Some missing music for those missing music. Hear it Here
Mark de Clive-Lowe (keys) in Auckland’s CJC a few weeks ago with Brandon Combs (drums) and Marika Hodgson (bass)
‘Don’t Dream it’s Over (N Finn), Chelsea Prastiti (vocals), Kevin Field (piano), Mostyn Cole (bass), Stephen Thomas (drums), Mike Booth (trumpet). CJC Auckland at Alchemy Live
Bird Song (Smirnova) Simona Smirnova (vocals), Alan Brown (piano), Cameron McArthur (bass), Jono Sawyer (drums) at Auckland’s CJC, March 2020.
The lockdowns won’t stop jazz! To assist musicians who’ve had performances canceled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to https://news.jazzjournalists.org/category/jazz-on-lockdown/
My normal weekly post has been sitting in my ‘drafts’ folder for over two weeks. Since writing it, my attention has been focused elsewhere. Although in isolation, I am not referring to my personal situation but to the J JA‘Jazz on Lockdown’ project which has rallied Jazz Journalists from every corner of the globe and asked them to respond collectively to the pandemic. My colleagues and I are now working together using an online workspace and our individual blogs may be delayed. Those who are able to have volunteered to join an editing working group as we grapple with the challenges of a fast-moving situation. This is a Jazz Journalists Association project aimed at keeping improvised music current and to get updates to and from countries on lockdown.
Because of that, Spain first captured our attention. When the virus hit, a popular Jazz musician succumbed and soon every resident was under lockdown. As the virus spread, so did our focus and within days the problem had reached every country. One by one the great Jazz centres like New York closed and the iconic and much-loved Jazz clubs closed with them. When the city that never sleeps locks down, you know that you have urgent work to do. Jazz Journalists are not going to sit around moping; nor will we restrict ourselves to watching another era’s YouTube clips. It is the current musicians who need us the most. We are learning new ways of working and it is our intention to direct you to live gigs or the gigs of working musicians where we can.
We need Jazz fans and Improvised alternative music fans to keep buying current albums. If there is a live-stream concert with a tip-button give them a few dollars. This is a new version of the pass-the-bucket tradition which goes back to the earliest days of Jazz. Many of the live-streamed concerts will be free, some could be pay-per-view. Buy their music and on Bandcamp or their website if possible. ‘Jazz on Lockdown’ will inform you of the links.
The week before the virus arrived was a week of plenty in Auckland, but the above-named artists did not all appear in the same band. Nor at the same gig. They probably won’t mind if you think that though. Attending Ronnies a few years ago, I caught English pianist Kit Downes at the late show. This followed a sold-out earlier show featuring Kurt Elling. I informed Downes that my write up would begin ‘Elling opens for Downes at Ronnie Scotts’. He liked that.
Arriving in a rush, as if waiting for the cooler weather came Pat Metheny, Steve Barry, Mark de Clive-Lowe, Alchemy, Callum Passells, Trudy Lyle, Simona Smirnova, and Michael Martyniuk gigs. As always, painful choices were required.
Steve Barry Trio: Barry left Auckland many years ago; settling in Sydney and returning yearly to perform. Each time he visited there were new directions on offer, highly original material and each iteration offering glimpses of lesser-known composers. His recent albums have taken him into deeper waters still, moving beyond the mainstream. For those of us who like adventurous music, they have been compelling. Two albums were released last year. The first is on Earshift Music and the second on Rattle; both available on Bandcamp.
‘Blueprints and Vignettes’ trod a path reminiscent of 60’s Bley; boldly striking out for freer territory and edging its way confidently into the classical minimalist spaces. That album was followed by ‘Hatch’ which is an astonishing album of stark pared-back beauty. It is an album pointing to new possibilities in improvised music. This concert felt more exploratory, with denser compositions and jagged Monk-like moments. He played one Monk tune halfway through and this reinforced the connection.
Mark de Clive-Lowe: It was barely six months ago since de Clive-Lowe passed through Auckland during his ‘Heritage’ album release tour. He attracted capacity audiences then (and now). After years of living away from his home city, he is now reconnected to the Auckland improvised music scene and we hope that he will maintain that link. Having a room like ‘Anthology’ certainly helped, as its capacity is significant. During this tour, he treated us to a wider range of his innovative music; especially his Church Sessions. Showcasing the genre-busting underground gigs that he began in LA and which spread like wildfire throughout the world; giving fresh impetus to the improvised music scene and the endless possibilities looking forward.
