CJC Creative Jazz Club gigs, Latin

Mambo Macoco – Crayford/Haines

Mambo Macoco (2)A lot of great live music happened this year but this gig was a favourite.  It was danceable, visceral and the deeply rhythmic pulse found its way straight to your heart. As the band played the room radiated an infectious joy and the swaying of the audience amplified it. One by one the feet tapped and the hands moved until no one was left unaffected.  Yes, this was music to wash away your cares but underneath that was something of real substance. Latin music that misses its groove is unsatisfying but when it’s done well like this was, it’s simply wonderful. No one in New Zealand could pull this off better than Jonathan Crayford and with co-leader Nathan Haines on board, it was locked down. The final ingredient to this potent tropical brew was master percussionist Miguel Fuentes.

This project has an impressive provenance as it is derived from the Bobby Vidal songbook, a selection arising out of his much-loved New York Latin/Bebop band. In the early nineties Crayford was living in New York and because he was intent on soaking up as many influences as possible he soon came across Bobby Vidal’s regular East Side, St Marks Bar gig. He loved the vibe and desperately wanted to become part of it and he started attending the gigs regularly. Through perseverance and after many knock-backs, he finally got an introduction to Vidal. Before long he was hired. After that, he spent three years with the band, describing the experience as ‘a pure joy’. Mambo Macoco (3)The songbook was a heady fusion of Bebop and Afro-Cuban (or more accurately Afro-Rican as Vidal was from Puerto Rica). When Crayford initially agreed to take the Vidal gig he knew little about Latin music, but a quick phone call to his friend Barney McAll gave him valuable tips. Fast forward to 2018 and it is obvious to anyone who hears him that he absorbed the complexities and rhythms of the music beyond caveat. Although the rhythmic patterns are fixed, for the music to work well it needs something else – a controlled fluidity – the ability to react to the other musicians. Crayford once described it as being a weave which can be tightened and loosened at precise times – without the shape being lost. When you hear the clave patterns skilfully executed and interwoven, the experience is unforgettable.

Co-leader Haines ranks among our best known and most loved musicians. His experience and good taste are always on display and on this gig, he pulled out an extraordinary performance. After his recent surgery and health issues, it would have been excusable for him to hold something back, but Haines is averse to half measures. His primary instrument on this gig was flute (although he did play saxophone as well). Anyone who has followed his career will know that he was in New York around the same time Crayford was and he undoubtedly absorbed gigs similar to this. A subsequent move to London had him performing with a variety of Afro Caribbean musicians. His wonderfully peppery flute playing attests to these tropical influences. Mambo Macoco (4)Many Jazz musicians avoided the flute, believing it to be expressionless, but when Haines blows, it has life, character, and edge. As a horn, it has pride of place in Latin ensembles and Latin lineups are diminished without it. Watching these two feed off each other’s lines or grooves is to attend a masterclass. Many years of collaboration has gifted them an acute situational awareness. An awareness that is now instinctual.

Then there is Miguel Fuentes. This is where the magic becomes supercharged. Fuentes like Crayford and Haines is an acclaimed musician and his background as a percussionist is mind-blowing. While skilled in the numerous percussion styles and on numerous percussion instruments, he played congas, Afro-Cuban style on this gig. He has performed with a large number of important artists (e.g.George Benson and Isaac Hayes) and since moving from New York to New Zealand he has been the first call percussionist.

Beside him on cencerro (cow-bell) was Adån Tijerina, his instrument being the ‘hammer’ – the instrument which holds the centre and it was deployed well.  On upright bass was Mostyn Cole, a versatile and able musician who fits in perfectly whenever he is called upon. At the end of both sets, an electric bass player was called to the bandstand. A young woman named Jacqui Niman from the South Island. The ease with which she hit her groove and dived into this deceptively complex music was impressive.

Both gigs were filled to capacity and due to the size of the audiences, dancing was rendered impossible. As Crayford later pointed out, “I’m sorry that there is no room to dance but do so if you can’. The Mambo Macoco music invites movement and deserves to be danced to. It is rumoured that a gig, perhaps even a residency, could occur soon at the nearby Anthology Lounge. I hope so – count me in.

