Some missing music for those missing music. Hear it Here
Mark de Clive-Lowe (keys) in Auckland’s CJC a few weeks ago with Brandon Combs (drums) and Marika Hodgson (bass)
‘Don’t Dream it’s Over (N Finn), Chelsea Prastiti (vocals), Kevin Field (piano), Mostyn Cole (bass), Stephen Thomas (drums), Mike Booth (trumpet). CJC Auckland at Alchemy Live
Bird Song (Smirnova) Simona Smirnova (vocals), Alan Brown (piano), Cameron McArthur (bass), Jono Sawyer (drums) at Auckland’s CJC, March 2020.
The lockdowns won’t stop jazz! To assist musicians who’ve had performances canceled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to https://news.jazzjournalists.org/category/jazz-on-lockdown/
Norman Meehan and Hayden Chisholm are always well received when they perform at Aucklands CJC Creative Jazz Club. There have been various iterations of their line ups over recent years and all of them compelling in different ways. The Unwind quartets attract big audiences and rightly so. This particular band was co-led by Chisholm, Meehan and Griffin, with Julien Dyne and Cameron McArthur rounding off the quintet. I was particularly delighted to see Hannah Griffin on the bill, as she occupies a unique and interesting musical space among improvising vocalists. The gig showcased iconic twentieth century New Zealand poets and Griffin’s impressive vocal skills were exactly what was required.
Jazz lovers of a certain age often categorise vocalists according to how well they enunciate their lines. Whether that is important or not is debatable and it depends very much on context. I am generally more focused on phrasing and time feel and I like to hear a word stretched to fit an interpretation. If it’s a standard, then we know the words and having them messed with is part of the joy. I also listen to a lot of wordless vocal improvisors like Sidsel Endresen.
When it comes to interpreting poems though, the clarity of the words does matter and Hannah Griffin gave a master class in balancing the many aspects of vocalisation. She does not merely intone a poem, she is part of the band and her melodicism is paramount in the mix. She can enunciate and still pay phrasing its due.
The first thing about this band is the way they respond to each other, sometimes finishing each others musical sentences. This seamless interaction is especially evident between the three leaders. Meehan is a master of understatement and his gentle swing can quickly bring a smile. His default minimalism always serves the music well but it is on reflection that you realise just how powerful and judiciously placed those chords and sparkling runs are. He doesn’t require a percussive touch to make a big statement. I suspect that most of the arrangements are his as well.
Chisholm always takes your breath away and from the first note, the emotional content in his playing is quite unmistakable. This is the sort of gorgeous alto playing seldom heard and you dwell on each note and phrase, marvelling at the purity of tone and the compelling story telling. His ability to deploy his multi-phonic technique, simply jaw dropping.
The other thing which grabs you is the sheer beauty of the bands sound. By that, I do not mean just pretty for it goes well beyond that. All of the emotions are engaged and the effect on a room is noticeable. Dyne is a popular local drummer who works across genres and who is sought after around town. He has played with Meehan and Chisholm previously. Griffen has appeared predominantly with Meehan and in gigs similar to this. McArthur was the new-comer to this particular lineup but you wouldn’t think so. His reading abilities and his intuitive grasp of the music maintaining his usual high standard.
At the previous Griffin, Chisholm, Meehan gig the band had Bill Manhire on stage, and as icing on the cake he introduced the poems. Gigs like that are hard acts to follow, but fast forward to 2020 and the band more than pulled it off. By extending the range of poets and poems our interest was engaged in new ways. My greatest pleasure was hearing more poems by the much lamented Dave Mitchell. More gigs like that please. You can purchase albums featuring these artists from Rattle Records at rattle-records.bandcomp.com
JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association.
It is seldom that we encounter a critically acclaimed New York Jazz Trumpeter with an Auckland tour itinerary, but this week the drought was broken. Charlie Porter is a versatile musician and one with impeccable credentials. He is a Grammy-winning artist whose star is on the rise. When you check out his bio you learn many things of interest, for instance, that he has parallel careers in Jazz and classical. The inclusion of Auckland was partly down to bass player Mat Fieldes (and of course Roger Manins). Fieldes is a popular musician who has recently returned from a long stint in New York and he has worked with Porter previously. Sharing the top billing was Grammy-nominated New York drummer David Rozenblatt. Rozenblatt is another musician who works across genres and like Porter, his Jazz chops are something to behold.
I arrived early and watched the brief rehearsals, noting that Porter exhibited a focussed down-to-business demeanour on the bandstand. The sort of discipline you need to survive in New York. As soon as he was satisfied he smiled and thanked the musicians, then moving among those setting up the club, he introduced himself, friendly and relaxed. These are the hallmarks of the professional. Playing with an unfamiliar rhythm section may be commonplace in Jazz but pulling together a good performance while on the road, and with pick-up musicians requires a good leader. Porter and Rozenblatt share a history, performing together often. The remainder of the group were Mat Fieldes (bass) and Dixon Nacey (guitar). The latter was meeting the two New Yorkers for the first time.
Porter possesses a fulsome clean tone (think Brownie), but his rich strong sound can change in an instant when he swoops to the lower register, his trumpet emitting a dirty growl and rises as the bell emits a cascade of fluttering squeaks. While the growls and flutters are not dominant features of his playing they add vital splashes of contrast and colour. You can hear the deep south in his sound, and especially New Orleans, but on upbeat numbers, he can edge closer to the second Miles quintet. The elided phrases, the sting. His compositional strength was on show as well and although there were a variety of moods there was a logical arc to the setlist. His eponymous new album has the same logical progression and on that, there is an even greater stylistic variance. He is not a slave to style or even genre and perhaps this why he sounds so fresh.
When performing before an audience Porter exudes easygoing confidence, that belies his years. Such confidence is usually found in older musicians, but check out his story and all of the above makes perfect sense. He was trained in classical trumpet and won a Fulbright scholarship to study in Paris, he was mentored by Winton Marsalis and is connected spiritually to the music of the deep south. During the evening he played one or two numbers which referenced New Orleans (particularly Rhumba for Sticky) and on his album, the tune ‘Morning Glory’ caught my attention. I have just returned from New Orleans and Morning Glory connected me back to Henry Red Allen.
David Rozenblatt’s drumming fascinated me. It was joy-filled, wildly exuberant but purged of unnecessary clutter. Many of the younger drummers I hear are time tricksters, and while this is impressive it can also clutter up a sound canvas. Rozenblatt had something of the swing drummer about him, but overlaying that was a colourist sensitivity, the warmth of a great rhythmic conversationalist. Fieldes was also right on the money. His melodicism and lovely time feel filling out the sound without getting in the way. We export many great bass players from New Zealand, but having Fieldes back on home ground is our good fortune. Dixon Nacey needs no introduction to either Aucklanders or to wider New Zealand. He is rightly regarded as one of our finest guitarists and consequently, his work schedule is frantic. Because of the many projects he juggles, he has less time to perform in local Jazz venues but happily, he was available for this. He is a favourite with club audiences and a draw in his own right. We have come to expect the best of him over the years as his trajectory is ever upward. He has long been noted for his Sco-like credentials but as we saw last Wednesday, he can adapt to a variety of improvising situations with ease.
I have posted a track from the gig titled ‘divergent paths’. It was the first up and it set the tone for a crackling evening to follow. To purchase the album go to www.charlieportermusic.com (digital downloads, CD’s and vinyl available. The posted track was supplied by Charlie Porter.
The summer break seemed endless with its hot nights, warm breezes and parchment dry days. Nature shrivelled as the birds stopped singing and the trip to the Hi-Fi became too onerous. There is something about a prolonged heatwave that makes you both lazy and restless at the same time. This is also the time of year when Aucklands premier Jazz club takes its Christmas break and so the resumption of the gigs was happily anticipated.The first gig of the year was the Alex Ventling trio and what a great way to ease into February. Ventling is a New Zealand ex-pat, but one who settled in Switzerland many years ago. He and his fellow musicians are all from Basel, a part of the Swiss Confederation and speakers of a German dialect.I passed through there once but all that I can remember was a recommendation from a friend. Stop there if you can, Basel is a jazz city.
This was Ventling’s first gig for the CJC Creative Jazz Club and it attracted a large audience. They poured through the doors escaping the evening’s heat; needing cool and finding it. The venues piano is not without its challenges but on this night it sang sweetly. Partly because it had just been tuned but it was mainly because of Ventling’s sensitive touch. Many pianists tend toward the percussive in a larger room, but this programme required subtlety, room to breathe. The set-list tunes were well crafted and with a heavier touch, the expressiveness would have been sacrificed. We don’t get too many piano trios through and this trio operated as the best of them do. The musicians listening to each other, reacting, and playing as if they were one entity. It is almost impossible for this level of communication to occur unless a trio has been together for a time, and in this case, they were not only long term bandmates but on the last stop on the tour.
Most of the tunes were originals, but two were interesting reharmonisation of Jazz standards. For instance ‘All Blues’ which hinted at Mehldau Americana voicings;the astonishing reharm of ‘Someday My Prince Will Come’; the latter truly delightful, surprising, and decidedly edgy. The original melody cast to the four winds as new joys were plucked from the changes. The originals were captivating and especially ‘Expecting the Unexpected’ and ‘Vorfreude’. The later title, one of those uniquely precise German words meaning the joy you feel when looking forward to something. Whatever the German word is for looking back with pleasure, that was the emotion the audience was left with at gigs end. The interactions throughout were impeccable, reminding me of a Pieranunzi trio. The bass player James Kruttli and the drummer Phelan Burgoyne were as riveting as the pianist. This was a trio where your eyes and ears moved constantly from one to the other. We watched in utter absorption and for two hours we forgot the swelter looming ominously outside.
A recent album by the Alex Ventling Quartet was on sale at the door and it is stunning. ‘Alex & the Wavemakers’ has a different lineup and features a vocalist Yume Ito. This is closer to the ECM esthetic and is Jazz Art Music at its very best. The fourth track ‘Trailblazer’ was to my ears furthering the blissful journeys begun by Norma Winstone, John Tayler and Kenny Wheeler. You can find Alex Ventling on Bandcamp or at http://www.alexventling.com.
JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association.
I was barely off the plane and my brain was full of dense fog, no doubt a legacy of San Francisco Karl who had been circling me like a spectre for a good month. I gamely fought the malaise off and because I am a creature of habit, dutifully made my way down to Auckland’s CJC Creative Jazz Club. In my experience, it pays never to miss a live improvised music gig, because if you do, you risk bitter regret. Believe me, I often lie awake lamenting a missed chance to see John McLaughlin.
Last week the Australian Duo, Emma Gilmartin and James Sherlock were on the bill accompanied by Christchurch Bass player Michael Story and Wellington drummer Mark Lockett. Lockett, who helped organise the tour, is a mainstay of the Wellington Jazz scene and offshore musicians like this arrive due to the skilful tour-on-a-shoestring wrangling of his ilk. We get to hear these Aussie, European and American bands in our New Zealand Jazz clubs, largely because of the work put in by a handful of dedicated musicians like Roger and Caro Manins (and Lockett). These organisers pitch in uncomplainingly as they lock down the events and we benefit as a result. Consequently, New Zealand has developed a rich improvised music circuit and a debt of gratitude is owed to the organisers (and to the volunteers who quietly assist).
