Reuben Derrick’s Hound Dogs @ CJC

September 11, 2013September 15, 2013 / JazzLocal32.com / Leave a comment

Dog bands are a recurring theme in New Zealand jazz. There was Neil Watson’s ‘Zen Dogs’, ‘Dr Dog’ (Roger Manins, Kevin Field, Oli Holland & Ron Samsom) and now Reuben Derrick’s ‘Hound Dogs’. To redress any perceived species imbalance, I was glad to see that visiter Mike Stern recently put out an album titled ‘Who Let the Cats Out’.

Reuben has played in Auckland before but I missed that gig. I was glad that I did not miss this one. With the exception of Alan Brown, all of the band have either lived in or have some strong connection with Christchurch. Reuben Derrick is an important part of the Christchurch Jazz scene and with the Christchurch Festival underway very shortly we were lucky to lure him up for the gig. In hound dog fashion he had tracked down an impressive set list, including several tunes each by Monk, Steve Lacy and Charles Mingus. The two Monk tunes were ‘Ask me Now’ and ‘Bolivar Blues’.

Both are familiar to me but it took me a moment to realise what they were. They breathed new life into these much-loved but less-often-heard tunes and amazingly they made them sound as fresh as paint. They did so without reharmonising, nor tackling them in an especially angular way (That would be pointless as you can’t out-Monk, Monk). There were not so many jagged edges but these were great renditions. Authentic and so accessible that their ‘Bolivar Blues’ has been singing in my head ever since.

Reuben plays an older instrument and the character of that tenor really suits his bluesy-earthy approach. Some tenor players depart the melody before it is stated but Reuben stands on confident ground. He is a an intensely melodic player but there is nothing clichéd about his approach. This is most often seen in the older bop era players, who were able to stay close to the melody but still tell a great story. Another thing that I liked was the way that his improvisations unfolded with an inner logic. A logic that allowed you to trace the steps back in your mind. A journey shared.

I am not sure whether Alan Brown has played with Reuben before, but he couldn’t have fitted in better. I have learned over the years that Alan is not only gifted on keys and piano but he is able to adapt to a multitude of styles. I have not heard him play Monk before but he gave the band exactly what they required. Solid decisive chord work and inventive solo’s. He navigated Monk’s choppy lines with the same ease that he tackled the very different compositions of Steve Lacy.

There were two familiar faces in the lineup, Andy Keegan and Richie Pickard. Andy has played a number of gigs about town since moving up from Christchurch and he is often at the CJC. He is a versatile drummer and we saw that demonstrated as he moved effortlessly from colourist to bop drummer during the gig. I like his time feel and the fact that he lays down a solid beat without drowning out the others. He plays to the room. I often tease him by saying that he is a very photographer friendly drummer, as he often leans forward as he gets into a number.

Ritchie has also played the CJC before and the last time I saw him was with Dixon Nacey. This is very different material to the high-octane tunes that Dixon was playing and so I saw another side of him in the Hound Dogs. I found him especially strong on the ballad material like the quirky ‘Ask Me Now’. The other member of the Hound Dogs is guitarist Sam Taylor and he is not seen in the CJC very often. That is a pity because his sound is different from many of the Auckland guitarists. He draws more deeply on traditional Jazz guitar and he does so convincingly. At times his comping was very reminiscent of Freddy Green’s; a quiet rhythmic strum that pulled back slightly on the beat and gave the number a deep swing feel. His comping may reference swing but his lines are pure Be bop or Post bop.

These guys may not get together very often but when they do they are a solid unit. With a great sound like that, I hope that they come and play the club again

Who: Reuben Derrick’s Hound Dogs: Reuben Derrick (tenor), Alan Brown (piano), Sam Taylor (guitar), Richie Pickard (bass), Andy Keegan (drums).

Where: CJC (Creative Jazz Club), Brittomart 1885 Building Basement, Auckland 4th September 2013

Trudy Lile Quartet @ CJC

August 14, 2013 / JazzLocal32.com / 3 Comments

Trudy Lile has unerring radar when it comes to locating tunes from the lessor known jazz lexicon. Tunes that she skilfully transforms into glowing vibrant flute friendly arrangements. Her choice of ‘Steppin Out’ is a good example. Kurt Elling recently sung this wonderful (but difficult) Joe Jackson tune on his ‘At The Gate’ album. Not only was it a great choice and well executed but her new lineup rose to the occasion; giving her all the support she needed and more.

Trudy Lile last performed at the CJC about 8 months ago and she had a different line-up then. Last Wednesday she had assembled a particularly solid rhythm section in Alan Brown (piano), Cameron McArthur (bass) and Ron Samsom (drums). Trudy is often adventurous in her choice of material, mixing reworked standards, originals and virtually unknown tunes scavenged from interesting nooks and crannies. On Wednesday she held to this course and it paid off.

