he understood exactly what was required.   There was also an element of word Jazz when Gerard intoned the story of the Melancholy Babe, while turning the pages of what looked like a very large comic book.  Like the music this was anarchic and humorous.  Many sacred cows were savaged on this night and if any cobwebs had been hiding in corners of the club they would have been blown away by the night’s performance.

Both Anthony and Jeff are well-known on the experimental music scene and I will hunt them out in Wellington one day soon.    Afterwards I talked to the band for some time and I was surprised to learn just how active the experimental Jazz scene is.   Anthony and I talked about Annette Peacock, the Black Saint label, Hat Art, the Art Ensemble of Chicago and Free Jazz music in general.    This sub-genre is certainly very well-respected around Europe, but in the USA it has a stronger following in some cities than in others.    Wellington it appears is solidly in the mix.

The night was fun and it was challenging.   I am glad I went. 

Brian Smith Band & Hard Bop heaven

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Brian Smith - CJC gig

To list all of the famous artists that Brian Smith has accompanied in the Jazz/Soul/Pop world would make this a very long post. To name a few (Soul) Gladys Knight & the Pips, Dusty Springfield, (Jazz) Jon Hendricks, Annie Ross, Nat Adderly, Mark Murphy. Brian was also a founder member of ‘Nucleus’ with Ian Carr. He was for many years one of our most successful Jazz/Soul exports but in 1980 he returned to New Zealand. His ‘Moonlight Sax’ (1990) went platinum, was the album of the year and sold over 40,000 copies which is astounding for a Kiwi Album.

Last night this Jazz icon played at the CJC and with him were a number of well-known New Zealand Jazz musicians. The band was; Brian Smith (tenor sax, soprano sax), Kevin Field (piano), Kevin Haines (double bass), Frank Gibson Jnr (drums). They started with one of Brian’s own compositions titled ‘Blues for Teo‘ and the band got down to serious business immediately. They are a hard swinging unit and as they unpicked the tunes they wove a collective magic.

Brian was a commanding presence in the mix (which was hardly surprising) but his band-mates could not be faulted either for their ability to shine beside him. It struck me (and not for the first time) just how strong a presence Kevin Haines is. He and Frank were obviously on comfortable ground and they pushed boundaries because they could, and because they found new and interesting things to say. I have seldom heard Frank play better. Kevin Field is a very popular and talented local pianist and to have him in any band is simply to have the best. His crisp chord work and soaring solos are never less than perfect.

Jazz Musicians are often natural comedians and Brian is no exception. When introducing the second tune he said, “the band will practice for four bars and by then we should have a hang of it”. The tune was a George Chisholm original and in spite of the intro we heard no missteps. The tune ‘Seriously flawed (floored?)‘ was the first of a number of new charts by George Chisholm. These were great vehicles for the band and when they played the lovely Chisholm ballad ‘One for Martin‘ they struck the mother-lode. This piece was penned in remembrance of the much-loved Kiwi Jazz guitarist Martin Winch who died in May of this year. It was suggested to me recently that we only have the sudden influx of very promising Jazz guitarists around Auckland because of Martin’s influence and example.

This and other Chisholm tunes deserve to be played often (plea to local musicians). * George is a well-known trumpeter from the local scene having recorded in his own right and as a sideman with locals like Phil Broadhurst.

We heard fresh versions of standards like ‘My Funny Valentine‘ and best of all a few Wayne Shorter tunes. The darkly brooding and deep Shorter compositions are favourites of mine and any group who attempts them and executes them well has my appreciation. The groups rendition of ‘Black Nile‘. ‘Lester Leaves Town‘ and ‘Speak no Evil‘ were well done and as these are difficult tunes to get inside of, they must be commended.

The New Fuse Box – The Wakem/Nielson Project

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The Wakem/Nielson Project

When I received this CD in the post I knew very little about ‘The new Fuse Box‘ as I had only seen a few mentions of them online.     Happily I will never be in that state of ignorance again.     While this may not be your typical Jazz offering it is never-the-less highly enjoyable and as the Jazz scene in Auckland matures we are learning to appreciate a diversity of soundscapes.     This is not quite the raw and highly energised music of a live band but it is enjoyable, well arranged and beautifully articulated.   The music has a depth that may elude the listener at first play, but listen again and it will get under your skin and stay there.

This is essentially Kiwi music (Auckland music), and a sense of space and sunlight pervades the album.   Over the years I have come to recognise that there is a certain discernible quality when Jazz has developed in remote-from-the-centre locations; this sense of place exists in juxtaposition to the usual traditional aspects.    Scandinavian,  French, Italian, Sardinian, Spanish and German Jazz all have a unique something that would not have arisen had the music been made in America.   New Zealand Jazz is now claiming its own space.

There are fifteen tracks on the album and they skillfully mine a number of vibes.   There are funk infused tracks and soulfully slow tracks but they all seem to work as part of a cohesive whole.   Above all this music does not take itself too seriously as there is musical humour as well.   While I have many favourite tracks I simply cannot resist the intentionally over-the-top and utterly delightful ‘Bossa Tossa‘.     This track will put a big smile on your face.   There is also a filmic quality to this material and the best of Jazz movie-score writing is conjured up here.

All of the material has been composed and arranged by Lindsay Wakem (horns arranged by Chris Nielson).   Lindsay is terrific on piano and keyboards and I hope that he will give us longer solos on future releases as the piano is often back in the mix.   His piano playing has a crispness and clarity to it and I am keen to hear more.   ‘The New Fuse Box‘ is a multi- talented band and Chris Nielson the co-leader needs a mention at this point.   When I looked at the credits and I saw, ‘horns- Chris Nielson’ I was puzzled.   I phoned Lindsay and asked him if there were uncredited horn players.   I quickly learned that Chris is not only the trumpet section but that he plays all of the saxophone parts as well.   The charts are gorgeous and the multi-tracking so seamless that it is a struggle to imagine him playing all of these parts.   The drummer, on all tracks except one, is the well known and much respected Jason Orme (Blue Train etc).  Jason can take on any task in Jazz drumming and he is a an asset here.  The bass player is Phil Scorgie.  He and Lindsay go back a long way.  Other artists appear on single tracks and they are guitarists, Dean Kerr & Frans Huysmans – Kody Nielson drums.

Jazz is a music which teaches us something of history and struggle, but more importantly it is a music founded in the desire for change.   It is not a museum piece and so it should always explore and challenge the world around it.   This album does that and I look forward to more from them.   The ACT and ECM labels (both German) have profiled this sort of jazz to great advantage.     There is a real market for this material and I hope to see more of it.

