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.
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.
The Briana Cowlishaw/Gavin Ahearn gig is the second CJC gig featuring international artists in a month. For those who follow Australian improvised music, these are familiar names. Both have rock solid credentials as both have traveled extensively with their music and attracted glowing critical reviews. This is a fortuitous musical pairing, and it is particularly obvious during duets. There is a mutual awareness of space and nuance and an understanding of just where interplay works best; neither over-crowding the other. There are a lot of pianists who accompany vocalists convincingly, but the true art of accompaniment is rarely seen. Ahearn is a fine accompanist and soloist. Unusually, you could say the same for Cowlishaw – an aware musician who watches and listens to her collaborators carefully – works with what she hears. Never greedy to hog the limelight and making every line count.For an artist barely past her mid twenties Cowlishaw has achieved much. Performing at festivals all over the world and being nominated for prestigious awards along the way. She has studied with top rated teachers in three continents and it shows (including Gretchen Parlato, Aaron Goldberg, Kurt Elling). Her confidence, compositional abilities and musicianship shine through on the bandstand. Hers is a modern voice and more importantly a fresh young voice. What worked so well so well for Gretchen Parlato also works for her; a clean delivery, imaginative interpretations and an interesting approach.The first set saw Cowlishaw and Ahearn performing as a duo. This format gifts artists with a degree of freedom and it was well utilised. As they took us through a mix of standards and originals, we saw just how attuned they are. The Cowlishaw compositions are particularly interesting, with words, wordless vocalising and interesting harmonic underpinnings from Ahearn – a subtle weave, blending threads to create evocative soundscapes.Both have visited Norway and the sparse honest northern sound was particularly evident in their first set. A recent collaborative album recorded in Norway arose out of an earlier trip there. More recently they performed at the Hemnes Jazz Festival in that country. As Cowlishaw said of these compositions, “After spending a lot of time on the road and in big cities, I found myself in the Fjords. The wild lonely freshness was so appealing that the thought arose – was this a place that I would want to live in one day”? Arising from that proposition came the compositions on their ‘Fjord’ album. Cowlishaw is obviously keen on the outdoors. She told an audience member that she intended to explore a few of New Zealand wildness places as the chance presented itself.The second set swelled the bands numbers to a quintet – joining the duo were Mike Booth on trumpet, Cameron McArthur on bass and Adam Tobeck on drums. All fine musicians and well able to rise to any challenge. The expanded unit gave her much to work with and Ahearn in particular jumped at the opportunity; utilising a more aggressive hard-swinging style. There were more standards in this second half and Cole Porters wonderful 1943 composition from ‘Something to shout about’ – ‘You’d be so Nice to Come Home to’ stood out as a rollicking swinger. The other memorable standard came from the duo – Michel Legrand’s 1932 composition ‘You must believe in Spring’. To Jazz audiences this means one thing – The achingly beautiful Bill Evans Warners album of that name. The rendition was remarkably beautiful – Cowlishaw tackled the number as Norma Winstone might, while Ahearn stamped his own authority on the ballad while allowing Evans to shine through.
I strongly recommend ‘Fjord’ – it is simply exquisite and the delicate renditions of the originals and standards will stay in your head long after the last note is played – as well as the rarely heard ‘Estate’ (Bruno Martino) there is a version of Herb Ellis’s ‘Detour Ahead’ which won me over completely. For the ‘Fjord’ and ‘Detour Ahead’ tracks alone, the album is worth double the asking price.
January was hot and wet and the CJC was on holiday. If like me, you are a regular attendee at the CJC (Creative Jazz Club) December to February is a long time between drinks. The El Nino humidity with its sullen skies and petulant storm threats rolled into February and suddenly we were back in business. The first gig of the year featured Craig Walters and Mike Booth. Walters, a well-known Sydney based tenor player, last performed at the club in 2012. Booth is a local and he features often; a gifted composer, arranger and trumpet/flugel player. Booth and Walters have a long history together.
The gig featured original material by Walters and Booth and as you would expect, nicely arranged heads augmented attractive melodies. There was also material by pianist Phil Broadhurst whose tunes are familiar, memorable and compelling. With Broadhurst on piano, Cameron McArthur on bass and Stephen Thomas on drums the evening was complete. The club was icy cool and as they started playing the sticky tropical night air faded to a distant memory. Improvised music is a medicine like no other; headaches and discomfort vanish in a trice as endorphins flood the consciousness.The first number was a Walters tune titled ‘Easy’. Booth played flugel and the relaxed fluid interplay between horns set us up nicely for the evening. Walters plays with real fluidity and his tone has a certain quality – a hint of mid to upper register sweetness not dissimilar to that of Ernie Watts – but with an earthier colour overlay. While the first tune eased us the into the gig the second tune grabbed our attention in a different way. ‘A Kings Ransom’ is a seldom played Booth tune and its complex rhythms gave the band a solid work out. Broadhurst delivered a wonderfully solo on this – Monkishly jagged and totally within the spirit of the composition.