Emma Gilmartin is a Melbourne based vocalist, composer and teacher and it was her first time performing in Auckland. She has received praise from the Australian music press and is one of an increasing number of gifted vocalists emerging out of the Australian Jazz scene. She is pitch-perfect and her appealing voice finds the corners of a room with ease. Like all good Jazz vocalists, she imparts a mood of engaging intimacy. Her co-leader on this tour, was guitarist James Sherlock, a notable musician and the perfect foil for a vocalist. An accompanist who understands how to enhance vocal performance by offering challenges and he knows how to comp without getting in the way. He is a gift to any vocalist.On solos, he also excels, at times bringing to mind earlier greats like an Oscar More (behind Nat Cole). Christchurch Bass player Michael Story rounded off the quartet nicely and it was obvious that he was enjoying himself. Again, he was the right person for the ensemble.
The program was a mix of tasteful standards and interesting originals. I have put up a clip which demonstrates the strengths of the quartet – witness the tasteful musicality of Lockett’s drum solo as the band digs into a swinging version of ‘Nica’s Dream’ by Horace Silver.Gilmartin appeared to be relishing her time in New Zealand and she announced that she would try and return next year. We hope so.
Emma Gilmartin (vocals), James Sherlock (guitar), Michael Story (bass), Mark Lockett (drums). The gig took place at Anthology, K’Road, for the CJC Creative Jazz Club, 4 December 2019
A while ago the program director of the Creative Jazz Club, Roger Manins mentioned that he had booked a great young group from Christchurch to appear in the emerging artist’s slot. He went on to say that many of these young emerging artists were so good that he was considering renaming the slot, something like ‘young guns’. He was right. Ocelot exuded easy-going confidence, uncommon in younger players and by the second number they owned the bandstand; navigating some slippery lines with disarming ease and swinging. This was a tight unit and it was obvious that they had put in the necessary work beforehand. That gave them the freedom to relax into the music and the results were evident.
While a little hesitant at first, they progressively engaged with the audience. This has been a theme of mine in recent months, a desire to sense the person behind the instrument. It is not about exhibitionism but about something infinitely more subtle. Something that tells a live audience that they are an essential part of a performance triangle, instrument, musician and audience. Seasoned Jazz audiences are fine-tuned to detect enthusiasm on the bandstand and likewise, they can detect disengagement.Ocelot got that and was well received.
The setlist was nicely thought through as it balanced originals with tasty tunes by established and lesser-known artists. Bravely, and to their credit, they played a Jazz arrangement of Prokofiev’s (Concerto No 2). These forays can be fraught with danger, but this interpretation was handled with ease as was Jonathan Kreisberg’s ‘Strange Resolutions’. The latter required them to navigate some tight Tristano-like unison lines in the head and emerge swinging. They did, and to see a young band do this with apparent ease was pleasing.I have posted Strange Resolutions in the YouTube clip.
The originals in the setlist were penned by the bass player and guitarist and a tune which took my fancy with its danceable Klezmer vibe was titled ‘Rakia Nightmares’ (Jonah Levine Collective). The bar is being lifted all the time, as our various Jazz Schools flourish, but what is most encouraging about this, is that they are not producing clones.
Ocelot: Finley Passmore (drums), Mitchell Dwyer (guitar), Finnzarby Richwood (piano), Callum McInnes (bass), Cheena Rae (alto saxophone). The gig took place at Anthology for the CJC Creative Jazz Club, K’ Road, Auckland CBD, 23 October 2019
Canadian Jazz guitarist Keith Price is a welcome addition to the Auckland scene. He brings with him fresh ideas and a musical connection to his hometown. Manitoba is associated with Lenny Breau and Neil Young who both grew up there. Perhaps it’s the proximity to the open spaces which echo in the music, that wide-open sound (and in Young’s case an overlay of dissonant melancholia)? Whatever it is, it certainly produces distinctive musicians. Lenny Breau is an important Jazz guitarist and one who is sadly overlooked, Hearing Price’s respectful acoustic homage on Wednesday, cast my ears in that direction again.
Before moving to New Zealand, Price recorded a collaborative album in his home state of Winnipeg and that material formed the basis of what we heard last Wednesday. While the album features Canadian musicians, it was released on our premier Kiwi label Rattle. ‘Upside Downwards’ is a terrific album and from the first track, you become aware of how spaciousness informs the compositions, a note placement and phrasing which allows the music to breathe deeply. This feeling of expansiveness is also underscored by a certain delicacy. In the first track especially, you marvel at the touch; the skilfully deployed dynamics grabbing your attention, but it is the artful articulation of Price’s playing that is especially evident. Listening through, it impossible not to feel the presence of the open plains and of Lenny Breau.
The co-leaders are perfectly attuned to each other throughout; playing as if one entity. There are no ego-driven flights here and in that sense, it reminded me of an ECM album. I had not come across either the pianist or the drummer before but they impressed deeply. From Jeff Presslaff, that delicate touch on the piano and the ability to use a minimalist approach to say a lot. The drummer Graydon Cramer a colourist and musical in the way Paul Motian was.
Wednesday’s gig was in part an album release, but Price also traversed earlier albums and played a short acoustic set. The album was a trio, but this time he brought four of Auckland’s best to the bandstand. The quintet format worked beautifully and his bandmates were clearly enjoying themselves. These guys always sound good, but it felt like they there were especially onboard for this. In the acoustic set, Price played what looked like a Martin (a Breau and a Young tribute). The other standard was a killing arrangement of Wayne Shorter’s Ju Ju. Why do we not hear that more often?
When setting up my video camera I made the mistake of locating myself near the bar and because of that, there is bleed-through from the air conditioners (the curse of all live recordings). The sightlines are also poor from that end. Never-the-less, I have put up a clip from the first set titled ‘Solstice/Zoom Zoom’. It was worth posting in spite of the defects. I have also posted a sound clip from the album titled ‘6 chords commentary’.
Album: Keith Price (guitar), Jeff Presslaff (Piano), Gradon Cramer (drums)
Auckland Quintet: Keith Price (guitars), Kevin Field (piano), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums). Anthology, CJC Creative Jazz Club, K’Road, 09 October 2019. Recoding available at Rattle Bandcamp.
Post Trump’s inauguration, improbability is the new normal and in keeping with the mood of the times Wednesday’s gig emerged from improbable beginnings. It began with an international cat rescue mission, an attempt to thwart a ‘catricidal’ former neighbour. Before the mission had even been concluded a subplot had emerged; one involving the inhabitants of three cities, two countries, and assorted sharks. Those familiar with Reuben Bradley will not be surprised at this turn of events as he’s known for his humour, good nature and above all for his ability to turn improbable adventures into really good music. ‘Shark Varieties’ is a drummer led trio and a vehicle which showcases a bunch of the leader’s original tunes. It also showcases a joyful reunion.
The Shark Variations album was released by Rattle in 2017 and it followed a successful tour by the band a few months earlier. Bradley was in the process of moving to Australia at the time and he was keen to record with longtime collaborators Roger Manins and Bret Hirst. He needed to do this while they were all in the same place and this was his best window of opportunity. Hirst is an expat Kiwi who lives in Sydney, Manins is based in Auckland and Bradley was at that point, about to head for the Gold Coast. Because of their shared history, the musicians knew exactly what they were aiming for; an open-hearted collaborative and spontaneous expression of their art form. That they realised this vision will be apparent to those who listen to the album.
As a leader, Bradley never shies away from an opportunity to leaven his gigs with humour. He tells jokes against himself (the trademark of all good Kiwi humour) and as you peruse his tune titles you find a plethora of throwaway lines and in-jokes. During live gigs, the titles become hilarious stories and his delivery is always pitch-perfect. Improvising musicians frequently tell an audience that the title came after the composition and that they struggled to name tunes. In Bradley’s case, I suspect the reverse is true; that a series of off-beat incidents have stimulated his already vivid imagination and the incidents become the catalysts for his compositions. ‘Wairoa or L.A.’ ‘Wake up call’ Makos and Hammerheads’ are all examples, the latter giving rise to the title, in spite of the fact that he could only name two shark types (which he felt was more than enough).
Humour aside, this is seriously good music. Bradley is a gifted and popular drummer and musicians love having him alongside. It is therefore not surprising that he would choose these collaborators. Manins is undoubtedly the best known contemporary New Zealand saxophonist and a musician whose formidable abilities are attested well beyond these shores. Hirst left New Zealand many years ago and is regarded as a bass heavyweight on the Australasian scene. He is frequently found performing with Mike Nock and his resume includes playing alongside James Muller, Greg Osby and other notables.
The reunion gig took place on a cold wet Auckland night and many gladly braved the chill to get a piece of this. I have put up a video from the gig titled ‘Wake up Call’, which Reuben assured the audience had only the thinnest connection to an actual wake up call. In keeping with the ‘spirit’ of the gig, I miscalibrated my camera and the resulting shot turned Bradley and Manins into ghosts. The album is available from Rattle Records. The gig took place at Anthology, for the CJC Creative Jazz Club, 02 September 2019.
Footnote: The cats were rescued safely and after an unfortunate travel accident they both found asylum abroad.
Louisa Williamson is a gifted young tenor saxophonist who has visited Auckland on previous occasions. This time, and for the first time, she visited as a bandleader, showcasing her beautiful compositions. I have always admired her tone and improvisational abilities, but this was a step up. Freed from the comfort of a band she knew well, she cast herself among an array of experienced Auckland musicians. Stephen Thomas on drums, Tom Dennison on bass and Michael Howell on guitar. The only Wellingtonian (besides Williamson) was pianist George Maclaurin and together as a band they delivered. This was engaging straight-ahead Jazz.
In the history of this music, only a handful of female tenor or baritone saxophonists have received their due. If Williamson keeps playing like this she will surely inspire others and that is how the music grows. She has already come to international attention when she became the first New Zealander to join the JM Jazz World Orchestra in 2016. She is at present working towards a Masters in composition at the NZSM. After hearing her compositions on this date, the outcome should prove interesting. Her tunes possess an appealing melodicism while underpinned by an unfussy harmonic cushion. It is post-bop mainstream but there is nothing stale about it.Afterwards, a band member from among the Auckland pick-ups remarked how well the charts were constructed.
I have put up the first tune from the first set titled ‘Slightly run-down’.A tune where the underlying motifs are opened up as the theme develops. It is a story with a beginning, middle and ending and it is told without artifice. Everything felt in balance, the short phrase of arco bass during a changeup, the staccato restatement of the theme on the guitar, and above all the horns careful parsing of the melody.
The keyboardist Maclaurin was familiar with the leader’s tunes and consequently, he was the perfect harmonic anchor point. He also delivered some nice solos. The Auckland contingent of Howell on guitar, Dennison on upright bass and Stephen Thomas on drums took no time in establishing their credentials. I was particularly happy to see Dennison on the bandstand as he is seldom seen at the club these days. A fine bass player who always finds the best notes; a melodicist and a musician who has an impeccable feel for time. Howell and Thomas we see regularly and both are deservedly popular with audiences. I look forward to Williamson’s continued journey as she is learning to show more of herself. Being the leader, she spoke and told stories and I hope she does more of that. Jazz is at its best when it shows some emotion and in live performance, the artist’s engagement with an audience is the X factor lifting the music ever higher.
