This particular group is an uncommon thing on the Auckland scene. A Jazz guitar trio formed by three of our best musicians and each of the musicians in it for the long haul. Samsom/Nacey/Haines have been playing and recording together for a long time and the commitment has remained constant throughout. Their longevity is clearly about musical chemistry, but also about their combined approach to composition. Each band member writes in their own style, but each instinctively understands how the others will react to the chart. This is how mature bands operate; the familiarity enabling the collective to dive into the heart of a composition and extract the best from it. While their original compositions form the bedrock of their output, they also tackle standards; especially when performing live.
Their approach to standards and the arrangement of them is flawless; leading you away from the familiar, while somehow retaining an essence of what you know and how you remember it. This ability to interpret while mixing comfort and risk in equal parts is a gift. It requires a degree of expertise that younger bands seldom possess. Samsom, Nacey and Haines know a thing or two about focusing the attention and on challenging audiences to listen more deeply. They have recorded three acclaimed albums already and a fourth is almost certainly lurking in the wings.
There were a quite few new compositions (some as yet untitled), some familiar tunes from earlier albums and a tasteful assortment of cleverly arranged standards. Three of the standards grabbed my attention: Nica’s Dream (Horace Silver), In Your Own Sweet Way (Dave Brubeck) and Detour Ahead (Herb Ellis/ Johnny Frigo). I have posted a clip of the Brubeck number as it typifies the adventurous nature of the trio. True improvisers often extract gold from this composition, a case in point being Brubeck himself. He seldom played it the same way twice and on a 1964 Belgian clip, he exposes the bones while Desmond lays down a new tune entirely (a miraculous example of melodic re-invention captured on film for posterity).
Anyone of the musicians could have introduced these tunes, but the duties fell to Kevin Haines. His easy-going banter struck just the right note. He was engaging and above all funny. I have often observed how easily this comes to the more seasoned performers. Years of standing at the microphone teach them that a few well-chosen words can enhance any performance – especially a good performance.
Samsom/Nacey/Haines are – Ron Samson (drums, compositions), Dixon Nacey (guitar, compositions), Kevin Haines (upright bass, compositions). The gig was at the Backbeat Bar, K’Road, for the CJC Creative Jazz Club, on April 18, 2018.
While some of us didn’t make it to the Wellington Jazz Festival, we had no need to cry into our beer. What Auckland had on offer was the Alan Brown Trio, returning to the Creative Jazz Club after a long hiatus, and in very good form. I have long thought that an organ trio is the best dish to serve up on a wet winter’s night. This trio proved the pudding with its down-home goodness, tasty grooves, and with all the trimmings. While Brown is across many genres, this is the one most music lovers associate him with. His deft touch calling down the good times and bathing us in a warm orb of sound.We heard mostly new material with a few well-chosen standards thrown in; all of it sounding fresh, the arrangements for the standards updated and interesting. Brown is a prolific composer – he always writes interesting tunes. His Between the Spaces album came out years ago, but I can still remember the tunes note for note. He is never afraid of melody either, balancing it nicely with his rich harmonies and all the while providing a solid improvisational vehicle. His final strength, and perhaps his greatest, is his feel for a groove. Although rooted firmly in the organ groove tradition, much of the new material felt evolutionary – taking us in a similar direction to that of Lonnie Smith. There is a lot to like about this direction.
