CJC Creative Jazz Club gigs, Groove & Funk

Alan Brown Trio + guest

Alan Brown 2017 (3)While some of us didn’t make it to the Wellington Jazz Festival, we had no need to cry into our beer. What Auckland had on offer was the Alan Brown Trio, returning to the Creative Jazz Club after a long hiatus, and in very good form. I have long thought that an organ trio is the best dish to serve up on a wet winter’s night. This trio proved the pudding with its down-home goodness, tasty grooves, and with all the trimmings. While Brown is across many genres, this is the one most music lovers associate him with. His deft touch calling down the good times and bathing us in a warm orb of sound.Alan Brown 2017 (4)We heard mostly new material with a few well-chosen standards thrown in; all of it sounding fresh, the arrangements for the standards updated and interesting. Brown is a prolific composer – he always writes interesting tunes. His Between the Spaces album came out years ago, but I can still remember the tunes note for note. He is never afraid of melody either, balancing it nicely with his rich harmonies and all the while providing a solid improvisational vehicle. His final strength, and perhaps his greatest, is his feel for a groove. Although rooted firmly in the organ groove tradition, much of the new material felt evolutionary – taking us in a similar direction to that of Lonnie Smith. There is a lot to like about this direction. Alan Brown 2017 (2)

This was essentially the original Grand Central band; Dixon Nacey on Guitar, Josh Sorenson on drums and for some of the gig, vocalist Chris Melville. Even though many of tunes were new to the rest of the band, they got down to business quickly. Nacey, as ever, the consummate professional – at times reading the chart before him, but always diving deep inside the groove as he internalised the music.  Sorenson is a groove drummer from way back and although he works with his own rock group these days, he had no trouble doing what an organ trio drummer should; laying down a steady rhythmic cushion.Alan Brown 2017 (1) It was good to see Melville perform again. I had not seen him on the bandstand since the Grand Central days. He’s an in-demand vocalist these days and deservedly so. I think that it was on his insistence that ‘I didn’t know what time it was’ was included (the Cecile McLauren-Salvant treatment). I have always loved his wonderful ”Come what may’ (Melville/Nacey) – surprisingly it is seldom heard.  Alan Brown 2017 Although my battery died half way through, I have uploaded a clip from the gig – one of Alan Brown’s newer compositions. The trio’s incredibly warm vibe is well captured on this clip – a sound enhanced by the use of a Leslie Unit and of course by Nacey’s Godin guitar. This was the place to be; as the woody tones and warmth enveloped us, Winter was dispelled from our lives.

Alan Brown Trio: Alan Brown (B3 organ with Leslie Unit), Dixon Nacey (Guitar), Josh Sorenson (drums),  – Guest Chris Melville (vocals). The gig took place at the Thirsty Dog Tavern for the CJC Creative Jazz Club, 7th June 2017.

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CJC Creative Jazz Club gigs, Groove & Funk, Straight ahead, vocal

Alan Brown trio + 1@ CJC Oct 2013

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Alan Brown is such a gifted musician that we always expect something special from his club gigs.   The October gig not only lived up to expectations but found something extra to offer us.  Alan is always on safe ground with Dixon Nacey on guitar and Josh Sorenson on drums, as these musicians don’t need any warm up.  They have played together so often that their understanding of what is required is intuitive.  Deep energised mesmerising grooves are quickly established and maintained.  As we progressed through the first number, the warm grooves took us somewhere else.  Transported on mass to a place where winter became a distant memory.

 A state of grace, suspended somewhere between reality and a multi hued dream state.  This is a place where the familiar is transformed into the extraordinary and we felt incredibly happy about that.

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As I watched the interplay between these three I could not help wondering how that felt.  How it felt making that music, in that way and with that much soul.  The looks on their faces gave me the answer.  They also knew that this was one out of the bag and that some special chemistry was happening.   The Alan Brown trio were on fire and we were not just witnesses but integral to the performance.  There was a shared collective energy and we were each and every one of us connected in a web of pure creation.

I have written a lot about Alan over the last two years and he deserves every accolade thrown his way.   If this sounds like hyperbole I will quickly argue otherwise.  He consistently delivers performances and compositions that grab the attention and on nights like this he finds something extra.  The audiences from the High Street days have never forgotten ‘Blue Train’ and the fact that Alan keeps the crowds coming; still creating new audiences, speaks volumes.   This is not about reliving the glory days, but about bringing fresh and exciting perspectives to an ever unfolding musical output.

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Dixon Nacey is another musician who always pleases.   When ever I see that beautiful Godin guitar I know that something extraordinary could happen and this was just such a night.  Dixon is a musician who can communicate as much by his body language as by his soaring inventive solos.  You know how deeply he observes and engages because the evidence is in his face and at his fingertips.  When exchanges are being traded with drummer or keyboards, his expressions mirror the intensity.   When the solo or the interplay really works well, a huge smile lights up the bandstand.   That smile and those magical voicings tell us so much about the man and his music.

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The remaining trio member is Josh Sorenson and I have heard him on two or three previous occasions.  Josh has specialised in groove drumming and he is exceptionally good at it.  This is a specialist skill as there are a million deceptive subtleties built into it when done well.   I spoke to Josh at some length about this and what he told me was illuminating.  It is very hard work and although it sometimes appears straightforward it is not.  I gathered the impression that a night of holding such tight grooves together is more exhausting than bebop or rock drumming.  The concentration required to move around the kit while holding a tight multi faceted beat together is tremendous.  It is not just the concentration required, but the ability to sink into a beat in an almost trance like fashion.

Towards the end of the final number Josh launched into a drum solo and what unfolded was almost supernatural.  As he moved all over the kit, the deep-groove pulse never wavered by a fraction.  I have never seen this done before and I found it incredibly impressive.   That solo and in fact the whole number ‘Inciteful’ (had the audience on their feet, whooping and shouting with enthusiasm).  Sadly I had run out of video tape by then, but I did capture some of the magic.  IMG_8550 - Version 2

Part way through the gig we had another treat in store when the soulful Jazz Singer Chris Melville came to the band stand.  I like male Jazz singers and I worry that their numbers are so few.  Chris has a terrific voice and he tackled the old Juan Tizol standard  ‘Caravan’ in a mature and engaging way.   I enjoy listening to his interpretations and to the timbre of his voice, but noticed that it had a tendency to become a little lost in the acoustics of the room.  Some small adjustments to the sound levels would remedy that.   As the extraordinary Mark Murphy steps back and the fabulous velvety baritone Andy Bey performs less, there are other male singers coming forward like Jose James, Kurt Elling and Gregory Porter.  It is a tradition worth keeping and I  hope that we see continue to see singers like Chris keeping the faith.

We heard old favourites like ‘Shades of Blue’, some new material and even a rock classic from Led Zeppelin ‘No Quarter’.   ‘Charlie’s Here’ cast a warm bluesy aura over the room and I have put that up as a video link.   The kicker however was definitely ‘Inciteful’.  It was an amazing rendition packed with high-octane solos, clever ideas and groove so deep that even speleologists could never hope to explore it.

The organ was a Hammond SK2 which is not Alan’s usual keyboard.   Coupled to a Leslie Unit and the resulting sound was perfect.   This lighter modern offshoot of the C3/B3 certainly earned its stripes on this night.  It was just right for the room.

Who: Alan Brown (SK2 Hammond organ), Dixon Nacey (guitar), Josh Sorenson (drums).

Where: The (CJC) Creative Jazz Club), Britomart 1885 building, Auckland 16th October 2013