ACT’s Lars Dannielson, Blue Note’s Bob Beldon and ECM’s Mathias Eick have paved the way and our own bands should now be welcomed into this interesting space.   The album is self produced and so for a copy contact:  lgwakem@xtra.co.nz

Alan Brown-‘Between the Spaces’ – CJC

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Alan Brown at Keyboards - CJC

If this was a law court I would have to recuse myself immediately because I have a heavy bias in favour of anything Alan Brown does musically. Having said that it was hard to imagine how this very different lineup would sound, because the ‘Blue Train‘ magic has long been etched into my brain as the archetypal groove unit.

Alan is a superb keyboardist and band leader but above all he is a brilliant arranger and composer. It is the latter skills that have especially come to the fore with this band and the title track ‘Between the Spaces‘ gives more than a hint of the musical direction. ‘Blue Train‘- has always been a tightly focused hard-driving Jazz funk band and one which makes your feet tap uncontrollably. This band builds on that vibe but with new soundscapes opening up, endless possibilities are there to be tapped. Alan’s already impeccable writing skills have been surpassed here, because these charts are everything that an improvising band could hope for. It is ECM meets Funk and surprisingly it works perfectly. In my view Ode Records should talk to ECM’s Manfred Eicher about this group, as everyone would gain by the exchange.

As this was the launch of the ‘Between the Spaces‘ album I had been determined to get to the club early because I knew that seats would be hard to find. I was right because the club filled to capacity before the band had played a note. As with previous Alan Brown gigs the ages of those attending ranged from 18 to 60 plus.

The opening number ‘Sounding Out‘ was a foretaste of the great music that we were to hear throughout the two hours. Over the course of the evening we heard all of the tracks on the album in extended form plus two additional numbers that had not made the final cut. I was fascinated by the textures, rhythms and the colour tones that the new lineup was evoking. As each number unfolded, tight insistent bass lines were being laid down by Marika Hodgson while Alan would often set up a vamp; his left hand authoritatively setting the tone and rhythmic feel. He has an uncanny knack for capturing the essence of a tune while leaving adequate space for the others to build upon it. His deep in the pocket funky chords worked perfectly against his darting upper register flurries.

A treat for me was guitarist Andy Smith. He used quite a few pedals and his tone was midpoint between the Jazz and Rock spectrum. This is a territory well mapped out in modern Jazz guitar and Andy executed the twists and turns without overdoing it. He reminded me of Terje Rypdal at times but his obvious virtuosic abilities were kept tastefully in check and he is to be commended for that. I was especially pleased by his occasional use of the ‘chika-woka’ wah-wah effect when comping against multi layered grooves. Jono Sawyer (d) is already well-known about town and his musicality and his ability to support the band on a cushion of insistent beats rounded off a perfect unit. This group understood very well that great music demands some space between the notes.

As good as this band was, it was the inclusion of the guest musicians that lifted them to perfection. Their addition to the sound pallet showcased the shear brilliance of Alan’s concept and the pieces on which the three-piece string section and well-known saxophonist and flutist Nathan Haines played, lifted the performance into the realm of the sublime.

I have two favourite tracks on the album: The first is the angular, and wonderfully funky “The Dancer & Chess”. This number has complex time signatures but it is so well constructed that an implied centre imparts a level of simplicity that belies the more complex polyrhythms whirling around the changes. This is performed by the core quartet and the counterpoint between band members works well.

The second highly recommended piece is ‘Epilogue’ which features Nathan Haines extraordinary flute work. He weaves in and out of the tunes with such skill, beauty and dexterity that I was left open-mouthed. As if this were not riches enough, the swell of the violins and cello added a perfect layer into the mix. The slightly tart voicings of the strings showed Alan to be a master of composition. He had understood perfectly what was needed and ensured that any hint of sirup was eradicated by using just enough discord. Thomas Botting also featured in two numbers and he fitted seamlessly into the mix. Having an upright bass did not detract in any way from the well established vibe.

Immediately after descending the stairs I had purchased the first copy of ‘Between the Spaces’ put out for sale and it has not been off my Hi Fi since getting it home. If you have any love of Jazz Funk buy this CD and if you don’t buy it anyway because someone you know will be happy to appropriate it.

The core band is: Alan Brown (piano, Keyboards, arr, comp). Andy Smith (electric guitar), Marika Hodgson (electric 5 string bass), Jono Sawyer (drums) – string section; Stella Kim (violin) Annika Balzat (violin) Sally Kim (cello). Guest appearances; Thomas Botting (bass), Nathan Haines (soprano saxophone , flute).

Phil Broadhurst Quartet – CJC ‘Delayed Reaction’ launch

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This was a special night because the band was simply superb and it was a special night because the music paid tribute to Michel Petrucciani.   Phil Broadhurst the leader of the quartet needs no introduction to New Zealand musicians as he has been the familiar face of Auckland Jazz forever. Whether playing as resident pianist in the London Bar ,accompanying visiting musicians or performing his role as senior tutor at the Massey University School of Jazz, Phil has been at the epicentre of the New Zealand Jazz scene.   He is a gifted artist and a prime enabler.

Wednesday was the official launch of the ‘Delayed Reaction’ CD which marked a milestone in what has been a long and interesting journey.   Not only for Phil, but also for those of us devoted to the music of Michel Petrucciani and who now get to share in the journey.   Phil has probably studied Petrucciani’s body of work more extensively than any other and this music is the evidence.

The quartet is: Phil Broadhurst (piano, leader, arr), Roger Manins (tenor sax), Olivier Holland (bass),  Alain Koetsier (drums).  – *guest Mike Booth (flugal horn)

The first set opened with ‘Brazilian like‘, a well-known Petrucciani composition.   This medium tempo number paid tribute to the original but Phil and Roger gave it a slightly more bluesy feel which added interesting dimensions to the tune.   When I listened to that particular track on the album, I realised that Phil had achieved a rare thing.   The voicing and percussive attack were unmistakably Petrucciani, but in managing to add some of the feel and spaciousness of the New Zealand musical landscape he made ‘Brazilian Like‘ ours as well.

Next was the title tune ‘Delayed Reaction'(Broadhurst).  The number built-in intensity without losing any of its beauty and the quartet were obviously focused on treating this original with the same respect as the Petrucciani compositions.   Throughout the two sets there was a perfect juxtaposition between Petrucciani compositions and Broadhurst originals.  Phil had reworked many of the Petrucciani tunes and the result was to create a very satisfying melange.    Other Petrucciani tunes played were; ‘Guadeloupe‘, and the wonderful ‘Looking up‘ – a tune brim full of exuberance and always conjuring up Michel Petrucciani’s infectious good humour which he maintained against all odds.  He would have liked what this band offered up.

