Auckland

Auckland Jazz Festival 2014

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This is great news Auckland.  The inaugural Auckland Jazz Festival opens on the 17th October, followed by 9 days of gigs across town.  Put together by Ben McNicoll and the CJC (Creative Jazz Club) team, which guarantees the excellence and diversity in programming.  A number of bars have enthusiastically come onboard and Jazz lovers should reward their commitment.  Because there are smaller venues or bars in the mix there will be some gigs with no cover charge, while others will charge a modest entry fee.  For pricing, bookings and programming visit the Auckland Jazz Festival website (below).  The headline gigs will be held at the CJC with the Mike Nock Trio (Australia) appearing on Tuesday 21st October, followed by the Benny Lackner Trio (Germany/USA) 22nd October and Francisco Torres/Roger Fox (USA/New Zealand) on the 23rd.   the-troubles

It would be crazy to miss any of these three gigs, in fact hire a babysitter or cat minder and cancel anything that gets in the way.  I know that I will endeavour to catch as many gigs as I can.  If this is well supported it will likely become a feature of the Auckland City arts calendar.  The gigs vary in style with each unique in some way.  Opening the festival at the ‘Portland Public House’ Kingsland is Wellington’s, fabulously wild anarchic band ‘The Troubles” (who I can’t wait to see again).  There are also offerings from the early swing era, groove funk, experimental improv and more besides.

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An Auckland Jazz Festival of this sort is long overdue and sensibly it’s run along the lines of a fringe festival.  There are no big sponsors calling the shots, which means that the choice of artists is in the hands of the organisers.  In the absence of any taint of commercialism you can expect edge, cool and excellence.  Think of it as a crowd sourced festival in which you have a vital part to play.  I have attended Jazz festivals run along these lines before and I prefer them, as they offer intimacy and a listening experience which you just can’t find in the larger venues.  The Montreal ‘L’Off’ festival immediately comes to mind.  It is important that we show our support by attending as many gigs as we can and don’t forget to visit the web site and ‘like’ the various gigs on offer (you know the drill, it is an important indicator of support).  The organisers and venue’s have put time and money into this and all we need to do is attend and enjoy ourselves.  Let’s show them that we appreciate it and put to bed the tired old myth that Auckland never gets behind the arts – see you all there.

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What: www.aucklandjazzfestival.co.nz   (Live link)

Where: At a number of prime small venues about Auckland including, CJC (Creative Jazz Club), 1885 Britomart, The Portland Public House, Tom Tom, The Golden Dawn, Hallertau

Samsom/Nacey/Haines – Jazz April

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The first ‘Jazz April‘ gig was at the CJC (Creative Jazz Club) featuring the ‘Samsom/Nacey/Haines’ band. I can’t think of a better way to kick off Jazz April 2013 than by hearing seasoned musicians having fun, while at the same time stretching themselves as players and composers. The group formed in 2008 with the idea of providing a vehicle for new compositions. The outcome of these collaborations was an album named ‘Open to Suggestions‘ and later the 2010 ‘Oxide‘ album was released (with guests Kevin Field, Chris Melville, Neville Grenfell and Roger Manins). The albums have all been extremely well received with ‘Open to Suggestions‘ ending up as a finalist in the Tui Music Awards and ‘Oxide‘ (Rattle Records 2010) receiving critical acclaim from far & wide. The name ‘Oxide‘ arose from John Ruskin’s writings on crystals (artist, author, patron of the Pre Raphaelite Brotherhood and proto-socialist philosopher). This album is still available in record shops or from Rattle Records and I highly recommend it.

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It is hardly surprising that there was an expectation of a third album. The new release titled ‘Cross Now’ has no guest artists appearing. Left to bounce off each others ideas and in an uncluttered musical space, the three musicians made the most of the situation. This spirit of collaboration was particularly evident at the gig as they joked and constantly acknowledged each others skills while downplaying their own input. That is a very Kiwi thing and audiences take it as good form. No one would dare do this if they were uncomfortable with their performance. It is a matter of reading the cultural codes. When they were improvising, the interaction between players was both cerebral and intuitive. There were moments when they appeared as one entity.

As soon as the first set kicked off a sense of joy and playfulness emanated from the bandstand. Some the best music arises from joy and good humour; musicians tapping into an unconscious wellspring of creative goodwill and being at one with the world.

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The material on ‘Cross Now’ is new and like ‘Oxide’ some tunes were only finished days before recording them (or even polished in the studio car park). This is Dixon Nacey’s forte; to write brilliant tunes in the eleventh hour. Someone told me that his ‘The Lion” was written on the way to the ‘Oxide‘ recording sessions. Kevin Haines informed us that Dixon’s moving tribute to the recently diseased and much-loved drummer Tony Hopkins, was likewise written days before the recording. The compositions represent the styles of the originators and even though the compositions are jointly attributed, it is possible to detect just whose hand has had the greatest influence over each number.

So often the back stories behind tunes can enrich a listening experience, but I am not sure how many musicians appreciate this fact. While it is true up to a point that the music should speak for itself, that liner notes or background stories are an added superfluity, that received wisdom obscures a deeper story. To many of us music is an experience extending way beyond the auditory senses. We pick up cues from the musicians movements, we absorb colours from the lights glancing off the instruments and we gain insights from the stories. To me improvised music is like a good film and a well shot film is like improvised music. A place to occupy empathetically for that one hyper-sensitised moment in time. No sensory input should therefore be denied.

Kevin Haines wrote ‘…With Eyes Averted…’ (which began with a poem about relationships) and this added a perspective to the tune that would not otherwise have been evident (I have posted a video of this which features Matt Bray on 2nd guitar) . His tune ‘Cross Now’ was about a particularly irritating crossing signal outside of a Tokyo hotel. In Kevin Haines hands the annoying beeps became a polyrhythmic pulse to build a tune upon. He also contributed ‘Broken Tones’. IMG_6521 - Version 2

Drummer Ron Samsom’s, ‘Happy Dance’ (a fast samba) was fabulous. Written about his dog, we could feel the exuberant bounding energy as the tune progressed. Ron Samsom had begun with the tongue in cheek announcement, “yes drummers write tunes too”. After ‘Happy Dance’ we heard ‘Seiko (in 13/8 time) and a ballad ‘Qua’. I heard someone murmur that drummers needed to write more tunes and in Ron’s case I agree (See You Tube Clip by Jen Sol).

