We don’t know for certain what the album title is, but ‘The Phil Broadhurst Quintet Live’ seems a likely contender. As an award-winning artist, Broadhurst needs no gimmicky titles to get our attention. His name is enough recommendation. We had a tantalising glimpse of this latest offering last week when the public attended the live recording session at the KMC. In keeping with his recent preference for adding an extra horn, he added trumpet/flugelhorn player Mike Booth to an already talented lineup; Broadhurst on piano, Roger Manins tenor saxophone, Oli Holland bass, and Cam Sangster drums. After an introduction by his partner Julie Mason the session began – mostly new material, a few older tunes and a tune written soon after he arrived in New Zealand. Unsurprisingly there was a good audience to enjoy the event – this guy is a legend.
The arrangements were superb and as if to underscore that, the horn players were in top form. So in sync during the head arrangements that it appeared as if they had been playing the charts for years. They hadn’t. The tunes were melodic and memorable as Broadhurst’s tunes often are. And like all good small ensemble writing, it came across as something more expansive. Experienced writers like this know a few tricks and among them, how to make full use of an available palette.
Broadhurst put his all into this recent project and I urge Jazz lovers to keep an eye out for its release. Based on what we heard, it will add another milestone to an already impressive catalogue. As a key contributor to the quality end of the New Zealand Jazz scene and an important educator, we owe him a lot.
Phil Broadhurst: piano, compositions & arrangements – Roger Manins, tenor saxophone, Mike Booth, trumpet and flugelhorn – Old Holland, upright bass – Cam Sangster, drums. The recording took place at the KMC UoA theatre, Shortland Streets, Auckland. Recorded by John Kim and Steve Garden, March 2019
Dan Bolton is an Australian born, New York based musician, at present touring New Zealand. His first show was at the CJC (Creative Jazz Club) in Auckland. While singer, songwriters who accompany themselves on piano, are a firmly established tradition in Jazz, we see them on tour very rarely. Many Jazz vocalists (like Ella Fitzgerald) could accompany themselves well, but few choose to do so. A number of notable musicians mastered this skill, notably Nat Cole, Ray Charles, and Shirley Horn. Doing two jobs simultaneously is always harder than doing one and especially where vocals and piano are concerned. The energies and postures require careful coordination and I suspect that this is harder than accompanying yourself on guitar.Bolton is unusual in that he composes tunes which feel modern, but in a style reminiscent of the Great American Songbook; many of his tunes, are not dissimilar from those which came out of Tin Pan Alley, having the vibe of Irving Berlin or Cole Porter. The melodies are catchy in a time honoured way and the lyrics often biting; sometimes capturing our post-millennial angst. Many of Bolton’s tunes centre on the age-old themes of love and loss, others sarcastically critique modern American life. All maintain their sense of originality, in spite of the above comparisons.Travelling with Bolton is the perennially popular drummer Mark Lockett. Lockett, like Bolton, lives in New York, but for several months of each year, he travels as band-leader, (or as hired gun as in this case). Lockett was born in New Zealand and he always gets a welcome reception when he makes it back. Watch out on gig noticeboards for him. He has another tour coming up shortly and this time with an organ trio. On tenor saxophone and flute was Auckland’s Roger Manins, his swoon-worthy ballad chops manifesting in their full glory. Mostyn Cole featured on upright bass, a regular at the CJC and an able musician. We heard some tantalising snippets of arco bass from him – more of that, please.Dan Bolton (USA) (compositions, vocals, piano), Mark Lockett (USA) (drums), Roger Manins (tenor saxophone, flute), Mostyn Cole (upright bass). CJC (Creative Jazz Club), basement, Albion Hotel, downtown Auckland, 10th August 2016.