As we progressed through the first set we heard the first Broadhurst composition ‘Stretched’. It is impossible not to like Broadhurst compositions. It is a hallmark of his writing skill that his tunes are always warmly familiar. We treat them as fond friends when we hear them again. Two more Walters tunes rounded off the set (his ballad ‘Where have you gone to?’ was quite lovely). The second set saw the band stretching out and never more so than on Broadhurst’s fabulous Horace Silver tribute ‘Precious Metal’. The tune following was written for (and not by) Mike Booth. Written by a Dutch musician during Booths long years of working in the Netherlands. The tune has the eponymous title, ‘Mikes Theme’ and for me it conjured the vibe of the Clifford Brown ballads. As usual McArthur and Thomas never put a foot wrong. Towards the end of the second set they played Walters ‘As close as you’ll get’. If the title didn’t trigger any memories the first bar surely did. This was a tune that I’d heard way back in April 2012. Its intricate hooks and counterpoint nailed it within seconds. This was not a tune easily forgotten – in fact I happily replayed it in my head for weeks after the 2012 gig. I was not putting up video way back then but have chosen this cut to put up now. Last years attendance at the club was good and if Wednesday was anything to go by this years will be even better. There were many first time attendees and based upon the applause most will return. The artists create the music but they need engaged audiences to complete the circle. As the famous American bass player David Friesen said to us last year – ‘this is a virtuous circle and the magic only emerges when audience and musicians interlink. The sum of what comes from this interaction is often greater than the sum of its parts. Improvised live music at its best is profound and the thought that we might miss a wonderful and unique moment causes us to return time and again. That is how it works me anyhow.
Craig Walters/Mike Booth band – Craig Walters (tenor saxophone), Mike Booth (trumpet, flugel), Phil Broadhurst (piano), Cameron McArthur (bass), Stephen Thomas (drums). The gig was at the CJC (Creative Jazz Club), Britomart 1885, downtown Auckland 3rd February 2016.
‘Panacea’ is the third of Phil Broadhurst’s ‘dedication trilogy’ series and as fine as the earlier two albums were, this one stands out. Everything about it is superb, the individual performances, the ensemble playing, the recording quality, the cover art by Cameron Broadhurst and above all the compositions. Broadhurst, always a prolific composer has excelled himself here. Instead of theming the album around a particular influence or musician he has tapped into the subliminal forces guiding his creativity.
This is the more difficult pathway and I suspect one that is fraught with risk. Delving into the subconscious mind can produce perverse results, as anyone who has suffered long-winded descriptions of someone elses dreams will know. Working in this way requires a ‘quantum’ approach; be aware but don’t look too closely or what you examine will disappear like Schrödinger’s cat. Poets (and cats) understand this. When he composed ‘Precious Metal’ he was at first unaware of the influence until a student pointed it out. It certainly speaks of Horace Silver but more importantly it conjures the essence of the man behind the music. The ensemble playing on this is simply sublime. An arranged head yields to Mike Booth on trumpet. He swiftly encapsulates the ethos of Silver in his delightfully moody solo. Broadhurst follows – expanding on the theme and signalling the direction, effectively setting the tune up for Roger Manins and Oli Holland who follow. There is a logical flow throughout and the piece works all the better because of it. I have heard it several times, but even on first hearing it sounded warmly familiar. That is the skill of good writing; evocation not imitation. For me the greatest joy was ‘Wheeler of Fortune’ his Kenny Wheeler tribute. So well realised was the mood that it might have been John Taylor playing a Wheeler composition. Again this is an extraordinary piece of writing and articulation, lovely because while capturing the style of these lost lamented greats it reminds us just what made them so dear to our hearts. In spite of being a piece for piano trio you can sense Wheeler reaching for those impossible high notes or mournfully smearing his over-running melancholic lines. It must have been tempting to use Booth’s flugel on this, but the implied sound is all the more powerful.
