Steve Barry ‘Puzzles’ Tour NZ

November 9, 2014 / JazzLocal32.com / 1 Comment

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Steve Barry recorded his new ‘Puzzles’ album back in February and after his very successful first album ‘Steve Barry’, there were high expectations for its successor. In ‘Puzzles’ Barry has returned to the winning combination of Alex Boneham on bass and Tim Firth on drums and he could hardly have done otherwise. When musicians work this well together and have more to say, the journey should continue. While essentially a trio album, the gifted alto saxophonist Dave Jackson joins them for three numbers. There is a sense of shared vision here as the four have worked together extensively. While familiarity can sometimes breed complacency there is none of that in ‘Puzzles’. The communication between band members is intuitive, but there is an element of surprise and freshness about the interactions. All of these musicians are at their peak and while they impress deeply, there is no escaping the fact that it is the strength of compositions that gives this album its edge.

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Barry’s life is an extremely busy one. He is in the final stages of his doctrinal studies (focussing on composition) and he gigs regularly around Australia and New Zealand. Last year he won the prestigious Bell Award and was the runner-up at Wangaratta. Guiding his impressive work ethic is more than just academic or professional considerations; he possesses a deep quest for knowledge. If you follow Barry’s physical travels you understand something of what motivates him. He is never a casual tourist. His engagement with and questioning of the world about him informs his work. The compositions in ‘Puzzles’ reflect this as they are carefully crafted improvisational vehicles, complimentary in relation to each other but clearly reflecting the learnings gained by Barry along the way. The sound quality on the album is also superb and the album nicely presented. ‘Puzzles’ was recorded at the ‘Pughouse Studios’ in Melbourne by Niko Schauble and the cover design is Barry’s.

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I saw Barry on his way through Auckland to perform in Queenstown. Reports from that gig were positive and over the week he worked his way back to Auckland’s CJC, where he performed with Roger Manins on tenor, Cameron McArthur on bass and Ron Samsom on drums. The CJC band are highly rated musicians, but you inevitably get a different feel from any band less familiar with the material. While the numbers on the album sound effortless, the charts are obviously complex. We heard many cuts from the album and a few new numbers that have not yet been recorded. In the past Barry’s compositions tended to favour a degree of density, but many of his new tunes have a lighter feel. They are probably just as complex but like all evolving musicians Barry is mastering the art of making the complex sound simpler. It would be hard to pick between the tracks on ‘Puzzles’ but for beauty and emotional depth I like ‘Forge’ and for groove the fabulous ‘Heraclitus Riverbed’ (anything involving the ancient philosopher Heraclitus draws me in). It was interesting to compare Manins (live) with Jackson (on the album). Manins on tenor was the passionate story-teller while Jackson on alto has a drier sound and evokes the feeling of an intrepid pugnacious explorer.

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After listening to him live and replaying the album for days on end the conclusion is inescapable; Barry is a major talent on an upward trajectory. I would urge people to hear him live when the opportunity presents itself and above all to support his art by buying the albums.

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The Album: ‘Puzzles’ – Steve Barry (piano, rhodes), Alex Boneham (bass), Tim Firth (drums), Dave Jackson (alto saxophone). www.stevebarrymusic.com

The CJC Gig: Steve Barry (Piano), Roger Manins (tenor saxophone), Cameron McArthur (bass), Ron Samsom (drums) on the 29th October 2014 www.creativejazzclub.co.nz

Dave Jackson ‘ Cosmontology Live’ Review

September 13, 2014September 14, 2014 / JazzLocal32.com / Leave a comment

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I am a keen follower of ‘Tiny Hearts’ and if you explore the tributaries flowing from that creative enterprise you will arrive at this album. ‘Cosmontology’ is an incarnation (minus Eamon Dilworth). Dave Jackson is the leader of this project and joining him are three of Australia’s finest improvising musicians. This is Jackson’s second album under the title of ‘Cosmontology’, the last being in 2012. I have not asked the meaning of the album title, but the related term Cosmology is the science of unravelling the beginnings of the universe. At the centre of that work is the Big Bang Theory. If we transcribe that theory into musical terms we begin to divine the ethos of this album. This music feels incredibly bold to me, at times raw but always full of life, promise and excitement. The sub atomic particles and vibrations that exist at the centre of the musical universe have coalesced here.

