Passells/Howell/Deck

This trio has been around for a while, but the musicians are all active with a variety of other projects. They frequently appear as sidemen and they first teamed up during their Auckland University Jazz School years. Passells has been teaching, composing, appearing as an altoist (and a drummer), and adding his skills to some adventurous and diverse projects. Howell is a member of various bands, such as the Jazz Tui nominated Alchemy and the Jazz Tui Award winning GRG67 who launched their second album recently. It was reviewed on this site. Deck is a gifted and versatile drummer and his work as a member of the much lauded Indie Pop group The Beths is as noteworthy as his Jazz offerings.  He is also a member of GRG67.

 As a composer and a performer,  Passells takes a path less followed. He’s a melodicist and often appears in units where the arc is not reliant on chordal harmonies.  This moves the attention to melody, and most of all, it reveals his lovely tone. The alto is an unusual instrument in this regard, as its tonal qualities can alter markedly, depending on who plays it. Perhaps, because it is aligned so closely to the human voice? It has also been suggested that the airway of an alto player can exert a stronger influence than with other horns. While a tenor can also be individualised, it is more inclined to speak on its own terms. Passells alto voice is distinctive,

There was no bass with this unit and without such anchoring, the melody lines seemed to float unencumbered. When the alto was playing the guitar would either play unison lines, lay out or provide timely interjections. The reverse occurred when Howell played. The drums however, were a solid presence and provided continuity and momentum. As a result, the tunes felt conversational and at times, thoughtful. And the ears followed the musical dialogue easily, in spite of the elided grammar. Passells introduced the tunes as he usually does and his trade-mark humour was evident. He has an easy going banter, often self-deprecating, and laden with random references.

The band played in near darkness which provided atmosphere, but made filming a difficult proposition. By the second set, the lighting had improved slightly and I have posted a tune from that set. The tune I posted is interesting, as there are frequent unison lines played, with guitar and alto speaking as one. It is reminiscent of Marsh with Konitz, but the drums pull the music in a different direction. Out of that confluence come interesting tensions. This is ripe territory for a group of this configuration and the seasoned listeners picked up on the various references. 

Callum Passells (alto sax), Michael Howell (guitar), Tristan Deck (drums)

The gig took place at Anthology K’Road, for the CJC, Auckland 22 July, 2020

GRG67 ~ Happy Place

The first gig after lockdown restrictions brought a record audience to the Creative Jazz Club.  Now, a week later, with a second gig achieving similar results, it is obvious that the thirst for quality live-improvised music in Auckland has not been dented. And what better way to whet the appetite than with the 2019 Tui Award-winning band, Roger Manins  GRG67. This is a truly magnificent quartet and it occupies a special place in the lexicon of Kiwi improvised music. Sitting at the juncture between free and inside, and doing so with an ease that pleases everyone.

Roger Manins is a drawcard and the highest level of playing is always expected of him. His long years of playing on the bandstand, and often in challenging situations, has honed his craft to a fine point. To burnish his already impeccable credentials he has now added a Doctorate of the Musical Arts to his resumé. Most of the compositions and arrangements on the album are Manins, but as with the previous GRG67 album, there is also a tune by Mostyn Cole featured. 

The GRG67 album The Thing won a Jazz Tui, but the band has not rested on its laurels. Happy Place is not just more of the same. On this album, the writing and playing have taken on an additional edge. It explores form in many oblique ways and then roams into freer air. They sounded cohesive before, but now they sound even more so. There is new confidence to their playing and it is nowhere more evident than with guitarist Michael Howell. 

Howell has long shown such promise and it is pleasing to see it realised. He took obvious delight in sparring with Manins and his solos were masterful. Tristan Deck on drums likewise. His role here was to stretch the ensemble, to urge them on when the moment called for it. He achieved that while never losing sight of his interactive role. Deck has many irons in the fire, but I wish we saw him playing here more often. On electric bass was Mostyn Cole, a regular bass player at CJC gigs. He is reliable and experienced and one of an elite group of first-call bass players when an overseas artist is in town. In this band, he was liberated from that role and his obvious delight in the music shone through. 

I have posted a clip titled ‘Frizz’ which is deliciously melodic. Listen to more tracks on Rattle Bandcamp, and if you do, purchase a copy. The tight unison lines on MayWayDay will blow you away and the free-spirited Shoint 67 will groove you to your soul. 

There were no weak links in this chain. They wove in and around each other and fired off crazy lines over urging pulses, and from the safety of our chairs, those present swayed along. This was also our happy place. So this is where Jazz sits in 2020. Forward-looking, but bringing the old into bright fresh spaces, and doing so without contrivance.  

Roger Manins (tenor saxophone)

Michael Howell (guitar)

Mostyn Cole (electric bass)

Tristan Deck (drums)

https://rattle-records.bandcamp.com/album/happy-place

Griffin / Chisholm / Meehan

Norman Meehan and Hayden Chisholm are always well received when they perform at Aucklands CJC Creative Jazz Club. There have been various iterations of their line ups over recent years and all of them compelling in different ways. The Unwind quartets attract big audiences and rightly so. This particular band was co-led by Chisholm, Meehan and Griffin, with Julien Dyne and Cameron McArthur rounding off the quintet. I was particularly delighted to see Hannah Griffin on the bill, as she occupies a unique and interesting musical space among improvising vocalists. The gig showcased iconic twentieth century New Zealand poets and Griffin’s impressive vocal skills were exactly what was required.   

Jazz lovers of a certain age often categorise vocalists according to how well they enunciate their lines. Whether that is important or not is debatable and it depends very much on context. I am generally more focused on phrasing and time feel and I like to hear a word stretched to fit an interpretation. If it’s a standard, then we know the words and having them messed with is part of the joy. I also listen to a lot of wordless vocal improvisors like Sidsel Endresen. 

When it comes to interpreting poems though, the clarity of the words does matter and Hannah Griffin gave a master class in balancing the many aspects of vocalisation. She does not merely intone a poem, she is part of the band and her melodicism is paramount in the mix. She can enunciate and still pay phrasing its due.

The first thing about this band is the way they respond to each other, sometimes finishing each others musical sentences. This seamless interaction is especially evident between the three leaders. Meehan is a master of understatement and his gentle swing can quickly bring a smile.  His default minimalism always serves the music well but it is on reflection that you realise just how powerful and judiciously placed those chords and sparkling runs are. He doesn’t require a percussive touch to make a big statement. I suspect that most of the arrangements are his as well. 

Chisholm always takes your breath away and from the first note, the emotional content in his playing is quite unmistakable. This is the sort of gorgeous alto playing seldom heard and you dwell on each note and phrase, marvelling at the purity of tone and the compelling story telling. His ability to deploy his multi-phonic technique, simply jaw dropping.

The other thing which grabs you is the sheer beauty of the bands sound. By that, I do not mean just pretty for it goes well beyond that. All of the emotions are engaged and the effect on a room is noticeable. Dyne is a popular local drummer who works across genres and who is sought after  around town. He has played with Meehan and Chisholm previously. Griffen has appeared predominantly with Meehan and in gigs similar to this. McArthur was the new-comer to this particular lineup but you wouldn’t think so. His reading abilities and his intuitive grasp of the music maintaining his usual high standard.   

At the previous Griffin, Chisholm, Meehan gig the band had Bill Manhire on stage, and as icing on the cake he introduced the poems. Gigs like that are hard acts to follow, but fast forward to 2020 and the band more than pulled it off. By extending the range of poets and poems our interest was engaged in new ways. My greatest pleasure was hearing more poems by the much lamented Dave Mitchell. More gigs like that please. You can purchase albums featuring these artists from Rattle Records at rattle-records.bandcomp.com

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. 

Porter / Rozenblatt @ CJC

It is seldom that we encounter a critically acclaimed New York Jazz Trumpeter with an Auckland tour itinerary, but this week the drought was broken. Charlie Porter is a versatile musician and one with impeccable credentials. He is a Grammy-winning artist whose star is on the rise. When you check out his bio you learn many things of interest, for instance, that he has parallel careers in Jazz and classical. The inclusion of Auckland was partly down to bass player Mat Fieldes (and of course Roger Manins). Fieldes is a popular musician who has recently returned from a long stint in New York and he has worked with Porter previously. Sharing the top billing was Grammy-nominated New York drummer David Rozenblatt.  Rozenblatt is another musician who works across genres and like Porter, his Jazz chops are something to behold. 

Charlie Porter

I arrived early and watched the brief rehearsals, noting that Porter exhibited a focussed down-to-business demeanour on the bandstand. The sort of discipline you need to survive in New York. As soon as he was satisfied he smiled and thanked the musicians, then moving among those setting up the club, he introduced himself, friendly and relaxed. These are the hallmarks of the professional. Playing with an unfamiliar rhythm section may be commonplace in Jazz but pulling together a good performance while on the road, and with pick-up musicians requires a good leader. Porter and Rozenblatt share a history, performing together often. The remainder of the group were Mat Fieldes (bass) and Dixon Nacey (guitar). The latter was meeting the two New Yorkers for the first time.

David Rozenblatt

Porter possesses a fulsome clean tone (think Brownie), but his rich strong sound can change in an instant when he swoops to the lower register, his trumpet emitting a dirty growl and rises as the bell emits a cascade of fluttering squeaks.  While the growls and flutters are not dominant features of his playing they add vital splashes of contrast and colour. You can hear the deep south in his sound, and especially New Orleans, but on upbeat numbers, he can edge closer to the second Miles quintet. The elided phrases, the sting. His compositional strength was on show as well and although there were a variety of moods there was a logical arc to the setlist.  His eponymous new album has the same logical progression and on that, there is an even greater stylistic variance. He is not a slave to style or even genre and perhaps this why he sounds so fresh.

Dixon Nacey

When performing before an audience Porter exudes easygoing confidence, that belies his years. Such confidence is usually found in older musicians, but check out his story and all of the above makes perfect sense.  He was trained in classical trumpet and won a Fulbright scholarship to study in Paris, he was mentored by Winton Marsalis and is connected spiritually to the music of the deep south. During the evening he played one or two numbers which referenced New Orleans (particularly Rhumba for Sticky) and on his album, the tune ‘Morning Glory’ caught my attention. I have just returned from New Orleans and Morning Glory connected me back to Henry Red Allen.  

David Rozenblatt’s drumming fascinated me. It was joy-filled, wildly exuberant but purged of unnecessary clutter. Many of the younger drummers I hear are time tricksters, and while this is impressive it can also clutter up a sound canvas. Rozenblatt had something of the swing drummer about him, but overlaying that was a colourist sensitivity, the warmth of a great rhythmic conversationalist. Fieldes was also right on the money. His melodicism and lovely time feel filling out the sound without getting in the way. We export many great bass players from New Zealand, but having Fieldes back on home ground is our good fortune. Dixon Nacey needs no introduction to either Aucklanders or to wider New Zealand. He is rightly regarded as one of our finest guitarists and consequently, his work schedule is frantic. Because of the many projects he juggles, he has less time to perform in local Jazz venues but happily, he was available for this. He is a favourite with club audiences and a draw in his own right. We have come to expect the best of him over the years as his trajectory is ever upward. He has long been noted for his Sco-like credentials but as we saw last Wednesday, he can adapt to a variety of improvising situations with ease. 

