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Dan Costa was born in London to Portuguese and Italian parents. He has lived in eight countries. I mention this, because Dan is somewhat of a troubadour, frequently travelling from country to country and always absorbing the musical influences. He listens carefully, interprets, and then takes it to a new level entirely, and this
brings something essential to his music. It is not so much a sense of place but a sense of the world at large and its limitless possibilities. Nowhere is this more evident than in his second album ‘Skyness’. Check it out on the streaming platforms, and like me, you will return again and again. It is rare to encounter music with such heart-stopping beauty.
Costa is an interesting interview subject, partly because he is so well travelled, but also because he is expansive and erudite. In fact, he speaks eight languages and judging by his English, many fluently. He is an internationalist and an environmentalist. He is also an advocate for animal rights. All of the above illustrates the point that a good musician is not just about the notes. Character and lived experience are the ‘finishing school. This is refreshing to encounter.
Costa is deeply influenced by Brazilian Jazz, but I can detect other Latin influences like Flamenco and Fado. He is a thoughtful player who makes every note count. His voicings and time feel, especially at the slower tempos, are impeccable. It is no wonder that such fulsome praise is being heaped upon him by the likes of Jazziz, Jazz Word, Jazz Weekly, Musica Brasiliero, New York Music Daily etc.
And his collaborations with the likes of Randy Brecker, Seamus Blake, Hermeto Pascoal and the wonderful Ivan Lins have crafted wonder upon wonder. He creates such open vehicles; composed and arranged so as to invite maximum participation. The musicians he has worked with are quick to say so and their praise keeps coming.
His prior recorded output has set him on an interesting journey, so his newest album ‘Beams’ will be eagerly anticipated. It is about light in its different forms. With him on ‘Beams’ his core trio, John Patitucci and Paulinho Vicente, with guests Mike Stern, Dave Douglas, Dave Liebman, Anne Bocatto, Hermeto Pascoal and Teco Cardoso. The album teaser is posted here and I can’t wait to hear the rest of it. For information on albums and tours, go to his website www.dancosta.net
JL32 Good evening Dan. Thank you for giving me a few hours out of your busy schedule. As a traveller myself, I must say that I am impressed by how much of the planet you have covered to date.
DC Hi John, nice to connect, Yes, I have lived in eight countries and travelled to around 60 as a musician or tourist, but there is still a lot to see. It is an interesting world and I hope to live in more countries and to keep travelling. One of my friends is buying a house but I am not interested in that for me. I think that you need to live in a country for at least two years. That’s how you get to know the culture. It removes the fear of the unknown when you do that.
JL32 Increases empathy and negates racism right?
DC Exactly, music is also a multinational language and one that has many dialects but it brings people together. I like to associate the sounds I hear with colours. Harmony is just colour. I am looking at the painting behind you as we speak and I am immediately thinking of the French impressionist composers.
JL32 The painting is impressionistic and is of forest and sky. I love forests, the older the better.
DC Then you should visit the Amazon. When I was living in Brazil I spent some nights in the Amazon rainforest and in fact the title of my first album ‘Suite Tres Rios’ is inspired by the meeting of two great rivers in the Amazon. These rivers meet but keep their different colours. It’s a fairly unique phenomenon and it is a bit like my parents who each kept their unique cultures intact. That was my experience as I grew up. It was like two rivers meeting and when we moved to France or England new colours were introduced. Each keeps its essence but interacts. So the tunes on that album were inspired by the Amazon. For instance, one track is about the stars above the rainforest, the clearest stars I’ve ever seen.
And my album Skyness was inspired by the blue of Greek Island skies. The skies above the Greek Islands are different to other places. (We digress here into a long discussion on sky colours and rivers, so I recommend Cape Reinga where ocean and sea meet, as do the different colours touch each other)
JL32 Tell me about the Brazillian singer-songwriter Ivan Lins. I love his voice and I first encountered him on a recording with trumpeter Paulo Fresu and the Sardinian Jazz Orchestra.
DC I wrote to him asking him if he was interested in recording with me and I was pleased when he replied enthusiastically. He has written many great songs but we settled on ‘Love Dance’ which is one of the most recorded songs in musical history (everyone from Joe Pass, Quincey Jones, Sarah Vaughan and even Sting has recorded it). It is a love song and harmonically it has many interesting twists. He also has a house in Portugal so we recorded there and it was a nice experience as we recorded it in one or two takes. The studio was booked for two hours but most of the time was spent talking. He is a person who likes to be near different oceans or rivers. We had that in common, and we also connected because we like delving into musical styles.
