Nathan Brown Tour (NY)

Nate Brown
Bass player Nathan Brown is a rising New York Jazz star and he is very much in demand these days. The people he has worked with, underscore that point nicely. Notable among them are; Wes ‘Warmdaddy’ Anderson, Randy Brecker, Carl Allen, John Faddis, Wycliffe Gorden, Lewis Nash and Paquito D’Rivera. Of interest to us, he has also had a long collaboration with the New Zealand born drummer Mark Lockett. After years of performing with his regular trio at the ‘Cleopatra’s Needle Jazz Club’, he decided that it was time to record some of the material that they had been performing. The synergy between the artists was already great but what upped the ante were their influences. The trio guitarist Felix Lemerie was influenced by Grant Green; his drummer Peter Traunmuller by Philly Joe Jones and Brown by bassist Paul Chambers. These influences although not aligned stylistically, led Brown to ponder; what if all three had played together; what would such a trio sound like?.  Out of that idea came the ‘This is the moment’ album and the next step was to take the music on the road. Thanks to Brown’s association with Lockett, New Zealand was included in an Australasian leg of the tour.
Nate Brown (1)
Throughout the tour, Brown kept to the original bass, guitar and drums format (with the exception of Auckland, where pianist Kevin Field was substituted). Lockett and Brown were the constants, with local guitarists stepping in along the way.
Just before he started the tour, I sent him a few questions to answer:
Q. Do you see your trio as a groove unit, a blended approach or something quite fresh and different?
  • For this particular album, I would have to say groove unit. the entire vibe of this album is heavily steeped in the hard-bop tradition coming out of the Blue note records of the 50’s
Q. I am fascinated in reading through your bio that you initially played Euphonium and Tuba. These have been used extensively for bass lines in the pre-amplification past and that tradition has continued with modern avant-garde units, nonets and Jazz orchestras. Bill Crow (from the Jerry Mulligan bands ) started on brass instruments like the tuba and valve trombone. Then he was encouraged (pushed) into changing to string bass. Do the brass bass lines inform your approach at all?
  • So much of the evolution of bass lines is tied directly to the string bass that playing the Tuba doesn’t really affect my approach to bass lines. The idiomatic bass line motions arose out of the technicalities   What it does help me with however is a better understanding of brass and wind instruments. This is very useful when writing and arranging music for these instruments
Q. Any move from a sideman to a leader, will inevitably change things from a compositional point of view. I have seen bass player leaders happy to remain well back in the mix – leading from within, but that is less usual. What is your approach.?
  • I like to believe that jazz music is a collective effort. everyone involved should get a chance to shine. With my trio, I’m happy to play some in the forefront of the mix at points, but I also think it a necessity to play in the back of the mix at points to let me comrades come through with their musical statements.
Q. What were your thoughts, your aims, when assembling this trio?
  • There was no grand plan when I first assembled my trio. I’d been hosting a steady weekly gig at a well-known jazz club in New York City called Cleopatra’s Needle for years. At first, I would rotate my musician friends onto the band every week. I tried dozens of combinations of players over the course of a year. I finally settled upon Felix and Peter, we really communicated well musically. At that point, I started using them exclusively. I then started to take each of our influences (Grant Green for Felix, Philly Joe Jones for Peter, and Paul Chambers for me) and began composing music that channelled this together.
Q. Who among the artists that you have performed with have you enjoyed most.
  • I would say my first great mentor and teacher Wess “Warmdaddy” Anderson. Even after two strokes, he still has the ability to lift the musicianship and spirit of everyone performing on stage with him, and in turn, lift the spirit of the audience.
Nate Brown (3)
I didn’t get to hear the guitar trios live but with Kevin Field on board the swing and groove feel was maintained with ease.  It was a pleasure to experience a gig that was so warm and soulful. The music was transporting, like an old friend; reminding us of a shared experience but then telling the stories in ways that were fresh to our ears. A good example was the groove tune Curly’s revenge. On the album, with guitar, it took you to Montgomery Land and then right to Grant Green’s doorstep. With piano, it had a delicious and unmistakable Bobby Timmons vibe. I love tunes like this; they hint of the familiar, then tell you something else; fragmentary quotes which flashed past before you could grab at them, morphing beautifully into new tunes and always with that deep swing feel.
It was obviously a good time for Brown to emerge as a leader. The right time because his material is superb and his bass playing is burnished by years of gigging and absolutely compelling. His compositions also stood out. While the recorded trio would have been superb, we didn’t miss out. Field is an interesting musician, adaptable to any situation and always at the top of his game.  The same goes for Lockett who is open-eared and responsive to nuance. Listening to Lockett is listening to history, but always with quirky asides thrown in to leaven the loaf.
Nate Brown (2)
For copies of the album visit nathanbrownmusic.com or Gut String Records. The gig was organised at this end by Mark Lockett of the WJC. His work on these tours is greatly appreciated as it dovetails nicely with the CJC Creative Jazz Club’s programmes and tours. The Venue was the Thirsty Dog in K’Rd Auckland, I November 2017.

Nick Hempton @ Thirsty Dog

NickMusic listeners split into two main camps; active and passive listeners. Those who listen to improvised music incline towards active, deep-listening. We know that the brains of improvising musicians light up in unusual ways when playing. Much the same applies to listening Jazz audiences. On Wednesday night a saxophone trio played at the Thirsty Dog; no chordal instruments, no lingering over familiar melody lines, a trio which worked within a broader musical architecture, following the changes where ever they led.  Nick Hempton is an interesting player and the right person to take us on this journey.Nick (2)This sort of gig works well with listening audiences because it invites active participation. On Wednesday, each piece began with a few lines from a familiar standard, often just implied; then, a few bars in, the lines evolved into new melodies based on the changes. As the trio responded the horn led the others to various way-points: places where the music changed course. Fragments of new standards were discovered, unravelled, abandoned. The human brain is hard-wired for pattern recognition, but we love the puzzles that arise from the search. Settling for the familiar is not how we evolved. We evolved by following the risk takers, marvelling at their daring. Following this musical risk-taker, was our delight.Nick (1)The point was not so much the standards themselves but the opportunities they presented. Appearing and disappearing in medley form was; ‘Night in Tunisia’, ‘Body and Soul’ A Sony Rollins waltz, ‘Exactly Like You’ and ‘Rhythm a Ning’ – these and more were examined. Standing alone was the lovely ballad ‘When I Grow too old to Dream’ (Romberg) and in Hempton’s hands, it was beautifully realised. There was also a great rendition of ‘Just Squeeze Me (don’t tease me)’ (Ellington) – I have posted that. The last trio piece was ‘Poor Butterfly (Hubbell [Puccini])’; followed by Roger Manins joining the trio for two last two numbers. As is often the case when two tenors appear on the same stage, a delightfully upbeat and riotous vibe emerges. Friendly sparring matches like this always go down well.Nick Rog2

Hempton is a fixture on the New York scene and regularly performs at the popular Smalls Jazz Club in the Village. His pick up band in Auckland was Cameron McArthur (bass) and Chris O’Connor (drums).  I was delighted to see McArthur back after his extended time overseas. O’Connor is always a good choice when imaginative drumming is required. The trio did not rehearse – Hampton sent them a list of possible tunes before the gig and nothing more.  This allowed for spontaneity and unconstrained exploration. Ever striking out for new ground, Hempton released his recent ‘Catch & Release’ album incrementally – one track at a time. It is available from nickhemptonband.com

Nick Hempton (tenor saxophone), Cameron McArthur (upright bass), Chris O’Connor (drums) – guest Roger Manins (tenor saxophone). CJC Creative Jazz Club, Thirsty Dog, K’Road, Auckland, 4 October 2017.

Jamie Oehlers & Tal Cohen

Tal & Jamie (4)Jamie Oehlers is a tenor saxophone heavyweight who earns widespread respect. His playing is conversational, and like all good conversationalists, he listens as well as he articulates his own point of view. An unashamed melodicist, a musician of subtlety, a dream weaver with a bell-like clarity of tone. Oehlers tours regularly and we are lucky enough to be on his touring circuit. This trip, he was accompanied by Tal Cohen; an Israeli born, New York-based pianist; an artist increasingly coming to the favourable attention of reviewers; an artist praised by fellow musicians. Cohen and Oehlers have been playing together for years and over that time they have built an uncanny rapport. Out of that has emerged something special; their 2016 duo album titled ‘Innocent dreamer’.Tal & Jamie (1)As far as I know, this was Cohen’s first visit to New Zealand and it was certainly his first visit to the CJC. He’s a compelling pianist and the perfect counter-weight for Oehlers. On duo numbers, they responded to each other as good improvisers should, each giving the other space and expanding the conversation as the explorations deepened. Intimate musical exchanges of this type work best when the musicians care deeply about the project. They work best between friends. We saw two sides to Cohen on this tour. The thoughtful, unhurried, deep improviser and the percussive player who found a groove and worked it to the bone. The second half of the gig brought a rhythm section to the bandstand; Olivier Holland and Ron Samsom. Having such an interesting contrast between sets made both halves work better. The second set was approached with vigour; Oehlers digging into a standard, often preceded by a nice intro, through the head and then… boom. This was when the fireworks happened.

The chemistry between Oehlers and Cohen was obvious in the duo set, but adding in the hard-swinging Holland and on-fire Samsom shook up the dynamic once again.  Suddenly there were new and wild interactions occurring, short staccato responses, dissonant asides, crazy interjections; these guys were bouncing off each other and above all, they were enjoying themselves. When musicians live in the moment, and the audience feels that magic, they feed it back. The virtuous loop that sustains all performance art. I spoke to Cohen later and talked about playing styles. He is not impressed by pianists who strive to sound like the past. You can respect the past, bring it to your fingertips but still sound like your taking it somewhere new. He did. This night was the proof of the pudding; the standards performed were all living breathing entities.Innocent DreamerThe first set opened with a heartfelt ‘Body & Soul’ (Green) which set the tone. The tune that really took my attention though was Oehlers ‘Armistice’. A beautiful piece conjuring up powerful images and telling its story unequivocally. There was also a nice tune referencing Cohens family. The first set finished with the lively Ellington tribute – ‘Take the Coltrane’ . The second set (the quartet) opened with the lovely ‘It could happen to You’ (Van Heusen), followed by a tune that Oehlers has made his own; ‘On a Clear Day’ (Learner/Lane) – (a recent Oehlers album title). Next, the quartet performed ‘Nardis’ (Evans/Davis) – this was wonderful and it reminded me of the endless re-evaluation and probing of that tune by Evans in his final years. This version did not sound like Evans – it was born again – if any modal tune deserves to live forever, it is surely this one.

Lastly, and in keeping with their tradition, Oehlers invited tenor player Roger Manins to the stand. After a quick discussion, they settled on ‘I remember April’ (de Paul). Back and forth they went, weaving arpeggios in and out of each other’s lines – moving like dancers; counterpoint, trading fours, all of the band responding to the challenge and reacting in turns. A KC set piece at the bottom of the Pacific.

Jamie Oehlers (tenor saxophone), Tal Cohen (piano), plus Olivier Holland (bass) and Ron Samsom (drums) – for the CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland, 27 September 2017. Google Jamie Oehlers Bandcamp.com for a copy of the album.

 

Thabani Gapara Project

Thabani (7)During the apartheid era in South Africa, a heady brew of danceable Jazz bubbled up from the townships. The all white National Party hated it and a game of ‘whack-a-mole’ followed. As soon as one venue was shut down by the police, another would spring up. The music was resilient and hopeful. No racist or repressive regime likes Jazz because it has rebellion, hope and joyous defiance in its DNA. The Zimbabwean born Thabani Gapara imbibed South African Jazz from his earliest days, eventually taking up the saxophone, that most anti establishment of instruments. Since then, he has performed in Zimbabwean, South African and New Zealand projects. Thabani #

The powerful influence of Cape Town Jazz is especially evident – the cradle of South African improvised music. Since coming to live in New Zealand he has collaborated with many well-known musicians; The Hipstamatics, Batucada Sound Machine, Stan Walker and others. He has recently completed a B. Mus. in Jazz at the New Zealand School of Music and after graduating, he formed this group. Unbelievably, this was their first gig.Thabani (6)

There were a few ballads during the night but the music was mainly of a danceable, high-octane, delightfully groove based type. The key to the vibe was leader Thabani Gapara. What a great stage presence he has; the ready smile that he flashes when someone mines a groove. It is also his tone on all three horns, the marvellous compositions and tight arrangements. His compositions all reference his life’s journey and they strike a nice balance between groove hooks and flights into melodic ecstasy. I am always drawn to musicians who dance while they play. This is not an easy thing to pull off; it can affect concentration and in a reeds or winds player, it can affect the embouchure. Gapara skillfully utilises body movements to enhance the groove and he does so without a hint of contrivance. He wowed them and the audience gave back, and during that interaction, the spirit of live improvised music glowed like a fire. Thabani (8)

There is no doubt that the band was well rehearsed. No group can generate that sort of energy or negotiate changes or tricky rhythms without being comfortable with each other. I have heard guitarist Nathan James once before; on this gig he was wonderful. The interplay between he and Gapara was conversational, the sort of conversation that friends might have on good night out. When his solo’s intensified they never strayed far from the groove. The other chordal instruments were played by Peter Leupolu, nice effects and in the pocket; subtly pushing the others; urging them on. Lastly, we come to electric bass player Issac Etimeni and drummer Elijah White. The audience was wildly enthusiastic about both. The punchy post-Jaco electric bass; the groove-based drumming bravura.

They played a number of Gapara’s compositions; ‘The Journey’ (which I have posted), ‘Places and Faces’, ‘Tears’, ‘Family’,  and ‘On The Beach’. All of these strongly referenced Southern African Jazz. To my delight, they also played Roy Hargrove’s fabulous ‘Strasbourg St Denis’ – a great tune and executed with such verve and Joy. The remaining numbers were, ‘Spanish Joint’ (D’Angelo), ‘Time Will Tell’ (Bobby Watson), ‘I Can’t Help It’ (Stevie Wonder), and ‘I Want You Back’ (Jackson Five). I still have a 45rpm of that at home (the Jacksons first’ break-through Motown recording).

After the gig, I talked to Gapara about his music. I told him that I had experienced this style in Paris where it thrives in clubs like the New Dawn: played by the likes of Etienne Mbappe, Hugh Masekela etc. He agreed, saying that Paris is the new centre for experiencing these Jazz blended, bass heavy, African influenced styles. Now, as migration increases, the styles are evolving again; evolving as they move around the planet. Influences are never static; they bounce back and forth endlessly.Thabani (9)

If you see this group playing anywhere, grab a ticket and experience the fun. They truly deserve to do well and I hope they stay together for the long haul. Another great night, in an already wonderful CJC, Thirsty Dog season. Get down there on a Wednesday folks.

Thabani Gapara Project: Thabani Gapara (alto, tenor, soprano saxophones), Issac Etimeni (electric bass), Peter Leupolu (keyboard & piano), Nathan James (guitar), Elijah White (drums) – CJC Creative Jazz Club, Thirsty Dog,  K’Rd Auckland, 13 September 2017.

