Backbeat Bar, Beyond category, CJC Creative Jazz Club gigs, Fusion & World

Takadimi @ Backbeat Bar

TakadimiKarangahape Road and the precincts around it are a natural home for adventurous and alternative music. If you walk the length, you are assailed by sights and sounds at variance to each other. Taken in their entirety they are oddly compatible. The jumble of colour and the bursts of noise as you pass a Karaoke bar or an uber cool eatery is counterbalanced by the languid notes from Shanghai Lils or the soft chatter emanating from Hookah smoking Kebab shop doorways. Woven into this oddness of streetwalkers and urban cool, are the alternative music joints. Down in basements, under the street or up narrow stairways. Thirsty Dog, Anthology, Audio Foundation, Wine Cellar. And at the top end of the strip, next to the old Jewish graveyard is the Backbeat Bar.  High-quality alternative improvised music resides here on Wednesdays. Takadimi (4)

Takadimi is the brainchild of the gifted tabla player Manjit Singh and the CJC featured his band last Wednesday. This is a fusion band in the very best sense of the word as it fuses styles and complex rhythms with apparent ease. The music’s origins are clear but the tunes are not unduly anchored to them. We are living in an age when classical forms are not nailed down and in the west, the whole notion of musical purity is frequently overstated. The higher purpose of music is to connect on a human level and not to impress by showing off technical prowess. Takadimi connected deeply and spoke directly to our senses. They played improvised music but worked into the complex structures of Indian Talas. It felt as if both forms were respected.

The tunes were all introduced by the leader Manjit Singh, who would establish the rhythm by chanting a tala (or taal); then he would guide the ensemble into the open and freer air of jazz harmonies where collective (or solo) improvisation occurred. I have seen this band before and this felt like a step up. The soloists, in particular, showed a readiness to work with and enjoy the challenges presented by the complex polyrhythms. All of the musicians held the line and made it appear easy – it certainly was not. Takadimi (3)

Underpinning everything were the rhythms and colours provided on the Tabla – an instrument long embedded into the Jazz repertoire. Anyone who has heard John McLoughlin, Jean Luc Ponty and Zakir Hussain together will understand how profound the association can be. It is therefore great to have such a fine tabla player in our midst and it our good luck that he is up for cross-genre collaborations.

The last time I heard Takadimi was at the Thirsty Dog; way down the other end of K’ Road. On that gig the lineup was different, this time the band had no guitar and the pianist Alan Brown had joined them. Singh could not have chosen better. Brown is well versed in the output of East European wunderkind Tigran Hamasyan. Hamasyan often counts in with talas and his beautiful Armenian styled rhythms are at times, very close to Indian forms. Brown is a master of complex rhythmic structures and capable of executing them without ever losing the groove. There were many fine performances but a standout was from Lukas Fritsch. His alto danced expertly through the tunes and for a young musician, he handled the complexities like a veteran.  Takadimi (2)

The clip that I have posted is a beautiful composition by the guru Ustad Fazal Qureshi and arranged by Manjit Singh. The Taal is Mishra Jaati – rendered as a polyrhythmic 7 over 4/4 time. On this track, Brown plays a synth instead of piano.  

Takadimi: Manjit Singh (leader, tabla, arrangements), Alan Brown (piano, keyboards), Lukas Fritsch (alto saxophone), Denholm Orr (bass), Daniel Waterson (drums). The gig was at the Backbeat Bar, K’ Road, Auckland, CJC Creative Jazz Club, July 11, 2018.

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CJC Creative Jazz Club gigs, Post Millenium, Small ensemble

Emerging Artists – Orr / Fritsch

Orr (1)In keeping with the longstanding CJC tradition of keeping twice yearly slots open for emerging artists, late March featured two such sets.  First up was a group led by bassist Denholm Orr.  Orr has appeared in lineups a number of times, but this was his first appearance playing his own material and as a leader. His recent compositional work has placed increasing focus on arco-bass and consequently, the charts reached into that territory. Arco is not the default style for Jazz bassists but I am seeing a lot more of it lately and I welcome that.