Like ‘Panacea’, the heart-felt ballad ‘Absent Friends’ is a lament for band mates passed from us; the delicately woven lines conveying a sense of reverence and affection. This is Broadhurst the romantic and Manins demonstrating the best of his formidable ballad playing skills. Another piece ‘knee lever’ begins with Neil Watson’s Pedal Steel guitar sounding quietly above the melody; understated like a soft sunrise casting a glow on the sea. As the piece progresses there are several surprises, first from Broadhurst who imbues it with a distinct rhythmic treatment (like that of Eliane Elias) – then Watson solos – his soaring guitar reaching for the sky. As the horns come in I am aware of a subtle Wheeler influence again. I played it over several times and yes, above the arranged horn phrases I hear a Norma Winstone like wordless voice. I look in the liner notes, no human voice shown – then it struck me. This is Watson, again understated but adding something to the piece which lifts it into the realm of musical magic – an exceptional and original musician. The album would be the poorer without his contributions. Subconscious influences shape every musicians work and it is right to celebrate those. Purging these influences is often a mistake. All creative people whether writers, poets, musicians or painters have these voices at their core. Improvising musicians stand on the shoulders of giants and it is fitting to celebrate that. Broadhurst has done so with due reverence, due acknowledgement but never sycophancy. This was his time to say thank you and his own original voice shone through the multitude of influences.Booth sounds better each time I hear him. His undoubted strength lying in the way he reminds us of the great traditional trumpet players – especially those from the Hardbop era (like Blue Mitchell). A wonderful musician, a fine arranger and one who nicely compliments a saxophone modernist like Manins. Playing off the latter gives the edge. Manins is such an original that you hear something new and exciting each time he plays. I have observed before how well he plays off Broadhurst compositions. This says something about the skill of both men.
Bass player Oli Holland and drummer Cameron Sangster are the remaining components of the rhythm section. Their performances are hard swinging; understanding the right moment to amp things up or to dial back. Everyone is playing at a high level on this album, everyone is indispensable. The word panacea is from the ancient Greek meaning ‘all healing’. The modern definition extends the concept beyond cure-all potion – applying it more to the realm of ideas. The album is truly a balm in our troubled times. I highly recommend it as a Christmas present to yourself or a loved one. It must surely be contender for next years Tui’s.
Panacea: Phil Broadhurst Quintet – Phil Broadhurst (piano, compositions), Roger Manins (tenor saxophone), Mike Booth (trumpet, flugel), Olivier Holland (bass), Cameron Sangster (drums) – guest Neil Watson (Pedal Steel and Fender guitars).
On Wednesday the UK-based vocalist, arranger composer Louise Gibbs brought her Seven Deadly Sins project to Auckland’s CJC (Creative Jazz Club). The audience, unrepentant antipodean sinners that they are, found much to enjoy. When premiered in the UK the project received much acclaim and in 2013 the ‘Seven Deadly Sins’ album’ was released. As I glanced through the liner note credits one name jumped out, Tim Whitehead; an important English saxophonist with equal facility on soprano, alto and tenor. For any number of reasons this is an album worth having. The song suite has seven parts plus prologue & epilogue. This aggregation of cardinal sins does not originate with Peter Cook (as someone hilariously suggested) but comes to us from the fourth century AD. These very human failings were the obsession of the middle ages and Chaucer, Dante and Brueghel utilised the themes to great artistic effect (and often with rye humour). Debates on morality are still very much part of the public discourse as the dreadful events of Paris, the Lebanon and Mali remind us. Gibbs invited us to examine the sins afresh; a parade of human failings as seen through a jazz lens. Her evocative contrasting pieces leaving us in little doubt as to which sin they represented; a strident drum solo during anger, the fulsome sound of the trombone for gluttony etc. It is unsurprising that the tenor saxophone portrayed lust; an entirely appropriate pairing given the repeated historic accusations of lasciviousness levelled against that sensual instrument. The suite while highly arranged gave ample room for the soloists to demonstrate their particular vice. Crystal Choi was ‘pride’ on piano, Pete France was ‘lust’ on tenor, Haydn Godfrey was gluttony on ‘trombone’, Mike Booth was ‘envy’ on trumpet, Cameron McArthur was ‘sloth’ on bass, Steve Thomas was ‘anger’ on drums, Andrew Hall was ‘greed’ on alto & baritone. Gibbs was vocalist on all numbers including a prologue and epilogue. Many of the band members like Booth, McArthur, Choi and Thomas are regulars but we see Hall, France and Godfrey less often. That is a shame because they were amazing. A shorter first set preceded the ‘Seven Deadly Sins’ suite – all Monk compositions. The band used stock arrangements but there was a sense of boisterous freedom in the renditions. This provided an appropriate segue to the second half. While everyone embraces Monk these days, his dissonant choppy lines certainly raised eyebrows back in his heyday. Monk was an iconoclast who channeled the rawness of the human condition through pen and piano. With the Seven Deadly Sins and its often dissonant passages we also experienced that. Louise Gibbs has been teaching and performing in the UK for 30 years, but she grew up in Auckland. In recent years she moved away from a distinguished career in academia to concentrate on performance and composition. There is a confidence about her work and she is unafraid as a performer. Her voice can move from silk to raspy as appropriate to the piece. Footnote: Earlier I drew attention to Tim Whitehead (on the Gibbs album). He was once a member of Ian Cars ground breaking and popular group ‘Nucleus’ – the highly respected Kiwi born saxophonist Brian Smith was a founder member of that group.
