CJC Creative Jazz Club gigs

Antipodes Tour 2015

AntipodesThe Antipodes project is an innovative one; well conceived and excellent in its realisation. It is a young group but you wouldn’t think so to listen to them. Musical maturity is generally equated with time served on the bandstand, but if the right musicians come together, surprising synergies can occur; artists collectively punching above their weight. Antipodes hits the mark on a number of levels. Firstly the writing is superb. The musicianship is also great but for me it is the communication of a shared vision that lifts them above the ordinary. Given that three members of the band are new to project, that is surprising.  Antipodes (9)At the epicentre of this group are the core members: Jake Baxendale, Luke Sweeting and Callum Allardice. The original lineup featured respected Australian trumpeter Ken Allars. Allars is at present on tour somewhere in a distant corner of the globe – replacing him is Simon Ferenci. It might be supposed that the absence of Allars changed the dynamic, but Ferenci fitted in as if he’d always been there – a trumpet player I had not heard before, but one I will be happy to hear anytime in future. Also new are the bass player Max Alduca and drummer Harry Day. Like Fereci both terrific players and in synch with the over-arching vibe. Without the cushioning bass work and often edgy drum fills the band would be less interesting. Their contributions were on the mark. Antipodes (4)I have long admired Baxendale’s alto playing, featuring as altoist in some of the best New Zealand line-ups (The Jac, Richter City Rebels, Wellington Mingus Ensemble, JB3 etc). Baxendale pulled off some blinding solos in this gig and I have posted a clip which demonstrates his mastery and inherent lyricism. He is a player with depth. I am also glad that Luke Sweeting was touring with the Antipodes again. Sweeting is the sort of pianist who captivates in numerous ways and his solo bravura on a good number can leave audiences open-mouthed. Perhaps more than anyone else in the ensemble he brings out that trademark Aussie-European aesthetic. The first time I heard Antipodes I identified Ken Allars as being the link to a particular Scandinavian sound; his command of extended technique, but moreover his low volume ambient groove-tone. Now I am revising that view as Sweeting has exactly encapsulated that sound, while doing it in a uniquely Australian way. Antipodes (6)The other central figure is guitarist Allardice. Often sitting quietly in the mix as his warm comping lifts the others without ever crowding them out. Then out of nowhere, unexpectedly, those heart stopping solos, souring and as fluid as silk in the breeze. Allardice is a fine composer, as are Sweeting and Baxendale. Antipodes (2)There are shades of meaning to the word ‘Antipodes’. It comes from the Greek ‘to set ones foot upon an opposite place’. If you live in London then the Antipodes Islands of New Zealand are the opposite land mass. For Southern Europe and North Africa it is in Australia. The reverse also applies. Given the musical linkages and especially given the geographical linkages the band is perfectly named (conceived by Australasians living in Germany). This project revives on a regular basis and on current form it stands every chance of becoming an institution. I certainly hope so. Antipodes (5)Antipodes: Jake Baxendale (alto), Luke Sweeting (piano), Callum Allardice (guitar), Simon Ferenci (trumpet), Max Alduca (bass), Harry Day (drums).

At the CJC (Creative Jazz Club), Britomart, Auckland 30th September 2015

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CJC Creative Jazz Club gigs, Jazz April, Large Ensembles, New Zealand Jazz Gigs

The JAC @ CJC & Tauranga

JAC 11-3-2014 071I first heard the JAC two years ago and I liked what I heard immediately. Their sound has textural complexity, but the charts are so well written that the band manifests as if it is a single organic entity. As they move through the pieces, rich horn laden voicings appear, shimmer and fade seamlessly into the next phrase. In spite of the heavy punch of the front line, the band can float airily over passages. This affords them choices that are seldom realised by larger ensembles. They have a real nimblenessJAC 11-3-2014 075 and this is surprising considering their large musical footprint. A bigger footprint than the size of the band would suggest. The really good nonets and octets achieve this.

The solid four-part horn line is the power house of the unit, while guitar and piano balance out the sound. I have to mention Cameron Allardice at this point as he is so integral to the JAC’s sound mix. I have heard them play with and without Allardice and with him is my strong preference. He has grown so much as a performer and soloist over the last year that I hardly know where to start. He is not a loud player but his authoritative solo’s and fills just sing. He gives a soft but penetrating edge to the mix.JAC 11-3-2014 072

I watched him at the Tauranga Jazz festival and he approached his solos like Rosenwinkel. Not so much in phrasing but in energy as he gained momentum during solos; lifting free of the earth as the sound flowed among us, like water over a spillway. And all the while maintaining an absolute clarity of purpose. These high wire acts require courage and confidence and he showed these attributes in spades.  He is also one of the main composers of the group and his charts are stunning.