I have posted a track from the gig titled ‘divergent paths’.  It was the first up and it set the tone for a crackling evening to follow. To purchase the album go to www.charlieportermusic.com (digital downloads, CD’s and vinyl available. The posted track was supplied by Charlie Porter. 

Mat Fieldes

Alex Ventling Trio (Switzerland)

The summer break seemed endless with its hot nights, warm breezes and parchment dry days.  Nature shrivelled as the birds stopped singing and the trip to the Hi-Fi became too onerous. There is something about a prolonged heatwave that makes you both lazy and restless at the same time. This is also the time of year when Aucklands premier Jazz club takes its Christmas break and so the resumption of the gigs was happily anticipated.  The first gig of the year was the Alex Ventling trio and what a great way to ease into February. Ventling is a New Zealand ex-pat, but one who settled in Switzerland many years ago. He and his fellow musicians are all from Basel, a part of the Swiss Confederation and speakers of a German dialect.  I passed through there once but all that I can remember was a recommendation from a friend. Stop there if you can, Basel is a jazz city.

This was Ventling’s first gig for the CJC Creative Jazz Club and it attracted a large audience. They poured through the doors escaping the evening’s heat; needing cool and finding it. The venues piano is not without its challenges but on this night it sang sweetly. Partly because it had just been tuned but it was mainly because of Ventling’s sensitive touch. Many pianists tend toward the percussive in a larger room, but this programme required subtlety, room to breathe. The set-list tunes were well crafted and with a heavier touch, the expressiveness would have been sacrificed.  We don’t get too many piano trios through and this trio operated as the best of them do. The musicians listening to each other, reacting, and playing as if they were one entity. It is almost impossible for this level of communication to occur unless a trio has been together for a time, and in this case, they were not only long term bandmates but on the last stop on the tour.

Most of the tunes were originals, but two were interesting reharmonisation of Jazz standards. For instance ‘All Blues’ which hinted at Mehldau Americana voicings;  the astonishing reharm of ‘Someday My Prince Will Come’; the latter truly delightful, surprising, and decidedly edgy. The original melody cast to the four winds as new joys were plucked from the changes. The originals were captivating and especially ‘Expecting the Unexpected’ and ‘Vorfreude’. The later title, one of those uniquely precise German words meaning the joy you feel when looking forward to something. Whatever the German word is for looking back with pleasure, that was the emotion the audience was left with at gigs end. The interactions throughout were impeccable, reminding me of a Pieranunzi trio. The bass player James Kruttli and the drummer Phelan Burgoyne were as riveting as the pianist. This was a trio where your eyes and ears moved constantly from one to the other. We watched in utter absorption and for two hours we forgot the swelter looming ominously outside.

A recent album by the Alex Ventling Quartet was on sale at the door and it is stunning. ‘Alex & the Wavemakers’ has a different lineup and features a vocalist Yume Ito. This is closer to the ECM esthetic and is Jazz Art Music at its very best. The fourth track ‘Trailblazer’ was to my ears furthering the blissful journeys begun by Norma Winstone, John Tayler and Kenny Wheeler. You can find Alex Ventling on Bandcamp or at http://www.alexventling.com.

JazzLocal32.com was rated as one of the 50 best Jazz blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. 

Emma Gilmartin & James Sherlock

Gilmartin Sherlock.jpgI was barely off the plane and my brain was full of dense fog, no doubt a legacy of San Francisco Karl who had been circling me like a spectre for a good month. I gamely fought the malaise off and because I am a creature of habit, dutifully made my way down to Auckland’s CJC Creative Jazz Club. In my experience, it pays never to miss a live improvised music gig, because if you do, you risk bitter regret. Believe me, I often lie awake lamenting a missed chance to see John McLaughlin. 

Last week the Australian Duo, Emma Gilmartin and James Sherlock were on the bill accompanied by Christchurch Bass player Michael Story and Wellington drummer Mark Lockett. Lockett, who helped organise the tour, is a mainstay of the Wellington Jazz scene and offshore musicians like this arrive due to the skilful tour-on-a-shoestring wrangling of his ilk. We get to hear these Aussie, European and American bands in our New Zealand Jazz clubs, largely because of the work put in by a handful of dedicated musicians like Roger and Caro Manins (and Lockett). These organisers pitch in uncomplainingly as they lock down the events and we benefit as a result. Consequently, New Zealand has developed a rich improvised music circuit and a debt of gratitude is owed to the organisers (and to the volunteers who quietly assist). 

Emma Gilmartin is a Melbourne based vocalist, composer and teacher and it was her first time performing in Auckland. She has received praise from the Australian music press and is one of an increasing number of gifted vocalists emerging out of the Australian Jazz scene. She is pitch-perfect and her appealing voice finds the corners of a room with ease. Like all good Jazz vocalists, she imparts a mood of engaging intimacy. Her co-leader on this tour, was guitarist James Sherlock, a notable musician and the perfect foil for a vocalist. An accompanist who understands how to enhance vocal performance by offering challenges and he knows how to comp without getting in the way. He is a gift to any vocalist.  On solos, he also excels, at times bringing to mind earlier greats like an Oscar More (behind Nat Cole). Christchurch Bass player Michael Story rounded off the quartet nicely and it was obvious that he was enjoying himself. Again, he was the right person for the ensemble.

The program was a mix of tasteful standards and interesting originals. I have put up a clip which demonstrates the strengths of the quartet – witness the tasteful musicality of Lockett’s drum solo as the band digs into a swinging version of ‘Nica’s Dream’ by Horace Silver.  Gilmartin appeared to be relishing her time in New Zealand and she announced that she would try and return next year. We hope so.

Emma Gilmartin (vocals), James Sherlock (guitar), Michael Story (bass), Mark Lockett (drums). The gig took place at Anthology, K’Road, for the CJC Creative Jazz Club, 4 December 2019

Ocelot

OcelotA while ago the program director of the Creative Jazz Club, Roger Manins mentioned that he had booked a great young group from Christchurch to appear in the emerging artist’s slot. He went on to say that many of these young emerging artists were so good that he was considering renaming the slot, something like ‘young guns’. He was right. Ocelot exuded easy-going confidence, uncommon in younger players and by the second number they owned the bandstand; navigating some slippery lines with disarming ease and swinging. This was a tight unit and it was obvious that they had put in the necessary work beforehand. That gave them the freedom to relax into the music and the results were evident.

While a little hesitant at first, they progressively engaged with the audience. This has been a theme of mine in recent months, a desire to sense the person behind the instrument. It is not about exhibitionism but about something infinitely more subtle. Something that tells a live audience that they are an essential part of a performance triangle, instrument, musician and audience. Seasoned Jazz audiences are fine-tuned to detect enthusiasm on the bandstand and likewise, they can detect disengagement.  Ocelot got that and was well received. 

The setlist was nicely thought through as it balanced originals with tasty tunes by established and lesser-known artists. Bravely, and to their credit, they played a Jazz arrangement of Prokofiev’s (Concerto No 2). These forays can be fraught with danger, but this interpretation was handled with ease as was Jonathan Kreisberg’s ‘Strange Resolutions’. The latter required them to navigate some tight Tristano-like unison lines in the head and emerge swinging. They did, and to see a young band do this with apparent ease was pleasing.  I have posted Strange Resolutions in the YouTube clip.

 

The originals in the setlist were penned by the bass player and guitarist and a tune which took my fancy with its danceable Klezmer vibe was titled ‘Rakia Nightmares’ (Jonah Levine Collective). The bar is being lifted all the time, as our various Jazz Schools flourish, but what is most encouraging about this, is that they are not producing clones. 

Ocelot: Finley Passmore (drums), Mitchell Dwyer (guitar), Finnzarby Richwood (piano), Callum McInnes (bass), Cheena Rae (alto saxophone). The gig took place at Anthology for the CJC Creative Jazz Club, K’ Road, Auckland CBD, 23 October 2019

  

 

Dixon Nacey ~ The Edge Of Chaos

 

Nacey.jpgThis 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.     

The material arose from his Master’s degree which focused on advanced compositional techniques and which was completed last year at the UoA Jazz school. In the process, he gained important realisations and applied these to his art. As listeners, a music degree is not needed as the album has visceral appeal. Just follow your ears and you will get to the heart of things, and that is the point of compelling Jazz performance. 

I have caught many of Nacey’s performances over the years and they never disappoint. I have also gained a sense of the man. He is generous, open-hearted, enthusiastic and very hard working. He takes his craft seriously, but never at the expense of his human qualities. All of the above are evident in his warm playing. The man and his music are not separate. He was aiming at a modern sound here and he has achieved this beautifully and done so without a hint of contrivance. This is how guitarists sound post-Rosenwinkel or Moreno, but he has made the sound his own. A more exact equivalency would be to place him alongside the top-rated Australian guitarists. Price (1).jpg

On the album, he is accompanied by former colleagues and friends and it reminds me how lucky we are to have such musicians in our city. Keven Field on Rhodes and piano, Roger Manins on tenor saxophone, Olivier Holland on upright bass and Andy Keegan on drums. One track features Chelsea Prastiti and Jonathan Leung on vocals. With friends like this to help him realise his vision, he has received an added boon. They are all in peak form here and Rattle Records has also done the artist proud. Steve Garden and UnkleFranc you are extraordinary.

The launch at the CJC Jazz Club, Anthology room had Alan Brown on Keys and piano instead of Keven Field. I looked into my database and learned that it was exactly six years ago to the night that Dixon Nacey led a band at the CJC, and as it was last Wednesday with Alan Brown on keys. It was a great night filled with enthusiastic applause as everyone bathed in the vibe; and the soaring runs which glissed and glowed like silken fire. As well as numbers from ‘The Edge of Chaos’ album we heard a few earlier Dixon compositions like ‘Sco’ and ‘The all Nighter’. I have posted a video of The all Nighter from the gig – how could I resist. To listen to a sample of the album go to Rattle Bandcamp where you can order a hard copy or download it in any format. Try a sample track and you will certainly buy. And while you are at it, take time to reflect on our extraordinary musicians. 

The gig took place at Anthology for the CJC Creative Jazz Club, K’Road Auckland, 16 October 2019. Purchase the album from Rattle Records Bandcamp

Keith Price ‘Upside Downwards’

coverCanadian Jazz guitarist Keith Price is a welcome addition to the Auckland scene. He brings with him fresh ideas and a musical connection to his hometown. Manitoba is associated with Lenny Breau and Neil Young who both grew up there. Perhaps it’s the proximity to the open spaces which echo in the music, that wide-open sound (and in Young’s case an overlay of dissonant melancholia)? Whatever it is, it certainly produces distinctive musicians. Lenny Breau is an important Jazz guitarist and one who is sadly overlooked, Hearing Price’s respectful acoustic homage on Wednesday, cast my ears in that direction again.  

