Anthology, Beyond category, CJC Creative Jazz Club gigs, experimental improvised music

The Melancholy/Stinging Babes

Melancholy Babes (2)Anything that Jeff Henderson is associated with is likely to be intense, mind-altering and extraordinary. No matter how prepared you think that you are, you should understand that your head will be fucked with. When you factor in Tom Callwood, Anthony Donaldson and Daniel Beban the Henderson effect is magnified exponentially. This music is powerful stuff as it sweeps aside genres as irrelevant distractions. When confronted with a gig like this you abandon preconceptions, as the sonic smorgasbord jolts you out of complacency. It is also a visual experience and Fellini would have signed these guys up in a heart-beat.

There was no music on the stands, one break and there were no announcements. The music followed its own momentum and created its own time. In some sections you were confronted with reedy screams, while in others you heard languid whispers; hinting at some lost illusory past; one located just outside the edge of memory. There was of course structure, but that was determined by the music’s inner logic. It reminded me of a recent Wayne Shorter performance where he purged any semblance of song form; removing structures that impeded the flow, leaving the audience with just music; a vessel inside which the musicians could move freely. Intuitive interaction is the foundation of all improvised music. In this case, the music was a river in flood, an elastic entity, following an old course or cutting a fresh channel at will. 

There were two tunes in the first set (one a Parker number delivered with the essence of Ornette presiding). The overall impression was of one piece of music with a number of moving parts. As the parts formed, some felt familiar, but where you ended up was generally somewhere unexpected. This was a chimeric journey and like children watching a cartoon for the first time, we lived entirely in each moment.  Modern music audiences are dumbed down with endless nonsense; the old trope that music can only be swallowed in discrete recognisable chunks. This music made no concessions to that or any other populist view and nor should it. Many who attended last week were unfamiliar with the avant-garde, but they didn’t need to be told what it was about. They didn’t need an explanation, to know that it belonged to this or that genre. The proof was in the reception. People sat there totally absorbed and because the experience was all-encompassing, 2 1/2 hours flew by.

Jeff Henderson plays the role of a dark shepherd on New Zealand’s ‘out-music’ scene. He composes astonishing music and plays many instruments; among them the seldom heard ‘C’ Melody saxophone. He has frequently collaborated with greats like Marilyn Crispell. Next is Tom Callwood who is often a collaborator of Henderson’s. If you needed a peg to hang his bass playing on, then you might say that he has a Charlie Haden sound (early Haden). He is one of the finer bass players I’ve heard and it’s our loss that he doesn’t live in Auckland. Anthony Donaldson is another hero from the alternative and avant-garde music scene. He’s known for his interactive, sensitive and melorhythmic approach (OK, I made that word up). He is acknowledged as one of New Zealand’s finest drummers and his influence is widespread. Joining the above-mentioned artists for the second set was guitarist and experimental musician Daniel Beban. He is the current Douglas Lilburn Research Fellow and is also at the forefront of the Wellington experimental music scene. His ‘Orchestra of the Spheres’ takes SunRa’s approach to a new level.

Melancholy/Stinging Babes: Jeff Henderson (baritone, alto, C melody, tenor saxes, clarinet). Tom Callwood (upright bass), Anthony Donaldson (drums), Daniel Beban (guitar). The gig was held at Anthology, K’Road Auckland, CJC Creative Jazz Club, 17 July 2019. 

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Large Ensembles, Review

‘Last Works’ ~ Tom Pierson

Serendipity, by its very definition, denotes the uncontrived. It is a felicitous happenstance which brings unexpected joy. Last week, a serendipitous package fell my way. It began as many good things do in a small Jazz Club. I was hardly through the door when Roger Manins the club coordinator handed me a package with a Japanese postmark. I glanced at the address and smiled. It was addressed to me care of The Creative Jazz Club, Backbeat Bar, Aotearoa, New Zealand. That appealed to me greatly, an improbable address which found me in a city of nearly two million people. Apollo and Artemus clearly had a role in guiding it to my hands as the address on the label no longer exists. Within days of delivery it hit its mark.

