Jim Langabeer Remembered

July 28, 2022 / JazzLocal32.com

Jim left us in January, and the shock of his unexpected passing robbed me of the right words. In the following weeks, I mulled over my inaction, wanting to do justice to his story? Then I caught covid and more time passed. While it is usual to post an obituary within days of someone passing, I paused and reflected. And as I deliberated, I could sense his presence, knowing that he would approve of my waiting until the right words appeared. Jim’s life was a Zen koan, and you can’t rush a koan.

We had spoken on the phone a week before he died and arranged a ‘hang’ in a nearby coffee bar. It was sometimes hard to catch him on the phone, but when he picked up you could feel the warmth radiating from the handset. The conversations were slow grooves. He would speak softly, radiate peace and intersperse his comments with periods of reflective silence. Jim seldom rushed his words, and the silences felt all the more weighty for it. He spoke as he played because he understood the power of space between sounds.

I had known him for over a decade, but I wished I had known him for longer. He was a musician’s musician; the term used to describe a player of significance but one who is scandalously under-acknowledged. He had been on the Jazz scene his entire adult life and had played alongside some of the greats, but his natural habitats were in the Spiritual Jazz and avant-garde scenes. Many assume that the music of the avant-garde is strident. In Jim’s hands, the music was reflective, spiritual and embedded in indigenous culture.

He could crack open a note and let it breathe in multi-phonic splendour. He could whisper into a flute and then unexpectedly send forth a flurry of breathy overtones. He had great chops and visionary ideas, but he was not egotistical. Jim was about the music and not about himself. He was an educator and an empowerer. It was about transmission – telling the story, enjoying the moment and passing on the flame.

He had written the liner notes for one of the first American Spiritual Jazz albums incorporating his Buddhist name (Tony Scott’s ‘Music for Zen Meditation). He’d recorded with poets and acolytes and played alongside Dave Liebman and Gary Peacock. He also had a presence on many New Zealand albums but seldom as a leader. At first, I put this down to modesty, but now I think otherwise. His musical journey inclined him towards humility; he possessed that in the best sense. Gentle souls leave softer footprints.

He gave more to music than he received; to understand why you should know something else about Jim, his long involvement with Zen Buddhism. It was a particular connection that we had. Each of us had connected with Buddhism in our youth which informed our attitude towards in-the-moment music. Although I meditated then, mine was of the Beat variety of Zen, remaining a lazy ‘psychedelic’ Buddhist. Jim took his practice seriously, spending time in Zen Mountain Monastery, Mt Tremper, upper New York State.

While on that scene he performed with other spiritually engaged Jazz musicians like Gary Peacock, Chris Dahlgren and Jay Weik. And amazingly, performed with famous Beat poets like Alan Ginsberg and Anne Waldman who had an association with the centre, and together, had set up the Jack Kerouac School of Disembodied Poetics at the Naropa Institute. In New York, he connected with Tony Scott and Dave Liebman. Later, Jim established a New Zealand Sangha in the ZMM lineage and brought out their first teacher.

I recall messaging him when I was last in San Francisco to tell him I was seeking the forgotten Jazz Clubs, the homes of lost poets and the San Francisco Zen Centre. Names leapt across the cyber-void, Black Hawk, Kerouac, Kaufman and DiPrima. Back and forth we messaged during that week. He, tapping out fragmentary reminisces of his Dharma experiences in America and recalling some of the Jazz musicians he’d encountered (eg. Jaco Pastorius, Rashid Ali, Arthur Rhames, Gary Peacock, Dave Leibman).

I, responded with pictures of a priceless Rupa as I stood in the Zen Centre Meditation room; buying a new translation of Han Shan’s Cold Mountain poems and sending him a picture of the cover. And me, reliving Ginsberg’s visions of Moloch as I wandered the corridors of his trippy nemesis, the Sir Francis Drake hotel. Buddhist practice, poetry and improvised music are old acquaintances. It was our instinctive connection.

I would bump into Jim at gigs. And he would say, “I hoped you’d be here, I have this for you” passing over a booklet on Finnish Jazz or a CD. He would press them into my hand without explanation and carry on talking about other things. These were Zen puzzles for me to unravel. I realised what treasures they were only later.

He came to my seventieth birthday, a house party where he enjoyed the young musicians playing. He was photographed, deploying his best smile as he posed among us. On that occasion, he handed me a bag of goodies, a limited edition double album – a live concert featuring Arthur Rhames, Jaco Pastorius and Rashid Ali. Handwritten by sharpie was the cryptic inscription ‘jimjazz ⅕’ – another koan to solve. Did he record this?

Important chroniclers like Norman Meehan have written about him, but I’m sure there is more to say. His family and musician friends will create a fuller discography, preserve his charts and update his filmography. It is important. Because he was not a self-promoter, he could surprise you when he appeared in line-ups. With Indian vocalists like Sandhya Sanjana, Tom Ludvigson & Trever Reekie’s Trip to the Moon band, at the NZ Music Awards, at numerous Jazz Festivals and on movie soundtracks. And he played and contributed to daughter Rosie Langabeer’s various out-ensembles. He played the flute on the ‘Mr Pip’ soundtrack and saxophone on daughter Rosie Langabeer’s soundtrack for the indie film GODPLEX

He released at least two notable local albums as a leader, but perhaps there are more? Jim’s Africa/Aroha album with Barry Young (SUPERBREW) was released as an LP by Ode in 1984 and re-released in 2007. It has remained popular with jazz lovers. Prophetically, his composition Aroha cropped up on the hospital Spotify playlist during his last hours. The album broke fresh ground in New Zealand with its freedom-tinged Afrobeat and World Jazz influences. It is gorgeous.

Around 2016 Jim undertook a research and performance project at the Auckland University Jazz School, where he was awarded a Masters’s Degree with first-class Honours. Out of that came his finest recording Secret Islands (Rattle). After recording, Jim phoned me and asked if I would write the liner notes and I was pleased to be on board. He also used my photographs.

I am an enthusiast of avant-garde music and a fan of Jim’s approach, so it was a labour of love. Secret Islands is one of a select group of albums that tells a New Zealand Jazz story. It could not have come from anywhere else. I had heard the band play a preview of the album and loved what I heard. The recording took things to another level. It featured an all-star lineup. With Jim’s vision and Rosie and the other player’s contributions, it was sure to hit a sweet spot. Later a live performance was reprised at the Audio Foundation with Jim on flute and tenor, Jeff Henderson on drums, Rosie Langabeer on Piano, Neil Feather on an experimental instrument and Eamon Edmundson-Wells on bass, with Roger Manins on Alto. It was a superb performance. I will never forget it. The Secret Islands album (clip above) featured Jim Langabeer on winds and reeds, Rosie Langabeer, piano and Fender Rhodes, Neil Watson, guitars, Eamon Edmundson-Welles, bass, Roger Manins, alto saxophone and Chris O’Connor, drums.

One last album that deserves mention is One Way Ticket – Daikajo. Released in 1995 by ‘Dharma Communications’ Zen Mountain Zen Monestry NY and produced by Jim. On it, he leads the ensemble on alto saxophone, silver flute and shakuhachi. Like most of Jim’s albums, it is Spiritual Jazz. A subgenre of improvised music that is experiencing revival worldwide.

Just before the first lockdown, I visited him at his Farm Cove home as I wanted to record an oral history. I switched on my recorder while the conversation ran for two or three hours. It often veered into the esoteric. When Ī played it back, I realised that I needed another session with a greater focus on Jim’s achievements. I can usually keep an interview on track, but in Jim’s case, words were like pebbles in a pond. A series of moments setting off ripples haiku-like.

Before I knew it the pandemic had arrived. I had lost my window of opportunity. Jim passed at the height of the second lockdown, and much as I wanted to attend his funeral, I couldn’t. I participated online and remembered him in silence, a copy of Secret Islands beside me and his tune Tangi playing softly in the other room. We loved Jim and mourn his untimely passing.

Footnote: The Rupa (Buddhist image) is an antique statue located in the San Francisco Zen Centre. It is likely the Bodhisattva Kuan Yin or Maitreya in Bodhisattva form. The video is Jim’s tune Ananda’s Midnight Blues which I filmed at CJC Jazz Club, Auckland. I have also included the clip ‘Tangi’ from Secret Islands. Lastly, I would like to fondly acknowledge Jim’s daughters, Rosie, Catherine and Celia Langabeer, and Jim’s partner Lyndsey Knight, who together, acted as fact-checkers.