Louisa Williamson Quintet: Louisa Williamson (tenor saxophone, compositions), George Maclaurin (keyboards), Michael Howell (guitar), Tom Dennison (upright bass), Stephen Thomas (guitar). The gig was at Anthology for the CJC Creative Jazz Club, 25 September 2019Louisa
The Melbourne group Spirograph Studies was exactly as described, modern and eclectic. In this quartet, there were no horns to carve out melodic lines. Instead, a guitar and piano spun intricate layers one on the other, focussing more on well-crafted motifs and harmonic development. There was melody but it was mostly implied, nestling comfortably among richly dissonant textures and emerging out of the subtle interplay. It was often voice-led but not as we know it and the overall effect was beguiling.
The playing was great but what also stood out were the compositions. What we experienced was an unmistakable Jazz Americana vibe. There were no actual Frisell tunes played but the great man’s essence hung in the air; residing most strongly in the interactions between leader Tamara Murphy and her bandmate Fran Swinn; Murphy the enabler and Swinn the ideal vehicle for realisation. As Swinn stroked the chords, the soulful utterances reeled us in; urged on by the bass. With music as delicately layered as this, no band member can afford veer off coarse and none did. This was a disciplined ensemble but in spite of that, the music flowed effortlessly. Their overall sound was warm and yet it tugged on the heartstrings, hinting at a distant sadness. The signature sound of Americana, where every note is weighted with nostalgia.
The other core band member was drummer James McLean. A drummer who showed his ability by responding appropriately to the textural subtleties and propelling the gentle swing feel. His brushwork was crisp and his stick-work understated so as to reside inside the music and not all over it.The pianist on the ‘Kindness not Courtesy’ album was Luke Howard, but on their Australasian tour, his role was alternated with Sam Keevers. I have heard Keevers before as he is a well respected Australian pianist. For a long period, he held the piano chair in the Vince Jones group (a coveted position held before him by Barney McAll).Having Keevers onboard during the New Zealand leg worked a treat. A skilled accompanist who knows a lot about supportive playing and comping. The Piano and guitar interacting seamlessly and moving in and around each other’s phrases like dance partners.
Music is the highest form of communication. It is universal. It reveals truths, tells stories, entertains, and in Mark de Clive-Lowe’s case, it evokes other realities. This was a masterclass in storytelling; an unfolding kaleidoscope where the contradictions and sublime realisations about the human condition were brought into focus. ‘Heritage 1 + 2’ the albums reflect his personal story, a journey of reconnection, an exploration of culture and of family history. He revealed it through moments of spoken narrative, but above all through his reverential musical examination of Japanese art forms. This was a musical journey where the highly personal overlapped the philosophical. It was a journey back to his Jazz roots and undertaken entirely on his own terms.
At least twenty years have passed since I last heard MdCL perform in Auckland. Back then he was regarded as a youthful Jazz prodigy and people flocked to hear him.Accompanying such acclaim comes expectations and that can be a straight jacket. It was the era of the media-hyped ‘young lions’, when up and coming Jazz musicians were expected to showcase standards and reclaim a glorious past. While the die-hards repeated their time-worn mantras, something else bubbled beneath the surface; musicians like MdCL shucked off others expectations; in his case moving a world away to engage with the hybrid music/dance scene in London. From there he moved on to LA where he built a solid and enduring reputation. These days Auckland has a flourishing improvised music scene and audiences value innovation. In this space, Jazz and other genres merge effortlessly. Because of that, it was exactly the right moment for MdCL to bring this project home. Auckland heard the call and the concerts reached capacity club audiences.
When MdCL introduced the sets he talked about his childhood and of cultural disconnection. Experiences like this although disquieting feed the creative spirit. The recent album and the tour follow a time spent in Japan where he immersed himself in his mother’s culture. The album opens with ‘The Offering’ an apt and beguiling introduction piece. Like a ritual washing of hands before a tea ceremony, a moment to sweep away preconceptions. Another standout honoured his mother by evoking her family name. ‘Mizugaki’ is perhaps the most reflective and personal tune of the sets. This cross-cultural feel is evident from the opener to the tunes which follow. While the scales and moods speak of Japan, the interpretations belong to an improviser. Throughout, MdCL maintains this fine balancing act. Evoking the unique moods of the haiku or ink wash. Illusory moods that are best described in the Japanese as no English phrase is adequate. And to all of this, he brings his lived experience. A kiwi-born musician with a foot in many camps.
With the exception of two traditional folk tunes, the compositions (and arrangements) are his own, other elements of his musical journey are also evident: tasteful electronics, drum & bass, Jazz. For copies of the two albums and MdCL’s other recordings go to Bandcamp (links below). Perhaps we can lure him back more often as he certainly has a following here. On the New Zealand leg of his tour, he was joined by Marika Hodgson on electric bass, Myele Manzanza on drums (and in Auckland by Lewis McCallum on flute and alto). The Kiwi contingent sounded good alongside MdCL and for a return-home tour, there was a rightness to utilising Kiwi musicians. I have posted a tune from the Auckland gig titled ‘Silk Road’. The Silk Road carried music, ideas, goods and culture, travelling by any means and from Japan to Spain; and now New Zealand.
It was four years ago and almost to the day, that Kushal Talele was last at the CJC. Then, as now, he had just returned from a long period overseas. I heard him for the first time then and I was impressed. That was in the cellar of the 1885, a place now a fond but distant memory. A few days ago he returned to the CJC and although he played with a different band, his unmistakeable upwards trajectory was evident. There is nothing unduly flashy about Talele as he radiates calm and absorption. At the microphone, he talks quietly, but there is passion in those subdued tones.
It is especially evident when he plays, as you are taken directly to melody and it’s heartfelt melody carried on his distinctive sound. There were many influences evident last time, but on this gig one thing was clear. We were now hearing something closer to a modern New York tenor sound; the tonal qualities, the clarity of articulation when in full flow. On ballads, however, there was a hint of vibrato and at the end of phrases, the merest whisper of breath. Taken as a whole package, these stylistic approaches are appealing.
Talele does not play at high volume, or at least he didn’t on this gig. He stood back from the microphone and this emphasised a number of acoustic subtleties. Small flurries, slight changes in modulation, nothing demanding greater amplification. Playing at lower volume allowed for more interplay and the conversations between instruments were more nuanced. There was however one uptempo number and to everyone’s delight, that channelled a bebop vibe.
Talele’s compositions were also noteworthy and most of the tunes we heard were originals. In all of those, it was the melodic arc which grabbed your attention. Harmonically, they leaned toward romanticism, but every voicing was in service of the melody. Reinforcing this was his rhythm section, drawn from among the finest that Auckland has to offer; Kevin Field, Olivier Holland and Ron Samsom. Having the piano away from the bandstand is at times a little disconcerting, but Field always makes the best of any situation. He made that white piano sing and because the sound was well mixed, the proximity of the piano was not an issue.
This was an enjoyable gig and I hope that Talele gets to stay a while. New Zealand and Australian saxophonists are gradually developing their own distinct thing. They absorb what they hear elsewhere and bring an antipodean perspective to it. Perhaps a bit of the Chris Potter vibe, so evident in players like Talele will accelerate that process.
Kushal Talele (tenor saxophone), Kevin Field (piano), Olivier Holland (upright bass), Ron Samsom (drums). The gig took place at Anthology, CJC Creative Jazz Club, Auckland 7 August 2019.
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.
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
The 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
About 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.
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.
Andy Sugg’s collaborative album ‘TTTenor’ was cut in Melbourne back in 2006 and rightly, it has garnered praise. In a land of significant horn-players, the tenor triumvirate of Sugg, Oehlers, and Wilson was a standout. Three gifted saxophonists who capitalised on the imaginative charts to showcase their formidable skills. Completing the original sextet was an immaculate rhythm section – Paul Grabowsky (piano), Gary Costello (bass) and Andrew Gander (drums). Since then, Sugg has recorded other albums like ‘The John Coltrane Project’ ‘The Berlin Session’ ‘Brunswick Nights’ ‘Wednesday at M’s’ and ‘Tenorness’.He has also been involved in numerous International projects (including writing and lecturing). He was an adviser during the making of the John Coltrane feature-length documentary film ‘Chasing Trane’. All of the above have brought him critical acclaim.
In spite of Sugg’s busy schedule, the ‘TTTenor’ project was never retired. Last week he teamed up with Auckland’s Roger Manins and Canberra’s John Mackey to present a new and exciting iteration of the TTTenor group. To complete the sextet were, Mark Lockett on drums, Kevin Field on piano and Cameron McArthur on upright bass.This was not a reprise of the older material as new compositions and interesting charts had been created.This time, the different stylistic approaches from the three tenor players gave added contrast during solos and a rich texture was noticeable during the head arrangements. Three-tenor-gigs are not commonplace and I suspect that writing for three instruments occupying the same total range presents challenges.Throughout the head arrangements, the skillful voicing was evident. Dense beautiful harmonies which set the mood for the solos which followed. Inviting the soloists to mark out their points of difference in that space.
Sugg is a versatile artist and on many of his albums, the influence of Coltrane is unmistakable. It is there in spades on soprano offerings but on tenor, there is an added something that perhaps draws on earlier influences. He is a muscular player and the phrases which flow from his horn seem so right that it is hard to imagine any other possible note choices. This fluidity when storytelling is perhaps his greatest gift. Manins while also a muscular player takes a different path. He is a disciplined reader in an ensemble situation and it, therefore, amazes those unfamiliar with his playing when he dives into his solos, urgently seeking that piece of clear sky ahead and reaching for joyous crazy. While there is considerable weight to his sound, he frequently defies gravity when the excitement of his solos bursts free of the expected.John Mackey was previously unknown to me, but I found him compelling. His approach to solos was thoughtful, leaving lots of space as he backed into a piece. His storytelling developed methodically, taking you with him as he probed the possibilities. His skillful use of dynamics, a softer tone early in his solos and during ballads. His solo destinations were often heart-stopping in their intensity. This Contrasted with the other tenor solos and gave the project added depth.
The pianist Grabowsky is a very hard act to follow but Field managed to carve his own space with ease. His signature harmonies and rhythms giving the others much to work with. His own solos a thoughtful reprise from the front line horns.CameronMcArthur is a first choice Auckland bassist and he lived up to his reputation on this gig.
Mark Lockett is an original drummer and perfect for the gig as he has worked with Sugg before. He certainly pleased the audience last week, accenting phrases and pushing them to greater heights. Near the end, he gave an extraordinary solo, not a fireworks display but a master class of melodic and rhythmic invention, aided by gentle and occasional interjections from Field and McArthur.
This was the first gig at the new venue. The attendance was good and everyone appeared wowed by what was on offer. This gig sets the bar high and why not. Australasian Jazz produces some amazing talents. I have put up a clip ‘TTTenor’ playing John Coltrane’s ‘Naima’ – the sound quality is less than perfect as the bass drops right out once the tenors begin – I am working on that – spacious new venues can definitely be a challenge, sound wise.