Orr opened with a piano trio and as the set proceeded more players were added.  The larger formations tackled ambitious arrangements and this is a hopeful sign of things to come. Emerging artists should reach beyond their comfort zone – being challenged is where growth happens. On piano was the ever-reliable Nick Dow and on guitar Michael Gianan (who wowed us all with his first CJC gig a few months ago). Misha Kourkov was on tenor and new to me was Charlie Isdale on alto and Jack Thirtle was on trumpet. Daniel Waterson was on drums. Kourkov is shaping up to be a presence on the scene and Fritsch is grabbing attention with each fresh appearance. As most are still studying and given their ages and experience, it was a good start. Orr

Lukas Fritsch headed the second set and again this featured ambitious material. Fritsch’s set had a tighter focus and perhaps because he had a few seasoned musicians in the ensemble ranks, the set sang joyously from start to finish. When Fritsch completed his finals, a buzz quickly circulated; that the recital performances had been something special.  I had not attended, but my attention was certainly piqued. The arrangements were superb and the musicians well focused, but the inclusion of Chelsea Prastiti and Crystal Choi gave the set that special something that lifted it beyond the ordinary.  Orr (2)

Choi is fascinating to behold as her trajectory is pointed ever upwards – a pianist who understands how to get inside the music and make it part of her story.  Prastiti likewise is an innovative trailblazer, who takes the path less ordinary.  The front line was Fritsch on Alto, Asher Truppman-Lattie on tenor and Kathleen Tomacruz on guitar.  On bass was Wil Goodinson and on drums Tom Leggett. Fritsch writes interestingly and his performances are well thought through and engaging.

The gig was the last at the Thirsty Dog for the CJC (Creative Jazz Club, It took place on March 21, 2018.

 

 

CJC Creative Jazz Club gigs, Small ensemble, Straight ahead

Oli Holland’s Jazz Attack

Oli (1)Oli Holland is one of the leading bass voices in New Zealand. He formed Jazz Attack just over a year ago and since its inception, he has been writing new charts and expanding the lineup. Holland writes interesting charts; often complex but always compelling and his last gig showcased a number of these. This was an expanded lineup – adding three of Auckland’s heavyweights for a quartet segment in the first set. His bass is a powerhouse presence and his ringing melodic lines always distinctive. During solos, his vocalised unison lines fleshed out the tone, drew us deeper in – perhaps even influencing his improvisational choices. It is well established that vocalising while improvising on an instrument, fires up the human brain in new and interesting ways.   Oli

 

 

 

 

 

 

 

This is predominantly a young band but nicely balanced by two seasoned regulars (Holland as leader and Finn Scholes on trumpet). Adding a segment featuring  Roger Manins (tenor saxophone), Kevin Field (keys) and Ron Samson (drums) provided an interesting contrast. When Misha Kourkov joined Manins in the first set we saw this exemplified. After the head, the two tenors each took solos, Kourkov’s was thoughtful with a nice sense of space while Manins dived in and let his long years of experience and no prisoners approach guide him. The two solos worked very well together and it was nice to see a two-tenor spot which avoided the formulaic line-for-line battle formation.

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While the Holland, Manins, Field, Samsom, segments stung with intensity, the core band used the charts to flesh out the compositions. Nick Dow on the piano was interesting in this regard. His solos short but perfectly formed and his often understated comping lightening the density of the ensemble. Michael Howell on guitar also took a thoughtful approach – both chordal instruments providing depth due to their approach. The two main horns were Kourkov and Scholes (foundation members). Kourkov is rapidly maturing into a fine player and I really enjoyed his contribution. Scholes is always interesting and capable of a great variety of expressions. On this night, his solo’s achieved edge and warmth in balance.

As always with Holland, there were a number of funny stories preceding the tunes, improbable seques which hinted at his motivation in naming them but inviting us to fill in the gaps for ourselves. Holland is widely recorded and has recently recorded in Europe with leading musicians. Any gig featuring Holland is well worth attending and this was no exception. Oli (2)

I have posted a clip titled ‘Van Dumb’.  The gig took place at the Thirsty Dog for the CJC (Creative Jazz Club) on the 28th February 2018.