JazzLocal32.com is rated one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association, poet & writer. Some of these posts appear on other sites with the author’s permission.

Anthony Donaldson

November 18, 2021 / JazzLocal32.com

Devils Gate Outfit

Devils Gate Outfit was recorded live at Wellington’s Meow two months ago. The album is bursting with restless spirits, and I am not surprised that such a powerful genie was let out of the bottle so quickly. There are multitudes of spirits hovering over the recording, fragmentary echoes of Ornette and Miles, but the predominant voices are those which haunt the ragged windy Wellington coastline. All are paid their due, but the album is unconfined by the many streams that feed it. It is above all a succinct commentary on the breadth of improvised music that is thriving in Aotearoa right now.

The album is out on Kiwi Jahzz, a natural home for adventurous and original free music. And it captures a particular night at Meow where the band holds a residency. The playing is great, and so is the overarching vibe. Delivering great performances without defaulting to any ‘look at me’ moments. It is a band uncoupled from tired old formulas and thus able to move as freely as it desires. Sometimes this results in tantalisingly fleeting glimpses of the past, then just as suddenly you are plunged into the forward-looking improvised groove music favoured by younger audiences.

The album is loosely programmatic but does not follow a linear storyline. It establishes a theme, then drops kaleidoscopic images. letting the music paint evocative sound pictures. There is a wealth of musicianship evident here as well. I am familiar with most of the players (apart from Steve Roche and David Donaldson). Although new to me, I am delighted to hear both for the first time. It was also good to hear Cory Champion expanding his percussion role to Vibes.

I am picking that drummer/composer Anthony Donaldson is the nominal leader in this outfit and around him are a truly formidable crew. The interactions between them are impressive as they navigate that fine line between spontaneity and cohesion. The slow-burning bluesy Wood Drift is the closest thing to straight ahead and it is a delightfully spacious piece of music – it could (and should) find cut-through with any Jazz taste. And I can never hear enough of Blair Latham’s playing. On Wood Drift, his woody sonority and captivating lines caress the melody against a gentle background of Daniel Beban’s understated guitar and Callwood’s bass, setting up Champion, Roache and Beban for solos, such a languid and appealing groove tune.

Contrasting nicely, The Portal to Red Rocks is a burner and a showcase for Latham on saxophone and the very capable Roche. Here the bass and drums provide propulsive energy as they navigate the shifting rhythms and washes of electronic effects. If I had to pick a tune that best exemplifies the album it would be the opener Storm of the Century. Anthony Donaldson owns this track and it is his pulse that sets the others free. I will be surprised if this isn’t a contender for Tui Jazz Album of the year.

The Devils Gate Outfit: Anthony Donaldson (drums), Tom Callwood (double bass), Steve Roche (cornet, baritone horn, Cassio), Blair Latham (saxophones, bass clarinet, David Donaldson (bass banjo, percussion), Daniel Beban (guitar, electronics), Cory Champion (vibes, percussion, synthesizer) It was released 19 October 2021, on Kiwi Jahzz and is available digitally on Bandcamp: kiwijahzz.bandcamp.com

School of Hard Nocks ~ by Village of The Idiots

This amazing recording is extracted from a number of live shows organised by the visionary drummer Anthony Donaldson. Among the shows referenced are ‘Seven Samurai’ ‘Oils of Ulan’ Po Face’ and others. The overarching implied theme is the Samurai film genre. This is an album where open conversations occur between two art forms. It belongs to an interesting subgenre of improvised music and in my view an avenue worthy of continued exploration. You encounter it convincing in Zorn’s Filmworks. These were reimagined soundtracks, or more accurately, soundtracks to reimagined movies. Music aligned to the essence and untethered from any strict narrative form. Auckland/Canadian guitarist Keith Price did just this with his reimagined The Good the Bad and the Ugly score. Jazz has always been associated with the cinema, but extending the brief and pushing into clearer air is where the gold lies.

The album is painted on a vast canvas and has a cast that must rival that of a Spaghetti Western (or Carla Bley/Paul Haines Escalator Over the Hill). Thirty-one musicians are credited here and a significant number of them are high profile improvisers. Throughout, they come and go, as larger and smaller ensembles change places, with some artists like Jonathan Crayford appearing on a single track. The mood can shift at lightning speed, as a tune ends abruptly and a fresh exploration emerges. Another aspect that can’t be overlooked is the underlying humour. Music like this is not pitched at the serious-faced, dinner suit/ball gown-clad denizens of dress circles (although I’d love to see that attempted). It is anarchic and plays with imagery. The open-eared will quickly grasp this point and every piece of mind-fuckery will bring them joy.

There are so many good performances and so many great musicians here that it is beyond my scope to enumerate them all. When you see names like Anthony Donaldson, Jeff Henderson, Bridget Kelly, Daniel Beban, John Bell, Patrick Bleakley, Lucien Johnson, Jonathan Crayford, Chris O’Connor, Steve Cournane, Riki Gooch, Richard Nunns and Tom Callwod on a setlist, you check it out immediately. The way the units are configured creates a unique set of textures and there can be no doubt that this is a drummers band. Donaldson’s drumming leaves a powerful impression, but he leaves plenty of space for other percussionists. A glance at the lineup tells that story best, as I counted seventeen drummers and percussionists on the album. As they come and go, they never get in each other’s way and this is a tribute to the arranging. Some of course are doubling on percussion instruments (e.g. Noel Clayton plays guitar, bass banjo and punching bag, while Maree Thom plays electric bass, upright bass, bass drum and accordion). And to complete the illusion of filmic authenticity, Donaldson adds foley to his drum/percussion roles.

For a full listing of the musicians involved check out Donaldson’s site. Better yet buy immediately. The album was digitally released on Bandcamp in early November 2021 and it can be located at anthonydonaldson.bandcamp.com

JazzLocal32.com is 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, poet & writer. Some of these posts appear on related sites.

Kiwi Jahzz ~ from the underground basements of Aotearoa

September 8, 2021September 8, 2021 / JazzLocal32.com

Last month, a new Kiwi record label was launched and if the first releases are anything to go by, it will surely become a popular destination for ‘out’ improvised music fans. The Kiwi Jahzz label is a significant addition to the Aotearoa recorded music scene, and like Budweiser, it reaches places that others don’t

The music found in these underground basements has long been a magnet for adventurous listeners, and especially for younger musicians who often cut their avant-garde teeth there. With the arrival of the pandemic, lockdowns followed suit and clubs took a hit. One of those venues was The Wine Cellar under St Kevin’s arcade. A popular home for independent music.

A hundred yards away in a nearby uptown basement, Jeff Henderson devised a plan. Why not move the Audio Foundation gear into the Wine Cellar. This included recording equipment and a ready-made audience. Out of that has come a string of recordings and a desire to make the music available to a wider audience. This is what musical freedom sounds like as the gigs are captured live. These recordings are street raw and bristling with energy, the sounds escaping from dark basements.

Henderson is known for taking his time over a piece and for letting the moment dictate pace and length. A groove or vamp can run for as long as it needs to and with each utterance informing the direction of travel. It is music often liberated from harmonic distractions or from predictable pulses, so as it wends its way, it draws on a lifetime of experience, with each moment revealing yet another nested story.

With the double trios recorded so far, the pieces have been shorter and this is perhaps a concession to the medium. In a darkened club you are more attuned to longer pieces, at home there are distractions. All but one of the initial releases features the Trioglodyte Trio. The core Trioglodyte lineup being Jeff Henderson, Eamon Edmundson-Wells and Chris O’Connor. It is perhaps more accurate to describe these albums as Trioglodyte led double trios because most of the releases to date feature a guest trio as well. A mixture of well-known musicians and enthusiastic up and comers.

While Henderson is not a musician to blow his own trumpet, his baritone saxophone could flatten the walls of Jericho. He is the guiding force behind the growth of the improvised ‘out’ music scene in Aotearoa and his determination has built a sustainable and vibrant presence. A saxophonist, composer, producer and visionary, someone formidable.