JL32 And you collaborated with Randy Becker (check out the teaser on YouTube). I love that, he is another musician who has an affinity with South American music. Brazilian music is sometimes referred to as the ‘other swing’.
DC Yes, 1917 was the date of the first Jazz recording and also the first Samba recording. So with Randy Brecker, the tune was already recorded on my album ‘Skyness’ inspired by the feeling of closeness to Mediterranean skies and by the notion of international togetherness. I had originally recorded the tune solo, so I wanted to re-release it with Randy and he loved it.
JL32 What a great tune ‘Iremia’ is and how beautifully you both improvise around the melody lines.
DC So he came in on top and it was a special moment for me as he has played with some of the greatest stars in musical history. And many of the people who I recorded my first album with were also on his Grammy-winning album Randy In Brazil. The tune you mention is not Latin but the meaning of the name Iremia is peace in Greek. By coincidence, it was re-released at the moment the war started in Ukraine. It got quite a bit of attention, especially in Italy and it was featured on Sky News. This message of peace should be there at all times, but in times of war, more so. When I wrote it I was living on Paros in the Cyclades Islands, so it is about tranquillity and peace.
JL32 I must ask here. Do you have a working trio or involve different musicians in each project? Or to come at it slightly differently, is there a configuration that you prefer working with, solo, trio, quartet, or larger unit?
DC That is an excellent question. I am comfortable in all formats, in fact, the first concert will be in Hamilton with a big band. I have worked with orchestras but not with my music, but on every album, there is a different type of lineup. I enjoy that.
JL32 I love the tune ‘Skyness’, it is the sheer beauty and architecture of it. Those voicings, the time feel like your left hand is gently pushing at your right hand, conversationally, and by the time Seamus Blake comes in we are mesmerised.
DC My third album ‘Live In California’ was a solo album, my next album will be a trio with special guests. One month ago I recorded in New York with John Patitucci and I enjoyed that. But to answer your question, no particular format and I like to give a voice to everyone.
JL32 I saw Patitucci in a Roman amphitheatre, Verona, with Wayne Shorter, Danilo Perez and Brian Blade. Not an experience that I will forget. What’s the album called?
DC ‘Beams’ as in light, with John Patitucci and Paulinho Vicente as the core trio. The guests are Mike Stern, Hermeto Pascoal, Dave Douglas and singer Anne Boccato. Oh, and the saxophonist Tecō Cardosa, who is the only musician to appear on multiple of my albums. But I would record again with any of the above. I like the Brazilian percussionist Teco Cardosa very much. He is a multi-instrumentalist and plays flute, saxophone and percussion. There is really something special about him. He features in the piece ‘Compelling’ on the second album.
JL32 Yes an amazing and energetic track. People who don’t know this album or that piece need to check it out ASAP (on streaming platforms. Sadly, the physical album is hard to find but I located one).
DC I created a video for World Earth Day which is on my website. That was recorded with Teco on the flute. It is one of my favourite pieces as I really like the fusion of the flute and piano. What do you think about that combination?
JL32 Flute and piano and flute over a modal groove interests me greatly. Although it was always a significant presence in Brazilian Jazz, in American Jazz over the second half of the twentieth century the flute was often regarded as an instrument lacking sufficient expression. People who said that were clearly not paying attention and had not listened closely to Yusef Lateef, or Bennie Maupin. It is now regarded as an essential primary instrument as a renewed interest in Spiritual Jazz is evident. Yes, I love the combination.
DC I have several passions and interests beyond music. Things I have studied at University. I have worked as a language educator, I also studied philosophy for a time and history, both of which are interests of yours, I think. I’ve also worked a lot on environmental issues and especially animal rights. I am a vegetarian. Environmental aesthetics is extremely important and often overlooked. The environment and not only in the ecological sense but in everything that we do. And all of this is linked to my music. They are not separate worlds.