Mambo Macoco: Jonathan Crayford (keyboards), Nathan Haines (winds and reeds), Miguel Fuentes (congas), Adån Tijerina (cencerro), Mostyn Cole (upright bass), Jacqui Niman (electric bass). The gig took place at the Backbeat Bar, Auckland for the CJC Creative Jazz Club 28th November 2018.

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CJC Creative Jazz Club gigs, Concerts - visiting Musicians, vocal

Vivian Sessoms CJC 2018

Vivian (3)When the Soulful vocalist Vivian Sessoms visited in June last year, we were stunned by her voice and by her powerhouse delivery. We seldom get to experience American R & B styled vocalists in New Zealand and if we do we never see them in intimate settings like the Backbeat Bar. Her voice carries the history of her music and her vocal range and control are approaching the operatic. Sessoms is a vocalist with serious chops and an interesting backstory. Last week she returned.

Since her last visit, she has released a Soul/Jazz album titled ‘Life’. The album is receiving favorable attention and it is not surprising that she has been picked up by the Ropeadope recording label. During her two Auckland gigs, she performed a number of tunes from the album; including a few that were recorded at the same time and will likely appear on a future release. The first set opened with her take on the Stevie Wonder classic ‘I can’t help it’. This was pure R & B, but the set swiftly dived into bold reharmonisations of Jazz standards plus one or two pop tunes (‘Love is a losing game’ – Amy Winehouse and ‘Under the Cherry Moon’ – Prince). Vivian (1)

The Standards in that set were the lovely ‘Stella by Starlight’ (Victor Young), ‘Lush Life (Billy Strayhorn) and ‘The Waters of March’ (Tom Jobim). All of the above were reharmonised and made fresh. ‘Lush Life’ conveyed that sad world-weary vibe that Strayhorn penned so well and ‘The Waters of March’ (Aguas de Marco) was sung in English.  Jobim wrote both the Portuguese and the English lyrics and the song is a masterpiece. Sessoms infused it with a subtlety reflecting modern American life. When she came to the line ‘the shot of a gun, in the dead of the night’ you picked that up immediately and understood her message.Vivian (4)

Sessoms is an activist for civil rights and this thread runs through all of her shows (and the ‘Life’ album).  Last time she came to New Zealand it was her ‘I can’t breathe’ number – this time it was her take on ‘People (make the world go round)’, a tune made popular by the Stylistics  (composed by Thom Bell + Linda Creed). Before the tune, she spoke a little of her life growing up in Harlem and how normalised that daily struggle was to African-American people at that time. This tune in her hands was a plea for people to do better and to fight on until equality is a reality, not just a distant hope. An interesting song choice which got the Sessoms treatment was ‘I who have nothing’. We associate it with Shirley Bassey or Joe Cocker but long before that Ben E King released it. Actually, it is an old Italian song titled ‘Uno Dei Tanti’ (by Carlo Denida).

This time Sessoms had her husband Chris Parks touring with her. Parks is a well-known bassist and producer on the New York scene and on the album, he is co-credited in all of the arrangements. Parks played a punchy electric bass, Jonathan Crayford and Ron Samsom were the band members for this gig, Crayford having accompanied her convincingly last time she came.

The album is widely available and I have included a Spotify clip from ‘Life’. Her take on Strange Fruit is the standout for me. A harrowing song based on the poem by Abel Meeropol and made famous by Billie Holiday. In light of recent comments made during the US primaries and on the banners of the Alt-Right, these issues are scandalously still with us. I have also put up a clip from the gig – ‘Waters of March’ (the sound quality is quite good but the glare of the spotlights affected the focus slightly in places).

Life Tour: Vivian Sessoms (vocals), Chris Parks (electric bass), Jonathan Crayford (keys), Ron Samsom (drums) – Backbeat Bar for the CJC (Creative Jazz Club), 22nd November 2018).