I shoved the package into my bag and promptly forgot about it as the live music demanded my full attention. The next morning I was fishing for something in my bag and I located it again. The return address gave few clues as to its origin as it was in Japanese. Inside was a handwritten note in English and the words, ’Dear John, I hope you will be curious’. It was signed, Tom Pierson. No writer worth their salt lacks curiosity and I am no exception. I love riddles and musical riddles are the best of all.

Inside the package was a double album titled ‘Last Works’. The cover, plain in multi-hued claret and to one side, in a discrete white font, that simple title. Understated cover art is an act of confidence and in this case, no wonder. The first track, a long-form piece titled ‘Abandoned’ offered a compelling foretaste of the musical journey ahead. ‘Abandoned’ is a brooding and captivating piece, with splashes of bright light illuminated against a dark textural background. I put it on and sat down as it was impossible not to be drawn inside the music. As I listened, every fibre of being told me that I was hearing a monumental work. A work to experience without distractions; a grab a cup of coffee, hang a ‘do not disturb’ sign on the door sort of experience.  

That opening sequence of ‘Abandoned’ set the tone for me. My attention was immediately drawn to the lower register, its bass trombones and baritone pumping out an earthy pulse. Each utterance hitting my solar plexus with an angel punch. Oh yes, I thought, this music is visceral. The strong bass presence and the uncluttered mid-range gifted the winds airy freedom. The track titled 45/8 is another gem. It unselfconsciously gathers up all Jazz; a history lesson in one breathtaking sweep.

I have seldom heard charts like this and it is little wonder that Jazz greats like Gil Evans drew attention to Pierson. Evans described him as ‘the best unknown composer I know’. I hope that changes as this musician deserves wider recognition. Writing orchestral charts can be a time consuming and lonely occupation. And if you have exiled yourself to a country far from your old home, all the more so. Perhaps that is why the humanism shines through the music so strongly. The orchestral voicings resonating so deeply; capturing the bittersweet sounds of modern life while communicating the hope that a better way could be found.  

The orchestra is a sixteen-piece ensemble and it’s clearly a multi-national affair. A name that stands out is the inimitable Lew Soloff. Sadly, Soloff is no longer with us, and poignantly, this was his final recording. He is impossible to miss on the disks with his stratospheric high notes, growls and that edgy harmonic-rich bite (especially tracks 4 + 10). In truth there are many great performances on the album as Pierson has selected a stellar line-up. I hope that the title is tongue in cheek as ‘Last works’ can be read two ways. Last as in final, or last as in recent. I hope it’s the latter.

There are thirteen tracks on the album and thirteen reasons to buy a copy. Go to Bandcamp/Tom Pierson and purchase the download in a high-quality audio format. Listen to a few tracks first and reflect on the artistry. If you do, you will surely make a generous contribution when asked how much you are prepared to pay. Not a lot of musicians make orchestral charts of this quality and without our continued support, they could easily vanish. 

The musicians: Tom Pierson (leader, arranger/composer, piano), Blue Lou Martini, Mark Vinci, Stu Enomoto, Neil Johnson, Michael Lutzeier (winds + reeds), Dominic Derasse, Mike Ponella, Tim Leopold, Lew Soloff (trumpets), Ben Harrington, Robinson Khoury, Dan Levine, Jeff Nelson (trombones), Tom Pierson (piano), Kanoa Mendenhall (electric bass), Pheeroan Aklaff (drums), recorded at Systems2 Brooklyn

Anthology, CJC Creative Jazz Club gigs, Post Millenium

A Love Requited~Myele Manzanza

Manzanza1.jpg

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

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

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

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

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

Myele Manzanza Bandcamp

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

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

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

Talbot/Dunbar-Wilcox @ CJC

Emerging Artists (Wellington) Talbot-Dunbar (1)

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

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

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

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

Frank Talbot (tenor saxophone)

Ella Dunbar-Wilcox (vocals)

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

Anthology, Beyond category, CJC Creative Jazz Club gigs, Guitar

Ruckus @ Anthology

When you look up the term Ruckus in the various dictionaries, the definitions are broad. It is generally defined as a commotion, but it can also describe an argument, the joyful noise emanating from a soccer stadium, loud disputation, the general rowdiness of children and even a fight.  With such an array of options at my disposal, I have selected ‘joyous commotion’. This is the term that most fits the bill when alluding to this band. Ruckus has some history in Auckland and especially along the reaches of Ponsonby Road. While the personnel often come and go, the ethos does not. Kicking up the dust in this current melee were David Ward, Neil Watson, Cam Allen, Eamon Edmundson Wells, and Chris O’Connor. David Ward is a central figure in the group and his compositions featured strongly last Wednesday.  