This was essentially the original Grand Central band; Dixon Nacey on Guitar, Josh Sorenson on drums and for some of the gig, vocalist Chris Melville. Even though many of tunes were new to the rest of the band, they got down to business quickly. Nacey, as ever, the consummate professional – at times reading the chart before him, but always diving deep inside the groove as he internalised the music. Sorenson is a groove drummer from way back and although he works with his own rock group these days, he had no trouble doing what an organ trio drummer should; laying down a steady rhythmic cushion. It was good to see Melville perform again. I had not seen him on the bandstand since the Grand Central days. He’s an in-demand vocalist these days and deservedly so. I think that it was on his insistence that ‘I didn’t know what time it was’ was included (the Cecile McLauren-Salvant treatment). I have always loved his wonderful ”Come what may’ (Melville/Nacey) – surprisingly it is seldom heard. Although my battery died half way through, I have uploaded a clip from the gig – one of Alan Brown’s newer compositions. The trio’s incredibly warm vibe is well captured on this clip – a sound enhanced by the use of a Leslie Unit and of course by Nacey’s Godin guitar. This was the place to be; as the woody tones and warmth enveloped us, Winter was dispelled from our lives.
Alan Brown Trio: Alan Brown (B3 organ with Leslie Unit), Dixon Nacey (Guitar), Josh Sorenson (drums), – Guest Chris Melville (vocals). The gig took place at the Thirsty Dog Tavern for the CJC Creative Jazz Club, 7th June 2017.
Long after the ANZAC commemorations had finished, when The World Masters Games contestants were either celebrating their success or limping toward the nearest A&E, a largely unheralded gig took place at the KMC in Shortland Street. It was fitting, that on a day of remembrance, the faithful old war horses, the standards, were honoured. It is surprisingly rare to see a standards only instrumental gig these days. The event was curated by Kevin Haines and what a treat it was. The definition of what makes a Jazz standard is a moveable feast, but the safest definition is that the tunes are, or were, from the standard repertoire. Most, but not all standards come from the Great American Songbook, e.g. Irving Berlin, Cole Porter, Victor Young, Duke Ellington Ira & George Gershwin etc. Many of them, and often the best, from failed musicals. Other Jazz standards come from the pen of gifted composers like Sonny Rollins. When introducing the band, Haines stated,” The ability to play the standards well, is the benchmark against which Jazz musicians are ultimately judged”. Assembled on the bandstand were some of New Zealand’s finest musicians. Kevin Haines (bass), Nathan Haines (tenor & soprano saxophones, vocal), Kevin Field (piano), Dixon Nacey (guitar), Ron Samsom (drums). The band gave it everything and the exchanges were beautiful – Nacey and Field conjuring up the Evans/Hall duos, Nathan Haines making his tenor sound like the Desmond Alto. The night was well attended and it will certainly be remembered.
The set list on the night was magnificent, with several surprises nestled among the more famous standards: (1) Beautiful Love (tune composed in 1931 by King/Young/Alstyne – it was featured in two long forgotten movies during 1932) (2) Tarde (Milton Nascimento 1969 – immensely popular in Brazil but popularised in Jazz circles by Wayne Shorter). (3) Alone Together (Schwartz/Dietz 1932 – from the musical ‘Flying Colours’). (4) But Not For Me (tune George Gershwin, 1930, from the musical ‘Girl Crazy’). (5) impossible Beauty (Nathan Haines 2000 – a New Zealand standard if ever there was one -from his album ‘Sound Travels’). (6) If I should lose You (tune by Rainger 1936 – used in the film ‘Rose of the Rancho’. (7) Stella by Starlight (tune by Victor Young 1944 used as the score in the film ‘The uninvited’ rated the 10th most popular standard in the world). (8) Detour Ahead (Herb Ellis, Johnny Frigo and probably Lou Carter, 1947 – a true Jazz Standard, famously played by BIll Evans on his Village Vanguard sessions and later, and closer to home by Vince Jones), (9) All The Things You Are (tune by Jerome Kern, 1939, written for the musical ‘Very Warm for May’ played frequently, sometimes parodied, often messed with, much-loved).