‘TTTenor’ was: Andy Sugg (tenor saxophone), Roger Manins (tenor saxophone), John Mackey (tenor saxophone), Kevin Field (piano), Cameron McArthur (upright bass), Mark Lockett (drums). 5 June 2019, Anthology K’Road – CJC Creative Jazz Club
I reviewed the ‘Shuffle’ album in January and the band is now on the road, sharing its groove throughout the North Island.As they passed through Auckland I attended the second gig, but this presented me with a problem as a reviewer. When you’ve already done a review, you don’t want traverse ground you’ve covered, and in addition, reaching for superlatives has its limits. During the live performance, the answer presented itself via my friend Stuart.He and I have had this album playing constantly; in our cars and on our HiFi’s. In my case, I’ve sampled tracks on trains and while waiting in a supermarket queue.It is that sort of album; addictive to a fault and quickly becoming an indispensable friend in times of need. Last Wednesday we listened to the first number and as the set progressed, Stuart nudged me and whispered. ‘These are standards to us’ and he was right.
We knew the head arrangements off by heart in the way you do for Stella or Autumn Leaves; everything internalised and ready for triggering before a single note was played. We knew the track order, we knew the rhythms – the tunes and arrangements. There were no official standards on the album but that was immaterial. The Shuffle tunes are memorable, danceable, filled with melodic hooks, and our minds raced ahead of the lines in anticipation; delighting at each newly improvised line; mentally comparing them to the album forms.
This is what happens with Jazz standards. We love the originals but we never want to hear a band slavishly repeating the material note for note. The crazier the interpretation the better.Performing mental gymnastics during an intro and gasping in delight as a key phrase or line hints at the destination.That Roger Manins, Ron Samsom, Michel Benebig, Carl Lockett and stand in-guitarist Neil Watson achieved this with an album of originals was remarkable. Naturally, such a singularity is not a lucky accident but the result of good compositional skills and fine musicianship. In a troubled month, we have all needed good-hearted friends to lean on and what better friend than a Shuffle. Lockett is temporarily lost again as he wisely has no engagement with social media. Having Watson step in was inspired, as he brought the core Shufflers a new perspective. Crisp drums, deep organ grooves, stinging blues, and crazy horn lines. Shuffle is a wonderful band and I have no doubt that they will bring pleasure for years to come. An assembly of ’emerging standards’ winging their way across the land and demanding acceptance for what they are.
Definition of a Jazz Standard:Part of the repertoire of a Jazz musician, compositions widely known, recognised by listeners and played often by Jazz musicians.Maybe Stu and I are not alone here.These tunes will be performed often and when others recognise them as we do – they will become standards.
Roger Manins (Tenor saxophone, compositions), Ron Samsom (drums, compositions), Michel Benebig (Hammond Organ, compositions), Neil Watson (guitar) @ Backbeat, CJC Creative Jazz Club, 17 April 2019
Perhaps it’s the anniversary of the moon landings, or perhaps it’s the crazy-arsed nonsense happening down on planet earth, but deep space has been very much on my mind lately. I have not been alone in this preoccupation as I appear to share this with a group of explorative improvising musicians. I was recently on local radio taking about a favourite topic, ‘space dreams and analogue machines’ and it occurred to me then, that space dreamers have always shaped our other-world view. Frank Hampson (Dan Dare Comics), Gene Rodenbury (Star Trek) and musicians like Eddie Henderson (Sunburst), or Sun Ra (Space is the Place). Humans have always looked to the stars for inspiration but only writers and musicians have the courage to describe what others cannot yet imagine.
For the second time in a month I attended a space themed gig and this time it was titled Phobos the scary moon’. Phobos circles Mars and it was only discovered in 1877. It is a small moon, but since its discovery it has exerted an outsized influence on the human imagination. The Greek god Phobos is a god of a fear associated with war. The word Phobia comes from this. For those with open ears and a love of adventurous grooves there was only joy to found here. Nothing about Cam Allen’s Phobos gig required the listener to seek Freudian analysis afterwards. This was an enjoyable night and the scariest part came later as I was walking back to the car and heard an off-key wail from a nearby karaoke bar.
The band – intergalactic warriors all; Cam Allen on saxophones, gongs and percussion, John Bell on vibes and horn, Julien Dyne on drums, Eamon Edmudson-Wells on upright bass and Duncan Cameron on keys. I rate John Bell’s Aldebaran quartet highly and for similar reasons I rate this band. This type of improvised music is still under explored and it is long overdue for more careful examination. It has form but the structure is not beholden to form; it has melody and hooks but not at the expense of mood or texture. The musicians here conveyed real enthusiasm for the project and that enhanced the effect.
Seeing Dyne in such good form was a special treat for me. Later as I reviewed the clips I realised what a powerhouse he is. His rolling polyrhythmic beats reminiscent of the young Alvin Jones. Polyrhythmic drummers often sound as if they are powered by rocket fuel and Dyne did. Allen deftly played three horns (plus gongs) and his nicely open compositional structure permanently altered the time-space-continuum. The clip that I am posting initially took me back to those wonderfully transporting forays of the Art Ensemble of Chicago. Keep these space gigs coming people I am up for more.
The gig took place at the Backbeat Bar, K’Rd, 29 August 2018, for the CJC Creative Jazz Club. I am finishing this post just a few hours before I fly to Scandinavia. I hope to experience some music as I travel and will post occasionally. Otherwise I’ll be posting as normal in November. I know that I missed a few posts but I hope to catch up over Christmas. Keep following live improvised music people, your inner life depends on it.
The decision to review these two albums together makes sense for a number of reasons. They were both released on the Rattle Label earlier this year and both are quite exceptional. I predict that both albums will be nominated for Jazz Tui’s next year, it’s a no-brainer. Once again, Rattle has served us up a tasty fare. Albums that are beautifully presented and which compare favourably with the best from anywhere.
‘Eat Your Greens’ is an album by to the popular Wellington pianist and educator Anita Schwabe. It was recorded at the UoA Kenneth Myers Centre in Auckland during her recent tour. Her band also performed live before a capacity audience at Auckland’s CJC Creative Jazz Club and it was immediately obvious that they were in great form. Schwabe normally plays with Wellington musicians and regularly with the Roger Fox Big Band. The idea of recording in Auckland was formed while sharing gigs with Roger Manins earlier and it was with his assistance that the Kenneth Myers Centre was made available for recording.
The semi-muted acoustics in the KMC auditorium work well for smaller ensembles and especially when John Kim captures them. Schwabe is a delightful pianist and her swinging feel was elevated to the sublime by the inclusion of Manins on tenor saxophone, Cameron McArthur on upright bass and Ron Samsom on drums. Having such fine musicians working in sync is the first strength of the album; the other strength is the compositions.
The album is a hard swinger in the classic post-bop mould, and in spite of the references to past greats, the musicians insert a down to earth Kiwi quality. The compositions are superb vehicles for momentum and improvisation and the band wastes no opportunity in exploiting those strengths. In light of the above and unsurprisingly, a track from the album. ‘Spring tide’, won Schwabe an APRA Award for best New Zealand Jazz composition this year. As you play through the tracks you will be grabbed by Manins bravura performance during ‘Anger Management’ or by his sensitive playing on the lovely loping ‘The way the cards Lay’ (Manins is Getz like here); at how beautifully McArthur pushes that little bit harder in order to get the best from his bandmates or how finely tuned Samsom is to the nuances of the pulse (plus a few heart-stopping solos).
It is, however, every bit Schwabe’s album and it is her playing and her compositions that stay with you. I am particularly fond of ‘There once was a Time’ – a fond smile in Bill Evans direction and evocative from start to finish. That such a fine pianist should be so under-recorded is a mystery to me. Thanks to Rattle that may well change. This is an album that Jazz-lovers will play over and over and each time they do they will find something new to delight them.
Anita Schwabe: (piano, compositions), Roger Manins (tenor saxophone), Cameron McArthur (upright bass), Ron Samsom (drums). Released on Rattle
‘No Dogs Allowed’ is the follow-up to the acclaimed 2015 Jazz Tui winning album ‘Dog’. The earlier album set such a high standard that it was hard to contemplate that offering being improved on. This, however, is not a band to rest on their laurels and the restless creative forces driving their upward trajectory have resulted in another album that feels like a winner. This time around there is an Australian in the mix, as they have added the astonishingly gifted Adelaide guitarist James Muller as a guest. It was a brave move to mess with a winning combination and to expand the quartet to a quintet but anyone who has heard Roger Manins play alongside Muller will know that this addition was always going to work to their advantage.
While Muller has chops to burn and manifests a rare tonal clarity, you will never hear him deploy a note or a phrase needlessly. Here you have five master musicians speaking a common language and communicating at the highest level. Although each is a seasoned veteran and bursting with their own ideas, they harness those energies to the collective and the result is immensely satisfying. It must be hard for gifted musicians to set ego aside this way, but these five did just that.
While the album is the perfect example of Jazz as an elevated art form it is never for a moment remote or high brow. As with the 2015 album, the core Dog members shared compositional duties. There are two tunes each from Manins, Field and Holland and three from Samsom. Their contributions are different stylistically but the tracks compliment. Place Manins, Field, Holland and Samsom in a studio and the potion immediately starts to bubble. Add a pinch of Muller and the magical alchemy is complete. When you are confronted with a great bunch of tunes like this and have to pick one it’s hard. In the end, I chose Manins ‘Schwiben Jam’ for its warm embracing groove. The album and particularly this track connects your ears directly to your heart.
The Album is released on Rattle and was recorded in Adelaide at the Wizard Tone Studios. DOG: Kevin Field (piano and keys), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums) + James Muller (guitar).
It is not often that you attend a gig where a set list covers such a range of styles but still pays due respect to each. If anyone could pull off such a gig; traversing the heights of Monk, Murray McNabb, Frantz Casseus, Bill Frisell and Ornette Colman it was these two. In lesser hands, the trajectory would have faltered, the items come across as disembodied. Here, the connecting threads, however improbable, made perfect sense. The centre held and the arc of the journey was a joyous adventure.
Neil Watson is a musician who musicians flock to hear. He breaks rules and strikes out in directions where few dare to follow. Everyone from Sharrock to Montgomery is referenced in his sound; with a generous pinch of Ribot thrown in for good measure. He sometimes hides in pit bands backing dancing fools, tours with famous country stars, opens for people like Marc Ribot, but whatever he does, he does convincingly. In recent years he purchased a pedal steel guitar and that is now an essential part of his repertoire. He exudes real warmth on stage, both as a storyteller and a musician.
I have only seen David Ward play on the odd occasion but it is always a treat. Like Watson, he is a master of diverse styles and he is particularly noted for his award-winning theatre compositions. He has toured extensively and gained a formidable reputation over the years. In Jazz and alternative music circles, it is the improvising band RUKUS that we mostly associate him with. RUKUS has featured a who’s who of adventurous improvisers such as Chris O’Connor, John Bell, Jeff Henderson, Eamon Edmundson-Wells, Cameron Allen, Finn Scholes & Rui Inaba.
The pairing of Watson and Ward guaranteed that creative sparks would fly. It was always on the cards that they would perform together but until now the opportunity had not presented itself. I am certain that this project will develop from here – logic tells me it has to. The quality of their musicianship was very much on display at the Backbeat Bar. On the three Monk tunes, they either ran unison lines or interwove an intricate counterpoint, and miraculously, the jagged phrases often created a fat Monkish dissonance; each guitarist deliberately landing on different voicings- creating a piano cluster chord effect. This was a quality band as Watson & Ward were backed by Cameron Allen (tenor and Baritone saxophones) Cameron McArthur (upright bass) and Chris O’Connor (drums). Understanding exactly what was required here the three left the lion’s share of the limelight to the guitarists. O’Connor displayed his usual eclectic virtuosity as the drum styles required were many and varied.
