Myele Manzanza/Chai Masters

August 23, 2024August 23, 2024 / JazzLocal32.com

The first album reviewed is the latest release by Myele Manzanza, a Wellington-born musician who is now a significant presence on the London scene, the second is another clip of finalists from the recent edition of the 7VJC competition.

Crisis And Opportunity Vol.4 – Meditations

Those following New Zealand-born drummer/composer Myele Manzanza have been amply rewarded over the years. He has in recent times established himself as a strong presence on the London scene, releasing many successful albums and, capturing the diverse mores of modern improvised music while bringing his distinctive voice to bear.

‘Crisis and Opportunity Vol 4’ may differ from the preceding volumes, but the over-arching trajectory makes perfect sense when you examine his output as a whole. Manzanza is an artist who refuses to rest on his laurels and with that comes constant re-evaluation and soul searching.

The tune titles from his various albums are embedded stories in miniature. In the liner notes he makes the point that, unlike earlier albums, he is not trying to make us dance. Here he has chosen to lean back into his Jazz roots and to do that he has located just the right bandmates. Bassist Matt Penman and pianist Matthew Sheens are perfect for this project as both hail from the South Pacific and are successful in New York.

When musicians establish careers in countries far from where they were born, homesickness is common, and heartfelt creativity emerges. This particular album is meditative and reflective, but despite that, there is still that innate sense of propulsive energy. An energy that always characterises Manzanza’s work. He may not be trying to make us dance but as we listen we feel the dance of life through his tunes.

The sparkling opener, ‘Crayford’s Room’, with its sparse piano and lovely arco bass at the beginning has particular resonance for me. It is a homage to New Zealand-born pianist Jonathan Crayford. Many musicians have been mentored by him and inspired by his musicianship. This is a fine album and it is also a love letter home. Highly recommended.

The album can be found at myelemanzanza.com or on Bandcamp under the artist’s name.

Chai Masters (Netherlands)

The band was formed from a musical connection forged at the Amsterdam Conservatory in 2018. Their debut album, ‘Magical Realism’, garnered critical acclaim. Since then they have added a vocalist, whose wordless vocal lines have merged effectively and seamlessly into the musical mix. They are an interesting group with a distinctive sound and play to their strengths. They draw on many sources, and a uniquely heady brew is the result.

What first caught my attention was their name. I am a teahead and to locate the finest tea I rely on tea (chai) masters. These are the gurus of tea and they understand the importance of sourcing; and how to locate the places where the trees grow best. This matters because the finest teas come from unique terroirs, where the essences of flowers, minerals, and herbal aromatics are absorbed deep in the earth’s ecosystem. So it is with the group Chai Masters. They draw from the raw materials around them, rendering them into music like alchemists.

The clip posted is the one submitted to the 7VJC competition. The sextet’s vocalist, Līva Dumpe has a pure, well-modulated voice and while not overshadowing the other instruments, she is a powerful presence in the lineup. Her wordless vocal lines add to the overall texture in ways another instrument could not. This contrasts (and merges) brilliantly with the two horns as they execute rapid-fire unison lines, underpinned by minimalist piano, tight basslines and colourist drumming. The composition must also receive its due here, as the unit and the compositions are as one. This is a group to watch as they have found their sweet spot. The clip is titled ‘The Seer’s Dream’. The sextet can be located at chaimastersmusic.com

Two Drummer Led Albums

May 20, 2021 / JazzLocal32.com

Drummer led albums often tell stories in different ways and the releases reviewed here exemplify that. On the surface, they are dissimilar, but both convey raw energy and immediacy. These improvisers transcend the ordinary in their search for an ancient to modern language.

CRISIS & OPPORTUNITY

The first is a newly released album by Myele Manzanza titled Crisis and Opportunity. It is the artist’s eighth release. And this time, his compositions were crafted while the artist was locked down in London during the worst months of the UK COVID crisis. As with his previous albums, there is something big-hearted about this work. As you listen, you gain the sense that he is telling a story that transcends time and place. This is realised through some very fine writing and crafted over his warm mesmerising beats.

Manzanza draws on strong roots and influences. He is a Kiwi, a citizen of the world and of African heritage. His father is a Master Congolese drummer and his formative years playing hand drums will have informed his approach to the kit. Among the other influences evident are broken-beat and Jazz electronica. Out of these influences and his own life experiences, alchemy is forged. He is forward-looking and overtly political. He is someone to watch with interest.

