With closed borders and venue restrictions biting, the release date for Kevin Field’s ‘Soundtology’ album became a movable feast. The original proposal would have seen some of his New York band appear, but because of the pandemic, that plan was ditched. If he was flustered by these frustrating circumstances it didn’t show. Making a virtue out of necessity he engaged local musicians and launched his album anyway. It was a night to remember.
Field is one of our finest musicians and his reputation stretches far beyond these shores. He has previously recorded with highly-rated New York Jazz musicians and also with the best of New Zealand’s improvisers. As an adventurous musician, Field eschews stasis and his developmental arc is particularly evident with this latest album. He is an artist who arrives at a successful formula and then turns it on its head. With each album, he makes references to his earlier works, and then he moves foreword. Everything that has gone before becomes a springboard to a new moment and each iteration is better than that preceding it.
There is a lot to like about Fields new album ‘Soundtology’. The tunes are sublimely melodic, and as always, his trademark harmonic developments astound. I have always enjoyed his avoidance of cliche and in this case, there is something else. Even when upbeat, the tunes feel more contemplative, and the space afforded, lets the music speak with clarity. This is the album of a mature composer and it is deserving of wide acclaim.
The album has eleven tunes and features two quartets (alternating throughout). This provides contrast while not affecting the flow and continuity. All of these tunes belong together and each unit locates something special. The first quartet features Field (Piano Rhodes), Nir Felder (guitar), Orlando Le Fleming (bass) and Charles Haynes (drums). The second quartet has Field (piano, Rhodes) Mike Moreno (guitar), Matt Penman (bass) and Nate Wood (drums). These are heavy hitters and Field could not have chosen better crews to spin gold out of his compositions. I was immediately drawn to the inclusion of Moreno, one of the worlds great guitar improvisers. I once flew to Sydney just to catch a concert of his.
‘Soundtology’ is a beautifully presented album and it was recorded to perfection. It is an album to be enjoyed on many levels; for its beauty and freshness and for its accessibility. If ever there was an example of complex music made to sound easy, it is here. The tunes are beguiling and memorable, but underlying them are twists and turns which elevate the tunes into listening adventures. A good example is the first track Quintus Maximus. It opens over an ostinato sequence, where a broken rhythmic pattern is established by bass and Rhodes. The intro is a teaser as it hints at possible directions without necessarily committing to them; then the melody soars and brings it together until the underlying ostinato phrases reappear. An interesting and enjoyable piece of music.
The second tune, ‘Good Friday’ is a great composition. It is among the most melodic of Fields tunes and it has been around since he first recorded it on his 2012 Warner release ‘Field of Vision’. Back in 2012, the tune was a slower-paced offering. Over the last few years, I have heard it performed often; now, it has emerged as a punchier version of its former self. It is fascinating to hear good tunes like this under constant development. This is what Field does and it is his impulse toward reinvention that elevates him beyond the pack. It is not surprising that he was recently awarded a doctorate.
There is no better example of its ongoing trajectory than the version of Good Friday we heard at Wednesday’s live performance. It had been rearranged to include a bass clarinet and a soprano saxophone. There were two guitarists as in the album, but the addition of the horns gave us yet another vantage point from which to examine the composition. A band member told me afterwards that the charts were interestingly structured. They forced the soloists to think outside of the square and to avoid any formulaic approach.
‘People factory’ was the perfect vehicle for Moreno, Penman and Wood. This number is like silk in a ruffling breeze, I have never heard Moreno sound better (and he always sounds good). The responsiveness Field extracts from Wood and Penman is also marvellous. This is seamless interplay at its best. Actually, everything is great on this album and there’s plenty of variety. This one is 4.5 stars. My advice is, buy multiple copies and impress everyone with your hip good taste.
‘Soundtology’ by Keven Field ~ Released on TimezoneRecords.com 2020
Album: Keven Field (piano, Fender Rhodes), Mike Moreno, Nir Felder (guitar), Matt Penman, Orlando Le Fleming (bass), Charles Hayes, Nate Wood (drums).
Live gig: Kevin Field (piano, Fender Rhodes), Michael Howell & Kieth Price (guitars), Nathan Haines (tenor, soprano saxophones), Lewis McCallum (bass clarinet), Cam McArthur (bass), Stephen Thomas (drums).
The live gig took place at Anthology K’Road for the CJC Creative Jazz Club, November 11, 2020
JazzLocal32.com was rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association. Many of these posts also appear on Radio13.co.nz – check it out.
Sydney means two things to me; family and music. I get there as often as I can. One sultry night about two years ago I was listening to Mike Nock playing the blues (as only Mike can). It was a catchy new tune titled ‘Start up Blues’. I collared him during the break and asked him about it. “I composed it for the Foundry opening” he said. “Do you know about the Foundry 616”? I didn’t and so he filled in the details. He spoke warmly of it so I determined to visit the next time I was in Sydney.
During my first visit I caught the amazing New York based guitarist Mike Moreno. Attending a gig featuring Moreno had long been on my bucket list and I was not disappointed. He was happy to allow non-flash photography and I had a seat at the front table; perfect. For his Australian tour he employed two gifted local musicians: Ben Vanderwal drums and Alex Boneham bass (both familiar to New Zealand audiences). I have many recordings featuring Moreno, but what really struck me was that his best on recordings, is exactly how he sounds in person. Given the sound control in modern recording studios and given the expanse and quirky shape of the room, this is surprising.