Before moving to New Zealand, Price recorded a collaborative album in his home state of Winnipeg and that material formed the basis of what we heard last Wednesday. While the album features Canadian musicians, it was released on our premier Kiwi label Rattle. ‘Upside Downwards’ is a terrific album and from the first track, you become aware of how spaciousness informs the compositions, a note placement and phrasing which allows the music to breathe deeply. This feeling of expansiveness is also underscored by a certain delicacy. In the first track especially, you marvel at the touch; the skilfully deployed dynamics grabbing your attention, but it is the artful articulation of Price’s playing that is especially evident. Listening through, it impossible not to feel the presence of the open plains and of Lenny Breau. 

The co-leaders are perfectly attuned to each other throughout; playing as if one entity. There are no ego-driven flights here and in that sense, it reminded me of an ECM album. I had not come across either the pianist or the drummer before but they impressed deeply. From Jeff Presslaff, that delicate touch on the piano and the ability to use a minimalist approach to say a lot. The drummer Graydon Cramer a colourist and musical in the way Paul Motian was.  

Wednesday’s gig was in part an album release, but Price also traversed earlier albums and played a short acoustic set. The album was a trio, but this time he brought four of Auckland’s best to the bandstand. The quintet format worked beautifully and his bandmates were clearly enjoying themselves. These guys always sound good, but it felt like they there were especially onboard for this. In the acoustic set, Price played what looked like a Martin (a Breau and a Young tribute). The other standard was a killing arrangement of Wayne Shorter’s Ju Ju. Why do we not hear that more often?

When setting up my video camera I made the mistake of locating myself near the bar and because of that, there is bleed-through from the air conditioners (the curse of all live recordings). The sightlines are also poor from that end. Never-the-less, I have put up a clip from the first set titled ‘Solstice/Zoom Zoom’. It was worth posting in spite of the defects. I have also posted a sound clip from the album titled ‘6 chords commentary’.  

Album: Keith Price (guitar), Jeff Presslaff (Piano), Gradon Cramer (drums)

Auckland Quintet: Keith Price (guitars), Kevin Field (piano), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums). Anthology, CJC Creative Jazz Club, K’Road, 09 October 2019. Recoding available at Rattle Bandcamp.

Reuben Bradley ~ Shark Variations

SharkPost Trump’s inauguration, improbability is the new normal and in keeping with the mood of the times Wednesday’s gig emerged from improbable beginnings. It began with an international cat rescue mission, an attempt to thwart a ‘catricidal’ former neighbour. Before the mission had even been concluded a subplot had emerged; one involving the inhabitants of three cities, two countries, and assorted sharks. Those familiar with Reuben Bradley will not be surprised at this turn of events as he’s known for his humour, good nature and above all for his ability to turn improbable adventures into really good music. ‘Shark Varieties’ is a drummer led trio and a vehicle which showcases a bunch of the leader’s original tunes. It also showcases a joyful reunion.

The Shark Variations album was released by Rattle in 2017 and it followed a successful tour by the band a few months earlier. Bradley was in the process of moving to Australia at the time and he was keen to record with longtime collaborators Roger Manins and Bret Hirst. He needed to do this while they were all in the same place and this was his best window of opportunity. Hirst is an expat Kiwi who lives in Sydney, Manins is based in Auckland and Bradley was at that point, about to head for the Gold Coast. Because of their shared history, the musicians knew exactly what they were aiming for; an open-hearted collaborative and spontaneous expression of their art form. That they realised this vision will be apparent to those who listen to the album.

As a leader, Bradley never shies away from an opportunity to leaven his gigs with humour. He tells jokes against himself (the trademark of all good Kiwi humour) and as you peruse his tune titles you find a plethora of throwaway lines and in-jokes. During live gigs, the titles become hilarious stories and his delivery is always pitch-perfect. Improvising musicians frequently tell an audience that the title came after the composition and that they struggled to name tunes. In Bradley’s case, I suspect the reverse is true; that a series of off-beat incidents have stimulated his already vivid imagination and the incidents become the catalysts for his compositions. ‘Wairoa or L.A.’ ‘Wake up call’ Makos and Hammerheads’ are all examples, the latter giving rise to the title, in spite of the fact that he could only name two shark types (which he felt was more than enough). 

Humour aside, this is seriously good music. Bradley is a gifted and popular drummer and musicians love having him alongside. It is therefore not surprising that he would choose these collaborators. Manins is undoubtedly the best known contemporary New Zealand saxophonist and a musician whose formidable abilities are attested well beyond these shores. Hirst left New Zealand many years ago and is regarded as a bass heavyweight on the Australasian scene. He is frequently found performing with Mike Nock and his resume includes playing alongside James Muller, Greg Osby and other notables. 

The reunion gig took place on a cold wet Auckland night and many gladly braved the chill to get a piece of this. I have put up a video from the gig titled ‘Wake up Call’, which Reuben assured the audience had only the thinnest connection to an actual wake up call. In keeping with the ‘spirit’ of the gig, I miscalibrated my camera and the resulting shot turned Bradley and Manins into ghosts. The album is available from Rattle Records. The gig took place at Anthology, for the CJC Creative Jazz Club, 02 September 2019. 

Footnote: The cats were rescued safely and after an unfortunate travel accident they both found asylum abroad.

Louisa Williamson Quintet

Louisa Williamson (1)Louisa Williamson is a gifted young tenor saxophonist who has visited Auckland on previous occasions. This time, and for the first time, she visited as a bandleader, showcasing her beautiful compositions. I have always admired her tone and improvisational abilities, but this was a step up. Freed from the comfort of a band she knew well, she cast herself among an array of experienced Auckland musicians. Stephen Thomas on drums, Tom Dennison on bass and Michael Howell on guitar. The only Wellingtonian (besides Williamson) was pianist George Maclaurin and together as a band they delivered. This was engaging straight-ahead Jazz. 

In the history of this music, only a handful of female tenor or baritone saxophonists have received their due. If Williamson keeps playing like this she will surely inspire others and that is how the music grows. She has already come to international attention when she became the first New Zealander to join the JM Jazz World Orchestra in 2016. She is at present working towards a Masters in composition at the NZSM. After hearing her compositions on this date, the outcome should prove interesting. Her tunes possess an appealing melodicism while underpinned by an unfussy harmonic cushion. It is post-bop mainstream but there is nothing stale about it.  Afterwards, a band member from among the Auckland pick-ups remarked how well the charts were constructed.Louisa Williamson

I have put up the first tune from the first set titled ‘Slightly run-down’.  A tune where the underlying motifs are opened up as the theme develops. It is a story with a beginning, middle and ending and it is told without artifice. Everything felt in balance, the short phrase of arco bass during a changeup, the staccato restatement of the theme on the guitar, and above all the horns careful parsing of the melody.

The keyboardist Maclaurin was familiar with the leader’s tunes and consequently, he was the perfect harmonic anchor point. He also delivered some nice solos. The Auckland contingent of Howell on guitar, Dennison on upright bass and Stephen Thomas on drums took no time in establishing their credentials. I was particularly happy to see Dennison on the bandstand as he is seldom seen at the club these days. A fine bass player who always finds the best notes; a melodicist and a musician who has an impeccable feel for time. Howell and Thomas we see regularly and both are deservedly popular with audiences. I look forward to Williamson’s continued journey as she is learning to show more of herself. Being the leader, she spoke and told stories and I hope she does more of that. Jazz is at its best when it shows some emotion and in live performance, the artist’s engagement with an audience is the X factor lifting the music ever higher.

Louisa Williamson Quintet: Louisa Williamson (tenor saxophone, compositions), George Maclaurin (keyboards), Michael Howell (guitar), Tom Dennison (upright bass), Stephen Thomas (guitar). The gig was at Anthology for the CJC Creative Jazz Club, 25 September 2019Louisa

Stephen Thomas Electric Band

Thomas 2 (1).jpgThe 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. 

Improvisers are the masters of extended technique, but even so, it is comparatively rare to hear these effects applied to drums, winds or reeds in Jazz. The most obvious examples occurred during the 70’s fusion era, but post 70s Shorter and Harris, who carved a credible path, only a brave few have followed. In my view, it requires experienced musicians to do this well and Stephen Thomas is well qualified to realise this project. Done badly it can look like a botched attempt to blur technique deficiencies. Done well it is an opening into a brave new world and another set of tools to build on what has gone before.

True to label, The Stephen Thomas Electric Band was wired and utilised effects, including the horn section. There were various configurations from sextet to duo and each configuration teased out a particular facet of the interesting compositions. The full line up was: drums (+ electronics), two saxophonists (+ electronics, one playing alto and the other playing tenor, soprano or Ewi). There was a keyboard player, an electric bass player and two electric guitarists (+ one guitarist playing prepared guitar). The horns often played in unison as did the bass and keyboard. With the octave or chorusing effect deployed, this made for a rich and full-throated palette of tonal colours.

I have posted two very different tunes from the gig, One is MG40 with the sextet and the other a duo between Thomas and Joel Vinsen (the latter on prepared guitar). If you listen closely to MG40, you will detect the echoes of a distant past. An echo from the 1950s in fact when the conductor Leonard Bernstein attempted to explain Jazz to a very young audience. That footage is hopelessly time-locked as the plummy voice of a high-brow white man ‘explaining black music’ overshadows the message. Notwithstanding, I have no doubt that many of the Bernstein Philharmonic attendees would go on to explore improvised music after hearing Benny Golson and the sextet perform. What Thomas does with this piece is both playful and respectful. Bernstein would get it and laugh out loud. MG40 refers to Mark Giuliani – a drummer on the same trailblazing path. 

The other piece I have posted involves the sextet. With Alan Brown on keyboards and Andy Smith on guitar, the piece soars as it morphs into a multi-layered groove piece, one reminiscent of the Fusion era. The overall sound has lots of bottom, with the bass effects and saxophone effects creating a surreal lower register cushion; over which Smith and Brown build towards the heart-stopping crescendo. This was a group of heavyweight performers with Chris Mason-Battley and Markus Fritsch the horn line. And none of it possible without the invention, vision and superior chops of Thomas. 

The Stephen Thomas Electric Band:  Stephen Thomas (drum kit, drum pad + effects, triggered samples, percussion, prepared drums), Alan Brown (digital keyboard), Andy Smith (guitar + effects), Chris Mason Battley (saxophones, Ewi + effects), Markus Fritsch (alto saxophone), Mostyn Cole (electric bass + effects), Joel Vinsen (prepared guitar + effects). The gig took place at Anthology, CJC Creative Jazz Club, 18 September 2019

Spirograph Studies @ CJC Auckland

SpirographThe Melbourne group Spirograph Studies was exactly as described, modern and eclectic. In this quartet, there were no horns to carve out melodic lines. Instead, a guitar and piano spun intricate layers one on the other, focussing more on well-crafted motifs and harmonic development. There was melody but it was mostly implied, nestling comfortably among richly dissonant textures and emerging out of the subtle interplay. It was often voice-led but not as we know it and the overall effect was beguiling.  