At one point Watson played solo, a composition by Frantz Casseus (a folksy classical guitarist who has influenced the likes of Marc Ribot). Out of his Fender came a delicate classical guitar sound – a moment of whispering clarity and magic. The pair also showcased their own compositions and again these contrasted in a good way. Ward’s ‘Mango’, ‘Shebop’ and ‘Hip replacement’ – Watson’s ‘Trash talkin’ (a Western Swing) and his extraordinarily ‘Murray’ – an apt tribute to the lost lamented and much-loved Jazz musician Murray McNabb. Among the tunes, we heard some heartfelt Americana (rare in New Zealand Jazz clubs and it is especially rare to hear Western two-beat Swing).
The high points were many, but I will put up two clips; The first is a Bill Frisell number ‘I am not a farmer’ from his moody atmospheric album ‘Disfamer’. The second up is a short clip where Watson plays a Frantz Casseus tune ‘Improvisations’ solo on Fender.
The gig took place at the Backbeat Bar, K’Road Auckland for the CJC Creative Jazz Club, 15 August 2018.
This project was bound to happen sometime and it was long overdue. On the night of the bands first gig, the pent-up energy that had long been building found a voice. As they kicked off, the room filled with potent energy and the enthusiasm of the band was met in equal parts by the capacity audience. Steve Sherriff is fondly remembered from Alan Browns Blue Train days and he brought with him an interesting group of musicians. Most of them were compatriates from earlier bands and their familiarity with each other musically paid dividends.
On keyboards, was Alan Brown and this was an obvious and very good choice. Brown has a long history with Sherriff and this was evident as they interacted. On trumpet was the veteran Mike Booth; a musician more than capable of navigating complex ensemble situations and delivering strong solos. Ron Samsom was on drums, another well-matched band member, ever urging the band to ever greater heights as he mixed organic grooves with a hard swing feel. Then there was Neil Watson on pedal steel and fender guitars and Jo Shum on electric and acoustic bass. When you put a group of strong soloists and leaders together there is a degree risk, but these musicians worked in perfect lock-step. As in sync as they were, Sherriff was the dominant presence on stage and no one doubted who the leader was.
Sherriff is a fine saxophonist with a compelling tone on each of his horns. On this gig, he alternated between tenor and soprano (though he sometimes plays alto in orchestral lineups). He has an individual sound and it is especially noticeable on tenor ballads and on tunes where he plays soprano. His other strength lies in his compositions. He and Brown contributed all of the numbers for this gig, but in future, other band members will be contributing also. This was small-ensemble writing of the highest order – tightly focused – melodically and harmonically pleasing. The faster-paced numbers were reminiscent of hard bop – the ballads memorably beautiful. Brown and Sherriff set a high compositional bar.
It was Watson though, who took the most risks and the audience just loved it. At times he appeared to be stress testing his Fender as he bent strings and made the guitar wail. At other times he was the straight-ahead guitarist in Kenny Burrell mode – then on a ballad number, he would gently coax his pedal steel guitar and play with such warmth and subtlety that you sighed with pleasure. It had been a while since I’d seen Jo Shum perform and this was a setting where she shone.
Although the band was only formed recently, they will be ready to record sometime in the near future. The material and the synergy of the band is just too good to squander.
Steve Sherriff (compositions, leader, saxophones), Alan Brown (keyboard, compositions), Mike Booth (trumpet), Neil Watson (pedal steel and Fender guitar), Jo Shum (upright + electric bass), Ron Samsom (drums). The gig took place at the Backbeat Bar, K’Road, Auckland, for the CJC Creative Jazz Club, July 25, 2018.
When Kristin Berardi, Sean Foran and Raphael Karlen started to play I knew exactly what I was hearing. It was modern and original and it rekindled fond memories of the Winstone/Wheeler/Taylor group Azimuth. A world of beautifully crafted harmonies communicating their message with effortless clarity; the individual voices of the musicians hovering in the air like free spirits but interconnecting in profound ways. There was also a contemplative essence to their music which took us deep inside the music, a quiet centre that emanated strength and vibrancy. This fine balance of opposites was evident throughout – it was a performance to remember for its soul touching beauty.
This was the band’s first stop on a whirlwind tour of New Zealand and as soon as the weather gods realised that Queenslanders were approaching they behaved capriciously. As Brisbaneites, imagine the shock of leaving 24-degree temperatures, only to be greeted in Auckland by an unseasonable 13 degrees. Berardi told us that her under-utilised ‘warm coat’ was finally getting an outing. The temperature shock certainly didn’t hold the trio back, and those who braved the wet and cold were well rewarded for their perseverance.
Berardi, Foran and Karlen are well-respected musicians in their own right. All are well recorded and between them, they have many significant music awards. This project is their first collaboration as a trio and their recent album titled ‘Hope in your pocket’ was available at the gig. That album has a particular theme as it captures the dislocation and poignancy of Australian family life during WW1: a mothers letter to a 15-year son who had enlisted far too young, a soldier struggling to comprehend the wasteland of the European battlefields, a nurses story, a family holding fast to hope.
Many of the tunes were based on actual letters written at the time. All of them moving and all disquietening. Perhaps to leaven the mood, a few older or more recent compositions featured. For example, the first number of the first set, Berardi’s ‘Revolving Doors’. I have posted that clip here as it was simply stunning. Later when talking to the pianist Foran I mention Azimuth and he acknowledged the trios debt to that music. He was once a pupil of the lost lamented John Taylor and very familiar with the northern European Jazz scene. Foran is a gifted educator and a pianist with a beautifully light touch. He has interesting things to say musically and his minimalism is exactly right for this trio.
The vocalist Berardi is highly regarded in Australia. Among her successes are two Bell awards and the best vocalist award at Montreux. On a subsequent Montreux visit, she accompanied Al Jarreau and George Benson. She also completed a project with the inimitable Jazzgroove Mothership Orchestra. The saxophonist Raphael Karlen is another gifted musician – also the recipient of numerous awards and fellowships. Together they are formidable. For those in Wellington or Christchurch about to attend the gigs, savour it. For those who are tossing up whether to go – make the effort. You won’t regret it.
Kristin Berardi (compositions, vocals), Sean Foran (compositions, piano), Raphael Karlen (compositions, tenor saxophone). The performance was at the Backbeat Bar, CJC Creative Jazz Club, May 23rd, 2018.
Jeff Henderson is a freedom warrior from outside of the perimeter fence. On the 9th of May, 2018, he marched barefooted into the Backbeat Bar with a ragtag army of irregulars. The audience had come well prepared and a pregnant air of anticipation hung over the bandstand during setup. Unusually, there were no lower ranks in this army, all were battle-hardened veterans (or anti-heroes depending on your viewpoint). All had impressive service records, an advance guard who took no prisoners. Jonathan Crayford is arguably the most famous of the troop, a decorated hero who swiftly commandeered a C3 organ (an ancient analogue machine decorated by psychedelic art and reminiscent of a Haight Asbury weed shop). Beside him sat machine gunner Steve Cournane, a rat-tat-tat freedom fighter recently returned from Peru. The remaining soldier, battle scared and bleeding, was Eamon Edmundson-Wells (his Viking surname tells it’s own story).
The first set was a powerhouse of inventiveness. An outburst of raw energy cradled cunningly in a cocoon of warm grooves. This one step closer-than-usual to Jazz approach may have surprised some, but certainly not me. I have witnessed Henderson doing this time and again. He can pick over the bones of anything from heavy metal to folk music. He is fearless in his appropriations and he always transforms base metals without fear or favour. This was pure alt music alchemy. Henderson is the real deal, a musician with a calculated irreverence, a sound jocky with an inside-outside approach. A man who dives so deep inside his artform that few dare to follow. As he traversed the various moods and tempos, you could hear his trademark multiphonics; nothing lingering too long. There were too many fresh ideas ahead and no time for a tea break.
The compositions were wonderful and each in a different way. It was inspired that Henderson surrounded himself with such a warm groove. Drum beats that either dove into a 70’s groove or even took a Buddy Rich turn. A warm as toast Crayford tinged B3 sound and a solid blood dripping bass line. That sort of surrounding could have been a straight jacket for an avant-garde player but in Henderson’s hands, it was a liberating vehicle. He worked off the others constantly and they, in turn, gave him clear air without deviating from their given roles. This was one of those special nights where every musician shone a light, cutting through the mundane and dispelling all hints of mediocrity. They were so deep in the music that they were doubtless ‘oblivious’ to the rows of open-mouthed listeners. I must, however, raise an eyebrow at the name, there were clearly more than eight band members on that bandstand.
Auckland is the richer for Henderson’s presence. We should count our lucky stars that he jumps the perimeter wire from time to time. This was an eight out of eight performance. Jeff Henderson (baritone & alto sax, compositions), Jonathan Crayford (C3 organ), Eamon Edmundson-Wells (upright bass), Steve Cournane (drums) – June 9, 2018, Backbeat Bar, CJC Creative Jazz Club, K’Road, Auckland.
After a year of living in Paris the Auckland educator and pianist Phil Broadhurst and his partner, Julie Mason, have returned. The Broadhurst Quintet has been a regular feature on the Auckland scene for many years. The unit is fueled by a constant stream of great compositions, an unchanging line up of fine musicians and three critically acclaimed records (one of them a Tui Jazz Album of the year winner). Broadhurst’s ‘dedication trilogy’ set a high bar compositionally, but his pen is always crafting new compositions. After last weeks gig, I suspect that another album capturing the artistic soul of France might be in gestation. Broadhurst, as many will know, is unashamedly francophile. Out of this deep appreciation and finely honed perception flows terrific creations.
When people talk about the Auckland Jazz scene, the name Phil Broadhurst always comes up. His constancy has been a bedrock and an enabling presence. He is an exemplar of quality mainstream Jazz. When I looked back over my posts I noticed that this particular Quintet was first reviewed by me in 2012 but I have no doubt that it predates 2012. When so many people crowd into a small club it makes the sight-lines difficult, but I have managed to capture a number from his gig.
The tune in the clip is called ‘Stretched’ and it is from his ‘Flaubert’s Dance’ Album. One of Phils newer compositions was titled ‘I’m Busy’ (dedicated to Jacky Terrasson). We also heard two lesser-known Jazz standards from Julie Mason. The first was ‘You taught my heart to Sing’, a tune by the pianist McCoy Tyner; the second, ‘Speak no Evil’ by Wayne Shorter from his classic album of the same name (incidentally, a great album to play on a road trip as you plunge into the black of night).
The quintet personnel are Phil Broadhurst (leader, composer, keyboards), Roger Manins (tenor saxophone), Mike Booth (flugelhorn), Oli Holland (bass, composition), Cameron Sangster (drums). The gig was at the Backbeat Bar, CJC Creative Jazz Club, May 02, 2018.
Roger Manins and Oli Holland have just returned from an extended overseas trip. While there, Holland recorded an album with Geoffry Keezer and others (incl. Roger Manins). From what I hear, a real treat is in store for us when that album is released.