I was later to experience the same clarity at other Foundry 616 gigs. The venue sound technician and the sound system get a big tick. Sound quality matters and especially with artists of this quality. To my thinking Moreno is the most lyrical of modern guitarists. Clean flowing lines, fresh ideas and an astonishing clarity of tone. As moves through the pieces, often at breakneck speed, and even when glissing, his fluidity is unbroken. There is a hint of mournfulness to his tone which is most attractive. I hear many gifted Jazz guitarists, but to date this gig remains the highlight. His set list traversed recent albums as he played a mix of lesser known standards and originals; ‘I have a dream’ (Hancock) being the standout. While his demeanour is quiet, perhaps even a little serious, his playing denotes unalloyed joy and exuberance.
My second visit was to see premier Australian Jazz vocalist Vince Jones. I have a deep liking for male Jazz singers but sadly there are not that many to choose from these days. Our younger selves do not sound like our older selves and in Vince Jones this sits extremely well. His is a lived in voice, full of rich life experience. An honest voice and above all a true Jazz voice. He can make you smile and cry in turns and his lyrics are like no one else’s. If you listen carefully the realisation comes; Jones is jazz protest singer. He is closer in sentiment to Gil Scott Heron or perhaps Billy Bragg and Bob Dylan than to any torch-song crooner. His recordings while marvellous don’t prepare you for the experience of hearing him in person. He has a compelling stage presence, exuding the vulnerability that Chet radiated. Unlike Chet he also exudes real human warmth and empathy.
As he tells personal stories about his grandparents, his budgerigars, women deserving of respect, his environmental concerns, you feel deeply connected. When he shakes his fist at the ‘big end of town’, calls for kindness towards refugees and gives voice to your innermost feelings, you shake your fist along with him. Since that visit I have transcribed some of his lyrics. I would now add gifted poet to the list of his accomplishments. Jones 
I first met Cody in New Zealand and we are now friends. I have a deep respect for him as an artist and as a human being. This rounded out the evening nicely. Cody an internationally recognised artist, is back in Sydney for a while. There is something about his approach and his innate sense of pulse that sets him apart. He understands the importance of leaving space between notes; easily moving inside and out during a solo. He oozes Paris cool. With Cody on piano and White on keys the enjoyment was complete.
There are any number of excellent improvising musicians in Australia and New Zealand and we are lucky that they are so accessible. There are also thousands of people who love improvised music, but here’s the rub. The enthusiasts don’t always make the effort to attend gigs. The consequences of taking the local Jazz scene for granted are too dreadful to contemplate. If we support local Jazz we need to commit. In spite of the many world-class musicians in Australasia the music is more precarious than we think. Running clubs like the ‘Foundry 616’, the ‘505’ or the ‘CJC (Creative Jazz Club)’ is high risk and if the clubs struggle, so does the music. It is quite possible that I’m a fanatic, but I’ve attended more than 250 Jazz gigs in the last four years. If you read this, it’s because you love this music with all its variability. Value what you have people and make a point of supporting your local Jazz clubs and gigs. Some amazing musicians depend on you.
cleverness your ideas. It is about integrity. Musical integrity is rare but universally available.
makes you glad that you’re alive. Touring New Zealand with Nock were James ‘Pug’ Waples (drums) and Brett Hirst (bass)’. These musicians while deeply attuned to each other were always full of surprises. 5 stars. *****
Whether as accompanist or soloist, Field shines. His work in 2014 on ‘Dog’, with Caitlin Smith and with the Australian saxophonist Jamie Oehlers stand out as high points. Adam Ponting (Aust) (Hip Flask ‘1’ & ’11’). Ponting is an unusual but compelling pianist. An original stylist who appears to approach tunes from an oblique angle, at first impressionistic, but leading you into a world of funky satisfying grooves. This guy is definitely someone I would like to hear again. It was also great to hear more of Alan Brown (NZ) on piano during 2014. He has some interesting piano and keys projects underway and we will hear more of those soon. Steve Barry (Aust). Barry is an ex pat Auckland pianist now based in Australia. He visited New Zealand twice during 2014. His visits and albums are always received enthusiastically. Barry is a musician who works hard and produces the goods. His new album ‘Puzzles’ with Dave Jackson (alto), Alex Boneham (bass) and Tim Firth, lifts the bar for up and coming local musicians. We had a number of visitors in 2014 and to bring us a European perspective was the Benny Lackner Trio (Germany/USA). The pianist Benny Lackner has visited New Zealand on several previous occasions and the aesthetic he brings is finely honed. The band has a similar feel to EST. There is the occasional use of electronics and they quickly find tasty grooves that could only emanate from a European Band.
winner Broadbent is our best known improvising export and he has spent the last year touring Europe and America to great acclaim. The solo album was given a rare 5 star rating by downbeat and ‘America The Beautiful’ was recently voted one of the 10th best albums of 2014.
Samsom. It sizzles, swings and while hinting at the vibe of a bygone era, it still sounds fresh & modern (and very Kiwi). ‘Dark Light’ (Rattle Jazz) This excellent album is one of two that Jonathan Crayford released in 2014 – Recorded at ‘Systems Two Studio’ NY with Crayford (piano), Ben Street (bass), Dan Weiss (drums). Don’t expect repetition from Crayford. This master musician takes us on many journey’s, each unlike the last and all brilliant. Hip Flask 2 (Rattle Jazz) A funk unit led by Australasian saxophone giant Roger Manins. Accompanied by Adam Ponting (piano), Stu Hunter (organ), Brendan Clarke (bass) and Toby Hall (drums). A thoroughly appealing album and a welcome follow-up to Hip Flask 1 (Hip Flask 1 included with the album).
biography is the weakest link in Jazz Writing. If that is true then the mould has truly been broken with this work. Crouch has placed the story of Parker’s early life into a fuller historical context. In learning things about the times, we learn a lot about the man. This is a book that could be appreciated by anyone interested in the history of African-American life in the Mid-West. I suspect that its significance will grow as time passes. Above all the book is beautifully written and for me that counts.
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