Rated X (Davis)

With him in the Trioglodyte trio are Eamon Edmundson-Wells on bass and Chris O’Connor on drums (and percussion). O’Connor is a legend across many genres and Edmundson-Wells has built a solid reputation in settings like this. The pair are the perfect foils for Henderson, being adept at reacting instinctively and both capable of carrying considerable weight. Edmundson-Wells is a powerful and unfaltering presence and this frees up Henderson to forge a melodic path. Meanwhile, O’Connor does what he is renowned for, delivers his extraordinary pulses in marvellously unexpected ways.

‘Vol 1’ is modestly titled but don’t let that fool you, because immediately you click on the arrow, the introductory track comes right at you, delivering hammer blows to the senses. Perhaps there should be a warning upfront; beware there will be no ECM styled five seconds of silence beforehand. That track is titled ‘Bra Joe’.

Henderson opens with an extraordinary squalling attack as he strides into the tune like a Titan, casting aside all that he deems superfluous. Underneath his saxophone, you are aware of the pumping and scuffling of Edmundson-Wells and O’Connor, followed by the second trio. Crystal Choi on keyboards, Bonnie Stewart on drums and Paul Taylor on percussion and electronics. This may be a short number, but the impact will linger long afterwards.

The second track ‘Bra Joe from Kilamajaro’ is a reimagining of the Dollar Brand standard. Here the pace is slowed and the volume lowered but the intensity is not. The way it unfolds over a long slow vamp imparts something of an Alice Coltrane vibe, with Choi’s keys rippling joyfully beneath the bass. In fact, every track references a Jazz standard (more or less). Some might wonder why an album of adventurous free music features standards, but the music here is as out and adventurous as you might wish. And as with most improvised music, there is an implication of fun, of not taking ourselves too seriously. My favourite track is definitely ‘Rated X’ (Miles Davis). This is a multi-layered sonic feast and everyone gets to strut their stuff here. Miles smiles I’m sure. On this particular track, it is easy to understand why Henderson is held in such high regard. The ideas just bubble from his horn and everyone responds in kind. And Bonnie Stewart (is this the Irish born Bonnie Stewart, the drummer songwriter, who performs with SIMA in Sydney). I have always been a fan of Choi on keys and this is the proof of the pudding; she was always reaching for this space. And then Taylor, electronics and percussion; his inclusion rounding off the ensemble nicely. This is the way modern avant-garde music has been tracking of late, two, even three drummers, which offers more punch.

Milestones (Davis)

‘Vol 2’ has a different mood entirely. It opens with a moody piece of Frisell styled Americana, with one guitarist playing chords over a soft drone while the other answers. When Henderson comes in, new possibilities open up, and a subtle interplay involving all six musicians takes this into freer territory. Track two has a delightful New Orleans barroom kind of vibe. Again, Henderson leads the way with raw gutbucket blues. It shouldn’t surprise anyone to hear him play like a soulful Texas tenor player (complete with shouts) as there is ample evidence of this on earlier Henderson led albums. As you move through the tracks the Americana theme merges with other influences, a two drummer conversation titled Bonnie & Chris, a short piece titled Eamon & Jeff. And following that is the blistering and rollicking ‘Impressions’; this last piece is best described as a Knitting Factory styled blues with the drums and percussion setting up the tune. Unadulterated crazy magic. Apart from Trioglodyte, the album features guitarists Kat Tomacruz and Bret Adams plus drummer Bonnie Stewart.

‘Vol 3’ is not a Trioglodyte album and unlike the other three in the series, it was recorded in Wellington at the Poneke Beer Loft (November 2020). Here Henderson is with bassist Paul Dyne and drummer Rick Cranson. All are heavy hitters and well used to traversing the jagged lines of Monk and responding to the keening cries of an Ornette Coleman tune. As well, the tracklist offers freely improvised pieces and a standard. The liner notes make reference to Henderson’s garrulous saxophone, and while that is accurate, it is also true that we can find a more measured and interrogatory tone from him here. Perhaps because this traverses familiar ground with old friends, the trio decided to take an oblique look at the material. This is particularly evident on the Raye/de Paul war-horse ‘You Don’t Know What Love Is’. Together they have recut this diamond and revealed burning shafts of light hitherto unseen, and in doing so, they forged a minimalist route to the lustre. ‘Black ‘n’ White ‘n’ Blues’, dances joyfully over ostinato bass lines and a steady pulse, Colemans ‘Blues Connection’ is delightful and captures the essence of the great man; also, the two Monk tunes ‘Bye Ya’ and ‘Friday the 13th’ refresh and delight.

‘Vol 4’ is another Wine Cellar recording and the lineup here is mouth-watering. There is no Chris O’Conner in the core trio this time, but his replacement Julien Dyne slots in seamlessly. Dyne is a marvellous drummer, comfortable in a multitude of settings. He is also responsible for the great artwork on all four of these releases. And as if there were not already an embarrassment of riches, Jonathan Crayford features on Fender Rhodes. The other musicians are J Y Lee on alto & flute (a player featuring in many innovative bands about town) and as in Vol 1, Paul Tayler on percussion and electronics. This album takes in a broader perspective on improvised music. It is filled with interesting cross-genre references and it invokes many moods. Here Henderson deploys a fuller armoury of alto, C soprano, baritone and C Melody saxophones.

The opener has an Afro Beat feel. Powerful propulsive and utilising repeated phrases to amp up the tension. Track two ‘The Rubble’, by contrast, is a dark filmic piece powered by the percussive utterances of Dyne and Taylor and the mood deepened by the arco bass of Edmundson-Wells. Three is airy and open, wending its way purposefully, led by Crayford as he sets the pace and mood. People unfamiliar with free improvised music often fail to comprehend that this type of music can on occasion be gentle and reflective. It is honest music dictated by the moment. The flute and saxophone are pelagic birds circling above the rolling swells of a vast ocean. A most appealing piece.

Track four, ‘Milestones’ (Davis) is a wonderful Dewey doing Miles fifteen-minute romp and the best reimagining of the tune I’ve heard in ages. This is so good that I had to put it on repeat play. The two saxophones playing unison lines, then Henderson (and Lee) playing the changes before launch off, Crayford dropping space chords underneath and soloing like Sun Ra’s chosen successor, Dyne, Taylor and Edmundson-Wells lifting the intensity beyond the high watermark. This track is everything you could ever wish from a Jahzz group. No wonder Tony Williams kept begging Miles to keep the tune in the repertoire post Bitches. Again 5 stars. There is one more standard ‘The Girl from Ipanema’. They have taken a ‘same beach different girl’ approach here. This is completely free and not a bossa beat in evidence. This is a musical territory that the Norwegian electronic improvisers claim so convincingly. It is explorative and anyone with open ears will enjoy the ride. Mood dominates and form is irrelevant. Having some of our best musicians collaborating on a project like this is a masterstroke. The open-eared must support Kiwi Jahzz and if we do there will certainly be more riches in store. You can find downloads and high quality streaming at Bandcamp on kiwijahzz.bandcamp.com

Footnote: A pointless question is sometimes asked of me, ‘but is this Jazz’. My response is, who cares, followed by, but did you listen with open ears and did the music talk to you? That’s all a listener needs to know about approaching unfamiliar music. Perhaps in future, I will answer by suggesting that they may be confusing Jazz with Jahzz.

Jazz is a catch-all descriptor for a broad swath of improvised music, and like all attempts to define an open art form, it eventually hits a brick wall. Jazz doesn’t require a scholarly explanation because the listener ‘just knows’; or as Pat Metheney put it, ‘you can’t see, touch or smell Jazz (unless you’re Frank Zappa), but a listener can recognise it immediately. Sound is air vibrations passing over the small bones in the inner ear, then it becomes electrical impulses. Jazz is physics fused with alchemy.

Noveltones & Knotted Throats @ AF

October 14, 2019October 15, 2019 / JazzLocal32.com

There is a world of interesting music happening at the Audio Foundation and this three-set gig exemplified the foundations imaginative ahead of the game programming. The evening featured a cross-section of music from the fully arranged to the unconstrained and free. From the open dialogue of the Knotted Throats to the carefully crafted texturally rich four-piece voicings of a jazz ensemble. Then, and perhaps this is the essence of the programming, the two groups merged and out of that came a declaration. Sound exists without boundaries. The borders and demarcation lines as we organise or sculpt sound are only human constructs and beyond these artificial barriers, the various languages merge. When that occurs music is the richer for it. Improvised music is always on the move and just as post-bop moved seamlessly between free, fusion, hard bop, bop and groove, so the journey continues.