Jackson is an established alto saxophonist who like the other band members works in the Sydney area. His approach while guided by an innate sense of musicality is somehow bolder than many of his alto playing contemporaries. There is a confidence that radiates from his every phrase, a sense that he is forging ahead without the need to look over his shoulder. He carries the history of Jazz in the DNA of his sound, but is always forward-looking.

This sense momentum is evident from the first listening. The title track ‘Cosmontology’ begins with an almost meditative intro by Barry who plays Rhodes throughout the album. In the first few bars the chords shift subtly, teasing us with possibilities. This nicely sets the mood up for what comes next, an unerring journey into the heart of a compelling composition. Bass and drums follow and as they weave in and around the chords a visceral power is evident as the groove develops. When Jackson comes in there is no equivocation. An overwhelming clarity of purpose has everyone moving in unison.

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Steve Barry is a gifted acoustic pianist and he is well recorded as such. To hear him on a Rhodes is a treat. On this album Barry often takes the measured approach, providing the necessary counter weight to the wilder explorations. This frees Jackson, Botting and Derricott to work in a freer space, it is the springboard they need. A steadying hand guiding the explorers as they surge forwards. In Barry’s playing there is the feeling that you are on ‘Voyager’; experiencing unimaginable colours as you cut through the silence of space.

Tom Botting’s bass work quickly took my attention here. I rate him as a bass player but I have seldom heard him recorded so well. He has found an album where he can really shine and he makes the best of the opportunity. His strong lines and immaculate sense of time serve to unleash Derricott who rains down shimmering flurries of beats as he moves and shapes the sound. His contributions add depth, colour and heart stopping excitement. As a unit they are immaculate.

Some people might not like the use of pedals with a horn, but they need to catch up. Improvised music has never stood still, often appropriating new sounds, striking out in new directions. The Scandinavian trumpeters fatten up their sound by electronic means as do American trumpeters like Cuong Vu. The history of Jazz is full of examples of changed and amplified sound. Without those experiments no Charlie Christian or Jimmy Smith. What is the difference between utilising extended technique acoustically and adding the use of pedals to delay or chorus? The only questions that should arise are; has this been done well, does the music have integrity? In this case I say a resounding yes.

Who: Dave Jackson (alto saxophone, electronics), Steve Barry (Rhodes), Tom Botting (acoustic bass), Paul Derricott (drums)

What: ‘Cosmontology Live’ – www.davejacksonmusic.com/

Tiny Hearts ‘Alluvium’ Review

August 27, 2014August 27, 2014 / JazzLocal32.com / 3 Comments

Tiny Hearts

Some acts appear to arrive out of no-where. All of the rehearsing and scuffling hidden from the common gaze. Others invite you in at ground level, letting you see the raw material as it evolves, letting you see the promise, beckoning from the future. Letting you see the influences, the base metal. For a pop act the former makes sense, for improvised music it makes no sense at all. Improvised music should move at will, explore awkward corners and morph into new shapes as it feeds off the life around it. Standing still is death.

