As our local pandemic restrictions were lifted, so our spirits rose, and the easing brought us, welcome travellers, from Wellington. It felt like our old lives were creeping back, but we should not underestimate how difficult these lockdowns have been for musicians. They are performing again, but with fewer venues, and reduced availability of flights. To top that there is the perpetual hassle of finding affordable accommodation. Because this is a new reality, music lovers need to redouble their commitment; religiously attending gigs, purchasing albums and getting the word about town. Luckily, Jazz audiences get that and there was a solid audience on Wednesday. 

The Band is named JCJ, which may or may not be a play on Auckland’s CJC Jazz Club; it does, however, align with the initials of the co-leaders forenames: Jasmine Lovell-Smith, Callum Allardice and Jake Baxendale. Together they represent a formidable presence on the bandstand with their international experience, various awards and accolades. In addition, the gig leaned heavily on their much-vaunted compositional skills. All have appeared on successful albums but never together as a co-led unit.

The soprano is Lovell-Smith’s primary horn and it shows. She is dextrous and inventive, she conveys deep emotion or surprises, but of equal appeal is her tone. There is a depth to it and because of that, she can move from the reflective to the edgy as naturally as breathing. When you hear her playing a ballad, it is tempting to think, how beautiful — that’s her forte then; but she will play completely free on the next number. I have heard her in a free ensemble and she’s as comfortable there as when tugging at the heartstrings with a lovely folksy ballad. 

Baxendale like his co-leaders is Wellington-based and we have seen him in a variety of visiting bands since the Creative Jazz Club’s earliest days. Aucklanders will likely associate him with ‘The JAC’ ‘Antipodes’ or ‘The Troubles’, but he has fronted or played in a number of Wellington bands. He is primarily regarded as an alto player, but on this gig, he played mainly bass clarinet. The instruments earthy underpinning, providing a lush cushion beneath the airy registers of the soprano and guitar.  

Allardice has had a long and fruitful association with Baxendale. They often share a bandstand, they have toured together, and both have won prestigious awards. I have always liked his tone on guitar, which is best described as silken. The first time I heard him perform there was an unmistakeable Rosenwinkel influence, but now I am hearing an original voice. His compositional skills have always been a forte and these were very much in evidence during this gig. 

The set opened with a gorgeous number by Lovell-Smith. It was titled ‘leaves of grass’ and its Whitman reference was apt. Whitman was the bravest of poets and a favourite with Jazz composers (‘I Sing the Body Electric’ Weather Report or tributes by Fred Hersch). And this was not the only literary reference by Lovell-Smith as a later tune was titled ‘The Pillow Book’ — this had an appropriately Japanese vibe.  Her other tune ‘Song for May’ is a stunner. I have heard it before as it is on her New York album ‘Towering Poppies’.  I would have put it up as a video, but a music stand had obliterated all view of her (note to artists: if you are being filmed, angle the music stands sideways or keep them low).  

Allardice’s compositions were as intriguing as ever, his moody ‘Dark Love’ and especially his upbeat tune with a beautifully memorable intro titled ‘Peaceful’. Baxendale brought some great tunes as well, and as he often does, he injected some off-beat humour. A tune titled ’Sleep (a glimpse of Plimpse)’ recounted a guilt-wracked dream. His tune ‘The Test’ was all that remained, of a failed attempt to break into the fantasy gaming genre (I think that I got that right). It was free-ranging and delightful and I have put that up as a video clip.

The pick-up rhythm section were Aucklanders. All three have been delighting Auckland audiences for years. To have them playing together and bouncing off a Wellington lineup was a rare treat. Firstly, Crystal Choi, who never puts a foot wrong and who is one of Auckland’s most inventive pianists. She is similar to her bass playing friend and bandmate, Eamon Edmundson Wells. Both lean heavily toward the avant-garde. On drums, there was Julien Dyne. Dyne is a powerhouse drummer and his beyond-genre approach allows him to excel in any given situation.  These three are the other reason that I put up ‘The Test’ video clip. This is a space that the Aucklanders relish, and the Wellingtonians matched them note for note. A little freedom never hurts a gig. 

JCJ were Jasmine Lovell-Smith (soprano saxophone), Jake Baxendale (alto saxophone & bass clarinet), Callum Allardice (guitar) with – Crystal Choi (piano), Eamon Edmundson Wells (bass) and Julien Dyne (drums). The gig was held at Anthology, CJC Creative Jazz Club, K’Road, Auckland October 7, 2020.

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. Many of these posts also appear on Radio13.co.nz – check it out.