This is an ensemble of stars and leader, altoist Jake Baxendale is certainly one them.  He can deliver searing heart stopping solos and then drop into the mix in an eye blink.  He is the other contributor of compositions (and arrangements) and his principle guidance that moulds the unit. His ‘Thieves in the Night’ is a masterpiece of composition. Their album ‘Nerve’, recorded early in The JAC’s life has wide appeal. Since its release they have been on the road (or gigging) almost constantly. The time on the road has sharpened them considerably and that must show in the new album; The recording session takes place in a few weeks and judging by the material that we heard at the CJC gig (and at The Tauranga Jazz Festival), an already polished band will jump up another notch.JAC 11-3-2014 076Every player is integral to this project but trumpeter Lex French certainly stands out. He arrived back in New Zealand from Montreal a seasoned performer; his credentials are impeccable. He is a strong ensemble player and during solo’s he pulls off feats of brass bravura that New Zealand audiences seldom hear. He has chops and ideas and the confidence to pull them off. I have at times worried about the meagre numbers of high-quality trumpet players on the local scene. French may well address this as he will certainly inspire others.

Daniel Millward on piano (and keys at Tauranga) gave impressive performances as did Chris Buckland (tenor) and Mathew Alison (trombone). Millward is a fine pianist but for some reason, probably the sound mix, he shone through more on keys at Tauranga. Buckland gave some stunning solos and again the Tauranga performances come to mind. Last but not least are bassist Nick Tipping and drummer Shaun Anderson.  Behind every solid group are musicians like these.  Tipping is the most experienced of the JAC musicians and he instinctively understands how to keep the groove. Linking rich and complex harmonies like these to the rhythmic flow requires just such a musician. Anderson likewise performs strongly.  Working with Tipping and bringing that big band drum feel to the unit. JAC 11-3-2014 074

If you love to hear well written charts played to perfection, referencing everything from fifties jazz up to modern times, purchase the JAC’s albums.  Once again we must acknowledge Rattle here. Without a quality local label like this, such albums would have less chance of being released. The JAC were deservedly nominated as finalists for the Jazz Tui 2015. Expect to see them nominated next year.

Who: The JAC – Jake Baxendale (alto, compositions, flute), Lex French (trumpet), Chris Buckland (tenor), Mathew Allison (trombone), Callum Allardice (guitar, compositions), Daniel Millward (piano, keys), Nick Tipping (bass), Shaun Anderson (drums).

Where: The CJC (Creative Jazz Club) Britomart 1885 Auckland 1st April 2015 and The Tauranga Jazz Festival Easter Weekend 2015.

Additional: Rattle Records  and  Tauranga National Jazz festival

CJC Creative Jazz Club gigs, Post Millenium, Review

Lex French Quintet @ CJC 2014

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The trumpet is arguably the first instrument of Jazz but we hear it infrequently in Auckland.  When we do it is seldom the lead instrument.  To redress the balance, the CJC (Creative Jazz Club) featured Lex French last week, an impressive musician who is garnering increasing attention on the Jazz scene.  This gig was one to look forward to.  The occasion was the launch of his new Rattle album ‘The Cut’, which is an international affair; recorded at McGill University’s MMR & Studio ‘A’ utilising top rated young Montreal musicians.  The mixing and mastering done in Auckland by Rattles Steve Garden.  For the album release tour French had assembled a quintet of Wellington based musicians, people he has played with before and all well-respected.

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While French has been around for some time and amassed an impressive CV he is not as well-known in Auckland.  After this album (and gig) that should change.  In spite of his relative youth he has already worked extensively overseas and has long been an essential component of the Wellington scene. He came to my attention earlier this year when ‘The JAC’ toured New Zealand and he really stood out, as trumpet players of his calibre are few and far between in New Zealand.  His ability to engage an audience goes way beyond mere chops as the way he connects is personal.  His tone is impressive as is his control of dynamics.  While a strong decisive player, he can also whisper a beguiling phrase.  ‘The Cut’ features his own compositions and these are as strong as the playing on the album.  photo