Last time this band was in town the name ‘Tiny Hearts’ had not yet surfaced. They were the ‘Dilworths’ then, but the music was just as beguiling. One of the things that I quickly learned was the strength of the bands influences, powerful tributaries feeding a common cause. I was momentarily tempted to view the group as a discrete entity, a single project, but now I’m not so sure. The more that I learn about them, the more I see the individual strengths of the musicians, where they’ve come from and where they’re headed. Each of them have excelled in former projects but there is more. Together they exude an organic quality, growing, evolving in unison. Expressing the moment. IMG_2404 - Version 2

I was familiar with a few of the tunes, the ones played during the ‘Dilworths’ tour. I had also kept in touch with the musicians and seen clips as they developed their program along the way. These are great compositions, but the performances lift them to another level. All of the pieces have the individual musicians stamp imprinted on them. This is in keeping with the ‘Tiny Hearts’ ethos. A Steve Barry tune is unmistakably his, A Dilworth or Jackson tune likewise. While most of the tunes were written with ‘Tiny Hearts’ in mind, they often referenced earlier projects or perhaps give a nod to future offshoots. The ink was hardly dry on Tom Botting’s atmospheric Balclutha chart when he visited with the ‘Dilworths’ last time. ‘Big Sea Reprise’ takes up the baton from Paul Derricott’s amazing Big Sea (Arrow) album. I loved that album and asked Derricott about it when I caught their act last week. He told me that he had liked the album as first, but then developed some doubts. It lay fallow for a few years, then Paul revived it. He is now pleased with it. IMG_2370 - Version 2

Dilworth is the fronts person for the group, his friendliness and confidence making him and obvious choice. Musically, all speak equally. The composition of the band is part Australian and part Kiwi if you count their countries of origin. In reality they’re best described as Australians. Musicians like Barry and Botting could never be confined to our small Islands. Dilworth, Derricott and Jackson are Sydney musicians with solid reputations. If you are growing curious then here is my challenge. Purchase a copy of ‘Alluvium’. If you already possess it then order copies of: ‘Big Sea’ by Derricott, ‘Steve Barry’ the eponymous titled award-winning album by Barry, ‘Caravana Sun’ by Dilworth, ‘Cosmontology’ by Jackson. I have just ordered the latter to complete my set. I also spoke to the band about future projects and there are plenty in store. A Paul Derricott, a Steve Barry and a Dave Jackson album are in the wind. IMG_2373 - Version 2

I missed their CJC gig as I was in Australia, but I caught them at the Auckland Jazz and Blues Club. Reading the venue perfectly, they devoted much of the night to the Ellington/Strayhorn songbook. This was not done begrudgingly as they revelled in the chance to play sets dominated by these timeless standards. As the night progressed we whooped and clapped as numbers like ‘It don’t mean a thing’ brought the joy among us. Embarking upon a night of unprepared swing era tunes would catch a lessor band on the hop. For these guys it came naturally.

If you get the feeling that these musicians are in the middle of a massive and self-perpetuating project then you would be right. For those who haven’t worked it out, the title says it all. Alluvium comes from the Latin ‘to wash against’. Loose base metals tumbling together in a stream. That sounds about right. I can’t wait to see them again in any of their incarnations. They really are extraordinary.

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Who: Tiny Hearts – ‘Alluvium’ Eamon Dilworth (trumpet), Steve Barry (piano), Dave Jackson (saxophone), Tom Botting (bass), Paul Derricott (drums).

http://www.davejacksonmusic.com/ – stevebarrymusic.bandcamp.com/

www.eamondilworth.com/ – paulderricott.com/

The Dilworths@CJC Winter International Series

May 28, 2013May 28, 2013 / JazzLocal32.com / Leave a comment

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When the CJC (Creative Jazz Club) posted information about their Winter International Series, the first group up was the ‘Dilworths’. I quickly scanned the information and zeroed in on the two Kiwi band members. Not just because they are Kiwi’s but because they are superb musicians and well known to me. The Dilworths current Pianist Steve Barry is an expat Aucklander, as is bass player Tom Botting. Both had established solid reputations for themselves before leaving this city and both have since built new ones in Sydney. On that basis alone locals knew that this was the sort of gig that you brave a rainy night for. Steve Barry in particular has strong audience pulling power in Auckland and many are aware that he has just won the prestigious Bell Award.