This is the second appearance of Flightless Birds at the CJC Creative Jazz Club and the audience flocked to hear them. The band is a history lesson to the initiated and an initiation to those unversed in Jazz history. They presented a programme that was both clever and accessible and therein lay its charm. The band specialises in contrafacts and especially those of the bebop and swing era. The inside joke is that many of those tunes were once contrafacts themselves; new and often frenetic tunes written over the changes of familiar ‘songbook’ standards. In the bebop era tunes like ‘Cherokee’ (Noble) became Ko-Ko (Parker), ‘I Got Rhythm’ (Gershwin) became ‘Dizzie Atmosphere’ (Gillespie). Musicians like Charles Mingus took things a step further by introducing a wry political humour into titles, exemplified in his contrafact ‘All the things you could be by now if Sigmond Freud’s mother was your wife’ was ‘All the things you are’ (Kern). A throwaway favourite of mine is ‘Byas a Drink’ (Don Byas) which is ‘Stompin at the Savoy’ (Sampson).
The above examples are more than a play on words, they are fiendishly clever compositions and sometimes as famous than the tunes they arose from. This was not cleverness for cleverness sake but a bold in your face statement arising from the ongoing struggle of African American Jazz musicians who were tired of being sidelined for jobs, or sent to the back door of the hotel. Especially at a time when many of the inferior white bands cashed in doing the same material, often rising to superstardom. It was also about having fun and mocking the incredulity of the music press. They did it because they could and they were extraordinary musicians who used their intellect to brand a new music. This band is a modern antipodean successor, DNA intact.
The Flightless Birds took this concept a logical step further and not only created contrafacts out of contrafacts but they hinted at or altered the embedded ‘quotes’ and references. It was done with a smile but it was also done with a certain reverence. The times that these tunes arose from were acknowledged, but the joy and eternal spirit of Dizzy et al shone through. Here are a few of the gig tunes and their origins: ‘Stephen Thomas’ (Tom Dennison) is over the changes of ‘St Thomas’ (Sonny Rollins). There is a world of referencing right there (posted as a YouTube Clip). Stephen Thomas is, of course, the gifted Auckland drummer. ‘Buy a Car’ (Passells) utilised the changes of ‘Take the A Train’ (Strayhorn), ‘J Y Lee’ (Passells) was naturally ‘Donna Lee’ (Parker), ‘The Punisher’ (Sinclair) was a great new arrangement based on the changes of ‘In a Mellow Tone’ (Ellington) and so on. This was a fun night. Passells announcements were entertaining (as they always are) and above all the band looked as if they were enjoying themselves. We were also.
Flightless Birds: Callum Passells (alto saxophone, Compositions), Ben Sinclair (tenor saxophone, compositions) Tom Dennison (bass, compositions), Adam Tobeck (drums). The gig was at the Backbeat bar, K’Road, Auckland, for the CJC Creative Jazz Club on April 25, 2018.
This particular group is an uncommon thing on the Auckland scene. A Jazz guitar trio formed by three of our best musicians and each of the musicians in it for the long haul. Samsom/Nacey/Haines have been playing and recording together for a long time and the commitment has remained constant throughout. Their longevity is clearly about musical chemistry, but also about their combined approach to composition. Each band member writes in their own style, but each instinctively understands how the others will react to the chart. This is how mature bands operate; the familiarity enabling the collective to dive into the heart of a composition and extract the best from it. While their original compositions form the bedrock of their output, they also tackle standards; especially when performing live.
Their approach to standards and the arrangement of them is flawless; leading you away from the familiar, while somehow retaining an essence of what you know and how you remember it. This ability to interpret while mixing comfort and risk in equal parts is a gift. It requires a degree of expertise that younger bands seldom possess. Samsom, Nacey and Haines know a thing or two about focusing the attention and on challenging audiences to listen more deeply. They have recorded three acclaimed albums already and a fourth is almost certainly lurking in the wings.
There were a quite few new compositions (some as yet untitled), some familiar tunes from earlier albums and a tasteful assortment of cleverly arranged standards. Three of the standards grabbed my attention: Nica’s Dream (Horace Silver), In Your Own Sweet Way (Dave Brubeck) and Detour Ahead (Herb Ellis/ Johnny Frigo). I have posted a clip of the Brubeck number as it typifies the adventurous nature of the trio. True improvisers often extract gold from this composition, a case in point being Brubeck himself. He seldom played it the same way twice and on a 1964 Belgian clip, he exposes the bones while Desmond lays down a new tune entirely (a miraculous example of melodic re-invention captured on film for posterity).
Anyone of the musicians could have introduced these tunes, but the duties fell to Kevin Haines. His easy-going banter struck just the right note. He was engaging and above all funny. I have often observed how easily this comes to the more seasoned performers. Years of standing at the microphone teach them that a few well-chosen words can enhance any performance – especially a good performance.
Samsom/Nacey/Haines are – Ron Samson (drums, compositions), Dixon Nacey (guitar, compositions), Kevin Haines (upright bass, compositions). The gig was at the Backbeat Bar, K’Road, for the CJC Creative Jazz Club, on April 18, 2018.
Every Jazz club needs a Monk night on their calendar and when it comes to Monk the local go-to person is definitely the well-known drummer Frank Gibson Jr. Gibson and the various iterations of his bands have long made a point of keeping the Hardbop era and Monk firmly on our radar. While the setlist was not exclusively Monk, the Monk tunes chosen were a solid mix of seldom-heard compositions and old favourites.
A good example of the former was Eronel which memorably featured on the Criss Cross album. I heard Jonathan Crayford play this number solo a few weeks ago and I recall thinking then – why is this wonderful tune not played more often? We also heard the tune Criss Cross, the title track from that album. ‘Criss Cross’ with its atypical rhythmic displacement is an interesting and bold composition and one which took Monk into new territory. It occurred at the height of his fame. Another lessor known tune was Light Blue, which appears on Thelonius Monk in Action (at the Five Spot). Others like ‘Rhythm-a-Ning’ and ‘I Mean You’ are well-known all were enthusiastically received.
Among the other tunes played were ‘Bessie’s Blues’ by John Coltrane, ‘Beatrice’ by Sam Rivers and an interesting Harold Danko tune titled ‘Tidal Breeze’. The band featured veteran guitarist Neil Watson and Bass player Cameron McArthur, but a newcomer to this particular lineup was Cameron Allen on tenor saxophone. Allen added that nice earthy-brass touch that Monk gigs benefit from. The gig occurred during an intense and devastating storm. Surprisingly, the audience braved horrendous weather to get there, navigating their way through fallen trees, power outages, flooding and through the debris which littered the city streets. It is always right to head for the music in troubled times and Monk is a force of nature in his own right.
I have listened to John Bell over a number of years and I have always marvelled at his inventiveness. Bell (along with Jeff Henderson), is widely acknowledged as the experimental music guy, the free improvisation guy. He is a musician who takes risks as he aims for clear skies; a musician who involves himself in interesting cross-cultural collaborations, a vibraharp player who doubles on brass instruments. He is an artist who you always associate with innovation – consequently, other musicians look up to him.
In spite of his wide-ranging credentials, I had never seen him perform this type of material and I anticipated it keenly. His latest project, the Aldebaran Quartet, dove into the explorations of a specific era. The warm modal music of the late sixties and seventies. A time in Jazz when the behemoth of Rock dominated the airwaves and filled record shelves – eclipsing everything else in view. It is unfortunate that audiences looked away just then because out of that era came a heady brew of fresh ideas. Hidden in plain sight were improvising trailblazers; laying down wonderful music, incorporating new freedoms, and embracing a quasi-secular space age spirituality. This was the era when Bobby Hutcherson and Herbie Hancock took a new direction with ‘Oblique’ – when Chick Corea cut ‘Tones for Jones Bones’; both albums featuring the scandalously underrated drummer (and vibes player) Joe Chambers: an era when Eddie Henderson released ‘Sunburst’, Bernie Maupin ‘The Jewel in the Lotus’, and when Alice Coltrane and Don Pullen broke new ground. And all the while looking toward some distant star system or an inner world; all bringing a new flavour to the improvised music scene.
This was a gig filled with mesmerizing soulfulness, but underneath the shimmering sound lay some very clever compositions and great musicianship; referencing a time when modal music stepped free from the formulaic. An era ripe for further exploration. This was complex music made to sound simple; a visceral music that took you to its heart without the need for pointy-headed insider knowledge. The track I have posted is a good example, the lessons of eastern and western music, absorbed, expanded and all without a hint of contrivance. Melodic patterns over a crisp undulating drum pulse, piano and bass picking up the pattern, in unison or in response, freeing the vibraharp to explore the possibilities as they opened up space. The tune in question ‘Atagato’ (Bell) is a wonderful composition. It resonates deeply, the complexity artfully hidden behind simple themes, throwing up a melody line that is merely implied. The clever musical devices employed were endless but for the listeners, that was not important – it was the immediacy, the resonance which touched us. Bell is a true tintinnabulist and we are lucky to have him home.
When Vibes and piano play together they often take a different tack from that of guitar and piano. Occupying the same tonal range is avoided in the latter case but with piano and vibes, a unison approach is frequently employed. When either piano or vibes are comping the chords can become mirrors – reflecting each other but varying fractionally to add texture; completing each other through the harmonics arising from their different timbres. In this respect and others, the pianist Phil Broadhurst was superb. Again, I am very familiar with his output, but I had never heard him in this context. His solos were in the pocket and his sensitive comping concise, supportive.
Bass player Eamon Edmundson-Wells was just right for this gig. Like Bell, Edmundson-Wells has a firm foothold in the avant-garde scene. The more I hear him the higher my regard for his musicality. He is an extraordinary young bass player and capable in any given situation. The remaining quartet member was drummer Steve Cournane. From the first few beats, he stamped his authority. His rhythmic feel interesting and a little different from other drummers about town. He lived in South America for some time and it’s really good to see him back on the scene. There is something of the classic Jazz fusion drummer about him but more besides (he sometimes reminds me of Peter Erskine or perhaps Lenny White). Together they form a great unit. I hope that they record this material and perhaps exchange the keyboards for an acoustic piano when they do. These compositions and this unit are far too enjoyable to disappear from earshot.
John Bell: Aldebaran Quartet – Bell (vibraharp, compositions), Phil Broadhurst (keyboards, compositions), Eamon Edmundson-Wells (upright bass), Steve Cournane (drums). The gig took place at the CJC Creative Jazz Club, Backbeat Bar, K’Road, Auckland March 2018.
In keeping with the longstanding CJC tradition of keeping twice yearly slots open for emerging artists, late March featured two such sets. First up was a group led by bassist Denholm Orr. Orr has appeared in lineups a number of times, but this was his first appearance playing his own material and as a leader. His recent compositional work has placed increasing focus on arco-bass and consequently, the charts reached into that territory. Arco is not the default style for Jazz bassists but I am seeing a lot more of it lately and I welcome that.
Orr opened with a piano trio and as the set proceeded more players were added. The larger formations tackled ambitious arrangements and this is a hopeful sign of things to come. Emerging artists should reach beyond their comfort zone – being challenged is where growth happens. On piano was the ever-reliable Nick Dow and on guitar Michael Gianan (who wowed us all with his first CJC gig a few months ago). Misha Kourkov was on tenor and new to me was Charlie Isdale on alto and Jack Thirtle was on trumpet. Daniel Waterson was on drums. Kourkov is shaping up to be a presence on the scene and Fritsch is grabbing attention with each fresh appearance. As most are still studying and given their ages and experience, it was a good start.
