Anthology, Beyond category, CJC Creative Jazz Club gigs, experimental improvised music

Eve de Castro-Robinson ~ The Gristle of Knuckles

Eve de Castro-Robinson is Associate Professor of Composition at the University of Auckland. She is well known as a New Zealand classical composer and although widely acknowledged in that field, she is strongly associated with the improvising and experimental music community.  Those who attended the CJC Creative Jazz Club last Wednesday witnessed the scope of her compositional output, with compositions interpreted by a plethora of gifted improvisers. The night was a rare treat.  Last year de Castro-Robinson released an album titled ‘Gristle of Knuckles’ and on Wednesday we experienced a live performance. When introducing it she explained, ‘although I am described as a contemporary classical composer, I am best placed at the ‘arts’ end of that spectrum’. In this space genres, overlap and artificial barriers are torn down. Out of these collisions comes original and vibrant music.

While de Castro Robinson is primarily seen as a composer, she is also an enabler and a canny collaborator; expanding her vision through skilled pedagogy. The above project has her engaging with colleagues from the UoA Jazz school plus a handful of gifted musicians from the diaspora of the avant-garde. The project comes close to being conduction; guiding the improvisers with a feather-light touch, letting them find their truth as her works are re-imagined.  The pieces were composed over a period of years, taking us on a journey from the primal to the avant-garde.       

The first set opened with Roger Manins and Ron Samsom playing ‘Doggerel’. A multi-phonic utterance which set the mood. That was followed by a moving ensemble piece featuring Don McGlashan, Kingsley Melhuish, Keith Price, Kevin Field and Ron Samsom titled ‘The Long Dream of Waking’ (a Len Lye poem). That juxtaposition, duo to quintet, worked well, in fact, most of the compositions were quite unlike those preceding them. These contrasts were an integral part of the ebb and flow and the contrasts worked to the advantage of the whole. There was also another factor in play and it was significant. Between numbers, de Castro-Robinson introduced the pieces, not in the usual way but by telling stories. She has a terrific stage presence and while I shouldn’t be surprised by that, I was. Her talk is peppered with wry humour, that understated self-deprecating Kiwi humour. She quickly had us eating out of her hand and although not playing an instrument, was very much a performer herself. 

Everything was interesting, everything engaged. ‘Twitch’ featuring Kristian Larsen, a piece for piano (but kinetic and expansively sonic),  ‘Passion Flower’ played by Kevin Field, a work inspired by a painting and by ‘The March of Women’ composed by the suffragist Ethyl Smyth. The original is a feminist classic but under Fields fingers de Castro-Robinson’s tune it took on a moody reverential feel. Consciously or unconsciously and deep inside the voicings, it captured the mood of another ‘Passionflower’ the Billy Strayhorn masterpiece; a perfect alignment in my view. ConunDRUMS featured Samsom, Melhuish and Larsen, a delightful percussive exploration, a sculpture. ‘Stumbling Trains’ a fiery piece on cello played by Ashley Brown of NZTrio (and co-composed by him). Check out the embed and above all go to the Rattle site and check out Field’s interpretation of ‘Passion Flower’.

 

The second set opened with ‘Countercurrents’ a solo piece played by alto saxophonist Callum Passells. It began in a stairwell and moved among us, resonating beautifully as the figures and melodies filled the room progressively. ‘Small Blue’ had Field, Melhuish, Price and Samsom paired (a Tuba taking up a bass line), ‘Hau’ featured Mere Boynton on voice and crystal and Melhuish on Taonga Puora. This particular piece was a standout. An ancient-to-modern story of the passing of the spirit and told in a way that evokes New Zealand’s pre-colonial past. I defy anyone to listen to this and not experience a shiver run down the spine.  ‘Trouble Trouble Mind’ brought McGlashan back to the stage with Boynton, Price and Samsom. With two guitars a backing vocal and a raw bluesy feel, this was prime McGlashan territory. The vibe here hinted at a Dunedin punk sound. Rattle records Steve Garden also took to the stage with an array of vocal sounds on ‘The Gild’ (we often spot him launching a Rattle album but we forget that he is a drummer. His percussive vocalisations added quirky additions to the interactions between Samsom and Larsen).