 

Australian Musicians, New Zealand Jazz Gigs, Piano Jazz

McAll @ Freida Margolis

Barney Freidas (3)The pleasure of experiencing great music in small venues is inestimable. Sure, we love it when the famous cats blow through town, rush to get our tickets for the town hall concerts, pay the hefty price tag gladly and listen; watch the tiny figures way, way down on stage.  I have attended many such concerts over the years and regarded them among life’s high points, but now I am not so sure. As great as these concerts are and as amazing as the visiting musicians are, the experience is filtered through layers of complexity and as a result, one essential ingredient is often missing, that feeling of warm intimacy.

I have heard road-wise musicians talk of a virtuous feedback loop, the way artist and audience feed off each other until the music becomes bigger than the sum of its parts. Large civic venues are by their very nature redactive and the end result is often a performer facing a passive sea of listeners. Anyone who has been tapped on the shoulder during a performance and been told by an usher to sit still will get my point. Sitting still and mute is difficult for seasoned Jazz lovers. We know when to hold our breath and we know not to chatter, but we also understand when to vocalise our joy or when to exhort a soloist to greater heights. And bodies will sway and feet will tap – that’s the fine point of engagement. When the music is visceral it radiates a life force and even at the most fundamental level of existence, atoms collide and shift. If it lives it moves.Barney Freidas (4)

Some of us, the lucky ones, have experienced an artist of international stature performing in a small cosy club. If it’s a pianist and if a very good piano is located in the venue, then it’s a recipe for unbounded enjoyment. A few days ago Barney McAll played at a sold-out venue at the Wellington International Jazz Festival. Thanks to his close friend Jonathan Crayford he stopped off for a day in Auckland on his return journey. There had been some discussion about this possibility a few months ago and JC assured me that it would happen. Because I had a prior warning I waited and when the tickets appeared I swooped like a hawk. Only the lucky few got to attend this gig.

The eye-catching online notification featured an attractive sketch and a poster which read; ‘Barney McAll plays Gospel solo piano at Freida Margolis, limited tickets available’.  In the fine print was the word, Steinway. Together this spelt seismic. When you hear McAll you experience more than just music, you experience dreamscapes and multiple histories. The first thing to grasp about McAll is that he can reference many styles and genres and while this is disconcerting to some, it is an essential part of his output. Cutting edge contemporary improvised music, Orchestral Jazz, alternative popular music, standards, soul, free or Gospel. While his projects can feature any of the above styles, each is laid down with the utmost integrity and each bears his unmistakable hallmark.

Barney Freidas (2)

What we heard were mostly Gospel hymns – the sort you would hear in a Harlem church. They were hymns, but not presented in the way you’d hear them in a New Zealand or Australian church. They were improvisational vehicles and the voicings of some old-time Jazz greats shone through. I have heard such voicings from the likes of Hank Jones and this is hardly surprising. Musicians like Jones came up through the black gospel church experience. What is uncommon, is to hear this from a white Australian musician.  His eight years of playing in American Gospel churches left its mark of authenticity on him.

During the night he invited Jonathan Crayford and Bella Kalolo to join him. Crayford accompanied on piano, free improvising, while McAll played an unusual guitar-like instrument, imparting a sitar sound or prepared piano sound. Kalolo was obviously delighted to be accompanied by McAll and even though she was unamplified and therefore low volume the two of them had strong chemistry. While they approach the tunes differently, Gospel is clearly something both artists understand.

McAll also played Necter Spur from his ‘Mooroolbark’ album and ‘The Nock Code’ from his recent ‘Hearing the Blood’ album.  Both albums garnered multiple awards and significant praise. Unencumbered by a band, he ranged freely over the numbers and found exquisite asides to explore in-depth. This was music to be experienced from three metres away. This was a love letter to the classic Steinway ‘D’ series and Freida Margolis was the perfect backdrop. I had mounted the camera up high and it was surrounded by tiles which brightened the sound – but that piano – those tunes and those musicians found the magic and gave us a gig to remember.

Barney McAll (Steinway D, stringed instrument), Bella Kalolo (vocals), Jonathan Crayford (Steinway D) – for McAll albums visit Extra Celestial Arts on Bandcamp.

