Julie Mason’s gap year gig came hot on the heels of my returning home from Northern Europe. Unlike Mason (who was in Europe for a year), I was only missing for two months but my fogged brain was telling me otherwise. As I headed for the CJC, using my windscreen wipers as indicators and constantly telling myself that driving on the left-hand side of the road was now acceptable, I congratulated myself. I was back into the rhythms of my normal life. This self-congratulatory phase was all too brief as I soon discovered that I had forgotten to charge the camera and the video batteries. A few hours later an unscheduled power outage occurred, making me wonder if that was caused by an oversight on my part. Luckily, none of the above spoiled an enjoyable gig.
The gig title ‘Julie’s Gap Year’ references two recent and significant events in Mason’s life. Firstly the year she spent in France with her partner Phil Broadhurst during which time she wrote some new material and reworked a few favourites. And secondly, it drew a line under some very tough years health-wise which occurred preceding the Paris sojourn. The latter is thankfully now behind her. At one point during the night, she played a solo piece which referenced her mental health struggles and every one was deeply moved by the honesty and raw beauty of it. Everything she played and spoke about she did with confidence and her skills as a vocalist, composer and pianist were all on display. This was the Mason of old and the audience was delighted.
Her rhythm section was Ron Samsom (drums) and Olivier Holland (bass). Her guests were Phil Broadhurst (piano), Roger Manins (saxophone), Maria O’Flaherty & Linn Lorkin (backing vocals) and for the last number a French accordionist. The night was not without its challenges though, as the power outage could have brought the gig to an abrupt close. Instead under Mason’s guidance, the band morphed seamlessly into an acoustic ensemble and played on in the darkness. Nothing of the previous mood dissipated during a half hour of darkness and when the club regained partial lighting the programme continued as if the whole thing had been planned.
This was a nice homecoming and In spite of passing through a number of wonderfully exotic places and experiencing interesting music on my travels, it was nice to be back home.
The gig took place at the Backbeat Bar, K’Road, 5 November 2018 – a CJC (Creative Jazz Club) event.
Au revoir is more than a simple good-bye. The fuller meaning is ‘until we meet again’. Jazz pianist, broadcaster and educator Phil Broadhurst is about to move to Paris, where he will reside for a few years (along with his partner vocalist/pianist Julie Mason). He assures us that he will return and it is not unreasonable to expect him to arrive back with new compositions and new projects to showcase. A Francophile (and francophone), Broadhurst has long been influenced by the writers and musicians of France. His last three albums ‘The dedication trilogy’ all contain strong references to that country. Wednesdays gig was centred on his recent output, but with new tunes and a surprise or two thrown in.Broadhurst is an institution on the New Zealand Jazz scene and it will feel strange with him absent. The strangeness on this particular Wednesday night was compounded by the impending American election result. An election dominated by bizarre outbursts of racism, belligerence, stupidity and misogyny. As the first number of the evening progressed, everyone relaxed; Broadhurst’s melodicism a balm for what ailed us. The tune was ‘Orange’ (a French commune in the Alps/Cote d’Azur region). Half way through the piece everyone’s mobiles lit up. I tried to ignore mine but the vibrating and flashing increased. I reached to shut it off and spotted the words – Trump wins US election. The ‘four horsemen of the apocalypse’ had just entered the room via electronic media. The tune ‘Orange’ is particularly beautiful (and I hope Broadhurst will forgive me for this association), but on this night, the title was also oddly appropriate. An orange gargoyle was about to release the furies upon a surprised world.Accompanying Broadhurst were his regular quintet, Roger Manins (tenor), Mike Booth (trumpet), Oli Holland (bass) and Cam Sangster (drums – and with special guest Julie Mason (vocals). Broadhurst, and his various lineups have received numerous accolades. In recent years there have been nominations and awards; most recently the prestigious ‘Tui’ at the 2016 New Zealand Jazz Awards. Anyone who follows NZ Jazz will be familiar with many of the tunes played on Wednesday; ‘Orange’, ‘Precious Metal’, ‘Loping’ etc. The nicest surprise of the evening was hearing a Frank Foster tune ‘Simone’ (absolutely nailed by Julie Mason). A fine tribute to Nina Simone, and appropriate to the night, given Simone’s views on the lamentable state of race relations in America. This unit is supremely polished and I highly recommend that you purchase the recent albums if you haven’t already done so. They are all still available from Rattle Records.
I wish the couple well for the journey ahead and look forward to their return. In addition I fervently hope that they are spared a Marine Le Pen ascendancy during their stay in Paris.
Phil Broadhurst Quintet; Phil Broadhurst (piano, compositions), Roger Manins (tenor saxophone), Mike Booth (trumpet, flugel), Oli Holland (upright bass), Cam Sangster (drums), Julie Mason (vocals, lyrics), performing for the CJC (Creative Jazz Club), Albion Hotel basement, Auckland, 9th November 2016.
It has been a while since Julie Mason performed as leader. Mason is a pianist/vocalist who over the years taught and influenced a number of younger musicians. After a difficult few years battling health issues she has now started performing again and her new project titled: ‘compositions by piano playing Jazz Musicians’ is what she brought to the CJC. Most of these tunes are not standards in the American song-book sense and so they often lack wider recognition. That’s a pity because the tunes written by these musicians are some of best to come out of the last 90 years. It is always good to delve into this material. A perfect example of a composer/performer who deserves wider recognition is Enrico Pieranunzi. He is all too often overlooked outside of Europe. This formidable Italian improviser has performed with artists like Charlie Haden, Art Farmer, Kenny Wheeler, Chet Baker, Jim Hall and dozens of others. His output stands favourably when compared to the finest of the American Jazz issues. Of particular note is ‘Live in Paris’ and ‘Don’t forget the Poet’. The latter is a tribute to Bill Evans. Mason performed the title track from that album beautifully. She captured the lyrical quality of the piece.she has performed with these musicians for many years; Lance Su’a (guitar), Alberto Santarelli (bass) and Frank Gibson (drums). Her partner, the well known Jazz Pianist Phil Broadhurst sat in while Mason did a vocal number. The set list was split between vocals and instrumental pieces. The number Broadhurst accompanied her on was the fabulously evocative ‘The Peacocks’ (Jimmy Rowles/Norma Winstone). It is one of those tunes that is so aligned to Evans and Rowles that musicians tend to shy away from it. That’s a pity in my view: it was nice to hear it performed live. Other artists featured as sources were Chick Corea, Herbie Hancock, Billy Childs and Jacky Terrason.