On the face of it, the gig was a collection of interesting compositions, but it also felt a lot like theatre. However you describe it, it was great performance art and the audience loved it. The album can be purchased from Rattle at Bandcamp (as hard copies or high-quality downloads). The musicians were; Eve de Castro-Robinson (compositions and narration), Don McGlashan (guitar and voice), Kevin Field (piano), Roger Manins (tenor saxophone), Ron Samsom (drums and percussion),  Kingsley Melhuish (conches, tuba, Tango Puora, tenor horn), Kristian Larsen (piano, live sound, gilded cello), Kieth Price (guitar), Mere Boynton (voice, crystal glass), Steve Garden (sounds), Callum Passells (alto saxophone), Ashley Brown (cello).  The gig took place at Anthology, K’Road, CJC Creative Jazz Club, 28 August 2019.

Advertisements
Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians

Richard Hammond + Friends

R HammondSubject to availability, Richard Hammond is the kind of bass player that you would consider first for an important gig or recording.  He is known for his musicality, authenticity and above all for his deep groove. His upright-bass chops are immaculate, deep in-the-pocket; his electric bass, as punchy as a kicking mule. It is therefore unsurprising that he works among the elite ranks of New Yorks first-call session musicians. He also gigs around NYC, tours with well-known vocalists and works on shows like Hamilton.  Sometimes, when the luck falls our way, he visits Aotearoa. This time he returned primarily to play bass at Nathan Haines ‘Shift Left’ Civic Theatre gig.  The above show has garnered rave reviews. 

Hammond has real presence and his human qualities shine through all that he does.  I refer there to his warm and engaging persona, his instinctive friendliness and generosity. I mention those qualities because they appear to inform his playing. In his case, the man and his music are as one. Of late this has been a theme in my posts. I find myself increasingly looking inside the music to see if I can locate the human being behind the instrument. Seeking a musicians ability (or inability) to show us something of themselves. Such a manifestation can change a listeners perception and with improvised music, it is the bread and butter of good interactions. Hammond spends most of his time in the studio but he has never forgotten these essential communication skills. In live performance, this can be critical. It could be termed as ‘character’ and inevitably it feeds musical choices. A room filled with notes is one thing, but a room bubbling with musical life is quite another.

The setlist was a tribute to Hammond’s homeland. Apart from the two tunes written by a US musician, the rest were composed by Kiwis.  It was great to hear these tunes reprised and especially with a fresh and fired-up lineup. The most significant contributor was Kevin Field whose talent for composition and arranging is well known. Nothing appears to unsettle Field. At one point the sound was lost from a monitor (and from the piano). He immediately moved to the Rhodes and as usual, played at the top of his game. I have posted the version of his tune ‘Good Friday’. A familiar tune with numerous iterations but perhaps, never played as joyfully as this; the bass lines from Hammond giving it supersonic lift-off. 

The band were Richard Hammond (electric and upright bass), Kevin Field (piano and Rhodes),  Michael Howell (guitar),  Roger Manins (tenor saxophone), Stephen Thomas (drums) and guest vocalist Marjan. Together, they celebrated aspects of New Zealand improvised music’ much of it upbeat and funk orientated. Marjan showcased some of her own tunes plus a well known New Zealand tune ‘Brown Girl’ which had been reimagined as a Jazz tune by Kevin Field (more on that in a future post). 

This is Hammonds third visit home in as many years and I hope that he makes it a regular fixture. We seldom hear electric bass like that.  The gig took place at the CJC Creative Jazz Club, Anthology, K’Road, Auckland, New Zealand on 21 August 2019

Anthology, CJC Creative Jazz Club gigs, Straight ahead

Kushal Talele

Kushal (3)It was four years ago and almost to the day, that Kushal Talele was last at the CJC. Then, as now, he had just returned from a long period overseas. I heard him for the first time then and I was impressed. That was in the cellar of the 1885, a place now a fond but distant memory. A few days ago he returned to the CJC and although he played with a different band, his unmistakeable upwards trajectory was evident. There is nothing unduly flashy about Talele as he radiates calm and absorption. At the microphone, he talks quietly, but there is passion in those subdued tones.  

