Shiva Loka ~ Alice Coltrane
News that a live recording of Alice Coltrane’s previously unreleased 1971 Carnegie Hall concert was about to drop caused excitement in Jazz circles. 2024, designated by Impulse ‘The Year of Alice’, will see other Alice projects realised, and Shiva Loka is the opener. The quality is great, even though it doesn’t have the degree of sound separation a studio recording has, but that is no bad thing. Being live, the album captures the excitement in the moment and invites us to breathe the spiritual air surrounding Coltrane. And as you take in what is unfolding, the sheer joy of it, it is impossible not to picture the audience sitting about you in rapt absorption. This is an immersive experience and, as such, it reveals the beating heart of Spiritual jazz.
There are four tracks and from the first note played you are present in that great hall. Track one ‘Journey in Satchidananda’ is a tranquil, mesmerising piece. At first, gentle cymbals reminiscent of a temple gong, then a long vamp on bass and with drums answering; out of nowhere, harp strings, Coltrane making them sing like a choir of celestial angels. At that point, you discern voices quietly chanting, followed by flute, then saxophone. The magic has arrived and it never leaves throughout.
The second track, while also tranquil, has a questioning spirit. Arpeggiating harp, arco bass, tiny percussion instruments and then the saxophones keening. Archie Shepp and Pharoah Sanders interact conversationally, as new sonic textures are opened up. An intensity develops as the album unfolds with the tranquil opening tunes followed by incrementally wilder, ecstatic pieces.
We hear two sides of Alice Coltrane in this recording. Both are astonishing in different ways and there is never a moment of doubt about who holds the musical centre. On the first two tracks, she reigns as a peaceful goddess; on the last two, surrounded by an army of titans, she is the epicentre of an ecstatic storm. There was a time when she was primarily regarded as the keeper of John’s flame, but here, she is revealed as the unrivalled queen of Spiritual Jazz, extending his legacy and claiming her own.
The last two tracks ‘Africa’ and ‘Leo’ are compositions by John Coltrane, but it would be wrong to regard these as mere covers as they transform the material into something not heard before. For these last two numbers, Coltrane switches from harp to piano and the fiery goddess radiates her power. She is percussive, with stinging chords, and snatches of chromaticism. Here, and in the last track especially, the rawness and power of the band has been fully unleashed. Thunderous percussion and pounding bass, staccato utterances from the horns and raining down on the keys, Coltrane’s hands.
It is hardly surprising that she chose these particular musicians as they have all been associated with her or John at some point. Coltrane on harp, piano and vocals, Pharoah Sanders on saxophones and flute (at times chanting through the flute), Archie Shepp on saxophones and flute, Jimmy Garrison and Cecil McBee on bass, Ed Blackwell and Clifford Jarvis on drums, Tulsi Reynolds on tamboura, Kumar Kramer on harmonium. As you listen you marvel at the beauty and raw power. It is an album that will stay with you for a long time. It is out on Impulse too, which explains the warm embrace of the sound.
The concert was recorded the year she released ‘Journey to Satchidananda’, her fourth Impulse album and not long after another acknowledged masterpiece ‘Ptah, the El Daoud’. My first thought was, why wait so long to release such an exceptional album, but on reflection, it was a good decision. Now is the time to fully acknowledge Alice Coltrane’s legacy. Available online or from the better local retail outlets.
Ancient Relics ~ Lucien Johnson
As ‘The Year of Alice’ gets underway it is great to acknowledge this release by Aotearoa/New Zealand saxophonist-composer Lucien Johnson. It is fresh material that references the tradition of Astral/Spiritual Jazz and it does so with reverence while bringing a local perspective. It is natural for those born under our South Pacific skies to gaze upward; far-dreaming Pacific star-gazers discovered our islands. That sense of worlds beyond is evident throughout, as it references space clutter and objects left over from the past. It could also reference the cluttered inner orbits of our minds.