The playing was great but what also stood out were the compositions. What we experienced was an unmistakable Jazz Americana vibe. There were no actual Frisell tunes played but the great man’s essence hung in the air; residing most strongly in the interactions between leader Tamara Murphy and her bandmate Fran Swinn; Murphy the enabler and Swinn the ideal vehicle for realisation. As Swinn stroked the chords, the soulful utterances reeled us in; urged on by the bass. With music as delicately layered as this, no band member can afford veer off coarse and none did. This was a disciplined ensemble but in spite of that, the music flowed effortlessly. Their overall sound was warm and yet it tugged on the heartstrings, hinting at a distant sadness. The signature sound of Americana, where every note is weighted with nostalgia.

 

The other core band member was drummer James McLean. A drummer who showed his ability by responding appropriately to the textural subtleties and propelling the gentle swing feel. His brushwork was crisp and his stick-work understated so as to reside inside the music and not all over it.  The pianist on the ‘Kindness not Courtesy’ album was Luke Howard, but on their Australasian tour, his role was alternated with Sam Keevers. I have heard Keevers before as he is a well respected Australian pianist. For a long period, he held the piano chair in the Vince Jones group (a coveted position held before him by Barney McAll).  Having Keevers onboard during the New Zealand leg worked a treat. A skilled accompanist who knows a lot about supportive playing and comping. The Piano and guitar interacting seamlessly and moving in and around each other’s phrases like dance partners.  

The album titled ‘Kindness Not Courtesy’ is available from Bandcamp and the link can be followed here. spirographstudies.bandcamp.com/. The Auckland gig was at Anthology for the CJC Creative Jazz Club, 11 September 2019.

Spirograph Studies: Tamara Murphy (bass, compositions), Sam Keevers (piano), Fran Swinn (guitar), James McLean (drums). 

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.

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

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

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.   

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.

 

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. 

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

Talbot/Dunbar-Wilcox @ CJC

Emerging Artists (Wellington) Talbot-Dunbar (1)

As Wednesday nights at the new Anthology venue move into high gear, a tried and trusted CJC programming philosophy remains constant. To provide a quality venue for local and international musicians to showcase their original projects, and to provide a performance space that up and comers can aspire to. As before, two or three gig slots are kept for emerging artists, and this year those slots have expanded to include Wellingtonian and Christchurch improvisers. Performing on Wednesday were Wellington musicians Frank Talbot and Ella Dunbar-Wilcox. Both sets had the same rhythm section; pianist Kevin Field, Bassist Cam McArthur, and drummer Adam Tobeck.

First up was Frank Talbot. A tall tenor player with a clean tone and nimble articulation. Talbot is a recent graduate of the New Zealand School of Music and he is currently completing his honours degree. New Zealand produces many good tenor players and judging by Talbot’s confident performance on Wednesday, he will go from strength to strength. He is certainly making all of the right moves and testing himself in varied situations, so he will certainly be one to watch.  On his setlist, there were all originals and I have posted his interesting tune ‘Inquisition’. I also liked ‘Intervalic’ and a moving tune (which I heard as) ‘Steak and kidney pies, no goodbyes’. The latter was dedicated to his mother who is going through very tough times health wise. A nice heart-felt tribute. Talbot-Dunbar

The second set featured Ella Dunbar-Wilcox. A vocalist in her third year of studies (also at the New Zealand School of Music). Her performance showed considerable maturity as she tackled some challenging arrangements and tunes. Not many emerging vocalists would tackle the more upbeat Coltrane tunes or a tricky stop-start McLorin Salvant arrangement. She navigated these charts with ease. I also liked the balance in her set list which provided us with pleasing contrasts. The cheerful, upbeat (and rarely heard) Bobby Timmons number ‘That There’. This followed her own ballad ‘Lonely Eyes’.  Then there was ‘Night Hawks’, a reference to the Edward Hopper painting and capturing perfectly that sense of isolation and ennui.  I have put up her interpretation of ‘I didn’t know what time it was’.

Engaging a quality local rhythm section for both sets was a sensible move. Field, McArthur, and Tobeck are adept accompanists and used to working with unfamiliar musicians. And more importantly, all have worked extensively with vocalists. This draws upon very different skills and in this regard especially, Field is superb.

Frank Talbot (tenor saxophone)

Ella Dunbar-Wilcox (vocals)

Rhythm Section: Kevin Field (piano), Cameron McArthur (upright bass), Adam Tobeck (drums) The gig was for the CJC (Creative Jazz Club) @ Anthology, K’Road, Auckland, 3 July 2019 

Ruckus @ Anthology

When you look up the term Ruckus in the various dictionaries, the definitions are broad. It is generally defined as a commotion, but it can also describe an argument, the joyful noise emanating from a soccer stadium, loud disputation, the general rowdiness of children and even a fight.  With such an array of options at my disposal, I have selected ‘joyous commotion’. This is the term that most fits the bill when alluding to this band. Ruckus has some history in Auckland and especially along the reaches of Ponsonby Road. While the personnel often come and go, the ethos does not. Kicking up the dust in this current melee were David Ward, Neil Watson, Cam Allen, Eamon Edmundson Wells, and Chris O’Connor. David Ward is a central figure in the group and his compositions featured strongly last Wednesday.  

Again, it was encouraging to see the high turnout at the CJC after a month in the new K’Road Anthology venue. The word is clearly getting about that this is the best place to enjoy Wednesday nights. Once you descend the stairs, winter becomes a distant memory. While clearly pulling in the crowds, the band is hard to pigeon hole. The music hints at a number of descriptors and among them, terms like Zappa-esque, improvised Americana, Fellini-esque and Monkish all come close. At times they veer towards the experimental but no matter the direction, they are always fun.

With the exception of an obscure Monk tune, the tunes last week were originals. These were unique arrangements with a textural richness created by instruments full of contrast. A baritone saxophone with a pedal steel guitar plus Fender offers up an interesting sound palette. With O’Connor and Edmundson Wells, the palette is complete. Both have ‘out’ credentials and O’Connor is as much a percussionist as he is a conventional drummer. Allen moved between baritone and tenor and during his solos, but he never departed too far from the over-arching message. This band stands strongly on its collective strength. Ward featured strongly in the heads of the tunes, establishing unusual rhythmic figures then skilfully pulling them apart.  When both Fenders were playing they acted as if in sync, moving in and out without clashing. With the pedal-steel numbers, Watson was adventurous, often using the instrument in unexpected ways.  He, Ward and O’Conner also made wide use of percussive effects; clicks, squeaks, and muted staccato guitar.

There is mileage to be had in these adventurous offings and I hope that they develop the repertoire further. While it may not be what an audience is anticipating, in this case, they lapped it up. Especially when leavened with calypso.  

Ruckus: David Ward (Fender Guitar), Neil Watson (pedal steel, Fender Guitar), Cam Allen (baritone, tenor saxophone), Eamon Edmundson Wells (upright bass), Chris O’Connor (drums)

The Committee (Mat Fieldes)

CommitteeThe original  ‘Jazz Committee’ was formed while bass player Mat Fieldes was still living in New Zealand. Back then he had quite a few fans, and many who remembered him turned out for his recent CJC gig.  Anthology, the new CJC venue, was packed to capacity and that was good news. A lot of water has flowed under the bridge since Fieldes left and New York has long been his base. When he arrived in that city 25 years ago he studied at Juilliard. From there he went on to establish a solid career that spans genres and continents. He has played with symphony orchestras, on Broadway and with out-jazz musicians like Ornette Colman. He is a master of fusion and comfortable with Hip Hop. That he is always in demand is a tribute to his abilities as the US music scene is extremely competitive. It is apparent to me, that our New Zealand bass players do very well in hothouse environments (e.g. Fieldes, Hammond, Penman).

It is not often that Fieldes gets back here as he has a busy performance schedule, but this time he was open to doing some local gigs. The vehicle, a collective, was an updated version of the ‘Jazz Committee’ now simply called ‘The Committee’.  In its new incarnation, Fieldes is on upright bass and electric bass, Dixon Nacey on guitar, Roger Manins on tenor and Ron Samsom on drums. The program was fusion heavy or as Fieldes put it, ‘I don’t know if this is Jazz, I’ll let you decide’. Manins clarification muddied the waters further. ‘If you like it then it’s Jazz, and if you don’t, then it’s still Jazz’.

It was a compelling grab you by the collar type of music; it was punchy, improvised and drawing upon many streams; tilting towards an updated but funkier Return to Forever or Electric Miles vibe. Many of the tunes were Fieldes but the others submitted originals as well.  Among them, Samsom’s funk offering, Nacey honouring Scofield and Manins showcasing his wonderful tune, Schwiben Jam (see clip). That tune featured on last years ‘No Dogs Allowed’ album and I am happy to see it in this setlist. Occasionally, I hear a tune that could become a standard or at the very least a local standard. Here it was in a different context and with Nacey and Fieldes steering it into fresh waters. It was immaculate and I hope that I hear it played often (perhaps, with Rhodes fills for additional texture and Nacey as a must-have).  

It’s always interesting when the diaspora of improvising musicians return.  They bring with them the stories of their new home and the influences of those who they’ve played alongside.  It is also instructive to see how they interact with their old bandmates (and some new ones). If last Wednesday is anything to go by, the answer is, very well.  This type of gig is increasingly important in our fast burgeoning scene. We have hit a sweet spot and the audiences are responding. When artists like Fieldes return there is cross-pollination. As a consequence, we are enriched. And just maybe, some of that essence finds its way back into the New York scene.  

Committee: Mat Fieldes (upright & electric bass), Dixon Nacey (guitar),  Roger Manins (tenor saxophone), Ron Samsom (drums). The gig was at Anthology, K’Road, Auckland, 19 June 2016

John Pal Inderberg Trio

John Pal InderbergAbout eighteen months ago I was contacted by Jeff Henderson. He suggested, that I might be interested in a gig featuring two great Norwegian musicians who were passing through. I certainly was. The musicians were John Pal Inderberg and Hakon Mjaset Johansen. I was particularly interested because the baritone saxophonist John Pal Inderberg is associated with Lee Konitz and the late Warne Marsh. I make no bones about it, I am an unapologetic devotee of the Tristanoites. During that particular visit, the duo played a number of Scandinavian folk tunes and in their hands, these became melodic springboards for improvisation and a cloak for standards (with local bassist Eamon Edmundson-Wells). The Nordic region has a rich history of improvised music and it is therefore unsurprising that so many innovative US improvisers have ended up living and working there. With artists of this quality to work with why wouldn’t they? Inderberg and his band are great ambassadors. John Pal Inderberg (1)

Last week, John Pal Inderberg returned to New Zealand, but this time with his trio. Accompanying Inderberg was bass player Trygve Waldemar Fiske, and again, Johansen on drums. The gig was superb from start to finish and Inderberg’s trademark humour constantly delighted the audience. What we heard were new-sounding tunes, but inside these were older tunes, and in turn, many of the latter emanating from even older standards. These multilayered ‘reharmonisations’ are the bread and butter of skilled Jazz musicians and especially the Tristanoites. A beautifully modal folk tune became Cole Porter’s ‘You’d Be So Nice To Come Home To’ but with reharmonised Konitz lines adding to the sonic puzzle.  The nearest thing to a straight ahead Jazz standard, and played as written, was their beautifully respectful rendition of the popular Benny Golson classic ‘Whisper Not’.