It is especially evident when he plays, as you are taken directly to melody and it’s heartfelt melody carried on his distinctive sound. There were many influences evident last time, but on this gig one thing was clear. We were now hearing something closer to a modern New York tenor sound; the tonal qualities, the clarity of articulation when in full flow. On ballads, however, there was a hint of vibrato and at the end of phrases, the merest whisper of breath. Taken as a whole package, these stylistic approaches are appealing. 

Talele does not play at high volume, or at least he didn’t on this gig. He stood back from the microphone and this emphasised a number of acoustic subtleties. Small flurries, slight changes in modulation, nothing demanding greater amplification. Playing at lower volume allowed for more interplay and the conversations between instruments were more nuanced. There was however one uptempo number and to everyone’s delight, that channelled a bebop vibe. 

Talele’s compositions were also noteworthy and most of the tunes we heard were originals. In all of those, it was the melodic arc which grabbed your attention. Harmonically, they leaned toward romanticism, but every voicing was in service of the melody. Reinforcing this was his rhythm section, drawn from among the finest that Auckland has to offer; Kevin Field, Olivier Holland and Ron Samsom. Having the piano away from the bandstand is at times a little disconcerting, but Field always makes the best of any situation. He made that white piano sing and because the sound was well mixed, the proximity of the piano was not an issue.

This was an enjoyable gig and I hope that Talele gets to stay a while. New Zealand and Australian saxophonists are gradually developing their own distinct thing. They absorb what they hear elsewhere and bring an antipodean perspective to it. Perhaps a bit of the Chris Potter vibe, so evident in players like Talele will accelerate that process. 

Kushal Talele (tenor saxophone), Kevin Field (piano), Olivier Holland (upright bass), Ron Samsom (drums). The gig took place at Anthology, CJC Creative Jazz Club, Auckland 7 August 2019.   

Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Straight ahead, vocal

Talbot/Dunbar-Wilcox @ CJC

Emerging Artists (Wellington) Talbot-Dunbar (1)

As Wednesday nights at the new Anthology venue move into high gear, a tried and trusted CJC programming philosophy remains constant. To provide a quality venue for local and international musicians to showcase their original projects, and to provide a performance space that up and comers can aspire to. As before, two or three gig slots are kept for emerging artists, and this year those slots have expanded to include Wellingtonian and Christchurch improvisers. Performing on Wednesday were Wellington musicians Frank Talbot and Ella Dunbar-Wilcox. Both sets had the same rhythm section; pianist Kevin Field, Bassist Cam McArthur, and drummer Adam Tobeck.

First up was Frank Talbot. A tall tenor player with a clean tone and nimble articulation. Talbot is a recent graduate of the New Zealand School of Music and he is currently completing his honours degree. New Zealand produces many good tenor players and judging by Talbot’s confident performance on Wednesday, he will go from strength to strength. He is certainly making all of the right moves and testing himself in varied situations, so he will certainly be one to watch.  On his setlist, there were all originals and I have posted his interesting tune ‘Inquisition’. I also liked ‘Intervalic’ and a moving tune (which I heard as) ‘Steak and kidney pies, no goodbyes’. The latter was dedicated to his mother who is going through very tough times health wise. A nice heart-felt tribute. Talbot-Dunbar

The second set featured Ella Dunbar-Wilcox. A vocalist in her third year of studies (also at the New Zealand School of Music). Her performance showed considerable maturity as she tackled some challenging arrangements and tunes. Not many emerging vocalists would tackle the more upbeat Coltrane tunes or a tricky stop-start McLorin Salvant arrangement. She navigated these charts with ease. I also liked the balance in her set list which provided us with pleasing contrasts. The cheerful, upbeat (and rarely heard) Bobby Timmons number ‘That There’. This followed her own ballad ‘Lonely Eyes’.  Then there was ‘Night Hawks’, a reference to the Edward Hopper painting and capturing perfectly that sense of isolation and ennui.  I have put up her interpretation of ‘I didn’t know what time it was’.