Among the other numbers performed was a beautiful rendition of ‘Niama’ (Coltrane), ‘Flute Salad’ (Lile) – I love this tune with its swinging happy vibe and another Lile original ‘Domestic Bliss’. Trudy explained that this number was somewhat tongue in cheek, as her own experiences of domestic bliss at times resembled the TV character Miranda’s.

Trudy Lile is well-known about New Zealand as a gifted flutist. While the flute is her prime instrument she also demonstrates impressive vocal skills. We saw both on Wednesday. I have always sensed a pied-piper quality to her work and as she dances and sways during the flute solos it is impossible not to be captivated. Dedicated Jazz-flute players have been rare over the years and some critics have been disparaging about the lack of expression in that horn. If they listened to Trudy they would shut up, sit down and recant. In her hands the flute has all of the expression you could ever want

I must zero in on Alan Brown here as he was just superb. OK, Alan always puts on a great performance but this facet of his playing is not seen as often. Alan is rightly famous for his soul infused Jazz funk. He was a power house of inventiveness on Wednesday,but more importantly he established beyond a shred of doubt that he is a stellar straight-ahead Jazz pianist. His playing is always strongly rhythmic and that is what we expect from Alan, but to see him as an accompanist in this context was revealing. Anyone hearing a Kurt Elling number such as ‘Steppin out’, notices his arranger and pianist Laurence Hobgood. Hobgood is a dedicated accompanist of the highest order. Alan communicated a special quality also. He supported vocals (and flute) in the way Hobgood does and it was pure gold. After seeing him in this context I would really like to hear him do a piano trio gig sometime, complete with a few straight-ahead standards.

Cameron McArthur has become the first choice bass player for Auckland gigs and every time he appears (which is often) he impresses afresh. He is gaining a substantial group of supporters about town and his solos always elicit enthusiastic calls and strong applause.

Ron Samsom is quite simply the best there is on traps and his tasteful underpinning of any band is inspiring. On this gig he alternated between quieter brush or mallets work and power house grooves which lifted the others to greater heights. Sometimes when I hear Ron’s drumming I can discern a pulse that goes way beyond the room. Perhaps it is the pulse of the Jazz tradition itself, the history and the future rolled together in a beat.

This band was the perfect foil for Trudy and she took full advantage of it.

Who: The Trudy Lile Quartet – Trudy Lile (leader, vocals, flute). Alan Brown (piano), Cameron McArthur (bass), Ron Samsom (drums).

Where: The CJC (Creative Jazz Club) Brittomart 1885, Wednesday 7th August 2013.

Paul Van Ross – Album Release

April 3, 2013April 3, 2013 / JazzLocal32.com / 2 Comments

On Wednesday 27th March several visitors arrived in town from Melbourne Australia. Visitors but not strangers, because saxophone player Paul Van Ross has played in New Zealand four or five times previously and drummer Mark Lockett is an expat New Zealander, originally from Wellington.

These are very friendly guys. Actually I find most Jazz musicians unfailingly cheerful and friendly. It is unlikely that this good humour arises from job security or because they have just managed to upgrade the Porsche . I stick cameras in their faces, ask searching questions during set breaks and pin them down for set lists when they are suffering from jet lag. Instead being told to clear off they indulge me. This goodwill must be pumped through the air conditioning unit of the CJC (Creative Jazz Club). It is a place like ‘Cheers’ where everyone has a smile and ‘everybody knows your name’.

One of those who indulges me is Steve Garden of Rattle records. A few weeks ago I received a tidy package of CD’s from him and among them was ‘The Buck Stops Here‘ led by Paul Van Ross. I had a lot of material to write-up at the time and I was working on the ‘Jazz Month’ program with the Jazz Journalists Association. I played my way slowly through the pile of releases as time allowed. It was not until I had received the CJC newsletter that I realised that Paul Van Ross would be doing an album release there in three days. I sorted through the CD’s and put it out to listen to but it was not until the day before the gig that it finally reached my Hi Fi. It was a really great album and I played it through three times.

How had a missed this I thought. This should have been one of the first things that I put on. Apart from a John Zorn obsession, I also suffer from an excessive liking for B3 combos. This album featured B3, guitar, drums and saxophone. I listened over and again while the textures and compositions reeled me further in. This is a very good example of the ‘new sound’ in organ/guitar/saxophone/drums.

Make no mistake, I love ‘chitlin circuit’ groove Jazz of the sort that Brother Jack, Joey ‘D’, Pat Martino, Wes and Grant Green created. My friend Michel Benebig is a B3 master in this field and he can groove you to the depths of your soul. That music will roll you out of bed and have you dancing like a fool before you gain your sea legs.

There is however another type of B3 sound and that reaches for new horizons. Jamie Saft (Zorn’s Dreamers), Tom Watson (Manu Katche’s new album) and Dr Lonnie Smith (Jungle Soul album), come to mind. The music still has a deep groove but there are no locked in drums and this subtle loosening up of the vibe makes space for a particular type of guitar work and gives a horn some room for exploration. This is a sound that absorbs influences from a diverse Jazz palette while still retaining a solid groove context. The Paul Van Ross Trio (and quartet) are of this latter kind. Their music draws on a wide spectrum of post and pre millennial Jazz; not just tugging at the heart and feet, but engaging the intellect as well.