 

 

 

 

Craig Walters / Mike Booth Quintet

Booth-Walters (3)The popularity of ‘hardbop’ is enduring but we seldom hear it on the band stand. The probable reason is its very familiarity; if you play this music you will be judged against the source. There is also the evolutionary factor: improvised music strives to outlive its yesterdays. It is even less common for musicians to write new music in that idiom or to create a vibe that calls back the era. Such an enterprise invariably falls to experienced musicians; those with the wisdom to reverence the glories without it being merely slavish. Booth and Walters are especially well suited to that task. They have the chops, charts and the imagination and above all, they make things interesting. If you closed your eyes during this gig, you could easily imagine that you were listening to an undiscovered Blue Note album. It was warm, swinging and accessible.Booth-Walters (2) Booth and Walters are gifted composers and on Wednesday the pair reinforced their compositional reputations. Some of Booth’s tunes have appeared recently in orchestral charts. Walters’ tunes while heard less often are really memorable (‘as good as it gets’ stuck in my head a long time ago). These guys write and arrange well. Notable among Booth’s compositions were ‘Deblaak’, “A Kings Ransome’ and ‘On track’.  From Walters; ‘Begin Again’, ‘Queenstown’ and ‘Wellesley Street Mission’. There was also a lovely version of the Metheney/Scofield ‘No Matter What’ from the ‘I Can See Your House From Here’ album. I have posted Booth’s ‘A Kings Ransom’ as a video clip, as it captures their vibe perfectly. Booth has such a lovely burnished tone – a sound production that no doubt comes with maturity and a lot of hard work.Booth-WaltersThe last number was Walters ‘Wellesley Street Mission’ and I would have posted that, but my video battery ran out. This is a clear reference to the appalling homeless problem which blights our towns and cities. The bluesy sadness and the deep compassion just flowed out of Walters’ horn – capturing the issue and touching our innermost beings, challenging our better selves.  I may be able to extract a cut of this and post it later – we’ll see!

While the gig felt like classic Blue Note Jazz it was not time-locked. As the tunes unwound, the harmonies became edgy and modern and with Kevin Field on piano, they could hardly be otherwise. Here a sneaky clave move, there, an understated flurry, (even a few fourths); mainly though, his typical wild exuberance. Again we saw the maturity and effortless cool of drummer Stephen Thomas. This guy is exceptionally talented. On Wednesday he played like a modern drummer, but somehow, and wonderfully, he managed to include some Art Blakey and Philly Joe Jones touches (crisp pressed rolls and asymmetrical rim shots).  Wednesday was the third time that I have heard bass player Wil Goodinson. We should pay attention to this young artist – he is a rapidly developing talent. His tasteful solo’s and his effortless bass lines were great.Booth-Walters (1) Lastly, there was that mysterious dancer, appearing from nowhere, drawing sustenance from the music until the street swallowed her again.  

Walters & Booth Quintet: Craig Walters (tenor saxophone), Mike Booth (trumpet and flugelhorn), Kevin Field (piano), Wil Goodenson (upright bass), Stephen Thomas (drums) @ CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, 23rd August 2017.

 

 

Alan Broadbent ​& Georgia Mancio – ‘Songbook’ – Broadbent ‘Developing Story’ at Abbey Road

Songbook Qrt LIVE by Carl Hyde 2016.IMG_8193Since ‘Songbook’ was released three months ago the accolades have come pouring in and it’s no wonder. This is a superb album and destined to remain forever embedded in the Jazz songbook lexicon. The worldwide release was timed to coincide with Broadbent’s seventieth birthday; opening to an enthusiastic audience at Ronnie Scotts; then touring the major clubs and festivals throughout Europe and New York. Much about ‘Songbook’ is classic Broadbent; warm, lyrical, and intimate; not to take anything away from the co-credited Georgia Mancio, a highly acclaimed UK-based vocalist. Unknown-1This pairing of voice and harmony, lyrics and melody could hardly be improved upon: it is therefore unsurprising that comparisons are made with the classic songbook era. Here, Broadbent has found the ideal foil for his engaging brand of lyrical Jazz, and as a first, every one of his tunes has accompanying lyrics crafted by Mancio. In Songbook, Broadbent’s Quartet West classic, ‘The Long Goodbye’ has become ‘The Last Goodbye’; a moving reference to the passing of Mancio’s father. Tunes like that have long begged such lyrics and it’s nice to see them penned so beautifully. Back in New Zealand, we watch Broadbent’s ever unfolding story with wonder. UnknownWe are proud of him here in his hometown, understanding that his many projects keep him busy; so busy that so we seldom see him these days. As long as we have his albums it is enough, they all have a generous portion of New Zealand buried deep within them. Last month he recorded a new album in the Abbey Road studios, an album with former Woody Herman band mate, drummer Peter Erskine and the amazing bassist Harvie S – plus the London Metropolitan Orchestra. These arrangements could only be Broadbent’s – lush and achingly beautiful. Could there be more Grammy’s on the way?  

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Cover-front-Developing-Story-Alan-Broadbent.jpg

 

Sam Swindells: ‘Quiet’​ Octet

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

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

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

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

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

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

 

Rubim de Toledo (Canada)

Rubim (1)There have been two bass-player led groups at the CJC in as many months and both have been excellent. Last weeks featured group was a trio led by Rubim de Toledo: a Canadian from Alberta, of Brazilian origin and a well-established musician. Like many modern improvisers, his influences are diverse; that said his music fits squarely into the Jazz mainstream. The first thing to grab me was his big rounded tone, gifting the tunes with a richness and beauty that captivated from start to finish. While most bass sits deep within the mix, de Toledo’s voice spoke clearly; not by overcrowding his band-mates nor by punching through the others as an electric bassist might, but because every musical utterance sounded right. His melodicism and clarity of ideas were enhanced by devices which I found appealing; his occasional and appropriate use of vibrato at the end of a line, sometimes, rarely, he combined this with a slight bending of the note. He is definitely a successor to the Evans trio model; a bassist who communicates as an equal.Rubim (2)In a live setting and with unfamiliar sidemen, the best plan is to loosen the reigns. This he did and with Kevin Field on Rhodes and fellow Canadian and long time friend Ron Samsom on drums the gig gelled. Much of the gig showcased his compositions, some from his 2014 album ‘The Bridge”. The three standards he played were a killing version of Maiden Voyage (Herbie Hancock), Work Song (Nat Adderly) and a rendering of ‘Recordeme’ (Joe Henderson). His own compositions ranged from the thoughtful ‘Autumn Celeste’ to evocative panoramic tunes like ‘The Gap’ (about the Rockies) and ‘Red Eye’ (about a Brazilian train known locally as the train of death). The gig was a pleasure from start to finish and the enthusiastic audience response said it all.RubimAs I was leaving de Toledo handed me a copy of his recent album ‘The Bridge’ and it wasn’t until yesterday that I found time to play it. What a truly beautiful album this is; beautifully crafted arrangements and tunes which burn with a quiet intensity at any tempo.  On ‘The Bridge’, he is surrounded by an ensemble of talented Albertans and a guest artist from the USA. The lineup of bass, trumpet, saxophone, trombone, keyboards, drums (and on track 8 a vocal) is well conceived – balancing airiness with textural richness. The musicianship throughout is noteworthy; particularly Sean Jones on trumpet, a well respected musician from the USA: the keyboardist and everyone making this album memorable. As you would expect with an ensemble and with an album as skillfully recorded as this, de Toledo is less dominant. Here he lets his charts tell the story and they certainly do.

. The audio clip is ‘Winters Here’ from the album.

Rubim de Toledo Trio: Rubim de Toledo (upright bass, leader), Kevin Field (Rhodes), Ron Samsom (drums), The trio played the CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland, July 19, 2017.

The Bridge (Album): Rubim de Toledo (bass), Guest artist: Sean Jones (trumpet), Jim Brenan (saxophone), Carsten Rubeling (trombone), Chris Andrew (keyboard), Jon McCaslin (drums), Allison Lynch (vocals).Rubim (3)

Stephen Thomas – No Hawkers

Steve Thomas (1)In spite of his relative youth, Stephen Thomas is counted as one of New Zealand's better Jazz drummers. He approaches his craft with care and intelligence and it shows in his playing. While his technical skills are superb, he can also communicate on a human level and this is important as it speaks of character. Thomas is a regular on the scene, but like many sidemen and most drummers, he prefers to remain in the shadows. On Wednesday he changed that focus and convincingly staked his claim as band leader.Steve Thomas (4)The ingredients that contribute to a successful gig are often intangible, but this gig ticked a number of those boxes. While tailored to suit a Jazz audience, it did so without being remote or elitist. Another reason the gig worked was because Thomas used humour to good effect; not just his on stage banter but in the music as well. In a live setting this is important – interacting with the listeners on some level, bringing them inside the circle.Steve Thomas (3)Thomas has an abiding interest in the Ellington/Mingus/Roach, 'Money Jungle' recording and Wednesday provided him with a further opportunity to explore that project. While unusual as a source of standards material, it is a great album to focus on – the perfect vehicle for deconstruction. At the time it was recorded, it stood out for a number of reasons. In fact it shouldn't have worked at all, as the trio members reputedly disliked each other. Each had marked stylistic differences and Ellington was of an earlier generation. Ellington told the others that what they would play on the record should be a collective decision; then he turned up with a set list of his own tunes. The one tune which was not Ellington's was by Juan Tizol – a man who Mingus had once been in a knife fight with and because of whom, he was sacked by Ellington. What should have been a disaster for many reasons was a success. A brave post-bop recording by artists firmly rooted in other eras.Steve Thomas

Chosen from the Money Jungle material were 'Wig Wise and 'African Flower' (Ellington). Both of these tunes were given interesting treatment. The latter rendered into a dreamy fusion like vibe and the former, given a wonderful vaudevillian twist; the head melody line played on an analogue Prophet 08 synth. Reverence and open exploration in equal parts.Thomas's own tunes were interesting as well. 'No Hawkers' was a cleverly constructed solo piece; his engaging beats triggering pre-recorded samples, which he played over. 'Rat Race' was another great tune, this time with the full ensemble.Steve Thomas (5)

The other two standards were Giant Steps (Coltrane) and 'Fascinatin' Rhythm' (Gershwin). His quintet featured Crystal Choi, Michael Howell, Tom Dennison and J Y Lee and what a great band they were. Choi was especially wonderful; she's comfortable in a variety of settings and she just keeps growing as a musician – she really digs in and the sky's the limit for her. Howell was also decisive in his playing and it really suited him. Lee and Dennison are seasoned professionals and we are never disappointed by either. I was still buzzing from Dennison's previous weeks gig on electric bass – that boy can do no wrong.

No Hawkers: Stephen Thomas (arrangements, drums, samples), Crystal Choi (keyboards), Michael Howell (guitar), J Y Lee (alto saxophone), Tom Dennison (upright bass) – CJC Creative Jazz Club, Thirsty Dog, K' Road, Auckland, July 12, 2017

Tom Dennison Quintet

Tom D (6)Dennison is a first class musician and someone we don’t hear nearly enough of on the Jazz circuit. He rarely gets to the CJC but when he does it is always a treat. These days he is mostly found doing session work or backing visiting artists and it is hardly surprising that he is a bass player of choice. Whether on upright bass or electric bass he is equally proficient; always an engaging presence, always demonstrating a deep musicality. He has one more string to his bow which can’t be overlooked and that is composition. His tunes are often whimsical, but whatever the mood, a deftly crafted structure sits beneath every phrase. Never over done, bass driven and just right. There is also a thread of melancholia and wistfulness in his ballad writing: these are difficult emotions to evoke and anyone with knowledge of poetry will know, that only the most skilful poets do the moods justice. Dennison can.Tom D (4)Passels playing was another high point of the evening for me. He just gets better every time we hear him. He is also exactly the right person to interpret mood. I liked the way he approached the tunes, working his way inside them methodically. Sometimes angular, at other times teasing at the melody. During the ballads, he often began with sparse phrasing, establishing mood without overstatement; then, slowly telling his story as if looking at the theme from differing viewpoints. Although he plays decisively, he carefully modulates; generally without flourish or vibrato – pushing at a note until subtle multiphonic textures form – his paper-thin Konitz-like tone saying more than any honk. His versatility is also an asset. Any player who can comfortably move outside and inside while still maintaining a theme is a person worth listening to.Tom D (3)McAneny, who initially faced a cable problem, overcame it quickly and delivered a fine performance. Having a Rhodes and a guitar together can be problematical, but the charts and McAneny’s nimbleness enabled him to avoid crowding the space. Howell gave a nice performance and his lines are terrific; He knows what he’s doing but I’d like to hear him bite into his solos a bit more. Drummer Adam Tobeck was on solid ground with this group, he obviously enjoyed the company and reacted well to whatever was thrown his way. After not playing here for a few years, he is now a regular on the bandstand. I like his drum work very much.

Dennisons post-Zoo material is terrific. Fresh, adventurous and deeply appealing. I hope this gig presages a ‘Zoo Two’ album (or ‘Zoo Two by Two’?).  From Zoo we heard ‘The Cat’ – of the newer material there were many great pieces – I loved ‘Unkindness’, also the punkish take on the Beatles ‘Day Tripper’ and ‘J Y Lee’ (a contrafact of ‘Donna Lee’ which in turn is a contrafact of ‘Indiana’).

Tom Dennison Quintet: Tom Dennison (5 string electric bass, compositions), Callum Passels (alto saxophone), Connor McAneny (Rhodes), Michael Howell (guitar), Adam Tobeck (drums). CJC Creative Jazz Club, Thirsty Dog, July 5th 2017.

Nick Granville

NickThe last time Nick Granville played in Auckland was 2014.  A year prior to that he released his Rattle Jazz album ‘Refractions’ here  At that time the CJC was located in an old downtown basement venue and that feels like a lifetime ago. Wellington is his home base and Wellington keeps Granville busy. He teaches, he gigs about town, he backs visiting artists, he plays in shows, he records, he tours and he is the featured guitarist in the Rodger Fox Big Band. The last time I saw him play was in Wellington, but that was a few years ago. Much water has passed under the bridge since then and his reputation has meantime grown apace. I have also kept an eye on his teaching clips, and his ongoing evolution as a musician is evident in these.  Almost everything Granville plays is coloured by the blues in some way; that is his thing. On a mid-winter night, it is my thing as well.Nick (1)With the exception of ‘Alone Together’ by Schwartz/Dietz, all compositions were Grenville’s.  Some were from his Rattle Album, such as Tossed Salad & Scrambled Eggs or Blues For Les, while others were much newer. The compositions were all ear-grabbing and most appeared to reference geographical locations or old TV programs. ‘Funky New Orleans Groove Thing’ was certainly true to label; a rhythm-driven groove piece that generated white heat. With Stephen Thomas on the job, the New Orleans beat never sounded better. Thomas is an exceptional drummer.Nick (2)A tune that I have heard Granville play previously is ‘Somewhere You’ve Been’. The title is a clever play on Wayne Shorter’s ‘Footprints’. The tune, although not a contrafact of Footprints is close enough to bring it to mind, It is nicely constructed and a good vehicle for a band to play off. For this gig Granville had wisely engaged old friends; Roger Manins, Oli Holland and Steven Thomas. Together on the bandstand, they represented genuine firepower and everyone dug deep when it came to delivering solos

Footnote: If things go according to plan, Granville will soon be off to the Monterey Jazz Festival with the Rodger Fox Big Band, followed by a recording session in a famous LA recording studio.