Last Wednesday saw the Venezuelan-born vocalist Jennifer Zea performing at the CJC. Her appearance was long overdue, the audience enthusiastic in anticipation of spicy South American Rhythms and the warm tones of the Spanish language in song form. When you look at where Venezuela sits on the map, you learn a lot about its music. Located in the northeast of South America, bordered by the Caribbean and by Brazil, positioned on a unique musical axis. Music blithely ignores the artificial barriers imposed by cartographers and politicians. Even Trump’s insulting wall could never be built high enough to stem musical cross-pollination. Music goes where people go, and remains as an echo long after they have moved on. Jennifer Zea is an embodiment of her country’s music; folk traditions, newer forms (Jaropo), Jazz, Soul, Bossa influences from Brazil and a pinch of Mambo, Salsa or Merengue.The Caribbean region is the prime example of musical cross-pollination; rhythms and melodies, vocal forms and hybrid harmonization, a constant evolution into new and vibrant forms while updating and preserving the discrete pockets of older folk music styles. A weighty tome titled ‘Music and the Latin American Culture – Regional Traditions’ makes two observations; the music of the Venezuelan region is mostly hot or vibrant (see the definition of Salsa) and there is a strong underlying tradition of shamanism (manifest in musical form). The hypnotic rhythms and chants remain largely intact according to Schecter. With percussionist, Miguel Fuentes backing her, Zea conveyed the compellingly hypnotic soulful quality of her traditional music to good effect. Fuentes was born in the USA but grew up in Puerto Rico. These days like Zea, he lives in Auckland. Music like this demands high-quality authentic latin percussion and that’s exactly what happened. Traps drums were not needed here. Regular Zea accompanist, Jazz Pianist Kevin Field was also in the lineup. Field plays in many contexts and his accompanist credentials are second to none. He has regularly worked with Zea and (like Fuentes) most notably on her lovely 2012 release ‘The Latin Soul’. If you have a love of Cubano or Caribean style music, grab a copy of this album. Even on straight-ahead gigs, I have heard Field sneak in tasty clave rhythms. If you want to hear cross-rhythms at their best – skillfully woven by Field and Fuentes, it is on this album. An added incentive are the compositions, mostly by Field and Zea (and Jonathan Crayford). On upright bass for this gig was Mostyn Cole, an experienced bassist now residing in the Auckland region.The gig featured some Zea compositions, three standards and to my delight some authentic Bossa. The Bossa tunes were mostly by the Brazilian genius Tom Jobim and sung in Portuguese (which is not her native language). Although Portuguese is the most commonly spoken language in Latin America, it is only the main spoken language of one country, Brazil. To learn Bossa she spent time with a teacher in order to understand the nuances and deep meanings. While respecting the Bossa song form she had the confidence to bring the music closer to her own Venezuelan musical traditions. Even her intonation was redolent of her region, unmistakably Hispanic South American.While hearing strong elements of Cuban or Brazilian music, North American standards (or a spicy salsa of the above) you also felt that each influence was deftly filtered through a Venezuelan cloth. Her rendering of ‘Fever’ (Cooley/Davenport) and ‘Georgia on my Mind’ (Carmichael) exemplified this. There was even a little Kiwi influence in there. I would like to think so because we all need happy music like this in our lives.
Jennifer Zea; (Vocals), Kevin Field (piano), Miguel Fuentes (percussion), Mostyn Cole (bass). CJC (Creative Jazz Club), Albion Hotel Basement, Wednesday 3rd August 2016.
Kevin Field has for many years been regarded as a phenomenon on the New Zealand Jazz scene. A gifted pianist and composer whose approach to composition and harmony is strikingly original. When you listen to many pianists you can hear their influences, discern the pathways that led them to where they are. With Field, those influences are less obvious. I suspect that this independence, originality, makes it easier for him to strike out in any direction of his choosing. On his ‘Field of Vision’ album, he moved into uncrowded space, one occupied by very few Jazz pianists. It was Jazz without compromise but utilising grooves, rhythms, and melodies of other genres. The music contained distinct echoes of the disco/Jazz/funk era, crafting it carefully and forging a new post-millennial sound.The tunes were all memorable and within a few listenings, you could hum the themes. This is not so common in modern Jazz and less so with music (like Fields) which retains its Jazz complexity. In Fields case, the clean melodic hooks do not come at the expense of harmonic invention. That is a tricky balancing act and one he achieves convincingly. His co-leadership of ‘DOG’ took him in a different direction again, but the same deftly crafted grooves astounded us. His recent album ‘The A-List’, was a further excursion into the disco/Jazz/funk realm. It is slightly tongue in cheek while still challenging the listener to think outside the square. Artists like this take the music forward, it is up to us to catch up.
The Kevin Field Group often meets up to work through new and old compositions – this work ethic is evident in what we hear. While personnel changes occur from time to time, the group has a core membership. Field, Dixon Nacey, Clo Chaperon, Cameron McArthur, and Stephen Thomas. While we heard tunes from recent albums there were also a number of new tunes on offer. The new material took his earlier conceptions further out, while the older material was cunningly reworked. I have heard this group a number of times and each time I hear them I sense the progressive momentum.They played at the Wellington Jazz festival recently and for many Wellingtonians, this was their first exposure to the group. I saw that show and I immediately noticed how the familiar tunes had subtly changed. ‘Perfect Disco’ with its energised danceable funk momentum was recast as a duo piece. Field and vocalist Chaperon wowed them with that number. We also heard this duo version last week. Other familiar tunes had developed into profoundly interactive exchanges. The sort that can only occur between highly attuned musicians. This is where the guitar mastery and the deep listening of Nacey came into its own. His Godin guitar soaring with stunning clarity while Field reacted in kind, urging them further out with each challenge.Again we see Thomas and McArthur doing what they do best. Working hard and rising to the challenge. Thomas laying down the tricky rhythms and while McArthur runs his bass lines. While pleasant to the ear, there is not doubt at all that these compositions required skill and concentration. It is on gigs like this that the musicians familiarity with the material and each other pays dividends. It was also nice to hear Chaperon on some new and old material. She is a real crowd pleaser – she looks great on stage and sings up a storm.Keven Field Group: Keven Field (piano), Dixon Nacey (guitar), Cameron McArthur (bass), Stephen Thomas (drums), Clo Chaperon (vocals), CJC (Creative Jazz Club), Albion Hotel 20th July 2016.