Lukas Fritsch headed the second set and again this featured ambitious material. Fritsch’s set had a tighter focus and perhaps because he had a few seasoned musicians in the ensemble ranks, the set sang joyously from start to finish. When Fritsch completed his finals, a buzz quickly circulated; that the recital performances had been something special. I had not attended, but my attention was certainly piqued. The arrangements were superb and the musicians well focused, but the inclusion of Chelsea Prastiti and Crystal Choi gave the set that special something that lifted it beyond the ordinary.
Choi is fascinating to behold as her trajectory is pointed ever upwards – a pianist who understands how to get inside the music and make it part of her story. Prastiti likewise is an innovative trailblazer, who takes the path less ordinary. The front line was Fritsch on Alto, Asher Truppman-Lattie on tenor and Kathleen Tomacruz on guitar. On bass was Wil Goodinson and on drums Tom Leggett. Fritsch writes interestingly and his performances are well thought through and engaging.
When Michal Martyniuk left Auckland for Poland last year, it was hot on the heels of a successful appearance at Java Jazz; the biggest Jazz festival in the world. It was always on the cards that Martyniuk’s Auckland trio would fare well, as they are the epitome of an inventive, high energy unit and all of that is wrapped up in a very European sound.
While it was obvious to Kiwis and to the enthusiastic Java Jazz festival goers, I wondered how Martyniuk would be received in Europe. I have travelled there often and there are thousands of good Jazz musicians and many fine trios vying for attention. Jazz is valued there, especially in the northeast, and audiences are inclined to be very discriminating. I got my answer shortly after Martyniuk’s arrival, as notifications of media events, club gigs, radio and TV interviews started appearing. He had broken through the clamour and received acclaim in his birthplace. His co-released warm as toast Jazz-soul-funk album ‘After ‘Ours’ and his Jazz gigs, equally acclaimed.
The journey back to the country of his birth had been important for Martyniuk and he has returned with heightened confidence, exuding a sense that anything is possible. This was evidenced by the trio’s live performance at the Lewis Eady showroom. Many New Zealand improvising bands have a laid back organic feel as that is generally our thing. In contrast, this band is tightly focussed, but without that in any way detracting from its appeal. The tunes by Martyniuk are melodic and often rhythmically complex. This is counterbalanced nicely by Samsom and McArthur who create contrast and interwoven texture. The first set was a mix of old and new tunes. His older tunes like The Awakening and New Beginning, familiar in the same way standards are – always pleasing, always yielding up something fresh. His more recent compositions a mix of burners and ballads.
The Lewis Eady gig was augmented by the addition of visiting Polish saxophonist Jakub Skowronski. Skowronski has a beautiful even tone on tenor and like Samsom and McArthur, he’s the perfect foil for Martyniuk. While he made it all look effortless, his solos took us deep inside the music. These guys were made to play together and I hope they remain a unit. They have a lot more to tell us yet and with any luck, we will get to enjoy the continuing story as it unfolds. Those who wish to be part of this journey can contribute via a recently set up ‘Kickstarter’ campaign following this link. There was some really exciting new material recorded in Poland over the last year and the Kickstarter campaign is about getting that released into the world. No one ever regretted supporting great music like this.
Michal Martyniuk (piano, compositions, leader), Cameron McArthur (upright bass), Ron Samsom (drums, percussion) + Jakub Skowronski (tenor). You can follow this band and order albums from Empire Agency Co. Bands / Michal Martyniuk Trio
Brian Smith is a legendary figure in New Zealand Jazz, achieving career highs that few others attain. Normally artists of this stature settle overseas and are seldom seen after that. It was our good fortune that Smith moved back to New Zealand and in consequence, we get to hear him perform locally. It’s a moot point whether good musicians ever truly retire (luckily, the answer is seldom). Not so long ago he formed a quintet and since then he has been performing at venues around town. While Smith is a regular at the CJC, this is the first time that we have seen the current quintet in action. The event was predominantly a standards gig and a band of veterans is the right vehicle where standards are concerned. When you bring a selection of loved tunes back into orbit, comparisons are inevitably made. Therefore it pays to choose well and to perform them well and that’s exactly what the Brian Smith quartet did.
Smith possesses an authoritative air on his horn, the end result of considerable experience and his well-acknowledged chops. Consequently, he always sounds great and always looks comfortable on the bandstand. Behind him in the darkness was Frank Gibson, Jr on drums. Gibson and Smith go back a long way and he is exactly the right drummer to lift these warhorse tunes to glory; most of them coming from the hay-day of Jazz. While Gibson has many strings to his bow, this is his forte. Up front was multi brass and reeds player Chris Nielson. It was good to hear Nielson again and especially on trombone, a horn that has sadly been disappearing from small ensembles since the 60’s. Nielson also brought other horns with him, favouring an American cornet, an instrument which in his hands, produced a strong rounded tone. On bass was Bruce Lynch, a highly competent electric and acoustic bass player who is well-known as a music producer and as a former member of the Cat Stevens band. Almost hidden on the right side of the bandstand was Dean Kerr on guitar. His guitar work was strongly chordal and supportive of the others, providing well-placed contrast for Smith and Neilson as he comped.
Among the standards were ‘In Walked Bud’ (Monk), Stolen Moments (Nelson), There is no Greater Love’ (Jones), Freddie Freeloader and All Blues (Miles), Killer Joe (Golson), St Thomas (Rollins). I have posted a clip of the perennial favourite ‘Softly as in a Morning Sunrise (Romberg/Hammerstein). There was also a nice tune by Smith which think is titled ‘Short Shift.
The gig took place at the Thirsty Dog for the CJC Creative Jazz Club on March 7, 2018. Brian Smith (leader, tenor saxophone), Frank Gibson Jr. (drums), Chris Nielson (trumpets, flugelhorn, trombone), Dean Kerr (guitar), Bruce Lynch (upright bass).
Good Music always says something interesting; it’s a form of communication where a musical statement begins a process and a listener responds. With any innovative musical form, we need to bring something of ourselves to the equation. The more open our ears the better the experience. Gifted improvisers of all cultures understand these fundamentals and because of this they mostly tell old stories in new ways. Rarely and bravely, musicians hit us with stories not yet fixed in the popular imagination. Steve Barry and his collaborators have a foot in both camps. While this is adventurous material, it is also approachable to anyone with open ears. What we heard at the CJC was innovative but the archetypes of all music were located deep in the compositional structure. A careful listening revealed trace elements from composers like Stravinsky or Bley and perhaps even of indigenous music.
The first piece they opened with was titled ‘Grind’ – a composition inspired by Sydney traffic (much as Tristano utilised every street sound that floated through his NY window). The piece began as journeys do with determined momentum – a degree of clarity followed by a more frenetic stop-start feel as the piece progressed – then reflection. It appealed to me greatly and twelve minutes in, I knew that I was hearing something similar to the approach used by Bley/Guiffre/Swallow in ‘Freefall’. There are moments in musical history when profound change is signalled and that album was one of them. The critics of the time hated it of course but modern Jazz audiences have caught up. The new Barry album ‘Blueprints and Vignettes’ will not be regarded as controversial but as vital and forward-looking. Back then clubs took fright and closed their doors but no club owner worth their salt would miss booking this group.
Barry is an interesting pianist and composer and this project may be his best to date. At the CJC he was confronted with a basic upright piano, but he somehow transformed it into a new instrument entirely. Many in the audience were fascinated and approached him afterwards to enquire how he achieved this slight of hand. Clever miking and a constant repetitive damping of the soft pedal was evident, but I suspect that his rapid-fire staccatissimo touch contributed as much to the effect. I know that Barry has also explored Bartok and the classical modernists and this may hold some clues as well. Whether by happenstance or contrivance, the overall effect was enormously pleasing. There were set patterns and themes, but these altered, developed, as fresh ideas arose from them.
I was delighted to finally catch up with Dave Goodman (PhD), having heard him last at the 505 in Sydney (along with Mike Nock, Rog Manins, James Muller and Cameron Undy). Goodman is an enormously versatile drummer and a popular educator. His role here is varied, but often that of ‘colourist’. Rolling his sticks over the drum heads, or providing contrast with irregular taps on the snare or a muted ride cymbal – and entering these interesting conversations as an equal. The other trio member was Jeremy Rose on reeds (his horns, the alto saxophone and bass clarinet). He was just superb and every bold sound or whispered breath added new dimensions. It is seldom that we hear a bass clarinet and to hear one in a trio setting of this kind is even rarer. The clarinets woodiness and rich harmonics added texture, the alto, a hawk awaiting its moment then swooping purposefully. In spite of the varying tempos and moods, the album imparts a delicacy from start to finish. Live, they got the best out of the acoustics and venue piano. What a perfect sound palette Barry has chosen for this project and whether live or recorded, how satisfying the realisation.
The album ‘Blueprints and Vignettes’ is available from stevebarrymusic.bandcamp.com or from retail and online sources (I recommend Bandcamp). The album features Max Alduca on bass. The live gig took place at the Thirsty Dog for the CJC (Creative Jazz Club) – February 21, 2018.
The Australian saxophonist Paul Van Ross is a regular visitor to New Zealand, but there was a four-year gap between his recent Auckland gigs. He is a talented improviser, an interesting composer and an artist brimming with ideas, so his gigs are always worth catching when he passes through. As he did last time, he toured with drummer Mark Lockett, a friend and longtime collaborator. They were joined in Auckland by the in-demand bass player Cameron McArthur. Van Ross’s last visit featured Alan Brown on organ; this trip, however, was pianoless, providing him with clear skies and lots of space to stretch out in. All three grabbed at the opportunity enthusiastically and the audience benefited from the subsequent aerobatics.
While the tour focussed on his trio chops there was a secondary purpose; to showcase his Cuban Album “Mi Alma Cubana’. The trio played mostly originals and a number of tunes from the album. As much as I enjoyed the trio (and I did), it was the Cuban septet which really floored me. I have put up a video excerpt from the chordless trio gig, and I can’t resist adding two sound clips from the album. What an album this is – what unbounded joy and groove. It was almost impossible to choose which track to put up as they are all so great – ‘Break a Tune’ (an earlier composition), La Negra Tomasa (G. Rodriguez) the only non-original, the ballad ‘Melody for Mum? In the end I opted for ‘Swami in the house’ and ‘Hacienda de la Salsa’ (the latter containing hints of tango under infectious Cuban rhythms – a truly spicy salsa.
‘Mi Alama Cubana’ was recorded in Cuba during a visit in 2013. All of the musicians were hired in Cuba and the recording took place over two days in the EGREM studios Havana. In between tunes, Van Ross regaled us with stories of the recording session. No wonder the album turned out so well. The picture he painted was compelling; tales of wonderfully colourful musicians; the epitome good humour and remembered with real fondness. The pianist who didn’t need charts. the scantily clad percussionist, the innate professionalism.
It is our good fortune that these talented people came together at this time and that they injected such joyful enthusiasm into the Van Ross Australian/Cubano project. I highly recommend the album – it will make you smile and cause your feet to move unbidden. The weave of the clave will work its magic on body and soul. making summer that little bit brighter. It is important to support such endeavours right now; each time we embrace this extraordinary music we give a one finger salute to the bigotry that keeps such projects away from our ears.