Engaging a quality local rhythm section for both sets was a sensible move. Field, McArthur, and Tobeck are adept accompanists and used to working with unfamiliar musicians. And more importantly, all have worked extensively with vocalists. This draws upon very different skills and in this regard especially, Field is superb.

Frank Talbot (tenor saxophone)

Ella Dunbar-Wilcox (vocals)

Rhythm Section: Kevin Field (piano), Cameron McArthur (upright bass), Adam Tobeck (drums) The gig was for the CJC (Creative Jazz Club) @ Anthology, K’Road, Auckland, 3 July 2019 

Anthology, Australian Musicians, CJC Creative Jazz Club gigs, Straight ahead

TTTenor on tour in New Zealand

TTT (1)Andy Sugg’s collaborative album ‘TTTenor’ was cut in Melbourne back in 2006 and rightly, it has garnered praise. In a land of significant horn-players, the tenor triumvirate of Sugg, Oehlers, and Wilson was a standout. Three gifted saxophonists who capitalised on the imaginative charts to showcase their formidable skills. Completing the original sextet was an immaculate rhythm section – Paul Grabowsky (piano), Gary Costello (bass) and Andrew Gander (drums). Since then, Sugg has recorded other albums like ‘The John Coltrane Project’ ‘The Berlin Session’ ‘Brunswick Nights’ ‘Wednesday at M’s’ and ‘Tenorness’.  He has also been involved in numerous International projects (including writing and lecturing). He was an adviser during the making of the John Coltrane feature-length documentary film ‘Chasing Trane’. All of the above have brought him critical acclaim.       

In spite of Sugg’s busy schedule, the ‘TTTenor’ project was never retired. Last week he teamed up with Auckland’s Roger Manins and Canberra’s John Mackey to present a new and exciting iteration of the TTTenor group. To complete the sextet were, Mark Lockett on drums, Kevin Field on piano and Cameron McArthur on upright bass.  This was not a reprise of the older material as new compositions and interesting charts had been created.  This time, the different stylistic approaches from the three tenor players gave added contrast during solos and a rich texture was noticeable during the head arrangements. Three-tenor-gigs are not commonplace and I suspect that writing for three instruments occupying the same total range presents challenges.  Throughout the head arrangements, the skillful voicing was evident. Dense beautiful harmonies which set the mood for the solos which followed. Inviting the soloists to mark out their points of difference in that space.  

Sugg is a versatile artist and on many of his albums, the influence of Coltrane is unmistakable. It is there in spades on soprano offerings but on tenor, there is an added something that perhaps draws on earlier influences. He is a muscular player and the phrases which flow from his horn seem so right that it is hard to imagine any other possible note choices. This fluidity when storytelling is perhaps his greatest gift. Manins while also a muscular player takes a different path. He is a disciplined reader in an ensemble situation and it, therefore, amazes those unfamiliar with his playing when he dives into his solos, urgently seeking that piece of clear sky ahead and reaching for joyous crazy. While there is considerable weight to his sound, he frequently defies gravity when the excitement of his solos bursts free of the expected.  John Mackey was previously unknown to me, but I found him compelling. His approach to solos was thoughtful, leaving lots of space as he backed into a piece. His storytelling developed methodically, taking you with him as he probed the possibilities. His skillful use of dynamics, a softer tone early in his solos and during ballads. His solo destinations were often heart-stopping in their intensity. This Contrasted with the other tenor solos and gave the project added depth.   

The pianist Grabowsky is a very hard act to follow but Field managed to carve his own space with ease. His signature harmonies and rhythms giving the others much to work with. His own solos a thoughtful reprise from the front line horns. Cameron McArthur is a first choice Auckland bassist and he lived up to his reputation on this gig.