Dixon’s contributions were ‘Song for Xavier’ (written for his son) and ‘Conversations with Mr Small’ which he explained as arising from, ” Well perhaps this won’t be such an interesting reason for title…ah…it is about my musical theory conversations with Dr Stephen Small”. In comedy and music, timing is everything and these guys had it down pat. The tune that we will never forget is Dixon Nacey’s moving tribute to the beloved and much lamented Jazz drummer Tony Hopkins. I found myself glancing at the places where Tony had sat and imagined him at the kit; knitting the band together in that particular way of his. This is the power of Jazz. The musicians interpret while we see, feel and hear a story unfold. The tune was, ‘The Remarkable Mr Hopkins’ and by the end a few of us were tearing up. From the bottom of my heart, thanks Dix.

The new album will be in the record outlets shortly, but your best bet is to contact Rattle online and order a copy.

Who: Samsom/Nacey/Haines (guest Matt Bray)

Where & When: The (CJC Creative Jazz Club) Brittomart 3rd April

This was a Jazz April event – visit the JJA Website by following this link.

John Fenton

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‘Jazz April’ – How to avoid being an April Fool

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Notwithstanding the obvious resemblance between these grizzled old guys, Jazz April is no joking matter.   To avoid being an April Fool participate in as many Jazz April activities as you can.  Remember to ‘like‘ and ‘share‘ this and any other Jazz April pages that you come across.  Don’t monkey about; ape the trend-setters and brand your Face Book picture with a Jazz April badge like cousin Boris (left) and I (right) did.  This is a month set aside to promote and honour Jazz and its practitioners.  The best way of achieving this is by sharing our enjoyment with others.  If they see and hear what we experience they will want to participate.  Take the pledge and agree that you will visit as many Jazz events as possible during April.  If that is difficult you should at least participate online.

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I have posted some logos which you should share indiscriminately.   If the internet slows down due to the volume of ‘shares‘ we will know that you have done your bit.  Think of it as a ‘Wikileaks’ for music lovers.  The world needs to know this secret. 485163_335421036512615_1393706890_a

There will be hundreds of Jazz April celebrations occurring world-wide and the events will culminate in UNESCO’s  ‘International Jazz Day‘ which is April 30th 2013.  The venue for the main Jazz Day event this year is Istanbul Turkey and Herbie Hancock is joined by a number of Jazz Luminaries like Hugh Masakela, Marcus Miller and Manu Katche.  If your city does not have an event planned you could consider hosting one.  If you do let me know and I will pass the information on to the Jazz Journalists Association.

In New Zealand the ‘Waiheke Jazz Festival’ and the ‘Tauranga Jazz Festival’ can be considered a good segue into Jazz April as they are both held over Easter weekend.  Auckland has a number of Jazz April events occurring and there will be a satellite party celebration at the CJC (Creative Jazz Club) during April.  Check out the CJC website as there is a good gig guide.

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The best place to locate the logo badges and banners (twibbons) and to find out how best to participate, is to click on this link to the Jazz Journalists Associations Jazz April Website   or the   Jazz Journalist Jazz April Face Book page .    

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In Auckland the CJC (Creative Jazz Club) will be featuring some spectacular Jazz April Gigs and we will be making a presentation to a few deserving local musicians at a JJA Satellite Party (date to be announced shortly).    The CJC line up so far is Nacey/Samsom/Haines (3rd April), Brian Smith Quartet (10th April), Kevin Field Trio (17th April) …more gigs to come.  For those who missed last years satellite party at the CJC, Roger Manins was inducted as a ‘Jazz Hero‘ by the Jazz Journalists Association.

A highlight event will be the Nathan Haines ‘Vermillion Skies’ album Release on the  6th April at the ‘Q Theatre’, Queen Street, Auckland.  This amazing album involves a number of our best-loved Jazz musicians and it will be a high point in the Auckland Jazz calendar.  Don’t miss this event or forget to buy the album (available in download/CD/vinyl).  644217_10152395531247588_299377990_n

There will also be gigs at the ‘Ponsonby Social Club‘, the ‘Grand Central‘ (both in Ponsonby Road) and for experimental improvised music ‘The Wine Bar ‘Vitamin S‘ St Kevin’s Arcade, The Auckland Jazz and Blues Club (Tuesday evenings Pt Chevalier RSA), The ‘Titirangi Music Festival’ Titirangi Village (where the Alan Brown band is playing in the ‘Tool Room” on Friday the 5th April@ 7: 30pm).

Jazz April is now a world-wide event and I know that NZ will not let the side down.  My April posts will be profiled on the JJA Facebook page and or webpage.  The choices Auckland is offering over April 2013 are many and varied.  Locals have absolutely no excuse for not supporting Jazz this month, so see you all there.  

John Fenton

JazzLocal32.com    –   Jazz Journalists Association member

Myele Manzanza Trio

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The CJC (Creative Jazz Club) is increasingly on the world Jazz circuit, but it also attracts a number of artists from around New Zealand.   This outreach is exactly what Roger Manins, Caroline Manins and Ben McNicholl had envisaged when the collective began.  The CJC’s prime purpose is to further Jazz and improvised music as an art form and to create an intimate performance space where projects can be realised.    This space is suited to listening audiences, which in turn spurs the musicians on.  The trio who performed on Wednesday appreciated that.  IMG_6436 - Version 2

On Wednesday we heard the Wellington based Myele Manzanza trio.  A drummer led band has a different feel to a piano led trio.  When a drummer is leader the drums are generally more forward in the mix than is otherwise the case.  This is the way of things and whether it’s Max Roach or Matt Wilson we expect to have the drums as a strong focus.  Myele Manzanza is a captivating drummer and I was immediately struck by how different he is to most Auckland drummers.  When I spoke to him later I went out on a limb by suggesting that his style was reminiscent of Manu Katche.  He told me that he had not heard him, but that others had said the same.

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According to Myele, Roger Manins suggested that they should push the boundaries.   Rising to that challenge the band hastily composed a tune for the gig.   The gig was a mix of standards, interesting takes on tunes not usually associated with jazz and a few originals.  The originals were often subjected to an angular approach and with pared back melody.   Their take on the Ellington tune ‘Caravan’ was probably the most conventional of their tunes but even then it was given individual treatment.  The pianist approached the tune in a percussive manner, but with right hand runs that were definitely post bop (a little like Michel Petrucciani was fond of doing).  Led by the drummer, time signatures morphed into various new patterns.