Of the Broadhurst originals I particularly liked ‘Oranje‘ (so titled because it was the birthplace of M.P.) and the lovely trio piece titled ‘Matai Bay‘.   During this last evocative number the considerable skills of Olivier Holland (b) and  Alain Koetsier (d) were particularly in evidence.   On the rest of the numbers Roger Manins (ts) shone with his story-telling bluesy intensity.   His performances are consistent in this regard and it is my observation that any group he plays in, is lifted up a notch.

We also heard a few standards and the rendition of ‘You Walked Out of a Dream‘ was fabulous.  Phil increasingly threw challenges at the others and they responded in ways that had us on the edge of our seats.  Roger soon exploded into his solo and the exultant soulful wailing as he seemed to depart from the upper register, had everyone spellbound.   Mike Booths (fh) contribution was on ‘If I Should Lose you‘ and this was also well executed.

A few years ago my partner Darien and I were traveling through the ‘Loire Valley’ France and I spotted a road sign indicating that we were close to ‘Blois’ a town famous for its castles, château and its Houdini association.   It was not those things that drew me to stay there but its association with Michel Petrucciani.     He wrote a wonderful suite about the place; one section was titled ‘Night Sun in Blois‘.   Sitting on the ramparts of that ancient and stunningly beautiful city at dusk I could hear that piano piece echoing in my head as the sun filtered through the now dark mass of the surrounding  forest.    The Loire river was a shinning golden reflection way below us and I wondered if Petrucciani had sat on this very spot when he was inspired to write that tune.

That powerful memory had faded with time but it was sharply brought back to me as I listened to this tribute and I thank the quartet for that.

The album ‘Delayed Reaction’ is on ‘Independent Artists’, a New Zealand label associated with ‘Rattle’ records.

Chateau by night near Blois

Tricolour's above Blois

Trio White – CJC

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Trio White @ CJC gig

I am a big fan of Jazz guitar and so I need no arm twisting to get me along to a Jazz Guitar gig.   Last Wednesday the CJC featured a local guitar trio (+ piano in second half).    I was not previously aware of ‘Trio White’ and so I was intrigued.    I soon learnt that this band knew exactly what they were about as they launched into the first set with fiery determination.

Trio White is composed of; Ben White (guitar), Joanne Shum (bass), Steve Harvie (drums)

From an overheard conversation I learned that they had been keen to play at the CJC for a while and were hungry to play in front of more Jazz audiences.   They have been together for a while and according to their promotional material formed in order to explore the most contemporary sounds of Jazz.

On Wednesday the group performed their own material,  but they do mention Kurt Rosenwinkel as an influence and I am not surprised.

While they treated us to some slower and more melodic numbers, the main thrust of their music was intense hard-driving; blowing jazz.  Their was no mistaking that Ben White was the leader and he worked the band hard as he executed his rapid fire runs up and down the neck of the guitar.   He also demonstrated some skillful chord work and comped when the bass took a solo, but the thrust of this hard-driving music came from the intense lines he tossed out.

It was hard to catch the song titles as the band did not pay terribly much attention to introducing tunes.   They began by launching straight into the music and only brief announcements followed; almost as an aside.    They were primed to play and that was all that mattered.

For the second set they were joined by Dr Stephen Small on piano and as you would expect a slightly more reflective vibe took over.   Having a piano added to a guitar trio changes the dynamic and the musicians have to be more aware of creating room for each other.   It can also free up a guitarist, as chords are less of an issue to be factored into the mix.

One number I did catch the title of was the ironically named ‘Untitled Tune‘.   For me it was the best number of the evening.    I loved it from start to finish – thoroughly enjoyable music.   The band communicated as a unit and were more aware of each other; responding in the best possible way to the challenges being laid down.

Following that was a slow burning groove number with a walking bass line that drove the tune relentlessly.   Joanne Shum held the centre and for this one track she and drummer Steve Harvie ruled the roost.    Dr Stephen Smalls piano was excellent as well and he did exactly what was expected of a pianist joining a piano trio.

In last weeks blog I speculated that this might well be the golden era of Auckland Jazz.   If that is the case then it is down to this CJC Jazz club and the dedication of Caroline, Roger, Ben and the others who work at this so tirelessly.     Keep them coming please, the magic is apparently endless.

‘Blue Train’ – New Zealand’s funk warriors

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‘Blue Train’ have been around for about twenty years and most Auckland Jazz lovers will be very familiar with them.   On Wednesday night they returned to the CJC by popular demand and as anticipated the club filled up quickly with an expectant crowd.    This band is everything you could hope for if you are looking for a get-down & dirty – groove Jazz funk outfit.    Not only did they play well, but they hardly needed a glance at their charts.    They had a world of tunes already in their heads and they locked into each others wave-length so quickly that a collective brain appeared to possess them when they played.   Not all of the band members had been with them from the beginning but the band still meshed into a tight working unit and from the first number the crowd knew that their expectations would be more than met.

They opened with an Alan Brown number ‘Lets Dress Up‘ and it hit a real sweet-spot – deep groove heaven fed by a Fender Rhodes sound, funk guitar, electric bass, tenor sax and drums.  This sound put a ten-mile wide smile on our faces and if anyone had wanted dark and tortuous they’d have had to look elsewhere.    This jazz is about kinetic energy and a mesmerizing groove, which makes listeners feel that they could dive right into the music and swim in the ocean of sound.   The club was alive with happy people giving cries of encouragement.      After a while some in the crowd started dancing and before long the majority were either dancing, swaying or tapping the beat out on their chair arms.  In the second set the flailing hands of a man flickered across my sight line creating a strobe effect in the soft club lighting.   I just love it that Jazz like this absolutely compels people to dance.

Alan Brown was clearly in charge of the unit and he would give an occasional glance to the soloists who needed no extra cues than that.     Andy played a few tracks on the club piano but would often switch to a small red electric keyboard mounted beside him: the latter holding a good bank of funk orientated sounds.   He would sometimes play both instruments at the same time.     With special guest Dixon Nacey on guitar this band was always going to hit the Jazz funk stratosphere, because this man is a monster on his red guitar and he can do the seemingly impossible without needing to think about the curve balls being thrown at him by Alan.