Mark Lockett is an original drummer and perfect for the gig as he has worked with Sugg before. He certainly pleased the audience last week, accenting phrases and pushing them to greater heights. Near the end, he gave an extraordinary solo, not a fireworks display but a master class of melodic and rhythmic invention, aided by gentle and occasional interjections from Field and McArthur. 

This was the first gig at the new venue. The attendance was good and everyone appeared wowed by what was on offer. This gig sets the bar high and why not. Australasian Jazz produces some amazing talents. I have put up a clip ‘TTTenor’ playing John Coltrane’s ‘Naima’ – the sound quality is less than perfect as the bass drops right out once the tenors begin – I am working on that – spacious new venues can definitely be a challenge, sound wise.

‘TTTenor’ was: Andy Sugg (tenor saxophone), Roger Manins (tenor saxophone), John Mackey (tenor saxophone), Kevin Field (piano), Cameron McArthur (upright bass), Mark Lockett (drums).   5 June 2019, Anthology K’Road – CJC Creative Jazz Club

CJC Creative Jazz Club gigs, Groove & Funk, vocal

Lou’ana (Whitney) @ CJC Auckland

Lou'ana (2)Lou’ana is a vocalist on route to wider recognition. During the last few years she has been performing at festivals throughout the country and she is billed to appear at the Waiheke Jazz Festival this month.  He vocal style has general appeal as it blends elements of Jazz, Soul, and Funk. Her smokey nasal intonation and back on the beat phrasing carry echoes of Amy Winehouse.  Out of this brew comes a sound that is recognisably her own and it is refreshing to see how comfortable she is with that. At the CJC gig, an opener for her tour, she had wisely chosen the material which favoured her preferred register, rather than trying to dazzle with pointless pyrotechnics. In her case, vocal-gymnastics would be quite superfluous as her well-chosen phrasing and smouldering delivery give her plenty to tell a story with.   

The first set was mostly her favourite standards; often songs that she had heard as a child when her musical family played them for her (e.g. ’Just Squeeze Me’). Her approach to Autumn leaves was particularly interesting as she sang it in Samoan – the challenge being, that there is no Samoan word for Autumn. Her linguistic translation flowed beautifully and the essence of the tune transcended all mere words.  I know that her biggest audience lies elsewhere, but I hope that she will keep working on these Jazz tunes. A smokey voice and a Jazz standard belong together. During the first set, she was accompanied on piano by special guest Kevin Field (and for the last number of that set joined by her regular guitarist Jason Herbert).  Field is arguably New Zealand’s premier Jazz piano accompanist and I could detect his arranging skills in at least one piece.

The second set contrasted the first as it featured a funkier, rockier selection. These are the tunes that undoubtedly please her wider audience. In spite of that, they also pleased her Jazz audience. Who can resist a Hendrix number done well? Especially when the vocalist slams out the opening bars on guitar before giving us a Janis Joplin like rendering of the tune. Who can resist a homespun ‘viper’ song with its Waller like lyrics or a soulful funk number accompanied by soaring guitar, organ and gut-punchy bass lines?  Her bass player was the ever popular Cam McArthur, who switched from upright to electric bass for the second set. Both sets featured drummer Cam Sangster – a versatile drummer, equally at home in the popular funk, Indie rock, and Jazz worlds.

Her first set was great but she visibly relaxed into the music during her second set. Perhaps because of the familiar material and because she had her regular keyboards player and guitarist with her.  These two players, along with Sangster have been alongside her for much of the journey. On keyboards and organ was Dillon Rhodes and with more than a hint of the rock god, Jason Herbert on guitar. Together they had a great sound and one that I suspect will endure over time. The audience however never took their eyes off Lou’ana. She has an allure, and her charm on stage will serve her well as she gains wider recognition.

