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).
The gig took place at the CJC (Creative Jazz Club), Britomart 1885, Auckland 18th November 2015.