Steve Sherriff (soprano sax/ tenor sax) and Jason Orme (drums) are veterans of the group, but newer member Chip Mathews on bass did more than hold up his end. Chip is a skilled bassist and able to jump into any band I suspect.

Steve Sherriff is well-known about town and he can be seen working in a number of  Jazz styles.    While his tenor playing is always great, his soprano saxophone playing is free ranging and often ecstatic.    The band regularly hit fever pitch and the energy they floated on was ably abetted by Jason Orme’s high energy drumming.     Jason appeared to be using the locked in style made famous by Byron Landham and others; where he would enter into a powerful intense groove and then push the band as hard as he possibly could.    We just loved watching him.   This is as far from colourist drumming as it gets, but it is exactly the right style for a Jazz-funk unit like this.

I eagerly await their new album which is due out next month.   See this band whenever you get the opportunity and purchase their CD’s.   The ‘Parachute label’s ‘Blue Train’ album ‘No Free Lunch‘ can still be found and a more recent organ trio album ‘All about time‘ is quite readily available (Alan Brown ‘Hammond’, Dixon Nacey ‘guitar’, Josh Serenson ‘drums’) – ‘Ode Records‘.

‘Blue Train’ clips are hard to find on You Tube but I did locate their version of ‘Nasty McFly” – this track was simply riotous on Wednesday  – enjoy.

When the constellations align – Mike Nock @ CJC

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Experiencing a Mike Nock band playing in an intimate club setting is quite different from catching his act in a large concert hall.    In one sense it doesn’t matter, as this cat can whip up a whirlwind of energy in any space, but seeing Mike in a small intimate club is as cool as it gets.  The immediacy of being up-close to a band like this is electrifying.

I had arrived early with a friend, but the club was already at near capacity and there were no available seats.  We were happy to stand as no one wanted to miss this night.    I leaned against the side of a leather couch crammed full of people while up front Roger adjusted his mouthpiece and Ron positioned his kit.  Then we saw Mike and Brett and the lighting was lowered.     As the band began to play it was obvious that they would not need any warming up because they were clearly as up for the gig as we were.    The opening number ‘Hop Skip & Jump’ was up-tempo and Roger just tore it up from the start.   To those who of us who love Mike Nock compositions this music was somehow familiar, but this was also the ‘sound of surprise’.

I am convinced that we could not have seen better in any New York club and in down town Auckland we soaked up the groove feeling lucky to be alive.  In the soft lighting  you could almost see the sparks of energy flying between the band members and the washes of blissful sound permeated every corner of the room.    This was seriously good shit.

Next up was ‘Komodo Dragon‘, a moody number that developed from a beguiling tune into an altogether more profound entity.  The placement of chords under Mikes hands is always a revelation as he knows how to mine an idea for deeper and infinitely subtler meanings.   His chords were sometimes bluesy, but then he would toss in an oblique voicing as if to bring about a subtle shift in the cosmos he was conjuring.   It was like watching an onion being peeled by a master chief.

I was also pleased to see Ron Samson (d) using a mix of mallets, sticks and brushes, as the sound palate that night demanded a more textural approach.   Like all good drummers he knew when to blend into the mix, as a loud overly showy drummer would have been out-of-place.  Roger Manins (ts) is simply a phenomenon and we are extremely lucky to have him resident in Auckland.   He lifted the intensity on ‘Komodo Dragon‘ to such a fever pitch that I actually stopped breathing at some points as the tension was building so much.    Roger is the master of tension and release and he can nimbly shift into double time and then some.        Brett Hirst (b) has been playing with Mike for years and it shows.   He is a terrific bass player and his solos and note placement that night were magical.     The band members were all great soloists but what is better they were able to act as a perfect ensemble.

The second number of the second set was a tune called ‘Homage’ and it began with a familiar chord progression (probably based on the changes of ‘All blues’).   Where it went next is hard to adequately describe, but this was one of the highlights of the evening for me.    Mike developed the theme quickly and as he did so he showed every ounce of his mastery on the key board.  He was tossing in fourths while his right hand darted over the keyboard.   I was immediately put in mind of the middle movement of ‘A Love Supreme‘.   The band was so deep in the groove on this number that the music reached heights beyond the sum of its parts.    To hear Roger playing with such strength and in such an ecstatic state was to be reminded of how Coltrane-like he can be.  As Roger played, Mike continued to ramp up the groove with his Tyner like chords and an overlay of chromaticism.  The band was apiece on this and it was a perfect moment – fresh ecstatic music that paid homage without actually being captured by the past it referenced.

Afterwards I had the chance to speak to Mike about his music and about the scene.   Mike is an easy-going cat off the band stand and he comes across as somewhat of a Jazz philosopher.   He has also retained a very Kiwi sense of humour which delighted me.    As soon as he has made a successful album Mike seems to reach beyond that for the next idea; never one to settle back and rest on his laurels.   Already knowing the answer, I asked him if he was still restlessly reaching beyond the now for newer musical ideas, or would he relax a bit?   He told me that it was his nature to search for a deeper meaning in the music and that he could not do otherwise.  “Some younger musicians than me sound a lot older than I do as they have settled into a safe fixed in time style.  That is not where I ever want to be”.   I told him how much I enjoyed the ECM ‘Ondas‘ label and he observed wryly , ” yeah man, everyone loves it…. now.  Is it even still in print?”.   He said that Manfred Eicher often told him how much he loved that album but as was often the case, it was way ahead of its time.    We also discussed his writing on the recent ‘Meeting of the waters‘ album which is a favourite of mine.   He told me that he felt good about that album but that distribution had been a problem (when was that not the case with Jazz).   Mike has hopes of bringing his ‘Accumulation of Subtleties‘ trio here soon and I would urge fans to grab a copy of that double album.

We talked briefly about the Auckland Jazz scene of our youth and he told me how pleased he was that Caroline, Roger ,Ben and Mike were now running the CJC.    He also said that he was grooved by the young cats wearing ‘pork pie’ hats, but that when he had gone to buy one had found that his head was too small.    “Age will do that” he said.   I quickly jumped in with information from a new longitudinal study which showed that humans actually reach their greatest analytical potential between the ages of 62 and 70 years of age.    He looked at me dismayed and said, “man you could have extended the time frame by a few years.  I am past 70”.

The set list was ‘Hop Skip Jump’, Komodo Dragon’, Gospel Dog’, ‘Joy Remembered’, ‘Transitions’- 2nd set – ‘Afternoon in Paris’, ‘Homage’, ‘Speak to the Golden Child’, ‘Triflin’ Jon’.

