In a month where sad tidings constantly emerged from the Jazz diaspora, we lost one of our own. Phil Broadhurst was not claimed by the virus, as so many were, but by a cruel and familiar disease. As he battled through his various treatments he played on regardless. Seldom wavering, as he composed new tunes; organised concerts or met friends for coffee, and all the while managing to put us at ease. Phil had a gift for that. He was dignity personified.
During his last concert at the Auckland Jazz & Blues Club, he bantered with a capacity audience while delivering a formidable set or two. Beside him on the bandstand were his loyal friends from the London Bar days and never far away, his beloved Julie. I suspect that the last gig took all that he had, but you wouldn’t know it. During hard times jazz musicians shine brightest and Phil did.
He was well established on the Jazz scene long before he left the UK for New Zealand. Upon arrival he quickly made his mark. In clubs and bars and in the recording studio, in education and in broadcasting, and all through the lean years he kept the flame burning. Now we mourn along with his family for the music not yet formed and denied us, knowing that the scene will be poorer for his passing.
Many years ago as I was taking my first tentative steps in documenting the local Jazz scene, Phil phoned me. He made an offer that no Jazz writer could refuse.
‘How would you like to spend time with Bennie Maupin and Dick Oatts’ he asked? A phrase from a review of Bitches Brew flashed across my consciousness, ‘Maupin, who patrols the lower register like a barracuda’. I uttered a strangulated sound (which translated as yes) and in fact I got to spend two days with them. It was a kindness that I will never forget.
I learned two important things that weekend. Never ask a doubling musician why they are equally proficiant on seven reeds & winds. I was told sharply that the secret was, practice until you drop and then do it seven times more. The second thing I learned was that Phil was an enabler. He put people in situations where they could grow.
Last year, Phil invited me to observe and photograph his quintet as they recorded ‘Positif’, his fourth Rattle album. I have posted images and a link to that and his other albums. Today all Bandcamp revenue goes back to the artists. There is no better way to celebrate the life of an artist than by buying their works. Go to Phil Broadhurst Bandcamp.
Phil was a powerful presence on the New Zealand Jazz scene and we will miss him dearly. Over the years his output has been considerable and his Rattle albums in particular provide us a lasting testimony. A multi awards winner, a friend, but now we must wait until the lockdown is over for his final parade. Until then, and ever after, let his tunes and recordings remind us. And beyond that, the teachers of tomorrow, the ones who Phil mentored are bringing on another generation of improvisers. Perhaps, that is the ultimate legacy.
The lockdowns won’t stop jazz! To assist musicians who’ve had performances cancelled, get their music heard around the globe. There Jazz Journalists Association created a Jazz on Lockdown: Hear it Here community blog. for more, click through to https://news.jazzjournalists.org/catagory/jazz-on-lockdown/
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
While pop music briefly looked up and saw satellites and Rock music headed for the dark side of the moon, Jazz musicians lifted their vision further, aiming beyond Voyager and reaching for the farthest corners of deep space. Exploring those regions is the beautifully realised Aldebaran Quartet, an ensemble which pleases me greatly. It’s not often that I encounter a band like this and I can’t wait for them to record. 
After a year of living in Paris the Auckland educator and pianist Phil Broadhurst and his partner, Julie Mason, have returned. The Broadhurst Quintet has been a regular feature on the Auckland scene for many years. The unit is fueled by a constant stream of great compositions, an unchanging line up of fine musicians and three critically acclaimed records (one of them a Tui Jazz Album of the year winner). Broadhurst’s ‘dedication trilogy’ set a high bar compositionally, but his pen is always crafting new compositions. After last weeks gig, I suspect that another album capturing the artistic soul of France might be in gestation. Broadhurst, as many will know, is unashamedly francophile. Out of this deep appreciation and finely honed perception flows terrific creations. 
I have listened to John Bell over a number of years and I have always marvelled at his inventiveness. Bell (along with Jeff Henderson), is widely acknowledged as the experimental music guy, the free improvisation guy. He is a musician who takes risks as he aims for clear skies; a musician who involves himself in interesting cross-cultural collaborations, a vibraharp player who doubles on brass instruments. He is an artist who you always associate with innovation – consequently, other musicians look up to him. 
Au revoir is more than a simple good-bye. The fuller meaning is ‘until we meet again’. Jazz pianist, broadcaster and educator Phil Broadhurst is about to move to Paris, where he will reside for a few years (along with his partner vocalist/pianist Julie Mason). He assures us that he will return and it is not unreasonable to expect him to arrive back with new compositions and new projects to showcase. A Francophile (and francophone), Broadhurst has long been influenced by the writers and musicians of France. His last three albums ‘The dedication trilogy’ all contain strong references to that country. Wednesdays gig was centred on his recent output, but with new tunes and a surprise or two thrown in.
