Beyond category, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Fusion & World

Mark de Clive-Lowe ~ Heritage Tour

De Clive-LoweMusic is the highest form of communication. It is universal. It reveals truths, tells stories, entertains, and in Mark de Clive-Lowe’s case, it evokes other realities. This was a masterclass in storytelling; an unfolding kaleidoscope where the contradictions and sublime realisations about the human condition were brought into focus. ‘Heritage 1 + 2’ the albums reflect his personal story, a journey of reconnection, an exploration of culture and of family history. He revealed it through moments of spoken narrative, but above all through his reverential musical examination of Japanese art forms. This was a musical journey where the highly personal overlapped the philosophical. It was a journey back to his Jazz roots and undertaken entirely on his own terms.  

At least twenty years have passed since I last heard MdCL perform in Auckland. Back then he was regarded as a youthful Jazz prodigy and people flocked to hear him.  Accompanying such acclaim comes expectations and that can be a straight jacket. It was the era of the media-hyped ‘young lions’, when up and coming Jazz musicians were expected to showcase standards and reclaim a glorious past. While the die-hards repeated their time-worn mantras, something else bubbled beneath the surface; musicians like MdCL shucked off others expectations; in his case moving a world away to engage with the hybrid music/dance scene in London. From there he moved on to LA where he built a solid and enduring reputation. These days Auckland has a flourishing improvised music scene and audiences value innovation. In this space, Jazz and other genres merge effortlessly. Because of that, it was exactly the right moment for MdCL to bring this project home. Auckland heard the call and the concerts reached capacity club audiences.   

When MdCL introduced the sets he talked about his childhood and of cultural disconnection. Experiences like this although disquieting feed the creative spirit. The recent album and the tour follow a time spent in Japan where he immersed himself in his mother’s culture. The album opens with ‘The Offering’ an apt and beguiling introduction piece. Like a ritual washing of hands before a tea ceremony, a moment to sweep away preconceptions. Another standout honoured his mother by evoking her family name. ‘Mizugaki’ is perhaps the most reflective and personal tune of the sets. This cross-cultural feel is evident from the opener to the tunes which follow. While the scales and moods speak of Japan, the interpretations belong to an improviser. Throughout, MdCL maintains this fine balancing act. Evoking the unique moods of the haiku or ink wash. Illusory moods that are best described in the Japanese as no English phrase is adequate. And to all of this, he brings his lived experience. A kiwi-born musician with a foot in many camps.

With the exception of two traditional folk tunes, the compositions (and arrangements) are his own, other elements of his musical journey are also evident: tasteful electronics, drum & bass, Jazz. For copies of the two albums and MdCL’s other recordings go to Bandcamp (links below). Perhaps we can lure him back more often as he certainly has a following here. On the New Zealand leg of his tour, he was joined by Marika Hodgson on electric bass, Myele Manzanza on drums (and in Auckland by Lewis McCallum on flute and alto). The Kiwi contingent sounded good alongside MdCL and for a return-home tour, there was a rightness to utilising Kiwi musicians. I have posted a tune from the Auckland gig titled ‘Silk Road’. The Silk Road carried music, ideas, goods and culture, travelling by any means and from Japan to Spain; and now New Zealand.   

https://markdeclivelowe.bandcamp.com/album/heritage

https://markdeclivelowe.bandcamp.com/album/heritage-ii 

Heritage (Auckland): Mark de Clive-Lowe (keys, electronic wizardry), Lewis MacCallum (alto saxophone, flute, effects), Marika Hodgson (e-bass), Myele Manzanza (drums). CJC Creative Jazz Club, Anthology, K’Road, 4 September 2019.