Nick Granville (guitar, compositions), Roger Manins (tenor saxophone), Olivier Holland (bass), Stephen Thomas (drums). The gig took place at the Thirsty Dog K’Road for the CJC Creative Jazz Club, 28th June 2017.

 

 

ANZAC Day Standards & Photo Essay @ KMC

Haines K (14)Long after the ANZAC commemorations had finished, when The World Masters Games contestants were either celebrating their success or limping toward the nearest A&E, a largely unheralded gig took place at the KMC in Shortland Street. It was fitting, that on a day of remembrance, the faithful old war horses, the standards, were honoured. It is surprisingly rare to see a standards only instrumental gig these days. The event was curated by Kevin Haines and what a treat it was. The definition of what makes a Jazz standard is a moveable feast, but the safest definition is that the tunes are, or were, from the standard repertoire. Most, but not all standards come from the Great American Songbook, e.g. Irving Berlin, Cole Porter, Victor Young, Duke Ellington Ira & George Gershwin etc.  Many of them, and often the best, from failed musicals. Other Jazz standards come from the pen of gifted composers like Sonny Rollins.Haines K (9) When introducing the band, Haines stated,” The ability to play the standards well, is the benchmark against which Jazz musicians are ultimately judged”. Assembled on the bandstand were some of New Zealand’s finest musicians. Kevin Haines (bass), Nathan Haines (tenor & soprano saxophones, vocal), Kevin Field (piano), Dixon Nacey (guitar), Ron Samsom (drums).  The band gave it everything and the exchanges were beautiful – Nacey and Field conjuring up the Evans/Hall duos, Nathan Haines making his tenor sound like the Desmond Alto. The night was well attended and it will certainly be remembered.

The set list on the night was magnificent, with several surprises nestled among the more famous standards: (1) Beautiful Love (tune composed in 1931 by King/Young/Alstyne – it was featured in two long forgotten movies during 1932) (2) Tarde (Milton Nascimento 1969 – immensely popular in Brazil but popularised in Jazz circles by Wayne Shorter). (3) Alone Together (Schwartz/Dietz 1932 – from the musical ‘Flying Colours’). (4) But Not For Me (tune George Gershwin, 1930, from the musical ‘Girl Crazy’). (5) impossible Beauty (Nathan Haines 2000 – a  New Zealand standard if ever there was one -from his album ‘Sound Travels’). (6) If I should lose You (tune by Rainger  1936 – used in the film ‘Rose of the Rancho’. (7) Stella by Starlight (tune by Victor Young 1944 used as the score in the film ‘The uninvited’ rated the 10th most popular standard in the world). (8) Detour Ahead (Herb Ellis, Johnny Frigo and probably Lou Carter, 1947 – a true Jazz Standard, famously played by BIll Evans on his Village Vanguard sessions and later, and closer to home by Vince Jones), (9) All The Things You Are (tune by Jerome Kern, 1939, written for the musical ‘Very Warm for May’ played frequently, sometimes parodied, often messed with, much-loved).

Thanks, Kevin.

DOG meets KOOPMAN

KoopmanDog (1)There is never a guarantee that two good acts blended into one will work. This one did. DOG and the various iterations of the Peter Koopman trio are each in their way self-contained; exuding a confidence born out of time spent with familiar musicians. Bands that play together over long periods anticipate and react instinctively. Stepping outside of that circle can be a risk, but that is a large part of what improvised music is about.  DOG are a tight unit with quick-fire lines and nimble moves.  By adding a guitar, DOG risked crowding their musical space; with Koopman, this did not happen. He is an aware and thoughtful musician. The pairing aided by some well-written charts, a pinch of crazy and good humour. The result was a looser sound, but the joy and respect provided all the glue it needed for the gig to work well.

The first number up was Roger Manins ‘Peter the Magnificent’, a tune featured on the award-winning DOG album. Manins penned it years ago, but this is the first time we have seen he and Koopman play it together (the Peter referred to in the tune is Koopman).  Next up was Koopman’s ‘Judas Boogie’, a terrific catchy tune and a great vehicle for improvisation. It has memorable hooks and a feel good factor about it. It’s the third time that I have heard the tune and it is always mesmerising – weaving in and around a dominant bass note, a relentless pulse drawing you ever deeper into the theme. I like tunes like that, they are a gift to good interpreters.KoopmanDogThe unison lines and exchanges between guitar, tenor saxophone and Rhodes were just lovely. Kevin Field is always on form and the Rhodes with its chiming clarity was the perfect foil for Koopman and Manins. Field is the complete musician, tasteful, original and with impeccable time feel; Koopman’s guitar benefitting from the well-voiced chords, gently and sparsely comping beneath. Manins also gave a nice solo, and as we have come to expect, he reached for a place beyond the known world. Olivier Holland had a slightly different approach to Koopman’s regular bassist Alduca. Both approaches worked well on Judas Boogie. The interplay between Holland and Samsom was also instructive. As is often the case with good Jazz; the complicated was made to sound easy.KoopmanDog (2)

The craziest tune of the night was Manins ‘Chook 40’ – a crazy humour filled romp which swerved close to the avant-garde.  A Zappa moment filled with joy, and above all abandon. The last tune was titled ‘Home Schooled’.  This is a newer Field composition, one that regular CJC attendees will recall hearing during his last quartet gig. In this expanded context it sounded truly amazing – the tune was too long to post as a clip today, but I will try to do so later. The unison lines in that are particularly striking and the changes in mood and tempo revealed hidden delights.

DOG: Roger Manins (tenor saxophone), Kevin Field (Rhodes), Olivier Holland (bass), Ron Samsom (drums) – with Peter Koopman (guitar).

Peter Koopman Trio (Aust) 2017 Tour

IMG_4434.jpgGuitarist Peter Koopman has long been established on the Australian Jazz scene. He returns once or twice a year and when he does he brings interesting projects with him. This tour was no exception; with new compositions, some refocused standards, and a re-jigged trio lineup he hit the mark. Some musicians reach a permanent plateau, and then make only incremental advances from there on. To date, Koopman has been on a steady upwards trajectory; and with little sign of slowing. It’s noticeable in the detail, but also in the overall impression. He is matter of fact on the bandstand, there’s even a hint of diffidence about him, but this only reinforces the impression that he is all about the music. From the first few notes, band and audience are subsumed in the performance. IMG_4437.jpgOne of the subtleties that I noticed between visits is in his tone. It is cleaner but broader, conveying more information, allowing listeners to hear nuance and micro changes in modulation. And on some numbers gentle harmonics, rising off the upper end of a rapid run. His newer compositions also enhanced the project; nicely paced, making room for the whole trio and very appealing to the ear. I was not alone in observing this trajectory. One of our best New Zealand guitarists was later heard to mutter, only half-jokingly, “Damn, I’m off home to burn my guitar”. Australia has a number of excellent guitarists and some are equal to the best in the world. The challenges and opportunities of working in such an environment, have obviously suited Koopman.IMG_4445 - Version 2.jpg Judas Boogie, Meth Blue, Dog Annoyance, and Hypochondria were Koopman’s tunes. The band also played a sizzling version of ‘Airegin’ (Sonny Rollins).  ‘Airegin’ (Nigeria spelled backward) is a relentlessly upbeat tune and often tackled by guitarists – at least those brave enough. Another Rollins tune was ‘Paradox’.  The others ranged from the familiar ‘The best things in life are free’ (De Silva), and ‘The things we did last summer’ (Styne/Cahn) – to the less familiar –  ‘The big push’ (by Shorter from his little known ‘Soothsayer’ album) and ‘Montara’ by Bobby Hutcherson (from his amazing latin album of the same name).  Why we do not hear more Hutcherson is quite beyond me (thanks for this one PJK).IMG_4452.jpg

Max Alduca was on upright bass and he came with Koopman last time he visited. He has also been active on the avant-garde circuit with NZ musicians. A thoughtful melodic player, leaving space where appropriate and always where he should be during a tune; an active and equal trio member. Tim Gelden was new to the CJC audience, instantly catching our attention, adding excitement with his crisp tasteful stick work; during moments of interplay with Koopman and Alduca, heart-stopping action.

Peter Koopman Trio: Koopman (Guitar, compositions), Max Alduca (upright bass), Tim Gelden (drums), performed at the CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, 12th April 20117.

Andy Sugg on tour

Andy Sugg 254.jpgAustralia produces some distinctive, muscular tenor players and Andy Sugg is an example of that phenomena. The first thing that grabs a listener is an awareness of the raw power that fills a room when he blows. I am not just referring to volume or his fat rounded sound, but to the way he communicates an innate sense of musical purpose. This comes across as something beyond mere confidence. Deftly progressing through each tune; no over thinking, just a flow of connected ideas – and all carried on that delicious sound.Andy Sugg 261.jpgIt is always tempting to look for comparisons or patterns, it is what listeners do (and probably what many players wish they didn’t do).  It is part of how music works, our subconscious looking for a framework, for some reference point – a launching pad, a place of departure where the known departs for the unknown.  In Sugg’s playing you could could hear them all.  Name a great tenor player and that player was in there, listen harder and suddenly they were gone. Perhaps this is the hall mark of truly innovative players; they channel the essence of others and then dismiss them just as easily.Andy Sugg 256.jpgOne of the joys of improvised music is the  eternal conflict between the tangible and the intangible. You hear a phrase or a voicing that is maddeningly familiar, you feel a tingle of anticipation, you are on the verge of naming it – but before it takes form it is gone; dissolved into the intangible. Listening to Sugg is to catch a piece of Brecker, but listening to Sugg is also to hear an original. Tradition and innovation co-existing but ultimately spoken in his own dialect.

The tour was put together by Wellington based drummer Mark Lockett. Not long back from years of working in the USA, Locket has wasted no time since in stamping his hallmark on the Wellington scene. The WJC is a Wellington equivalent of Auckland’s CJC and between the two clubs (and affiliated venues) we are ensured a more viable touring circuit. Lockett simply oozes character (on kit and in conversation). As drummers go he is authentically original and a delight to hear. His atypical posture on the kit produces astonishingly good results. Like Sugg he is never hesitant, each gentle tap, pressed roll or flurry a moment of pure musicality. Like Sugg, he is an unusually decisive player – these two were made to be musically aligned.Kevin Field was on piano, this time well miked and able to do what he is renowned for. Mostyn Cole was on upright bass (also perfectly miked for the room). The band sounded terrific and although some of the charts were complex, they played like they had been together for years. It never ceases to amaze me, how well-rounded musicians can achieve such results after one quick rehearsal. Most of the tunes were Sugg originals and all were distinctive.  Among them were ‘Rollins’, (a tribute to Sonny), ‘Tran’, ‘Columbia’, ‘Manhattan Beach’, ‘Juna’ and segment from his ‘Hemispheric Suite’. Andy Sugg 256.jpg

The one standard he played was Johnny Green’s ‘Body & Soul’.  I don’t know why, but this warhorse is another in the ‘often avoided’ category. At one point it was the tune with the most recorded versions (perhaps that is why?). Following in the vapour trails laid by Bean, Dex or Trane could be another reason. Sugg however had the confidence to take it head on and he just killed it. After a stunning introduction the band swung through the changes, each revealing new wonders without being obtuse, reverently evoking joy and making us hear the tune – truly hear it – as if we were hearing it for the first time (version posted).

The “Hemispheric Suite’ in three parts is simply magnificent. We only heard a segment or two on Wednesday but the full suite and many of the compositions mentioned above are on his recent album ‘Wednesday’s at M’s’. In these hands the Hemispheric Suite took us close to Coltrane Territory. That open skies brand of Jazz that moves ‘inside’ and ‘outside’ seamlessly, and which can only be described as spiritual.Andy Sugg 254 (1).jpg

Sugg’s albums are available from his website www.andysugg.com.  The Auckland band was Andy Sugg (tenor sax, compositions), Kevin Field (piano), Mostyn Cole (bass), Mark Lockett (drums) – CJC (Creative Jazz Cub), Thirsty Dog Tavern, Auckland, 5th April 2017

Marc Osterer (NY/Austria)

Marc Osterer 254Improvised music is a never-ending contest between the familiar and the unexpected. Everything is valid on the journey, but sometimes we forget that tradition can be a springboard and not a straightjacket. We had a good example of that on Wednesday.  Because he lives far from here, few if any locals had previously encountered Marc Osterer, but few who heard him will forget his exuberant CJC gig. Born in New York, Osterer has led an interesting musical life. Broadway Shows, New York clubs, principal trumpet (Mexico City Philharmonic) and the Salzburg Festival Austria. While he attended prestigious musical conservatories in New York, there is something else in his sound – something that can’t be learnt purely from academic institutions. Osterer’s Jazz has a firm foothold in the tradition. Louis Armstrong and the great swing-to-bop trumpeters like Sweets Edison. It made perfect sense therefore that the standards he played were from the Songbook and that his own compositions reached deep inside that era.Marc Osterer 256 (1)

There was something of the old time back streets and jazz alleys in his sound. The way he phrased and that tasty lip-shake vibrato coming straight after a ‘hot’ clean-toned blast. Sure he is a formidable technician, but there was more than that in his sound. Trumpeters not raised on his streets, not bottle fed on Armstrong, Eldridge, Stewart, Allen or Edison hesitate before diving into that particular sound. Swing-to-bop as played in the 50’s still contained the mellow soulful echoes of its New Orleans beginnings. This period is often overlooked today – perhaps it’s even seen as hokey by some?  That’s a shame because the era is a gift that keeps on giving (watch a clip of Roy Eldridge or Henry Red Allen sometime – ‘whomp whomp’). What Osterer showed us were modern interpretations which were credible and which shone fresh light on an oft neglected golden age of trumpet.Marc Osterer 255We also witnessed good chemistry between the visiter and his pick up band. It was not the band advertised but what we got was terrific. Matt Steele was flown up from Wellington and locals (fellow UoA Jazz School alumni) Eamon Edmundson-Wells and Tristan Deck completed the rhythm section. Pianist Steele has been gone from Auckland for over a year and is seldom heard here these days. We do hear Edmundson-Wells (bass) and Deck (drums), but to the best of my knowledge, none of them have performed in this context. Absent were the complex time signatures and post bop harmonies. The tunes stayed closer to the melody and the rhythmic requirements were often two-beat or even something closer to second line. As they played through the sets the joy of discovery showed on their faces and we felt it too. Marc Osterer 255These musicians were still students three years ago but their skills are now well honed. They met the challenge and more.  Locals who had not seen Steele play for a while, were buzzing; especially after the blistering Cole Porter standard , ‘It’s alright by me’. Steele’s fleet fingered solo was terrific, and matched by Deck’s bop drumming (complete with appropriately placed bombs and fluid accents). Edmundson-Wells dropped right in behind, pumping out his lines, and it was obvious they were enjoying themselves.  Osterer’s compositions tell us how Marc Osterer 254 (1)comfortable he is with this style of music. His ‘What’s that smell’ (Jazz should be ‘stinky’ he explained) – a New Orleans referencing tune, then ‘Tune for today’ and ‘Bite her back’ based on a Bix Beiderbecke tune. Among the standards was Chet Baker’s version of the little known ‘This is always’, a steamrolling syncopated version of ‘Limehouse Blues’ (Braham) [Note: I have only seen one Kiwi attempt that, Neil Watson on fender] and a version of Hoagy Carmichael’s ‘New Orleans’.