The Noveltones are an assembly of gifted equals, collectively shaping sound while expressing individual voices. Soprano saxophonist Jasmine Lovell-Smith, who studied in the USA is at present working toward a doctorate in composition at the NZSM. Bass clarinettist Blair Latham who spent years in Mexico is fluent with many horns. Bass player Tom Callwood (mostly playing arco), who we saw recently with the Melancholy Stinging Babes (a formidable figure on the avant-garde scene), and Tristan Carter, a violinist who rounds off the ensemble sound beautifully. The music initially reminded me of Gunter Schuller’s third stream pieces, but this ensemble is in no way time locked. The principal composer for the first set was Lovell-Smith and her compositional experience was especially evident in the harmonic concepts. There were also compositions by Latham. The pieces often balanced a spiky beauty with voice-led passages. There was also an appealing textural quality. The current ensemble hasn’t yet recorded, but I hope that they do. I have put up a Noveltones sound-clip from the gig.

The second set was another aural feast as it featured Jeff Henderson, Hermione Johnson and Tom Callwood. Henderson (on baritone saxophone) is the heavyweight of the New Zealand avant-garde scene and he never disappoints. There are few musicians who can muster such authority or draw you in as deeply. He taps into the primal essence of sound itself. Johnson is a renowned experimental musician, the foremost voyager with prepared piano, a noted composer and an organist. She is particularly known for her bold originality. Callwood, who we heard earlier, is exactly the bass player you would want in this situation. His gift for adventurous arco and extended technique was put to good use. What we heard were essentially reflective pieces; pieces tailor-made for deep listening and wonderfully mesmerising. As the motifs repeated a brooding presence hung over the room, the voice of unquiet spirits released from constraint. Happily, this is a zone located well beyond the reach of the music police. I found this set profoundly engaging and I count myself lucky to have caught it.

The last set brought both ensembles together and this time with the addition of the gifted drummer and percussionist Chris O’Connor. A great evening of music.

For those keen to hear more of Henderson’s explorations, they can’t go wrong by accessing an album he recorded with Clayton Thomas (bass) and Darren Moore (drums). It is titled, ‘For a Clean Cut – Sharpen the Blade’. This gem was recorded in the basement of an old Auckland Church and it is a cause for rejoicing. If ‘free’ music scares you then this may not be your bag; but if it does, why? Sculpting sound is what musicians do.

The album is on Bandcamp at iiiirecords.bandcamp.com

The gig artists were Jasmine Lovell-Smith (soprano saxophone), Blair Latham (bass clarinet), Tom Callwood (upright bass), Tristan Carter (violin), Jeff Henderson (baritone saxophone), Hermione Johnson (prepared piano), Chris O’Connor (percussion)

10th October 2019 Audio Foundation, Auckland Central.

The Melancholy/Stinging Babes

July 24, 2019July 25, 2019 / JazzLocal32.com

Anything that Jeff Henderson is associated with is likely to be intense, mind-altering and extraordinary. No matter how prepared you think that you are, you should understand that your head will be fucked with. When you factor in Tom Callwood, Anthony Donaldson and Daniel Beban the Henderson effect is magnified exponentially. This music is powerful stuff as it sweeps aside genres as irrelevant distractions. When confronted with a gig like this you abandon preconceptions, as the sonic smorgasbord jolts you out of complacency. It is also a visual experience and Fellini would have signed these guys up in a heart-beat.

There was no music on the stands, one break and there were no announcements. The music followed its own momentum and created its own time. In some sections you were confronted with reedy screams, while in others you heard languid whispers; hinting at some lost illusory past; one located just outside the edge of memory. There was of course structure, but that was determined by the music’s inner logic. It reminded me of a recent Wayne Shorter performance where he purged any semblance of song form; removing structures that impeded the flow, leaving the audience with just music; a vessel inside which the musicians could move freely. Intuitive interaction is the foundation of all improvised music. In this case, the music was a river in flood, an elastic entity, following an old course or cutting a fresh channel at will.

There were two tunes in the first set (one a Parker number delivered with the essence of Ornette presiding). The overall impression was of one piece of music with a number of moving parts. As the parts formed, some felt familiar, but where you ended up was generally somewhere unexpected. This was a chimeric journey and like children watching a cartoon for the first time, we lived entirely in each moment. Modern music audiences are dumbed down with endless nonsense; the old trope that music can only be swallowed in discrete recognisable chunks. This music made no concessions to that or any other populist view and nor should it. Many who attended last week were unfamiliar with the avant-garde, but they didn’t need to be told what it was about. They didn’t need an explanation, to know that it belonged to this or that genre. The proof was in the reception. People sat there totally absorbed and because the experience was all-encompassing, 2 1/2 hours flew by.

Jeff Henderson plays the role of a dark shepherd on New Zealand’s ‘out-music’ scene. He composes astonishing music and plays many instruments; among them the seldom heard ‘C’ Melody saxophone. He has frequently collaborated with greats like Marilyn Crispell. Next is Tom Callwood who is often a collaborator of Henderson’s. If you needed a peg to hang his bass playing on, then you might say that he has a Charlie Haden sound (early Haden). He is one of the finer bass players I’ve heard and it’s our loss that he doesn’t live in Auckland. Anthony Donaldson is another hero from the alternative and avant-garde music scene. He’s known for his interactive, sensitive and melorhythmic approach (OK, I made that word up). He is acknowledged as one of New Zealand’s finest drummers and his influence is widespread. Joining the above-mentioned artists for the second set was guitarist and experimental musician Daniel Beban. He is the current Douglas Lilburn Research Fellow and is also at the forefront of the Wellington experimental music scene. His ‘Orchestra of the Spheres’ takes SunRa’s approach to a new level.

Melancholy/Stinging Babes: Jeff Henderson (baritone, alto, C melody, tenor saxes, clarinet). Tom Callwood (upright bass), Anthony Donaldson (drums), Daniel Beban (guitar). The gig was held at Anthology, K’Road Auckland, CJC Creative Jazz Club, 17 July 2019.

The Oblivious Eight

May 16, 2018 / JazzLocal32.com / Leave a comment

Jeff Henderson is a freedom warrior from outside of the perimeter fence. On the 9th of May, 2018, he marched barefooted into the Backbeat Bar with a ragtag army of irregulars. The audience had come well prepared and a pregnant air of anticipation hung over the bandstand during setup. Unusually, there were no lower ranks in this army, all were battle-hardened veterans (or anti-heroes depending on your viewpoint). All had impressive service records, an advance guard who took no prisoners. Jonathan Crayford is arguably the most famous of the troop, a decorated hero who swiftly commandeered a C3 organ (an ancient analogue machine decorated by psychedelic art and reminiscent of a Haight Asbury weed shop). Beside him sat machine gunner Steve Cournane, a rat-tat-tat freedom fighter recently returned from Peru. The remaining soldier, battle scared and bleeding, was Eamon Edmundson-Wells (his Viking surname tells it’s own story).

The first set was a powerhouse of inventiveness. An outburst of raw energy cradled cunningly in a cocoon of warm grooves. This one step closer-than-usual to Jazz approach may have surprised some, but certainly not me. I have witnessed Henderson doing this time and again. He can pick over the bones of anything from heavy metal to folk music. He is fearless in his appropriations and he always transforms base metals without fear or favour. This was pure alt music alchemy. Henderson is the real deal, a musician with a calculated irreverence, a sound jocky with an inside-outside approach. A man who dives so deep inside his artform that few dare to follow. As he traversed the various moods and tempos, you could hear his trademark multiphonics; nothing lingering too long. There were too many fresh ideas ahead and no time for a tea break.