If I had to pinpoint a particular mood, a particular composition I would draw your attention to ‘Metro’.  Montreal has an impressive metro, teaming with cosmopolitan life.  This track (2) and the others on the album connected me back to a city I love; a great Jazz city.  This is what Jazz does best, paints sound pictures, reconnects us to fading memories while at the same time pointing to the unknown.  ‘The Cut’ has an up to the moment feel with strong edgy interplay between instruments.  Strangely it conveyed to me the vibe of Miles ‘Sorcerer’ album.  Perhaps it was the compositions, perhaps it was the phrasing and intonation of the trumpet, but whatever the reason it evoked memories.   Over the week I have played the album over and over and with each acquaintance a new pleasure discovered.

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French is from Wellington New Zealand and there he obtained a B Mus with honours before moving to Montreal’s McGill University to complete a Masters.  McGill has a highly respected Jazz Studies course (the Schulich School of Music).  As an aside, New Zealand has another respected McGill alumni in drummer Ron Samsom (now head of Auckland University’s Jazz Studies Program).  The musicians on ‘The Cut’ are all from McGill, Montreal.  They are Lex French (trumpet), David Bellemare (tenor saxophone), Nicolas Ferron (guitar), Nicolas Bedard (bass) and Mark Nelson (drums).   French is clearly the leader, giving a consistently strong performance, but with impressive sounding musicians like this behind him he is extremely well supported.   For the New Zealand tour he had Jake Baxendale (alto saxophone), Dan Hayles (Rhodes, Piano), Scott Maynard (bass) and Lauren Ellis (drums).   Having keys replace guitar changed the feel somewhat, but both configurations were effective in their way.  With the authoritative French upfront it could hardly be otherwise.   10462624_10202402878617968_7985350930627100965_n

French is impressive in an ensemble but he is a standout when leading his own unit.  Buy this CD to show your support for an up and coming artist, but above all buy it for the pure enjoyment of sampling the best of contemporary Jazz.  We can also chalk this up as another win for Rattle, in what is already an impressive 2014 Jazz catalogue.

What: Lex French ‘The Cut’ Album release for Rattle Records      www.rattlerecords.net

Who: Lex French Quintet: (‘Album) Lex French (trumpet, leader), David Bellemare (tenor saxophone), Nicolas Ferron (guitar), Nicolas Bedard (bass), Mark Nelson (drums).  (NZ tour) Lex French (trumpet, leader), Jake Baxendale (alto saxophone), Dan Hayles (Rhodes, piano), Scott Maynard (bass), Lauren Ellis (drums).   www.alexisfrenchmusic.com

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand, 18th June 2014  www.creativejazzclub.co.nz

Australian and Oceania based bands, CJC Creative Jazz Club gigs, Post Millenium

‘The Antipodean 6tet’ Tour @ CJC

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There are a number of factors that make music special to a listener and for most it is the familiar that attracts them.  Improvised music is a different beast and the most valued quality is what Jazz essayist Whitney Balliet termed “the sound of surprise”.  When Jazz listeners are fully engaged it is seldom the melody line or a familiar riff that holds their attention.  While melody, chord voicings or an ostinato groove bring us to the moment, it is the promise of the new that creates a state of joyous anticipation.   So it was with the ‘Antipodean 6tet’ and the rewards were immediately evident.  Mike Nock told me recently that some of the young Australian bands are on a par with the best of what’s on offer in America.  A statement like that from a person of Mike’s undisputed authority causes you to take notice.  Some of the members of this group were among those mentioned by him.

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The idea for the ‘Antipodean 6tet’ was conceived in Berlin when Jake Baxendale, Aiden Lowe and Luke Sweeting decided to create a vehicle for their music.  By the time of the Australasian tour they had added Ken Allars, James Haezelwood Dale and Callum Allardice.

Those of us who pay close attention to Australian and New Zealand Jazz knew that we were in for something out of the ordinary.  A heightened sense of anticipation followed the tour announcement.  Earlier this year Rattle records released JAC’s ‘NERVE’ album.  The album featured Wellington musicians Jake Baxendale (alto, compositions) and Callum Allardice (guitar, compositions).  Many saw Jake as he toured with JAC during the launch tour and enjoyed his alto playing.   Callum Allardice was in Germany at the time of the launch, but his compositions and arrangements were also appreciated.   These two musicians form the New Zealand contingent of ‘The Antipodean 6tet’.