Avant-garde, Backbeat Bar, Beyond category, CJC Creative Jazz Club gigs

The Oblivious Eight

JeffJeff 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).  Jeff (1)

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.  Jeff (2)

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. Jeff (3)

Beyond category, Concerts - visiting Musicians, Piano Jazz, Review

Jonathan Crayford’s ‘Steinway Tour’

SoloJ (1) Rarely, do we get to experience something truly sublime and for this to occur a number of planets must be perfectly aligned. Art at this level cannot be forced as the realization is dependant on both tangibles and intangibles. The musician might be in peak form, but if the room or the instrument is mediocre then the fine edge of perfection is blunted. It is harder to achieve in a capacious concert hall; easier in a well-appointed studio or an intimate vibing Jazz club. There is no manual to guide us to the point of departure. It is a divine alchemy pure and simple.

When I heard that Jonathan Crayford would be touring the country with a Steinway D Concert piano and one with considerable provenance, my first inclination was to doubt. This was no small undertaking. The piano in question was special, played by luminaries such as Lily Kraus, who signed it. It was formerly owned by a branch of the Guggenheim family and if Crayford had not asked a friend to purchase it, we would have lost it to an offshore purchaser. The friend, surprisingly, agreed and said, “Now use it”. Crayford is one of the few musicians who could pull this off.

The piano and Crayford travelled up from Wellington a few days ago and the first concert took place on the day of their arrival in Auckland. The lovely Uxbridge Arts Centre in Howick was the first venue; a pleasant, modern 100+ seat auditorium with good acoustics (especially for a piano) and an intimate cosiness.  I arrived early as I was videoing and sat quietly in the darkness; watching Crayford and his magnificent piano get acquainted.

Crayford approaches pianos with reverence and sensitivity. I watched as he played a few phrases – then he paused when a particular voicing took his attention. Putting his ear close and playing it again with a look of delight. He was learning the secrets and subtleties of the instrument. Later during the concert, he gently tapped out a note which had taken his fancy. “Listen carefully”, he said to the audience, pointing to a particular key. A soft harmonic-rich sound reverberated gently through the room – revealing a warm golden timbre. As he shared these insights we felt privileged. Crayford treats fine pianos as living entities; beings to be understood, curated, exalted. When he finished a piece he would gently lift his hands and time would stall as the slow decay of chord or phrase created new harmonics and textures. Sound bouncing off wood, frame and room until it faded into infinity. SoloJ (4)

He opened with a composition of his own, a reflective piece of deep spacious improvisation, perfectly realised and just the right length to reel us in. The awed hush from the audience said it all. This concert was special and everyone there swiftly grasped that. Next, we heard his take on an obscure but unmistakable Monk tune, the familiar jagged lines morphing into new shapes as he went. There was no set playlist, no charts to guide him; just a small black notebook with dozens of possible tunes written down and in no particular order. The piano and his musician’s instinct informing him of the journey as he went. Tunes were chosen or rejected on the fly. His programme consisting mainly of reflective material but with a few faster-paced tunes to balance these out. A tune from the Spanish civil war attributed to Garcia Lorca was an example of the latter. On the slower reflective pieces like a Satie Gymnopedie, he left space for the music to breathe – space for the spirit of the piano to sing through.  He would often play three pieces together and then rise from the piano to quote a line from Shakespeare or to offer an insight into a piece. He is a fascinating speaker and his enthusiasm utterly infectious. Nothing was out of place, everything he did conveyed the magic of the moment. SoloJ (6)

I urge music lovers to clear their calendars and attend these extraordinary concerts as Crayford travels throughout New Zealand. It is seldom that we get to experience projects like this and extremely rare to hear them in such intimate spaces. The most difficult gig in Jazz is the free-ranging improvised solo piano concert. When it works (and this certainly did) it is the most rewarding. This was deep improvisation, sensitive interaction and piano/sound curation at it’s best.  It paid respect to the solo art form and above all to a very special Steinway piano. It was Jarrett like (but without the abuse). It was Crayford at his best and that is enough to satisfy any music lover.