It was a night of extraordinary musicianship with the players communicating at the highest level. Inderberg is a master saxophonist and his baritone has a tonal quality few could emulate. A number of saxophonists play the ‘Bari’ as a doubling instrument but few make it their primary. In Inderberg’s hands, the mighty beast appeared to float. I recall noticing the same thing when watching a film of Gerry Mulligan, the weighty horn somehow defying gravity and as if imbued with a weightless quality. This lightness of being is, of course, an illusion. One bolstered by the nimble lines and airy tone.  Every so often Inderberg would recite in Norwegian. Norwegian in triple-time, elevating the strangely accented utterances into an unusual form of ‘scat’. The other two, playing straight-men, would roll their eyes. Occasionally, and effectively, the trio would also sing an introduction; softly and movingly.  This was a well-rounded show; free flowing but enjoyable from start to finish.

The bass and drums in a cordless setting are exposed and naked. Fiske and Johansen are great musicians and they demonstrated just how to meet that challenge. This was a master class in how to create a rich tapestry with a handful of well-chosen threads. Beautifully melodic bass lines with innovative solos and at times, singing arco bass. While the drumming was melodic, it was also orchestral; reaching across the entire spectrum of Jazz drumming and without once resorting to cliche (watch the clip). A Trio without a chordal instrument is not the norm, but they do hold a special place in Jazz. It’s about freedom and unencumbered melodic lines. It’s also about the interactions and of course, counterpoint.

There is an ideological synergy between Norway and New Zealand and long may such cultural exchanges continue. Norway is almost an antipodes away, but I sincerely hope the Inderberg Trio returns. This visit, like the last, was a rare treat. 

TTTenor on tour in New Zealand

TTT (1)Andy Sugg’s collaborative album ‘TTTenor’ was cut in Melbourne back in 2006 and rightly, it has garnered praise. In a land of significant horn-players, the tenor triumvirate of Sugg, Oehlers, and Wilson was a standout. Three gifted saxophonists who capitalised on the imaginative charts to showcase their formidable skills. Completing the original sextet was an immaculate rhythm section – Paul Grabowsky (piano), Gary Costello (bass) and Andrew Gander (drums). Since then, Sugg has recorded other albums like ‘The John Coltrane Project’ ‘The Berlin Session’ ‘Brunswick Nights’ ‘Wednesday at M’s’ and ‘Tenorness’.  He has also been involved in numerous International projects (including writing and lecturing). He was an adviser during the making of the John Coltrane feature-length documentary film ‘Chasing Trane’. All of the above have brought him critical acclaim.       

In spite of Sugg’s busy schedule, the ‘TTTenor’ project was never retired. Last week he teamed up with Auckland’s Roger Manins and Canberra’s John Mackey to present a new and exciting iteration of the TTTenor group. To complete the sextet were, Mark Lockett on drums, Kevin Field on piano and Cameron McArthur on upright bass.  This was not a reprise of the older material as new compositions and interesting charts had been created.  This time, the different stylistic approaches from the three tenor players gave added contrast during solos and a rich texture was noticeable during the head arrangements. Three-tenor-gigs are not commonplace and I suspect that writing for three instruments occupying the same total range presents challenges.  Throughout the head arrangements, the skillful voicing was evident. Dense beautiful harmonies which set the mood for the solos which followed. Inviting the soloists to mark out their points of difference in that space.  

Sugg is a versatile artist and on many of his albums, the influence of Coltrane is unmistakable. It is there in spades on soprano offerings but on tenor, there is an added something that perhaps draws on earlier influences. He is a muscular player and the phrases which flow from his horn seem so right that it is hard to imagine any other possible note choices. This fluidity when storytelling is perhaps his greatest gift. Manins while also a muscular player takes a different path. He is a disciplined reader in an ensemble situation and it, therefore, amazes those unfamiliar with his playing when he dives into his solos, urgently seeking that piece of clear sky ahead and reaching for joyous crazy. While there is considerable weight to his sound, he frequently defies gravity when the excitement of his solos bursts free of the expected.  John Mackey was previously unknown to me, but I found him compelling. His approach to solos was thoughtful, leaving lots of space as he backed into a piece. His storytelling developed methodically, taking you with him as he probed the possibilities. His skillful use of dynamics, a softer tone early in his solos and during ballads. His solo destinations were often heart-stopping in their intensity. This Contrasted with the other tenor solos and gave the project added depth.   

The pianist Grabowsky is a very hard act to follow but Field managed to carve his own space with ease. His signature harmonies and rhythms giving the others much to work with. His own solos a thoughtful reprise from the front line horns. Cameron McArthur is a first choice Auckland bassist and he lived up to his reputation on this gig.

Mark Lockett is an original drummer and perfect for the gig as he has worked with Sugg before. He certainly pleased the audience last week, accenting phrases and pushing them to greater heights. Near the end, he gave an extraordinary solo, not a fireworks display but a master class of melodic and rhythmic invention, aided by gentle and occasional interjections from Field and McArthur. 

This was the first gig at the new venue. The attendance was good and everyone appeared wowed by what was on offer. This gig sets the bar high and why not. Australasian Jazz produces some amazing talents. I have put up a clip ‘TTTenor’ playing John Coltrane’s ‘Naima’ – the sound quality is less than perfect as the bass drops right out once the tenors begin – I am working on that – spacious new venues can definitely be a challenge, sound wise.

‘TTTenor’ was: Andy Sugg (tenor saxophone), Roger Manins (tenor saxophone), John Mackey (tenor saxophone), Kevin Field (piano), Cameron McArthur (upright bass), Mark Lockett (drums).   5 June 2019, Anthology K’Road – CJC Creative Jazz Club

CJC Moves to Anthology K’Road

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The value of having a Jazz Club in your city should never be underestimated as the experience of hearing quality live music in an intimate setting is far superior to anything that you will experience in a concert hall. Even international musicians tell you this although it is against their best interests to say so. What you pay the big bucks for in the concert hall or stadium, you buy for a pittance at a small club doorway. In addition, you get to meet the musicians and best of all experience the music up close.  This post is to remind people that Auckland’s premier Jazz Club, the CJC has moved to Anthology 375 K’ Road, Auckland City. Tonight, TTTenors with Manins, Sugg & Mackey.

The CJC came into being around eleven years ago and since its inception, there have been at least five moves. The audience always follows like pied pipers and I have no doubt that they will make the switch from Backbeat to Anthology seamlessly.  What we have in the CJC is a gift of inestimable value. Its mission is simple. Showcase high-quality original improvised music and provide a place for musicians to play. As a not-for-profit enterprise, it runs on good-will. Underpinning this is the hard work of its founder/administrators Roger Manins, Caro Manins & Ben McNichol.  On hand to assist them are numerous Jazz Students and other volunteers. The final ingredient is the listening audience and keeping the attendance levels high is essential to its continuance.  Tonight, Wed 5th June 2019 sees the new venues launch gig and please note, it’s at Anthology, not the Backbeat as previously advertised. Don’t miss the chance to hear three of Australasia’s top tenor players (with Kevin Field, Cam McArthur, and Mark Lockett as rhythm section) You can get up to date gig information at www.creativejazzclub.co.nzAnthology 2.jpg

If there are Jazz Lovers who don’t love Mike Nock’s music, I have never met them. Should any be located send them to me and I will arrange for remedial education. I have just returned from Australia and while there I caught up with Mike. Over dinner, we discussed, the dismal state of the music industry and the tenacity of musicians – who keep producing great music in spite of that. I read a quote recently by the preeminent Jazz writer Ted Gioia who penned the following; (paraphrased slightly) ‘Jazz musicians get frustrated, even angry, at the lack of opportunity – but they keep playing and in playing at such high-level they experience a rare joy that few people get to experience’. And they share this with us in spite of the poor remuneration and industry marginalisation. As many will know, Mike Nock was badly injured last year when an inattentive driver bowled him at a pedestrian crossing. Anthology 3.jpg

I cannot imagine a world without him performing and amazingly, bravely, he is doing just that. While I was there his Quartet performed at the 616 Foundry Jazz Club in Ultimo and he demonstrated to everyone that it takes more than an out of control 4×4 to keep him down. It is all intact, that Nock magic, the great compositions, the surprises, the deep – deep blues, the unconfined breath of freedom, and that innate swing.  On stage with him were a few old friends – expat Kiwi bass player Brett Hurst (always marvelous), ‘Pug’ Waples (a treat) and for the first time I met tenor player Karl Laskowski – anyone familiar with the Nock recordings will be familiar with his lovely sound and clean lines. When Mike is up to it he will come back and perform for us at the new venue – as he said – ‘Godzone is my home man’.

Keep your ears open, attend the live gigs, buy the albums – this music feeds the soul and is an oasis of sanity in a fractured world.

John Fenton  – Jazzlocal32.com

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Purbayan Chatterjee + Takadimi

Chattergee (1)Again, the CJC Creative Jazz Club has made good on its promise to deliver diverse and interesting projects.  Last week saw a collaboration between the Bengali born sitar maestro Purbayan Chatterjee and the Auckland based World-Jazz fusion group Takadimi.  What at first glance may appear to be an improbable collaboration – a famous Indian classical master and a Jazz fusion group was, in fact, a perfect alignment.  Having Alan Brown on keys with Cam McArthur on bass and with the nimble, talented Daniel Waterson on drum kit, plus leader Manjit Singh on tabla – we expected and heard excellent music.

These two great improvising traditions, one ancient, the other emerging just over 100 years ago, are able to comprehend each other’s basic forms. Both traditions produce talented and versatile musicians who are thoroughly trained in song cycles, scales, and rhythms. A perfect illustration of this occurred last Wednesday when Maestro Chatterjee and Takadimi decided to create a spontaneous improvisation. With nothing prearranged, it began with an audience member asking about an ancient Greek scale called the Lydian Mode. All of the musicians were familiar with this mode and Maestro Chatterjee said that it was practically identical to the fundamentals of a particular Raga mode. He fingered the scale briefly on his sitar and then asked Alan Brown to form a motif using that scale. Thus began a cross-discipline, cross-cultural musical conversation like few I have heard. 

Purbayan Chatterjee is a Bengali born musician residing in Mumbai. He has an international reputation and has performed in concert halls all over the world. The recipient of prestigious awards including the President of India award and with a discography which includes best selling albums. He was trained from a young age in the Northern or Hindustani School of Indian classical music. Like the famous tabla player Ustad Zakir Hussain (who he has performed with), he has frequently ventured into the Jazz/World fusion space. Auckland’s Takadimi, under the able leadership of the highly respected tabla player Manjit Singh, has for some years been exploring that same fusion space. Putting Maestro Chatterjee together with Takadimi was inspired. Together, they brought transcendent joy to our club and in a troubled world, this is a precious commodity.