The compositions were wonderful and each in a different way. It was inspired that Henderson surrounded himself with such a warm groove. Drum beats that either dove into a 70’s groove or even took a Buddy Rich turn. A warm as toast Crayford tinged B3 sound and a solid blood dripping bass line. That sort of surrounding could have been a straight jacket for an avant-garde player but in Henderson’s hands, it was a liberating vehicle. He worked off the others constantly and they, in turn, gave him clear air without deviating from their given roles. This was one of those special nights where every musician shone a light, cutting through the mundane and dispelling all hints of mediocrity. They were so deep in the music that they were doubtless ‘oblivious’ to the rows of open-mouthed listeners. I must, however, raise an eyebrow at the name, there were clearly more than eight band members on that bandstand.

Auckland is the richer for Henderson’s presence. We should count our lucky stars that he jumps the perimeter wire from time to time. This was an eight out of eight performance. Jeff Henderson (baritone & alto sax, compositions), Jonathan Crayford (C3 organ), Eamon Edmundson-Wells (upright bass), Steve Cournane (drums) – June 9, 2018, Backbeat Bar, CJC Creative Jazz Club, K’Road, Auckland.

Dreamville Jazzmares album

June 28, 2016May 26, 2022 / JazzLocal32.com / Leave a comment

The alternative music scene in Auckland is surprisingly strong and although at times appearing hermetically sealed against the outside world, it flourishes in discrete self-contained units. There are no neon signs proclaiming ‘underground music found here. If you visit Karangahape Road on the right night, deploying a seismometer to the footpath outside St Kevin’s Arcade, or to the walls of the Parisian Tie Factory, the readings will red-line. The digital spikes are an indication of subterranean life. I love these basement venues and reclaiming them in the right way is an art form. The basements I refer to were once utilitarian storehouses from a bygone era, a monotoned boring past wearing walk shorts – now softened by memory. Now, they emit a frisson of mystique and risk – alternative music lives here. A towering presence in this shadowy world is musician Jeff Henderson.

The aptly named ‘Dreamville’ project came to my attention when Henderson appeared at the CJC in 2015 it floored me, the concept grounded in a reality we often overlook and at our peril. The primal bubbling energy underpinning sound itself. The first time I heard ‘Dreamville Jazzmares’ the lineup was different – a quintet; reeds, vibes, guitar, upright bass and drums. Now, the album features an octet and for the Auckland release, Henderson added an extra horn and electric bass. While it is tempting to reference a Sun Ra band or perhaps Zorn’s Electric Masada, this is overwhelmingly a manifestation of Henderson’s originality. A gifted composer, talented musician and tongue in cheek visionary.

Henderson 105 — Tom Rodwell, Anthony Donaldson

While the careful listener may initially find a lot that feels familiar, the familiar is illusionary, snatches of past and future, wearing clothes made of mist. The relationship with other projects is in the end superficial. This is important original work and there is no mistaking that. When listening to the Auckland release an additional realisation struck me. Rhythm is the dominant force in Henderson’s compositions. His deeply woven rhythms extend way beyond the drums and percussion (there are two drummers – at times three). Here every instrument is rhythmically charged under his guidance. During the live performance in Auckland Henderson often picked up a bright red parade bass drum. As he tapped out rhythms on the side or accented beats behind the complex interwoven trap drummers, a marvellous polyrhythmic effect occurred. An effect heard in Polynesian drumming. The beats, strums, wails and chords often fall in step – primal morse – dot-dash-dah in myriad combinations.

Phill Dadson, Jim Langabeer, Liz Stokes

The Dreamsville Wellington recording band is Jeff Henderson (alto, baritone, c-melody saxophones, voice, bass drum), Bridget Kelly (tenor saxophone, clarinet, bass clarinet), Gerard Crewdson (trumpet, trombone, tuba, voice), Daniel Beban (guitar), Julian Taylor (guitar), Tom Callwood (acoustic, electric bass), Joe McCallum (drums, Percussion), Anthony Donaldson (drums). This is a suite that lends itself to variation and interpretation like few others. Kelly and Crewdson worked well with Henderson, creating a cohesive multi-horn dialogue, rich in texture and fulsome. Having two drummers, two guitars, and a strong doubling bass player, gave the contrast and gut-punch required.

Chris O’Connor

The Auckland band were; Jeff Henderson (alto, c-melody, baritone saxes, voice, bass drum), Jim Langabeer (alto flute, sopranino, tenor, soprano saxes), Liz Stokes (trumpet, trombone), Tom Rodwell (guitar), Phill Dryson (guitar, voice), Tom Callwood (electric bass), Eamon Edmunson-Wells (upright bass), Anthony Donaldson (drums, percussion), Chris O’Connor (drums, percussion). Although different, this was a rich heady brew – the composition loosened, but always guided by Henderson’s astute hand. His method of guiding the composition riveting to onlookers, his signals unusual but effective, call and response signalling a new direction. An entire language developed – a ‘conduction’ that could lengthen, shorten or guide a musician towards untapped zones.

My favourite signal is his use of voice – eerie otherworldly high pitched vocal phrases – mimicking instruments, some of which have not yet been invented, strangely beautiful, deeply human. Langabeers alto flute was the counterweight, earthy, and sonorous, but his sopranino was freed from gravity (at times he played multiphonics on tenor or played two horns at once). Everyone gave their best – exhausted as they were afterwards.

The album is selling out fast but copies can be obtained or ordered from Henderson in Auckland or in Wellington from Slow Boat Records or Rough Peel. It is also available on Bandcamp at iiiirecords.bandcamp.com. I strongly advise ordering the double CD as it is a thing of beauty, the size of a penguin paperback. The artwork was created by band member Gerard Crewdson, a multi-talented artist, and musician. The images are exquisite with a subtle disquiet lurking behind the peaceful overarching beauty. Here I am minded of the engravings of John Buckland Wright (a New Zealand born illustrator and engraver who attained considerable fame in 1930s London). The live gig took place in the Wine Cellar on the 23rd of June 2016.

Susan Alcorn talks Pedal Steel

December 2, 2015December 2, 2015 / JazzLocal32.com / 2 Comments

Lately I have attended a number of music workshops. Although not a musician I gain a lot. They offer fascinating insights into the artists creative process and if your lucky, insights into a particular instrument. With music, the more you listen, learn, observe and delve, the more you gain. My reason for attending Susan Alcorn’s workshop was probably different from most attendees. The majority were guitarists anxious to glean practical information or wanting to be convinced that this complex instrument was for them. A handful of others sought knowledge for knowledges sake – dipping another toe in the water of sonic learning.

I like the warmth of the Pedal Steel guitar and I appreciate its hard won place in the landscape of modern improvised music. Learning something of its history and its quirks from an acknowledged master took me a step closer to the mystique of that quivering sound. Alcorn is very much at home in the world of experimental improvised music, but that was not always the case. After 30 years of playing country in places like Nashville and performing in the more orthodox styles she jumped ship.

She mentioned the influence of later Coltrane as one of the forces pulling her towards unfettered experimentation. She also spoke of a desire to explore composers like Messiaen and this required specialist tunings. She played us some Monk (as well as original compositions). Her take on Monk compositions was that they were architectural. “He starts with a well constructed base and as he builds up from the ground he plays with the form. He moves sideways creating an overhanging room but it is always balanced elsewhere”.

When younger she committed her self to a related instrument, (the Dobro) and eventually to the Pedal Steel – mastering the Pedal Steel did not come easily. There are many pedals and four knee levels to control. then there are the multiple tunings, a variable number of strings and a plethora of picking styles (also complex slide techniques to master). Few beginners get an easy ride and many don’t stay the course. Some tunings (e.g.Hawaiian) do not work for the blues and so double necked instruments are common – thus allowing for style changes from alternate tunings. Adding extra strings (or pedals) while increasing the options, also increases the complexities. It can take two to four years of practice before new tunings become ‘muscle memory’. Once down you have a world of sounds and possibilities at your fingertips.

In the 30’s and 40’s the instrument was universally popular and pedal steel orchestras proliferated across America. At that time Hawaiian music was particularly popular. Soon after the instrument found its was into Western Swing bands and Rockabilly bands (this is when pedals and stands were added – ‘console steels’). It found its way to mainstream Country music a little later, but it is less popular in that genre these days.

She gave us some insights into the origins of the instrument but pointed out that many of the popular theories are verging on the fanciful.