The new album is called Beams because it is a celebration of light in different forms, the light that shines too and from you. The album refers to physical light for example, the tune ‘Star Dial’ which I recorded with Dave Liebman. Then there is also the more metaphysical light. The light which shines from Animals. I wrote a tune called ‘Paw Prints’ when I was living on Pados, written for a dog that I saw mistreated (a homophone and play on the Shorter standard Foot Prints). And then a tune with Mike Stern called ‘Sparks in Motion’ which is about celebrating the city, the light of a city.
JL32 When you release an album, do you have a preferred label?
DC Self-release gives me my independence. Berkeley these days teaches musicians to do it for themselves and learn about the business that way, rather than waiting for a manager or a label to snap you up. Ethics and proper respect for music should be the impetus. Commodification makes an art form into something else.
JL32 Well, we’ve been talking for hours and I know it’s late there. Thank you for your insights and for your music. I have enjoyed it and I hope that your tour goes well. I am sure that anyone listening to your music live will be as delighted with it as I am.
DC I hope to see you at the concerts, John.
JL32 Ki kite
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This was Ventling’s first gig for the CJC Creative Jazz Club and it attracted a large audience. They poured through the doors escaping the evening’s heat; needing cool and finding it. The venues piano is not without its challenges but on this night it sang sweetly. Partly because it had just been tuned but it was mainly because of Ventling’s sensitive touch. Many pianists tend toward the percussive in a larger room, but this programme required subtlety, room to breathe. The set-list tunes were well crafted and with a heavier touch, the expressiveness would have been sacrificed. We don’t get too many piano trios through and this trio operated as the best of them do. The musicians listening to each other, reacting, and playing as if they were one entity. It is almost impossible for this level of communication to occur unless a trio has been together for a time, and in this case, they were not only long term bandmates but on the last stop on the tour.
I was barely off the plane and my brain was full of dense fog, no doubt a legacy of San Francisco Karl who had been circling me like a spectre for a good month. I gamely fought the malaise off and because I am a creature of habit, dutifully made my way down to Auckland’s CJC Creative Jazz Club. In my experience, it pays never to miss a live improvised music gig, because if you do, you risk bitter regret. Believe me, I often lie awake lamenting a missed chance to see John McLaughlin.
A while ago the program director of the Creative Jazz Club, Roger Manins mentioned that he had booked a great young group from Christchurch to appear in the emerging artist’s slot. He went on to say that many of these young emerging artists were so good that he was considering renaming the slot, something like ‘young guns’. He was right. Ocelot exuded easy-going confidence, uncommon in younger players and by the second number they owned the bandstand; navigating some slippery lines with disarming ease and swinging. This was a tight unit and it was obvious that they had put in the necessary work beforehand. That gave them the freedom to relax into the music and the results were evident.
This Dixon Nacey album has long been anticipated and although Nacey has previously recorded as co-leader, this is the first album to be released exclusively under his name. Nacey is firmly on the radar of Jazz loving Kiwis, but his fan base extends well beyond that. He is a professional musician of considerable standing, an in-demand teacher and in recent years the musical director of CocaCola Christmas in the Park. To up and comers he is a guitar legend and on this album, they have something to aspire to; twenty years of experience distilled into excellence.
Canadian Jazz guitarist Keith Price is a welcome addition to the Auckland scene. He brings with him fresh ideas and a musical connection to his hometown. Manitoba is associated with Lenny Breau and Neil Young who both grew up there. Perhaps it’s the proximity to the open spaces which echo in the music, that wide-open sound (and in Young’s case an overlay of dissonant melancholia)? Whatever it is, it certainly produces distinctive musicians. Lenny Breau is an important Jazz guitarist and one who is sadly overlooked, Hearing Price’s respectful acoustic homage on Wednesday, cast my ears in that direction again.
Post Trump’s inauguration, improbability is the new normal and in keeping with the mood of the times Wednesday’s gig emerged from improbable beginnings. It began with an international cat rescue mission, an attempt to thwart a ‘catricidal’ former neighbour. Before the mission had even been concluded a subplot had emerged; one involving the inhabitants of three cities, two countries, and assorted sharks. Those familiar with Reuben Bradley will not be surprised at this turn of events as he’s known for his humour, good nature and above all for his ability to turn improbable adventures into really good music. ‘Shark Varieties’ is a drummer led trio and a vehicle which showcases a bunch of the leader’s original tunes. It also showcases a joyful reunion.