The Pianist Daniel Hayles often begins pieces with long ostinato intro’s and while not quite a minimalist, he never-the-less avoids excessive ornamentation.  I really warmed to him as the evening progressed and I found his approach modern and fresh (and often North European).  With Scott Maynard on bass the unit knitted together well.  Because of the way the tunes unfolded it was essential that he made his presence felt and he did.   In situations like this the bass often has to carry some extra weight.IMG_6431

Myele has spent time working in New York and he has studied under Jazz drummer E J Strickland.  I also know that he is passionate about Jazz, but why his band sounds different is because other very modern influences have seeped into the mix.   Myele Manzanza works with many ground breaking non-Jazz lineups and that is probably what he is best known for.   This brings me back to Manu Katche who is a very modern jazz drummer, but one who works across a variety of genres (Peter Gabriel and Sting).  Katche’s Jazz drumming is atypical and madly engaging.   Jazz should never stand still and this window on yet another approach to our music tells me that the exploration continues.

I hope that the band returns again as they expand our horizons while making us smile.   After thanking his band Myele Manzanza turned to the audience and said, “Thank you Auckland and the CJC.   This is an unusual situation for us.  An audience that listens appreciatively and doesn’t talk through the gig.   This is what Wellington lacks”.

Every city needs a CJC …and lots of nights like this.

Who: Myele Manzanza (Leader, drums), Daniel Hayles (Keys, Piano), Scott Maynard (bass).

When and Where: CJC (Creative Jazz Club) 1885 building Brittomart, 20th march 2013

Note: Jazz April and International Jazz Day are nearly upon us.  Do your bit by supporting as much jazz as you can during April.

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Blue Train – 2013

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

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

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

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

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

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

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

The sound levels were just right for the club and this is where the bands experience played a part . Some younger (and a few older musicians) forget to adjust their volume to the room and the CJC is lively; especially if the drums and bass are overly loud.  Being professionals – Alan and Ben McNicoll (CJC sound and IT) got the job done properly.  IMG_6332

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

When: Wednesday 6th March 2013

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

P J Koopman quartet (with James Wylie)@ CJC

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P J Koopman and Thomas Botting joined the ‘music drain’ exodus to Australia two years ago but Auckland still draws them back from time to time.  When they do return they are always booked at the CJC Jazz Club and this invariably draws old friends and new.   PJ Koopman is one of those guitarists who makes it look easy, but like all dedicated musicians he works extremely hard at his craft.  The CJC gig on the 3rd of October featured many of the fast flowing post bop tunes that PJ excels at, but there was something else in the mix.  His repertoire soon expanded to include some country tinged material of the sort Bill Frisell and Bruce Forman exemplify and while there were only two such numbers, it gave the evening a flavour that it would otherwise not have had.  This had the feel of an interesting project in the making.  

Thomas may not have put on any physical weight but he has certainly beefed up his compositional credentials .   After a week of listening to Americana just prior to returning to New Zealand, he has composed a tune, which I will now include as a You Tube clip.   This is a great composition and one which they executed well.   The tune called ‘Wylie Coyote’  had been written to honour alto saxophonist James Wylie, who joined the band for this one gig.   James is an ex-pat Kiwi who lives in Thessaloniki Greece and was due to return there within hours of the gig finishing.   James is well-known for his oblique takes on country tunes and so this title was appropriate on so many levels.   His out of left field rendition of Wichita Lineman is a perennial favourite.  

P J Koopman was exactly the right guitarist to tackle this tune and I’m certain Thomas had that firmly in mind when he composed it.  I had not heard PJ do this type of material before, but the fact that he did it so well is scarcely surprising.   He has open ears, good mentors, great chops and above all taste.   His Frisell like slurred chords portrayed the roots of the genre (and perhaps his other influences); but without sacrificing his originality.  The other country tune was the gorgeous ‘Tennessee Waltz’ and the first few chords took me back to a film I saw in the 70’s.  Antonioni’s movie Zubritzki Point was a portrayal of the youth counterculture and its soundtrack has outlived the popularity of the movie.  The soundtrack featured Pink Floyd (‘Heart Beat Pig Meat’ – who could forget the exploding food in slow motion), The Grateful Dead and Jerry Garcia solo (playing etherial improvised licks while the actors writhed in a strange love-making frenzy which stirred up lots of desert dust).  best of all was the version of Tennessee Waltz which twanged out sweetly while tumbleweeds blew past a silent desert bar.    This track conjured up all that happy madness again and this is the power of good music.  

The drummer on the gig was Andrew Keegan, who has recently moved up from Christchurch to Auckland .   Andrew is an invaluable asset to the Auckland scene.   ‘Wylie Coyote’ was in 4/4 time but the feel was different because of the way the beats were accented.   Andrew handled his traps like he had been playing with these cats for months.   Nice work all round.

‘Troubles’ hit the CJC

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John Rae exhorting everyone; call & response

It has always been said that troubles arrive in pairs.   In this case the old adage was woefully awry as ‘The Troubles’ arrived in nonet form.  Their arrival may have ‘Rattled’ us somewhat, but we are built of stern stuff in Auckland.   We fortified our ourselves with strong liquor and pep talks, adjusted our parental lockout settings to allow for some serious swearing and settled in for the realpolitik of John Rae’s and Lucien Johnson’s crazy-happy Jazz.     ‘Oh Yeah’, we told ourselves, ‘We are ready to handle anything a Wellington band can throw our way’.

The Troubles-  call & response

There are bands that I like, bands that I respect and bands which drive me wild with pleasure.   ‘The Troubles’ are of the latter kind.   I’m besotted with this band and their deliberately ragged, madly political, quasi-serious satire.    This band digs deep into the well-springs of life and what bubbles up is a joyous lake of barely controlled madness.   The anarchic overtones are deliberate, but there is a scream-in-your-face humour that overshadows all else.   This is about chiaroscuro; a bunch of opposites vying with each other for attention.

This band is about plunging us without warning into the troubled spots of the world and then showing us humour where we thought none existed.  The overt political messages were a joy to me as I have never quite understood why this space is not filled more often.   The history of Jazz is intensely political and to describe ‘The Troubles’ music as a continuation of the work done by Carla Bley, Charlie Haden and especially Charles Mingus (even Benny Goodman) is not too far-fetched.    This band is a talented group of clowns shaking us by the scruff and saying; laugh or cry but for god’s sake look at the world about you.   There is no solace for Lehman Bros, Merrill Lynch, Barclay’s or John Key here.  For Jazz lovers with big ears there is joy aplenty.