In the 1950’s you could buy the instruments in most US cities. Now only specialists carry them. Many like Alcorn go directly to a luthier for customised versions. Her 12 string tuning is unusual being C D F A C D E G A C E D. Having 7 pedals and knee levers give you more combinations. Unusually her instrument comes from an Australian luthier and is made of indigenous wood. She said that she wanted that deeply resonant bottom string so that she could play Messiaen (improvising musicians often customise their instruments). Here is a cut of her composition ‘Three Rivers’

The Nordic experimental Jazz trumpeter Nils Petter Molvaer uses Pedal Steel as a dominant part of his soundscape in’Switch’.

Fact file: In the 50’s a Pedal Steel guitar track hit number one in the Billboard pop charts with ‘Sleep Walk’.

A big thank you to Jeff Henderson and cohorts for their tireless efforts to bring us wonderful experimental music. Sounds we would not otherwise hear. If you want to hear superb and often experimental Pedal Steel guitar you should seek out cuts involving Auckland guitarist Neil Watson. There are some located on this blog

Jazz stories that need retelling (2014)

January 9, 2015January 9, 2015 / JazzLocal32.com / Leave a comment

“What often distinguishes a poetic list from a practical one is only the intention with which we contemplate it’ – Umberto Ecco (The Infinity of Lists).

At this time of year Jazz Journalists post their ‘best of’ lists. By tradition, this provides a platform for the writers to focus on something that took their fancy (or not). It is seldom an exhaustive analyses of the years musical offerings, but a time to indulge in a few well-honed prejudices with impunity. I make no apology for the antipodean bias.

A look back at some pianists who impressed in 2014:

There has been a lot of ink spilt in analysing Jazz piano over the years and the task is always daunting. In recent years all too many masters of the keyboard have passed on such as the inimitable Hank Jones. He encompassed a vast era of jazz, ever fresh and endlessly tasteful; bringing with him something of stride, bebop and hardbop and above all the blues. At the passing of Jones and other acknowledged masters, there is an increased awareness of other great pianists still with us (a good example is the belated and welcome attention being given to George Cables). Many of these artists have been hiding in plain view and paying them due attention is increasingly important. As musical tastes mature, and new directions emerge, the field ever broadens.

Jazz fans who live outside of the USA generally have a reasonable awareness of pan-American, European, Scandinavian and (perhaps) Antipodean Jazz musicians. If you live at the hub of the wheel, the USA, it will probably be less likely. Pianism is not about how many notes you play, where you come from or the cleverness your ideas. It is about integrity. Musical integrity is rare but universally available.

There is a ‘sound’ that belongs to certain locations, perhaps to great cities; where an assimilation of environment occurs unwittingly, coalescing within an artist. This is not planned, as self-conscious cleverness is the road to perdition. The mindless recycling of others cleverness a greater anathema. Mary Lou Williams once said (to slightly paraphrase): “Once a pianist comes to grips with the instrument and can master its capabilities, stop taking formal lessons. Risk taking explorations should occur next”.

Pianists like Mike Nock, Barney McAll and Jonathan Crayford all have a unique quality, one that reflects where they come from. They are musicians of the world having honed their craft on the road, but distinctly Australasian for all that. No English, Italian, Scandinavian or Australian pianist is going to sound like Randy Weston and nor should they. Musicians of integrity will bring something of themselves to the mix and a select few will bring a sense of place. The three pianists I have mentioned have lived and worked in the USA (often extensively) but not at the expense of their roots voice. Each found a groove that only they could unlock. There are 88 notes on the standard piano keyboard, but in the spaces between the notes and in the choices made, there are subliminal messages. That is where the real magic lies.

The Mike Nock Trio. (Aust) Gig at the ‘2014 Auckland Jazz Festival’, CJC (Creative Jazz Club). Mike Nock is one of New Zealand’s favourite musical sons and perhaps the improvising musician we most admire. Although he has not lived here for many years, he often visits from Australia. Many will know him from his ‘Fourth Way’ band, his recordings as sideman with people like Yusef Lateef or his long years as a celebrated member of the New York scene. That said, his post USA work needs better examination and it is in Australia that people can gain a fuller sense of his body of work. Nock is a truly gifted artist and he goes from strength to strength. “Nock’s ringing iconoclasm pervades all his music, taps a deep well of melody that transcends jazz and informs and ignites his every encounter.” – Fred Bouchard, Downbeat (USA). His live trio gigs are humour-filled and quirky, focussing on an eclectic mix of originals, standards turned upside down and almost forgotten tunes (i.e. Sweet Pumpkin). The joy that Nock breathes into his gigs is infectious and it makes you glad that you’re alive. Touring New Zealand with Nock were James ‘Pug’ Waples (drums) and Brett Hirst (bass)’. These musicians while deeply attuned to each other were always full of surprises. 5 stars. *****

Barney McAll (USA) gigs in Auckland & Wellington NZ – Trio and Solo piano at the CJC (Creative Jazz Club) and ‘The Wellington Jazz Festival 2014’. McAll (an Australian) has lived in Brooklyn New York for many years, but he has never been forgotten in his home country Australia. His visit to New Zealand won him many new fans. There is an expansiveness and yet a completeness about McAll compositions. He sounds like no one else and as he digs into those earthy blues filled tunes, you hear the unmistakable echoes of real antipodean soul. 5 stars. *****

Jonathan Crayford, ‘Dark Light’ Trio (USA). It was Auckland’s good luck that the album release gig for Crayford’s ‘Dark Light’ Trio took place at the CJC (Creative Jazz Club). A few weeks prior to that a local version of his ‘Biggish Band’ featured at the same venue (and at the Golden Dawn). I attended all three gigs. Jonathan Crayford is a peripatetic wonderer and a troubadour of immense talent. His endless travels in music often bring him home to New Zealand and the lucky get to hear his imaginative projects. 4 stars ****

Other pianists of note: Kevin Field (NZ). Field on piano or keys is a musical force to reckoned with. His taste is impeccable. This year saw him record an album in New York with expat New Zealand bassist Matt Penman, drummer Obed Calvaire and guitarist Nir Felder. The album will probably be released sometime during 2015 and is eagerly anticipated. Whether as accompanist or soloist, Field shines. His work in 2014 on ‘Dog’, with Caitlin Smith and with the Australian saxophonist Jamie Oehlers stand out as high points. Adam Ponting (Aust) (Hip Flask ‘1’ & ’11’). Ponting is an unusual but compelling pianist. An original stylist who appears to approach tunes from an oblique angle, at first impressionistic, but leading you into a world of funky satisfying grooves. This guy is definitely someone I would like to hear again. It was also great to hear more of Alan Brown (NZ) on piano during 2014. He has some interesting piano and keys projects underway and we will hear more of those soon. Steve Barry (Aust). Barry is an ex pat Auckland pianist now based in Australia. He visited New Zealand twice during 2014. His visits and albums are always received enthusiastically. Barry is a musician who works hard and produces the goods. His new album ‘Puzzles’ with Dave Jackson (alto), Alex Boneham (bass) and Tim Firth, lifts the bar for up and coming local musicians. We had a number of visitors in 2014 and to bring us a European perspective was the Benny Lackner Trio (Germany/USA). The pianist Benny Lackner has visited New Zealand on several previous occasions and the aesthetic he brings is finely honed. The band has a similar feel to EST. There is the occasional use of electronics and they quickly find tasty grooves that could only emanate from a European Band.

Alan Broadbent (USA) has had a truly amazing year with the release of a solo album ‘Heart to Heart’ and his NDR Big band album ‘America The Beautiful’. Multiple Grammy winner Broadbent is our best known improvising export and he has spent the last year touring Europe and America to great acclaim. The solo album was given a rare 5 star rating by downbeat and ‘America The Beautiful’ was recently voted one of the 10th best albums of 2014.