Paul Van Ross is an exciting tenor player and I can’t help wondering if he studied under George Garzone. There is something different about tenor players who have studied under Garzone and Paul fits that bill. His rapid fire lines and fluidity never obscure the musical ideas that flow from his horn. On ballads he could wring a tear from a walnut and when playing uptempo he navigates the terrain with ease. His compositions are engaging.

The CJC launch gig employed a smaller lineup than on the album. Organist Alan Brown subbed for Kim Kelaart on the New Zealand leg of the tour and he needs no introduction to New Zealand audiences. Alan is another musician who takes the groove genre to new and exciting places. His keyboard skills are legendary. Choosing him was a sensible choice and while his style is a little different to Kelaart’s, it afforded Ross and Lockett opportunities to stretch out in different ways. Mark Lockett is a delight as he imparts humour into everything he does. His drumming is quirky in the best possible way and he is the drummer of choice for many bands. Like Paul Van Ross and Alan Brown he has also recorded as leader.

The first track on the album is the title track ‘The Buck Stops Here”. It was the first number up on the night (all of the material has been written by Ross). On this track in particular Lockett’s contribution was noteworthy. A solid New Orleans beat is laid down while edgy post-bop lines blow over that; the organ under Alan’s hands comps insistently in the background and this gave the tune a great feel. I saw a ‘second line’ parade in San Francisco a few months ago and this particular drum beat tells that kind of story. A story about a beat that bounced between the Americas and Africa until it became pure voodoo. I like everything on this album and so choosing video clips was hard. In the end I have opted for ‘The Buck Stops Here’ (filmed by Jenny Sol). Other standout tunes from the album are ‘Swami in the House’ and the beautiful ballad “Uncle DJ’. A number performed on the night but which is not on the album is ‘Break a Tune’ (filmed by John Fenton)

I must also mention the guitarist Hugh Stuckey who knows when to shine and when to merge into the mix. His lines are clean and impressive, with an approach to melody that is modern. This is the direction that Rosenwinkel and Moreno mapped out and it sits well with this lineup. A guest guitarist Craig Fermanis appears on track one only.

You can buy the album now from ‘Rattle‘ at http://www.rattle.co.nz I recommend it highly.

Who: Paul Van Ross trio; Paul Van Ross – tenor sax, Alan Brown – C3 hammond organ, Mark Lockett – drums ( add Hugh Stuckey and Craig Fermanis – album)

Where: The CJC (Creative Jazz Club) Auckland.

What: Album Release by ‘Rattle‘.

John Fenton

Blue Train – 2013

March 18, 2013March 21, 2013 / JazzLocal32.com / Leave a comment

I suspect that Blue Train has a following way beyond the traditional Jazz audiences and I can understand why. Their hard-driving funk laden grooves are impossible to resist and so people tend to flock to any Blue Train gig. Their audience occupies a broad age spectrum. Blue Train mostly plays music that you can dance to and just occasionally the set list includes some Jazz space funk. I’m a huge fan of this type of tripped out Jazz fusion, so if you like this sub-genre then find yourself some Blue Train recordings. There is of course much more to Blue Train than Funk Fusion and their Jazz chops show in everything that they do. Only highly competent Jazz musicians can play like this and only talented experienced musicians can write the material Alan does. This band is an Auckland cultural institution, they are jaw droppingly good and that’s why people love them. The Blue Train gigs are rare these days, as the band members all have other projects on the go. Any whisper of gigs should put an urgent blip across your radar. Tip: they will be at the Waiheke Jazz Festival this year – be there.

The CJC (Creative Jazz Club) filled to capacity on the night and they soon stood three deep at the bar. Blue Train was here again – the word had travelled.

Post millennium Jazz is a broad church and the younger audiences (and a few older ones like me) find this exciting. Blue Train has been around for more than 20 years and in spite of a few attempts to pension the band off, the fans just wont let it die. As a part of New Zealand’s improvised music heritage it deserves our ongoing support and respect. Don’t for a minute expect a mere cover band recycling the glory days. Blue Train are wisely resistant of resting on their laurels and after the ‘head’ of a tune they unravel the material in new and interesting ways. They play older material and new. Alan Brown’s compositions just keep on coming and they get better and better. He is a seasoned performer and his keyboard skills will always astound. As you listen you will hear new ideas being tried and old ideas being turned on their head. He is widely acknowledged as a great keyboardist but his piano skills are also considerable. This was very evident on the 6th of March 2013.

It was obvious that the band were thoroughly enjoying themselves and they stretched out as the tunes unfolded. The CJC gig edged closer to its Jazz roots than would have been the case at Deschlers in the 90’s. Those in the line up were mostly veteran band members, but there were some newer additions. Dixon Nacey on guitar has played with Alan for years and he has previously appeared in Blue Train line ups. He does not however go back as far as Jason Orme (drums) or Steve Sherriff (tenor and soprano saxophones). The newer band member is Karika Turua (electric bass).