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Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians

Richard Hammond + Friends

R HammondSubject to availability, Richard Hammond is the kind of bass player that you would consider first for an important gig or recording.  He is known for his musicality, authenticity and above all for his deep groove. His upright-bass chops are immaculate, deep in-the-pocket; his electric bass, as punchy as a kicking mule. It is therefore unsurprising that he works among the elite ranks of New Yorks first-call session musicians. He also gigs around NYC, tours with well-known vocalists and works on shows like Hamilton.  Sometimes, when the luck falls our way, he visits Aotearoa. This time he returned primarily to play bass at Nathan Haines ‘Shift Left’ Civic Theatre gig.  The above show has garnered rave reviews. 

Hammond has real presence and his human qualities shine through all that he does.  I refer there to his warm and engaging persona, his instinctive friendliness and generosity. I mention those qualities because they appear to inform his playing. In his case, the man and his music are as one. Of late this has been a theme in my posts. I find myself increasingly looking inside the music to see if I can locate the human being behind the instrument. Seeking a musicians ability (or inability) to show us something of themselves. Such a manifestation can change a listeners perception and with improvised music, it is the bread and butter of good interactions. Hammond spends most of his time in the studio but he has never forgotten these essential communication skills. In live performance, this can be critical. It could be termed as ‘character’ and inevitably it feeds musical choices. A room filled with notes is one thing, but a room bubbling with musical life is quite another.

The setlist was a tribute to Hammond’s homeland. Apart from the two tunes written by a US musician, the rest were composed by Kiwis.  It was great to hear these tunes reprised and especially with a fresh and fired-up lineup. The most significant contributor was Kevin Field whose talent for composition and arranging is well known. Nothing appears to unsettle Field. At one point the sound was lost from a monitor (and from the piano). He immediately moved to the Rhodes and as usual, played at the top of his game. I have posted the version of his tune ‘Good Friday’. A familiar tune with numerous iterations but perhaps, never played as joyfully as this; the bass lines from Hammond giving it supersonic lift-off. 

The band were Richard Hammond (electric and upright bass), Kevin Field (piano and Rhodes),  Michael Howell (guitar),  Roger Manins (tenor saxophone), Stephen Thomas (drums) and guest vocalist Marjan. Together, they celebrated aspects of New Zealand improvised music’ much of it upbeat and funk orientated. Marjan showcased some of her own tunes plus a well known New Zealand tune ‘Brown Girl’ which had been reimagined as a Jazz tune by Kevin Field (more on that in a future post). 

This is Hammonds third visit home in as many years and I hope that he makes it a regular fixture. We seldom hear electric bass like that.  The gig took place at the CJC Creative Jazz Club, Anthology, K’Road, Auckland, New Zealand on 21 August 2019

Anthology, Avant-garde, Beyond category, CJC Creative Jazz Club gigs

Elsen Price (Aust)

Elsen Price (5)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.

Life is full of unexpected sonorities and if we believe ourselves to be familiar with them all we are deluded. It is a paradox of modern life that popular music, while prolific, is cursed by formula-driven compositions. On Wednesday, Price and his ensemble teased the new from the familiar. Each instrument adding colour-tones and texture. Hands, fingers, ‘broom’ sticks, standard sticks, mallets, all deployed to good effect. Clicks, taps, scrapes on parchment, rim shots, gongs, bells and balloons under cymbals. And Price leading the way; a conduction answered by each musician and often in unison; acts of collective intuition. 

It is rare to hear Jazz arco bass played so well, it filled the room and swelled, but during the pizzicato passages Price was equally stunning. He is clearly a master technician but this was not about chops. He oversaw the ensemble as a true democrat, giving space and responding to the others. The first set was solo bass. Here Price showed us the breadth of his vision. He employed a looper peddle and would set up a drone or a motif. He would play counterpoint, either arco or plucked, sometimes creating a second loop over the first. He did not rely overly on the live samples, but harnessed them for discrete passages and always under his precise control. 

What we experienced in the second set were energised permanences by Price and his ensemble. Each revealing in their own way what lay deep within the music. That particular set ran a full hour and without interruption. It was a composition for improvisation but with no music on display and as far as I’m aware, no prior rehearsal. Price guided them with gestures or by changing pace. For these types of gigs to work well, the combined energies must feed a room. Music like this leans heavily on interplay, an intuitive reading of cues and deep listening by the musicians. Such high wire acts can easily falter, but this didn’t. That the terrain was navigated so effectively is because the right people were in place on the bandstand. 