Miscellaneous Gigs and projects:

Mike Moreno trio (USA) – for sheer guitar artistry and taste, Moreno is hard to beat. His beautiful (often mournful) sound, compelling lines and clarity of vision left the Sydney audience in awe. His Australian trio were Alex Boneham (bass) and Ben Vanderwal (drums). the choice of sidemen was solid, as they complimented and responded to every nuance of Moreno’s playing. This was a class act all round. The Troubles (Wellington, NZ), Portland Public House, ‘Auckland Jazz Festival’. This Wellington ensemble is a machine of wondrous invention. Its anarchic dissing of powerful institutions, cheerful irreverence and inappropriate humour, carves it out a special place in the hearts of rebellious souls. Iconoclast drummer and composer John Rae (ex-Edinburgh) had added the heavy weight presence of saxophonist Roger Manins (Auckland) to the mix for recent gigs. That was an inspired choice. Jeff Henderson’s ‘Dreamville’ project (Auckland, NZ) CJC (Creative Jazz Cub). This avant-garde gig, billed as superconscious Jazzmares, was a triumph by any measure. Like a dream, the gig moved forward under its own internal momentum. Surreal themes constantly dissolving until exhausted, forms shifting without seeming to. What made this journey so evanescent, but so compelling, was that certain motifs remained deep in our consciousness throughout; totems of sound embedding themselves. This gig won many to Henderson’s cause.

Notable local Albums of 2014: (in no particular order)

‘Dog’ (Rattle Jazz) Recorded in the now defunct and much-loved York Street studios Auckland. This album is the realisation of a project by Manins, Field, Holland & Samsom. It sizzles, swings and while hinting at the vibe of a bygone era, it still sounds fresh & modern (and very Kiwi). ‘Dark Light’ (Rattle Jazz) This excellent album is one of two that Jonathan Crayford released in 2014 – Recorded at ‘Systems Two Studio’ NY with Crayford (piano), Ben Street (bass), Dan Weiss (drums). Don’t expect repetition from Crayford. This master musician takes us on many journey’s, each unlike the last and all brilliant. Hip Flask 2 (Rattle Jazz) A funk unit led by Australasian saxophone giant Roger Manins. Accompanied by Adam Ponting (piano), Stu Hunter (organ), Brendan Clarke (bass) and Toby Hall (drums). A thoroughly appealing album and a welcome follow-up to Hip Flask 1 (Hip Flask 1 included with the album).

Best Jazz Writing

The Parker Biography (part one): Stanley Crouch’s ‘Kansas City Lightning’ is a great read and a possible game changer. It has sometimes been observed that Jazz biography is the weakest link in Jazz Writing. If that is true then the mould has truly been broken with this work. Crouch has placed the story of Parker’s early life into a fuller historical context. In learning things about the times, we learn a lot about the man. This is a book that could be appreciated by anyone interested in the history of African-American life in the Mid-West. I suspect that its significance will grow as time passes. Above all the book is beautifully written and for me that counts.

Best Jazz DVD

Charles Lloyd’s ‘Arrows to Infinity’ is a beautiful and informative document. It is packed with important music and astute observations. The filming is tasteful and painterly and Dorothy Darr (artist and long time partner of Lloyd) has been the obvious guiding force (assisted Jeffery Morse). Lloyd the musician is beyond caveat, but Lloyd the narrator also holds us in rapt attention. The reborn, Big Sur Lloyd, communicates his deep calm with ease and his spiritual approach to music and life is compelling. As he reflects honestly on the momentous times he lived through, we feel enriched by sharing the experience. He sums up his approach to improvising and the duty of sharing his music as follows; “The winds of grace are always blowing, so set the sails high”.

Most anticipated events for the coming months.

Glen Wagstaff & the Symposium Orchestra Project. (NZ) 2015 album release (subject to sufficient funding levels being reached on kick starter). This young guitarist references the writing of Kenny Wheeler and Brian Blade. There is a deep melancholic beauty in his charts and the material soars. The album features many gifted New Zealand musicians. Christchurch, like Auckland & Wellington, has a deep reservoir of Jazz talent.

The Auckland Jazz Orchestra (NZ) – ‘Darkly Dreaming Suite’ by AJO conductor Tim Atkinson. I witnessed the recording of this suite and what I heard sounds amazing. While there is a dark brooding quality of the music it is also strangely warm; like a glass of claret held up to stained glass window at dusk. The album is due out in 2015 and the work marks step-up for the orchestra.

Maria Schneider conducts the Jazz Mothership Orchestra (USA/Aust) Our highly respected saxophonist Roger Manins is to feature with the JMO under Schneider’s batten. I don’t have all of the information yet, but the JMO will certainly be touring Australia.

CJC (Creative Jazz Club) 2015 events. The club had a great 2014 year in spite of the odds and difficulties. This is in large part due to JJA Jazz-Hero Roger Manins role as musical director (aided and abetted by Caro Manins and Ben McNicoll). The task of keeping a not-for-profit Jazz Club float in a relatively small city is challenging, but Manins has managed to secure a solid programme and he did so while juggling his demanding teaching gig at the Auckland University Jazz School and his numerous live gigs and recording gigs around the pacific rim. Having a brand new Auckland Jazz Festival (organised by Ben McNicoll) rounded the years events out perfectly.

Biggest Regrets of 2014 – missing the John Zorn gig in Adelaide – The passing of Kenny Wheeler whose music has given me so much pleasure over the years.

Video clips of Mike Nock & Barney McAll – filmed for this blog at the CJC (Creative Jazz Club) 2014.

http://youtu.be/zBd2yZZdvL4?list=UUvm6sdXjGJULG9k2nYZ9udA

http://youtu.be/m_oA8iLshNg?list=UUvm6sdXjGJULG9k2nYZ9udA

The Troubles @ CJC 2014

December 15, 2014December 15, 2014 / JazzLocal32.com / 2 Comments

‘Troubles’ come in many forms and what a proliferation of ‘Troubles’ we have seen in Auckland. In mid 2012 we saw a nonet replete with a sizeable string section (and clarinet). Earlier this year at the Auckland Jazz Festival we saw a septet (strings, no clarinet and with Roger Manins on tenor saxophone as guest artist). By Wednesday December 10th 2014 all trace of rosin was purged and the sweet sounds and fresh faces of the front line string section replaced by three tall bearded men clutching saxophones (and a shorter clean-shaven trumpeter). This was a bold and brassy line up; a weightier manifestation, delivering anarchic messages from darker corners. This was too good an opportunity not to record and Rattle did just that. Capturing chordal instruments in a space like the CJC is challenging as the sound has a number of hard edges to bounce off. Recording a live performance of this particular brand of ‘Troubles’ might work well. Guiding the proceedings with his well-known brand of anti-establishment megaphone diplomacy was ring master John Rae, ‘Troubles’ co-founder. He shepherded the ensemble through a constantly shifting landscape. His effervescent flow of joyous and often irreverent cries only stemmed by Patrick Bleakley’s timely interjections. Rae is the supercharged engine room, but Bleakley is clearly the anchor. Like Rae he’s an original member. With this Auckland horn section in place, a new front had opened and the tweaked charts took maximum advantage of that. On baritone was Ben McNicoll and his presence gave the sound added bottom. Roger Manins, who had stunned us with his wild death-defying solo’s at the Troubles Portland Public House gig was on tenor again. Jeff Henderson took the alto spot and that was a significant addition. His ultra powerful unblinking delivery was the x-factor. Unafraid of repeated motifs but able to negotiate the music without ever resorting to the familiar. That is the Henderson brand, original clear-cut and uncompromising. In no way diminished by the powerful reed instruments surrounding him was Kingsley Melhuish on trumpet. Melhuish has a rich burnished sound and like the others, he is no stranger to musical risk taking. Together they evoked a spirit close to the earlier manifestations of the Liberation Jazz Orchestra. Not just the rich and at times delightfully ragged sound, but the cheerful defiance of convention and discarding of political niceties. Rae’s introductions were gems and I hope some of them survive in the recording. He told the audience that it had been a difficult year for him. “It was tough experiencing two elections in as many months and in both cases the got it woefully wrong” (referring to the Scottish referendum and the recent New Zealand Parliamentary elections). “there are winners and losers in politics and there are many assholes”. It wouldn’t be the ‘Troubles’ if there wasn’t a distinct nod to some of the worlds trouble spots or to political events that confound us. I have chosen a clip ‘Arab Spring Roll’ (John Rae), a title which speaks for itself. Following the establishment of a compelling ostinato bass line, the musicians build a convincing modal bridge to the freedom which follows. Chaotic freedom is the perfect metaphor for the ‘Arab Spring’ uprising. The last number performed was the ANC National anthem and as it concluded, fists rose in remembrance of the anti-apartheid struggle. It is right that we should celebrate the struggles for equality, but sobering to reflect on how far we have to go. The Troubles keep our feet to the flame, while gifting us the best in musical enjoyment.