‘The Seven Deadly Sins’ (New Zealand Septet) – Louise Gibbs (vocals, composition), Andrew Hall (alto & baritone saxophones), Pete France (tenor saxophone), Mike Booth (trumpet, Flugel), Haydn Godfrey (trombone), Chrystal Choi (piano), Cameron McArthur (upright bass), Stephen Thomas (drums).
Nathan Haines is a master of the melodic and the model and he has a beautiful and distinctive sound on all his horns (and winds). He has a strong following around the world and it is no wonder when he turns on gigs like this. His following crosses genres, attracting younger and older audiences equally. He also cuts through media blind spots in a way that few other New Zealand improvising musicians do. It is good to have him on home soil for a while and good that he is focussing on fresh local projects. What he does is always exciting and this gig was no exception.The talented and hard-working, Haines always thinks through his projects. Hot on the heals of his successful award-winning Jazz albums ‘Poets Embrace’ and ‘Vermillion Skies’ he has again teamed up with arrangers Wayne Senior and Mike Booth. The decision to include more Jazz vocals is a welcome development. There’s a paucity of male jazz singers in the modern world and they’re a rarity in New Zealand. The set list was an interesting mix of Haines originals and a few Jazz standards seldom heard live. Like his recent Jazz projects, these tunes evoked and reinterpreted the classic era of the 50’s. Consequently they oozed cool. With Michal Martyniuk on piano, Kevin Haines on bass and Ron Samsom on drums he was already on solid ground. This is also where Haines excels. He is a bandleader who choses his musicians well. Martyniuk made his presence felt and soloed beautifully while never over playing. It was exactly what these charts required. Kevin Haines is a highly-respected, tasteful bass player with an impeccable CV. During the sets smiles and friendly banter flowed between father and son; further enhancing the mood. The highly experienced Samsom was on drums throughout. He is new to Haines lineups. His approach to the kit springs from a confident inner logic; more organic than Haines usual drummers. It was interesting to watch their interactions as they sparked off each other. Samsom giving Haines a different platform to work from.
The first few numbers were quartet only and the gorgeous and evocative ‘The Night Air’ opened the set. This is a lovely composition by Haines, with the warmth and vibe of a classic Impulse vinyl album (see clip). His tone is unique and especially evident when doing this material. It immediately took me back to hearing Pharoah Sanders for the first time. When Haines plays these modal pieces, there’s a spiritual joy that comes across. This is a strong suit for him and for those of us who love that era a balm.
As the set progressed the ensemble doubled to include a four piece horn section. There were distinct tonal and textural qualities to this ‘Little Big Band’; differing from his ‘Vermillion Skies’ horn section as that had French horns. The line up of trombone, tenor Saxophone, Alto saxophone and trumpet/flugal worked well. From ‘Vermillion Skies’ we heard J. J. Johnson’s ballad ‘lament’ and the vocal ‘Navarino Street’. Wayne Senior and Mike Booth had worked on the arrangements and few in New Zealand can match their arranging skills. Perhaps the greatest pleasure was hearing an arrangement of ‘Boplicity’ from the 1949 Miles Davis album ‘Birth of Cool’. Few bands tackle this and more’s the pity. The octet horn section were Mike Booth, Roger Manins, Callum Passells and Hayden Godfrey.
It’s always good to hear Haines singing and I think we will hear more of that in future. That said, as long as Haines puts a tenor saxophone to his lips he will draw audiences because his tenor playing infects us with joyousness. There’s a real warmth to his playing and if you have listened to Jazz for as long as I have, your memories will quickly conjure the days of Coltrane, Lateef or Sanders. On nights like this you feel the best of your yesteryear listening captured, then gifted back to you. As I filmed I noticed the famous artist Billy Apple sitting beside me. He leaned forward smiling and said, “This is wonderful, the vibe is just like a New York Jazz club of the 50’s or 60’s”. He is right.