It was appropriate that Warners ‘A List’ recording artist Kevin Field brought with him local A listers Dixon Nacey, Cam McArthur, Roger Manins and Stephen Thomas. Field has a substantial following in New Zealand and his innovative music attracts musicians and fans alike. Since his last ‘A List’ gig he’d clearly been busy – writing new material and rendering the familiar into something altogether different. Zoot Sims once quipped, “Jazz is a music where you never play the same thing once’. Field certainly exemplifies that tongue in cheek descriptor. Commentators and visiting musicians often remark on his innovative approach to harmony and rhythm. It is as if he has invented a new musical language out of the old. In truth, there are strong elements of related genres like R & B, latin and even disco funk there; under his fingers they become unique vehicles for improvisation.Unlike Janet Jackson, Field never suffers from wardrobe malfunctions. He does however occasionally suffer from equipment malfunctions. I mention it only because his Rhodes had failed him during a previous weeks CJC gig. No one listening comprehended that he had lost some of the middle-register. No one noticed because he re-voiced mid improvisation to work around the problem. I have heard of old timers doing this but seldom modern pianists. Field can effortlessly jump over obstacles and find a sweet spot.
On Wednesday he used the Thirsty Dog’s upright piano as well as his Rhodes. Miking an upright presents challenges that don’t arise when miking a grand, consequently the piano was a little quieter in the mix than the Rhodes (and Nacey’s guitar). It didn’t matter in the end because the music was wonderful and the others modulated their sound when necessary.There were old favourites reworked like ‘Game Changer’, ‘Good Friday’ and ‘Left Field’, but the rest were recent compositions. Among the newer numbers were ‘Rain check’ and ‘Acme Music Corporation’ (the latter featuring Manins on soprano – a rare event). Another new number ‘Unconditional love’ was introduced by Field with the following story. ‘There are many types of love in the world and today an unusual example came up in my twitter feed, – ‘Trumps deportation threats make my in-laws fearful. They live at 2b/34 Main St, Phoenix. My Mother in law arrives home from work at 4:30’ “.The last tune ‘Home Schooled’ was the best possible number to finish the evening with. Far from being a wind-down number, the musicians reached inside themselves, each giving magnificent performances. Manins back for a second number was on tenor, and he sounded happy to be back on his favourite horn. Nacey was at his best, making his guitar soar, as if he had found an ancient alchemy, a way to condense sunlight into music; the epitome of sonic clarity, invention and virtuosity. McArthur and Thomas each in step and reacting to the challenges. With material like this good musicians can achieve wonders.
Kevin Field: (Rhodes, piano, compositions), Dixon Nacey (guitar), Roger Manins (tenor and soprano saxes), Cam McArthur (bass), Stephen Thomas (drums). CJC (Creative Jazz Club, Thirsty Dog Tavern, 29th March 2017.
The Australian and New Zealand improvising scenes are a homogenous entity and long may it remain so. If the traffic sometimes appears one-sided, that is a natural consequence of our artists moving to the bigger scene; the exchange benefiting both. Many of those who jump the Tasman do well and they always return for gigs, tours, or sometimes to conduct workshops. Without these exchanges with Australia and beyond, our improvised music scene would be the poorer. This traffic brings us a number of talented Australians, musicians who probably would not have the opportunity to come otherwise; those collegial connections count for something. Drummer Simon Barker is one of those.Barker was in Auckland early last year with Carl Dewhurst. Together they are the amazing ‘Showa44’, a duo which I reviewed during their visit. Anyone who follows Barker will know how versatile he is, and above all the musical integrity and originality he brings to whatever situation he is in. Barney McAll’s award-winning ‘Mooroolbark’ and ‘Showa44’ are very different propositions but Barker sits comfortably at the heart of both; of equal importance is his teaching. While in Auckland, he held a workshop at the Auckland University Jazz School and undertook three days of intensive one-on-one teaching with students (and established musicians). Students I spoke to said that they valued the opportunity enormously.The first set featured Barker solo. It is not often that a drummer performs solo and to pull that off requires something beyond mere drum chops. Barker brings something that is uniquely himself to the kit, and he is able to communicate a story, not just a beat. He began with a tribute to an obscure