Having Dixon Nacey in any band is always a treat and I always watch as his eyes fix on the other musicians – exhorting them to challenge him. He listens carefully to what is unfolding and is always ready to back someone up or to step out with new ideas. This is invariably done with a mile-wide grin and the looks of delight when he and Alan lock into an exchange is priceless. As on his three previous gigs, he had his gorgeous Godin Guitar with him and once again I will confirm that this is a match made in heaven.

Many of the Blue Train musicians have contributed compositions over time and Steve Sherriff deserves special mention there. He is well rounded horn player who can fit seamlessly into many situations (big band, straight ahead Jazz or funk). His tenor and soprano work were especially captivating on this gig and when he and Dixon played unison lines it was hard to believe that there was not an additional horn in the line up. Before the gig I ran into my niece and told her that it was nice to see her in the club. She then told me that a former teacher of hers was in the band. Who’s that I asked. “Mr Sherriff” she said. When I saw her later she summed up her impression “Wow who knew he played like that”. He does.

Jason Orme worked the grooves with finesse and enthusiasm and he knew how to play to the room. The same applies to Karika Turua who dug into serious grooves that echoed in your mind for days afterwards.

The sound levels were just right for the club and this is where the bands experience played a part . Some younger (and a few older musicians) forget to adjust their volume to the room and the CJC is lively; especially if the drums and bass are overly loud. Being professionals – Alan and Ben McNicoll (CJC sound and IT) got the job done properly.

What and Who: ‘Blue Train’ – Alan Brown (keys), Steve Sherriff (saxes), Dixon Nacey (guitar), Karika Turua (electric bass), Jason Orme (drums).

When: Wednesday 6th March 2013

Where: CJC (Creative Jazz Club) – basement of the 1885 building Brittomart

Alan Brown Band – The interview part two

December 23, 2012January 28, 2013 / JazzLocal32.com / Leave a comment

The interview with Alan Brown & his band continued………

Q. Alan the world and its dog loves ‘Blue Train’. Is there any truth to the buzz about town that there will be a Blue Train reunion in 2013?

A. At least somewhat of a reunion concert is planned for the Waiheke Jazz Festival in Easter. Steve Sherriff, Jason Orme and myself recently played a lot of the Blue Train tunes at the Taste Of Auckland festival, and it all felt really good, so I thought “why not?” Once I also found out that Aaron Nevezie will be in town at the time, and was keen to do the gig, I made it happen. Aaron played guitar on the Never You Mind album back in 1998 and is a fantastic musician, and engineer/producer based in New York with his own studio, Bunker Studios. Bassist Matt Gruebner will also be visiting but won’t be here at Easter, and will only have a window of a couple of days when he and Aaron will both be here, but if I can wrangle another gig in that time frame, I will!

Q. I would love to do an updated photo essay on Blue Train. Do you have much archival material of this seminal Auckland Jazz Groove band?

A. Yes I do – I have a box of clippings, magazine articles etc, going right back to the early days when a young Matt Penman was playing with us! I also have a lot of print-outs documenting our success on the former mp3.com website back around 2000. So you’re welcome to have a sift through all that.

Q. You own the Jazz Groove space in Auckland and you are enormously well-respected about town. Do you feel a little cheated that music as well received and as popular as yours has not been picked up for wider distribution?

A. Thanks John. As Blue Train we did reasonably well and had a certain amount of recognition, but I guess it was hard for venues, labels etc to categorise us – not traditional ‘jazz’ enough for some, or too jazz for the groove crowd. Not having a singer also limited our ‘acceptance’ in the gig scene. You need to remember that NZ is still quite small, and even though there are fantastic jazz musicians and bands around, the general public don’t really get exposed to the diversity that exists. So the average New Zealanders perception of jazz is fairly limited and safe, thus it’s hard for many great artists to get a voice or get picked up. Yes it can be frustrating, but I really appreciate what people like Roger & Caroline are doing with CJC to raise the profile of what’s happening in NZ. I’ve seen many jazz bars come and go, but these guys have got it right. If anything,THEY need the wider exposure! However, I know the market is much bigger overseas, and when you check out sites like nextbop.com, you realise just how much incredible cutting-edge jazz is out there. The international market is definitely somewhere I will be focussing more on in 2013. In any case, the ability to create, produce and play ones own music is such an incredible privilege, and at the end of the day, as long as it touches or inspires even one other person, I’m happy.

Q. Tell me about a few of your favourite local musicians both in and out of your band.

A. In the band? Well, everyone! Truly, each of these players are inspiring to me, which is why I chose to work with them. Jono is an incredible drummer with an intuitive grasp of time, so with the odd-time stuff, he was the perfect choice. Plus, he shares a similar passion for Radiohead, and has a lot of good musical input, hence his assistant production role on the album. Marika has just an amazing feel and sense of groove – she knows precisely where to put the notes but also has a strong melodic sensibility. And Andy has all the rock, jazz influences but is unique. He’s a stunning guitarist and has a playfulness which works so well in this context. I have been working with David Hodkinson in bass duties of late, and he’s also a very good, keen, passionate player. He has slotted in perfectly with the band.