As the album begins, the unhurried pace appeals instantly, informing you that this is a place for deep listening. On the title track, ‘Ancient Relics’, Johnson’s effortless melodicism floats over texturally rich vamps reminiscent of drones while piano and harp shimmer, and merge. This opener is unmistakably Alice-like and wonderfully so. The languid measured bass lines are perfect too, anything more would have spoiled the mood, with the gentle pulse from percussion and drums, whispering, quietly through the mix.
My favourite tracks are ‘Space Junk’ and ‘Satellites’, evoking the wonders of space while reminding us of our responsibilities as galactic sojourners. Space is the theme, but closer to home than the distant stars. If ‘Ada’ refers to the protocol of distance between objects in orbit, then all of the tunes appear to reference space junk; the ever-increasing proliferation of satellites circling the Earth. A recent report pointed out that every reentry leaves debris and puts the Earth’s magnetic field at risk.
This is an exceptional group of musicians and the right ones to bring Johnson’s vision home. All are from Aotearoa/New Zealand, some receiving accolades beyond our shores. Johnson is better known in Europe where he gained a reputation playing in free-jazz ensembles and composing for theatre. Since returning he has quickly established himself as an important local recording artist, recently receiving a Jazz Tui for composition.
Jonathan Crayford on piano (also a Jazz Tui recipient), has a solid international reputation, often playing in London, New York and across Europe. Percussionist Julien Dyne is another internationally recognised artist as is harpist Natalia Lagi’itaua Mann. Rounding off the ensemble bassist Tom Callwood, and drummer Cory Champion, both respected musicians. I was especially delighted to see improvising harpist Mann in the lineup as it has been a while since I saw her perform. Her World-Jazz Rattle album ‘Pasif.Ist’ is an absolute gem.
The album is available at Rattle Records, Bandcamp
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, a Judge in the 7VJC International Jazz Competition, a contributor to All About Jazz, poet & writer. Some of these posts appear on other sites with the author’s permission.
In spite of living at the other end of the Island, Lex French is a regular fixture at the CJC. It is hardly surprising since his popularity with Jazz audiences is ever-growing. There are not many trumpeters of French’s stature in New Zealand and it is our good fortune that he remains. He obtained his Masters from McGill University in Montreal, a university with a strong focus on brass. A university which had an ongoing association with the UK-based Canadian trumpeter Kenny Wheeler while he was among us. I mention Wheeler, because as I walked down the stairs to the club to set up my gear, I heard the unmistakable opening phrase from ‘Smatter’ coming out of the darkness. Just the opening phrase and then silence.
It was so Wheeler-like, that I assumed someone was setting up a Wheeler album on the club sound system. As my eyes accustomed to the low light I saw French standing alone – repeating the phrase. French is not a one-trick pony; he is as modern as tomorrow, but at other times, old school respectful. He can punch out high notes or swing hard bop like a Blue Note artist back in the day. This is not a musician to pass up on.
I particularly liked French’s compositions ‘Kasid’ from the first set. There were many reasons to like this; the musicians innovative explorations of the theme, the evocative middle-eastern mode underpinning it, and the fact that it referenced the wonderful Iraqi poet Abdulkareen Kasid. An achingly beautiful melody tinged through with bittersweet sadness, establishing itself delicately over a quietly incessant bass motif. When Steele came in, his opening chords were Oud like – giving the impression of soft strings jangling sweetly in the night air. I listen to a lot of middle-eastern improvised music and this performance stands beside the best of those. In the background, the drums tap tapped (like stones tumbling in a stream, and every so often swooshes).
The poet Abdulkareem Kasid is new to me (and I have a huge collection of poetry). To discover a poet like this is exciting and I thank Lex French for this. What could be better than to experience a night of interesting music, and at the end, find a poet? I finish this with some words from that poet – listen to the piece as you read the lines – I did.
The Mark Donlon trio gig gave us two leaders for the price of one. Accompanying Donlon was the highly rated LA bass player Tom Warrington. Jazz audiences in New Zealand are very familiar with Warrington as he toured here on many occasions. Donlon, originally from the UK is now living in Wellington and working as the Jazz Studies program leader at the New Zealand School of Music.