central North Island Polynesian drummer (sadly the name alludes me). He has never met this person but saw a clip of him performing in the traditional Polynesian, polyrhythmic style. He had a traditional wooden drum mounted beside his big tom and working between this and his kit, he created intricate cross rhythms, worthy of a row of skilled drummers.His second and shorter piece he described as a chant and it was. The hypnotic intensity carried the audience to the last beat; just as the first piece had. He is not only a storyteller on his instrument but he is capable of creating an orchestral sound. The audience loved it. The second set was something of an impromptu affair but none the less enjoyable for that. Also on stage for that set was Dixon Nacey, Olivier Holland, and Roger Manins. So busy was Barker’s schedule that the quartet had not found time to rehearse. Even the set list was once settled on the bandstand.They began with ‘All the things you are’ and turned it on its head. The introduction performed by Holland and Barker alone was a blast. Drummer and bass exchanging phrases, challenging each other, leavening the exchanges with humour. When Nacey and Manins came in they exposed the bones of the tune. It was well done and in spite of its raw originality, the echoes of the melody hung in the air as implied offerings. The remainder of the set were original compositions and a rendition of the complex but ever popular Oleo (Rollins). Keep visiting Australians, we value you.
Kevin Field has for many years been regarded as a phenomenon on the New Zealand Jazz scene. A gifted pianist and composer whose approach to composition and harmony is strikingly original. When you listen to many pianists you can hear their influences, discern the pathways that led them to where they are. With Field, those influences are less obvious. I suspect that this independence, originality, makes it easier for him to strike out in any direction of his choosing. On his ‘Field of Vision’ album, he moved into uncrowded space, one occupied by very few Jazz pianists. It was Jazz without compromise but utilising grooves, rhythms, and melodies of other genres. The music contained distinct echoes of the disco/Jazz/funk era, crafting it carefully and forging a new post-millennial sound.The tunes were all memorable and within a few listenings, you could hum the themes. This is not so common in modern Jazz and less so with music (like Fields) which retains its Jazz complexity. In Fields case, the clean melodic hooks do not come at the expense of harmonic invention. That is a tricky balancing act and one he achieves convincingly. His co-leadership of ‘DOG’ took him in a different direction again, but the same deftly crafted grooves astounded us. His recent album ‘The A-List’, was a further excursion into the disco/Jazz/funk realm. It is slightly tongue in cheek while still challenging the listener to think outside the square. Artists like this take the music forward, it is up to us to catch up.
The Kevin Field Group often meets up to work through new and old compositions – this work ethic is evident in what we hear. While personnel changes occur from time to time, the group has a core membership. Field, Dixon Nacey, Clo Chaperon, Cameron McArthur, and Stephen Thomas. While we heard tunes from recent albums there were also a number of new tunes on offer. The new material took his earlier conceptions further out, while the older material was cunningly reworked. I have heard this group a number of times and each time I hear them I sense the progressive momentum.They played at the Wellington Jazz festival recently and for many Wellingtonians, this was their first exposure to the group. I saw that show and I immediately noticed how the familiar tunes had subtly changed. ‘Perfect Disco’ with its energised danceable funk momentum was recast as a duo piece. Field and vocalist Chaperon wowed them with that number. We also heard this duo version last week. Other familiar tunes had developed into profoundly interactive exchanges. The sort that can only occur between highly attuned musicians. This is where the guitar mastery and the deep listening of Nacey came into its own. His Godin guitar soaring with stunning clarity while Field reacted in kind, urging them further out with each challenge.Again we see Thomas and McArthur doing what they do best. Working hard and rising to the challenge. Thomas laying down the tricky rhythms and while McArthur runs his bass lines. While pleasant to the ear, there is not doubt at all that these compositions required skill and concentration. It is on gigs like this that the musicians familiarity with the material and each other pays dividends. It was also nice to hear Chaperon on some new and old material. She is a real crowd pleaser – she looks great on stage and sings up a storm.