My favourite tune of the night was the bands version of the Mencher/Moll 1930’s standard,’I want a little girl (of my own)’. This slow burner is another that has dropped from fashion, perhaps due to the slightly creepy title (and the lyrics are definitely pre feminist).  What a tune this is though. This was less Armstrong’s version than the Cootie Williams/Eddie Cleanhead Vinson take or even Brother Jack McDuff’s. A low down dark-alley speak-easy version with growls, stutters and smears; giving us the full dose of ‘stinky’ jazz and we loved every second of it. A commentator once stated; “When they find out which part of the human brain holds the love gene, this tune, ‘I want a little girl’ will be present in the DNA”.

Putin recently opined that tolerance and the Western world’s fetish for embracing diversity are signs of weakness. Hermann Goering said something similar, “when I hear the word culture I reach for my gun”. This myopic world view is the domain of strutting fools. The improvised music circuit is our connection to innovation, tolerance and expanded consciousness. On Wednesday nights we forget Trump and Le Pen. For that short window in time we live in a world of exciting ideas and discover the hidden corners of human consciousness.  Keep them coming CJC, you enrich our lives.   

I have put up two sound clips: ‘I want a little girl (of my own)’ and ‘It’s all right by me’ – enjoy.

Mark Osterer (trumpet, arrangements, compositions), Matt Steele (piano), Eamon Edmundson-Wells (bass), Tristan Deck (drums). 22nd March 2017, CJC (Creative Jazz Club), Thirsty Dog, K’Road, Auckland.

 

Jasmine Lovell Smith – ‘Yellow Red Blue’

Jasmine 258After years traveling the wider Jazz world,  Jasmine Lovell-Smith came home; launching her latest album ‘Yellow Red Blue’ at the CJC last Wednesday. The Album features a quintet ‘Towering Poppies’; a group she formed in New York over five years ago. Her New Zealand gig featured locals Roger Manins, Kevin Field, Eamon Edmundson-Wells and Chris O’Connor. After her New York release she garnered a number of favourable reviews and no wonder. This is a lovely album, her compositions and arrangements outstanding, the recording immaculate.

Lovell-Smith spent the last seven years in the United States and Mexico. Along the way she studied with the experimentalist, saxophonist and composer Anthony Braxton. When you first listen to ‘Yellow Red Blue’, the wild raspy joyous alto of Braxton is not the first thing that comes to mind. Good musicians, and Lovell-Smith is one, learn from their teachers while transforming the information into something all their own. Lovell-Smith has clearly assimilated a multiplicity of interesting influences. Her beautifully crafted  compositions teeming with ideas.Jasmine 257 Her soprano sound  is warm and enveloping, the cleaner tone of her straight horn nicely counterbalancing with the woody earthiness of the bass clarinet, the well constructed charts coming into their own when these delightful interactions occur. The rich textures are never overwhelming, even when strings enter the mix. This is chamber Jazz at it’s best, engaging the listener without resorting to cliché.

The compositions also travelled well. Wednesday’s gig had a different lineup from the album. Replacing bass clarinet was a tenor saxophone (Manins) and in place of the piano was a Rhodes (Field). Manins is incredibly intuitive in these roles and a hint of that wild (Braxton-like) unconstrained joy was evident. On the head arrangements they were captivating, on the solo’s explorative. Field and Manins are so in tune after years of interaction, that they can push each other to greater heights effortlessly. In spite of such familiarity the two avoided falling into familiar groves, stimulated by the charts and aided by Eamon Edmundson-Wells intuitive bass lines. Edmundson-Wells is a multifaceted bassist and often seen with avant-gardests.Jasmine 256

As a special treat we had the amazing Chris O’Connor on drums. I can never get enough of this guy. He can do anything on traps including hyper subtlety. On the last number of the first set he turned in a solo which was so coherent, so perfect, that the world moved into his orbit. This faster-paced tune ‘A nest to fly’, was from an earlier Lovell-Smith album.

The tunes were all by Lovell-Smith with the exception of Joni Mitchell’s ‘I had a king’. Her arrangement on that teased out fresh ideas. One particular version of that tune always sticks in my mind, the one from ‘The Joni Letters’ (with Shorter & Hancock). This version pleased me for its raw beauty and quiet intensity. The sound-clips posted here are ‘Moving mountains’ from the album and ‘A nest to fly’ from the live gig.

The title track ‘Yellow Red Blue’ is reflective and abstract. It is written in reaction to the Mark Rothko painting of the same name. I have recently been on a modernist painting viewing binge in Europe and America. The bold eerie magnetism of Rothko is still fixed in my mind’s eye, greatly refreshed after this homage. The title ‘Red Yellow Blue’ and the Rothko reference feels appropriate. Neither invite pigeon holing, both draw you deep into a borderless world.IMG_0263.jpg

Lowell-Smith is back in New Zealand to pursue a Doctorate in composition with John Psathas. Her albums are available from www.jasminelovellsmith.com

Towering Poppies: Jasmine Lovel-Smith (soprano, compositions, arrangements), Josh Sinton (bass clarinet), Cat Toren (piano), Adam Hopkins (bass), Kate Gentle (drums). A string quartet features on 3,5 & 7)

Towering Poppies live NZ: Jasmine Lovell-Smith (soprano), Roger Manins (tenor saxophone), Kevin Field (Rhodes, piano), Eamon Edmundson-Wells, Chris O’Connor (drums). March 15, 2017, CJC (Creative Jazz Club), Thirsty Dog, Auckland.

 

Andy Watts Quartet

Andy Watts 129

I missed the earlier Jazz gigs at the Backbeat Bar and was pleasantly surprised by the venue. A steep staircase rises directly from the busy pavement, ascending sharply until you find yourself in a pleasant oblong room; bar on one side, soft lighting and a surprisingly generous stage at the far end. This was a temporary venue but a good one. Since losing the atmospheric but sonically challenging Britomart basement, the CJC has become peripatetic. It currently has a number of homes and pleasingly, the audience seems happy to follow. Importantly, this particular venue has good acoustics.Andy Watts 132

The first of March brought a treat in the form of the Andy Watts Quartet. Watts has worked in London for ten years and this was his first trip back to New Zealand since leaving. He is that rarity, an active New Zealand trumpeter bandleader, a cohort you could count off on the fingers of one hand. Like Mike Booth and Lex French he was schooled here, but left to hone his skills elsewhere before returning. His years of performing in and around London have gifted him an air of confidence, one born out of wide and diverse musical experience.Watts has been busy in London, appearing on numerous albums such as the ‘Afrobeat Collective’ (which he helped form), ‘6 Day Riot’ and ‘Running Club’. This year he recorded an album with his country group Blue Mountain Rockers titled ‘Turn the lights out’. It is not just Jazz guitarists who effectively mine this seam (Trumpeter Mathias Eick’s ‘Midwest’ is a masterpiece of country Jazz invention). Also cut this year was his album ‘Otherwise fine’, tonight’s gig is the local release gig for that London recording.Andy Watts 128

His New Zealand quartet is largely made up of old friends from his Auckland University days. On guitar was Ben White, with Jo Shum on bass, and Adam Tobeck on drums. Six of the compositions were by Watts and three were White’s. These were juxtaposed between some seldom heard but great compositions by Roy Hargrove and Jerome Sabbagh. Rounding off each set was a standard. Many of Watts compositions are muscular, and at times you can detect his influences. Dave Douglas, Wheeler and others like Hargrove are clearly in his pantheon. I particularly liked ‘Smoke and mirrors’ and ‘Mr Cornelius’ by Watts, also ‘The Moment’ by White. The bands opening number in the second set was Hargrove’s lovely ‘Strasbourg/St Denis’ and it was a delight. To hear such a fine composition performed so well was worth the entry price alone. In this piece especially, the contrast between trumpet and horn was perfectly balanced.

White has a warm sound with lots of bottom to it. This contrasts nicely with Watts horns, who can swoop with heart stopping daring off the upper register or reach for impossible notes al la Wheeler. We see the reliable Tobeck often but less so Shum.  It was good to see both on this bandstand. I am still having problems with uploading to You Tube but I have clips. I will post the missing clips when it is sorted. In the meantime I have loaded an earlier clip of the Andy Watts London Quartet.

For a copy of ‘Otherwise fine’ visit any digital outlet or go to andywattstrumpet.bandcamp.com  .

Andy Watts Quartet: Andy Watts (trumpet, flugel), Ben White (guitar), Jo Shum (upright bass), Adam Tobeck (drums). CJC (Creative Jazz Club), Backbeat Bar K’Rd March 01 2017.

Live Dog @ Thirsty Dog

DOG16 128.jpgAs another DOG night approached I could feel the excitement in my bones. I had followed their tracks from the groups inception, enjoying every moment along the trail. I was at their first gig in February 2013 and it amazed me then just how rounded and complete they were. If you search for the ‘(Dr) Dog’ post in this blog site you will find a video from that gig. Man that blew me away. I just couldn’t get the tunes and the excitement of that night out of my head. Later I used a cut ‘Dideldideldei’ (Holland) as the signature for my YouTube site. I also sent the cut to a Jazz DJ friend Eddie B in LA and he played it on his show. Unsurprisingly people phoned in immediately wanting to know, “who were those amazing cats”?  Before long the group decided to record – everyone who heard them wanted more. DOG seemed to encapsulate everything that was good and exciting about the local scene – DOG was, and still is, something special.DOG16 131.jpgThere are so many aspects to this group that it is hard enumerate them all; of course there are the outrageous dog jokes, the brilliant compositions from each band member, the powerful stage presence, but it is something else that excites me the most. This is a band that could gig anywhere in the world and we could hold our heads up, knowing that they would do us proud, tell our story. I felt excited when they were nominated for ‘album of the year’ and as pleased as a dog with two tails when they won the ‘Jazz Tui’. Now it is rumoured that a new DOG album is on the way. I can’t wait.

Most bands take a number or two to warm up, but not this one. At the Thirsty Dog the band leapt out of the starting gate like fixated greyhounds after a lure. The first number of the first set was a new composition by bass player Oli Holland (‘Scheibenwischer’ – this translates as windscreen-wiper) and it sounded great, setting the tone for the evening. Next was Ron Samsom’s tune ‘Push Biker’ (the first track on the DOG album). The intro begins with a long morse like pulse, everyone joining in but from a different perspective, then a melodic head – coming right at you like a freight train. A great vehicle for Roger Manins to use as a launch pad as he jets into orbit on his solo.DOG16 133.jpgThroughout the sets were a scattering of familiar DOG compositions – plus a few new ones (like ‘Merde’ by Samsom and Hollands ‘Shceibenwischer’). All of the tunes sounded fresh and somehow different, perhaps because Kevin Field was playing a Rhodes and not a piano. I love the Rhodes in all its antique glory and in Field’s hands it is especially wonderful. It cut through the room like crystal. Hearing the familiar tunes like ‘Peter the Magnificent’ (Manins), ‘Icebreaker’ (Field) and ‘Sounds like Orange’ was like meeting old friends. The last track of the evening was the familiar ‘Dideldideldei'(Holland). DOG ripped into it with the usual abandon, leaving us shaking our heads in disbelief and grinning like Cheshire cats.DOG16 129.jpgThe Thirsty Dog works well as a venue, having good acoustics, good sight-lines and a sizeable bandstand.  They also serve snack food and they are most welcoming. The first DOG album is available at Rattle Records and if you don’t own a copy don’t delay. Everyone wants a DOG for Christmas.

FYI: YouTube refuses to upload video, even though I have some great cuts from this gig – will post if I ever get it sorted.

DOG: Kevin Field (Rhodes, compositions), Roger Manins (tenor saxophone, compositions), Oli Holland (bass, compositions), Ron Samsom (drums, compositions) held for the CJC (Creative Jazz Club) at the Thirsty Dog, K’Rd, Auckland city, December 7th 2016.

GRG67 cries ‘fowl’

GRG67 127.jpgAgainst a background of complacency in regard to the ever declining biodiversity on the planet, one band is determined to raise our awareness. Those who have encountered the quartet on prior occasions will know the back story, connect the dots. GRG67 arose out of an impulse of crustacean empathy, an emotion usually confined to marine biologists and not Jazz musicians. However, once you grasp the fact that the band’s founder is Roger Manins, the rest falls into place. A sustainable fisher and co-manager of a small menagerie, Manins could best be described as the David Attenborough of the tenor saxophone. His world is strewn with animals and that’s the way he prefers it.GRG67 131.jpg

GRG67 the band, was inspired by a sea crab named Greg (as there are evidently  no vowels in the crab language, the name was rendered as GRG – but still pronounced Greg by etymological purists). At the bands inception the improvisational possibilities of the crustacean kingdom were examined, then the net was widened. Wednesday nights gig set sail for chook territory, relentlessly braving the ‘fowl’ winds of the wild west coast. With one or two exceptions, chooks (Gallus gallus domesticus) were eulogised in composition. They were plucked at by Michael Howell and Mostyn Cole, given a thunderous improvisational makeover by Tristan Deck and vocalised in all their glory by Manins.GRG67 128.jpgEach tune title was accompanied by a personal story or zoological insight; each bird was treated with deep respect. With titles like ‘chook empathy’, ‘chook 40’, ‘ginger chook’, ‘dark chook sin’ we were afforded some rare insights into the avian world. ‘Chook 40’ was not about the 40th chook as you might suppose. It opened our eyes to the fact that chooks have one more chromosome than humans. During that particular tune you could really sense that extra chromosome. ‘Dark chook sin’ was an invitation to anthropomorphism. What would a chook sin look like? Manins felt that Mallard ducks were more likely to sin than a chook (anyone living near ducks who has a deck will have a view on this).GRG67 129.jpg The quartet played with wild enthusiasm in both sets and the good humour of the evening was infectious. Given the subject matter it was only fitting that the gig took place at the Thirsty Dog (dogs are also a recurring theme with Manins). The venue was congenial and the acoustics good. What more could you want on the last night of Spring. This band is a rallying cry, reminding us that in this troubled world we shouldn’t take the good things for granted. At a time when we are buffeted by the ill winds of international politics, the arts matter more than ever. New Zealand Jazz rewards us in so many ways and the diversity of improvised music in our city is a treasure. You get good musicianship and fun combined – and if you’re lucky a musical insight into the natural world around us.GRG67 133.jpg I have posted the bands signature tune GRG67 as it simply crackled (cackled) with life (and it broke a previous speed record). These guys are fine musicians and GRG67 was never better than on this night. These guys sizzle.