For tour, details check out: jonathancrayford.com – (video up later)

John Fenton  – March 2018

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Review, Small ensemble, Straight ahead

Lucien Johnson + 5

a2788670674_16.jpgThe eponymously titled album ‘Lucian Johnson+5’ was first released in 2016 and has recently been re-released in Japan on vinal. I have only encountered Johnson performing once or twice as he has spent a lot of time outside of New Zealand. He was born in Wellington, but led an interesting life elsewhere, travelling the world with various innovative bands and living for long periods in Paris. I first encountered him when he toured with ‘The Troubles; a delightfully anarchic folksy ensemble he co-founded along with Scottish Jazz drummer John Rae. After hearing Lucien Johnson+5, I will be paying close attention to his futures offerings.

I became aware of the album’s existence soon after its release, but carelessly lost the Bandcamp access code when I changed computers. I finally regained access, listened and was immediately impressed. This is a mature piece of work with real depth. Given the diversity of experience, the musicians bring to the project that is hardly surprising.  Johnson’s musicianship and compositional abilities are well known – pare him with these five musicians and you get something special. Any project involving Crayford, French, O’Connor, Van Dijk and Callwood is going to grab the attention.

There is a certain mood emanating from this album, a palpable sense of the Iberian Peninsula. It is more than just the track names – it cuts far deeper than that. You will not hear overt Jazz Flamenco or Moorish tunes. You will hear reflective ballads, Latin, hard swing and all with fine arrangements (arrangements which evoke the hay-day of the classic Jazz ensemble). The album warmly invites us to engage, and the deeper we engage the greater the reward. The musicians were clearly onboard with the project and each of them gets a chance to shine. There are many wonderful solos, none that are too long and each solo harnessing to the spirit of the collective. Brilliant musicians all, but with no egos on display.

‘Light Shaft’ has a dancy Latin feel with French and Johnson reacting to Crayford’s rhythmic accenting; Crayford later tying it all together with a masterful solo. ‘El Cid’ is another great tune, again with a Latin American flavour, this time Afro Cuban. The clave aside, it evokes the Reconquista hero perfectly. El Cid’s is a tale well worth the re-telling; especially since modern scholars discovered that his antecedents were actually Moors, the very people he fought with such evangelistic fervour – a modern parable. ‘Zapata’ is another delightful tune and with plenty of meat on the bone.  It opens with O’Connor beating out a Krupa like rhythm on the toms, the ensemble comes in next, navigating a skillfully arranged head with nimble ease. Van Dijk and Crawford follow with stunning solos, but everyone is superb. This is a great piece of ensemble playing and above all it is fun. Here is Zapata:

My favourite from the album is ‘Asturias’. This track has a thoughtful quality and as many layers as a ripe onion. In spite of being a sextet, the ensemble sounds like a nonet at times – capturing the vibe of 50’s Gil Evans. This lies mainly in the skillful writing, as space and texture are maximised. The rich voicings of the horn line are also of importance, as they somehow manage to convey substance and airiness at the same time. Nick Van Dijk in particular, utilising the opportunity to shine through. Crayford and Callwood also have essential roles – Crayford creating a strumming effect, as Callwood did in the opening bars. Asturias is a region of northwestern Spain and also a Flamenco guitar style (a style often adapted to other instruments). Albeniz wrote in this style in the 19th century,  The melody over a strummed pedal chord (the thumb playing the melody line).

When we listen to evocative music, we bring our imagination to the experience. Whether intended by Johnson or not, this album took me back to Spain. I have travelled extensively in Andalucia and rekindling those memories through this music was a pleasure. The artwork is also superb and that is credited to George Johnson. The best place to source this album is on Bandcamp or via the Lucien Johnson website. lucienjohnson5.bandcamp.com

 

Audio Foundation, Beyond category, CJC Creative Jazz Club gigs, experimental improvised music

Chisholm/Meehan/Dyne/ ‘unwind’ 2018

ChisholmIt was a good way to begin a year of music, a good way to breathe life into two enervating steamy nights. Hayden Chisholm was back in the country and around him formed various duos, trios, and quartets. He performed two gigs in Auckland and the first was at the Audio Foundation in Poynton Lane. The venue has long been an important source of innovative music and each time I descend the stairs to the sub-basement I find interesting changes to the clubs configuration. It really is an excellent venue and perfect for what it offers.  At first glance, the two nights appeared quite different. One free improvised and the other a set of reflective ballads.  In reality, both gigs were reflective, melodic and approachable. The open-hearted humanity and communication skills of the participants made it so.