I can’t remember when I first became conscious of Polish Jazz, but after Tomasz Stanko, Poland was forever on my listening radar. After that, I would listen to Polish improvisers whenever I came across them, Wasilewski, Komeda etc, and all the more so when I discovered later in life that I was a quarter Polish. In light of the above, I was naturally interested when I came across an Auckland-based, Polish-born pianist Michal Martyniuk. He was standing in for Kevin Field at a Nathan Haines gig – around the time of “The Poets Embrace’ release. Since then I have seen him with various iterations of Haines’ bands but until last week, never at a gig where he was the leader. It is an oft-debated topic, but I sometimes hear references to time and place in original music. After hearing Martyniuk I could identify his northern European influences. When I asked the pianist about the artists he most admires, he quickly identified Lyle Mays and Pat Metheny (also Weather Report plus Miles and Herbie). The Metheny/Mays reference is definitely evident but sifted through a Eurocentric filter. Mays, although influenced by Evans never sounded like a typical American pianist. Martyniuk’s compositions and performance contain all of the hallmarks of modern Euro jazz, a sound I hear in the Alboran Trio, Wasilewski and younger pianists like Michal Tokaj. A warmer sound than the Scandinavian pianists but as light filled and airy. There is a beauty to Martyiuk’s playing, a stylistic identity. For such a young pianist to have located this special sound is impressive.Something that many post-millennial Jazz musicians avoid, is evoking a sense of beauty. I can understand that because it must be done well or not at all. It is the territory of balladeers like Ben Webster and the territory of artists like Metheny. This was done well. The compositions were cleverly constructed around developing themes and with nothing was rushed, allowing melodic inventions to manifest. The tunes were also cleverly modulated, subtly amping up the tension to good effect at key points. Like Bennie Lackner, he used electronic keyboards to enhance or emphasize a phrase, but very sparingly.Again we see a musician deploying a top rated rhythm section to good advantage. With McArthur and Samsom behind him, he again showed wisdom. He worked with them and they gave him plenty in return. Although we often see this particular bass player and drummer in diverse situations, they appeared very comfortable here. The overall effect was that of interplay and cohesion.
Martyniuk is often asked to play in Haines bands and he returned the favour here. Haines joined the trio for four numbers. This was Haines in a reflective mood, in spite of his status, fitting in comfortably. His beautiful soprano tone a good fit for these compositions and his richer tenor likewise. Again the arrangements created a particular mood. After the unspeakable ugly horrors in the world at present, it was a relief to hear such a gorgeous performance. A night of music to heal our bruised souls.Martyniuk came to New Zealand around ten years ago and he attended the Auckland School of Music. Along with producer Nick Williams, he is soon to release a Jazz infused Soul album which will feature internationally renowned artists like Kevin Mark Trail, Nathan Haines, Miguel Fuentes and others. Judging by the huge audience at this gig his future looks very rosy indeed. The Jazz club turned away dozens of attendees in the end. A good problem to have. Michal Martyniuk Trio (+ Nathan Haines). Michal Martyniuk (compositions, piano, keys), Cameron McArthur (bass), Ron Samsom (drums). The CJC (Creative Jazz Club), Albion Hotel basement, 13th July 2016.
When I started attending the CJC, I heard Peter Koopman quite often. He was always impressive, but never a showy guitarist. His approach matched his quiet demeanor, an easy-going manner obscuring a real determination to excel at his craft. Before long he moved to Sydney and although the local Jazz scene laments this musicians rite of passage, we also know it is the right thing. At best, these offshore journeys produce the Mike Nocks and the Matt Penmans, and we all benefit from that.