What: ‘The Troubles‘ – John Rae (drums, compositions, exaltation), Patrick Bleakley (bass, vocal responses), with Roger Manins (tenor sax), Jeff Henderson (alto sax), Ben McNicholl (baritone sax), Kingsley Melhuish (trumpet, Trombone).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland New Zealand, 10th December 2014

Dreamville @ CJC

September 30, 2014May 26, 2022 / JazzLocal32.com / Leave a comment

The Dreamville gig was aptly named for a number of reasons but not least because there were no defined sets, no breaks between numbers. Like a dream, the gig moved forward under its own internal momentum. Surreal themes constantly dissolving until exhausted, forms shifting without seeming to. What made this journey so evanescent, but so compelling, was that certain motifs remained deep in our consciousness throughout; totems of sound embedding themselves. Like the images in a dreamscape, the music stroked the chords of memory; familiar yet ungraspable. As each new realty claimed the preceding one, you realised that musical osmosis was at work. A band filtering its own ideas until only the essence remained. This was especially evident with the recurring melodic themes. It was best to let these themes be, to let them wash over you without over-analysing.

For nearly 2 hours we sat transfixed, subsumed by a musical force quite unlike any other. At times the sounds were primal, even brutal, then as sweet as a summer breeze. I have put up a clip which encompasses two segments from the gig. In the clip a theme developed by Henderson on C Melody Saxophone (the instrument and the melodic theme takes us straight back to Ellington, perhaps even further back to Trumbauer who played with Bix Biederbeck). The C melody Saxophone, a non-transposing instrument, is a rare beast and in the right hands, it quickly reveals its earthy warm tones. The vibraphone and guitar lay down simple repeating patterns, while the saxophone weaves its melodic way through the soundscape, expressing a deep soulful longing. Even here all is not what it seems. A surreal quality still pervades this section, the sixth sense as you edge towards the chaos that is to follow. There is a Mingus ensemble like quality at first, then the bass solo unravels the theme, drawing you into a less certain world; you are suddenly in Zorn territory. e

At this point Henderson moved into the light, his C Melody horn put aside, a throaty baritone in its place. Tah-tah ta ta, tah-tah ta ta, tah-tah ta ta–taa taa states the baritone and the volume and the intensity were swiftly increased. The music had turned on a dime and everyone reeled back, momentarily overpowered by the mood shift. Henderson sensing this, advanced toward the audience honking and squealing, carving up the room, not letting the moment pass. This was musical theatre at its best and it served the purpose well. One thing I have learned over the years; avant-garde music is always best experienced live.

There is a rawness and a primal quality to it, a strong sense of performance. Who would prefer a recording of an Arkestra or an Art Ensemble of Chicago performance over a live show? This was all jazz and all music decoded, not for the cocktail party. The next day I was watching the 1956 Jean Bach film ‘Great Day in Harlem’ and there was Roy ‘Little Jazz’ Eldridge squealing out high note after high note on his trumpet. Again and again, he pushed out a flurry of wild free multi-phonic sounds. Even in the swing era, this had a great effect.

I am always impressed by John Bell and he was superb in this quintet. His approach to vibes is percussive and he avoids clichés. He leaves plenty of space between his lightning runs and the accents and his improvisations have their own compelling logic. The guitarist was quite a revelation. I had not heard Phil Dryson before and he impressed me deeply. Never once did he overplay (a failing of some guitarists), letting his unmistakable chops serve the collective purpose. Once again the solid-body guitar earned its stripes in an improvised music setting. It felt like he incorporated a fusion era approach with Marc Ribot’s. Zorn favours edgy, open-eared guitarists like this; he would love this guy.

On drums was Chris O’Conner (a favourite drummer of mine). His kit was highly unusual but perfectly suited to the gig. At times we heard him as a percussionist, extending the possibilities, clicks, bell-like sounds and a multitude of edgy beats from the various toms. Ethnic polyrhythmic effects arose, especially when Henderson beat an oversized bass drum. The bass player Eamon Edmundson Wells was great. He fitted into this setting perfectly and it is surprising how quickly he has assimilated the vocabulary of diverse musical styles. In Cameron McArthur’s absence, he has stepped up without equivocation. Hard work and the Auckland University Jazz program have obviously set him up well.

This was a sound super-nova created by dangerous visionaries. There were no leaders identified in the blurb and the band acted as one entity. All played to the peak of their ability and with unity of purpose That said the powerhouse presence of Jeff Henderson and John Bell was quite unmistakable. I could especially feel Henderson’s guiding hand throughout. This is the space he occupies musically and he is the titan of this realm. Although my ears rang for days afterwards I wouldn’t have missed it for anything.

What: ‘Dreamville’ – Jeff Henderson (Baritone, C Melody, Alto saxophones), John Bell (Metalophone), Phil Dryson (solidbody guitar), Eamon Edmundson Wells (upright bass), Chris O’Connor (traps drums, percussion).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand, 24th September 2014.

Footnote: This is one of the last recordings of Phill Dryson RIP

NOiCE @ CJC

November 9, 2013November 17, 2013 / JazzLocal32.com / 2 Comments

The North Island Creative Ensemble is a project dear to Rosie Langabeer’s heart and one of many projects that she has on the go. Rosie has been out of New Zealand for some time although NOiCE did perform at the CJC over a year ago. Her musical journey most recently took her to the USA where she worked for three years with leading experimental improvisers and artists. Her compositions and playing have won various awards and so I made certain that I there as I missed the last NOiSE gig.

This is music that is hard to pin down, as it deliberately defies conventions while somehow flirting with them. There is a sense of structure which provides a touch stone, but don’t grasp too firmly as the forms will dissolve as quickly as they appeared. This is music which carries you forward if you let it, holding you in the eternal moment.

NOiCE is an assembly of highly creative musicians; coming from a variety of North Island towns and cities. The music is experimental in nature and it is definitely adventurous. Most of these musicians are well-known and leaders in the field of New Zealand experimental music. Jim Langabeer (Rosie’s father) is a stalwart of the Auckland Jazz scene, but he has also worked with international musicians like Gary Peacock, Sammy Davis Jr and even the Bee Gees. He is a multi reeds and winds player and because of his proficiency on a variety of instruments he has been in demand over the years. I recently saw his name come up in the music credits of the New Zealand film ‘Mr Pip’. His innovative flute work is probably what he best known for.

Jeff Henderson is also a multi reeds player and he is at the very heart of Auckland’s experimental music scene. He can often be seen at ‘Vitamin S’, a small club dedicated to experimental music located just off Karangahape Road, Auckland. Jeff has worked with a large number of cutting edge musicians over the years, William Parker, Steve Lacey, Mike Nock and many others. He delights in pushing against the boundaries and when he performs he seldom holds back. While his scalding solos often reach beyond mere form, his ability to integrate seamlessly into an ensemble creates a filigree of contrasts and textures. A delicious aura of inventive unpredictability hangs over him.

Chris O’Connor (drums) is a firm favourite with CJC audiences. A recipient of the Chapman Tripp Award for original music, he has also worked with the soprano saxophonist Steve Lacey, avant-garde pianist Marilyn Cryspel, Don McGlashan and numerous other well-known groups or individuals. Chris is one of those drummers that other drummers revere and the last time we saw him at the CJC was with vibist John Bell.

Ben McNicoll (reeds and winds), Joe Callwood (guitar), Gerard Crewdson (brass) and Kingsley Melhuish (brass), Nicky Wuts (vibes) and Patrick Bleakley (bass) round out the ensemble. They are all experienced musicians and most of them have worked with NOiCE for some time. Ben McNicolls is the best known to CJC audiences as both the technical director of the club and a frequent performer. A good reader with a nice sound he, is happy to take on any project, from standards gigs to out-ensembles. Gerard Crewdson and Kingsley Melhuish are versatile and sought after brass players and both have played the CJC before. The musicians that I was less familiar with were Patrick Bleakley (bass), Joe Callwood (guitar) and Nikky Wuts (Vibraphone).

I’m relieved to see another mallets player on the scene as New Zealand has very few of them. John Bells departure earlier in the year left a yawning chasm.

All contributed something unique as this is a truly democratic ensemble. One where individual voices rise and then subside; emerging seamlessly into the collective consciousness of the group