This band is about call & response; not just between instrumentalists, but by the band vocally responding to John Rae’s trade mark exhortations.  Although he leads from the drum kit, that doesn’t prevent him standing up and shouting at the band (or the audience) to elicit stronger reactions.  During one of the middle Eastern sounding numbers (which appeared to lay the Wests hypocrisy bare), he shouted in what I can only assume was faux Arabic.  A flow of equally Arabic sounding responses flowed back .   It was the string section verbally responding as they wove their melodies around the theme.

On another occasion John Rae announced that we would be celebrating an often ignored trouble spot.   “I will now express solidarity with the North Americans”, he announced.  “The Sioux, Cherokee, Iroquois, Apache, Mohave etc”.   He began with a corny war dance drum beat which quickly morphed into a tune from ‘Annie Get Your Gun’.   As the melodic structure unwound into free-Jazz chaos we all understood the history lesson and laughed at the outrageousness of the portrayal.

Another Tango melody written by Lucien gradually reached a joyous fever pitch.  During the out-chorus the instruments dropped out one by one and as each instrument stopped playing the musicians raised a closed fist in a revolutionary salute.   Although it was quite dark in the club we had all picked up the cues.  This was a musical night beyond glib definition.

Like life, the music gave us lighter and then more thoughtful moments.  Musically it was amazing fun and after a difficult week I was suddenly glad I was alive.

Mission accomplished I think John and Lucien – keep shaking us up please.

John Rae (drums, co-leader, co-writer, co-arranger).  Lucien Johnson (sax, co-leader, co-arranger, co-writer).  Patrick Bleakley (double bass).  Daniel Yeabsley (Clarinet). Jake Baxendale (saxes). Hanna Fraser (violin). Charley Davenport (cello), Tristan Carter (violin). Andrew Filmer (viola).   Buy a copy of ‘The Troubles’ today at Rattle Records Ltd.  Venue – CJC Jazz Club Auckland.

Mark Lockett Trio – album launch @ CJC

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Alex Boneham and Mark Lockett

Drummer led bands have never been commonplace and drummer led trio’s even less so.  Just because the leader is a drummer does not mean any more or less than it would if the leader was a bass player or a saxophonist.  A leader is there to impart a creative vision and this trio rose to the task.

On Wednesday the 4th of July the Rattle Records/ ‘Sneaking Out After Midnight’ launch tour arrived at the CJC in Auckland.   The prior and subsequent tweets or Facebook posts have pointed to the success of the gigs, which have been well received throughout New Zealand.  To read my earlier review see below ‘Mark Lockett – Sneaking Out After Midnight’ from this blog site.

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The band that toured New Zealand may not have featured New Yorker’s, Joel Frahm (sax) or Orlando Le Fleming (bass) but we did extremely well with their replacements.  Mark had wryly commented that the former were unable to tour ‘for tax reasons’.    The Australian Alex Boneham replaced Orlando Le Fleming and his work is already well-known to the Auckland Jazz community.    Alex has previously toured here with the Steve Barry trio and I doubt that any of us will ever forget the telepathic interplay between Steve Barry (piano), Alex Boneham (bass) and Tim Firth (drums).   This is an in-demand bass player who recently won the ‘Best young Australian musician of the year award’.  He is both attentive and inventive and what you get is skillful interplay and adventurous improvisation.

The third trio member was Australian alto player Julian Wilson, who has worked with Mark Lockett for many years.   He acquitted himself well.

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What particularly struck me was just how musical Mark’s drumming was and when he and Alex fell into lockstep it was riveting.   To purchase copy of ‘Sneaking Out After Midnight’ contact Rattle Records Ltd  (link).

I have streamed one track from the album titled ‘Mr Pickles’.  Mr Pickles is the story of Mark Lockett’s cat and an unfortunate neighbour – a hapless man who thought that he could outsmart a cat.   Being a great respecter of cats and their place in the Jazz story I could not help but include this.  This is as good a cat story as you will hear.

Related articles

The Auckland Jazz Orchestra @ CJC 20th June

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Steve Sheriff & Callum Passells (Altos)

I love Jazz big bands and couldn’t have been more pleased when Roger engaged the AJO to play on awards night. It is more than possible that I had dropped a hint. Nothing underscores an occasion like a Jazz orchestra and having a 17 piece band in an intimate space is the best of listening experiences. Those surges of raw power always please, but it is something else that I look for. It is their collective agility , the tension and release and the quality of their ensemble playing. This is quickly revealed if the charts are well written, and they were.

People like to compare big bands and as a spectator sport it has some currency. I can’t help wondering however if eggs are always being compared with eggs. There are rehearsal bands like the Village Vanguard Orchestra (Thad Jones Big Band) who meet once a week (but with ever-changing personnel). Less common are the professional or semi professional units who get regular work and whose core personnel are less likely change (The WDR, Mingus Big Band, Roger Fox Big Band). Lastly there are all-star bands which come together for a recording, a gig, a concept or just for fun (Bob Beldens ‘Miles Espanol’ Jazz Orchestra, The Kenny Wheeler Big Band).

The AJO falls mostly into the first group but there is another dimension to what they do: they are a writing band and part of their reason for existence is to write charts and/or to create original arrangements. Quite a few in the band write and that gives the band an Auckland flavour. The compositions tell our city’s story. As a city we need to value them more and ensure that they get the work and the recognition they deserve. The City Council needs to have them on their radar and call on them for appropriate official functions? Knowing Jazz musicians pay packets, the public purse would be left largely intact if they did.

Mike Booth

The AJO is a mix of seasoned players and new talent and this gives them a certain flavour. With their unfamiliar charts they perform a high wire act and because of that there is a hint of risk; to pull this off and at the same time entertain, requires a deftness of touch. The AJO has this as the co-founders Tim Atkinson and Mike Booth manage to inspire and guide without stifling creativity.

During the night we heard tight ensemble playing, a number of nice solos (particularly from Mike Booth, Theo Clearwater, Steve Sherriff, Andrew Hall, Callum Passells, Jono Tan and Matt Steele). Vanessa McGowen was terrific on bass and her presence was felt in just the right way. Andrea Groenewald on guitar demonstrated her soloing and comping skills. The latter added just the right Freddie Green touch to the overall mix. Swinging a big band is not always easy but this band swung.