Teaser to Crisis & Opportunity

Joining him on the album are some London musicians plus Mark-de Clive-Lowe (a Kiwi Keyboard maestro based in LA). I am familiar with trumpet player James Copus, as his impressive Dusk album came to my attention quite recently. The other horn player is George Crowley on tenor saxophone. When the horns are playing in unison it is hard to believe that the horn line is not much bigger. On piano is Ashley Henry and on bass Benjamin Muralt. Both chasing those hypnotic dancing beats to good effect. And with de Clive-Lowe adding his deft brush strokes, a magnificent Album is realised. If you go to his Bandcamp label you can purchase a digital copy or order vinyl. www.myelemanzanza.bandcamp.com

WORDS

The other drummer led album that caught my attention is a free-jazz album released by Alex Louloudis. It arrived as a digital review copy with very little attached information, so I embarked on some research. In reality, the music speaks for itself and the biographical details are of less importance. The first track of ‘Words’ is ‘Surviving’ and it pulls you into a frenetic life-dance full of raw beauty and endless recalibration. It is propulsive and joyous and I fell for it immediately. It is the sort of track that brings me back to listen over and again and because of the immediacy, you know it’s real.

This is free music that can move inside or outside with extraordinary ease. Nothing is quite what it seems and the river of sound flows over a cushion of compelling beats. There is often an ostinato bass line as in The Magic of 3. The melodic lines avoid the obvious and there is almost no repetition of phrases. In the right musical hands, following such principles opens up huge possibilities. This is a killing band and it is unmistakably a drummers band.

I learned that Alex Louloudis was born in Drama, Greece, moved to America to study at the age of 19 and that he records on the Belgian based label ‘Off’. Since completing his studies in New York, Louloudis has moved among like-minded improvisers and attracted favourable attention. Although the artist was previously unknown to me (my bad), he has certainly come to the notice of important musicians and commentators (Gary Bartz, Billy Harper, Reggie Workman, Oliver Lake, Jeff Ballard, to mention just a few). The title track ‘Words’ is the final track and it rounds off the album perfectly. Opening to soft brush beats, it morphs into a dreamy slow-moving rendition of Over the Rainbow, which in turn introduces the reflectively cutting poem, recited by Rosdeli Marte.

The musicians: Alex Louloudis (drums), Raphael Statin (tenor saxophone), Dean Torrey (bass), Rosdeli Marte (vocals #1,6), Kaelen Ghandhi (tenor saxophone (# 1,6), Aaron Rubinstein (guitar #1,6), is available from Bandcamp at https://stilll-off.bandcamp.com/album/words

In this post, I have deviated from my usual practice of reviewing only albums from Aotearoa, New Zealand (or those offshore who maintain connections to our rohe). During the Covid lockdowns, I worked with the world Jazz community on platforms like the Jazz Journalists Assn site to ensure that the musician’s stories still were being told. Many writers were unable to engage, and in my country, we had freedoms others did not. No rule is worth having if it cannot be broken for a good cause. ‘Words’ is the exception that proves the rule and I couldn’t resist.

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, poet & writer. Some of these posts appear on related sites.

Mark de Clive-Lowe ~ Heritage Tour

September 10, 2019 / JazzLocal32.com

Music is the highest form of communication. It is universal. It reveals truths, tells stories, entertains, and in Mark de Clive-Lowe’s case, it evokes other realities. This was a masterclass in storytelling; an unfolding kaleidoscope where the contradictions and sublime realisations about the human condition were brought into focus. ‘Heritage 1 + 2’ the albums reflect his personal story, a journey of reconnection, an exploration of culture and of family history. He revealed it through moments of spoken narrative, but above all through his reverential musical examination of Japanese art forms. This was a musical journey where the highly personal overlapped the philosophical. It was a journey back to his Jazz roots and undertaken entirely on his own terms.

At least twenty years have passed since I last heard MdCL perform in Auckland. Back then he was regarded as a youthful Jazz prodigy and people flocked to hear him. Accompanying such acclaim comes expectations and that can be a straight jacket. It was the era of the media-hyped ‘young lions’, when up and coming Jazz musicians were expected to showcase standards and reclaim a glorious past. While the die-hards repeated their time-worn mantras, something else bubbled beneath the surface; musicians like MdCL shucked off others expectations; in his case moving a world away to engage with the hybrid music/dance scene in London. From there he moved on to LA where he built a solid and enduring reputation. These days Auckland has a flourishing improvised music scene and audiences value innovation. In this space, Jazz and other genres merge effortlessly. Because of that, it was exactly the right moment for MdCL to bring this project home. Auckland heard the call and the concerts reached capacity club audiences.