On tour with de Clive-Lowe was the respected LA drummer Brandon Combs. A drummer who can hold down a groove beat while working it every which way; able to interact intuitively with the electronic beats generated by de Clive-Lowe as he dances across the multitude of keyboards and devices. Together with locals Nathan Haines and Marika Hodgson, they created wizardry of the highest order. This artist is the wizard of hybridity and we are happy to remind people that he came from this city. Live re-mix, dance, groove beats, jazz, whatever: it has all been captured, mined for its essence and released for our pleasure.
Alchemy Live: This was the first live performance of the ‘Alchemy’ project. It followed the successful release of the eponymous album which got good airplay and deserves ongoing attention. The concept was the brainchild of producer Mark Casey and its realisation by the musical director and Jazz pianist Kevin Field. The pianist has created some truly fine Jazz charts and the assemblage of musicians he brought into the project brought it home in spades. The tunes have been selected from the New Zealand songbook. Perennially popular and chart-busting classics like ‘Royals’ and ‘Glad I’m not a Kennedy’. Artists as diverse as Herbs, Split Enz and Phil Judd. Because of mounting travel restrictions, several of the artists on the recording were replaced for the live gig. New to us, was Jazz student vocalist Rachel Clarke and she won us over that night.
Pat Metheny: This concert had been long anticipated and it was only the second time that he has appeared in New Zealand. In spite of the looming health scare, the town hall was packed. This was a retrospective of sorts as it featured his best-known tunes. Who would not want to hear a fresh version of Song for Balboa or the joyous ‘Have you Heard’? I loved the concert but two quibbles. I didn’t like the way the piano was miked and mixed except for one number. Gwilym Simcock is a great pianist. It would be nice to hear him in a trio and with an acoustically mic’d up Steinway. The star of the show (Pat aside) was bass player Linda May Han Oh. How stunningly melodic and how sensitive she was in each situation she encountered; solos to die for.
Simona Smirnova: This was Smirnova’s third trip to Auckland. By the time she had arrived in the country, people were becoming cautious about attending crowded gigs. She still attracted a good audience and those who did come were delighted with her show. The setlist was similar to her last year’s show but in the bigger Anthology venue, it sounded stronger. Smirnova interacts extremely well with audiences and they respond in kind. Her beautiful ballads (accompanied on the Lithuanian Kanklas) and her upbeat Slavonic styled scatting were the highlights. Her material is delightfully exotic, being an original blend of Jazz, Lithuanian folk music and beyond. Her voice is simply beautiful and her zither playing beguiling. She was accompanied by Auckland veterans Alan Brown on keys, Cam McArthur on bass and this time, Jono Sawyer on drums & vocals). I have some nice footage which says it best.
Michal Martyniuk: The last gig I attended before isolating myself was the Michal Martyniuk Trio. I did not have video equipment with me but I captured the concert in high-quality audio. I will post on that shortly and will be adding sound clips. You can purchase Michal Martyniuk’s albums at michalmartyniuk.bandcamp.com His ‘Resonance’ album review can be viewed on this site if you enter his name in the search button.
‘Jazz On Lockdown‘ posts will now move to the principle page and the Jazz on Lockdown page will feature information and links from around the world as the information comes in.
The lockdowns won’t stop jazz! To assist musicians who’ve had performances canceled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to https://news.jazzjournalists.org/category/jazz-on-lockdown/.
The artists featured were:
Steve Barry (piano), Jacques Emery (bass), Alex Inman Hislop (drums),
Mark de Clive-Lowe (keys), Brandon Combes (drums), Marika Hodgson (bass), Nathan Haines (saxophones).
Marjan Nelson (v) Allana Goldsmith (v) Chelsea Prastiti (v) Lou’ana Whitney (v) Rachel Clarke (v) Kevin Field (piano), Roger Manins (saxophone), Mike Booth (trumpet), Mostyn Cole (bass) Ron Samsom (drums), Stephen Thomas (drums)
Pat Metheny, Gwilym Simcock, Antonio Sanchez, Linda May Han Oh
Simona Smirnova (v, Kanklas) Alan Brown (piano, keys), Cameron McArthur (bass), Jono Sawyer (drums).