I have been a Tom Warrington fan for many years and I have most of the Jazz Compass albums where he features to such great effect. He is a bass player who speaks with incredible forthrightness, but never undermining the others on the date. On ‘Corduroy Road’, a fabulous album that I play often, the ‘others’ I refer to are Larry Koonse and Joe Labarbera. These guys can do no wrong; their version of ‘You Must believe in Spring’ (Bergman/Bergman/Legrand) is a small masterpiece. We are lucky to have such a strong association with Warrington and Rodger Fox is the one to thank for that. I last saw him during the ‘Cow Bop’ tour, where his band shared the stage with guitarist Bruce Forman (and the Cow boppers). A friendly modest man of enormous talents and good company. When I spoke to him last Wednesday I learned that Larry Koonse (and perhaps Joe Lababera) will be touring New Zealand soon. Koonse has suffered health problems of late but he is evidently recovering well. Warrington’s recording credits are too numerous to mention. Tom is now domiciled in this country which is very good news.
Cory Champion although Wellington based is no stranger to the CJC. He was there earlier in the year with Matt Steele’s ‘Master Brewers’. He writes and plays well and it is likely that we will see him in the drum chair often.
It is always good when proved right and in the case of Matt Steele I certainly was. This was a superb gig and it confirmed the promise that I saw in Steele as a first year student. The ‘Master Brewers’ musicians are exactly what Steele needed at this stage in his development and he is clearly what they needed. There is a cohesion about this group and it extends beyond the music. This is a band of friends and because they spend a significant amount of time together, they are able to dive deeper into the material on hand. Most of the band is writing and being familiar with each others styles, they contribute compositions that serve the project well. Younger musicians often favour shorter term projects but I hope this unit continues for a while. When I last saw Steele perform it was at his honours recital and he was very much in charge. Now as leader, the reins are subtly loosened and the music benefits from this. With experience, leaders can confidently guide without over playing the role. That only works when the interactions and cues become second nature. In their best moments the ‘Master Brewers’ acted as a single entity; everyone maximising their options while retaining an awareness of the others.
I immediately noticed that Steele’s voicings were darker. His interesting harmonic approach an outcome of an ever-growing musical maturity. There are certain aspects to Steele’s playing that stand out and during the gig these crystallised in my mind. These attributes are why I follow his career so attentively. He is self-effacing by nature, but that masks a ruthless striving for betterment. Ever reaching further, listening deeply, critically and taking risks. For all that he able to relax into the moment and as he grows musically this is more evident. The most difficult journey for any musician is finding a distinctive style and owning it. Steele is well on the way.
Thanks to Roger Manins programming, Auckland audiences get to see good Wellington bands every few months. In this case the audience were unfamiliar with the musicians (apart from Steele), but what a treat this gig was. The band won us over quickly and by the time the second set began they were cooking. In spite of the modernistic approach and complex time signatures these guys have a definite pulse. They swing like crazy.
Ashton Sellars had suffered a mishap with his guitar and he had to borrow one at short notice for the gig. He told me that it felt very different to his own older instrument, but no one would have guessed it by the way he was playing. Under his fingers the instrument sang. He favours longer fluid lines (with a hint of Bauer/Tristano), but his is very much a modern sound. His improvisations are thoughtful and they invite you along. While their music is often complex there is no ballast of needless weighty intellectualism. Piano and guitar keeping nicely apart unless comping in support. Both understanding when to lay out. Once again cohesion and a sense of common purpose drives them
Johnny Lawrence played upright bass, maintaining the core rhythm duties. While he held the pulse intact, he could also solo very effectively. Like his band mates he fitted into the mix in exactly the right way. Cory Campion was also a strong presence, often giving colour or providing accents. Above all his compositions were strong. There is an increasing trend for drummers to compose and when they write like this it provides an interesting perspective. Drummers write differently and the ones I hear lately, write very well. Steele and Sellars contributed the most tunes and each wrote in their own distinctive style. Together those charts and this band gave us pure enjoyment.
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