Alex Churchill- Andrea Groenewald band – CJC

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Alex Churchill (s) and Cameron Sangster (d)

Anyone running a Jazz club is unlikely to be hitting New Zealand’s ‘rich lister’ status anytime soon.    Success in the Jazz world has seldom been measured in dollars, but in a far richer currency – keeping the spirit of the music alive.     A successful club depends on maintaining good audiences, therefore dedicating a night to emerging-talent is arguably a risky proposition .    Jazz however is all about risk and it is certainly about supporting fresh talent; in this case the gamble was royally rewarded.     The Alex Churchill – Andrea Groenewald band may be youthful but when they hit their stride, age became an irrelevance.

What the audience saw were musicians of calibre and their obvious dedication to the music was evident.    While one or two of the earlier numbers were a little less focused than what was to follow, the band soon had the audience whooping delightedly at the joyous exuberant sounds they were hearing.   Everyone saw that this was to be another great night at the CJC.

They opened with a set of their own compositions and almost all of the band had contributed tunes.   I particularly liked ‘Paint the Sky‘ which I think was composed by Andrea and the bands playing on this was great.   They had warmed up and it showed in spades.   Alex has a post-Coltrane vibrato-less tenor sound but his tone is pleasing and warm when that is called for.   His nimble soloing was nicely augmented by Andrea comping behind him with clipped octave chords.  I think that the band realised early on just how much the audience were enjoying the gig and the mutual feedback loop worked exactly as it should.

The second set was dedicated to Pat Metheny’s music and I was intrigued to see how this would work.   I soon found out, because the rendition of “Have You Heard’ was pure bliss.   To hear Metheny’s music stripped of the pedal effects and dare I say occasional over-production, was pleasantly surprising.    They ripped into this number with the chops of a band that had been playing together for ever.

Andrea Groenewald (g)

Note perfect, joyfully exuberant and inspired.    Apart from the great solos on this number, what I loved most was Alex and Andrea paying the head arrangement in unison; but with Andrea’s voice adding an extra horn-line. To do this with less than perfect precision is to invite calamity but the band nailed it.

This was a great night and the band should feel extremely pleased with how it went.     I saw Roger the club manager smiling and given the numbers who attended and the enthusiasm of the audience we can hope for more emerging talent nights.    As for this band, they have stepped into the known and the emerging talent category will soon be behind them.   I would certainly go out on a cold night to see them again.

Having emerging bands of this quality in our own city bodes well for the future of Auckland Jazz.    I had seen two members of this band before (Cameron and Andrea) but the other three were unknown to me before now.

The band were; co-leaders Andrea Groenewald (g) & Alex Churchill (ts) – Renee Cosio (p), Nick Taylor (b), Cameron Sangster (d).

CJC – Ben Sinclair band – Manins/Koopman

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The CJC always manages to find interesting lineups and the Ben Sinclair quartet and sextet (+2) was no exception.   This is a young band and the often ironic or whimsical song titles comprising the set material are also contemporary.    Ben is not long out of University and his chops as a fast developing Tenor player (doubling effectively on Alto) are evident.   The band opened the first set with a quartet lineup and a song titled ‘Printy‘ (dedicated to a favourite desktop printer).   The initial configuration was two Tenor Saxophones (Ben Sinclair + Jimmy Garden), Cameron McArthur (Bass) and Johnny White (Drums).    The Tenors focussed on unison playing or soloing and so there was only a slight nod towards chordal structure.   This was raw, inventive and occasionally challenging music and it underscored the tone of the numbers that followed.   By the third number the quartet had expanded to include two French-Horns and a Flugal, which enhanced the concept and added considerable texture and depth.    The groups sound was original, but during the fifth number, the second Tenor Sax player Jimmy Garden managed to toss in a brief quote from ‘Softly as a morning sunrise‘ which brought instant smiles of recognition from the audience.

The second set was headed by a three-part suite titled ‘The Bourne Trilogy‘ (referencing the movie).     For this suite the band was enhanced by the addition of Matt Steele (Piano); an often fiery and Tyner influenced soloist.   The octet was completed by Liz Stokes (Trumpet and Flugal), and the two French Horn players (one also a woman).   This trilogy showed how mature Ben’s writing is and when playing these charts the bands enjoyment of the material was obvious.   This suite worked on all levels and the nice soloing rounded out the performance.

Last but not least was ‘Snake Attack’.   The number was high energy and the band had tightened up on their delivery while allowing for free-flowing solos and a locked-together kick-ass groove.    Drummer Johnny White particularly caught my attention in this last number as he set up a tight ‘E.S.T.'(Magnus Ostrom) type beat (nicely accented by rim-shots).

The ‘Roger Manins regular jam session’ followed the CJC sets and that was the icing on the cake for me, as I got to hear the nucleus of Roger’s band for the first time.   The band set up in minutes and were soon playing their first number ‘Beatrice‘, which was profoundly beautiful and deep in-the-pocket from the first bar.    Roger (on Tenor) is a monster musical force and his band swings like a well oiled gate.   You always know when a Tenor player uses his axe as a confident extension of self; when every shade of meaning is conveyed without the musician needing to rely on an excess of notes.    He has chops to burn but more importantly he lets the music speak for itself.

For a number of months I have heard people speaking in reverential whispers about wunderkind guitarist Peter Koopman.    I just love Jazz guitar and so when I learned that he would perform as part of Roger’s band, I was pleased.  This guy is freakin amazing and to hear his rapid fire licks and intelligently constructed lines is to hear the very best that New Zealand Jazz guitar has to offer.    I would advise everyone to get down and hear this band as soon as they can as gifted musicians like Peter are likely to be sucked into the wider Jazz universe someday soon.   Matt Steele was on piano and extremely fine bass player Thomas Botting played as if his life depended on it (I have a weakness for bass played in the upper register).   This guy along with the highly energised drummer Johnny White powered the band.  Others joined the band at times including a singer (Chelsea) and a female Banjo player who tackled Mile Davis ‘Solar’ with confidence and ease.  With Peter and Roger exerting their benign influence; the less experienced musicians could not have been more supported.

I urge Jazz lovers to support this club and if the last months offerings are typical then you certainly wont be disappointed.

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A Big Auckland Sound – CJC-AJO

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Andrea on the bandstand

during a break
Resting AJO Brass  @CJC 

I may have become addicted to Jazz big-bands and so when the opportunity presented itself recently to sit in the fourth row at the Roger Fox – Alan Broadbent concert, I took it.   I survived that proximity with surprising ease and it was inevitable that I would need a bigger dose next time.    The sonic blast had not even wiped the smile from my face.