Again, it was encouraging to see the high turnout at the CJC after a month in the new K’Road Anthology venue. The word is clearly getting about that this is the best place to enjoy Wednesday nights. Once you descend the stairs, winter becomes a distant memory. While clearly pulling in the crowds, the band is hard to pigeon hole. The music hints at a number of descriptors and among them, terms like Zappa-esque, improvised Americana, Fellini-esque and Monkish all come close. At times they veer towards the experimental but no matter the direction, they are always fun.

With the exception of an obscure Monk tune, the tunes last week were originals. These were unique arrangements with a textural richness created by instruments full of contrast. A baritone saxophone with a pedal steel guitar plus Fender offers up an interesting sound palette. With O’Connor and Edmundson Wells, the palette is complete. Both have ‘out’ credentials and O’Connor is as much a percussionist as he is a conventional drummer. Allen moved between baritone and tenor and during his solos, but he never departed too far from the over-arching message. This band stands strongly on its collective strength. Ward featured strongly in the heads of the tunes, establishing unusual rhythmic figures then skilfully pulling them apart.  When both Fenders were playing they acted as if in sync, moving in and out without clashing. With the pedal-steel numbers, Watson was adventurous, often using the instrument in unexpected ways.  He, Ward and O’Conner also made wide use of percussive effects; clicks, squeaks, and muted staccato guitar.

There is mileage to be had in these adventurous offings and I hope that they develop the repertoire further. While it may not be what an audience is anticipating, in this case, they lapped it up. Especially when leavened with calypso.  

Ruckus: David Ward (Fender Guitar), Neil Watson (pedal steel, Fender Guitar), Cam Allen (baritone, tenor saxophone), Eamon Edmundson Wells (upright bass), Chris O’Connor (drums)

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

The Committee (Mat Fieldes)

CommitteeThe original  ‘Jazz Committee’ was formed while bass player Mat Fieldes was still living in New Zealand. Back then he had quite a few fans, and many who remembered him turned out for his recent CJC gig.  Anthology, the new CJC venue, was packed to capacity and that was good news. A lot of water has flowed under the bridge since Fieldes left and New York has long been his base. When he arrived in that city 25 years ago he studied at Juilliard. From there he went on to establish a solid career that spans genres and continents. He has played with symphony orchestras, on Broadway and with out-jazz musicians like Ornette Colman. He is a master of fusion and comfortable with Hip Hop. That he is always in demand is a tribute to his abilities as the US music scene is extremely competitive. It is apparent to me, that our New Zealand bass players do very well in hothouse environments (e.g. Fieldes, Hammond, Penman).

It is not often that Fieldes gets back here as he has a busy performance schedule, but this time he was open to doing some local gigs. The vehicle, a collective, was an updated version of the ‘Jazz Committee’ now simply called ‘The Committee’.  In its new incarnation, Fieldes is on upright bass and electric bass, Dixon Nacey on guitar, Roger Manins on tenor and Ron Samsom on drums. The program was fusion heavy or as Fieldes put it, ‘I don’t know if this is Jazz, I’ll let you decide’. Manins clarification muddied the waters further. ‘If you like it then it’s Jazz, and if you don’t, then it’s still Jazz’.

It was a compelling grab you by the collar type of music; it was punchy, improvised and drawing upon many streams; tilting towards an updated but funkier Return to Forever or Electric Miles vibe. Many of the tunes were Fieldes but the others submitted originals as well.  Among them, Samsom’s funk offering, Nacey honouring Scofield and Manins showcasing his wonderful tune, Schwiben Jam (see clip). That tune featured on last years ‘No Dogs Allowed’ album and I am happy to see it in this setlist. Occasionally, I hear a tune that could become a standard or at the very least a local standard. Here it was in a different context and with Nacey and Fieldes steering it into fresh waters. It was immaculate and I hope that I hear it played often (perhaps, with Rhodes fills for additional texture and Nacey as a must-have).  