GRG67: Roger Manins (tenor saxophone), Michael Howell (guitar), Mostyn Cole (electric bass), Tristan Deck (drums). Playing at the Thirsty Dog, CJC (Creative Jazz Club), Auckland November 30th 2016.

Hayden Chisholm Trio

Chisholm 129.jpgWhile not located on the Jazz touring circuit in the way Europe is, New Zealand gets some surprising and unexpected treats throughout the year. This was certainly one of them. Because I’ve been travelling recently, I had not noticed this gig coming up and it caught me quite off guard. From time to time I’ve heard mention of the New Zealand born composer and saxophonist Hayden Chisholm, but I had never heard him play. The little that I did know, was that he’d lived in Europe for many years and that he’d been a microtonal innovator. His CV reveals an amazing diversity of achievements and among them; teaching, composing for large ensembles, recording around the world, film soundtrack scoring, festival directing, touring extensively and collaborating with installation artists. He is obviously not a musician to be pigeonholed easily and my expectations inclined me toward multi-phonic explorations or something akin to the wonderful Bley /Giuffre/Swallow ’61 trio’. What I heard was closer to the equally wonderful Bley (Karla)/Swallow/Shepherd trio.Chisholm 127.jpgThe gig subsumed us in pure unalloyed ballad beauty – beauty of a kind that is exceedingly rare. The programme (with one exception) was of original ballads; pieces composed by either Chisholm or Norman Meehan.  Meehan was exactly the right pianist for this gig – a tasteful musician who knows when to lay out, and who never over-ornaments. His sensitivity and minimalist approach creating a bigger implied sound; each note or voicing inviting the audience deeper into an unfolding story. Later when I commented on this he repeated Paul Bley’s advice, “If somebody else sounds good, you’re not needed. So you are like a doctor with a little black bag coming to a record date” (from ‘Time will Tell’ Meehan). Paul Dyne on bass was the ideal foil for Chisholm and Meehan. Again he made each note count without busyness. Because this was an acoustic trio with the piano and saxophone unmiked, the resonance of the bass carried more weight, every harmonic adding a subtle layer. With Meehan playing so sparsely and Chisholm sailing in the clean air above, the subtlties of the soundscape were liberated until the room sang.Chisholm 131.jpgThe compositions were varied but all were marvellous. Some so gorgeous as to take the breath away – others possessing edge – all beautifully constructed. The trio worked as an effective unit, but the Chisholm effect was inescapable. The man is simply exceptional, his lines, phrasing and tone jaw dropping. I have no doubt that his technical skills are second to none, but listening to him you never give that a thought. Every musical utterance plunged deep into your soul in the way a Konitz line does. Chisholm is quite original and modern but I fancied that I heard some faint echoes of the great altoists on Wednesday night. Perhaps that was just my imagination, but Lee Konitz (and surprisingly to me), even Art Pepper came mind; especially during Meehan’s wonderfully soulful tune ‘Nick Van Diyk’.  I have posted that clip (which is bookended with a lovely Chisholm tune ‘In Day Light Mourning’, where he plays a lament against a drone). The lament references the music of India and Japan, utilising extended technique (Chisholm has studied in both countries). Chisholm 128.jpgIt was one of those concerts that made you feel lucky. The sort of concert that you will recall in later years and regale those who missed it with vivid descriptions – enough to make them green with envy. For those who missed the gig or for those who want to relive it, the trio are recording this week. I will keep you posted on that and on where to obtain the album. In addition Norman Meehan has a new book out – a history of New Zealand Jazz. That can be ordered through any main street book outlet (my order is in).

Hayden Chisholm Trio; Hayden Chisholm (alto saxophone, compositions), Norman Meehan (piano, compositions), Paul Dyne (upright bass) – CJC (Creative Jazz Club), Kenneth Myers Centre, Shortland Street, Auckland 23rd November 2016.

 

Frank Gibson – New Quartet

FrankNov16 129.jpgFrank Gibson is a drummer of international repute, a sideman, educator and bandleader.  While he is a versatile drummer, his predilection is for bebop and hard-bop (especially Monk).  On Wednesday the 16th November, our last night at the Albion for a while, we heard six Monk tunes (plus tunes by Wes Montgomery, Lee Morgan, Joe Henderson and Sam Rivers).

The first set opened with the Sam Rivers tune,  a biting trio number (Beatrice). This was followed by four Monk numbers -‘Monk’s Dream’, ‘I Mean You’, Light Blue’ and ‘Straight No Chaser’. With this Gibson quartet (as with any Gibson quartet), Monk becomes real; you experience the music in a visceral way. FrankNov16 127.jpgThis is not a clone of the original Monk bands, but a modern quartet connected to the Monk vibe by musical lineage.
While Gibson is obviously the driving force, the presence of guitarist Neil Watson is also an essential element in the mix. With Watson you get authenticity and unexpected twists. Watson is a chameleon who can play a swinging version of ‘Limehouse blues’, wailing Jimi Hendrix, or in this case Monk through a Sonny Sharrok lens.  The other (newer) band members were Craig Walters on tenor saxophone and Cameron McArthur on bass. McArthur we are very familiar with and he never puts a foot wrong. Walters is from New Zealand, but spent many years in Australia after studying at Berklee in the USA. Walters is now living in New Zealand which is our gain.FrankNov16 128.jpgThere were familiar, much-loved Monk tunes and a few that are seldom heard such as ‘Light Blue’ and ‘Eronel’. Monk wrote around 70 compositions and they are instantly recognisable as being his. The angularity, quirky twists, the choppy rhythms, the lovely melodies and particular harmonic approach – a heady brew to gladden the heart of a devoted listener. We never tire of him or his interpreters. After Ellington, Monk compositions are the most recorded in Jazz. We remain faithful to his calling whether our tastes run to the avant-garde, swing or are firmly rooted in the mainstream. These tunes are among the essential buttresses holding up modern Jazz. They are open vehicles inviting endless and interesting explorations.  They are a soundtrack to the Jazz life.FrankNov16 130.jpg

The second set began with a duo (Gibson and Watson). The tune was Wes Montgomery’s ‘Jingles'(this appears on ‘The Wes Montgomery Trio’ album, where he was accompanied by organist Melvin Rhyne and drummer Paul Parker). A nice groove number and well realised. Next we heard ‘Ceora’ a pretty tune penned by Lee Morgan. This appeared on the ‘Cornbread’ album (an iconic recording with the mouth-watering lineup of Herbie Hancock, Hank Mobley, Jackie McLean, Billy Higgins, Larry Ridley). Again the quartet did the number justice. The track I have posted is the Monk number ‘Eronel’. While not as familiar it is unmistakably Monk (the original appeared on Monks ‘Criss Cross’ and was later reprised as a solo number).

Frank Gibson New Quartet: Frank Gibson (drums), Craig Walters (tenor saxophone), Neil Watson (guitar), Cameron McArthur (bass).

 

Phil Broadhurst – ‘au revoir’ gig

Broadhurst Nov16 128.jpgAu revoir is more than a simple good-bye. The fuller meaning is ‘until we meet again’. Jazz pianist, broadcaster and educator Phil Broadhurst is about to move to Paris, where he will reside for a few years (along with his partner vocalist/pianist Julie Mason).  He assures us that he will return and it is not unreasonable to expect him to arrive back with new compositions and new projects to showcase. A Francophile (and francophone), Broadhurst has long been influenced by the writers and musicians of France. His last three albums ‘The dedication trilogy’ all contain strong references to that country. Wednesdays gig was centred on his recent output, but with new tunes and a surprise or two thrown in.Broadhurst Nov16 132.jpgBroadhurst is an institution on the New Zealand Jazz scene and it will feel strange with him absent. The strangeness on this particular Wednesday night was compounded by the impending American election result. An election dominated by bizarre outbursts of racism, belligerence, stupidity and misogyny. As the first number of the evening progressed, everyone relaxed; Broadhurst’s melodicism a balm for what ailed us.  The tune was ‘Orange’ (a French commune in the Alps/Cote d’Azur region). Half way through the piece everyone’s mobiles lit up. I tried to ignore mine but the vibrating and flashing increased. I reached to shut it off and spotted the words – Trump wins US election. The ‘four horsemen of the apocalypse’ had just entered the room via electronic media. The tune ‘Orange’ is particularly beautiful (and I hope Broadhurst will forgive me for this association), but on this night, the title was also oddly appropriate.  An orange gargoyle was about to release the furies upon a surprised world.Broadhurst Nov16 130.jpgAccompanying Broadhurst were his regular quintet, Roger Manins (tenor), Mike Booth (trumpet), Oli Holland (bass) and Cam Sangster (drums – and with special guest Julie Mason (vocals). Broadhurst, and his various lineups have received numerous accolades. In recent years there have been nominations and awards; most recently the prestigious ‘Tui’ at the 2016 New Zealand Jazz Awards. Broadhurst Nov16 129.jpgAnyone who follows NZ Jazz will be familiar with many of the tunes played on Wednesday; ‘Orange’, ‘Precious Metal’, ‘Loping’ etc. The nicest surprise of the evening was hearing a Frank Foster tune ‘Simone’ (absolutely nailed by Julie Mason). A fine tribute to Nina Simone, and appropriate to the night, given Simone’s views on the lamentable state of race relations in America. This unit is supremely polished and I highly recommend that you purchase the recent albums if you haven’t already done so. They are all still available from Rattle Records.Broadhurst Nov16 134.jpg

I wish the couple well for the journey ahead and look forward to their return. In addition I fervently hope that they are spared a Marine Le Pen ascendancy during their stay in Paris.

Phil Broadhurst Quintet; Phil Broadhurst (piano, compositions), Roger Manins (tenor saxophone), Mike Booth (trumpet, flugel), Oli Holland (upright bass), Cam Sangster (drums), Julie Mason (vocals, lyrics), performing for the CJC (Creative Jazz Club), Albion Hotel basement, Auckland, 9th November 2016.

Steven Small – Mexico City Blues & Soviet Modernism

Small ! 127.jpgEvery time an article appeared in the late twentieth century proclaiming the death of Modernism, another appeared shortly after; pointing out, rightly, that profound echoes of the movement will linger and intrigue a while yet. Perhaps because of when I was born, (immediately after the second war), this movement fascinates me and will until my last breath. It was a profound moment in the human journey when the hegemony of historical artistic values were challenged, discarded. Schoenberg, Coltrane, Brubeck, Riley, Colman, Matisse, Picasso, Miro. Pollock, Rothko, Eliot, Pound, Kerouac, and even Freud are defined by this impulse to move free from the received wisdom of history.

Those names and others were significant among the game-changing modernists. The paradox is, that once defined, accepted, the movement they arose from became part of conventional history. The energies arising from the Modernist impulse were profound and so powerful that counter-revolutions are endlessly trying to reset the clock – to recapture late 19th century values, a time when empires and financially powerful men determined our world view (the Trump, Brexit phenomena).small-2016-125Stephen Small is a wonderful pianist but he is much more than that. He conjures up musical projects that catch people unawares; original projects, affording us a viewpoint on life and art that we would not experience otherwise. The concept behind the first outing of the Mexico City Blues band was to look at, examine the Jazz of 1957, fusing it with the Beat poems of Jack Kerouac  (Kerouac wrote Mexico City Blues in that year – see earlier post).  This was in part a re-imagining, but also a fresh look through post millennial eyes. When Stephen Small takes on a project he brings to it an immense musical knowledge, but more importantly an eye for the unusual, for quirky detail (no artist, musician, writer or poet worth their salt can succeed without this). When artists do their job well they show us the world afresh.

Mexico City Blues 2016, unexpectedly took us into the heart of Eastern Bloc Europe during the immediate post-war era. What a marvellous idea and what extraordinary music we heard. By coincidence, just before this gig, I was travelling through the former Eastern Bloc and I gained a strong sense of the wonderful music existing there – a music largely obscured from the anglo-centric view, created in an era of strong disapproval and inside hermetically sealed borders. A small cadre of Poles, East Germans, Czechs, Romanians and Russians listened to Jazz when they could. Forbidden LP’s circulated, Radio America broadcasts were devoured and later on there were a handful of US State Department Goodwill Tours (aka propaganda).  Small pointed out something important.small-2016-121

The Jazz that these musicians created, recorded, while referencing the American or Scandinavian music was also very much their own. They hated being told that Jazz was forbidden by the philistine authorities, but they were also suspicious of swallowing the US State Department line.  Jazz is and should be by its very nature suspicious of any party line. There is a little Evans, Ellington and Brubeck in their music but what defines these artists is an uncompromising originality. I am a longtime time fan of Polish Jazz, as it is interestingly melodic and distinctive. The most important thing I learned while in Poland was that the ethnic Poles did not rebel against Russia out of any yearning for American capitalism, nor did they despise socialism. They just wanted the jackboots of Russia and Germany off their neck. Nations and art forms are happiest when finding their own way in their own time. Hearing this music is to glimpse the soul of an artistically suppressed people, finding hidden pathways towards the light.

The gig traversed the compositions of four 1950’s to 60’s era Eastern Bloc musicians and paid tribute to the experimental free improvised music of Russia. There was a distinct flavour to all of the pieces. They were lush without over ornamentation, marvellously inventive, moody and original (perhaps tinged with the dark romanticism of Slavonic literature). After hearing these composers, my interest is piqued enough to want to lift this corner of the Iron Curtin further.small-2016-126

The artist featured most was the amazing Krzysztof Komeda, a wonderful composer and interesting pianist whose dark and moody compositions are forever associated with Roman Polanski movies; a match made in heaven. Anyone who follows the Polish trumpeter Tomasz Stanko will have heard Komeda often (Stanko was in many of the Komeda bands). If you saw Polanski’s ‘Knife in the water’, ‘Rosemary’s Baby’ or ‘The Fearless Vampire Killers’ you have absorbed his music without realising it. ‘Astigmatic’ Komeda’s greatest album, is highly regarded to this day. It signals the first significant shift away from American Jazz sensibilities, establishing a new and predominantly European Jazz aesthetic. I once saw Polanski interviewed about his early movies and he spoke passionately about Komeda and his music. The Komeda compositions we heard were the achingly beautiful ‘Ballad for Bernt’ and ‘Crazy Girl’ (both from ‘Knife in the Water’).

First up was a solo piece, ‘Suite for Jazz Orchestra’ by the East German composer Pavel Blatny. Then Bassist Jo Shum joined Small for two Komeda numbers – following that the duo played ‘Gral’ by Ludwig Petrovsky (another East German). The last piece in the first set was a ballad by Murad Kazhlaev (an Azerbaijani).  I have not seen Shum perform for some time but she was magical – her touch and instinctive feel for this interesting music adding deep resonance. small-2016-120The second set was free improvised music in the tradition of, and honouring the all but forgotten experimental improvisers of 1960’s Russia. For this set Small was joined by Dave Chechelashvili on modular synthesiser. As Small carved out motifs and themes, developing them and exploring the possibilities, Chechelashvili shaped the sound. Small’s Korg keyboard was split and connected with the modular synth; as patch cords were adjusted and knobs tweaked, we heard a music that you don’t expect from Communist Russia. Evidently and surprisingly, this was tolerated because it was perceived as artistic exploration. It was hard not to think of Glass, Reich or Riley and wonder at this parallel development.