When MdCL introduced the sets he talked about his childhood and of cultural disconnection. Experiences like this although disquieting feed the creative spirit. The recent album and the tour follow a time spent in Japan where he immersed himself in his mother’s culture. The album opens with ‘The Offering’ an apt and beguiling introduction piece. Like a ritual washing of hands before a tea ceremony, a moment to sweep away preconceptions. Another standout honoured his mother by evoking her family name. ‘Mizugaki’ is perhaps the most reflective and personal tune of the sets. This cross-cultural feel is evident from the opener to the tunes which follow. While the scales and moods speak of Japan, the interpretations belong to an improviser. Throughout, MdCL maintains this fine balancing act. Evoking the unique moods of the haiku or ink wash. Illusory moods that are best described in the Japanese as no English phrase is adequate. And to all of this, he brings his lived experience. A kiwi-born musician with a foot in many camps.

With the exception of two traditional folk tunes, the compositions (and arrangements) are his own, other elements of his musical journey are also evident: tasteful electronics, drum & bass, Jazz. For copies of the two albums and MdCL’s other recordings go to Bandcamp (links below). Perhaps we can lure him back more often as he certainly has a following here. On the New Zealand leg of his tour, he was joined by Marika Hodgson on electric bass, Myele Manzanza on drums (and in Auckland by Lewis McCallum on flute and alto). The Kiwi contingent sounded good alongside MdCL and for a return-home tour, there was a rightness to utilising Kiwi musicians. I have posted a tune from the Auckland gig titled ‘Silk Road’. The Silk Road carried music, ideas, goods and culture, travelling by any means and from Japan to Spain; and now New Zealand.

https://markdeclivelowe.bandcamp.com/album/heritage

https://markdeclivelowe.bandcamp.com/album/heritage-ii

Heritage (Auckland): Mark de Clive-Lowe (keys, electronic wizardry), Lewis MacCallum (alto saxophone, flute, effects), Marika Hodgson (e-bass), Myele Manzanza (drums). CJC Creative Jazz Club, Anthology, K’Road, 4 September 2019.

A Love Requited~Myele Manzanza

July 17, 2019July 18, 2019 / JazzLocal32.com

The Myele Manzanza ‘A Love Requited’ gig opened with a heart-stopping rendition of his tune ‘Ritual’. As the leader’s beats drove out the grey of winter, it left no room for doubt; this was a drummer gig. He moved his body to the music and rained down rhythms and everyone was mesmerised. As drummers move, their feet and hands blur and dance, but few move their upper bodies like Manzanza. This gig was all about sublime motion; kinetic transportation into pulsing parallel worlds. It was very ancient, eternally present, and futuristic. As he bent close to the kit or circled the snare he looked like a hawk circling his prey. This was different drumming and while it was firmly rooted in Jazz, it also mined deeper timeless roots. It also felt intensely personal.

With him on the New Zealand leg of the tour were genius pianist Jonathan Crayford and the powerhouse Wellington bass player Johnny Lawrence. His bandmates needed to be chosen well, because what was on offer was not your usual piano trio music. Everything about the compositions centred around the percussive and was juxtaposed against compelling rhythms; whether soft or loud, piano or bass. Powerful ostinato patterns established, evolving into figures or melodic lines before turning back on themselves. This had the effect of intensifying the vibe and drawing the audience deeper into the soundscape. The drums on the gig were often loud and at times really loud, but when the quieter more reflective passages occurred the intensity remained.

Manzanza is the son of a Congolese master percussionist and the name Manzanza derives from beat out rhythms. All of that is implicit in his compositions, but it is also a doorway into a bigger story. ‘A Love Requited’ is also about fine composition and superb arranging. Out of that rich rhythmic brew and long evolving history comes an album filled with surprising subtlety. The album is well mixed and the individual players in the ensemble are given ample room to breathe. There are various arrangers credited and all serve the music well. That said, Manzanza arranging Manzanza is what stands out for me.