Keven Field Group: Keven Field (piano), Dixon Nacey (guitar), Cameron McArthur (bass), Stephen Thomas (drums), Clo Chaperon (vocals), CJC (Creative Jazz Club), Albion Hotel 20th July 2016.
2015 was an amazing year for the CJC (Creative Jazz Club) and just when we thought the gigs couldn’t get any better this gig happened. It was an unexpected bonus, appearing out of nowhere. During the break of the CJC’s penultimate gig, Roger informed us that an extra gig would occur just two days before Christmas. Matt Penman was in town and he would appear with Kevin Field, Dixon Nacey and Steve Thomas. A buzz of excitement ran through the room and within a few days the gig was booked out. A second gig was quickly announced and that sold out as well.
Having Penman perform in the club was a coup. I had not seen him since the Scofield/Lovano gig in the Sky City theatre. Like most Jazz enthusiasts I had numerous recordings of him, including those he released as leader. It was his work with The San Francisco Jazz Collective, Aaron Parks and James Farm that took him to a wider audience and since those albums Penman’s acknowledged as one of the great bass players. Even though he has been in America for a long time, we love that he is an Auckland born musician. Because of his origins (like Alan Broadbent and Mike Nock) we happily claim him as ours.Fittingly the gig opened with ‘Two Steps’ (Penman) which is from the second James Farm album. Everything about the number is compelling and it oozes a post millennial Americana vibe – close to that espoused by artists like Brad Mehldau. James Farm are an extraordinary group co-led by Joshua Redman, Aaron Parks, Matt Penman & Eric Harland. A super-group where everyone is a gifted writer and virtuosic player. This is the pinnacle of modern American Jazz and we were lucky enough to get an up close taste of it. A warm glow swiftly enveloped us and from the first pull on the bass strings and we sensed on mass that this a different type of bass playing; supremely authoritative, melodic and with more momentum than a downhill freight train. We were especially fascinated to hear that Split Enz inspired him to write this tune. We heard other James Farm compositions – the moody ‘Juries Out’ (Penman) and Otherwise (Aaron Parks). Delightful Penman originals dominated the rest of the set (with the exception of a haunting Jewish folk song).As approachable as this music is, there are many rhythmic and textural complexities. Putting such a set list together with a band not used to playing the material, perilous. Two factors undoubtedly assisted here. Penman, Field and Nacey are old friends. Nacey attended Avondale college with Penman and Field has known him since his time at Auckland University. Field also recorded with Penman in New York on his recent Warners album ‘The A List’. The remaining band member was Stephen Thomas, the youngest of the quartet. He only met Penman the day of gig. When you examine Penman’s contributions to James Farm, the SF Jazz Collective and other albums, you realise that he writes with unusually gifted improvising musicians in mind. For a young drummer to step into the space occupied by Eric Harland and Obed Calviare and not only pull it off but to do it well is a credit to him. Penman singled him out for praise and told us we were lucky to have a young drummer of his ability on the scene.Of Field and Nacey we expect only the best and we got it. Replacing Redman, Moreno or Rosenwinkel with Nacey’s singing Godin Guitar felt a natural choice. I have heard Mike Moreno perform and Nacey is heading for that level of virtuosity. He is a good reader and a master musician and he always delivers. Field was also at his best that night and his best is something to behold. Losing himself in a music quite different from his own and doing it with utter conviction. Collectively they brought Christmas joy to everyone present. The best of Christmas presents from the best of Jazz clubs. I hope the CJC features Penman again soon – we love him down under.
Buy the James Farm album and support these artists – it is readily available from leading stores, Amazon or iTunes
Matt Penman (bass, Leader, compositions), Kevin Field (piano), Dixon Nacey (guitar), Stephen Thomas (drums) – CJC (Creative Jazz Club) – 30th December 2015