Now a month later I was attending a gig where the (AJO) ‘Auckland Jazz Orchestra‘ was playing and so I decided to test my limits.    Knowing that I could tolerate the maximum levels of exposure I sat in the front row.  So close in fact that the bell of  Andrew Hall’s Tenor Saxophone was only half a meter away.   This proved to be an excellent concert and to be that close was to feel part of the band by proxy.

The ‘Auckland Jazz Orchestra‘ is a collective; drawing on local talent who meet monthly to explore the Jazz big- band sound.   While clearly in the tradition of the great rehearsal bands like the Thad Jones band, they also appear to have striven to create an authentic Auckland vibe.    If this was their aim, then they have certainly succeeded.

Founding member Mike Booth (trumpet) is a Jazz veteran.  He has recently returned from overseas and his presence is strongly felt.  The other guiding presence is current conductor Tim Atkinson.   Both have written and arranged charts (as have other members of the band).   The ethos of this band is in fact to put a local stamp on the music and that excites me.  The territory bands of the pre-60’s American scene were legendary and they grew in stature by creating unique geographical identities.   Basie was identifiably KC, Goodman a Chicagoan etc.    This territorial competition acted as a real stimulus to the bands.  Originality and greatness grew directly out of that as they scrambled to make their mark .

The other vital factor was the schooling that the newer band members got from playing with the more experienced musicians.   Bill Crow, famous bassist, tells of being gently chided (or alternately encouraged) between numbers and this hot-house learning on-the-hoof communicated what his band mates expected of him.   He also recalls being schooled by members of the band between gigs.   Amazingly he had only just picked up the bass months before.  He soon attained iconic status and the big bands he worked in were part of his university.    This on-the-road education system for Jazz musicians has been an essential part of the mix in developing good reading and tight ensemble playing skills.   When the players solo, there is a cushion of warm sound embracing them and smaller groups seldom give that opportunity.

The band is: Alto saxes – Steve Sherriff, Theo Clearwater,  Tenor saxes – Jimmy Garden , Andrew Hall;  Bari Alex Churchill;  Trombones – Merv Thomas, Mike Ashton, Mike Young, Steve Taylor; Trumpets – Mike Booth,  Rowan Bolley, Jo Spiers, Pete Barwick; Drums – Cameron Sangster;  Bass – Thomas Botting;  Guitar – Andrea Groenewald;  Piano – Adam Fuhr.

The opening number ‘Green Dolphin Street‘ was brilliantly arranged by conductor Tim Atkinson.   The band quickly coalesced into a smooth unit as they moved into this and showed the skill of the band as a whole.   The other tune that leapt out and grabbed me was ‘All things in 5 & 3’ (composed & arranged by Mike Booth).    This was a wonderful number and it became evident that it had been written around the changes of ‘All the things you are’ – but in 5/4 & 3/4.   With Auckland-referencing tunes like ‘Rangitoto‘ and ‘On the water‘ (Mike Booth – part of the Auckland Harbour suite) a picture was being painted note by note.  Among the original tunes was the swinging bossa sounding ‘Lucky charms‘ (Tim Atkinson) and ‘Reservations‘ Andrew Hall.   We heard great solos by (new friend) Andrea Groeneveld (g), Steve Sherriff (as), Mike Booth(t) and Andrew Hall (ts).    It was also good to see the well-known Merv Thomas(tb) in the band among these considerably younger musicians.

The ‘Creative Jazz Club‘ is an intimate space and having a 17 piece band in that room made it all the more so.    A famous precedent would be the even smaller ‘Village Vanguard‘ in NY, which hosts the Thad Jones rehearsal band each Monday night.     The club was full and in Tardis fashion every new comer was able to find a space.   More of that please; my tolerance is far from reaching its limit.

Pat Martino – deep in the music

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Pat Martino

Image via Wikipedia

Not too many months ago my Partner & I saw Pat Martino in ‘Birdland‘ and were captivated by his deep-in-the-groove East Philly style.    There could hardly have been a better place to hear him, as this is one of New York’s best Jazz clubs and a friendly intimate space.

Like most out-of-towners we loitered awhile in Times Square before walking the short block to ‘Birdland’.   I could hardly believe my luck at being able to see Pat in such a setting as I had become a fan some years earlier; having developed a taste for that whole Grant Green thing.

The first of the band members to step on stage was Tony Monaco the B3 player, quickly followed by the drummer Harvey Mason.   Soon Pat appeared with his shining custom-made black Benedetto guitar at the ready – a slightly built man who quickly lost himself deep within the music.  The band leapt into their first few numbers with an apparent relish.   Obviously enjoying what they do and perhaps that is the hallmark of this Chicago – East Philly guitar -organ-drum style.   Seeming to drop deeper and deeper into the groove and then characteristically locking into a phrase until the intensity becomes almost unbearable – then as suddenly dropping back into the melody again.

When Pat plays alongside Joey Defrancesco and Byron (Wookie) Landham the band is a force nine hurricane.    No drummer works as hard as ‘Wookie” with his powerhouse locked-in beat and no B3 player owns as much of the room as Joey D.   It was however just as interesting to hear Pat with this band and they proved to be solid performers.  Tony is great on the B3 and his tendency to grimace and mug as he reaches ever deeper into the groove did not unduly trouble me.   The drummer Harvey did what good groove-drummers do and locked into Pats sound.   After the faster offerings it was a pleasure to hear Pats well-loved version of ‘Blue in Green‘(Davis/Evans) and the warmth and perhaps the hint of sadness in his sound brought a tear to the eye.    The sound Pat gets from his specially wound strings is fat and warm and it hits you right where it should; in the heart.

I have just learned that Pat is about to play at ‘Yoshi’s‘ (Oakland) and I have urged my son and daughter-in-law to go if they can.  Pat may have an amazing and unique life story, but it is the warm looping bluesy sound that gets you in the end.

Hidden in plain sight; Joe Chambers

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Sometimes we don’t see what is right under our noses and that was definitely the case with me and ace-drummer Joe Chambers.   We sometimes miss drummers or bass players because it is all too easy to be dazzled by the musicians on the horns or guitars.  In Joe Chambers’s case the leaders were cats who blazed with an almost unbearable intensity and this semi-eclipse had blinded me to the intricacies of a hard grooving and in-the-pocket drummer.