The album features a medium-sized ensemble with additional players appearing on certain tracks. This band has connections far and wide but it is mainly an Australasian affair. Manzanza and Jake Baxendale are from New Zealand as is ex-pat Mark de Clive-Lowe. The remaining band members, mostly Australian, feature talents such a Matthew Sheens (full personnel list below) and co-producer Ross McHenry. A number of the above musicians are either resident in or regular performers on the USA scene.

If you get a chance, catch the live gigs. More importantly, grab a copy of the album as it is one that you will want to keep on hand for repeat plays. The best option is to visit Bandcamp, where you can order a physical copy or grab an uncompressed download; available in many high-quality formats. In the nineteen fifties Ellington and Strayhorn penned a suite titled Such Sweet Thunder. They were referencing Shakespeare’s ‘A Midsummer night dream’; the full quotation being, ‘So musical a discord, such sweet thunder’. Such sweet thunder certainly applies to this album.

Myele Manzanza Bandcamp

‘A Love Requited’ Auckland: Myele Manzanza (drums, leader), Jonathan Crayford (keys), Johnny Lawrence (bass). CJC Creative Jazz Club, Anthology, K’Road, 10 July 2019

Album: Myele Manzanza, Matthew Sheens, Jake Baxendale, Ben Harrison, James Macauley, Jason McMahon, Adam Page, Django Rowe, Mark de Clive-Lowe, Brenton Foster, Jack Strempel

Myele Manzanza Trio

March 27, 2013 / JazzLocal32.com / Leave a comment

The CJC (Creative Jazz Club) is increasingly on the world Jazz circuit, but it also attracts a number of artists from around New Zealand. This outreach is exactly what Roger Manins, Caroline Manins and Ben McNicholl had envisaged when the collective began. The CJC’s prime purpose is to further Jazz and improvised music as an art form and to create an intimate performance space where projects can be realised. This space is suited to listening audiences, which in turn spurs the musicians on. The trio who performed on Wednesday appreciated that.

On Wednesday we heard the Wellington based Myele Manzanza trio. A drummer led band has a different feel to a piano led trio. When a drummer is leader the drums are generally more forward in the mix than is otherwise the case. This is the way of things and whether it’s Max Roach or Matt Wilson we expect to have the drums as a strong focus. Myele Manzanza is a captivating drummer and I was immediately struck by how different he is to most Auckland drummers. When I spoke to him later I went out on a limb by suggesting that his style was reminiscent of Manu Katche. He told me that he had not heard him, but that others had said the same.

According to Myele, Roger Manins suggested that they should push the boundaries. Rising to that challenge the band hastily composed a tune for the gig. The gig was a mix of standards, interesting takes on tunes not usually associated with jazz and a few originals. The originals were often subjected to an angular approach and with pared back melody. Their take on the Ellington tune ‘Caravan’ was probably the most conventional of their tunes but even then it was given individual treatment. The pianist approached the tune in a percussive manner, but with right hand runs that were definitely post bop (a little like Michel Petrucciani was fond of doing). Led by the drummer, time signatures morphed into various new patterns.

The Pianist Daniel Hayles often begins pieces with long ostinato intro’s and while not quite a minimalist, he never-the-less avoids excessive ornamentation. I really warmed to him as the evening progressed and I found his approach modern and fresh (and often North European). With Scott Maynard on bass the unit knitted together well. Because of the way the tunes unfolded it was essential that he made his presence felt and he did. In situations like this the bass often has to carry some extra weight.

Myele has spent time working in New York and he has studied under Jazz drummer E J Strickland. I also know that he is passionate about Jazz, but why his band sounds different is because other very modern influences have seeped into the mix. Myele Manzanza works with many ground breaking non-Jazz lineups and that is probably what he is best known for. This brings me back to Manu Katche who is a very modern jazz drummer, but one who works across a variety of genres (Peter Gabriel and Sting). Katche’s Jazz drumming is atypical and madly engaging. Jazz should never stand still and this window on yet another approach to our music tells me that the exploration continues.

I hope that the band returns again as they expand our horizons while making us smile. After thanking his band Myele Manzanza turned to the audience and said, “Thank you Auckland and the CJC. This is an unusual situation for us. An audience that listens appreciatively and doesn’t talk through the gig. This is what Wellington lacks”.

Every city needs a CJC …and lots of nights like this.

Who: Myele Manzanza (Leader, drums), Daniel Hayles (Keys, Piano), Scott Maynard (bass).

When and Where: CJC (Creative Jazz Club) 1885 building Brittomart, 20th march 2013

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