Mexico City Blues: Stephen Small (piano, keyboards, concept), Jo Shum (double bass), Dave Chechelashvili (modular synth). November 2nd 2016, CJC (Creative Jazz Club), Albion Hotel, Auckland.

Oli Holland’s Jazz Attack

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2016 has seen more internationals passing through our Auckland Jazz club than ever before. Most of these offshore artists were extremely polished, playing at a level you’d expect from musicians tested in the hot-house of big city venues. Against that back drop it is exciting to encounter a first time up local band that can turn on a gig like this. ‘Oli Holland’s Jazz Attack’ is a fun band and an engaging one. The band’s leader (Dr) Olivier Holland, is an extraordinary bass player, renowned throughout New Zealand; the other experienced band member was trumpeter Finn Scholes, the remainder of the sextet were students.Oli 2016 121From early in the first set, I felt the passion behind the performances, the sheer exuberance that is generated when a group know that they are performing effectively. Seasoned touring musicians sometimes sacrifice this – perhaps the effort of being on the road, the effects of jet lag, robbing them of warmth. It reinforces my view as a listener, that an artist needs more than chops to fully engage with an audience. When a band is comfortable on stage, properly rehearsed and above all up for a riotous night, magic can happen.

I enjoyed this gig and what I will take away is that joyous enthusiasm they generated. This is largely down to Holland, a seasoned bass player who generally downplays his role as spokesman. “Bass players are not supposed to speak,” he said, “but I will anyhow”. A leader who can move from grin to deadpan in an instant; a natural talker, who milks the hell out of his spoken lines. He is extremely funny, the master of throw away lines and in between numbers storytelling. This clearly rubs off on the band members and establishes the mood.Oli 2016 126Trumpeter Finn Scholes can always surprise and over recent years he has impressed me increasingly. His vibrantly brassy ‘south of the border’ sound in the Carnivorous Plant Society is well-known, but anyone who thought that was all there was to him, hasn’t been paying due attention. He is raw and raspy on avant-garde gigs, mellow and moody on vibes and in this lineup reminiscent of the young Freddie Hubbard. His solo’s had bite and narrative, his ensemble playing was tight; above all, he generated palpable excitement, the sort that brings people back to live music again and again.Oli 2016 125

There were four students in the line up and the thing about students at this level, they have the ability to step up. Often though, they lack the confidence to do so. Many will over think a performance or only tentatively express what is in their heads – a careful observer can see that hesitation. The four students here stepped free of that hesitation, especially the tenor player Misha Kourkov. Being in the moment and bringing your skills to bear instinctively is what good Jazz performance is about.Oli 2016 129

Kourkov delivered some blistering solos and the best came surprisingly early in the gig. It has been a while since I saw him play (as a first or second year student I recall); he has come on in leaps and bounds since then. He looked and sounded good on the tenor, as if the instrument was a natural extension of his body. There was no mistaking the influence of Roger Manins either – that preparedness to reach for impossible notes, that full-bodied rich golden sound, storytelling.Oli 2016 123

On piano was Nick Dow from Christchurch, completing a Masters in Auckland. A nice touch and avoiding the trap of playing too many notes. On guitar was Michael Howell, no stranger to Auckland audiences, another AUJS student: playing an attractive solid body instrument; rounding out the sextet sound nicely and not over peddling. The remaining band member was Daniel Waterson (drums). Like the others he was obviously enjoying himself – he took a few solos and acquitted himself well. At the end of the first set, special guest ‘Heidi’ performed the jazz standard ‘Nature Boy’, rounding off the set nicely.

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I have posted ‘The Baseline Tune’ (Holland) which was second up in the first set, a tune which allowed everyone to stretch out. In Hollands introduction he warned the audience, “If you think you know where this piece is going you’ll be wrong. I don’t compose any tunes like that”. A typical Holland comment and accurate. All of the tunes were composed by him and all were quirky in some way. I liked the quirkiness, the way the tunes moved through many phases – often like a suite. In spite of their complexity they lingered in memory – you couldn’t hum them, but tasty fragments remained in your head. Challenging, satisfying, edgy improvised music for grownups.

Oli Holland’s Jazz Attack: Oli Holland (bass, compositions), Finn Scholes (trumpet), Nick Dow (piano), Michael Howell (guitar), Misha Kourkov (tenor saxophone), Daniel Waterson (drums) – guest Heidi (vocals). CJC (Creative Jazz Club), Albion Hotel basement, Auckland, Wednesday 17th August, 2016

Dan Bolton

Dan Bolton 126Dan Bolton is an Australian born, New York based musician, at present touring New Zealand. His first show was at the CJC (Creative Jazz Club) in Auckland. While singer, songwriters who accompany themselves on piano, are a firmly established tradition in Jazz, we see them on tour very rarely. Many Jazz vocalists (like Ella Fitzgerald) could accompany themselves well, but few choose to do so. A number of notable musicians mastered this skill, notably Nat Cole, Ray Charles, and Shirley Horn. Doing two jobs simultaneously is always harder than doing one and especially where vocals and piano are concerned. The energies and postures require careful coordination and I suspect that this is harder than accompanying yourself on guitar.Dan Bolton 125Bolton is unusual in that he composes tunes which feel modern, but in a style reminiscent of the Great American Songbook; many of his tunes, are not dissimilar from those which came out of Tin Pan Alley, having the vibe of Irving Berlin or Cole Porter. The melodies are catchy in a time honoured way and the lyrics often biting; sometimes capturing our post-millennial angst. Many of Bolton’s tunes centre on the age-old themes of love and loss, others sarcastically critique modern American life. All maintain their sense of originality, in spite of the above comparisons.Dan Bolton 123Travelling with Bolton is the perennially popular drummer Mark Lockett. Lockett, like Bolton, lives in New York, but for several months of each year, he travels as band-leader, (or as hired gun as in this case). Lockett was born in New Zealand and he always gets a welcome reception when he makes it back. Watch out on gig noticeboards for him. He has another tour coming up shortly and this time with an organ trio. On tenor saxophone and flute was Auckland’s Roger Manins, his swoon-worthy ballad chops manifesting in their full glory. Mostyn Cole featured on upright bass, a regular at the CJC and an able musician. We heard some tantalising snippets of arco bass from him – more of that, please.

Dan Bolton (USA) (compositions, vocals, piano), Mark Lockett (USA) (drums), Roger Manins (tenor saxophone, flute), Mostyn Cole (upright bass). CJC (Creative Jazz Club), basement, Albion Hotel, downtown Auckland, 10th August 2016.Dan Bolton 122

 

 

Jennifer Zea

Zea 122Last Wednesday saw the Venezuelan-born vocalist Jennifer Zea performing at the CJC. Her appearance was long overdue, the audience enthusiastic in anticipation of spicy South American Rhythms and the warm tones of the Spanish language in song form. When you look at where Venezuela sits on the map, you learn a lot about its music. Located in the northeast of South America, bordered by the Caribbean and by Brazil, positioned on a unique musical axis. Music blithely ignores the artificial barriers imposed by cartographers and politicians. Even Trump’s insulting wall could never be built high enough to stem musical cross-pollination. Music goes where people go, and remains as an echo long after they have moved on. Jennifer Zea is an embodiment of her country’s music; folk traditions, newer forms (Jaropo), Jazz, Soul, Bossa influences from Brazil and a pinch of Mambo, Salsa or Merengue.Zea 124The Caribbean region is the prime example of musical cross-pollination; rhythms and melodies, vocal forms and hybrid harmonization, a constant evolution into new and vibrant forms while updating and preserving the discrete pockets of older folk music styles. A weighty tome titled ‘Music and the Latin American Culture – Regional Traditions’ makes two observations; the music of the Venezuelan region is mostly hot or vibrant (see the definition of Salsa) and there is a strong underlying tradition of shamanism (manifest in musical form). The hypnotic rhythms and chants remain largely intact according to Schecter. With percussionist, Miguel Fuentes backing her, Zea conveyed the compellingly hypnotic soulful quality of her traditional music to good effect. Zea K 120Fuentes was born in the USA but grew up in Puerto Rico. These days like Zea, he lives in Auckland. Music like this demands high-quality authentic latin percussion and that’s exactly what happened. Traps drums were not needed here. Regular Zea accompanist, Jazz Pianist Kevin Field was also in the lineup. Field plays in many contexts and his accompanist credentials are second to none. He has regularly worked with Zea and (like Fuentes) most notably on her lovely 2012 release ‘The Latin Soul’. If you have a love of Cubano or Caribean style music, grab a copy of this album. Even on straight-ahead gigs, I have heard Field sneak in tasty clave rhythms. If you want to hear cross-rhythms at their best – skillfully woven by Field and Fuentes, it is on this album. An added incentive are the compositions, mostly by Field and Zea (and Jonathan Crayford). On upright bass for this gig was Mostyn Cole, an experienced bassist now residing in the Auckland region.Zea 123The gig featured some Zea compositions, three standards and to my delight some authentic Bossa. The Bossa tunes were mostly by the Brazilian genius Tom Jobim and sung in Portuguese (which is not her native language). Although Portuguese is the most commonly spoken language in Latin America, it is only the main spoken language of one country, Brazil. To learn Bossa she spent time with a teacher in order to understand the nuances and deep meanings. While respecting the Bossa song form she had the confidence to bring the music closer to her own Venezuelan musical traditions. Even her intonation was redolent of her region, unmistakably Hispanic South American.

While hearing strong elements of Cuban or Brazilian music, North American standards (or a spicy salsa of the above) you also felt that each influence was deftly filtered through a Venezuelan cloth. Her rendering of ‘Fever’ (Cooley/Davenport) and ‘Georgia on my Mind’ (Carmichael) exemplified this. There was even a little Kiwi influence in there. I would like to think so because we all need happy music like this in our lives.Zea K 120 (1)

Jennifer Zea; (Vocals), Kevin Field (piano), Miguel Fuentes (percussion), Mostyn Cole (bass). CJC (Creative Jazz Club), Albion Hotel Basement, Wednesday 3rd August 2016.

 

 

Kevin Field Group – Winter 2016

Kevin Field 124Kevin Field has for many years been regarded as a phenomenon on the New Zealand Jazz scene. A gifted pianist and composer whose approach to composition and harmony is strikingly original. When you listen to many pianists you can hear their influences, discern the pathways that led them to where they are. With Field, those influences are less obvious. I suspect that this independence, originality, makes it easier for him to strike out in any direction of his choosing. On his ‘Field of Vision’ album, he moved into uncrowded space, one occupied by very few Jazz pianists. It was Jazz without compromise but utilising grooves, rhythms, and melodies of other genres. The music contained distinct echoes of the disco/Jazz/funk era, crafting it carefully and forging a new post-millennial sound.Kevin Field 123The tunes were all memorable and within a few listenings, you could hum the themes. This is not so common in modern Jazz and less so with music (like Fields) which retains its Jazz complexity. In Fields case, the clean melodic hooks do not come at the expense of harmonic invention. That is a tricky balancing act and one he achieves convincingly. His co-leadership of ‘DOG’ took him in a different direction again, but the same deftly crafted grooves astounded us. His recent album ‘The A-List’, was a further excursion into the disco/Jazz/funk realm. It is slightly tongue in cheek while still challenging the listener to think outside the square. Artists like this take the music forward, it is up to us to catch up.

The Kevin Field Group often meets up to work through new and old compositions – this work ethic is evident in what we hear. While personnel changes occur from time to time, the group has a core membership. Field, Dixon Nacey, Clo Chaperon, Cameron McArthur, and Stephen Thomas. While we heard tunes from recent albums there were also a number of new tunes on offer. The new material took his earlier conceptions further out, while the older material was cunningly reworked. I have heard this group a number of times and each time I hear them I sense the progressive momentum.Kevin Field 129They played at the Wellington Jazz festival recently and for many Wellingtonians, this was their first exposure to the group. I saw that show and I immediately noticed how the familiar tunes had subtly changed. ‘Perfect Disco’ with its energised danceable funk momentum was recast as a duo piece. Field and vocalist Chaperon wowed them with that number. We also heard this duo version last week. Other familiar tunes had developed into profoundly interactive exchanges. The sort that can only occur between highly attuned musicians. This is where the guitar mastery and the deep listening of Nacey came into its own. His Godin guitar soaring with stunning clarity while Field reacted in kind, urging them further out with each challenge.Kevin Field 122Again we see Thomas and McArthur doing what they do best. Working hard and rising to the challenge. Thomas laying down the tricky rhythms and while McArthur runs his bass lines. While pleasant to the ear, there is not doubt at all that these compositions required skill and concentration. It is on gigs like this that the musicians familiarity with the material and each other pays dividends. It was also nice to hear Chaperon on some new and old material. She is a real crowd pleaser – she looks great on stage and sings up a storm.

Keven Field Group: Keven Field (piano), Dixon Nacey (guitar), Cameron McArthur (bass), Stephen Thomas (drums), Clo Chaperon (vocals), CJC (Creative Jazz Club), Albion Hotel 20th July 2016.

Michal Martyniuk Trio

Michal 099I can’t remember when I first became conscious of Polish Jazz, but after Tomasz Stanko, Poland was forever on my listening radar. After that, I would listen to Polish improvisers whenever I came across them, Wasilewski, Komeda etc, and all the more so when I discovered later in life that I was a quarter Polish. In light of the above, I was naturally interested when I came across an Auckland-based, Polish-born pianist Michal Martyniuk. He was standing in for Kevin Field at a Nathan Haines gig – around the time of “The Poets Embrace’ release. Since then I have seen him with various iterations of Haines’ bands but until last week, never at a gig where he was the leader. Michal 107It is an oft-debated topic, but I sometimes hear references to time and place in original music. After hearing Martyniuk I could identify his northern European influences. When I asked the pianist about the artists he most admires, he quickly identified Lyle Mays and Pat Metheny (also Weather Report plus Miles and Herbie). The Metheny/Mays reference is definitely evident but sifted through a Eurocentric filter. Mays, although influenced by Evans never sounded like a typical American pianist. Martyniuk’s compositions and performance contain all of the hallmarks of modern Euro jazz, a sound I hear in the Alboran Trio, Wasilewski and younger pianists like Michal Tokaj. A warmer sound than the Scandinavian pianists but as light filled and airy. There is a beauty to Martyiuk’s playing, a stylistic identity. For such a young pianist to have located this special sound is impressive.Michal 105Something that many post-millennial Jazz musicians avoid, is evoking a sense of beauty. I can understand that because it must be done well or not at all. It is the territory of balladeers like Ben Webster and the territory of artists like Metheny. This was done well. The compositions were cleverly constructed around developing themes and with nothing was rushed, allowing melodic inventions to manifest. The tunes were also cleverly modulated, subtly amping up the tension to good effect at key points. Like Bennie Lackner, he used electronic keyboards to enhance or emphasize a phrase, but very sparingly.Michal 102Again we see a musician deploying a top rated rhythm section to good advantage. With McArthur and Samsom behind him, he again showed wisdom. He worked with them and they gave him plenty in return. Although we often see this particular bass player and drummer in diverse situations, they appeared very comfortable here. The overall effect was that of interplay and cohesion.