The tone of the evening was set by the first offering which was a beautiful meditative raga performed in a classical style on sitar and tabla. I have been listening to Indian classical music since age 14, but I am certainly no authority. To the best of my knowledge, the basics are as follows. There are two main branches, the northern Hindustani and the southern or Carnatic branch. These, in turn, have many sub-genres and sub-styles, especially in the North. Both schools use the raga (usually a 7 note scale) performed over a drone. The structure begins with the Alap (in 3 sections) which is performed without the tabla and is a preparation or gradual development towards a climax. In this first phase, melodic ornaments and shapes are formed.  The second major segment is the Gat (and Dhrupad) which is where the tabla joins in. The tabla introduces the complex meters that characterise Indian classical music and these are called tala (a cycle of weak and strong beats). Improvisation and interplay occur mainly in this second stage. Although the music is referred to as classical it does not refer to a fixed point in time. It is a constantly evolving music and new styles are still being developed within the classical framework.

I have posted an excerpt from the raga and also the spontaneous improvisation piece. This intensely beautiful music brought fitting closure to our tenure at Backbeat. We will miss the staff and the small club vibe, but it’s time to move to our new home, Anthology. The audiences have followed the club to new venues 5 times over the last 11 years. With such great music on offer, I am sure that this will continue. Purbayan Chatterjee summed up the vibe perfectly when he praised the audience. He plays in the worlds great concert halls but he told us that intimate clubs like this, with engaged cheerful audiences, are the best of places. His gift of the raga – perhaps an evening raga, felt like it was performed just for such an occasion. Thank you musicians – see you at Anthology for the All-Star, 3 Saxophone opening night. Click through to the CJC Creative Jazz Club web site.

Tales of the Diaspora – Mark Donlon

DonlonThe UK born Mark Donlon is an internationally renowned musician who joined the New Zealand School of Music as a senior lecturer in Jazz Piano in 2013. He has previously appeared at Auckland’s CJC, but never with a quintet. The small ensemble format is clearly a forte as it revealed his many skills. After hearing his recent recording and attending the CJC gig it was evident to me that this particular project hit a sweet spot. What we heard on Wednesday was something special.  An evocative programme built around stories of displaced peoples.

There is no separating a good musician from their musical origins and Donlon wears his origins on his compositional sleeve. I am not referring to nationality but to something more ethereal. That wellspring of melodic and harmonic invention that bubbles from the musical homeland and feeds sonic identity. If I didn’t pick it up before I certainly did this time, an unmistakable sound.  A sound manifest in John Taylor, John Surman and expat Canadian, Kenny Wheeler – perhaps it is strongest in Guildhall musicians. Wheeler was referenced several times and early into the first set the quintet played a superb version of his ‘Kind Folk’.  Donlon’s original compositions, the rest, also capturing that very English and often wistful vibe. That and the slick head arrangements setting the tone – perfect vehicles for the tales he told.  

This type of composition is sometimes characterised as sad (or dark), but I hear more than that in Donlon (or Wheeler). I prefer the word melancholy in its Shakespearian sense. “A melancholy of mine own, compounded of many simples, extracted from many objects, and indeed the sundry contemplation of my travels, which by rumination, wraps me in the most humorous sadness”.   Shakespeare knew that emotion is seldom one dimensional. 

The music also speaks of human dignity in the face of oppression, the titles traversing the sweep of history – of personal loss. There’s ‘Aleppo’, a lovely tune about a tragic city, trampled under the boots of sectarian and superpower violence – this, aptly told by juxtaposing dissonance and sweetness. There’s ‘Windrush’, the story of the Jamaican immigrants and their history of mistreatment – more recently at the hands of Brexiteer Amber Rudd. Then there’s ‘Zanj’, the old word for an African slave.  While the topic may be grim, the musical treatment is not devoid of hope. Good composers do not resile from such difficult topics; they aim to touch our hearts, offer up hope, and this did. Donlon (1)

That the album is so good is not surprising, given the New York heavyweights on board; Alex Sipiagin and Seamus Blake for starters.  Appearing at the CJC was a Wellington lineup; Mark Donlon (piano), Louisa Williamson (saxophone), Luca Sturney (guitar), Lance Philip (drums) and Seth Boy (bass).  It’s been a while since I heard Louisa Williamson and these days, she is everything that she is hyped to be. A stunning performer with a silky tone and a plethora of coherent ideas flowing from her horn. Her use of dynamics is minimal, but this is not a deficit.  She conveys her message through skillful phrasing and the delivery of imaginative lines.  I had not seen Luca Sturney before but his musical abilities are unmistakeable (what a nice sound and what solid solos). The same with Seth Boy.  Lastly, there is Lance Philip, who along with Donlon, is the veteran in the lineup. An incredibly able drummer who covers all styles and who lifts any performance. Donlon was obviously thrilled to have him on the tour, and no wonder.

The track I have posted on YouTube is from the CJC gig and titled ‘Zanj’ – ‘The NY album is available from fuzzymoonrecords.co.uk or from Mark Donlon, New Zealand School of Music, Victoria University Wellington – he has a facebook page – The gig took place at Backbeat, for the CJC Creative Jazz Club, Auckland, 8 May 2019.

Album: Mark Donlon (piano, compositions), Alex Sipiagin (trumpet, flugelhorn), Seamus Blake(saxophone), Boris Kozlov (Bass), Donald Edwards (drums).

Auckland gig: Mark Donlon (piano), Louisa Williamson (saxophone), Luca Sturney (guitar), Seth Boy (bass), Lance Philip (drums)

Eamon Dilworth – Mayday Auckland 2019

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Eamon Dilworth is a frequent visitor to New Zealand and we hope that continues. His projects draw on many sources and he is unafraid to change direction completely. His last visit saw the release of his beautiful Viata album. An album that would sit comfortably in the ECM catalogue with its unhurried atmospheric Euro Free ethos. The haunting deliberations leaving crystalline arcs trailing behind each note. The time before he came with ‘Tiny Hearts’ and before that with ‘The Dilworth’s’. All of these projects were enthusiastically received and the albums that resulted were popular on both sides of the Tasman. 

His most recent project, the Crawfish Po ‘Boys’ is yet another step change. It is rooted in the sounds of the southern USA. Although a take on the contemporary New Orleans sound, it also harks back to the vibe of Louis Armstrong and Big T.  Unlike Viata or its predecessors, the latest album is an EP (around 20 mins long). As I listened to it, two things stood out. The focus on vocals and the choice of musicians. The vocals are led by Dilworth with a number of backing vocalists adding heft. With respected musicians like Stu Hunter (organ), Julien Wilson (saxophone), Chris Vizard (trombone) and Paul Derricott (drums) it could hardly be less than engaging.  

The first gig took place at the Auckland Jazz & Blues club and it focussed on traditional fare. At the CJC the following night Dilworth gave us contrasting sets, and unlike recent visits where Australian musicians like Alistair Spence joined him, he worked with a local lineup.  Roger Manins was on tenor sax, Andy Keegan on drums and from Wellington, Daniel Hayles on the organ.  He opened with some tunes from Viata, but they were given a different treatment this time.  The biggest point of difference was the inclusion of Daniel Hayles, a groove inclined keyboardist who quickly found his place and pushed the tunes in a different direction.  This was achieved without resorting to showy bravura runs and by creating an underlying chordal pulse. It was particularly evident during Toran where he played ostinato; using subtle variations to enhance the performance of the melodic lines from saxophone and trumpet.

The second half was shorter and some of those tunes came closer to his Crawfish Po’Boys material. His version of Iko Iko was fun. Dilworth, Keegan, Manins, and Hayles obviously enjoy playing together but I’d like to hear them tackle the raunchy old New Orleans tunes someday. Pushing deeper into the bluesy heartland of Jack Teagarden – the time is ripe for such a re-appraisal.  

Eamon Dilworth (trumpet, compositions), Daniel Hayles (Hammond organ), Roger Manins (tenor saxophone), Andy Keegan (drums). Backbeat, CJC Creative Jazz Club, Auckland, Mayday 2019

Kate Wadey @ CJC Auckland

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Australia produces some fine vocal talents and Kate Wadey certainly fits that category.  Her relative youth is contrasted by a stylistic maturity and when she sings you are transported. She has a way of engaging an audience and of personalising a story. It is a communicated sincerity, a something of herself that hangs in the air as the notes fall. She makes it look easy, but I doubt that mere happenstance lies behind her skilled delivery. It was the little things that caught my attention; the flashed smile during a lyrical punch line as if inviting you to share in a hidden aside. The way she moved from coy to world-weary in an instant – changing the pronunciation of certain vowels or consonants to good effect – and occasionally leaning back on a word.  Holding it just long enough for its import to hit home.

Many vocalists sing ‘The Great American Songbook’ but with such universally loved and familiar tunes, choices must be made with care.  Picking a few favourites and belting them out will only set you among the pack. To add distinction a fresh interpretation is needed. These days that means a reharmonisation or taking an angular approach to the tune. There is another way, however. Make the tunes your own while still approaching them in a traditional way. This is where superior storytelling skills and subtle vocal mannerisms come into play. The ability to inject freshness while referencing the best of what has gone before. She did this, not by mimicking the greats but by communicating the essence of what made those versions timeless. 

As if to underscore this I found myself thinking of Anita O’Day and June Christy. It’s not that Wadey sounded like either, but there they were, living inside her delivery.  That flash of vulnerability in a sideways glance, the vibrato-less hard hitting clean tone, The sass, the time feel, the supreme confidence – it is hard to put into words but it was all there without being overt.  

The other strength was the way the setlist was put together.  Both sets were opened with guitarist Peter Koopman playing instrumental originals. A good warm-up for what was to follow, Wadey launching into a spirited ‘East of the Sun, (and West of the Moon)’ or the lesser known standard, ‘There’s a Lull in my Life’, which was lush and beautiful. After that a composition of her own ‘The Moon Song’ – followed by a stunning rendition of ‘The Song is You’.  It could be risky to perch such beautiful standards on each side of an original but the standards were as much enhanced by ‘The Moon Song’ as the converse.  The last song in the first set, while from the ‘Songbook’, is seldom sung. What a great tune it is; ‘Nobody Else But Me’ (Kern/Hammerstein), and how clever to eliminate verses from the original. In doing this the song was modernised and brought into line with modern sensibilities without needing to change a word.  She also achieved this in the second set with ‘Sweet Loraine’ – singing it woman to woman – earlier referencing the belated passing of the same-sex marriage legislation in her country.  

On tour with her, was expat New Zealander Peter Koopman and it was good to see him in this role. Koopman is popular here and although we have seen him in many guises, never as vocal accompanist. With a musician as accomplished as this, it is a good test to see how they perform in a supportive role. Koopman was superb – never once making it about him and giving the vocalist exactly what she needed – pushing when required of him and fitting gorgeous chords neatly beneath the lyrics.  On bass was Sydney musician Samuel Dobson, alternating between standard playing and arco to good effect, a long time musical associate of Wadey’s.  Local musician Stephen Thomas was on drums and as superb as always. A duo number featured Wadey and Thomas doing ‘Goody, Goody’ (Maineck/Mercer) was a treat.  I will put that up on YouTube shortly – I have posted a cut of ‘Nobody Else But Me’ with this post.  There are a number of very good YouTube clips of Wadey but I highly recommend that you purchase her albums.  ‘Moon Songs’ & ‘A Hundred Years From Today’. 