Michal Martyniuk (piano), Cameron McArthur (drums), Ron Samsom (drums).
We don’t know for certain what the album title is, but ‘The Phil Broadhurst Quintet Live’ seems a likely contender. As an award-winning artist, Broadhurst needs no gimmicky titles to get our attention. His name is enough recommendation. We had a tantalising glimpse of this latest offering last week when the public attended the live recording session at the KMC. In keeping with his recent preference for adding an extra horn, he added trumpet/flugelhorn player Mike Booth to an already talented lineup; Broadhurst on piano, Roger Manins tenor saxophone, Oli Holland bass, and Cam Sangster drums. After an introduction by his partner Julie Mason the session began – mostly new material, a few older tunes and a tune written soon after he arrived in New Zealand.Unsurprisingly there was a good audience to enjoy the event – this guy is a legend.
The arrangements were superb and as if to underscore that, the horn players were in top form.So in sync during the head arrangements that it appeared as if they had been playing the charts for years. They hadn’t. The tunes were melodic and memorable as Broadhurst’s tunes often are. And like all good small ensemble writing, it came across as something more expansive. Experienced writers like this know a few tricks and among them, how to make full use of an available palette.
Broadhurst put his all into this recent project and I urge Jazz lovers to keep an eye out for its release. Based on what we heard, it will add another milestone to an already impressive catalogue. As a key contributor to the quality end of the New Zealand Jazz scene and an important educator, we owe him a lot.
Phil Broadhurst: piano, compositions & arrangements – Roger Manins, tenor saxophone, Mike Booth, trumpet and flugelhorn – Old Holland, upright bass – Cam Sangster, drums. The recording took place at the KMC UoA theatre, Shortland Streets, Auckland. Recorded by John Kim and Steve Garden, March 2019
This project was bound to happen sometime and it was long overdue. On the night of the bands first gig, the pent-up energy that had long been building found a voice. As they kicked off, the room filled with potent energy and the enthusiasm of the band was met in equal parts by the capacity audience. Steve Sherriff is fondly remembered from Alan Browns Blue Train days and he brought with him an interesting group of musicians. Most of them were compatriates from earlier bands and their familiarity with each other musically paid dividends.
On keyboards, was Alan Brown and this was an obvious and very good choice. Brown has a long history with Sherriff and this was evident as they interacted. On trumpet was the veteran Mike Booth; a musician more than capable of navigating complex ensemble situations and delivering strong solos. Ron Samsom was on drums, another well-matched band member, ever urging the band to ever greater heights as he mixed organic grooves with a hard swing feel. Then there was Neil Watson on pedal steel and fender guitars and Jo Shum on electric and acoustic bass. When you put a group of strong soloists and leaders together there is a degree risk, but these musicians worked in perfect lock-step. As in sync as they were, Sherriff was the dominant presence on stage and no one doubted who the leader was.
Sherriff is a fine saxophonist with a compelling tone on each of his horns. On this gig, he alternated between tenor and soprano (though he sometimes plays alto in orchestral lineups). He has an individual sound and it is especially noticeable on tenor ballads and on tunes where he plays soprano. His other strength lies in his compositions. He and Brown contributed all of the numbers for this gig, but in future, other band members will be contributing also. This was small-ensemble writing of the highest order – tightly focused – melodically and harmonically pleasing. The faster-paced numbers were reminiscent of hard bop – the ballads memorably beautiful. Brown and Sherriff set a high compositional bar.
It was Watson though, who took the most risks and the audience just loved it. At times he appeared to be stress testing his Fender as he bent strings and made the guitar wail. At other times he was the straight-ahead guitarist in Kenny Burrell mode – then on a ballad number, he would gently coax his pedal steel guitar and play with such warmth and subtlety that you sighed with pleasure. It had been a while since I’d seen Jo Shum perform and this was a setting where she shone.
Although the band was only formed recently, they will be ready to record sometime in the near future. The material and the synergy of the band is just too good to squander.