There were two sets and thirteen numbers – among them were ‘It doesn’t Snow There’ – Atkinson, ‘On the Water’ – Booth, ‘All the things you are‘ – Kern/Hammerstein, ‘Those Nights’ – Hall. I have included a You Tube clip of there AJO performing Tim Atkinson’s composition and arrangement of ‘It Doesn’t Snow There’ – see below.

The AJO’s personnel are: Mike Booth (lead trumpet, arranger, composer, co-founder), Tim Atkinson (conductor, arranger, composer, co-founder)

Tim Atkinson

Altos; Steve Sheriff, Callum Passells – Tenors; Andrew Hall, Teo Clearwater – Baritone; Andrew Baker – Trumpets; Matthew Verrill, Mike Booth, Jo Spiers, Oliver Furneaux – Trombones; Mike Young, Mike Ashton, Jono Tan, Darrell Farley – Guitar; Andrea Groenewald – Piano; Matt Steele – Bass; Vanessa McGowen – Drums; Cameron Sangster

The AJO on awards night

Vanessa McGowan

AJO @ JJA Awards celebration

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Front line of the AJO

 Stop Press: Tonight Auckland held its inaugural Jazz Journalists Association Awards Satellite Party.     The Creative Jazz Club of Aotearoa (CJC) hosted the event and the club was packed to capacity.  The CJC is the first Jazz club in the world to see the moon as there is nothing much between the club door and the International Date Line except ocean.   In spite of the wet outside it soon became apparent that the Auckland Jazz community was going to turn up in force.  No Jazz lover in their right mind would let an opportunity like this slip away and the club was soon filled up with a seething mass of Jazz fans; check to jowl with the who’s who of Auckland Jazz musicians.

Brian Smith & Roger Manins

During the evening Roger Manins was awarded the JJA Jazz Hero Award and this met with strong approval from the audience.  Roger has been a popular choice as his work in promoting Jazz, teaching, mentoring and acting as programme director for the CJC have endeared him to everyone.  Then there is his musicianship which astonishes and inspires, while setting the bar high.  The work that Roger, Caroline and Ben do in running the CJC should not be overestimated.  Having Roger in town and having a club like the CJC has been a game changer.  More and more students are emerging from the Jazz schools and they need clubs like this to play in.  Being tested is part of the journey.

Jazz musicians are the alchemists of the modern age: they forge a raw beauty out of the world about us.  Musicians like Roger are the keepers of the magic.

This was a night of magic from start to finish and the Auckland Jazz Orchestra were superb.  This nimble hard-swinging seventeen piece orchestra played its heart out and the audience never stopped smiling or tapping their feet.  Sitting in front of a Jazz orchestra and feeling that surge of  power is like nothing else I know.  Tonight Auckland felt like the luckiest city on the planet.

Credit must go to the JJA who have been incredibly supportive throughout.   Auckland is proud to have hosted its first JJA Jazz Awards Satellite Party and this is only the beginning.

The party continued long after the AJO had packed up and before long a Jam session was in full swing.  To have Roger Manins (tenor), P J Koopman (guitar) and Brian Smith (tenor) on the band stand together was the icing on the cake.   One by one the students got up to join them.  Some looked nervous but they got up anyway.  It is nights like this that guarantee the viability of this music we love.

A full review will follow soon – thanks to Jenny and Deepak for assisting.

The AJO

Callum Passells

Matt Steele

John & Roger (centre)

Brian Smith Quintet featuring Pete Barwick @ CJC

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Brian Smith & Pete Barwick

Lets face it, no one will be disappointed by a Brian Smith Band and this particular lineup was an all-star affair.  Man did they deliver.

You expect Brian to deliver royally as he has had such a successful output as evidenced by his 2006 (Taupo’ album).   This also goes for Kevin Field (‘Field of Dreams’ album), Kevin Haines (‘Oxide’ album) and Frank Gibson Jnr (‘Rainbow Bridge‘ album), but a question mark may have lingered in some minds over Pete Barwick’s inclusion as he was the lessor known band member.  He is a veteran sideman and widely respected among musicians; Brian knew exactly what he was doing.  Pete was amazing on the night and he more than earned his place in this star studied lineup.

Brian Smith

In spite of their respective pedigree’s this was a band of equals and out of that amalgam came a night of exceptional Jazz.  A Hard Bop devotee in the audience said after the show, “I have been to Jazz clubs and concerts all over the world, but this may have been the best I have seen”.

The band played a number of Hard Bop standards as expected, but there were a few new originals as well.  An original number featured at the end of the first set titled ‘CJC’ delighted everyone.   Brian had penned this composition in the weeks preceding the gig and he dedicated it to Roger & Caroline Manins.  Before playing the number Brian paid tribute to them and to the CJC club.  The crowd loved this and applauded wildly.

In fact the audience was enthusiastic throughout the night and as tunes by Horace Silver, Heyman/Green, Brian Smith and others filled the club they could not have been happier.

The Creative Jazz Club (CJC) came into being for the express purpose of enabling such interactions and on nights like this both musicians and audiences are especially thankful for the clubs existence.

Pete Barwick

If any of you haven’t yet obtained a copy of Brian Smiths 2006 album ‘Taupo’ (Ode label) you need to remedy that situation immediately.   This last gig may begin a buying frenzy and as the world has recently learned to its cost regarding in demand commodities – scarcity drives prices up.  It is truly a marvelous album.  If you can’t find a copy in Marbecks or JB HiFi then try Real Groovy Records or Trade Me – just buy it.

JJA Jazz Awards Satellite Party in Auckland

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Press release: Wed 6th June 2012

Creative Jazz Cub & Auckland Jazz Orchestra presents the

JJA Jazz Awards Satellite Party

The 16th Annual Jazz Journalists Association Jazz Awards is an international black tie event held at the Blue Note Jazz Club in New York on Wednesday 20th June and features hundreds of musicians, jazz journalists, educators and industry associates.

Auckland musician/saxophonist Roger Manins has been awarded a Jazz Hero Award by JJA, so to celebrate and honour New Zealand’s jazz heroes, Auckland’s Creative Jazz Club (CJC) will be hosting the world’s first 2012 Awards Satellite Party at the Britomart’s Basement Bar also on Wednesday 20th June. The Awards will feature music by the Auckland Jazz Orchestra (AJO) and as New Zealand will be acknowledged at the New York Awards event, willing musicians and Jazz fans should arrive early for photographs – to be posted on the Jazz Journalists Associations Awards official web sites. Don’t miss one of the biggest events on the Jazz calendar!