Broadhurst is an institution on the New Zealand Jazz scene and it will feel strange with him absent. The strangeness on this particular Wednesday night was compounded by the impending American election result. An election dominated by bizarre outbursts of racism, belligerence, stupidity and misogyny. As the first number of the evening progressed, everyone relaxed; Broadhurst’s melodicism a balm for what ailed us. The tune was ‘Orange’ (a French commune in the Alps/Cote d’Azur region). Half way through the piece everyone’s mobiles lit up. I tried to ignore mine but the vibrating and flashing increased. I reached to shut it off and spotted the words – Trump wins US election. The ‘four horsemen of the apocalypse’ had just entered the room via electronic media. The tune ‘Orange’ is particularly beautiful (and I hope Broadhurst will forgive me for this association), but on this night, the title was also oddly appropriate. An orange gargoyle was about to release the furies upon a surprised world.
Accompanying Broadhurst were his regular quintet, Roger Manins (tenor), Mike Booth (trumpet), Oli Holland (bass) and Cam Sangster (drums – and with special guest Julie Mason (vocals). Broadhurst, and his various lineups have received numerous accolades. In recent years there have been nominations and awards; most recently the prestigious ‘Tui’ at the 2016 New Zealand Jazz Awards. 
Anyone who follows NZ Jazz will be familiar with many of the tunes played on Wednesday; ‘Orange’, ‘Precious Metal’, ‘Loping’ etc. The nicest surprise of the evening was hearing a Frank Foster tune ‘Simone’ (absolutely nailed by Julie Mason). A fine tribute to Nina Simone, and appropriate to the night, given Simone’s views on the lamentable state of race relations in America. This unit is supremely polished and I highly recommend that you purchase the recent albums if you haven’t already done so. They are all still available from 
January was hot and wet and the CJC was on holiday. If like me, you are a regular attendee at the CJC (Creative Jazz Club) December to February is a long time between drinks. The El Nino humidity with its sullen skies and petulant storm threats rolled into February and suddenly we were back in business. The first gig of the year featured Craig Walters and Mike Booth. Walters, a well-known Sydney based tenor player, last performed at the club in 2012. Booth is a local and he features often; a gifted composer, arranger and trumpet/flugel player. Booth and Walters have a long history together.
The first number was a Walters tune titled ‘Easy’. Booth played flugel and the relaxed fluid interplay between horns set us up nicely for the evening. Walters plays with real fluidity and his tone has a certain quality – a hint of mid to upper register sweetness not dissimilar to that of Ernie Watts – but with an earthier colour overlay. While the first tune eased us the into the gig the second tune grabbed our attention in a different way. ‘A Kings Ransom’ is a seldom played Booth tune and its complex rhythms gave the band a solid work out. Broadhurst delivered a wonderfully solo on this – Monkishly jagged and totally within the spirit of the composition.
Towards the end of the second set they played Walters ‘As close as you’ll get’. If the title didn’t trigger any memories the first bar surely did. This was a tune that I’d heard way back in April 2012. Its intricate hooks and counterpoint nailed it within seconds. This was not a tune easily forgotten – in fact I happily replayed it in my head for weeks after the 2012 gig. I was not putting up video way back then but have chosen this cut to put up now. 
Last years attendance at the club was good and if Wednesday was anything to go by this years will be even better. There were many first time attendees and based upon the applause most will return. The artists create the music but they need engaged audiences to complete the circle. As the famous American bass player David Friesen said to us last year – ‘this is a virtuous circle and the magic only emerges when audience and musicians interlink. The sum of what comes from this interaction is often greater than the sum of its parts. Improvised live music at its best is profound and the thought that we might miss a wonderful and unique moment causes us to return time and again. That is how it works me anyhow.
‘Panacea’ is the third of Phil Broadhurst’s ‘dedication trilogy’ series and as fine as the earlier two albums were, this one stands out. Everything about it is superb, the individual performances, the ensemble playing, the recording quality, the cover art by Cameron Broadhurst and above all the compositions. Broadhurst, always a prolific composer has excelled himself here. Instead of theming the album around a particular influence or musician he has tapped into the subliminal forces guiding his creativity.
