Peter Leupolu | JazzLocal32.com

The usual fare of the CJC (Creative Jazz Club) is the instrumental gig, but over the last fortnight, the club has featured two vocalists. Vocalists have a broad appeal and can bring different audiences to a Jazz club. This is a good thing and it helps with the club outreach and kaupapa. Last week brought Clo Chaperon to the bandstand and although she has been performing around town for several years, this was her first solo gig at the club. On two previous occasions, she has appeared in bands led by the popular pianist, Kevin Field.

Wednesday was the release of her ‘Chapters’ EP, featuring five of her own compositions and it was her first release. She kept the EP numbers for the second set and during the first set, we heard a selection of tunes that had influenced her musical journey. The list was an eclectic offering of Jazz standards and all of them interesting.

There were surprises like Something Cool, a tune written by Bill Barnes in 1954, first released by the wonderful June Christy where she was accompanied by the Pete Rugolo Orchestra. Christy wrote the lyrics (check out the 1959 video from the Playboy Penthouse). Material like this gets lost in time and big ups to Chaperon for including it. There were modern Jazz standards like Butterfly (Hancock – Gretchen Parlato version) and some soulful numbers like ‘Jazz is Nothing but Soul’. The perennial favourite ‘Dat Dere’ by Bobby Timmons also went down a treat. You can’t miss with that particular number as it conveys such a sense of joy.

Her own compositions leaned toward modern soul-jazz or ballads and they were an indication of her future direction. I liked the arrangements (possibly by Nacey), and the tune that I have posted is titled ‘Holding On’. It has a funky propulsive groove and a nice vibe. This is reminiscent of her vocals on the Field Album.

Chaperon has a presence on stage, and she is down with a pleasing line of banter. This is an essential accoutrement for a vocalist as people respond instantly to warm human interactions. Expressive vocalists know that they are selling the lyrics and that a stone-faced look is a turn-off.

Having Dixon Nacey on the bandstand was of unmistakable benefit. He is a strong player with a distinctive style, but on this occasion, his job was one of support. He kept his solos short and his comping was nicely understated: he was not showy, but every note counted. This is the hallmark mark of professional, making others sound good.

Peter Leupolu, Mostyn Cole, Percy Watson and Stephen Thomas rounded off the group and it was nice to see the percussionist in the lineup. Adding percussion was especially appropriate, given Chaperons French Mauritian, Sega heritage. Perhaps we will hear some of those traditional songs interpreted sometime soon. I hope so. If you wish to purchase her album, she is contactable through her website clochaperon.com.

The gig took place at Anthology K’Road for the CJC Creative Jazz Club, October 28, 2020. Clo Chaperon (Vocals) Peter Leupolu (piano & keys), Mostyn Cole (bass), Percy Watson (percussion) and Stephen Thomas (drums).

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Thabani (7) During the apartheid era in South Africa, a heady brew of danceable Jazz bubbled up from the townships. The all white National Party hated it and a game of ‘whack-a-mole’ followed. As soon as one venue was shut down by the police, another would spring up. The music was resilient and hopeful. No racist or repressive regime likes Jazz because it has rebellion, hope and joyous defiance in its DNA. The Zimbabwean born Thabani Gapara imbibed South African Jazz from his earliest days, eventually taking up the saxophone, that most anti establishment of instruments. Since then, he has performed in Zimbabwean, South African and New Zealand projects. Thabani #

The powerful influence of Cape Town Jazz is especially evident – the cradle of South African improvised music. Since coming to live in New Zealand he has collaborated with many well-known musicians; The Hipstamatics, Batucada Sound Machine, Stan Walker and others. He has recently completed a B. Mus. in Jazz at the New Zealand School of Music and after graduating, he formed this group. Unbelievably, this was their first gig. Thabani (6)

There were a few ballads during the night but the music was mainly of a danceable, high-octane, delightfully groove based type. The key to the vibe was leader Thabani Gapara. What a great stage presence he has; the ready smile that he flashes when someone mines a groove. It is also his tone on all three horns, the marvellous compositions and tight arrangements. His compositions all reference his life’s journey and they strike a nice balance between groove hooks and flights into melodic ecstasy. I am always drawn to musicians who dance while they play. This is not an easy thing to pull off; it can affect concentration and in a reeds or winds player, it can affect the embouchure. Gapara skillfully utilises body movements to enhance the groove and he does so without a hint of contrivance. He wowed them and the audience gave back, and during that interaction, the spirit of live improvised music glowed like a fire. Thabani (8)

There is no doubt that the band was well rehearsed. No group can generate that sort of energy or negotiate changes or tricky rhythms without being comfortable with each other. I have heard guitarist Nathan James once before; on this gig he was wonderful. The interplay between he and Gapara was conversational, the sort of conversation that friends might have on good night out. When his solo’s intensified they never strayed far from the groove. The other chordal instruments were played by Peter Leupolu, nice effects and in the pocket; subtly pushing the others; urging them on. Lastly, we come to electric bass player Issac Etimeni and drummer Elijah White. The audience was wildly enthusiastic about both. The punchy post-Jaco electric bass; the groove-based drumming bravura.

They played a number of Gapara’s compositions; ‘The Journey’ (which I have posted), ‘Places and Faces’, ‘Tears’, ‘Family’, and ‘On The Beach’. All of these strongly referenced Southern African Jazz. To my delight, they also played Roy Hargrove’s fabulous ‘Strasbourg St Denis’ – a great tune and executed with such verve and Joy. The remaining numbers were, ‘Spanish Joint’ (D’Angelo), ‘Time Will Tell’ (Bobby Watson), ‘I Can’t Help It’ (Stevie Wonder), and ‘I Want You Back’ (Jackson Five). I still have a 45rpm of that at home (the Jacksons first’ break-through Motown recording).

After the gig, I talked to Gapara about his music. I told him that I had experienced this style in Paris where it thrives in clubs like the New Dawn: played by the likes of Etienne Mbappe, Hugh Masekela etc. He agreed, saying that Paris is the new centre for experiencing these Jazz blended, bass heavy, African influenced styles. Now, as migration increases, the styles are evolving again; evolving as they move around the planet. Influences are never static; they bounce back and forth endlessly. Thabani (9)

If you see this group playing anywhere, grab a ticket and experience the fun. They truly deserve to do well and I hope they stay together for the long haul. Another great night, in an already wonderful CJC, Thirsty Dog season. Get down there on a Wednesday folks.

Thabani Gapara Project: Thabani Gapara (alto, tenor, soprano saxophones), Issac Etimeni (electric bass), Peter Leupolu (keyboard & piano), Nathan James (guitar), Elijah White (drums) – CJC Creative Jazz Club, Thirsty Dog, K’Rd Auckland, 13 September 2017.