Wednesday 20 June – Basement Bar, AUCKLAND

Home of the Creative Jazz Club, 1885, Galway St Central, BRITOMART

8pm, Tickets GA $10, CJC members & students $7, student members $5

http://www.jjajazzawards.org,  www.rogermanins.com,  www.creativejazzclub.co.nz

CJC contacts – caroline@creativejazzclub.co.nz    roger@creativejazzclub.co.nz   John Fenton blogsite – Jazz Local 32   http://www.jon4jaz.wordpress.com

Publicity – Leesa Tilley / publicity-machine@clear.net.nz / phone 09 3766 868

The Jazz Journalists Association (JJA) honours excellence in jazz music, recordings, presentation and journalism. The 2012 Jazz Awards has 39 categories of excellence including Lifetime Achievement and Best of the Year Awards for musicians, presenters, recordings, photos, journalists, publications, blogs and websites. A star-studded coterie of musicians, journalists and music-world movers and shakers will be honoured in jazz’s only independent, international, culture-and-community-wide awards celebration.

Creative Jazz Club (CJC) was set up two years ago by musicians Carolina Moon, Roger Manins and broadcaster Mark Robinson. Webmaster Ben McNichol and journalist John Fenton complete the team. Now a world-class jazz club, CJC fosters and promotes the development of Auckland’s creative jazz scene by providing musicians with a dedicated performance space, nurturing emerging artists, and the programming of innovative local, national and international talent in its weekly Wednesday club night. Vocalist and composer Carolina Moon – who is currently touring her medieval world music fusion Mother Tongue in-between teaching jazz vocals at the University of Auckland – said “I was motivated to start CJC primarily because there was nowhere for us to play our music, and I thought well there must be other people in the same boat too. When we first opened, one of NZ’s landmark jazz musicians said to me – ‘now I have something to practice for’ – and gee I just wanted to cry.  So we started out at Cafe 121, Ponsonby Rd and over that first year we saw the creative scene really start to grow as it provided bands with an outlet for their creative projects – AND an audience which wants to listen and be part of it.”

Roger Manins won the Australian National Jazz Awards for saxophone in 2002 and this month, will receive a JJA Jazz Hero Award as international recognition of his outstanding musicianship and services to the community and education. Roger was born in Waiuku and currently teaches at the University of Auckland between touring nationally and internationally with various groups such as the Roger Manins Trio/Quartet, Hip Flask, Carolina Moon, Resonator, Manins Muller featuring Mike Nock plus a series of Trans-Tasman collaborations. Roger has released 3 CDs – Hip Flask, Trio and Latitude – and is recorded on more than 30 jazz albums with some of Australasia’s leading artists.

“an outstandingly gifted musician with a warmly passionate sound, remarkable instrumental ability and total
musical integrity” – Mike Nock

“one of the best newly issued hard bop recordings I’ve heard in quite some time. Manins sounds incredible throughout, but is particularly exceptional on Monk’s Well You Needn’t. Manins et al. aren’t merely recreating—they’re creating new music by taking Hard Bop elements to new places” – Slim’s Spins, Cadence Magazine, USA (March 2012)

http://www.jjajazzawards.org http://www.rogermanins.com http://www.creativejazzclub.co.nz CJC contacts – caroline@creativejazzclub.co.nz / roger@creativejazzclub.co.nz

John Fenton blogsite – Jazz Local 32 – http://www.jon4jaz.wordpress.com (Jazz Journalists Association).

Publicity – Leesa Tilley / publicity-machine@clear.net.nz / phone 09 3766 868

Kevin Field – ‘Field of Vision’ gig & album

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Some die-hard Jazz fans complain that the modern jazz scene doesn’t produce enough music that sounds like that of the ‘classic era’.    This mythical era that they remember so fondly didn’t exist in the way they thought.  They forget that Louis Armstrong accused Dizzy Gillespie of playing ‘Chinese music’ and that Bill Evans was accused of not swinging.

The Jazz in any defined era has always sounded surprisingly different from the music that preceded it.   Jim Hall circa 2012 sounds nothing like the Jim Hall of the early ‘Pacific Jazz’ Era and why should he.   This is not a music to be set in aspic or to be kept in a hermetically sealed container to protect it from impurities.  Jazz is not a fragile dying art form but a vibrant improvised restless music that lives perpetually in the now.  As Whitney Balliett so famously said it is ‘the sound of surprise’.

Kevin Fields new album illustrates this premise perfectly. 

On Wednesday 25th April the CJC (Creative Jazz Club of Aotearoa) featured pianist Kevin Field as he promoted his ‘Field of Vision’ album.   Being a fan of Kevin’s, I had been quick to obtain a copy of the album and I was delighted by what I heard.  This was music with a deep groove and an unmistakable pulse.  The banks of synthesizers, the singers and the electric bass lines had given it a distinct Soul Jazz context.  Out of this came a series of mesmerizing grooves, which engulfed us in a way that made definitions quite meaningless.  As the band played at the CJC we sunk happily into a warm vibe that made the Autumn night seem very far away.  

The club gig kicked off with ‘See Happen’; a number that drew us deeper and deeper into a vamp while figures on the piano created a pleasing filigree by way of contrast.   The next number ‘imaginary friend’, opened the vistas wider.  On the album this was especially noticeable as the Steinway Grand, Fender Rhodes, Prophet T8 and Roland Jupiter 8 worked beautifully over the four piece string section

It had an almost cinematic feel to it and I could not help but be reminded of the work of Creed Taylor’s CTI label.  Instead of CTI’s Don Sebesky this album had utilised the services of Wayne Senior who arranged the string section.   The first airing of this material had been in the Kenneth Myers Centre and it was therefore fitting that Wayne Senior had been involved as his connection with the KMC goes back a long way.

The album was produced by Nathan Haines and his handiwork is evident throughout.  He plays alto flute, an ARP synth and is credited as co-composer on 4 of the 11 numbers.  The rest of the numbers were written by Kevin and they are probably his best work to date.

The band that Kevin brought to the CJC was a smaller unit than on the album and that is just as well because the club was packed.  A small club has a very different sound to a recording studio and the warmth and intimacy is the obvious benefit of being in that space.   When you buy the disk (and you should) you will notice a broader sound palette, a bigger line up and a crisper sound.  Both experiences are complimentary and anyone attending who has also purchased the album will count themselves lucky.  