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Sydney-sider Eamon Dilworth was relatively unknown to me prior to the Dilworths tour, but it is not a name that I will forget in a hurry. His band is something else. Eamon plays a formidable trumpet and he has long been recognised as a musician with much of interest to communicate. He is a Bell award nominee and the recipient of various scholarships which have led to him traveling overseas and studying in Italy. He has performed in Romania, Austria, Italy and England and his compositions reflect some of the influences that he has soaked up on those journeys. While we have some terrific trumpeters around New Zealand we can not match the breadth and depth of the Australians. Having a trumpeter of this calibre visiting is a rare treat.

Leaders need to exert a strong sense of influence but at the same time they need to know when to stand back and let things happen organically. The Dilworths appear to have the settings just right. The camaraderie and the consequent collective output is what works so well for them. This is at least the second line up for the band and the mix is perfect. The observant will have noticed how carefully these guys listen to each other, tossing challenges and giving support in equal measure. What is also evident is how much fun they are having. There is nothing more off-putting than being confronted by a grim-faced group of musicians whose only purpose is convincing you just how seriously they take their music. This band was fun, lively and extraordinary. We all felt that we had witnessed a great show and more importantly been part of one. This is the essence of good performance and of good Live Jazz

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Everyone in the band contributed at least one tune to the gig and the set list was fluid. The band would play a few numbers and then quickly confer on what to play next. They had a grab bag of compositions to draw upon and although a random selection process was applied, the set lists formed a surprisingly cohesive whole. Thomas Botting’s ‘Balclutha’ was just great with Tom and Steve working a groove to the marrow while Dave Jackson (alto sax), Paul Derricott (drums) and Eamon Dilworth (trumpet) created delicious mayhem. Tom has a following in New Zealand and deservedly so. IMG_7391 - Version 2

Steve Barry’s pianistic and compositional skills are greatly admired in New Zealand and anyone who has purchased his album ‘Steve Barry‘ (Jazzgroove) will understand why. Last Wednesday we saw yet another facet to his playing. Not as leader or accompanist but as ‘A’-grade ensemble member. As with all of this line up he added maximum value without overcrowding his band mates. Paul Derricott also contributed a great composition and his album ‘Big Sea-Arrow’ (Jazzgroove) is really worth purchasing. I have hardly had it off my Hi Fi since picking up a copy. These are all bands to track down and see again and again. Altoist Dave Jackson is a great soloist, with a lyricism that sets him apart. There is also something compelling about his tone production (quite like John Surmon’s alto sound). He and Eamon often crouch on the floor when others are soloing. I like this as it signals the ebb and flow of performance; as if choreographed. I love musicians who move and dance and these guys executed their dance moves perfectly.

The influences were many and varied and while you could hear flashes of Eick, Stanko, Douglas and many others, the band still sounded very Australasian. I have come to value this local sound and I miss it when I travel. There is an honesty that comes from living so far from the so-called mainstream Jazz world. Jazz is now finding a universal voice and New Zealand and Australia are feeding into that just as the Europeans have done for some years. Good music has no borders. While comparisons are often redundant I do have one to make. It came to me while I was listening to the Dilworths EP. They have captured a vibe very close to that of the 65 Miles Quintet. In short they had a controlled looseness that can only arise when a band intuitively knows exactly where they need to be minute by minute. ‘If I were a Bell’ was the one standard of the night, with the melody barely expressed before they were paring it back to the bone. Using the changes as occasional touchstones, working with space, colour and texture as if they were commodities not to be squandered. IMG_7445 - Version 2

Most of the tunes were fast paced but we did have one or two ballads to round them out. The last set finished with a tune by Eamon. The musicians put their instruments aside and chanted and we were instantly mesmerised. While it had some of the feel of an ancient Peyote chant it was subtler than Jim Peppers Witchi-Tai-To. We loved it and many of us are still talking about it a week later. The perfect out chorus to a perfect evening.

What: The Dilworths (Australia)

Where: CJC (Creative Jazz Club) Winter International Series – 1885 building basement, Auckland, New Zealand. Wed 22nd June 2013

Purchase Details: Jazzgroove records