Outside of the band? There honestly are SO many local musicians that have inspired, or continue to inspire me. Of course Matt Penman was an early inspiration, and still is. It’s been inspiring just to see his incredible growth as a musician over the years, and he’s such a nice guy. Brian Smith was also a big inspiration – we did a number of gigs together in my early jazz years, and I learned so much from just playing with him. The list goes on: Dixon Nacey, Kevin Field, Roger Manins, Nathan & Joel Haines…in fact I really draw inspiration from all of the local players! Some of the young players coming through now, like Matt Steel, just blow me away too.

Q. You have a deep interest in many of the cutting edge Israeli Jazz musicians and in Middle Eastern folk melody. You were recently doing a masters and focusing on these works. Tell us a little about Yaron Herman and others?

A. Actually I haven’t completed my Masters yet! Still a work in progress. I did my Honours study on Avishai Cohen, as I was fascinated how he managed to blend the Middle Eastern elements of rhythm & melody, with classical and jazz, and create something that was very fresh and exciting. I’ve had a long-term love of Middle eastern music, especially the rhythm, but also the structure of it in terms of the various modes or maqams; the use of quarter-tones etc. So discovering artists like Cohen, Tigran Hamasyan, Shai Maestro & Yaron Herman has been an epiphany in jazz for me! My Masters study is partly on Yaron’s music, but also on the way he was taught.

He only starting learning piano at age 16, under the tutelage of Opher Brayer, who used mathematics, philosophy & psychology! At age 18, with a scholarship, he went to Berklee music school in the US, decided he didn’t like it, returned home via Paris, and at a jam session was offered a gig then and there. How Yaron so quickly reached such an incredible level interests me, but also the use of aspects such as psychology in the process – obviously it enabled Yaron to connect on a deep level which I’m sure is part of his rapid development. Shai Maestro, who played piano with Avishai Cohen for a while, also was taught under Opher Brayer. I’m also really digging Tigran Hamasyan at the moment – he incorporates Armenian folk tunes into his tunes, but is an incredible and passionate player. Very exciting stuff.

Q. Your music is very contemporary and reflects new streams of Jazz influence. Finally tell us about your interest in and the use of material by Bjork, Radio Head, Parks etc?

A. I’ve touched on some of these artists in terms of how aspects of their styles has been a direct influence on writing for the quartet, but I guess what attracts me is their total uniqueness, and in many cases, such as Bjork, flying in the face of trends and expectations. Radiohead did the same with Kid A. Their writing also resonates with me – and aside from adapting specific aspects of that, the emotional & spiritual affinity I have with the music is what moves and inspires me. My goal is to similarly express my heart & passion in the most complete way I can – whatever musical form that takes.

Thank you for your time Alan. Best wishes for 2013.

I also asked drummer Jono Sawyer the following questions:

Q. Jono you have played with Alan Brown for a long time and certainly from the beginning of the ‘Between the Spaces’ lineup. How did you two team up?

A. Alan was actually a key part of my love of jazz as I grew up – I used to listen to the cassette of the debut ‘Blue Train’ album in the car with my Dad when I was about 6 or so! (This album also featured my great drum teacher Jason Orme). Alan and I got to play together after I approached him to see if he’d be interested in playing on my first Honours recital when I was studying at NZSM, and I think he liked the tunes I was hoping to do for the performance so he agreed. I was actually really nervous when I approached him and never thought he’d actually do it, here was a guy I listened to from when I was a boy and helped to shape my love of music, yet he was super into it! We’ve been playing together a lot ever since cause I think we both are on the same wavelength when it comes to contemporary jazz and the exciting stuff coming out of the modern scenes, particularly New York.

Q. One day I asked you about your role in playing a groove beat across differing time signatures. You told me then that it was instinctive. Are you able to articulate the process of locating those grooves?

A. Half of the grooves are actually already written in their basic form when Alan brings a new tune to the group. He’ll demo a tune up on Logic so we get a good idea of the vibe he’s going for, and then as we practice the tune the groove becomes more refined and I add my own variances and subtleties to make it into the product… Of course, what Alan, Andy and Marika were doing would shape this; I remember the groove from ‘Sustainable Resources’ being slightly less related to the bass line at first, but as we jammed it just felt right to really articulate most of the bass line between the kick and snare, which in turn helped the flow of the tune, despite it being in 15/8 – I guess that’s where the instinct part comes in!