Besides Price, on the second bass, was Eamon Edmundson Wells. Although the youngest member of the ensemble he is well versed in playing avant-garde situations. He would be among the first you go to for anything adventurous and he always delivers. On drum kit was Ron Samsom and it was pleasing to have him on this gig. Nothing daunts him and he has few stylistic limitations. He clearly relished the opportunity to play in the ensemble and to interact with another drummer. As he initiated cymbal scrapes, tapped with mallets and scuffed the ‘broom’ sticks the textures richened. This was colourist drumming of the best kind; extending the kit beyond the role of mere timekeeping. On hand drums and percussion was Chris O’Connor; the drummer most often seen in line ups like this. His ability to move seamlessly between genres is legendary; in these situations, he adds inestimable value. With O’Connor you get an ‘Art Ensemble of Chicago’ experience; all the tiny bells and gongs and with each one appearing exactly where it should for best effect.

Gigs like this can sometimes be difficult for audiences, especially those unfamiliar with a freer type of music. In this case, the audience showed enthusiasm, obviously enjoying the experience.

Elsen Price (upright bass, looper), Eamon Edmundson Wells (upright bass), Ron Samsom (drums), Chris O’Connor (drums, percussion) @ Anthology, CJC Creative Jazz Club, Auckland 14 August 2019

Anthology, CJC Creative Jazz Club gigs, Straight ahead

Kushal Talele

Kushal (3)It was four years ago and almost to the day, that Kushal Talele was last at the CJC. Then, as now, he had just returned from a long period overseas. I heard him for the first time then and I was impressed. That was in the cellar of the 1885, a place now a fond but distant memory. A few days ago he returned to the CJC and although he played with a different band, his unmistakeable upwards trajectory was evident. There is nothing unduly flashy about Talele as he radiates calm and absorption. At the microphone, he talks quietly, but there is passion in those subdued tones.  

It is especially evident when he plays, as you are taken directly to melody and it’s heartfelt melody carried on his distinctive sound. There were many influences evident last time, but on this gig one thing was clear. We were now hearing something closer to a modern New York tenor sound; the tonal qualities, the clarity of articulation when in full flow. On ballads, however, there was a hint of vibrato and at the end of phrases, the merest whisper of breath. Taken as a whole package, these stylistic approaches are appealing. 

Talele does not play at high volume, or at least he didn’t on this gig. He stood back from the microphone and this emphasised a number of acoustic subtleties. Small flurries, slight changes in modulation, nothing demanding greater amplification. Playing at lower volume allowed for more interplay and the conversations between instruments were more nuanced. There was however one uptempo number and to everyone’s delight, that channelled a bebop vibe. 

Talele’s compositions were also noteworthy and most of the tunes we heard were originals. In all of those, it was the melodic arc which grabbed your attention. Harmonically, they leaned toward romanticism, but every voicing was in service of the melody. Reinforcing this was his rhythm section, drawn from among the finest that Auckland has to offer; Kevin Field, Olivier Holland and Ron Samsom. Having the piano away from the bandstand is at times a little disconcerting, but Field always makes the best of any situation. He made that white piano sing and because the sound was well mixed, the proximity of the piano was not an issue.

This was an enjoyable gig and I hope that Talele gets to stay a while. New Zealand and Australian saxophonists are gradually developing their own distinct thing. They absorb what they hear elsewhere and bring an antipodean perspective to it. Perhaps a bit of the Chris Potter vibe, so evident in players like Talele will accelerate that process. 

Kushal Talele (tenor saxophone), Kevin Field (piano), Olivier Holland (upright bass), Ron Samsom (drums). The gig took place at Anthology, CJC Creative Jazz Club, Auckland 7 August 2019.   

Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Post Millenium

Brad Kang Quintet

Brad Kang @ CJC (1).jpegBrad 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.

His compositions were vehicles for showcasing a formidable technique and the tunes were internalised, allowing him to play the sets with barely a glance at his charts. It is common for older and more experienced musicians to internalise the music, but less common for younger musicians who like to keep the charts close at hand.  Kang’s confident familiarity with the music paid dividends for him.

Kang and Williamson are a natural fit; not only when they run those tight unison head lines, but also during solos. Williamson adding a necessary weight to counter-balance Kang’s guitar, which mostly traverses the higher register. On stage, Williamson tends to hide behind the horn, giving little of her self away. That is, until she solos. Then, she’s suddenly authoritative and an expansive storyteller. Her tone rich and her fluency beyond question.

Unlike Williamson and Kaa, the pianist George Maclaurin was new to the audience as were bass player Hamish Smith and drummer Hikurangi Schaverien Kaa. They hail from either Wellington or Christchurch; part of a nationwide and pleasing renaissance invigorating the New Zealand Jazz scene. 

Since his return from North Texas where he studied previously, Kang has become a fixture on the Wellington and Christchurch Jazz scenes. This New Zealand tour will be his last for a while as he is moving to New York shortly to study at the Manhattan School of Music.  When he returns, his musical journey can be updated and he will no doubt share that with New Zealand audiences.  

Brad Kang Quintet: Brad Kang (guitar), George MacLaurin (piano), Louisa Williamson (tenor saxophone), Hamish Smith (bass), Hikurangi Schaverien Kaa (drums), at Anthology, CJC Creative Jazz Club, 24th July 2019. Photograph by and with thanks to Barry Young.

 

Anthology, Beyond category, CJC Creative Jazz Club gigs, experimental improvised music

The Melancholy/Stinging Babes

Melancholy Babes (2)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.

There was no music on the stands, one break and there were no announcements. The music followed its own momentum and created its own time. In some sections you were confronted with reedy screams, while in others you heard languid whispers; hinting at some lost illusory past; one located just outside the edge of memory. There was of course structure, but that was determined by the music’s inner logic. It reminded me of a recent Wayne Shorter performance where he purged any semblance of song form; removing structures that impeded the flow, leaving the audience with just music; a vessel inside which the musicians could move freely. Intuitive interaction is the foundation of all improvised music. In this case, the music was a river in flood, an elastic entity, following an old course or cutting a fresh channel at will. 

There were two tunes in the first set (one a Parker number delivered with the essence of Ornette presiding). The overall impression was of one piece of music with a number of moving parts. As the parts formed, some felt familiar, but where you ended up was generally somewhere unexpected. This was a chimeric journey and like children watching a cartoon for the first time, we lived entirely in each moment.  Modern music audiences are dumbed down with endless nonsense; the old trope that music can only be swallowed in discrete recognisable chunks. This music made no concessions to that or any other populist view and nor should it. Many who attended last week were unfamiliar with the avant-garde, but they didn’t need to be told what it was about. They didn’t need an explanation, to know that it belonged to this or that genre. The proof was in the reception. People sat there totally absorbed and because the experience was all-encompassing, 2 1/2 hours flew by.

Jeff Henderson plays the role of a dark shepherd on New Zealand’s ‘out-music’ scene. He composes astonishing music and plays many instruments; among them the seldom heard ‘C’ Melody saxophone. He has frequently collaborated with greats like Marilyn Crispell. Next is Tom Callwood who is often a collaborator of Henderson’s. If you needed a peg to hang his bass playing on, then you might say that he has a Charlie Haden sound (early Haden). He is one of the finer bass players I’ve heard and it’s our loss that he doesn’t live in Auckland. Anthony Donaldson is another hero from the alternative and avant-garde music scene. He’s known for his interactive, sensitive and melorhythmic approach (OK, I made that word up). He is acknowledged as one of New Zealand’s finest drummers and his influence is widespread. Joining the above-mentioned artists for the second set was guitarist and experimental musician Daniel Beban. He is the current Douglas Lilburn Research Fellow and is also at the forefront of the Wellington experimental music scene. His ‘Orchestra of the Spheres’ takes SunRa’s approach to a new level.