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Luke Sweeting is an Australian pianist who conveys more with his light touch than many do by playing percussively.   His playing is thoughtful, airy and interesting.   He has previously composed for sextets and is obviously central to the bands well crafted ensemble sound.  Sweeting, Aiden Lowe (drums), James Heazelwood Dale (bass) and Ken Allars (trumpet) are well established on the Australian scene with the former two having toured Europe extensively.  They have all attracted positive attention around Australia.  All have worked as leaders, but melded into an ensemble the instruments speak in a unified authoritative voice.  IMG_0060 - Version 2 

A Sydney bass player contacted me a few weeks ago saying that I would be mad to miss this innovative band.  He was right in his estimation of their impact, as they appear to bring something fresh and exciting to the scene.  northern European aesthetic with an authentic Australasian feel.

To best illustrate the above I must focus on Ken Allars.   I have been aware of Allars for some years but it was probably his compelling trumpet work on Mike Nock’s critically acclaimed 2011 album, ‘Here and Know’ that first grabbed my attention.  I received a review copy shortly after the 2011 release and was immediately struck by his use of dynamics and strong improvisational abilities.  Later I saw him in the horn-line of the JMO (Jazzgroove Mothership Orchestra) when it toured Auckland with Darcey James Argue.  Now seeing him with ‘The Antipodean 6tet’ my positive first impression is reconfirmed.  On the opening number we saw his use of extended technique.  Not so much the usual growls or smears, but a skilful deployment of flutter tonguing and airstream effects.  The whistles, breathy explorations and pops augmented the contributions of Jake Baxendale who wove in quiet upper register ostinato responses (like Evan Parker in the opening few bars of ‘The Lady and the Sea’ – Kenny Wheeler).  So controlled was the sound production that at times Allars sounded like he was playing a flute.  When he did blast out a phrase it was doubly effective as it contrasted with the softer moments.

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I have seen bands who lower the volume for a ballad or a thoughtful meditative piece, but never quite like this.  They skilfully utilised the pianissimo and piano and diminuendo to impart an infinite array of subtleties and within that space communicated a world of information.  Earlier I mentioned the European aesthetic and perhaps I refer more specifically to the Norwegian ECM sound.  I detected a strong influence of this future-facing aspect of modern Jazz in Allars playing.  Later I asked him whether he had listened much to the modern Norwegian trumpeters.  Yes he had checked them out in person.  We then discussed people like Arve Hendriksen, Nils Petter Molvaer, Mathias Eick and others.   While Molvaer and Eick often use electronics and loops there were no such effects used by Allars.  IMG_0099 - Version 2

This band is purely acoustic and the impressive range of sounds and effects at their disposal will have pedal manufacturers smiting their brows in frustration.  Because of the sound balance, the imaginative drum work and the punchy bass lines are as strong in the mix as the other instruments.

They are due to record shortly and I look forward to that.   I urge anyone who can to catch this tour or subsequent outings.  I guarantee that you will not regret it.

What: ‘The Antipodean Sextet’ Luke Sweeting (piano), Jake Baxendale (alto saxophone), Ken Allars (trumpet), James Heazelwood Dale (bass), Aiden Lowe (drums), – in New Zealand – Callum Allardice (guitar).

Where: The CJC (Creative Jazz Club) Britomart 1885 building, Auckland.  26th March 2014

 

 

 

 

CJC Creative Jazz Club gigs, Review, Straight ahead

The Jac launch ‘NERVE’ @ CJC & Meow

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I don’t know as much about the Wellington Jazz scene as I’d like to, but I’m working on that.   Recently an opportunity presented itself; two days in Wellington and a chance to catch up with some musician friends.  I did my homework and learned that ‘The Jac’ would be playing at ‘Meow’.  They had just recorded for Rattle and that made me keen to hear them; knowing that they were initially inspired by the ‘San Francesco Jazz Collective’ all the more so.

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While not a dedicated Jazz venue Meow is a great supporter of the music and a good place to experience live music in general.  The club has regularly hosted class Jazz acts like ‘The Troubles’ (and its various offshoots).  Located on a sharp right angle bend, down a narrow winding alley; intriguing car head-light effects sweep across the band when cars negotiate the turn.  This reminds me of the new Bimhuis Jazz club in Amsterdam, which has brightly lit trains passing right behind the band as they play.  From the first few bars I loved what I heard and was pleased to learn that they would be playing in the CJC (Creative Jazz Club) in Auckland a few weeks later.