Lou’ana (vocals, compositions), Kevin Field (piano), Cam McArthur (electric & upright bass), Cam Sangster (drums), Dillon Rhodes (keys & organ), Jason Herbert (guitars),  The gig was at the CJC Creative Jazz Club, Backbeat, Auckland, 27 March 2019

CJC Creative Jazz Club gigs, Concerts - visiting Musicians

Matt Penman & Will Vinson

The year has barely begun but musically 2019 is proving to be auspicious. Having survived January’s mid-summer improvised-music drought, we were anxious for the gig season to resume.  Then, as if by magic, the CJC (Creative Jazz Club) was back in business again. With February the gigs came thick and fast. The first week brought us Chisholm/Meehan/Dyne/Dyne and two days later there was a special CJC event at the KMC. The event was titled Matt Penman & Will Vinson (with New Zealand friends).  Matt Penman is one of the worlds premier Jazz bass players and because he hails from our city, we claim him as ours to anyone who’ll listen. We speak of him with the same pride that we do when we mention the likes of Mike Nock or Alan Broadbent.  These are sons of Auckland and they rank among the finest of improvisers anywhere. A New York musician who I spoke with recently put it this way; there are a number of very good bass players in New York and then there are those like Penman who stand above the rest. Penman

The CJC gig was doubly special as Penman brought with him the London born altoist Will Vinson. Those who follow the Jazz Press or visit New York clubs will be familiar with this musician. He and a few of his compatriots are reviving the popularity of the alto saxophone and elevating it to new heights. Like Penman, Vinson has a number of well-received albums to his credit and the company he keeps on those albums and the quality of the offerings talks volumes. His tone is never harsh but it never-the-less has a particular bite to it. As the notes flow, and the ideas develop you sense rare confidence. It is the sort of confidence that can only emanate from a musician completely at one with his horn. Even the way he holds the horn is instructive. A saxophonist sitting next to me put it this way. ‘You can’t get a unique sound or flow of ideas like that unless body and horn are as one’.  The friends were, Kevin Field (piano), Steven Thomas (drums) and for one number Dixon Nacey (guitar). Field is no stranger to performing and recording with New York musicians (including Penman), Nacey is highly rated on the New Zealand music scene and the up and comer Thomas is eating up the competition as he rises like a rocket. The New Zealand cohort also have an interesting musical connection. The majority including Penman went through Avondale college. The far-reaching influence of gifted music teacher Paul Norman is astonishing. Together the band blazed like a perfect summers day and the gig was definitely one out of the bag.

The tunes played were from Matt Penman’s recent album ‘Good Question’, Will Vinson’s repertoire and to my joy the Tristanoite classic by Lee Konitz ‘Subconscious-Lee’. There are very few tunes that I like as much as that one and with the exception of Konitz’s own renditions, this version is truly the business. Subconscious-Lee’ was pianoless and rightly so – freeing Penman, Vinson, and Thomas to open out and enjoy the space. IMG_7562

Penman’s album ‘Good Question’ is a must purchase for all Jazz lovers. It is an in-the-moment testament from the New York scene and replete with the best of band mates. Penman has long been associated with Aaron Parks and on this album, Parks soars. Like Penman, he has an uncanny knack of making every voicing or phrase sound fresh. In this supportive role, he is also unafraid to fall back on delicate comping and minimalist painterly abstractions. The album also features tenor heavyweight Mark Turner, Obed Calvaire (bass), Nir Felder (guitar), Will Vinson (who was persuaded to exchange his alto for a soprano on track three) and Rogerio Boccato (percussion). There is so much to like about this album that I hardly know where to start. The track ‘Copeland’ is dazzling – a painting of a vast landscape, Big Tent, Little Tent is a deeply satisfying exploration of interplay. My favourite track, however, is ‘Blues & the Alternative Truth’ – a reference to the Oliver Nelson album ‘Jazz and the Abstract Truth’. To my ears, it also gives a gentle nod in the direction of Claude Thornhill’s 1941 standard Snowfall. This track like the album itself is a sonic journey and from start to finish, a pleasurable one.

‘Good Question’ was released by SSC Sunnyside Communications: To purchase go to www.mattpenman.bandcamp.com  – The gig was at the CJC (Creative Jazz Club) Auckland, Feb 2019.