Q. Tell me a little about who impresses you the most from among modern drummers.

A. I have a real passion for odd time playing through my love of 70s prog rock particularly, but what really impresses me from guys like Eric Harland, Ari Hoenig and this drummer called Gavin Harrison, is how they can navigate these odd times with such flow and ease. As well as this, they never let what they’re doing get in the way of the groove and the overall musicality of the tune. Ari is certainly one of my favourite players he has such control over the drum set that he can essentially play anything he wants! But also understands that sometimes, laying back on the groove, whether it be swing or more contemporary stuff, can be all that’s necessary for a tune to become perfection. All of these great players also have a wide knowledge of the greats that have come before them, and I’m finally starting to understand the importance of this too.

Q. Where to from here?

A. Hopefully another Alan Brown album! I know Alan’s really passionate about trying to get some international gigs under our belt so that will be exciting if we get some dates lined up. I’m also keeping busy with Batucada Sound Machine, and we’re looking ahead to our European summer tour… I’m also involved in a project with the APO for a concert they’re doing in May, which should be good fun! Lots of work to do for all those things though so I’d better get practicing.

Lastly I interviewed David Hodkinson about his role on bass

I thought that I would ask a few of the other band members questions as well. The newest member of the lineup is David Hodkinson who plays electric bass. The original BTS album had Marika Hodgson on it and she had quite a following as her intense goove lines were compelling. David has seemlessly stepped into the role which was big ask and so I asked him what that was like.

Q. David, I am impressed by how you handle your bass duties in this band. How are you enjoying playing with an Alan Brown band?

A. I am really loving being a part of this group, the combination of a strong groove, interesting harmony, and odd meters make it fun on many levels! Also I consider these guys a ‘dream team‘ to play with, I have a huge amount of respect for them.

Q. How did that happen. Were you recommended by a friend, apply or were you approached directly?

A. I have known Alan for some time now, through University and playing with Trudy Lile/Mojave when he had filled in. I met Andy and Jono whilst studying too, and played in Andy’s Masters Combo. I was very excited when Alan approached me to be a part of it.

Q. Tell a me a little about who impresses you most and your influences.

A. I am a big fan of Juan Nelson from Ben Harpers ‘Innocent Criminals’ band, also players like Bakithi Kumalo from the Graceland album, and Incognito. A big thing for me in regards to musicians is what kind of person they are, I would rather work with an absolute beginner with a good attitude than the opposite.

As far as influences go, I grew up playing Jamiroquai, Red Hot Chilli Peppers, Rage Against the Machine, and then it was really Paul Norman who introduced me to jazz/funk. I credit Paul as the biggest influence in my musical life. I was lucky enough to go through Avondale College and witness players like Ben Turua, and have Max Stowers as my tutor, so I was very fortunate.

Q. I watched you play those bass groove lines once when you had no drummer in the Alan Brown band. That is a lot of weight to fall on a bass players shoulders. Was that a challenge?

A. It wasn’t really a challenge, just a shift in method. I try to get the pulse in my body through movement, which can then give me the seperation mentally to process it in the same way as if there was a drummer, good fun!

Q. Where to from here?

A. Well I’ve bought some pedals so have been enjoying experimenting with different sounds. I play in the bands dDub, and Spiral as well so I am quite content at the moment. I have also been enjoying playing double bass again so I would like to do more of that in the future.

I would like to thank Alan Brown and his band for their indulgence with this. I believe it to have been an incredibly worthwhile exercise as it gives insights into an important aspect of music within the Auckland Jazz spectrum. Sadly Andy Smith was out of town but his contribution is considerable and acknowledged here.

John Fenton

Jazz Local 32.com

Alan Brown interview & part one

December 17, 2012January 28, 2013 / JazzLocal32.com / Leave a comment

Interview with Alan Brown: Leader, Composer Jazz/Groove Musician

Alan, thank you for agreeing to this interview – On behalf of Jazz Local 32 I would like to gain a few insights into your music and your primary influences.

Q. I have seen various configurations of your bands over the years but I would first like to concentrate on the ‘Between the Spaces’ album. As the composer and leader are you able to reflect on just what this particular body of work means to you?

A. It’s the culmination and articulation of ideas that had been floating around in my head for a while. They didn’t really solidify until I decided on a format (i.e. the quartet and choice of musicians thereof). Once I had that sorted, a lot of the ideas took shape, as I could hear how they would work with this line-up and the particular strengths of each musician. It also represents a new freedom in my writing, that of allowing all my various influences equal voice. Previously I had felt a bit stifled in my writing as I was constantly aware of ‘trying’ to write in a more ‘jazz’ style (whatever that is).

I was often aware of feeling the (self-imposed) pressure to make harmonies more complex where, in many cases, it wasn’t needed and took away from the purely creative and spontaneous aspect of writing. I mean I know there’s always an editing and fine-tuning that happens but sometimes I found I was just trying too hard to be ‘jazz’. Upon hearing some of the younger generation of jazz composers who were not afraid to push the boundaries but also use rock, RnB compositional ideas and harmony, I discovered a new freedom in my own work, and allowed the classical and pop/rock influences which were an early part of my growth, to be heard – without fear!

Q. This has the feel a well-conceived album, which is largely built around finite concepts. Is that just my impression or was there a compositional focus?