 

CJC Creative Jazz Club gigs, experimental improvised music, Post Millenium

Emerging Artists gig – Exploding Rainbow Orchestra – Equitable Grooves

Emerging A (2).jpgI always look forward to emerging artists nights at the CJC.  They don’t happen often but when they do, they’re fun, full of surprise and most importantly they are hopeful events. It is usual for emerging artists to salt the mine with seasoned players. Both of the bands did well in that regard. The first band up was Misha Kourkov’s ‘Equitable Grooves’, a six-piece unit playing multi-genre Jazz focused music. The material was well written and at times ambitious. Aiming high on the bandstand is good because that is where real learning occurs. If you wish to extend your reach, then having Alan Brown on the piano is exactly what you need. With that sort of experience and groove behind you, you have a fail-safe mechanism. The set opened a little tentatively, but they quickly found their groove; the last two numbers were especially enjoyable.Emerging A.jpg

Misha Kourkov is a strong tenor player. I like his playing in Oli Hollands ‘Jazz Attack’ and as a leader, he has real potential. Most younger players have discernible influences and with Kourkov it is Roger Manins. As he grows as a musician he is increasingly finding his own voice. The track that particularly took my fancy was ‘Friday night at the Cadillac Club’. Early rock and roll stole licks from Jazz. Now the tide has turned. On that number, the group mined the Happy Days vibe while sneaking in snaking bebop lines. The pairing of tenor and soprano worked well, suiting the material they played; the guitar completing the front line by adding a bluesy feel, nice solos, and textural richness. The soprano player, in particular, is one to watch, nice bass and drums also. A popular practice among emerging players is to create cryptic and often unpronounceable tune titles – if that was their aim, then both groups succeeded. Emerging A (5).jpgThe second set featured the ‘Exploding Rainbow Orchestra‘. This was a very different type of ensemble. Freer ranging, a bigger sound palette and an electric bass with the heavyweight punch of Bona. The bass player Joshua Worthington-Church who led the ensemble is accurately described as a maverick. His set list contained genuinely diverse material; gripping vamp-driven originals plus tunes from ‘Radiohead’ and ‘The Mint Chicks’. Under the leader’s guidance, the band took the material to a place close to my heart; a fusion of Jazz and psychedelia. I am happy to see this done, as the genre is all but forgotten. During the mid-seventies, that style of music was sacrificed on the altar of Jazz purism, a pompous battleground that tried to stifle genre exploration. Emerging A (6).jpg

I have always loved the Belgium Jazz guitarist Philip Catherine. Today he is regarded as an elder statesman; admired for his work with Chet Baker, Mingus, Carla Bley, Dexter Gordon, Lagrene etc. His work with the psychedelic Jazz Fusion group ‘Focus’, or the amazingly tripped out violinist Jean-Luc Ponty, overlooked completely. This material is worthy of re-evaluation. With the Exploding Rainbows Orchestra, we moved closer to that. The band worked well as a unit but there was no doubt where the greatest strengths lay; Callum Passells and Chelsea Prastiti. A pair combining musical maturity with an inbuilt urge to push boundaries.

Music that lays down a vamp, has a locked-in drum groove, can free up the rest of the band. When there is less rigidity in the harmonic structure, and if the musicians are brave enough, they interact organically: that’s what this ensemble took advantage of.  Passells on alto is a wonderful musician and he knows how to use space. When paired with Prastiti on vocals, otherworldly magic happens. In the background, almost hidden from sight, Crystal Choi layered moody fills and passages on a compact keyboard. The guitarist Michael Gianan took few risks, but his comping and his unison lines added another rich textural layer. I hope that this project continues – there are a few sound balance wrinkles to iron out, but hey, it really was a buzz.

Equitable Grooves: Misha Kourkov (leader, tenor saxophone) Alan Brown (piano), Nathan James (Guitar), Edwin Dolbel (bass), Daniel Reshtan (soprano ), Daniel Waterson (drums).