Wadey (vocals, compositions), Peter Koopman (guitar), Samuel Dobson (bass), Stephen Thomas (drums). The gig was at Backbeat for the CJC Creative Jazz Club, 24 April 2019Kate Wadey

‘Shuffle’ on Tour

Shuffle (6).jpgI reviewed the ‘Shuffle’ album in January and the band is now on the road, sharing its groove throughout the North Island.  As they passed through Auckland I attended the second gig, but this presented me with a problem as a reviewer. When you’ve already done a review, you don’t want traverse ground you’ve covered, and in addition, reaching for superlatives has its limits. During the live performance, the answer presented itself via my friend Stuart.  He and I have had this album playing constantly; in our cars and on our HiFi’s. In my case, I’ve sampled tracks on trains and while waiting in a supermarket queue.  It is that sort of album; addictive to a fault and quickly becoming an indispensable friend in times of need.  Last Wednesday we listened to the first number and as the set progressed, Stuart nudged me and whispered. ‘These are standards to us’ and he was right. 

We knew the head arrangements off by heart in the way you do for Stella or Autumn Leaves; everything internalised and ready for triggering before a single note was played. We knew the track order, we knew the rhythms – the tunes and arrangements. There were no official standards on the album but that was immaterial. The Shuffle tunes are memorable, danceable, filled with melodic hooks, and our minds raced ahead of the lines in anticipation; delighting at each newly improvised line; mentally comparing them to the album forms.

This is what happens with Jazz standards. We love the originals but we never want to hear a band slavishly repeating the material note for note. The crazier the interpretation the better. Performing mental gymnastics during an intro and gasping in delight as a key phrase or line hints at the destination.  That Roger Manins, Ron Samsom, Michel Benebig, Carl Lockett and stand in-guitarist Neil Watson achieved this with an album of originals was remarkable. Naturally, such a singularity is not a lucky accident but the result of good compositional skills and fine musicianship. In a troubled month, we have all needed good-hearted friends to lean on and what better friend than a Shuffle. Lockett is temporarily lost again as he wisely has no engagement with social media. Having Watson step in was inspired, as he brought the core Shufflers a new perspective. Crisp drums, deep organ grooves, stinging blues, and crazy horn lines. Shuffle is a wonderful band and I have no doubt that they will bring pleasure for years to come. An assembly of ’emerging standards’ winging their way across the land and demanding acceptance for what they are.  

The January Shuffle Album review is on this blog site or located at https://jazzlocal32.com/2018/12/18/shuffle-manins-samsom/

Definition of a Jazz Standard: Part of the repertoire of a Jazz musician, compositions widely known, recognised by listeners and played often by Jazz musicians.  Maybe Stu and I are not alone here.  These tunes will be performed often and when others recognise them as we do – they will become standards.

Roger Manins (Tenor saxophone, compositions), Ron Samsom (drums, compositions), Michel Benebig (Hammond Organ, compositions), Neil Watson (guitar) @ Backbeat, CJC Creative Jazz Club, 17 April 2019

Steve Barry – ‘Blueprints’ Trio @ CJC

Barry S (1)Steve Barry left these shores many years ago and these days Australians count him as their own. It is hardly surprising that they do because since his departure he has raked in the accolades, won numerous awards and completed a Doctorate. Given the above, we can hardly begrudge his move. Music is like water it will always find its level, no matter where the wellspring. Everyone on the New Zealand Jazz scene looks forward to Barry’s yearly trips home as he never rests on his laurels. He brings us new and diverse projects and above all he showcases innovation. 

The ‘Blueprints’ Trio is a good example as it was formed primarily as a vehicle for his doctrinal compositions. For any student of pianism, these works are compelling as they combine strong elements of modern classical composition balanced against Jazz innovation. That Barry achieves this with such clarity, while never completely abandoning the history of jazz speaks strongly of his vision. Very few can achieve this without the music sounding contrived or lopsided. Barry’s compositions, although often challenging, are neither. Audiences listen and above all they smile as the music unfolds. Picking the references and enjoying the journey beyond. Those with a sense of history will hear Monk and Strayhorn; others will hear new music and neither is wrong.

The YouTube clip that I have posted illustrates this clearly as there are distinct Monkish references. When you listen closely though, you realise, that this is a twenty-first-century version and a Monk who has absorbed a whole lot of very contemporary ideas. The angular leap into ultra-modernity is abetted by his Australian bandmates; both completely at home in this adventurous new world.

With him in Auckland were the other members of the current Blueprints trio, Jacques Emery on Bass and Alex Inman-Hislop on drums. With Emery often playing arco bass and Inman Hislop splashing bold colour strokes, the distinctive vibe was complete. While this was very much Barry’s show, no one was in the background. For a copy of the latest Blueprints Trio album ‘Hatch’ go Rattle Records or to view his complete discography go to stevebarrymusic.bandcamp.com/

The Steve Barry ‘Blueprints’ Trio appeared at Backbeat, 100 K’Road, for the CJC Creative Jazz Club on 10 April 2019  

Neutrino Funk Experience / Music Soup & the ​healing vibe

Neutrinos (2)March fifteenth began as good days should, with sunshine, a cool breeze off the ocean, and a message from a Jazz Journalist colleague in Australia. ‘Would I like to meet some award-winning Greek Jazz musicians’? I had stuff planned, but the plans were easily shelved and I drove from my leafy hilltop retreat into the city. The musicians had flown into Auckland to join a passing cruise ship and were only in town for eight hours. Ahead of them lay four months of playing standards, original material (if lucky), and the inevitable but often regrettable requests. We met up in a central city cafe. ‘John’, they yelled as I walked around the corner. For the briefest second, I wondered how they had recognised me, ascribing it to a Jazz sixth sense, then remembering my tee shirt was emblazoned with the words Prahu Jazz. We introduced ourselves, and headed for the waterfront at my suggestion, chatting as if we’d known each other for years. That’s the way in the Jazz community. You travel to a place you’ve never been before and someone will message you with the contact details of ‘cats’ to hang with. Such hangs generally follow a well-trodden path. ‘Do you know this or that cat – killing?’ Always followed by outrageous road stories and laughter.     

Evgenia Karlafti is a B3 organist, pianist, and vocalist. Her husband Nester Dimopoulos is a guitarist. They were joined on the cruise by Argentinean bass player Julia Subatin and Mexican drummer Gerardo Lopez. Everyone spoke English which is lucky because I have no Greek or Spanish. After hours of discussing music, the topic took a political turn. Earlier the musicians had made a point of referencing the peaceful laid back Auckland vibe. I recall boasting that our geographical isolation, independent foreign policy, and nuclear-free legislation protected our Island from many of the problems besetting other parts of the world. “We are an independent social democracy very like Norway,” I said, little realising how strong the synergies were. I pointed towards the Pacific ocean at our doorstep, adding, “trouble is inclined to lose its way long before it reaches our shores”. We discussed the Greek political situation and I asked how the Syrian refugee situation had impacted on everyday life. We discussed compassion and the problem of compassion fatigue. We discussed Turkey and the unhelpful belligerence of President Recep Erdogan. Neutrinos (3)

Evgenia and Nestor promised me a physical copy of their latest album titled ‘Cut to the chase’, messaged me a link and we agreed to meet up again when the ship was in port next. After we had parted I grabbed my phone and listened to a track from their album titled ‘Senior Citizen’. Perfect. As I drove home I recall thinking that this was a day among days and then I turned on the car radio. The news spoke of an attack on a Muslim community. I am used to hearing such reports. Tragedies which occur elsewhere – reported on by Christiane Amanpour or Lyse Doucet. In this case, I heard a tearful Kiwi voice. Had one of our foreign correspondents been caught up in a terror attack in London or Paris? The word Christchurch soon dispelled that notion and numbness set in as more facts emerged. A massacre of fifty innocents was happening on our soil and perpetrated by an Australian Neo-Nazi white supremacist. The carnage had started at around the exact time I was boasting about our immunity from such horrors. I don’t remember driving the rest of the way home.

Our amazing Prime Minister set the tone for what followed while we glued ourselves to the TV sets silently grieving. Why here we all asked and the Prime Minister gave us the answer we needed.  For those of you who are watching at home tonight, and questioning how this could have happened here, we, New Zealand, we were not a target because we are a safe harbour for those who hate. We were not chosen for this act of violence because we condone racism, or because we are an enclave for extremism. We were chosen for the very fact that we are none of those things. Because we represent diversity, kindness, compassion. A home for those who share our values. Refuge for those who need it. And those values will not and cannot be shaken by this attack”. Norway and New Zealand were now linked in more ways than I had ever imagined. 

The next day New Zealand fell silently numb as people watched TV or visited the local mosque with flowers and cards. The Prime Minister’s words “They are us” rang out as we donated millions of dollars to the survivors and their families. Biker gangs offered themselves as bodyguards and our sadness grew as we contemplated the fifty innocents slain in our midst. Powerful images flashed across our screens. Jewish Rabbis, Imams, Anglicans, Catholics, Buddhists, Hindus and Coptic Christians arm in arm outside the Mosques. For the first time, our police carried weapons in public as our terror alert went from low to high. It had never been anything else but low. The unusual spectre of armed police, softened by the policewomen wearing headscarfs and clutching roses to their weapons. An entire nation heard the muezzin call the Adhan when the Islamic prayer rang from our Parliament the next day and from our public broadcast outlets. Surely, one of the most beautiful and evocative pieces of music ever conceived. For a day, following the lead of the Prime Minister, secular and Christian woman donned the hijab out of respect.  

This was an outrage hard to talk about; it was so new to us and so raw. We let the images guide us through our grief and as if urged by an unspoken force, started to debate our colonist past. The evils of racism and wrongs yet to be righted. Some days later I was back in our local Jazz club and the place was packed. There was no mention of the horror but it hung in the air. We had come there to be transported and to heal. Albert Ayler put it well when he said, ‘Music is the healing force of the universe’. On offer was Ron Samsom’s much-loved band ‘The Neutrino Funk Experience’. The band, understanding the vibe went absolutely wild as they sent their crazy danceable tunes heavenward. They turned happy into crazy happy and the barman, moved by it all, turned on the rock-effect strobe lighting. Each funk ridden note healed our bruised souls. We didn’t need overly complex or sad tunes; we just needed this.

Ted Gioia recently tweeted a finding by scientists, indicating that music may possess mass. A day later I read a piece by a prominent scientist reminding us of the absolute interconnectedness of life forms. It is likely then, that music is the glue; music that most ancient of languages. In my world, improvised music is super glue and the balm for all life’s ills.  I have played both the Neutrino Funk Experience album and the Music Soup album endlessly during the last few weeks and with each hearing, my belief in humankind restores.  

Dedicated to the victims of the Christchurch Massacre and to the musicians who heal us.  