I was kicking back with a friend one night when he put on Chick Corea’s ‘Tones for Joan’s Bones’.   I had wanted to hear this album for years and now from the first bar the album got right under my skin; edgy, restless, forward-looking American 60’s Jazz  – featuring Chick Corea (p), Joe Farrell(ts)(fl), Woody Shaw (t), Steve Swallow (b) & Joe Chambers (d).   This was an era when Jazz, (no longer a popular music and competing with rock), let loose a tidal wave of open-ended creativity.  Caught between Ornette Coleman and a burgeoning rock scene, the confining ‘stays’ of Hardbop were suddenly loosened.    ‘Tones for Joan’s Bones’ is a truly great album of its type and the psychedelic art work on the cover is reason enough to buy a copy.   Chick Corea’s song ‘Litha’ with its chromatic mesmerizing energies was the big hook for me and as I listened I became hyper aware of the drummer.

The name Joe Chambers had been vaguely familiar and when I looked him up I was surprised to find that he was the drummer on dozens of my favourite albums.    Classic albums by Herbie Hancock, Bobby Hutcherson, Chic Corea and Freddy Hubbard etc.

As well as listening to the group as a whole we should also develop the ability to isolate the instruments as we listen.  When we do this it is possible to comprehend the levels of interaction and the individual flights of inventiveness.   Jazz is after all a collective enterprise that supports the individual in extraordinary ways.

There are circus acts where a reverse human pyramid is formed on the shoulders of a strongman.   While watching the climbers go higher and higher, we can forget that the whole formation would fail catastrophically if the person at the bottom were to miss-step.  Joe Chambers is the strongman who waits until everyone is standing on his shoulders and then raises them even higher.  This type of drummer carries a lot of weight and in moments of high tension, causes you to hold your breath in case he falls and the band tumbles to earth with him.   Such drummers can stretch time to breaking point as the tension increases and as quickly pull it in again when the outlier musicians need recalling.    Joe is a master of this tension and release.    I may have momentarily overlooked him but many modern rappers have not; zeroing-in frequently on his edgy rhythms.

Francis Wolf - Blue Note Records

Picture Francis Wolf - Blue Note

Heavy Metal Bliss – Alan, Roger & Denise

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The Roger Fox Wellington Big Band is an in-the-pocket unit and sitting in front of that band is to experience a blast from the Jazz slip stream.   Listening to their hard swinging and tightly focused delivery it was difficult to believe that this was a home-grown band and that they had only been together for around 18 months.    There were of course some veterans in the line up (Colin Hemmingsen – tenor) and above all there was Roger Fox, the man in firm control.   Like all good leaders he teased the very best out of his band.

First up was San Francisco based Denise Perrier who was a very pleasant surprise.   It was as if Carmen McCrae had been conjured into our midst.   Denise is very talented and a real crowd pleaser in the best possible way.   Her powerful smokey bluesy voice and sassy manner were the perfect foils for well executed tunes; enhanced by a killer band.   Starting with ‘easy street’ she moved on to a lovely version of Tom Jobims ‘Wave‘ (it is impossible to praise this tune highly enough). Her version of ‘stormy weather’ was  original and tasteful, followed by ‘every day (I have the blues)‘ which was so evocative of Count Basie that I kept expecting Sweets Edison and Pres to do walk-ons.  The other stand-out tracks were Harold Arlens ‘Oh what a beautiful morning‘ – (a brave but good choice) and ‘God Bless the Child‘ – Billie Holiday/Arthur Herzog.

Wellington Jazz pianist Anita Schwabe appeared undaunted by the presence of Alan Broadbent standing a mere few feet away and this does her credit.  Anita showed her skill that night and to say that her parents (who sat just in front of us) were proud would be a gross understatement.   Nick Tipping (Charmaine Ford trio) was on upright bass and Lance Philip drums.  This is a band which works hard to keep a tight sound and the payoff was the magic that we all experienced.  The nuances of colour that the band members were able to elicit was down to three things; the perfect charts, the leader and the fact that the band members all doubled on other instruments.   This created a wonderfully rich sound-palette to draw from.

While great credit should go to Roger and his band the night also belonged to Alan’s unbelievably well crafted charts.    As Alan said when he addressed the capacity crowd at the start of the second half, “tonight covers a 40 year journey in music – thank you for sharing it with me’.    Roger had been trying to get together with Alan for many years and had often suggested that they work together.    A while ago, out of the blue, he started receiving ‘charts’ from Alan and he quipped, “I became worried about what it would cost me because there is a lot of money to be made in Jazz and especially big-band Jazz”.   Woody Herman and Basie may have been the sub-text but Alan Broadbent was the heart and soul of the evening.

Kiwi jazz fans love Alan’s work and we boast about his Kiwi beginnings at every opportunity.  Alan has written some of the nicest tunes in jazz, but hearing his arrangements played by gifted Kiwi musicians added a new dimension.  Alan, played a few trio numbers and ‘alone together‘ by Schwartz/Dietz was one of the few standards played.   Among Alan’s compositions we heard ‘Bebop & Roses’ ,’Journey Home’, ‘Don’t ask why’, ‘The long white cloud’, ‘Sugar Loaf mountain’, ‘Far in (74)’, and more.

The second half had opened with ‘Journey Home‘, which is the tile track on the new Roger Fox Big Band CD featuring this nights music.   I urge you to grab a copy now; not only because you will enjoy it, but because you will be supporting the best of Kiwi Music.   Better yet, go and see this band as well and tell your friends to come with you.  See ‘event-finder‘ for gigs.

Herbie Hancock: Chameleon, Headhunter, visionary?