Stephen Thomas had been brought in as drummer for the CJC gig and he had sweetened the deal by a congratulatory email that he sent to Kevin after the initial release.   “Man those were some sick grooves” he had messaged.  Kevin immediately confirmed him as right drummer for the gig.  Stephen is a terrific drummer and the choice was a good one.

Once again we saw Dixon Nacey perform and as always we watched open-mouthed.   This man is so good that it is frightening.  Completing the lineup were guests; Nathan Haines, Marjan Gorgani and Clo Chaperon (the latter had great soul voices).   All added something essential to the rich mix and in Nathan’s case this is only to be expected.

I would also like to mention Karika Turua.  He played a big Fender bass and his grooves although loud, were as big as his guitar.

There were a few quieter piano passages as well and on these we hear the crisp touch, the harmonic exploration and the crunched chords that have become so familiar to us in Kevin’s playing.  Kevin has many fans in New Zealand and most will have heard his previous piano trio album ‘Irony’ (Rattle Records).  Although different I would regard both as essential purchases as we follow Kevin Fields career.

The CJC band was: Kevin Field (Leader, Yamaha piano, Fender Rhodes, Synth) – Dixon Nacey (guitar) – Stephen Thomas (drums) – Karika Turua (bass) – Marjan Gorgani / Clo Chaperon (vocals) – guest Nathan Haines (alto flute, soprano sax).

On the album were: Kevin Field (Leader, Steinway piano, Fender Rhodes, Roland Jupiter 8, ARP Odyssey,Prophet T8  ) – Nathan Haines (ARP Odyssey, alto flute) – Dixon Nacey (guitar) – Joel Haines (guitar) – Mickey Ututaonga (drums) – Migual Fuentes (percussion) – Karika Turua (bass) – Bex Nabouta/ Marjan Gorgani/Kevin Mark Trail (vocals) – Cherie Matheson (backing vocals) – Miranda Adams/Justine Cormack (violins) – Robert Ashworth Viola) – Ashley Brown (Cello) – Chris Cox – (drum programming).

This album can be purchased in any major record store or for more information contact ‘Haven Music’ a division of ‘Warners Music NZ’.

All photographs by Peter Koopman – Gig venue/CJC Jazz club Auckland

Auckland Jazz Hero – Roger Manins – World Jazz Day 30th April

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Auckland Celebrates World Jazz Day

 The 30th of April 2012 has recently been designated World Jazz Day by UNESCO. This significant recognition of our music is great and we will be celebrating this in Auckland along with the worldwide Jazz Community.

The Jazz Journalists Association is actively celebrating this world event and as part of their programme, members have been asked to nominate a Local Jazz Hero. To follow events go to www.jjajazzawards.org/.  Here in Auckland, New Zealand we have nominated Saxophonist, Jazz educator Roger Manins as our first Jazz Hero. Roger is also the programme director and co-founder of the not-for-profit ‘CJC ‘Creative Jazz Club of Aotearoa’ (along with his wife Carolina Moon and friend Ben McNicoll).

Roger has been nominated for a number of reasons. He is certainly one of New Zealand’s (and indeed Australasia’s) best tenor players and as such he is an inspiration to up and coming Jazz Musicians. Of equal importance though is his role as an educator and enabler. Roger lived and worked extensively in Australia for 10 years (he also lived in New York for 2 years), and even though he returned to NZ in 2004 he is still very much in demand across the Tasman, gigging and touring at regular intervals. 

Roger teaches at the Auckland University School Of Music Jazz Programme. Anyone who listens to Roger will quickly identify him as a person with killer chops, but he also has the ability to tell a compelling story on his horn.

“He is an outstandingly gifted musician with a warmly passionate sound, remarkable instrumental ability and total musical integrity”. Mike Nock

This story telling in almost any given context draws listeners to him again and again – a skill that was very evident in the likes of Lester Young or Dexter Gordon, but which is not always evident in modern players. Roger can play convincingly in any Jazz genre from free through post bop to mainstream traditional.

Roger is often generous with his time when it comes to nurturing up-and-comers. He will encourage and push those who he thinks need that, while gently insisting that they meet the required standard. With lots of younger players coming out of the two local Jazz Schools, it is essential that they get this real-world feedback in a way that keeps them challenged but not discouraged.

Having a world-class venue is part of this mix and the CJC is just that. Its vision is to stimulate and encourage the development of excellence in the creative improvised / jazz scene, and as programme director, Roger ensures that the diversity of the music scene is represented. The gigs are varied every week and feature prominent ex-pat Kiwis and international artists as well as national and local talents. It is Roger’s connections with the wider scene and the esteem in which musicians hold him that helps to make this happen.

Finally, I want to mention his very Kiwi sense of humour, which is evident both on and off the bandstand. He often slips in sly jokes or asides when introducing acts and his You Tube videos on ‘How to Play Smooth Jazz’ are simply hilarious. These have a cult following in NZ and Australia and the tongue in cheek delivery is so convincing that pupils of smooth jazz sometimes contact him to seek instruction without realising that it is all a delicious joke.

Roger is in demand in both Australia and New Zealand as a tenor player, multi reeds and winds player. He has recorded on many albums as an essential sideman and also as leader. He is married to fellow musician Carolina Moon (Manins) and has a daughter Milli.

His discography and website is: www.rogermanins.com

Selected Discography

Personal Recordings

Trio – Rattle Records 2010

Latitude – Roger Manins featuring Bernie McGann / Rufus Records (Aus) 2010

Roger Manins – Hip Flask Jazzgroove (Aus) 2002 / Ode Records (NZ) 2005

Recordings as Sideman

Andrew Dickerson Quintet – Weaver of Dreams

Resonator – Reuben Bradley

Carolina Moon – Mother Tongue

Phil Broadhurst – Delayed Reaction

Tom Dennison – Zoo

Solar – Bernie McGann Quintet featuring Roger Manins

James Muller Quartet -Thrum

Jazzgroove Mothership Orchestra with Florian Ross – Dreamwheel Ashley Turner – Beautiful Open Spaces

Mike Nock’s Big Small Band – Live

Carolina Moon – East of the Sun

Andrew Atwill – 3 Sides of the Same Coin

Leonie Cohen Plus – Jerusalem

Simon Sweeney – Emerald CityBlues

Vaughn Roberts – Grrreat Stuff

Paul Dyne – Shelter of the Ti Tree

Jann Rutherford – The Scented Garden

Julie Mason – 12 O’ Clock Tales

Steve Hunter – Condition Human

Karen Hunter- Rubble

D Dub- Awake at Dawn

Trans Tasman – a journey into New Zealand music compilation CD

Pending Release, Manins/Muller/Nock/Bradley

John Fenton

Jazz Journalists Association  /  Jazz Local 32 (Blog)

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

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Alan Brown & C3

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

Josh Sorenson

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

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

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

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

Dixon Nacey

Craig Walters/Mike Booth Project @ the CJC in Auckland

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Craig Walters

During Jazz Week it was appropriate that the Creative Jazz Club (CJC) featured a band that was in some ways a metaphor for the greater Auckland scene.   Jazz week is about Jazz in our neighborhoods but it also about how we connect to the wider Jazz community.