Who: Nathan Haines Quartet & Octet – Nathan Haines (tenor, saxophone, vocals, compositions)- Michal Martyniuk (piano), Kevin Haines (bass), Ron Samsom (drums), Mike Booth (trumpet, flugel, arrangements), Roger Manins (tenor saxophone), Callum Passells (alto saxophone), Hayden Godfrey (trombone), – conductor arranger Wayne Senior.
Where:(CJC Creative Jazz Club), Britomart 1885, Auckland, 27th May 2015
In the coming months there will be a new Phil Broadhurst album released, ‘Panacea’. Broadhurst is an enduring musical presence, a backbone of the Auckland Jazz scene. Running the Massey School of Music Jazz programme in Auckland keeps him busy, but he somehow finds time to write interesting new material and to perform gigs about town. A prolific writer and arranger, he has released a number of albums in recent years and all have done well. His tribute to Michel Petrucciani ‘Delayed Reaction’ garnered favourable reviews here and offshore and his 2014 album ‘Flaubert’s Dance’ was short listed for a Jazz Tui.
On Wednesday, as a prequel to the Panacea album release, we heard the Phil Broadhurst Quintet (plus a friend) at the Creative Jazz Club. The identity of the mystery guest was a poorly kept secret, anticipated and not puzzled over. As the band set up, the shiny pedal-steel guitar and the battle-worn fender dispelled any remaining doubts. The band was Phil Broadhurst, Roger Manins, Mike Booth, Oli Holland, Cameron Sangster and of course Neil Watson (AKA the mystery guest).
There were newer tunes and a few familiar ones from past gigs. Most of the new tunes will feature on the Panacea album, which will probably be released in late May. As a writer Broadhurst avoids cliches, but at the same time he manages to avoid the obtuse. there are odd time-signatures but when he delves into complexity the tunes still remain accessible. These are tunes that sound familiar; not because you’ve heard them before or because they rely on well-worn licks. They sound familiar because they tap into a recognisable vibe. At the heart of his writing is a real warmth. The tunes take you to a familiar place even though you’ve never been there before; carried by rich harmonies and well crafted heads.
Holland Manins, Booth and Sangster have been with the band a long while and that familiarity enabled them to extract the maximum from the material. As many of the tunes were lyrical, Manins showed a gentler side to his tenor playing. While he favours fast burners (where he excels), his ballad work here had depth and feeling. Booth and Manins blend well and especially with Booth on Flugel. Adding Watson into the mix changed the dynamic and his solos on fender had urgency and edge. Watson is a good musician but one who never takes himself too seriously. He brings humour to any bandstand and minor mistakes are fodder for self-deprecatory slapstick asides.
One of the newer compositions made reference to Watson’s pedal steel guitar. Like an elephant, the tune title had undergone a long and difficult gestation. Broadhurst composed it just before going on an overseas trip and promptly forgot about it in the rush to pack. A year or so later he decided to clean up the computer program and began the process of mechanically purging duplicate copies of old tunes. By this point all had been given titles and saved elsewhere. Rescued from the lonely obscurity of the ‘untitled’ nomenclature. As he deleted them one by one he spotted an anomaly. One particular tune was mysteriously labeled ‘untitled-untitled’. He opened it, liked the look of it but didn’t recognise it, so he played it. He recalls wondering who had written it until the penny dropped. ‘Untitled-Untitled’, the tune rescued in the eleventh hour, was later shown to Neil Watson who was wrangling with his new pedal steel guitar. There are so many levers to operate he complained to Broadhurst, who replied, “I think that you’ve just named my lost tune’. ‘Lever’ is a great tune and its improbable genesis gives it that added piquancy.
Who: Phil Broadhurst (piano), Roger Manins (tenor sax), Mike Booth (trumpet & Flugel), Oli Holland (bass), Cameron Sangster (drums), – guest Neil Watson (pedal steel and fender guitars).
The end of August CJC gig featured Wellington based ‘Pleasure Point Sextet’. The Sextet represents an interesting project, formed by Californian based pianist/composer/arranger Steve Abrams when he visited Wellington in 2005. Under the guiding influence of well-respected Jazz educator, drummer Greg Crayford, the project has continued. Abrams maintains contact, supplying the occasional chart and encouragement. Abrams charts are original and have a certain airiness about them, a sense of place; perhaps reflecting his home base of Santa Cruz, hinting at the palm trees and seemingly endless surf beaches.