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Even before septuagenarian Herbie Hancock rolled into town he had been sought out by most of the mainstream media.    This man fascinates people beyond the Jazz world and I suspect that everyone would give a different reason why.   Herbie is simply larger than life and terminal cool is his brand.   When asked by Lynne Freeman of Radio New Zealand whether he was going to spend the rest of his days fine tuning his impressive musical legacy he surprised her by replying, “Music is what I do but it is not who I am.  I am a human being and I want to work on real issues that effect ordinary people”.   A long time devout Buddhist (as is his close friend and long time collaborator Wayne Shorter) he exudes calm and speaks with commonsense.   Herbie does not buy into his star status; but to others he is never-the-less a living legend.
We could feel the excitement mounting as we waited for the show to begin and then right on 8 pm the lights dimmed and drummer Trevor Lawrence strode onto the stage   He laid down a solid mesmerizing beat until James Genus appeared, who then added to the groove on his electric bass.   Suddenly Herbie was on stage; grinning and bowing to the audience and the fun began.    He looked fit and ready to get-down to it.   The group swiftly ripped into an upbeat, spirited avante guard tinged piece (Actual Proof) that was more Ornette than Empyrean Isles.  I suspect that would have taken many out of their comfort zone and this was clearly the intention.   The mood was well set and throughout the concert Herbie skillfully used tension and release in enumerable ways.   As this amazingly high energy group moved through the varied repertoire you could see the joy on their faces.   James genus seldom took his eyes of Herbie and they played as a single entity.   We got spirited renditions of Hancock classics followed by highly atmospheric tunes (such as Joni Mitchell’s ‘court and spark’ from the Grammy winning ‘River’ album with Wayne Shorter).    ‘Court and spark’ and other songs were sung by the fourth band member, vocalist and violinist Kristina Train.  Her voice was smokey and appealing and the crowd loved her.   We heard a jazz version of Bob Dylan’s ‘the times they are a changing’ and Bob Marley’s ‘Exodus’ accompanied by pre-recorded Sudanese musicians.   ‘It’s 2011’ said Herbie as he pointed to the hard drive at the heart of his system. Herbie Hancock is the undisputed master of electronic keyboards and effects, but on Tuesday he reminded us that he still owned the acoustic piano chair as well.
This was the history of post 50’s Jazz and it was the perfect ethnomusicology lesson.    We heard Irish, African, folk music and classic delta blues but the master’s stamp was on all of it.   This edgy musical journey was still unmistakably Jazz.   In the middle portion of the concert however Herbie played solo piano, taking us on an impressionistic reflective journey through his Maiden Voyage albums.   The band came back to accompany him on ‘Cantaloupe Island’ in what was to end a half hour piano medley, which held every one in awe.  Even ‘Round about Midnight’ got an airing.  Not a sniffle , not a cough, even Keith would have been impressed.   The stuff that I loved best was his Headhunter funk and he swung and grooved that like crazy – deep down grooves played with boundless joyous energy.    At the end of the concert he brought on a visiting group of blues rockers; slide guitarist Derrick Trucks and his wife Susan Tedeschi (a loud singer who sounds a lot like Janis Joplin).      This was pure enjoyment from start to finish and if anyone thought that Jazz was in decline they should have seen the age-range of those present.   The faces of the audience as they came out told the whole story.

Beautiful Tunisian Oud Jazz

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These You Tube live recordings will please some while others will dislike them.  That is of no real matter because Jazz has never tried to be all things to all people.   Jazz is a restless music and throughout its history it has taken on the voicings and ethos of other musical traditions (often making them its own).   Dizzy, Miles, Coltrane , Latef and others never stopped listening for new and exotic sounds and a lot of excellent music resulted from their interest in non-American music traditions.  

I saw Dhafer Yussef at an International Jazz festival and I will never forget the experience. His band performed breathtaking improvised music, jazz as we know it, but often around very ancient themes. It felt to me like a wonderful addition to the Jazz lexicon. Dhafer is a Sufi and the Sufi traditions are an ancient expression of Islamic culture. Sufi’s follow a mystical peaceable tradition which is gradually becoming better known in the west. Great poets, like Rumi, Hafez, Bulleh Shah and Khwaja Ghulam Farid are of this tradition. Qawwali is the best known form of Sufi music, however music is also central to the whirling dervishes and the ceremony of Sema uses a slow, sedate form of music featuring the Turkish flute and the ney. The West African Gnawa is another form (Randy Westen and Dizzy referenced this).

Dhafer Youssef (Arabic: ظافر يوسف‎) (born 1967 in Teboulba, Tunisia) is a composer, singer,and oud player. He developed an interest in jazz at an early age and clandestinely listened to it during his education at Qur’anic school.[1] He later left Tunisia to start a jazz career and has lived in Europe since 1990, usually in Paris or Vienna. He has played at many of the premier mainstream Jazz Festivals in the world and is mentioned on the USA based ‘All About Jazz’ website. I have been interested to note the number of Arab and Israeli Jazz musicians routinely mentioned in Down Beat and Jazz Times lately. The second clip features a stunning young Arab pianist Tigran Hamasyan and his Moorish Jazz style is quite beguiling. In this second piece the music builds in intensity and I suspect that this is part of the tradition (note the movement of the hands to enhance the vocalese).

Larry Koonse; Jazz Guitarist

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Larry Koonse may be one of the nicest guys in Jazz but he is a killer guitarist.   He has recorded under his own name and toured or recorded extensively with such famous artists such as Bob Brookmeyer, Karrin Allyson, Mel Torme,  Joe La Barbera, Billy Childs, Terry Gibbs, Warne Marsh, Johnny Dankworth, Jimmy Rowles, Alan Broadbent, Charlie Haden, Toots Thielmans and many others.   At the invitation of Nelson Mandela and UNICEF he was once asked to perform in South Africa.   He has been the featured soloist with the LA Philharmonic plus other orchestras and has performed in Carnegie Hall.   He sometimes performs with his father Dave Koonse (who is also a jazz guitarist, having played at the ‘Lighthouse’ with John Grass).  Larry is a well seasoned and gifted musician and he is always a joy to listen to.

I first saw Larry perform when he came to New Zealand with Joe La Barbera and Tom Warrington.  It was Kiwi big band leader Roger Fox who had organised for the trio to come out here and many were grateful that he did.   Larry’s guitar playing captivated me throughout the concert and I marveled at how the Tom Warrington trio’s “You must believe in Spring’ could somehow reverence Bill Evens and Lennie Tristano at the same time.   Larry’s cool-style is perfectly balanced by the warm tones that he elicits from his guitar and in his playing you can hear hints of Johnny Smith, and even Bill Bauer.  I loved every note of it.

After the concert some of the band came out to mingle with the crowd and I got to speak to Larry about his music.  Joe La Barbera was there as well, chatting and signing CD covers .  Larry is a very friendly guy and we have met once since then and exchanged emails.   Making contact with world class musicians in clubs or after concerts is one of the great joys of being a jazz fan and I often wonder if that chance exists in any other musical genre.

I have many recordings featuring Larry and in each of them I hear new subtleties.  Sometimes his long lines are unmistakably of the Tristano school (especially in his co-led LA Jazz Quartet),but with the Tom Worrington trio he can sound closer to the style of Herb Ellis or Johnny Smith.   The best place to purchase Larry’s music is from the ‘Jazz Compass’ label online.   Alternately go to his next gig and purchase the music there.    He tells me that he will probably be in in New Zealand in Late May 2011 and I will certainly keep you posted on that.

The clip has Bruce Forman on the left and Larry Koonse on the right as you face the screen.