Martyniuk is often asked to play in Haines bands and he returned the favour here. Haines joined the trio for four numbers. This was Haines in a reflective mood, in spite of his status, fitting in comfortably. His beautiful soprano tone a good fit for these compositions and his richer tenor likewise. Again the arrangements created a particular mood. After the unspeakable ugly horrors in the world at present, it was a relief to hear such a gorgeous performance. A night of music to heal our bruised souls.Michal 103Martyniuk came to New Zealand around ten years ago and he attended the Auckland School of Music. Along with producer Nick Williams, he is soon to release a Jazz infused Soul album which will feature internationally renowned artists like Kevin Mark Trail, Nathan Haines, Miguel Fuentes and others. Judging by the huge audience at this gig his future looks very rosy indeed. The Jazz club turned away dozens of attendees in the end. A good problem to have.

 Michal Martyniuk Trio (+ Nathan Haines). Michal Martyniuk (compositions, piano, keys), Cameron McArthur (bass), Ron Samsom (drums). The CJC (Creative Jazz Club), Albion Hotel basement, 13th July 2016.

 

 

 

Peter Koopman’s Inner City Westies

Koopman 101When I started attending the CJC, I heard Peter Koopman quite often. He was always impressive, but never a showy guitarist. His approach matched his quiet demeanor, an easy-going manner obscuring a real determination to excel at his craft. Before long he moved to Sydney and although the local Jazz scene laments this musicians rite of passage, we also know it is the right thing. At best, these offshore journeys produce the Mike Nocks and the Matt Penmans, and we all benefit from that.

It is harder to track the progress of a musician once domiciled in another country, but news of Koopman’s milestones often reach us. Since he moved to Sydney in 2011 he has worked with a variety of bands; his own, and sometimes as a sideman. He has also placed himself in interestingly diverse musical situations and the learnings arising from these interactions are evident in his current compositions and playing.Koopman 104We have seen him back in New Zealand a few times during the last five years, but this is his first visit leading a guitar trio. As anticipated, we experienced a more mature Koopman, his guitar work showcasing well-honed skills. Australia is a merciless testing ground for improvising musicians and especially so for guitarists. Working in the same scene as Carl Dewhurst or James Muller, and holding your own, the proof of the pudding. In 2014 Koopman was placed 3rd in the Australian National Jazz Awards, which are held at Wangaratta each year. These awards are fiercely contested and that is no small accomplishment. Koopman 103The Inner Westies Trio for the New Zealand trip was Peter Koopman (guitar), Max Alduca (bass) and Stephen Thomas (drums). The guitarist and Bass player from West Sydney, the drummer from West Auckland. Alduca is a compelling bass player, and a drawcard on his own. He often includes a touch of tasteful arco bass in his performance. I last saw him when he toured with the ‘Antipodeans’, an innovative young ensemble, populated with musicians from three countries. Alduca made a hit then and reinforced our positive view of him this night. He has a number of gigs about Auckland aside from the CJC gig. A player bursting with originality and with a notable way of engaging with audiences. Nice to see him back and especially in this company.Koopman 099

In spite of his age, Stephen Thomas has long been established among New Zealand’s premier drummers. He is often a first call for visiting improvising artists. Although primarily a Jazz drummer he is as comfortable in avant-garde settings as in large rock auditoriums. This unit worked well for Koopman and his interesting compositions and new takes on old standards all sounded fresh. Koopman originals dominated the gig, often intensely melodic, modern sounding and at times with real edge. Among the standards, and the final tune was Joe Henderson’s ‘Isotope’; a warm rendering, with enough fire to melt the coldest night. Below is an original Koopman composition.

Peter Koopmans Inner Westies: Peter J Koopman (guitar), Max Alduca (upright bass), Stephen Thomas (drums). Performed at the CJC (Creative Jazz Club), Albion Hotel, 6th July 2016.

 

 

Caro Manins – Joni Mitchell’s Mingus Experience

Joni 104The Joni Mitchell/ Charles Mingus project is always ripe for reevaluation and I’m glad that Caro Manins was the one to explore it again. The connection between Joni and Jazz experimentalism runs deep. Rolling Stone Magazine figured it out early on, describing her as a ‘Jazz savvy experimentalist’. While the connection is obvious in her 1979 ‘Mingus’ album the move toward a freer music and towards harmonic and rhythmic complexity began earlier in the mid 70’s. Initially coming up through the American folk tradition, she gradually embraced a different style. She would later say, “Anyone could have written my earlier music, but Hejira (and later albums) could only have come from me”. From the 70’s on, she utilised her own guitar tunings and often incorporated pedal point, chromaticism, and modality in her compositions. If you look at her later musical collaborations, names like Jaco Pastorius, Herbie Hancock, and Wayne Shorter stand out.Joni 099 (3)To her amazement at the time, a dying Charles Mingus asked Joni to call by. He told her that he had written a number of songs for her. Mingus passed before the completion of her project, but he heard all of the tunes except ‘God must be a Bogey Man’. Her ‘Mingus’ album followed soon after.  “It was as if I had been standing by a river – one toe in the water. Charles came along and pushed me in – sink or swim”.

Taking on a project like this is more daunting than it may appear to the casual observer. Understanding that, Caro Manins got busy writing new charts. This is not the sort of gig that you just throw together; this is not a covers band. Joni tunes don’t always behave in expected ways, there is a high degree of abstraction, layers of subtlety, places where the tunes change direction under their own impetus. Doing the Mingus album justice is not for the faint-hearted. The listener tends to associate Joni Mitchel with her biting lyrics and adamantine melodic clarity. In reality, although accessible, her tunes pivot on clever musical devices. The end result here was well worth the effort. A genuine commitment to the project made this happen, imbuing it with the integrity it deserved.Joni 101The project deserved a good lineup and it got one. Caro Manins, Roger Manins, Jonathan Crayford, Cameron McArthur and Ron Samsom. Crayford was especially interesting on this gig. His abstract explorative adventuring replaced by rich traditional voicings – his solos a history lesson; from locked hands chord-work to impressionistic delicacy. All of the musicians were respectful of Joni’s body of work and they understood that the best way to honour her legacy was by interpreting her work honestly and imaginatively. Not every tune came from Joni’s ‘Mingus’ album but all followed the Joni/Mingus/Jazz theme.Joni 102The gig was very well attended (no surprise there) and the audience enthusiastic. This was a CJC (Creative Jazz Club) event and it took place at the Albion Hotel on 29th June 2016. Caro Manins (leader, arranger, vocals), Jonathan Crayford (piano), Roger Manins (tenor saxophone), Cameron McArthur (Bass), Ron Samsom (drums, percussion).

Karrin Allyson with Tom Warrington Trio

Allyson 089Thanks to Rodger Fox and the CJC management we were lucky enough to see five times Grammy nominee, Jazz vocalist Karrin Allyson in our Auckland Jazz Club last Wednesday night. Seeing an artist like this in a concert hall is one thing; seeing her in the warm intimate surroundings of a small Jazz club and just a metre away is quite another. Always a sucker for quality Jazz vocalists I first heard her in 1992 (the album ‘I Thought About You’ was the first of hers I purchased). On the basis of her recorded output, I booked for both the CJC gig in Auckland and the Wellington Jazz Festival concert. The flights between these cities are surprisingly affordable when you book in advance, and these opportunities don’t come around often when you live in the South Pacific.Allyson 096Following her 1992 release further albums came out and by the time ‘Ballads: for Coltrane’ and ‘In Blue’ were released there was no mistaking it. This was an important vocal interpreter. Her voice has particular qualities, an attractive smoky veneer, but then there’s that extra something. A sense of shared intimacy, a way of interpreting lyrics in an original way while still paying tribute to earlier interpreters. Her version of ‘O Barquino’ or ‘Double Rainbow’ (both by Jobim) immediately brings to mind the fabulous Elis Regina. Her ‘West Coast Blues’ conjures up Wes Montgomery just as much as the instrumentalists. She scats in ways that adds value to the narrative content of the song, never overdone and always wonderfully inventive. It came as no surprise, therefore, that she could conquer an audience in a heart beat.Allyson 091From the first vocal number, Allyson teased the audience, turning the lyrics into a conversation. Her set list spanned her Concord recordings including her recent release ‘Many a New Day: Karrin Allyson Sings Rogers & Hammerstein’ (When I think of Tom/Hello Young Lovers). Everything she performed was extraordinary but when she moved to the piano and accompanied herself on ‘Bye Bye Country Boy’ I was especially delighted. For some unaccountable reason, few vocalists interpret Blossom Dearie and more’s the pity. Dearie was a true original and a fiendishly clever Jazz vocalist. Her voice had a deceptive depth if you listened properly and like Allyson her ability to communicate was perfectly honed. It is fitting that Allyson should tackle Blossom Dearie as she is able to convey the same wry humour and wrap it up in a very attractive vocal package. She was simply killing in her interpretation.Allyson 090Accompanying Allyson was the Tom Warrington trio. Although it is five years since we saw them last, they have been regular visitors to New Zealand thanks to Fox. Tom Warrington is a superb bassist, having worked with everyone from Peggy Lee to Stan Getz. His list of credits is staggering. Formerly based in LA, where he was constantly in demand and no wonder. The choices underpinning each note he plays are beyond caveat. His musicality, teaching and compositional skills of the highest order. Today he lives a quieter life in rural New Zealand. When you hear his bass lines, and especially during a ballad, you recall the classic piano-trio bass players. Loading each note with meaning and carrying as much weight as any chordal instrument. Warrington has released four superb albums with this trio and all are highly recommended.Allyson 094On chordal duties was Larry Koonse, playing a lovely hollow body Borys guitar. An impressive guitarist and a stalwart of the LA Jazz scene. Again, he is widely recorded, also releasing a number of albums under his own name. In many ways, Koonse encapsulates the best of the pre-millennial guitar tradition. That said, his fresh approach to tunes is also very much evident. His voice leading is a masterclass; dissonant/consonant inversions that have more bottom than most guitarists can muster in a lifetime and a gorgeous warm tone which lingers in the memory long after the gig. This, together with his other skills, makes him the perfect accompanist for a vocalist. When he played ‘Bolivia’ (Cedar Walton) with the trio, it took on the urgency and excitement that the tune demands. On ‘Whisper Not’ (Benny Golson) he extracted unalloyed beauty. I have known Larry for a decade and speaking to him after the gig, I complimented him on those tunes. At that point, my mouth raced way ahead of my brain and I said, “that was ‘Speak Low’ wasn’t it”? That fact that my slip of the tongue had accidentally come up with an exact antonym of ‘Whisper not’ made his day.Allyson 095Last but not least is the Warrington Trio drummer Joe La Barbera. No one needs reminding of his long list of credits and impeccable credentials. As Warrington said during the introductions. “As everyone knows, Joe La Barbera was in the last Bill Evans trio. This puts us in some rarefied air”. Along with Marc Johnson, he breathed new life into that trio. While rightly famous for his superb drum work with Evans, he is a multi-faceted drummer; having also worked in avant-garde settings and with medium to larger sized ensembles such as ‘The West Coast All Stars’, ‘The Woody Herman Band’ and with ‘Kenny Wheeler’. He has often worked with famous vocalists such as Tony Bennett and Karrin Allyson. La Barbera has an inclusive quality that enhances bass and guitar but never overshadows them. When he solos, it is to the point. His stick and brush work add subtlety and texture – the effect always jaw-dropping. It is easy to see why he is so much in demand. A musical drummer who gives so much while working so hard to support the others.

Karrin Allyson records for Concord and her albums are easy to locate – for more information about the artist go to www.karrin.com

The Tom Warrington trio records on the Jazz Compass label which the artists created along with Clay Jenkins. Their latest album ‘Nelson’ is a good start point.

The gig took place at the CJC (Creative Jazz Club), Albion Hotel, Auckland, June 1, 2016.

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Twisting the Swing / La Luna & the Gadjos

Gypsy 089This is the second gypsy swing project at the CJC in four months. The last gypsy gig brought us Wellington band Black Spider Stomp. This time, we experienced the local variant. Wellington is arguably the home of New Zealand Manouche, but it definitely exists around Auckland. Thanks to Caro Manins (La Luna) and Misha Kovalov we feasted on catchy melodic tunes, marvelled at their hard-swinging lines. ‘Twistin the Swing’ and ‘La Luna & the Gadjos’ worked their magic and swing, they certainly did. It doesn’t matter what your Jazz preferences, I defy anyone to keep their feet still during a spirited Manouche gig.Gypsy 097This is a music that stirs heart and limbs, a holiday from the cerebral manifestations of improvised music. It makes you feel good and the desire to move with it is overwhelming; that is its charm. I recall a recent discussion with Roger Manins about the diversity of Australian improvised music and he said this. “learning to play in really diverse situations is important. It is a feature of the Sydney scene. One minute the musicians are playing in an avant-garde ensemble, then straight ahead and the next minute playing Trad or Manouche”.  For developing musicians, learning to swing in bands like this is invaluable, whatever their eventual calling. It was, therefore, good to see up and coming younger musicians in these lineups.Gypsy 090The first set was ‘Twistin the Swing’. A very tasty quartet led by the ensemble leader, composer/guitarist Misha Kovalov. The group featured two Manouche guitars, an upright bass, and a reeds player. Kovalov was a leader in every sense of the word, virtuosic in an almost offhand way and oozing good-natured charm. He made us smile and he made our feet tap; what more could you want in a Manouche leader.  This was a hybrid kind of Manouche, as many of the latter-day manifestations are (a perfect example is Lagrene playing Stevie Wonders ‘Isn’t She Lovely’). We heard some Django Reinhart compositions, a familiar sounding Russian tune (whose name I can’t recall but it was a total riot) and a lot of Kovalov’s own compositions. These compositions varied in style between 40’s swing and acoustic blues; sometimes with crazy quotes embedded.Gypsy 091On rhythm guitar was Phillip Beatson, on clarinet and tenor saxophone Asher Truppman-Lattie and on upright bass Djordje Nikolic. Beatson was largely hidden from sight, working his solid rhythm guitar in the shadows; the others all took short solos. It was nice to hear Nikolic playing arco at times, good for a swing rhythm section. It was also good to hear the licorice stick played – a hard task master but especially rewarding in the swing context.