There are two Crayford’s in the Pleasure Point Sextet. Greg Crayford the leader is on traps and his son Miles on piano. The former Wellingtonian Miles Crayford is increasingly known around Auckland where he sometimes gigs (usually with bass player Mostyn Cole). The sextet had the appearance of a classic hard bop line up with trumpet, tenor saxophone, piano, bass, traps drums and percussion. While they tackled a few hard bop classics, they were more often about the sensuous latin infused rhythms of the southern Americas. The beats were infectious and none more so than the cha-cha they played. It is unusual to hear a cha-cha in Jazz but it worked just fine. As the choppy infectious rhythms were laid down you could easily imagine the ubiquitous dancers who peopled early Fred Astaire movies. That it worked so well is particularly due to the percussion skills of Raphael Ferrer Noel. Watching him rolling his palms and stinging the skins with crisp decisive blows was an essential part of the theatre generated by this sextet. This was nicely offset by Crayford on traps. All the while Noel swayed and grinned (and occasionally sung).
There were a few Jazz standards selected for the sets, some lessor known, but all well-chosen. ‘Bb Blues’ by hard bop trumpeter Donald Bird and the stunning melancholic ‘Angel Eyes’ (Taylor/Jones). I have always liked the ballad ‘Angel Eyes’ and the way musicians approach it is varied and generally interesting (My two favourite versions being the Anita O’Day/John Poole quartet version and the contrasting slow burning funked up rendition by tenor-man Gene Ammons). Mike Booth who took the main solo did not disappoint in this regard. The remaining band members were Tait-Jamierson and Cole. James Tait-Jamierson is a melodic tenor player who conveys strength without being forceful. I have heard Mostyn Cole play many times and have found his arco-bass and straight bass work convincing. His punchy electric bass on this gig illustrated his versatility.
Who: ‘Pleasure Point Sextet’ – Greg Crayford (leader, traps), Miles Crayford (piano), James Tait-Jamierson (tenor saxophone), Mike Booth (trumpet), Mostyn Cole (electric bass), Rafael Ferrer Noel (percussion, vocals)
The second gig in the CJC #jazzapril series featured a quintet led by veteran Auckland musician Phil Broadhurst. Phil is a very familiar figure on the New Zealand Jazz scene thanks to his many recordings, his broadcasting, gigs and Jazz education. He is also a finalist in New Zealand’s 2014 Jazz Tui awards and we will hear the results this coming Easter weekend. The last two years have certainly been busy for Phil. In between running the Massey University Auckland Jazz Program and hosting visits by overseas Jazz musicians he has found time to compose new material and to record several highly rated albums. I have previously reviewed his passionate tribute to the diminutive Jazz pianist Michel Petrucciani ‘Delayed Reaction’ (he’s an authority on Petrucciani’s work), and his beautifully crafted ‘Flaubert’s Dance’ (now up for the Tui).
Phil Broadhurst compositions are well constructed and seldom just head arrangements. There is always a subtler framework behind the obvious; something that invites you to look beyond the tune. The song titles and the stories that accompany them give a strong sense of place or sometimes touch upon an all but forgotten quirky interlude from the past. Phil Broadhurst is well read in several languages and it shows in his work. His compositions reference this but never in a preachy way and there is a strong sense of seeing the world through his eyes. This experiential vantage point rather than any particular idiom informs his work most. His compositions also convey ideas and at the conclusion of a piece we feel like examining them further.
The first set began with ‘Delayed Reaction’ from his Petrucciani album, followed by a number of newer tunes. I have posted a You Tube clip from the latter titled ‘Precious Metal’. It initially sounded familiar but I couldn’t quite grasp why. It is a tribute to Horace Silver and the form here is recognisably hard bop. This gives a strong impression of the famous Jazz pianist and it was that impression which sounded so tantalisingly familiar. This is what Phil Broadhurst does so well.
As is normally the case with busy musicians there had been no time to rehearse other than a twenty-minute run-through before the gig. In situations like this it is essential to have good readers and if you are lucky musicians who are familiar with your work. With Roger Manins (tenor sax), Mike Booth (trumpet, flugelhorn), Oli Holland (bass) and Cameron Sangster (drums) it was always going to go well. There is a subtle difference between bands who work well together and those who really gel. There were no high octane numbers and the mood was consistent rather than variable. This worked very much to the bands advantage and the laid-back feel gave them a chance to delve deeply into the compositions during solos. Everyone pulled out great performances and you could tell afterwards how pleased they were that the gig had gone so well. It just goes to prove that nights like this can bring about just as pleasing results as the edgier higher octane ones.