It’s always interesting when the diaspora of improvising musicians return.  They bring with them the stories of their new home and the influences of those who they’ve played alongside.  It is also instructive to see how they interact with their old bandmates (and some new ones). If last Wednesday is anything to go by, the answer is, very well.  This type of gig is increasingly important in our fast burgeoning scene. We have hit a sweet spot and the audiences are responding. When artists like Fieldes return there is cross-pollination. As a consequence, we are enriched. And just maybe, some of that essence finds its way back into the New York scene.  

Committee: Mat Fieldes (upright & electric bass), Dixon Nacey (guitar),  Roger Manins (tenor saxophone), Ron Samsom (drums). The gig was at Anthology, K’Road, Auckland, 19 June 2016

Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Nordic

John Pal Inderberg Trio

John Pal InderbergAbout eighteen months ago I was contacted by Jeff Henderson. He suggested, that I might be interested in a gig featuring two great Norwegian musicians who were passing through. I certainly was. The musicians were John Pal Inderberg and Hakon Mjaset Johansen. I was particularly interested because the baritone saxophonist John Pal Inderberg is associated with Lee Konitz and the late Warne Marsh. I make no bones about it, I am an unapologetic devotee of the Tristanoites. During that particular visit, the duo played a number of Scandinavian folk tunes and in their hands, these became melodic springboards for improvisation and a cloak for standards (with local bassist Eamon Edmundson-Wells). The Nordic region has a rich history of improvised music and it is therefore unsurprising that so many innovative US improvisers have ended up living and working there. With artists of this quality to work with why wouldn’t they? Inderberg and his band are great ambassadors. John Pal Inderberg (1)

Last week, John Pal Inderberg returned to New Zealand, but this time with his trio. Accompanying Inderberg was bass player Trygve Waldemar Fiske, and again, Johansen on drums. The gig was superb from start to finish and Inderberg’s trademark humour constantly delighted the audience. What we heard were new-sounding tunes, but inside these were older tunes, and in turn, many of the latter emanating from even older standards. These multilayered ‘reharmonisations’ are the bread and butter of skilled Jazz musicians and especially the Tristanoites. A beautifully modal folk tune became Cole Porter’s ‘You’d Be So Nice To Come Home To’ but with reharmonised Konitz lines adding to the sonic puzzle.  The nearest thing to a straight ahead Jazz standard, and played as written, was their beautifully respectful rendition of the popular Benny Golson classic ‘Whisper Not’.

It was a night of extraordinary musicianship with the players communicating at the highest level. Inderberg is a master saxophonist and his baritone has a tonal quality few could emulate. A number of saxophonists play the ‘Bari’ as a doubling instrument but few make it their primary. In Inderberg’s hands, the mighty beast appeared to float. I recall noticing the same thing when watching a film of Gerry Mulligan, the weighty horn somehow defying gravity and as if imbued with a weightless quality. This lightness of being is, of course, an illusion. One bolstered by the nimble lines and airy tone.  Every so often Inderberg would recite in Norwegian. Norwegian in triple-time, elevating the strangely accented utterances into an unusual form of ‘scat’. The other two, playing straight-men, would roll their eyes. Occasionally, and effectively, the trio would also sing an introduction; softly and movingly.  This was a well-rounded show; free flowing but enjoyable from start to finish.

The bass and drums in a cordless setting are exposed and naked. Fiske and Johansen are great musicians and they demonstrated just how to meet that challenge. This was a master class in how to create a rich tapestry with a handful of well-chosen threads. Beautifully melodic bass lines with innovative solos and at times, singing arco bass. While the drumming was melodic, it was also orchestral; reaching across the entire spectrum of Jazz drumming and without once resorting to cliche (watch the clip). A Trio without a chordal instrument is not the norm, but they do hold a special place in Jazz. It’s about freedom and unencumbered melodic lines. It’s also about the interactions and of course, counterpoint.

There is an ideological synergy between Norway and New Zealand and long may such cultural exchanges continue. Norway is almost an antipodes away, but I sincerely hope the Inderberg Trio returns. This visit, like the last, was a rare treat.