No one is more fitted to sonically sketch the journey of the Eighteenth-century French explorer known as La Perouse than the Australian born Jazz pianist Chris Cody. In his bios, Cody is referred to as a French Australian musician and that is an obvious qualification. He also possesses an exquisite sensitivity when it comes to communicating complex truths. The colonist versus the indigenous peoples, the scientist versus the open seas adventurer.
On this album, Cody’s improvisational compass has deftly navigated his way inside a vast sprawling seascape; found ways to lift the veil on colliding realities and woven them into a compelling saga. For all that, the album is not mired in abstract musings; it is grounded in the tangible. Cleverly, he avoids the strictures of the programmatic; opting instead for memorable glimpses, interesting mileposts. He weighs past against present, the science against belief, and all the while carefully preserving the mythologies that feed the spirit. And like all of Cody’s work, the album evokes a timeless sense of place.
When you live on the Pacific Rim it is inevitable that tales of ancient navigators capture your attention. Our present realities were shaped by them and for better or worse we are their descendants. There were so many notables, but the epic voyages of the ancient Lapita peoples are always omnipresent. While the Pacific was opened by these early navigators, the European late-comers are no less interesting. Cook is much talked about and the legacy of his voyages is mixed. Other men followed in his wake, as this was the age of scientific exploration, the age of enlightenment. In truth, the scientific voyagers served both science and the expansionist desires of empire builders. La Perouse on his ship Astrolabe was more scientist than colonist, but for all that, his untimely death contains an eerie echo of Cooks violent demise.
In 1786, navigators relied on the compass for fixing latitude. To fix an approximation of longitude an instrument called the Astrolabe was used; an instrument with its origins in Greek antiquity. Complex mathematical calculations were required and losing your way was a constant hazard. As Harrison’s Longitude fixing watch was still under development, the methodology of open sea navigation often relied on dead reckoning. Dead reckoning sent more sailers to the bottom of the sea than to their destinations.
Something akin to dead reckoning is close to what skilled improvisers do; risk being at the heart of an improviser’s performance. ‘Astrolabe’ the album, is a work composed for medium-sized ensembles. Piano, trumpet, multi reeds, trombone/didgeridoo/conch, violin, accordion, double bass and percussion. This offered Cody unique options and the textures he creates are marvellous.
Mundus Vetus (old world) opens with the baritone clarinet establishing a motif over a measured vamp. This piece clearly references the court of Louis Sixteenth who commissioned the voyage. You can sense the courtly processionals and the formality. From that point on we are afforded glimpses of the new and exotic places along his journey. The sounds of accordions, drums and pacific flutes come and go. ’Becalmed’ opens with trombonist James Greening on didgeridoo, soon overtaken by the crystalline unhurried pianism of Cody. This is music that absorbs and it is best experienced by letting yourself fall into it. It rewards deep listening.
I must also mention the striking physical appearance of the album. The outside cover features a misty ink wash Japanese style by Maya Cody. Inside, you will find extraordinary engravings by Jean de Bonnot and a booklet containing translations from the La Perouse ships journals (translated by the multi-lingual Cody)
This album will definitely appeal to wider audiences and although it is a first-rate Jazz album it is also beautifully arranged. This is a journey to be enjoyed as a whole. I would place this album in the must-have category, so buy a copy early, preferably by visiting chriscody.bandcamp.com or by ordering it online.
#random facts: a young Napoleon applied to join the crew and was rejected. Joseph Banks gave La Perouse some of Cook’s navigation instruments. La Perouse sailed into Sydney harbour a few days after Captain Phillip – a few days earlier and perhaps Australasians would be speaking French. Chris Cody lived 25 years in Paris working as a Jazz Musician. If you visit Cody’s Bandcamp page you can obtain all three of his recent albums digitally for $22.10 AUD
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.
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.
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