Roger Manins and Mike Booth blended perfectly and Booth has never sounded better. Their solos were thoughtful, probing and often intensely melodic. They clearly understood what Broadhurst had in mind and worked with it. Oli Holland who sings lines during his bass solos was in great form (when is he not). Having played with Manins and Broadhurst often he needed no prompting, his powerful bass lines giving just the right momentum. Phil has used several drummers in the past but he obviously likes working with Cameron Sangster who is the youngest band member. “He has subtlety and gives colour where it’s needed” said Broadhurst afterward.
#jazzapril is a about sharing the joy of Jazz and it is about celebrating the diversity of the music. Improvised music is increasingly embraced by younger audiences and those audiences and the many younger musicians performing bring exciting new sounds to the mix. Getting the mix right between the experienced and the up-and-coming is a challenge but at the CJC appears to get it right. Jazz has long been established in New Zealand and this is a time to celebrate its longevity and its diversity.
Auckland’s CJC (Creative Jazz Club) has created a Jazz Appreciation Month program with all of the above in mind. This week there is a B3 master from French New Caledonia, next week the globe-trotting genius of the keyboard Jonathan Crayford. Best of all is the long anticipated album launch of ‘Dr Dog’ on International Jazz Day. I feel lucky to live near a club that can present such wonderful artists. Grab this opportunity by the ears Kiwis, now is the perfect time to enjoy this music and above all share it with others.
Who: Phil Broadhurst Quintet – Phil Broadhurst (compositions, piano), Roger Manins (tenor sax), Mike Booth (trumpet), Oli Holland (bass), Cameron Sangster (drums).
Phil Broadhurst is a regular at the CJC (Creative Jazz Club) just as he was at the ‘London Bar’ in its hey day. He is also the compiler and presenter of the well-known Jazz radio slot ‘The Art of Jazz’. His last album titled ‘Delayed Reaction’ was well received and shortlisted in the Jazz Tui Awards. It was dedicated to the music of Michel Petrucciani, the diminutive and wonderfully brilliant French pianist whose life was blighted by ‘brittle bone syndrome’. That project was obviously a labour of love, as Phil had long been immersed in Petrucciani’s music. The album, (out on IA-Rattle), outlined a very personal journey for Phil and while showcasing the project about New Zealand he must have pondered ‘what next’? The what-next is ‘Flaubert’s Dance’.
From ‘Delayed Reaction’ it was a logical step to examine other artists who had influenced him and for whom he had a deep affinity. Not all are pianists but all take a pianistic approach to their music. All are currently at the top of their game. The compositions on ‘Flauberts Dance are all Phil Broadhurst’s and they are dedicated to the following musicians: Herbie Hancock, Manu Katche, Enrico Pieranunzi, Eliane Elias, Kieth Jarrett and Tomasz Stanko. What these artists have in common is striking originality, a modern approach to harmony and the fact that none of them are easy to compartmentalise. They are consequently quite different from each other. A Tomasz Stanko tune and a Manu Katche tune could hardly be confused even though they have worked together.
It is obvious from the above list that Phil often reaches outside of the Americas for musical inspiration. While Jarrett and Hancock have influenced most modern pianists their ubiquitous presence tends to eclipse others of equal importance. It is therefore fitting that the latin infused Brazilian born Eliane Elias and the two Europeans give counterweight to the North Americans. The composition ‘First Shot’ dedicated to Hancock looks at a particular tune rather than the scope of his career to date. I truly like this number as it has the distinct feel of a European or an Antipodean acknowledging Herbies work, not an American.
Phil has had no trouble in assembling top class musicians for the album and with Roger Manins (tenor sax), Olivier Holland (bass) and Cameron Sangster (drums) his quartet had depth and experience. He also enlisted trumpeter Mike Booth for three numbers.
The title track on the album is dedicated to the scandalously underrated and utterly brilliant Italian Pianist Enrico Pieranunzi. This track ‘Flaubert’s Dance’ had everyone listening in rapt silence and even though the club filled to bursting point you could have heard a pin drop. With unerring accuracy he has dived right into the essence of the man he pays homage to. The voicings, the phrasing and a unique sense of weightless swing that is so European. When Roger Manins comes in the Pieranunzi connection deepens. Bringing to mind the Italian tenor player Stefano de Anna who along with Hein Van de Geyn featured so strongly on the classic Pieranunzi album ‘Don’t Forget the Poet’.