When Norman Meehan, Paul Dyne, and Hayden Chisholm appeared last year in the UoA Jazz School auditorium, the audience was taken aback by the sheer beauty of the performance. The alto saxophone is heard less often than its fatter sounding big brother the tenor and it is seldom heard like this. There was something about that particular performance that stopped people in their tracks. The beauty of the tone and the way the sound informed the improvisational approach. It’s not as if we had never heard an alto and piano before, but the unusual clarity and the perfect juxtaposition between horn and Meehan’s tasteful minimalism made it special. Unsurprisingly there were good audiences at both of the 2018 Auckland gigs. Chisholm (3)

At the Audio Foundation, there were no charts and only the briefest of interactions between musicians prior to the performance. The sets were mostly duos – one with John Bell on vibraphone, followed by another with experimental vocalist Chelsea Prastiti and lastly Jonathan Crayford on piano. Chisholm also recited prose and played over a drone on his Sruti Box. The final number of the evening was a quartet made up of all four musicians.

Chisholm (6)I have never witnessed a free gig quite like that as the communication was so exquisitely personal. More than musicians finishing each other’s sentences. More than the flow of fresh ideas; there was a sense of musicians revealing something intangible. From out of the fading harmonics and the quiet spaces came that extra something. The quiet revealing something on the edge of consciousness, something we often miss. Arising from – evocative like a Rilke poem – or a haiku. Bell stroked his mallets across the bars or responded with staccato – or soft taps and clicks, Prastiti offered cries and bell-like utterances, framed as wordless questions, Crayford explored resonant possibilities by using extended technique or by mesmerizing with darkly descending chords – opening up a dialogue which was met in kind – sometimes gentle, at other times like a flow of coloured sparks. Chisholm (5)

The Thirsty dog gig on the following night featured the trio of Chisholm, Meehan, and Dyne (adding drummer Julien Dyne in the second half). Late last year the core trio released their album titled ‘Unwind’. Many of the tunes we heard last Wednesday and last year are on the album – plus a few new compositions. The album is released on Rattle Records and is highly recommended. If you like thoughtful, beautiful music with integrity, this is for you. The compositions are all by Meehan and Chisholm (with the exception of an arrangement of Schumann’s  ‘Sei Gegrusst Viel Tausendmal’ (arranged by Chisholm). On Wednesday we also heard a delightful composition by Paul Dyne the Bass player. Adding the younger Dyne in the second half changed the mood and again the contrast between the duo, trio and quartet added to the whole. Julien Dyne is a fine drummer and I wish he appeared more often.Chisholm (7)

I must also comment on Chisholm’s playing over the Srusi Box drones.  I love to hear good musicians playing over a drone and the quieter and multi-harmonic effects of the Srusi Box provided subtle wonders.  Several times while the drone was sounding, Chisholm took the saxophone away from his lips and appeared to blow across the reed from a distance. As he did, a disembodied whistling sound emerged from nowhere – adding to the fading harmonics of the drone.  I have no idea how he did this but it was spellbinding. To a microtonal pioneer, this is probably bread and butter – to an entranced audience it was no less than magic. I hope to put up a clip from one or both gigs later – check back in a few weeks.

The album is available from Rattle Records and the live gigs took place at the Audio Foundation and the CJC (Creative Jazz Club) – Thirsty Dog.

Chisholm/Meehan/Dyne:  The album ‘Unwind’

The live gigs on the 13th/14th February 2018 featured Hayden Chisholm, Norman Meehan, Paul Dyne, Julien Dyne, Jonathan Crayford, John Bell and Chelsea Prastiti.