Trio: Paul Van Ross (saxophones, compositions), Mark Lockett (drums), Cameron McArthur (bass). CJC Creative Jazz Club, Thirsty Dog, Auckland, 13 Dember 2017
Mi Alma Cubana: Paul Van Ross (saxophones, flute), Alejandro Falcon (piano), Jorje Aragon (piano 3-5), Gaston Joya Perellada (bass), Oliver Valdes (drums), Jose Luis Quintana (timbales), Yoraldy Abreu Robles (conga, shekere, shaker, guiro)
The album was crowd-funded and released by the artists. Purchase from iTunes or from the Paul Van Ross website.
The last time the Jelly Rolls Jelly Rolls played at the CJC was two years ago and they are just the right band for a pre-Christmas 2017 gig. To my ears, nothing sounds more like Christmas than the Jelly Rolls. Forget your formulaic Christmas albums – this is good times music and you can feel it deep in your bones. The Jelly Rolls are important for a number of reasons, but not least because of their outreach to both provincial and urban New Zealand. The year has gone well for them and after touring the band to unlikely corners of the Island, they arrived in Auckland in peak form. Their particular brand of swing-infused music is seldom heard live and it’s a delight to hear it done (and done so well). To a new generation of listeners, this is often an eye-opener and so it should be. Their playlist comprises originals but also showcases an all but forgotten improvised treasure trove.
Much of the Jelly Rolls music comes from an important moment in the development of Jazz. It digs into the repertoire of musicians like Erroll Garner, Fats Waller, Ahmad Jamal, Jack Teagarden and Oscar Peterson. These musicians were far more important than mere historical footnotes – they were vital stepping-stones to where we are today; larger than life musicians who entertained and made us smile. In the Jelly Rolls hands, all of the above are referenced; not in a ‘let’s do some retro stuff’ way but by encapsulating style and essence. Those who know their music history will pick up these threads but will also enjoy the immediacy. This is music to be enjoyed in the now, enjoyed at a visceral level; foot-tapping body-swaying music. Some of what we heard, the swing material, was from their earlier ‘Live in Cromwell’ album (I love that title).
When I last saw Ben Wilcock he was about to move to Rotorua. His new location among the lakes and geothermal marvels prompted him to write some fresh material. The Phantom Canoe is an ambitious project focusing on Te Arawa legends of the central North Island. In deference to local Iwi and Hapu, he consulted elders as the project unfolded. Armed with their blessings and advice, he told the stories in his own voice. The album arising out of that project is on data-card and it includes a short video. There is a piece about a Taniwha, the epic of Hinemoa and Tutanekai is told in several parts but the most dramatic tale is the title track ‘The Phantom Canoe’. Beautifully paced, gently evocative of the landscape and the mysterious story behind it.
A Phantom Canoe appeared on Lake Tarawera on the 13th May 1886 and it was seen by the wiser Maori inhabitants as a portent of the coming eruption. The volcano erupted violently 10 days later, obliterating the villages around the shore and the iconic pink and white terraces. No such canoe had ever been on the lake and those in the canoe were dressed in traditional shrouds. Michael Barker’s vibraphone melody over a repeat pattern on piano and bass was just right for this, Wellington drummer John Rae completing the piece nicely as he evoked the final eruption sequence. It was obvious that the band enjoyed performing together and the audience picked up on that and responded. The line up on Squeaky Weasel, an earlier Jelly Rolls album, was as now Wilcock, Rae and bass player Yeabsley. The addition of Michael Barker on percussion and vibraphone is an evolution that makes perfect sense. Trumpeter Finn Scholes joined them for one number and delivered a well thought through high energy solo. To pick up a copy go to Ben Wilcock Thick Records Ltd – www.thickrecords.co.nz They appeared at the CJC Creative Jazz Club, Thirsty Dog Tavern, K’Road, Auckland on 29 November 2017
There is no way of calculating the number of subatomic particles routinely passing through a Neutrino Funk Experience, but we can safely quantify the delight on the faces of their audience. There is something about the structure of this unit that inclines them towards extreme risk-taking; the sort of risk-taking that transforms a band into an irregular elemental force. It is rumoured that a ‘play it safe’ memo was issued at their last venue, but the band either mislaid it or opted for willful disobedience. The only reasonable explanation for this hyper-energised, off the grid performance, is to blame it on passing Neutrinos. The band kicks arse with hobnail boots.
The NFE were once upstairs regulars at the Albion and later they became CJC favourites. This year has been quieter for them gig wise, but the group’s energy levels have continued to rise during their hiatus. From the first note on Wednesday they nailed it to the floor. Swooping on our unprepared sensibilities and taking complete control of the room. It is hard to say who creates the most sparks as they continually feed off each other’s energy. Roger Manins is always a towering presence on the bandstand; his ad-lib asides and gestures acting as prequels to his wild solos. Eyes always follow him as he moves about the stage, but this time he had competition; the über kinetic actions of Grant Winterburn – vying with him gesture by gesture for visual and sonic supremacy.
Ron Samsom and Cam McArthur were located behind Manins and Winterburn. In spite of being partially obscured and located in the darker recesses, you’d have thought they were playing in the chair beside you. While the band is loud, it is not unduly so; it is something else that projects them. The sound is in front, behind, inside, outside – neutrino laden energy, everywhere and nowhere – passing through the observers and imperceptibly, transforming them in a quantum fashion.
In the Bimhuis in Amsterdam, I saw Han Bennink put his boots on the kit during a drum solo. Samsom prefers his upper body and especially his elbows. Manins has some leg action. Winterburn, however, took the Bennink route and added a few wrinkles of his own. He sat on the keys, he walked on the keys and he shook his Nord until it cried out for mercy; and all of the while Samsom locked down a groove beat so tight that it became dark matter. This group not only understand group dynamics but they know how far they can go while taking the audience with them.
Towards the end of the first set, I was handed the microphone, reading one of my poems while they played softly beneath me, accenting keywords, moving where I did. I was so delighted at performing with this band that I forgot to press the record button – such is life. It takes real skill for a band to take risks while staying within a groove framework. I hope they keep doing what they do and perhaps they will record again soon? Their earlier album ‘Ace Tone’ is still available at Rattle Records so grab a copy for Christmas before the stock disappears. Dancing dementedly around the Christmas tree would not be the same without it.
The Neutrina Funk Experience: Ron Samsom (drums), Roger Manins (tenor saxophone), Grant Winterburn (organ), Cameron McArthur (upright bass). CJC (Creative Jazz Club), Thirsty Dog, Wednesday 22nd November 2017.
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.
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.
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.
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.
I like South American music and the more I hear, the deeper I am drawn in. A rich and ancient fusion of African, European and Amerindian music, each coast and region nurturing distinct flavours. There are also highly localised variations; all rhythmically complex and all deeply infectious. This week the CJC featured the highly respected Brazilian musician Nanny Assis and New Zealand born vocalist Maggie Gould. Assis was born in Salvador, North Eastern Brazil; a region especially rich in musical traditions and heavily influenced by African rhythms. The coast below Bahia nurtured Tom Jobim, Roberto Menescal and a cohort of like-minded innovators; the creators of the Bossanova (new music) form. In a world where saccharine versions of great music often assail us, it is necessary to return to the source from time to time in order to refresh our ears. Listening to Tom Jobim and Elis Regina on the album ‘Elis & Tom’ – ‘Chovendo Na Roseira’ especially, is a good place to start. The time feel is subtly different from North American versions and the unique rhythmic tensions dance with life. Jobim is long gone but authentic practitioners of the various traditions are still there if we look. Assis is just one of these; a master of rhythm and of the many distinct Bahia styles.Gould was a successful photojournalist in an earlier life. When the pressures of that lifestyle became too much, she decided to abandon the frenetic media world and follow her passion instead. Rekindling a youthful dream she became a Jazz vocalist and has followed that path ever since. Eventually, her journey took her to New York where she met Assis and a musical collaboration began. While living in New York Gould has performed with a number of luminaries, notably the pianist John de Martino (who has also recorded with Assis). Gould and Assis have just toured New Zealand, appearing in festivals and clubs throughout the two Islands. They have toured with great musicians and they intend to record soon in Auckland. When they do, the well-known New York-based ex-pat Kiwi bass player Richard Hammond will join them.
It was not only the gentle Bossa rhythms that we heard on Wednesday but other livelier types of South American influenced music as well. These were danceable and energy fueled treats. During one such number, the room morphed into a seething mass of swaying bodies, hands raised as they danced. The last number, Magalena was a type of North-Eastern Brazilian rap – fast-paced and reminiscent of Jon Hendricks’ scatting. There were also quieter numbers, some Brazillian and a few from the USA; the standout among the latter being Gould singing the gorgeous ‘Some other time’ (Bernstein). On that, Roger Manins added whispering fills and Kevin Field provided the perfect understated accompaniment on piano. It is said that Latin American music is ‘the other swing music’. That makes for great synergies between Jazz and Latin musicians. It can work well, but only if the musicians have the ears and the courage to submit to the weave. Utilising the considerable skills of pianist Kevin Field, Alex Griffiths on 5 string bass and drummer Ron Samsom (plus for the CJC gig, saxophonist Roger Manins). The mix of Jazz musicians and Brazilian created a spark. Alex Griffiths is obviously well versed in Brazilian rhythms as his lines could not have been better placed. Field has for some time been immersed in this music and he is no stranger to the various clave rhythms either. His understated delicate lines in place of comping held the echoes of Jobim’s own tasteful piano accompaniment. During solo’s he gave both hands full reign in clave rich explorations. Samsom is a talented drummer and throughout the night, he and Assis worked in concert. With Assis on percussion and Samsom on the kit, a wonderfully rich sound scape emerged. At one point Assis beat a cowbell to hold the centre – allowing Samsom additional freedom to move. This was a moment of pure magic.
I read once, that a Jazz drummer playing Bossa or Samba is doing three basic things; the right hand replaces the shaker or cowbell, the left hand has the clave pattern and the kick drum follows the bass line. Add in actual congas shakers or cowbell and the interplay has the magnitude of a sonic earthquake.The number that I have posted is ‘O Barquinho’ or ‘My Little Boat(of Love)’ – a tune by Roberto Menescal and sometimes wrongly attributed to Jobim. It is a nice example of the Brazilian Bossa rhythms; rich in subtlety and contrast. It is a long-held tradition in this music to have a female and a male voice – call and response. Gould in English, imparting the wistfulness of the lyrics – Assis in Portuguese – taking me back to the master Joao Gilberto. The Portuguese language is extremely pleasant to the ear, while often masking incredibly sad songs. We didn’t need a dictionary or interpreter on Wednesday as we were transported without them. Nanny Assis’s voice, like his percussion and guitar playing, is pure magic – together the musicians gave us a great night.
They open the Wellington Jazz Festival this year on 30 November. The bottom photograph is by Reuben – the top 3 are mine.
Nanny Assis (percussion, vocals, guitar), Maggie Gould (vocals, arrangements), Alex Griffiths (electric six-string bass), Kevin Field (piano), Roger Manins (tenor saxophone), Ron Samsom (drums) – at the Thirsty Dog, CJC Creative Jazz Club, 25 October 2017