There is never a guarantee that two good acts blended into one will work. This one did. DOG and the various iterations of the Peter Koopman trio are each in their way self-contained; exuding a confidence born out of time spent with familiar musicians. Bands that play together over long periods anticipate and react instinctively. Stepping outside of that circle can be a risk, but that is a large part of what improvised music is about. DOG are a tight unit with quick-fire lines and nimble moves. By adding a guitar, DOG risked crowding their musical space; with Koopman, this did not happen. He is an aware and thoughtful musician. The pairing aided by some well-written charts, a pinch of crazy and good humour. The result was a looser sound, but the joy and respect provided all the glue it needed for the gig to work well.
The first number up was Roger Manins ‘Peter the Magnificent’, a tune featured on the award-winning DOG album. Manins penned it years ago, but this is the first time we have seen he and Koopman play it together (the Peter referred to in the tune is Koopman). Next up was Koopman’s ‘Judas Boogie’, a terrific catchy tune and a great vehicle for improvisation. It has memorable hooks and a feel good factor about it. It’s the third time that I have heard the tune and it is always mesmerising – weaving in and around a dominant bass note, a relentless pulse drawing you ever deeper into the theme. I like tunes like that, they are a gift to good interpreters.The unison lines and exchanges between guitar, tenor saxophone and Rhodes were just lovely. Kevin Field is always on form and the Rhodes with its chiming clarity was the perfect foil for Koopman and Manins. Field is the complete musician, tasteful, original and with impeccable time feel; Koopman’s guitar benefitting from the well-voiced chords, gently and sparsely comping beneath. Manins also gave a nice solo, and as we have come to expect, he reached for a place beyond the known world. Olivier Holland had a slightly different approach to Koopman’s regular bassist Alduca. Both approaches worked well on Judas Boogie. The interplay between Holland and Samsom was also instructive. As is often the case with good Jazz; the complicated was made to sound easy.
The craziest tune of the night was Manins ‘Chook 40’ – a crazy humour filled romp which swerved close to the avant-garde. A Zappa moment filled with joy, and above all abandon. The last tune was titled ‘Home Schooled’. This is a newer Field composition, one that regular CJC attendees will recall hearing during his last quartet gig. In this expanded context it sounded truly amazing – the tune was too long to post as a clip today, but I will try to do so later. The unison lines in that are particularly striking and the changes in mood and tempo revealed hidden delights.
DOG: Roger Manins (tenor saxophone), Kevin Field (Rhodes), Olivier Holland (bass), Ron Samsom (drums) – with Peter Koopman (guitar).
Guitarist Peter Koopman has long been established on the Australian Jazz scene. He returns once or twice a year and when he does he brings interesting projects with him. This tour was no exception; with new compositions, some refocused standards, and a re-jigged trio lineup he hit the mark. Some musicians reach a permanent plateau, and then make only incremental advances from there on. To date, Koopman has been on a steady upwards trajectory; and with little sign of slowing. It’s noticeable in the detail, but also in the overall impression. He is matter of fact on the bandstand, there’s even a hint of diffidence about him, but this only reinforces the impression that he is all about the music. From the first few notes, band and audience are subsumed in the performance. One of the subtleties that I noticed between visits is in his tone. It is cleaner but broader, conveying more information, allowing listeners to hear nuance and micro changes in modulation. And on some numbers gentle harmonics, rising off the upper end of a rapid run. His newer compositions also enhanced the project; nicely paced, making room for the whole trio and very appealing to the ear. I was not alone in observing this trajectory. One of our best New Zealand guitarists was later heard to mutter, only half-jokingly, “Damn, I’m off home to burn my guitar”. Australia has a number of excellent guitarists and some are equal to the best in the world. The challenges and opportunities of working in such an environment, have obviously suited Koopman. Judas Boogie, Meth Blue, Dog Annoyance, and Hypochondria were Koopman’s tunes. The band also played a sizzling version of ‘Airegin’ (Sonny Rollins). ‘Airegin’ (Nigeria spelled backward) is a relentlessly upbeat tune and often tackled by guitarists – at least those brave enough. Another Rollins tune was ‘Paradox’. The others ranged from the familiar ‘The best things in life are free’ (De Silva), and ‘The things we did last summer’ (Styne/Cahn) – to the less familiar – ‘The big push’ (by Shorter from his little known ‘Soothsayer’ album) and ‘Montara’ by Bobby Hutcherson (from his amazing latin album of the same name). Why we do not hear more Hutcherson is quite beyond me (thanks for this one PJK).
Max Alduca was on upright bass and he came with Koopman last time he visited. He has also been active on the avant-garde circuit with NZ musicians. A thoughtful melodic player, leaving space where appropriate and always where he should be during a tune; an active and equal trio member. Tim Gelden was new to the CJC audience, instantly catching our attention, adding excitement with his crisp tasteful stick work; during moments of interplay with Koopman and Alduca, heart-stopping action.
Peter Koopman Trio: Koopman (Guitar, compositions), Max Alduca (upright bass), Tim Gelden (drums), performed at the CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, 12th April 20117.
When I started attending the CJC, I heard Peter Koopman quite often. He was always impressive, but never a showy guitarist. His approach matched his quiet demeanor, an easy-going manner obscuring a real determination to excel at his craft. Before long he moved to Sydney and although the local Jazz scene laments this musicians rite of passage, we also know it is the right thing. At best, these offshore journeys produce the Mike Nocks and the Matt Penmans, and we all benefit from that.
It is harder to track the progress of a musician once domiciled in another country, but news of Koopman’s milestones often reach us. Since he moved to Sydney in 2011 he has worked with a variety of bands; his own, and sometimes as a sideman. He has also placed himself in interestingly diverse musical situations and the learnings arising from these interactions are evident in his current compositions and playing.We have seen him back in New Zealand a few times during the last five years, but this is his first visit leading a guitar trio. As anticipated, we experienced a more mature Koopman, his guitar work showcasing well-honed skills. Australia is a merciless testing ground for improvising musicians and especially so for guitarists. Working in the same scene as Carl Dewhurst or James Muller, and holding your own, the proof of the pudding. In 2014 Koopman was placed 3rd in the Australian National Jazz Awards, which are held at Wangaratta each year. These awards are fiercely contested and that is no small accomplishment. The Inner Westies Trio for the New Zealand trip was Peter Koopman (guitar), Max Alduca (bass) and Stephen Thomas (drums). The guitarist and Bass player from West Sydney, the drummer from West Auckland. Alduca is a compelling bass player, and a drawcard on his own. He often includes a touch of tasteful arco bass in his performance. I last saw him when he toured with the ‘Antipodeans’, an innovative young ensemble, populated with musicians from three countries. Alduca made a hit then and reinforced our positive view of him this night. He has a number of gigs about Auckland aside from the CJC gig. A player bursting with originality and with a notable way of engaging with audiences. Nice to see him back and especially in this company.
In spite of his age, Stephen Thomas has long been established among New Zealand’s premier drummers. He is often a first call for visiting improvising artists. Although primarily a Jazz drummer he is as comfortable in avant-garde settings as in large rock auditoriums. This unit worked well for Koopman and his interesting compositions and new takes on old standards all sounded fresh. Koopman originals dominated the gig, often intensely melodic, modern sounding and at times with real edge. Among the standards, and the final tune was Joe Henderson’s ‘Isotope’; a warm rendering, with enough fire to melt the coldest night. Below is an original Koopman composition.
Peter Koopmans Inner Westies: Peter J Koopman (guitar), Max Alduca (upright bass), Stephen Thomas (drums). Performed at the CJC (Creative Jazz Club), Albion Hotel, 6th July 2016.