Melancholy/Stinging Babes: Jeff Henderson (baritone, alto, C melody, tenor saxes, clarinet). Tom Callwood (upright bass), Anthony Donaldson (drums), Daniel Beban (guitar). The gig was held at Anthology, K’Road Auckland, CJC Creative Jazz Club, 17 July 2019. 

Anthology, CJC Creative Jazz Club gigs, Post Millenium

A Love Requited~Myele Manzanza

Manzanza1.jpg

The Myele Manzanza ‘A Love Requited’ gig opened with a heart-stopping rendition of his tune ‘Ritual’. As the leader’s beats drove out the grey of winter, it left no room for doubt; this was a drummer gig. He moved his body to the music and rained down rhythms and everyone was mesmerised. As drummers move, their feet and hands blur and dance, but few move their upper bodies like Manzanza. This gig was all about sublime motion; kinetic transportation into pulsing parallel worlds. It was very ancient, eternally present, and futuristic. As he bent close to the kit or circled the snare he looked like a hawk circling his prey. This was different drumming and while it was firmly rooted in Jazz, it also mined deeper timeless roots. It also felt intensely personal.

With him on the New Zealand leg of the tour were genius pianist Jonathan Crayford and the powerhouse Wellington bass player Johnny Lawrence. His bandmates needed to be chosen well, because what was on offer was not your usual piano trio music. Everything about the compositions centred around the percussive and was juxtaposed against compelling rhythms; whether soft or loud, piano or bass. Powerful ostinato patterns established, evolving into figures or melodic lines before turning back on themselves. This had the effect of intensifying the vibe and drawing the audience deeper into the soundscape. The drums on the gig were often loud and at times really loud, but when the quieter more reflective passages occurred the intensity remained.  

Manzanza is the son of a Congolese master percussionist and the name Manzanza derives from beat out rhythms. All of that is implicit in his compositions, but it is also a doorway into a bigger story. ‘A Love Requited’ is also about fine composition and superb arranging. Out of that rich rhythmic brew and long evolving history comes an album filled with surprising subtlety. The album is well mixed and the individual players in the ensemble are given ample room to breathe. There are various arrangers credited and all serve the music well. That said, Manzanza arranging Manzanza is what stands out for me.

The album features a medium-sized ensemble with additional players appearing on certain tracks. This band has connections far and wide but it is mainly an Australasian affair. Manzanza and Jake Baxendale are from New Zealand as is ex-pat Mark de Clive-Lowe. The remaining band members, mostly Australian, feature talents such a Matthew Sheens (full personnel list below) and co-producer Ross McHenry. A number of the above musicians are either resident in or regular performers on the USA scene.

If you get a chance, catch the live gigs. More importantly, grab a copy of the album as it is one that you will want to keep on hand for repeat plays. The best option is to visit Bandcamp, where you can order a physical copy or grab an uncompressed download; available in many high-quality formats. In the nineteen fifties Ellington and Strayhorn penned a suite titled Such Sweet Thunder. They were referencing Shakespeare’s ‘A Midsummer night dream’; the full quotation being, ‘So musical a discord, such sweet thunder’.  Such sweet thunder certainly applies to this album. 

Myele Manzanza Bandcamp

‘A Love Requited’ Auckland: Myele Manzanza (drums, leader), Jonathan Crayford (keys), Johnny Lawrence (bass). CJC Creative Jazz Club, Anthology, K’Road, 10 July 2019

Album: Myele Manzanza, Matthew Sheens, Jake Baxendale, Ben Harrison, James Macauley, Jason McMahon, Adam Page, Django Rowe, Mark de Clive-Lowe, Brenton Foster, Jack Strempel