  The co-leader of this nights band, Craig Walters has lived in Australia since 1985.    Craig has an impressive background in Jazz, as he trained at the Berklee School of Music before going on the road as an in demand tenor player.  He has performed world-wide and with top rated acts.  Over the years he has earned a place as one of Australia’s foremost tenor players.   Australia claims him because he has lived and worked there for the last 27 years, but he was actually born in New Zealand.   

Mike Booth (trumpet player & co-leader) has a story that in some ways parallels Craig’s because he also travelled overseas and ended up working in the European Jazz scene for a decade or more.  Unlike Craig he returned to New Zealand a few years ago and since then he has been busy teaching, gigging and running a big band in Auckland.

The band was completed by a local rhythm section, Phil Broadhurst (piano), Oli Holland (bass) and Alain Koetsier (drums).   With this rhythm section in your corner the sound is going to be great and the band will back you up exactly when you want them to.  They are among our best.  As for Craig Walters and Mike Booth, they have known each other for years and this collaboration is merely an extension of their earlier projects.

Why do I consider this band to be a metaphor for the Auckland Jazz scene?  Craig Walters was born here and started playing tenor here.   I am fairly certain that there were no Jazz Schools in the city then and so he eventually ended up in the USA where he studied at the Berklee School of Music.   This is roughly the route that Mike Nock , Alan Broadbent and Matt Penman took (stellar musicians who left the Auckland scene to conquer the world).  This is what generally happens to our best and brightest but they do return.

The pianist Phil Broadhurst is a stalwart of the NZ scene but he was born in the UK and so his story is the reverse of the above.  Oli Holland is also overseas born, as he was an established bass player in Germany before migrating to NZ.  Lastly there is Alain Koetsier who is the youngest in the band.  This was his last gig in Auckland as he departs for foreign shores in two weeks.  Such is the ebb and flow of the New Zealand Jazz scene but in many ways this disruption brings benefits.  Almost all of the musicians that we lose to Australia or to the USA eventually return and they enrich us with what they bring back.  Now that we have two Jazz schools and a youthful vibrant Jazz scene in the city (and a great club), the future is promising.  I also have no doubt that the departing musicians take a special something with them which is Auckland.

Craig and Mikes band were great and as long as these ex-pat to local match ups keep occurring we will be just fine.

This gig occurred at the Creative Jazz Club (CJC)  in Auckland, New Zealand on the 11th April 2012.  Remember to keep visiting the Jazz Journalists Association (JJA) pages during the next few months as there are a number of activities that will include us. These are; the Jazz week Blogathon, International Jazz day 30th April – Jazz heroes announcement, JJA Awards in June – Auckland Satellite party.

Alain Koetsier Band @ Finding Kiwi ‘Standards’

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I have watched drummer Alain Koetsier perform over the last year and his credentials on the traps are unimpeachable.  Alain is a drummer with a modern feel and it is plain to see why so many of our top Jazz groups utilise him.  This was probably his first outing as leader and he had chosen wisely on two fronts.  His band mates were consummate professionals and their approach to the music was intuitive.  They interacted as if with one mind.  The second thing Alain did well was to select a set list of recent compositions by New Zealand Jazz Musicians.  I liked the concept.

People expect a band to play their own originals but when a set list focuses on a wider spectrum of Kiwi Jazz compositions it feels respectful.  It somehow lifts the tunes to another level of availability; a place of wider appreciation.  Doing this is a good start point in identifying our own ‘standards’ and some of the tunes played could well reach that bench mark.  As the scene continues to mature this will surely happen.

Alain & Dixon

Alain & Dixon

I was pleased to hear two tunes which had impressed me at recent gigs; ‘Dicey Moments’ by Oli Holland and the wonderful ‘Ancestral Dance’ by Nathan Haines.   Both of these new compositions are distinctive, clever and memorable.  Dixon Nacey compositions also catch the attention as he has a knack for locating the right hooks while providing a solid base for improvisation.The first set had contained ‘Bad Lamb’ (Dixon Nacey).    The tune had nice chordal voicings and the way it unfolded led us easily into the heart of the tune.

Another memorable number was ‘Tree Hugger’ by the Auckland-born bass player Matt Penman.   Matt has moved into the upper echelons of Jazz bass, occupying a respected place on the world scene.   Maybe he will return the compliment one day and acquaint North America with a few of the other compositions.

The gig was fun to experience and obviously fun to play as the musicians enjoyment of what they were doing was easy to discern.  Like many Jazz gigs there was a high degree of spontaneity and perhaps this came from being thrown in at the deep end.   Working musicians seldom have a lot of time to rehearse and when confronted by complex charts they appear to relish the prospect.

The musician that I was unfamiliar with was Pete France on tenor.   I know that he has played the CJC before and my friends tell me that they had hoped for his return one day.    His tone is rich and full and his improvised lines meaningful.   He is also relaxed on the bandstand and when you consider the calibre of his band mates this ease of manner speaks volumes.

Oli Holland

The band featured Oli Holland on bass.  His approach and focus drew you in inexorably as he demonstrated chops, impeccable timing and melodic invention.  His skills are considerable, as he can move from contrapuntal walking bass to melodic invention in an eye blink.   Oli gave his best, but then he always dies.

Pete France & Oli's hand

Lastly I come to Dixon Nacey.  His playing is widely appreciated throughout the NZ Jazz scene. As good as he is, he always strives to do better.   His compositions sing to us and his chordal work and rapidly executed lines astound.    It is good to be in a town where this man is playing and long may it continue.

Well done Alain – more please.

Nathan Haines Fourtet – live@CJC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Brian Smith Band & Hard Bop heaven

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Brian Smith - CJC gig

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

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

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

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

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

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

The New Fuse Box – The Wakem/Nielson Project

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The Wakem/Nielson Project

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

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

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

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

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

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