With thanks to Rom Samsom, Roger Manins, Grant Winterburn and Cam McArthur of The Neutrino Funk Experience & to Evgenia Karlafti and Nestor Dimopoulos of Music Soup.

Lou’ana (Whitney) @ CJC Auckland

Lou'ana (2)Lou’ana is a vocalist on route to wider recognition. During the last few years she has been performing at festivals throughout the country and she is billed to appear at the Waiheke Jazz Festival this month.  He vocal style has general appeal as it blends elements of Jazz, Soul, and Funk. Her smokey nasal intonation and back on the beat phrasing carry echoes of Amy Winehouse.  Out of this brew comes a sound that is recognisably her own and it is refreshing to see how comfortable she is with that. At the CJC gig, an opener for her tour, she had wisely chosen the material which favoured her preferred register, rather than trying to dazzle with pointless pyrotechnics. In her case, vocal-gymnastics would be quite superfluous as her well-chosen phrasing and smouldering delivery give her plenty to tell a story with.   

The first set was mostly her favourite standards; often songs that she had heard as a child when her musical family played them for her (e.g. ’Just Squeeze Me’). Her approach to Autumn leaves was particularly interesting as she sang it in Samoan – the challenge being, that there is no Samoan word for Autumn. Her linguistic translation flowed beautifully and the essence of the tune transcended all mere words.  I know that her biggest audience lies elsewhere, but I hope that she will keep working on these Jazz tunes. A smokey voice and a Jazz standard belong together. During the first set, she was accompanied on piano by special guest Kevin Field (and for the last number of that set joined by her regular guitarist Jason Herbert).  Field is arguably New Zealand’s premier Jazz piano accompanist and I could detect his arranging skills in at least one piece.

The second set contrasted the first as it featured a funkier, rockier selection. These are the tunes that undoubtedly please her wider audience. In spite of that, they also pleased her Jazz audience. Who can resist a Hendrix number done well? Especially when the vocalist slams out the opening bars on guitar before giving us a Janis Joplin like rendering of the tune. Who can resist a homespun ‘viper’ song with its Waller like lyrics or a soulful funk number accompanied by soaring guitar, organ and gut-punchy bass lines?  Her bass player was the ever popular Cam McArthur, who switched from upright to electric bass for the second set. Both sets featured drummer Cam Sangster – a versatile drummer, equally at home in the popular funk, Indie rock, and Jazz worlds.

Her first set was great but she visibly relaxed into the music during her second set. Perhaps because of the familiar material and because she had her regular keyboards player and guitarist with her.  These two players, along with Sangster have been alongside her for much of the journey. On keyboards and organ was Dillon Rhodes and with more than a hint of the rock god, Jason Herbert on guitar. Together they had a great sound and one that I suspect will endure over time. The audience however never took their eyes off Lou’ana. She has an allure, and her charm on stage will serve her well as she gains wider recognition.

Lou’ana (vocals, compositions), Kevin Field (piano), Cam McArthur (electric & upright bass), Cam Sangster (drums), Dillon Rhodes (keys & organ), Jason Herbert (guitars),  The gig was at the CJC Creative Jazz Club, Backbeat, Auckland, 27 March 2019

The Turtlenecks @ CJC Backbeat

Garden (1)In the late 1950s and early ’60s, anyone with an ounce of cool wore a coarse-knit black polo neck jersey. While they sat there feeling cool their necks would start to itch and angry red rashes would creep up to their chins. Chins made all the itchier by the regulation chinstrap beards or ‘hip’ goatees.  Then in act of blatant cultural appropriation, Playboy invited the middle class to co-opt some of that hipness. Along the way, ‘Hef’ sensibly revised the polo neck jersey requirement, which morphed into a white cotton turtleneck and slim white jeans. Anyone who has seen David Hemmings in Antonioni’s arthouse movie ‘Blowup’ (one of the best films ever made), will quickly realise that sleazy old ‘Hef’ got it right. The Beatniks, on the other hand, got it woefully wrong. The better option had us wearing scratch free cotton turtlenecks and ‘Hef’s’ crowd wearing the itchy coarse knit jerseys (they never kept them on for long anyhow). So, when I saw that a band called the Turtlenecks was appearing in a Jazz joint and in cotton, I yelled Hallelujah. At last a serious wrong turn is being corrected.

The band was formed by saxophonist Jimmy Garden, a musician who obtained his wings in Auckland, then flew away to join the Australian scene for a number of years. Upon his return he formed the ‘Turtlenecks’, aided and abetted by musicians from his cohort.  I recall his departure well, as a lot of gifted musicians left around then. Thomas Botting, Peter J Koopman, and Steve Barry to name a few. This cohort, be they ‘leavers’ or ‘remainers’, were a hothouse of improvisational experimentation and it is always good to see them back among us. A few of those friends joined him on the bandstand Wednesday night.  

The compositions, all by leader Garden, are catchy and with more than a nod to groove.  There is also a pinch of humour evident and this informed last weeks performance. Although they are competent musicians, they never tried to overwhelm with cleverness.  What was more evident was their joy of playing together and that bonhomie overshadowed all else. They did what (cotton clad) Turtlenecks should. They played without a hint of itchiness.

The band has a number of drum, bass and guitar personnel it can call upon, while the two horns remain constant.  The personnel at the CJC gig were leader Jimmy Garden – tenor saxophone (tasteful), J Y Lee – alto saxophone (always a pleasure to hear), Michael Howell – (a popular local guitarist), Cam McArthur (one of our finest NZ bass players), and Adam Tobeck (a versatile drummer, well-known about NZ). The gig was at Backbeat K’Road, CJC Creative Jazz Club, 20 March 2019

Reinier Baas & Ben van Gelder

Van Gelder BaasFrom a young age, I chose improvised music as my soundtrack. The harmonies, in particular, intrigued as they sounded like real life. Full of rich contrasts and polyrhythms. By comparison, the endless radio replays of popular songs offered diminishing returns. The miracle of improvised music is that it promises depth, and if done well it reveals more with each listening. This sets a high bar for innovation, so when I hear musicians described as compelling and original, I check them out. Ben van Gelder and Reinier Baas are so described and after attending their gig I agree without reservation. 

While theirs is essentially a European sound, it is also original. The compositions draw inspiration from identifiable sources but they also reach beyond the predictable. The music falling fresh to the ears and without a hint of over-reach. When musicians like this hit the road, a buzz proceeds them. Insightful reviews appear because the critics have something novel to pour over, and more importantly,  respected musicians put the word about; ’don’t miss these guys, they’re heading your way and they’re astonishing’.  Baas and van Gelder are a commanding stage presence, beguiling sound, musicality and something new to communicate. 

Van Gelder Baas (1)

In New Zealand, Baas & van Gelder appeared as a duo – the guitarist and alto saxophonist bathed in defused coloured light; their physical presence diminutive against the tower of amps looming behind. Calmly they adjusted their microphones, then Baas began. What followed caused jaws to drop, his voicing quite unlike anything we had heard before. A gently percussive and often discordant string of utterances which filled the room – winning us not by force but by persuasion. Then van Gelder began to play his alto – an altogether sweeter sound and contrasting perfectly with the guitar. When experienced as a whole the effect was quite extraordinary. It felt like a brand new dialect and one that was accessible, strangely beautiful also. Rarely, Baas would apply a pedal, but this music did not require electronic effects.  As hard I try I can’t bring to mind any duo quite like this.  The Jazz club was packed and many younger musicians sat upfront, eyes sparkling in delight as they took in every aspect of this exciting music. 

Their recent album ‘Smash Hits’ is a must purchase for those who love innovation and fine writing. The tongue in cheek title, a good clue to what follows. If you gained the impression that the music might be confronting then I will disabuse you. An intense melodicism and raw beauty inform all that they do. ‘Smash Hits’ has them fronting the renowned Metropole Orkest – the Grammy-winning premier Jazz orchestra of the Netherlands (a big band and a classical orchestra combined). I couldn’t count the number of instruments in the YouTube clips but they are many and varied.  Sometimes a large ensemble can muddy a composition, but not here. These charts are masterworks – the palette is clean and rich in texture – the pieces feeling incredibly modern. Yes, there are distant echoes of Gil Evans but these orchestrations stand strongly on their own feet.

The above clip ranks among the most beautiful pieces of arranged music that I have heard.  Reinier Baas (guitar, arrangements, compositions), Ben van Gelder (alto saxophone, arrangements, compositions) – Backbeat, CJC Creative Jazz Club, Auckland, 13 March 2018 

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David Berkman – 2019 Auckland

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When David Berkman sits at a piano, any piano, he looks to be at one with the world.  In the parlance of Piano Jazz, the guy is a ‘beast’ and his mastery of the instrument is astonishing. Like all pianists of repute he is accustomed to high-end pianos but when he is confronted with an upright, he still makes it sing.  The last time he visited Auckland, the CJC Jazz club was located in the basement of the 1885 building. At that point, there was a Yamaha Grand on offer. Three moves on from then, the club is now in the ‘Backbeat’, a warm amenable performance space in Karangahape Road. The piano there is a Kawai upright. ‘Uprights are fine’, he said, ‘You just play more percussively’. I’m convinced that he could make a thumb piano sing or swing – and so it was on this night. 

The setlist was a mix of his own tunes and a few well-placed standards. Berkman’s tunes are strong vehicles for improvisation, always melodic and by default, they tend to swing like crazy. With one exception, the standards were Berkman arrangements, and while recognisable they came across as freshly minted masterpieces. Paring the flesh away from ‘All the things’ and giving those old bones a youthful lease on life; finishing wonderfully, gently, with the tag. His Cherokee while closer to the original was also a treat, a real burner. Who dares play that these days (more’s the pity)? Only a killer pianist is who, and contained therein was history, innovation and pure joy. With him were three local musicians who he fondly referred to as his regular New Zealand band. Roger Manins on tenor, Oli Holland on Bass and Ron Samsom on drums.

As I watched him throughout the night, I pondered where he fitted in the stylistic spectrum. Of course, he can range across many styles, but the name Cedar Walton sprang to mind. Later I ran into a musician who said unprompted, ‘This guy and his approach remind me of Cedar Walton’. A musician singled out his comping for high praise. “His comping goes beyond the usual, it is elevated to a high art form. Not just supportive but shepherding you into new territory, bringing out things in your own performance that surprise you”. So all of the above and more applies to him. A drummers pianist, a great comping pianist, a hard swinger. It is therefore not surprising that he shares the bandstand with Brian Blade, Joe Lovano, Billy Hart, Jane Monheit etc. He is also a well-respected educator. Anyone who follows the New York scene will already be a fan as he’s a regular performer around the New York Clubs. For the alert, he can sometimes be caught on the Australian and New Zealand Jazz circuit. If you snooze you lose down-under. Missing gigs like this would be categorised under high crimes and misdemeanors.

He records on Palmetto and his albums are readily available. Recommended is his latest: Old Friends and New Friends – also, Self Portraits or Live at Smoke. For more information go to davidberkman.com. The gig was at Backbeat, CJC Creative Jazz Club, March 2019 – last photograph by Barry Young