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This band ticks a lot of boxes for me with their ancient to modern feel.   I love the Octet or Nonet sound and especially when a brass heavy front line is in evidence.  With ‘The Jac’ the four horns up front assault the senses in the best possible way; solidly augmented by two keyboards, drums and bass.  The original lineup (and the one recorded), features piano and guitar.  With the guitarist (Callum Allardice) overseas a Rhodes was added to replace the guitar.  While I like both configurations I’m particularly impressed by the added colour that the Rhodes brings to the mix.  In the hands of Dan Hayles it often sounds like Vibes and this takes the group closer to the sound-palette of the SFJC.

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There was a good audience at the CJC and ‘The Jac’ were received with enthusiasm.  It is all too rare to see such configurations in New Zealand and I wish more would surface.  There were solid performances from the soloists but the real stars were the stunning arrangements.  The charts sound modern, but implicit within is the Nonet/Octet tradition.  The Birth of the Cool is momentarily evoked but this is not the anchor point.  A modern aesthetic is at work here (listen to ‘Thieves in the Night’ composed by alto player Jake Baxendale and streamed below).

They opened with a tune titled ‘Major,major, major, major’ (to which Jake added – “in a minor key”).  Next we heard ‘New York Axel Man’, an airy free-flowing tune which highlighted the skills of Jake Baxendale (alto) and Alexis French (trumpet).   I was particularly taken with the skills of Lex French, as trumpet players of his calibre are not thick on the ground in New Zealand.  I asked him who his recent teachers were and learned that he had been studying at McGill University in Canada.  His articulation, clean lines and the ability to communicate an idea in a short space took my attention.   In a line up of competent musicians he managed to stand out.

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Jake Baxendale is the predominant soloist and his alto work is interesting.   As one of the writers and the collective’s front man, he rightly garners the lions share of attention.  The other Baxendale composition on the album is ‘Armada’.  A delightful piece with rhythmic complexity and a strong bass line underpinning it.  It is my sense that he is central to the octets success.

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Completing the horn section is Chris Buckland on tenor and Matthew Allison on trombone (Allison is a member of the NZSO).  This is highly arranged music and so tenor, alto, trombone and trumpet need to work as one entity.  As they negotiated the often complex charts they showed just how tight they could be.  This is a big sound, but one with a world of implied space.     

On bass is the talented Nick Tipping who is another well-respected Wellington musician.  Like Jake Baxendale he regularly plays with the Roger Fox Wellington Jazz Orchestra.  Often backing international artists when the come to town.  Buckland replaced Richard Thai (who played on the album) and as alluded to earlier, Dan Hayles on Rhodes replaced the guitarist.  This gave the ensemble two keyboards and the alignment worked extremely well in my view.  On the CJC Club piano was Dan Milward (he played keys at Meow).  The juxtaposition between Piano and Rhodes worked so well because the musicians were able to compliment each other while keeping out of each others way.   Milward took the subtler approach but his presence was never-the-less strongly felt.  IMG_9428 - Version 2 (1)  

Dan Hayles took several solos’ (which the audience loved) but his main role was to augment the mix with well placed fills and to add a sense of depth to the ensemble.   I have heard him on several previous occasions and rate him highly.  The remaining member is drummer Shaun Anderson and his stick work is superb.  A supportive and in-the-pocket drummer who can also breathe fire into proceedings.   It was Anderson and Hayles who took the more organic approach; both regularly stepping free of the charts and to great effect.  Both made the pulse quicken and this balanced out the carefully crafted shapes and forms of the ensemble.

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The compositions on the album are all by Baxendale and Allardice and it is these that give momentum to the project.   In future it would be interesting to hear some of the soloists given additional space, but not at the expense of those gorgeous rich harmonic voicings.  With a label like Rattle behind them this bodes well for future projects.

What: ‘The Jac’ at the release of their album ‘NERVE’ – Rattle Jazz (the album can be purchased direct from Rattle or at retail outlets).

Where: The CJC (Creative Jazz Club) 12th February 2014 and Meow 29th January 2014

Who: Jake Baxendale (alto, arrangements, compositions), Alexis French (trumpet), Chris Buckland (tenor sax), Matt Allison (trombone), Dan Hayles (Rhodes), Dan Milward (piano), Nick Tipping (upright bass), Shaun Anderson (drums) – Album only – Callum Allardice (guitar, arrangements, compositions), Richard Thai (tenor).