Louisa Williamson is a gifted young tenor saxophonist who has visited Auckland on previous occasions. This time, and for the first time, she visited as a bandleader, showcasing her beautiful compositions. I have always admired her tone and improvisational abilities, but this was a step up. Freed from the comfort of a band she knew well, she cast herself among an array of experienced Auckland musicians. Stephen Thomas on drums, Tom Dennison on bass and Michael Howell on guitar. The only Wellingtonian (besides Williamson) was pianist George Maclaurin and together as a band they delivered. This was engaging straight-ahead Jazz.
The history of music is the history of instrument development and from the earliest of times, musicians have expanded the reach of their instruments. The mother of instruments, Al’ Oud was first documented 3500 years ago, but documenting the development of the drum is a nebulous task. It almost certainly arose in Africa and along the way it has undergone a multitude of modifications. On Wednesday there was another waypoint along the continuum under the forward-looking beats of Stephen Thomas. Thomas is a gifted drummer and percussionist and in his hands, the instrument takes on a new life by transcending the mundane. The gig arose out of his last years Masters recital and the focus was on extended technique; combining physical drum rhythms, electronics via a drum pad, prepared drum heads and samples.
The Melbourne group Spirograph Studies was exactly as described, modern and eclectic. In this quartet, there were no horns to carve out melodic lines. Instead, a guitar and piano spun intricate layers one on the other, focussing more on well-crafted motifs and harmonic development. There was melody but it was mostly implied, nestling comfortably among richly dissonant textures and emerging out of the subtle interplay. It was often voice-led but not as we know it and the overall effect was beguiling. 
Music is the highest form of communication. It is universal. It reveals truths, tells stories, entertains, and in Mark de Clive-Lowe’s case, it evokes other realities. This was a masterclass in storytelling; an unfolding kaleidoscope where the contradictions and sublime realisations about the human condition were brought into focus. ‘Heritage 1 + 2’ the albums reflect his personal story, a journey of reconnection, an exploration of culture and of family history. He revealed it through moments of spoken narrative, but above all through his reverential musical examination of Japanese art forms. This was a musical journey where the highly personal overlapped the philosophical. It was a journey back to his Jazz roots and undertaken entirely on his own terms. 
Subject to availability, Richard Hammond is the kind of bass player that you would consider first for an important gig or recording.
Two bass, two drummer gigs while not unknown usually occur in service of a chordal instrument or of a horn line, and when a solo bass concert occurs, an audience is frequently shown ‘cleverness’. On this occasion, the bass of Elsen Price freed the instrument from the narrow confines of the standard rhythm section or the conventional solo bass repartee; instead, exposing the beautiful resonances and the reach of the instrument. This was sublime music and complete unto itself. It celebrated a gifted musician and a wonderful instrument but without displays of egocentricity. The feat was achieved by inviting us inside the music, and into a sonic cornucopia. We listened and we were captivated.
It was four years ago and almost to the day, that Kushal Talele was last at the CJC. Then, as now, he had just returned from a long period overseas. I heard him for the first time then and I was impressed. That was in the cellar of the 1885, a place now a fond but distant memory. A few days ago he returned to the CJC and although he played with a different band, his unmistakeable upwards trajectory was evident. There is nothing unduly flashy about Talele as he radiates calm and absorption. At the microphone, he talks quietly, but there is passion in those subdued tones.
Brad Kang has previously appeared at the CJC, but this time he was here with his own quintet. It is not too much of a stretch to say that most emerging Jazz guitarists during the last decade have demonstrated a liberal dose of Kurt Rosenwinkel in their playing. It is in their sound and their approach to melody and it was unmistakable with Kang. That clean bright tone and the fluent unison lines as he and saxophonist Louisa Williamson ran through the head arrangements.
Anything that Jeff Henderson is associated with is likely to be intense, mind-altering and extraordinary. No matter how prepared you think that you are, you should understand that your head will be fucked with. When you factor in Tom Callwood, Anthony Donaldson and Daniel Beban the Henderson effect is magnified exponentially. This music is powerful stuff as it sweeps aside genres as irrelevant distractions. When confronted with a gig like this you abandon preconceptions, as the sonic smorgasbord jolts you out of complacency. It is also a visual experience and Fellini would have signed these guys up in a heart-beat.
The original
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