The second set brought leader, vocalist Caro Manins (La Luna) and tenor player Roger Manins to the bandstand (Manins replacing Truppman-Lattie). The band was ‘La Luna & the Gadjos’. This set was also unmistakably gypsy but with some Piaf and a few mainstream swing standards in the mix. Caro Manins has a terrific voice and we don’t hear her often enough. The audience reacted with real enthusiasm. Prior to the gig she had expressed some anxiety because a sudden cold had affected her vocal chords. She needn’t have worried. On the bandstand, her voice came through strongly. It was good to hear Piaf interpreted so well, a singer seldom heard by modern non-French audiences. The crowd pleasers from the second set were definitely the standards ‘Swing Brother Swing'(lyrics Billie Holiday) and the ever popular ‘Lullaby of the Leaves'(Bernice Petkere).Gypsy 087

To add to the delights of Caro Manins vocals, Roger Manins was crooning on tenor saxophone. Not his fire-breathing post-Coltrane style, but gentle fills or perhaps laying down a muscular Ben Webster swing style solo, complete with vibrato notes which hung in the air, suspended only by breath. On a cold winter night, nothing warms you more.Gypsy 096 ‘Twistin the Swing: Misha Kovalov (leader, compositions, Manouche guitar), Phillip Beatson (rhythm guitar), Asher Truppman-Lattie (reeds), Djordge Nikolic (upright bass). ‘La Luna & the Gadjos‘: Caro Manins (leader, vocals), Misha Kovalov (guitar), Phillip Beatson (guitar), Roger Manins (tenor saxophone), Djordge Nikolic (upright bass) The gigs took place at the CJC (Creative Jazz Club), Albion Hotel, 18th May 2016.

 

Mark Donlon’s Shadowbird Quartet

Donlon 087This is pianist Mark Donlon’s second appearance at the CJC (Creative Jazz Club). On this visit, his Shadowbird Quartet featured Aucklanders Roger Manins on Saxophone and Cameron McArthur on bass. The gig also brought Wellington drummer Lance Philip to the CJC for the first time. Both the bass player and the drummer have previously recorded with Donlon. The British-born pianist, educator, conductor is the senior lecturer at the New Zealand School of Music in Wellington

Mark Donlon is a highly competent musician and much praised by luminaries such as the UK’s John Fordham. When you hear him play, working his clever compositions, you hear why. As much as I appreciate technical skills it is the human connection I look for and I found it in two Donlon compositions. Making such connections is about locating musical intersections – the place where energies and paths meet. When audience and artist reach for that elusive space, communication happens. The artist creates, the audience gives back. For that instant, time and the music are outside of self and the performance more than the sum of its parts.

Every good tune has a back story. Sometimes the banter provides a map, enabling the listener to probe deeper. It is especially so with new compositions. At other times, the meta-data of a tune embeds in its DNA as with a standard or a contrafact. A standard takes you to a place you have been before, but a new composition asks us as listeners, to imagine. While melody, pulse, and harmony draw us in, a few well-chosen words can conjure additional imagery. Active listening is about more than sound; context matters.Donlon 090The first tune of the second set was ‘Nibiru’ and it was rich in narrative and melody. A thing of strange and compelling beauty. The piece began with a repeating pattern on piano, a pattern which shifted harmonically as it progressed. Over this Manins began by stating the melody – seldom straying far from the matrix in the opening stages. McArthur on bass intensified the mood by establishing a counter pattern and then repeatedly plucking at a single note, Philip free to add colour and texture – and he did. I liked this piece very much as it sounded both old and new (a nice effect if you can pull that off). The story behind it added another dimension entirely. ‘Nibiru’ is an imaginary planet beloved of conspiracy theorists, the ones who wear tin-foil helmets when venturing outside. The ones who see an absense of smoke as conclusive proof that the fire is well hidden. The planet evidently reveals itself to the chosen few and is the home of lizard people. I’m not so sure that the believers deserve a tune this nice. The tongue in cheek rendering of this odd belief is anything but ‘end of times’.

The other tune I liked was ‘Otzi’. It referenced a 4000-year-old ‘Ice Man’ mummy found on the alpine border between Austria and Italy. I had followed this story from the day of his discovery in 1991. Although it struck a deep chord at the time I had forgotten the Ice Man’s nickname. What Donlon captured so effectively was the melancholia. The story of a human ancestor from pre-history, who wandered into our modern consciousness after a long time lost. Apart from Tutankhamun, no figure from that era has touched us so deeply. Otzi trails echoes of sadness in his wake. A palpable sadness which his family must have felt, never knowing what become of him. I think Otzi would have loved this melancholic piece; as much as the modern harmonies would have puzzled him.Donlon 088You would expect a group of musicians of this calibre to play well and they  did. There are two Donlon albums out shortly and a few earlier ones available. Support local music by experiencing this artist or the bands various iterations. One place to do that will be at the Wellington Jazz Festival in early June.

A few facts about Otzi: Although Otzi came from the Italian side of the alps, he has 19 known descendants living in Austria today. In spite of suffering from some mobility limiting health issues, he set out on his journey well equipped for alpine travel (better than many trampers of today). He had tatoos from head to foot (the earliest known inker) and his last meal consisted of pollen, grain and goats meat.

The Shadowbird Quartet: Mark Donlon (piano, compositions), Roger Manins (tenor saxophone), Cameron McArthur (bass), Lance Philip (drums). CJC (Creative Jazz Club), Albion Hotel May 11th 2016.

 

 

Sam Weeks & Sean Martin-Buss @ CJC

Sam & Sean 094This year has seen a lot of international acts through the CJC (Creative Jazz Club), compelling musicians with interesting stories to tell and often with serious gig miles under their belt. As exciting as it is to see the high-end performers of the scene, it is just as important to recognise and evaluate those who might one day take their place. Not all will last the course, but the persistent and the passionate can make that journey. Standing in front of a discerning club audience tests young musicians in ways not easily replicated. Unlike the Jazz School environment, the musicians technical prowess is subservient to the authenticity they bring to the bandstand. Fluffing a line is more likely forgiven than delivering a technically perfect but lifeless performance. Sam Weeks and Sean Martin-Buss tested themselves and came through the fire relatively unscathed.Sam & Sean 095The gig was part of the emerging artists series and the musicians first time at the CJC as leaders. Both have previously played as sidemen at the club, but standing anonymously in a horn line is a different thing entirely. I am happy to give this gig the thumbs up as they performed well. It took the first few numbers for them to warm up properly, but warm up they did. The rest of the first set and the one after that delivered crackling performances. All of the material was their own and their writing skills were favourably displayed (especially those of Weeks). A piece titled ‘Missing Together’ by Weeks was a gem – opening with some tricky unison lines, followed by a few bars of counterpoint. They made it sound easy, but clearly, many of these compositions were not. The act of embracing the difficult is how a musician grows. I am glad they took some risks, as Jazz functions best in the absence of complacency.Sam & Sean 093Sean Martin-Buss was on alto saxophone with Sam Weeks on tenor saxophone. Each gave the other ample room and the contrast between the horns was therefore amplified. They also differed stylistically and this gave an added piquancy to the gig. They made good use of interactive Banter, musician to audience and to each other. Off the wall comments came out of nowhere, and the audience included in the joke. The humour was not in the lines but in the offhand delivery. A very Kiwi type of onstage banter – self-effacing, mumblingly casual.Sam & Sean 098Emerging musicians are often tempted to rely heavily on musicians from their own graduate class. There is nothing wrong with that per se, but the first question is always, which musicians will serve the gig best? Again the co-leaders made good choices in Tristan Deck (drums) and Eamon Edmundson-Wells (upright bass). The remaining band member was Crystal Choi on piano. Deck and Edmundson-Wells perform in public regularly and both have earned considerable respect. They personify good musical taste. They have talent and better yet, they work extraordinarily well together. It was this combination that tightened up the performance – real assets. Choi was extremely interesting on this gig. I have sometimes noticed a tiny hesitancy in her delivery. On this night, her performance exuded confidence and several of her solos were stunning. The enthusiastic audience responded throughout the night.Sam & Sean 103Although the leaders possess perfect vision and are clearly not Venetian, the project was ‘The Blind Venetians’. This was also the name of the final number of the last set; a roistering finale bringing down the cantilevered shutters at gigs end.

The Blind Venetians: Sam Weeks (tenor saxophone, compositions), Sean Martin-Buss (alto saxophone, compositions), Crystal Choi (piano), Eamon Edmundson-Wells (upright bass), Tristan Deck (drums). Performed at the CJC (Creative Jazz Club), Albion Hotel, Auckland, New Zealand, 04 May 2016

 

Nathan Haines Electric Band (with Joel Haines)

JoelNathan 087 Musicians of a certain calibre are peripatetic, going where the music or the work takes them. This partly arising out of necessity, but also out of an impulse to explore new sonic and cultural environments. When a child or a grandchild arrives the musicians journeys circumscribe smaller arcs and are less frequent; the local scene being the beneficiary. This is the case with Nathan Haines; happily young Zoot tethers him in our midst for the moment. Haines has a solid reputation here and in the UK, with a loyal fan base in both locations. He has never been afraid to push in new directions, but at the heart of whatever explorations he embarks upon, a default soulfulness underpins the enterprise. This leads him to productive collaborations with like-minded artists, and not necessarily all Jazz purists. From the Hardbop-infused to Soul Jazz to DJ funk – it all works for him. While all of these collaborations are pleasing, none is more so than when he plays alongside brother Joel Haines.JoelNathan 088The Haines brothers have different musical careers, Nathan Haines outgoing, a public performer and award-winning recording artist – understanding well, the vexed world of marketing and the presentation of non-mainstream music. He balances these competing forces better than most. Brother Joel is a successful composer and a gifted performer as well, but his career these days centres on TV and film work. An engaging musician and a crowd pleaser; less in the public gaze by choice. Improvised music thrives on contrasts and the rub between different sounds always works well in the right hands. Nathan creating soulful innovative grooves and catchy melodies over traditional Jazz offerings, Joel bringing a warm-as-toast Jazzgroove edge, wrapped in a blues/rock package.JoelNathan 087 (1)

The first set kicked off with ‘Eboness’ by Yusef Lateef. A number that Nathan Haines recorded on his award-winning and popular ‘The Poets Embrace’ album. That album recreated the vibe of a particular era – the edge of Blue Note and the warmth of Impulse updated. This version is an exercise in skilfully blended contrasts. The enveloping warmth of Joel Haines and Keys/Synth player Michal Martyniuk created a platform for Nathan Haines to work over. This skilfully juxtaposed blend of ‘cool’ and ‘soul’ is not done often and hearing this I wonder why. Haines playing Lateef is a natural fit, as Lateef was never afraid to stretch beyond mainstream Jazz sensibilities.JoelNathan 090Next up was ‘Desert Town’ a Haines tune from ‘Heaven & Earth’. That was followed by an earthy version of ‘Set us Free’ (Eddie Harris) and then ‘Mastermind’ (Haines) from his recent ‘5 a Day’ album. Last up on the first set was ‘Land Life’ a tune based on a  Harold Land composition. It pleased me to get a mention from the bandstand at this point. It is no secret that I’m a real Harold Land enthusiast. The band tore up the propulsive changes and moving free, made the tune their own.JoelNathan 088 (1)

The second set began with the stunning tune ‘Right Now’ (Haines/Crayford). This collaboration was extremely fruitful and we will see a new project from these musicians in the near future. Next up was a tune by keys player Michal Martyniuk. This had never been aired in public before and its trippy synth-rich vibe took me back to the space Jazz/funk of the 80’s. Appropriately, and immediately following, was a Benny Maupin number ‘It Remains to be Seen’. This is a space-funk classic from his fabulous ‘Slow Traffic to the Right’ album. The album cut in 1978 – at a time when a plethora of wonderful analogue machines entered the market. It was great to hear a number from this scandalously overlooked experimental era – and reprised so effectively. More of this please guys, much more.JoelNathan 096

The set ended with two more numbers, including a reflective and soul drenched composition by Joel Haines. The tune is temporarily titled ‘Untitled’. Whatever the name, it worked for us. The ‘Nathan Haines Electric Band’ is by now an established entity and the ease with which they hit their groove confirms that. Having the ever inventive and highly talented Cameron McArthur on bass gave them a groove anchor and punch. Rounding that off with Stephen Thomas on drums gave lift off. I highly recommend this group as there is something there for anyone with Jazz sensibilities. History and modernity in balance.

Nathan Haines Electric Band

Nathan Haines Electric Band: Nathan Haines (winds and reeds), Joel Haines (guitar), Michal Martyniuk (keys and synthesiser), Cameron McArthur (upright bass), Stephen Thomas (drums). The CJC (Creative Jazz Club), Albion Hotel, 13th April 2016JoelNathan 089 

 

 

Lex French Quartet @ CJC 2016

French 2016 089In spite of living at the other end of the Island, Lex French is a regular fixture at the CJC. It is hardly surprising since his popularity with Jazz audiences is ever-growing. There are not many trumpeters of French’s stature in New Zealand and it is our good fortune that he remains. He obtained his Masters from McGill University in Montreal, a university with a strong focus on brass. A university which had an ongoing association with the UK-based Canadian trumpeter Kenny Wheeler while he was among us. I mention Wheeler, because as I walked down the stairs to the club to set up my gear, I heard the unmistakable opening phrase from ‘Smatter’ coming out of the darkness. Just the opening phrase and then silence.French 2016 088It was so Wheeler-like, that I assumed someone was setting up a Wheeler album on the club sound system. As my eyes accustomed to the low light I saw French standing alone – repeating the phrase. French is not a one-trick pony; he is as modern as tomorrow, but at other times, old school respectful. He can punch out high notes or swing hard bop like a Blue Note artist back in the day.  This is not a musician to pass up on.

His current working band travelled from Wellington with him, all of them known to Auckland audiences; Matt Steele on piano, Johnny Lawrence on bass and Cory Champion on drums. The set list was mainly French compositions, but in the middle of each set, a standard or two. The standards were well-chosen and contrasted the originals nicely. The best known was Benny Golson’s ‘Stablemates’, a perennial favourite, Kenny Wheeler’s complex tune ‘Smatter’ and ‘Nostalgia’ by Mingus.French 2016 090I particularly liked French’s compositions ‘Kasid’ from the first set. There were many reasons to like this; the musicians innovative explorations of the theme, the evocative middle-eastern mode underpinning it, and the fact that it referenced the wonderful Iraqi poet Abdulkareen Kasid. An achingly beautiful melody tinged through with bittersweet sadness, establishing itself delicately over a quietly incessant bass motif. When Steele came in, his opening chords were Oud like – giving the impression of soft strings jangling sweetly in the night air. I listen to a lot of middle-eastern improvised music and this performance stands beside the best of those. In the background, the drums tap tapped (like stones tumbling in a stream, and every so often swooshes).French 2016 093The poet Abdulkareem Kasid is new to me (and I have a huge collection of poetry). To discover a poet like this is exciting and I thank Lex French for this. What could be better than to experience a night of interesting music, and at the end, find a poet?  I finish this with some words from that poet – listen to the piece as you read the lines – I did.

In my hands / From past and future / I’ll grab two stones / And run with them / Even in the lightest / breeze I’ll fly / Summon a wind, to come / And wipe out every trace / And I’ll sit like an orphan / By the roadside mourning / My two stones”

                                         Abdulkareem Kasid

Lex French Quartet: Lex French (trumpet, compositions), Matt Steele (Piano), Johnny Lawrence (bass), Cory Champion (drums). CJC (Creative Jazz Club), Britomart 1885, Auckland 23rd March 2016.