Steve Sherriff (compositions, leader, saxophones), Alan Brown (keyboard, compositions), Mike Booth (trumpet), Neil Watson (pedal steel and Fender guitar), Jo Shum (upright + electric bass), Ron Samsom (drums). The gig took place at the Backbeat Bar, K’Road, Auckland, for the CJC Creative Jazz Club, July 25, 2018.
After a year of living in Paris the Auckland educator and pianist Phil Broadhurst and his partner, Julie Mason, have returned. The Broadhurst Quintet has been a regular feature on the Auckland scene for many years. The unit is fueled by a constant stream of great compositions, an unchanging line up of fine musicians and three critically acclaimed records (one of them a Tui Jazz Album of the year winner). Broadhurst’s ‘dedication trilogy’ set a high bar compositionally, but his pen is always crafting new compositions. After last weeks gig, I suspect that another album capturing the artistic soul of France might be in gestation. Broadhurst, as many will know, is unashamedly francophile. Out of this deep appreciation and finely honed perception flows terrific creations.
When people talk about the Auckland Jazz scene, the name Phil Broadhurst always comes up. His constancy has been a bedrock and an enabling presence. He is an exemplar of quality mainstream Jazz. When I looked back over my posts I noticed that this particular Quintet was first reviewed by me in 2012 but I have no doubt that it predates 2012. When so many people crowd into a small club it makes the sight-lines difficult, but I have managed to capture a number from his gig.
The tune in the clip is called ‘Stretched’ and it is from his ‘Flaubert’s Dance’ Album. One of Phils newer compositions was titled ‘I’m Busy’ (dedicated to Jacky Terrasson). We also heard two lesser-known Jazz standards from Julie Mason. The first was ‘You taught my heart to Sing’, a tune by the pianist McCoy Tyner; the second, ‘Speak no Evil’ by Wayne Shorter from his classic album of the same name (incidentally, a great album to play on a road trip as you plunge into the black of night).
The quintet personnel are Phil Broadhurst (leader, composer, keyboards), Roger Manins (tenor saxophone), Mike Booth (flugelhorn), Oli Holland (bass, composition), Cameron Sangster (drums). The gig was at the Backbeat Bar, CJC Creative Jazz Club, May 02, 2018.
Roger Manins and Oli Holland have just returned from an extended overseas trip. While there, Holland recorded an album with Geoffry Keezer and others (incl. Roger Manins). From what I hear, a real treat is in store for us when that album is released.
The popularity of ‘hardbop’ is enduring but we seldom hear it on the band stand. The probable reason is its very familiarity; if you play this music you will be judged against the source. There is also the evolutionary factor: improvised music strives to outlive its yesterdays. It is even less common for musicians to write new music in that idiom or to create a vibe that calls back the era. Such an enterprise invariably falls to experienced musicians; those with the wisdom to reverence the glories without it being merely slavish. Booth and Walters are especially well suited to that task. They have the chops, charts and the imagination and above all, they make things interesting. If you closed your eyes during this gig, you could easily imagine that you were listening to an undiscovered Blue Note album. It was warm, swinging and accessible. Booth and Walters are gifted composers and on Wednesday the pair reinforced their compositional reputations. Some of Booth’s tunes have appeared recently in orchestral charts. Walters’ tunes while heard less often are really memorable (‘as good as it gets’ stuck in my head a long time ago). These guys write and arrange well. Notable among Booth’s compositions were ‘Deblaak’, “A Kings Ransome’ and ‘On track’. From Walters; ‘Begin Again’, ‘Queenstown’ and ‘Wellesley Street Mission’. There was also a lovely version of the Metheney/Scofield ‘No Matter What’ from the ‘I Can See Your House From Here’ album. I have posted Booth’s ‘A Kings Ransom’ as a video clip, as it captures their vibe perfectly. Booth has such a lovely burnished tone – a sound production that no doubt comes with maturity and a lot of hard work.The last number was Walters ‘Wellesley Street Mission’ and I would have posted that, but my video battery ran out. This is a clear reference to the appalling homeless problem which blights our towns and cities. The bluesy sadness and the deep compassion just flowed out of Walters’ horn – capturing the issue and touching our innermost beings, challenging our better selves. I may be able to extract a cut of this and post it later – we’ll see!