A. There was definitely a compositional focus, even though a few of the tunes were older pieces I had written. The new writing freedom, along with a strong picture of the quartet sound I had in mind, and especially what each player was bringing to it, gave me a focus that I hadn’t had for a long time. There is a strong odd-time and polyrhythmic element to many of the tunes, which was partly inspired by what I was listening to at the time, such as Avishai Cohen et al. However, I distinctly remember one of the first tunes I wrote for the quartet, Captivated (which sadly never made it to the album, but is available on-line), was built from an idea I had for a while but just couldn’t get anywhere with.

One day I thought to try the idea in 7/4 rather than 4/4, and basically the rest of the tune wrote itself! I guess the excitement and challenge of the odd-time signatures propelled the writing burst that followed, although I never tried to force odd-times etc to fit – it still had to feel right no matter what was happening in the tunes. I was also inspired by the writing of bands like Radiohead in terms of song structure and dynamics, so the inclusion of forms such as coda sections to my tunes are a direct result of that. However there are also techniques I have used in my writing since the Blue Train days (and earlier!) present in these tunes, hence the groove element especially.

Q. What are the primary influences behind the BTS compositions?

A. Artists such as Avishai Cohen, as I already mentioned, in relation to the fresh combination of Middle Eastern rhythms and classical influences in his writing; Aaron Parks in terms of sound, structure and the strong sense of melody; Radiohead with regards to structure as I mentioned, but also harmony and again, strong melodic ideas.

The emotion that is present in Radiohead songs is something I was searching for in presenting these tunes in the quartet form I chose; Classical music plays a big part in my upbringing so much of the harmonic sense comes from that, especially in tunes like Eastern and Tableau. The latter tune also includes an obvious nod to minimalist classical composer, Philip Glass.

Q. Those touches of orchestration where you added strings and flute sounded so good. It put me in mind of the CTI label of Creed Taylor where expanded works and orchestrations by Don Sebesky were the norm. How did it feel working with an expanded sound palette?

A. I loved it! It presented its own challenges in terms of writing and understanding how the textures work together but it’s something I definitely want to explore further and include in subsequent compositions. Again it’s a sound that has strong ties to my classical influences, and therefore presents an emotional canvas that really resonates with me.

I particularly love the modern orchestration on Brad Mehldau’s Highway Rider album in terms of the close harmonies and inner movement within the strings, creating a vibrant, sometimes dissonant, but compelling texture. I recently found out that Brad was influenced by the the work of Francois Rauber in his work with Jacques Brel, and Bob Alcivar in his work with Tom Waits. I am starting to check these orchestrators out myself now.

Q.The complex rhythms, counterpoint and multi textural nature of the tunes must add a degree of difficulty. Every band member has to work a different groove while keeping in mind what is happening elsewhere. Is that a hallmark of the Alan Brown sound?

A. Yes and no. I mean, it was definitely something I had in mind for this album but I’m always wanting to stretch myself and be open to other influences, so I don’t want to be confined to a particular sound or approach. However, every writer does have their own signature style which is something that should come through unconsciously, but the vehicle for expression should be open to whatever provides the creative ‘spark’ at the time. In saying that though, I do love the multi dimensional nature of what happens in these tunes, that there are elements that one can focus on and think “that’s cool”, but that they’re still part of the whole. In other words, it’s got to groove no matter how difficult or ‘clever’ it may appear.

Q. Is there a ‘Between The Spaces two’ planned?

A. I’d like to think so! I have been slowly writing some more tunes, at this stage with the quartet in mind, but as I mentioned, I’d also like to explore various palettes more, especially with strings. Some of the writing is with my Masters study focus, but is still very much what resonates emotionally with me.

Part two and a short review to follow in the next post:

Alan Brown@CJC (KMC Live launch)- C3 organ/guitar/drums

April 23, 2012February 4, 2013 / JazzLocal32.com / 3 Comments

Alan Brown & C3

When ever Alan Brown brings a band to the CJC, the club fills to capacity. Alan is well-known, deeply respected and he swings like crazy. The ‘KMC Live’ release was always going to be a significant musical occasion, but on this night the sparks of inspiration flew between the band members and we witnessed something transcendent . This was an incendiary gig that lifted our spirits; causing us to tap our feet uncontrollably and for some, to dance with abandon in the flickering shadows. Alan had arrived earlier in the day, because dragging a heavy C3 organ down into a basement presented challenges. The patience of Job and the strength of Hercules are required. These wonderful organs with their bass pedals, wood-paneled console and double keyboard have probably caused preachers to swear when moving then. It would not surprise me if some elected to rebuild the church round the organ rather than drag it up front. It is our gain entirely that Alan achieved the translocation. Hearing the wonderful bluesy phrases flow effortlessly from his fingers as they flew over the keyboards and seeing his feet pedaling out compelling bass lines was a rare treat.