It is harder to track the progress of a musician once domiciled in another country, but news of Koopman’s milestones often reach us. Since he moved to Sydney in 2011 he has worked with a variety of bands; his own, and sometimes as a sideman. He has also placed himself in interestingly diverse musical situations and the learnings arising from these interactions are evident in his current compositions and playing.We have seen him back in New Zealand a few times during the last five years, but this is his first visit leading a guitar trio. As anticipated, we experienced a more mature Koopman, his guitar work showcasing well-honed skills. Australia is a merciless testing ground for improvising musicians and especially so for guitarists. Working in the same scene as Carl Dewhurst or James Muller, and holding your own, the proof of the pudding. In 2014 Koopman was placed 3rd in the Australian National Jazz Awards, which are held at Wangaratta each year. These awards are fiercely contested and that is no small accomplishment. The Inner Westies Trio for the New Zealand trip was Peter Koopman (guitar), Max Alduca (bass) and Stephen Thomas (drums). The guitarist and Bass player from West Sydney, the drummer from West Auckland. Alduca is a compelling bass player, and a drawcard on his own. He often includes a touch of tasteful arco bass in his performance. I last saw him when he toured with the ‘Antipodeans’, an innovative young ensemble, populated with musicians from three countries. Alduca made a hit then and reinforced our positive view of him this night. He has a number of gigs about Auckland aside from the CJC gig. A player bursting with originality and with a notable way of engaging with audiences. Nice to see him back and especially in this company.
In spite of his age, Stephen Thomas has long been established among New Zealand’s premier drummers. He is often a first call for visiting improvising artists. Although primarily a Jazz drummer he is as comfortable in avant-garde settings as in large rock auditoriums. This unit worked well for Koopman and his interesting compositions and new takes on old standards all sounded fresh. Koopman originals dominated the gig, often intensely melodic, modern sounding and at times with real edge. Among the standards, and the final tune was Joe Henderson’s ‘Isotope’; a warm rendering, with enough fire to melt the coldest night. Below is an original Koopman composition.
Peter Koopmans Inner Westies: Peter J Koopman (guitar), Max Alduca (upright bass), Stephen Thomas (drums). Performed at the CJC (Creative Jazz Club), Albion Hotel, 6th July 2016.
The Joni Mitchell/ Charles Mingus project is always ripe for reevaluation and I’m glad that Caro Manins was the one to explore it again. The connection between Joni and Jazz experimentalism runs deep. Rolling Stone Magazine figured it out early on, describing her as a ‘Jazz savvy experimentalist’. While the connection is obvious in her 1979 ‘Mingus’ album the move toward a freer music and towards harmonic and rhythmic complexity began earlier in the mid 70’s. Initially coming up through the American folk tradition, she gradually embraced a different style. She would later say, “Anyone could have written my earlier music, but Hejira (and later albums) could only have come from me”. From the 70’s on, she utilised her own guitar tunings and often incorporated pedal point, chromaticism, and modality in her compositions. If you look at her later musical collaborations, names like Jaco Pastorius, Herbie Hancock, and Wayne Shorter stand out.To her amazement at the time, a dying Charles Mingus asked Joni to call by. He told her that he had written a number of songs for her. Mingus passed before the completion of her project, but he heard all of the tunes except ‘God must be a Bogey Man’. Her ‘Mingus’ album followed soon after. “It was as if I had been standing by a river – one toe in the water. Charles came along and pushed me in – sink or swim”.
Taking on a project like this is more daunting than it may appear to the casual observer. Understanding that, Caro Manins got busy writing new charts. This is not the sort of gig that you just throw together; this is not a covers band. Joni tunes don’t always behave in expected ways, there is a high degree of abstraction, layers of subtlety, places where the tunes change direction under their own impetus. Doing the Mingus album justice is not for the faint-hearted. The listener tends to associate Joni Mitchel with her biting lyrics and adamantine melodic clarity. In reality, although accessible, her tunes pivot on clever musical devices. The end result here was well worth the effort. A genuine commitment to the project made this happen, imbuing it with the integrity it deserved.The project deserved a good lineup and it got one. Caro Manins, Roger Manins, Jonathan Crayford, Cameron McArthur and Ron Samsom. Crayford was especially interesting on this gig. His abstract explorative adventuring replaced by rich traditional voicings – his solos a history lesson; from locked hands chord-work to impressionistic delicacy. All of the musicians were respectful of Joni’s body of work and they understood that the best way to honour her legacy was by interpreting her work honestly and imaginatively. Not every tune came from Joni’s ‘Mingus’ album but all followed the Joni/Mingus/Jazz theme.The gig was very well attended (no surprise there) and the audience enthusiastic. This was a CJC (Creative Jazz Club) event and it took place at the Albion Hotel on 29th June 2016. Caro Manins (leader, arranger, vocals), Jonathan Crayford (piano), Roger Manins (tenor saxophone), Cameron McArthur (Bass), Ron Samsom (drums, percussion).