While the gig felt like classic Blue Note Jazz it was not time-locked. As the tunes unwound, the harmonies became edgy and modern and with Kevin Field on piano, they could hardly be otherwise. Here a sneaky clave move, there, an understated flurry, (even a few fourths); mainly though, his typical wild exuberance. Again we saw the maturity and effortless cool of drummer Stephen Thomas. This guy is exceptionally talented. On Wednesday he played like a modern drummer, but somehow, and wonderfully, he managed to include some Art Blakey and Philly Joe Jones touches (crisp pressed rolls and asymmetrical rim shots). Wednesday was the third time that I have heard bass player Wil Goodinson. We should pay attention to this young artist – he is a rapidly developing talent. His tasteful solo’s and his effortless bass lines were great. Lastly, there was that mysterious dancer, appearing from nowhere, drawing sustenance from the music until the street swallowed her again.
Walters & Booth Quintet: Craig Walters (tenor saxophone), Mike Booth (trumpet and flugelhorn), Kevin Field (piano), Wil Goodenson (upright bass), Stephen Thomas (drums) @ CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, 23rd August 2017.
During the first half of 2017, a significant number of respected international artists and established local artists appeared at the CJC Creative Jazz Club. While everyone enjoys such a cornucopia of riches, it is also important to keep sight of emerging artists, those who are just below the radar. No local venue manages to showcase the rich diversity of improvising talent as well as the CJC. This is no accident, as there is a guiding philosophy behind the programming of gigs. No artist, however good, gets an ongoing residency; the gigs, therefore, are different every week, are identifiable projects, and this keeps the audiences engaged. An important part of this is showcasing emerging artists.
Sam Swindells recently completed an Honours degree at the University of Auckland Jazz School and although not a new-comer to the scene, it is his first gig at the CJC. I recall someone telling me that his Honours recital created a buzz; that those who attended were impressed by it. On Wednesday he brought us that project and it was well received. One of the exciting things about the New Zealand Jazz scene is the growing strength of the writing and arranging. In Swindells case, he has taken a path less trodden; arranging and composing for an unusually configured brass-heavy octet. His inspiration was the stunning 1990’s John Scofield octet album ‘Quiet’.
When arranged music is at its best, the skillful management of contrasts is at its heart; tension and release, textural variance, tricks of modulation, surprise, clarity emerging from density; and if done well, presented as a coherent whole. This was an ambitious project, but in spite of that it worked. I would like to see Swindells develop the concept further, write or arrange more material like this, coral a group of musicians and rehearse them to within an inch of their lives. I have long thought that the nonet/octet ensemble form is under represented in Auckland (better represented in Wellington).
There are some marked stylistic differences between the Scofield ‘Quiet’ band and Swindells’. Scofield used an expanded ensemble, which at times numbered eleven and included tubas, French horns, English horns and bass clarinets (and an acoustic guitar). Swindells worked with a smaller palette and in spite of being brass-heavy, he managed to achieve a delightful airiness. With fewer instruments utilised, the arrangements were closer to Frisell’s ‘This Land’ in effect. The combination of brass instruments (flugelhorn, trumpet, and two trombones) acted as a counterweight to his guitar and that required skillful arranging.The first number was ‘Tulle’ from the Scofield album, after that we heard a number of his own compositions interspersed with standards. His ‘Who is Kenneth Meyers?’ appealed as did an angular rendition of ‘Surrey with the Fringe on Top (Hammerstein). Given the project in hand, it was unsurprising that he included ‘Boplicity’ by Miles Davis; ‘Birth of The Cool’ being the springboard from which all such arranging sprang. In the second half we heard trumpeter Mike Booth’s ‘Major Event’ – Booth is a skilled arranger and an experienced ensemble composer. It is possible that he has also influenced Swindells’ direction.
The octet was a mixture of older hands and younger musicians. The ever popular Finn Scholes on trumpet, Mike Booth on trumpet and flugel, Jonathan Tan and Jonathan Brittain trombones, Roy Kim alto saxophone and flute, Wil Goodinson bass and Tom Leggett drums. The stand out instrument was the guitar – A confident and competent performance from Swindells throughout.