Josh Sorenson

Dixon Nacey is without a shadow of doubt one of the best guitarists in New Zealand and it is a joy to watch him solo and interact with the other musicians. During solos he will often close his eyes while weighing up the next step and his facial expressions reveal his commitment to the process as he dives ever deeper into the tune. It is also a revelation to watch him in call and response situations. When he and Alan are batting each other ideas, this often turns into good-natured un-armed combat. Dixon watches intently while waiting for a challenge. Occasionally calling to the others as if to say, “do your worst”. When a musical phrase is tossed into the air he will smile gleefully and pounce on it, turning it about until it is fashioned into a thing of his own. Josh Sorenson proved to be the perfect groove drummer as he locked down the beat and pulled the unit together. This type of drumming requires specialist skills and Josh most certainly possesses these.

Tonight was the launch of Alan’s album ‘Live at the KMC’. This was recorded at the Kenneth Meyers Centre back in September 2010 and choice of venue was fortuitous. The venue is of historic importance as it has nurtured radio and TV in its infancy. It is now part of the Auckland University School of Music (Creative Arts Section). An acoustic gem. Alan had recorded this gig thinking only that it could prove useful as a private resource. One listen convinced him that he needed to release the material at some future date.

The set list at the CJC gig (and on the album) was a mix of Alan’s original tunes with three standards thrown in. The standards were ‘Maiden Voyage‘(Herbie Hancock) and ‘All Blues‘ (Miles Davis) and ‘Chank’ (John Scofield) – all arranged by Alan. The rest of Alan’s compositions were; ‘Mr Raven’ (from the Blue Train days), ‘Charlie’s Here’, ‘Shades of Blue’, ‘In Fluence’, ‘Slight Return’, ‘Inciteful’. ‘Shades of Blue’ was the best known of the originals while Alan’s interpretation of ‘Maiden Voyage’ was delightfully brooding and moody. It was a nice take on this well-loved tune. If I had to choose which of the tunes I liked best however I would probably say ‘Inciteful’. This was played in extended form and it teased every ounce of inventiveness and musicianship out of the band.

On this night the stream of ideas kept coming, as fresh musical vistas were revealed. Each one holding us in suspense until the next gem appeared. This was organ/guitar/drum music at its best; intelligent, highly charged and full of joyous abandon. A groove jazz trio of the sort you might find in East Philly or Montreal had been formed on our own doorstep. This gig took place at the Creative Jazz Club (CJC) in Auckland New Zealand on the 18th April 2012

Dixon Nacey

Joel Haines trio

December 17, 2011 / JazzLocal32.com / Leave a comment

Joel Haines is a well-known and established New Zealand guitarist. He also comes from an exceptionally talented musical family and this carries additional expectations. While this was very much a funk-Jazz gig Joel had brought a little of the rock-god to the bandstand. Many post Jim Hall Jazz guitarists bring elements of the Rock dialect into Jazz and in this case we certainly heard strong hints of that. Accompanying him was veteran funk Jazz organist Alan Brown on a Hammond B3 portable (XK-3C) and Stephen Thomas on a classic 1960’s Rogers drum kit. Joel played his stunningly beautiful Ibenez hollowbody guitar on all numbers except one.

The gig was always going to be loud (and it was) but interestingly not as much as some bands when playing in this confined club space. I was surprised by this as I was in the front row. The answer may lie in the fact that Joel uses an older style valve amp which he did not feed into a PA. Alan Brown used a Lesley Unit with valve amplification and at one point I could hear someone in the audience say appreciatively – “look at the glow and pulse of those valves”. It was brother Nathan. It is possible that hearing analogue uncompressed sound is more pleasant to the ear.

The set began with one of Alan’s compositions ‘Minor Avalanche’. The tune has a solid vamp which builds and builds. Over that Joel played his funky bluesy lines with Stephen locking into the groove. The second number (‘Ferret droppings’ – by Noel Haines) was slower and in consequence we saw more of what the trio was capable of. There was time to construct well thought-out solo’s and the drumming was a little looser, with more cymbal work and less kick drum. Needless to say Alan always acquits him self well with a Jazz audience as he smilingly punches out his signature staccato chords while dazzling with his right hand.

On the third track, Alan Brown’s ‘Shades of Blue’ we struck the mother lode. I have loved this tune from the minute I first heard it on the Alan Brown trio album ‘About That Time’ – Ode Records. ‘Shades of Blue’ is a great tune and above all it is a perfect vehicle for improvisation. Several bars into the number there are a couple of compelling hooks and nice as they are they are not overdone; leaving you wanting more. Alan certainly knows how to write good charts. It was on this number that we saw Joel at his best. His solo was fabulous and every note counted. As he bent the strings and worked his pedals you could hear echos of ‘Electric Ladyland’. Not sounding like a clone of Hendrix but taking the sounds deep into a Jazz context.

Joel’s ‘Live at Wembley’ was a nice ballad with long melodic lines and his other contributions were tunes interestingly titled ‘Who Flung Dung’ and ‘Hangover’.

Yes there were plenty of licks and tricks of technique but the band took us way beyond cliché.