Exploding Rainbow Orchestra: Joshua Worthington-Church (Leader, electric bass), Callum Passells (alto saxophone), Sean Martin-Buss (tenor saxophone), Chelsea Prastiti (vocals), Crystal Choi (keyboards), Michael Gianan (guitar), David Harris (drums),

The event was at the CJC Creative Jazz Club, Thirsty Dog, 03 May 2017

CJC Creative Jazz Club gigs, Post Millenium, Straight ahead

Oli Holland’s Jazz Attack

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2016 has seen more internationals passing through our Auckland Jazz club than ever before. Most of these offshore artists were extremely polished, playing at a level you’d expect from musicians tested in the hot-house of big city venues. Against that back drop it is exciting to encounter a first time up local band that can turn on a gig like this. ‘Oli Holland’s Jazz Attack’ is a fun band and an engaging one. The band’s leader (Dr) Olivier Holland, is an extraordinary bass player, renowned throughout New Zealand; the other experienced band member was trumpeter Finn Scholes, the remainder of the sextet were students.Oli 2016 121From early in the first set, I felt the passion behind the performances, the sheer exuberance that is generated when a group know that they are performing effectively. Seasoned touring musicians sometimes sacrifice this – perhaps the effort of being on the road, the effects of jet lag, robbing them of warmth. It reinforces my view as a listener, that an artist needs more than chops to fully engage with an audience. When a band is comfortable on stage, properly rehearsed and above all up for a riotous night, magic can happen.

I enjoyed this gig and what I will take away is that joyous enthusiasm they generated. This is largely down to Holland, a seasoned bass player who generally downplays his role as spokesman. “Bass players are not supposed to speak,” he said, “but I will anyhow”. A leader who can move from grin to deadpan in an instant; a natural talker, who milks the hell out of his spoken lines. He is extremely funny, the master of throw away lines and in between numbers storytelling. This clearly rubs off on the band members and establishes the mood.Oli 2016 126Trumpeter Finn Scholes can always surprise and over recent years he has impressed me increasingly. His vibrantly brassy ‘south of the border’ sound in the Carnivorous Plant Society is well-known, but anyone who thought that was all there was to him, hasn’t been paying due attention. He is raw and raspy on avant-garde gigs, mellow and moody on vibes and in this lineup reminiscent of the young Freddie Hubbard. His solo’s had bite and narrative, his ensemble playing was tight; above all, he generated palpable excitement, the sort that brings people back to live music again and again.Oli 2016 125

There were four students in the line up and the thing about students at this level, they have the ability to step up. Often though, they lack the confidence to do so. Many will over think a performance or only tentatively express what is in their heads – a careful observer can see that hesitation. The four students here stepped free of that hesitation, especially the tenor player Misha Kourkov. Being in the moment and bringing your skills to bear instinctively is what good Jazz performance is about.Oli 2016 129

Kourkov delivered some blistering solos and the best came surprisingly early in the gig. It has been a while since I saw him play (as a first or second year student I recall); he has come on in leaps and bounds since then. He looked and sounded good on the tenor, as if the instrument was a natural extension of his body. There was no mistaking the influence of Roger Manins either – that preparedness to reach for impossible notes, that full-bodied rich golden sound, storytelling.Oli 2016 123

On piano was Nick Dow from Christchurch, completing a Masters in Auckland. A nice touch and avoiding the trap of playing too many notes. On guitar was Michael Howell, no stranger to Auckland audiences, another AUJS student: playing an attractive solid body instrument; rounding out the sextet sound nicely and not over peddling. The remaining band member was Daniel Waterson (drums). Like the others he was obviously enjoying himself – he took a few solos and acquitted himself well. At the end of the first set, special guest ‘Heidi’ performed the jazz standard ‘Nature Boy’, rounding off the set nicely.

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I have posted ‘The Baseline Tune’ (Holland) which was second up in the first set, a tune which allowed everyone to stretch out. In Hollands introduction he warned the audience, “If you think you know where this piece is going you’ll be wrong. I don’t compose any tunes like that”. A typical Holland comment and accurate. All of the tunes were composed by him and all were quirky in some way. I liked the quirkiness, the way the tunes moved through many phases – often like a suite. In spite of their complexity they lingered in memory – you couldn’t hum them, but tasty fragments remained in your head. Challenging, satisfying, edgy improvised music for grownups.

Oli Holland’s Jazz Attack: Oli Holland (bass, compositions), Finn Scholes (trumpet), Nick Dow (piano), Michael Howell (guitar), Misha Kourkov (tenor saxophone), Daniel Waterson (drums) – guest Heidi (vocals). CJC (Creative Jazz Club), Albion Hotel basement, Auckland, Wednesday 17th August, 2016