Tenor player Roger Manins always gives of his best and he showed us once again that he can wring deep sentiment and even prettiness out of ballads while never sounding cliched. In the mid tempo tunes he imparts that intensity and locomotive drive that he is so well-known for. When the tunes are explorations, it is only fitting to have a born story-teller like Roger onboard. Olivier Holland (bass) has often played in Phil Broadhurst line ups and his approach is that of the consummate professional. These days it is not uncommon to hear bass players vocalising lines an octave above the pitch. Once the preserve of Major Holley and Slam Stewart, Oli has increasingly been employing that technique (but not so much arco bass). His improvisational approach has always been solid but the vocalising appears to extend that. It is perhaps like a saxophone player having the words of a standard firmly in their head as they lay down the melody. It changes the dynamic in positive ways. Cameron Sangster (drums) works across many genres and he is one of the few drummers to appear regularly with big bands in Auckland. He has a strong sense of space and dynamics and can switch to a more colourist mode if the number requires that. He is also able to moderate his sound to a room. A tasteful drummer. The remaining band member is trumpeter Mike Booth who played on three numbers. His soloing and ensemble work is great and musicians about town are often utilising him for his impressive and varied skills. He and Roger in lock-step are a force to behold. Both the quartet and quintet gave Phil Broadhurst adequate room to shine and he did.
What: The Phil Broadhurst Quartet
Who: Phil Broadhurst (piano), Roger Manins (tenor sax), Olivier Holland (bass), Cameron Sangster (drums) – guest Mike Booth (trumpet).
I love Jazz big bands and couldn’t have been more pleased when Roger engaged the AJO to play on awards night. It is more than possible that I had dropped a hint. Nothing underscores an occasion like a Jazz orchestra and having a 17 piece band in an intimate space is the best of listening experiences. Those surges of raw power always please, but it is something else that I look for. It is their collective agility , the tension and release and the quality of their ensemble playing. This is quickly revealed if the charts are well written, and they were.
People like to compare big bands and as a spectator sport it has some currency. I can’t help wondering however if eggs are always being compared with eggs. There are rehearsal bands like the Village Vanguard Orchestra (Thad Jones Big Band) who meet once a week (but with ever-changing personnel). Less common are the professional or semi professional units who get regular work and whose core personnel are less likely change (The WDR, Mingus Big Band, Roger Fox Big Band). Lastly there are all-star bands which come together for a recording, a gig, a concept or just for fun (Bob Beldens ‘Miles Espanol’ Jazz Orchestra, The Kenny Wheeler Big Band).
The AJO falls mostly into the first group but there is another dimension to what they do: they are a writing band and part of their reason for existence is to write charts and/or to create original arrangements. Quite a few in the band write and that gives the band an Auckland flavour. The compositions tell our city’s story. As a city we need to value them more and ensure that they get the work and the recognition they deserve. The City Council needs to have them on their radar and call on them for appropriate official functions? Knowing Jazz musicians pay packets, the public purse would be left largely intact if they did.
The AJO is a mix of seasoned players and new talent and this gives them a certain flavour. With their unfamiliar charts they perform a high wire act and because of that there is a hint of risk; to pull this off and at the same time entertain, requires a deftness of touch. The AJO has this as the co-founders Tim Atkinson and Mike Booth manage to inspire and guide without stifling creativity.
During the night we heard tight ensemble playing, a number of nice solos (particularly from Mike Booth, Theo Clearwater, Steve Sherriff, Andrew Hall, Callum Passells, Jono Tan and Matt Steele). Vanessa McGowen was terrific on bass and her presence was felt in just the right way. Andrea Groenewald on guitar demonstrated her soloing and comping skills. The latter added just the right Freddie Green touch to the overall mix. Swinging a big band is not always easy but this band swung.
There were two sets and thirteen numbers – among them were ‘It doesn’t Snow There’ – Atkinson, ‘On the Water’ – Booth, ‘All the things you are‘ – Kern/Hammerstein, ‘Those Nights’ – Hall. I have included a You Tube clip of there AJO performing Tim Atkinson’s composition and arrangement of ‘It Doesn’t Snow There’ – see below.
The AJO’s personnel are: Mike Booth (lead trumpet, arranger, composer, co-founder), Tim Atkinson (conductor, arranger, composer, co-founder)
Altos; Steve Sheriff, Callum Passells – Tenors; Andrew Hall, Teo Clearwater – Baritone; Andrew Baker – Trumpets; Matthew Verrill, Mike Booth, Jo Spiers, Oliver Furneaux – Trombones; Mike Young, Mike Ashton, Jono Tan, Darrell Farley – Guitar; Andrea Groenewald – Piano; Matt Steele – Bass; Vanessa McGowen – Drums; Cameron Sangster