When he composed ‘Precious Metal’ he was at first unaware of the influence until a student pointed it out. It certainly speaks of Horace Silver but more importantly it conjures the essence of the man behind the music. The ensemble playing on this is simply sublime. An arranged head yields to Mike Booth on trumpet. He swiftly encapsulates the ethos of Silver in his delightfully moody solo. Broadhurst follows – expanding on the theme and signalling the direction, effectively setting the tune up for Roger Manins and Oli Holland who follow. There is a logical flow throughout and the piece works all the better because of it. I have heard it several times, but even on first hearing it sounded warmly familiar. That is the skill of good writing; evocation not imitation. 
For me the greatest joy was ‘Wheeler of Fortune’ his Kenny Wheeler tribute. So well realised was the mood that it might have been John Taylor playing a Wheeler composition. Again this is an extraordinary piece of writing and articulation, lovely because while capturing the style of these lost lamented greats it reminds us just what made them so dear to our hearts. In spite of being a piece for piano trio you can sense Wheeler reaching for those impossible high notes or mournfully smearing his over-running melancholic lines. It must have been tempting to use Booth’s flugel on this, but the implied sound is all the more powerful.
I look in the liner notes, no human voice shown – then it struck me. This is Watson, again understated but adding something to the piece which lifts it into the realm of musical magic – an exceptional and original musician. The album would be the poorer without his contributions. Subconscious influences shape every musicians work and it is right to celebrate those. Purging these influences is often a mistake. All creative people whether writers, poets, musicians or painters have these voices at their core. Improvising musicians stand on the shoulders of giants and it is fitting to celebrate that. Broadhurst has done so with due reverence, due acknowledgement but never sycophancy. This was his time to say thank you and his own original voice shone through the multitude of influences.
Booth sounds better each time I hear him. His undoubted strength lying in the way he reminds us of the great traditional trumpet players – especially those from the Hardbop era (like Blue Mitchell). A wonderful musician, a fine arranger and one who nicely compliments a saxophone modernist like Manins. Playing off the latter gives the edge. Manins is such an original that you hear something new and exciting each time he plays. I have observed before how well he plays off Broadhurst compositions. This says something about the skill of both men.
The word panacea is from the ancient Greek meaning ‘all healing’. The modern definition extends the concept beyond cure-all potion – applying it more to the realm of ideas. The album is truly a balm in our troubled times. I highly recommend it as a Christmas present to yourself or a loved one. It must surely be contender for next years Tui’s.
Paul Nairn is a man who avoids limelight and although he is extremely popular as a saxophone repairer he gigs all too infrequently. Those who have seen him before always turn up at his gigs, having fond memories of his standards interpretations and of his rich tone. For all of his reticence he is good company, knowledgable and a guy you enjoy being with. The last time I saw him was at the Doug Lawrence gig, shaking his head in disbelief and saying, “This is the southern styled tenor at its best. some of the greats are in that sound”. It is no secret that the classic era of 50’s Jazz is what he loves best. Larger than life standards played by some of the greatest musicians that walked the earth. The Phantom quartet was back to tell that story.
The band set up early in case there was time for a quick run through but Nairn was nowhere in sight. He is notoriously hard to reach by email, phone or messaging so nobody tried. He is not enamoured of digital technology which is part of his charm. He is old school in good way. “He does know it’s tonight”, joked one band member? Twenty minutes before start time he arrived breathless. The vagaries of Auckland’s wet weather, downtown traffic and parking had tested but not defeated him.
Nairn’s sound is distinctive; clean but with the pleasant hint of a throaty rasp when he bites into a note. It is certainly a sound that you identify with an era. His repertoire on this night included tunes by Cedar Walton, Chick Corea, Gershwin, Jerome Kern, Joe Henderson and Coltrane. Henderson’s Inner Urge occurred during the first set. It is a complex tune harmonically, but a tune I could never tire of. It was great hearing it again. The clip I have put up is Coltrane’s famous ballad ‘Naima’. Everyone played beautifully on that and especially pianist Broadhurst. His approach was fresh and utterly engaging. Nairn and Santorelli played beautiful solos as well while Gibson kept his impeccable trademark pulse.
Nairn has been on the scene for a long time and when he calls upon veteran players to make up his band he gets them. On piano was Phil Broadhurst. In spite of the rain and coldness of the night he turned up in shirt sleeves, smiling and relaxed. His approach to the keyboard that night was anything but casual; stunning us with some of the best solos I have yet heard him play. For the second time in two months Alberto Santarelli was on bass and Frank Gibson was on drums. With these guys behind you good things can happen and Paul Nairn used them to good advantage.
In the coming months there will be a new Phil Broadhurst album released, ‘Panacea’. Broadhurst is an enduring musical presence, a backbone of the Auckland Jazz scene. Running the Massey School of Music Jazz programme in Auckland keeps him busy, but he somehow finds time to write interesting new material and to perform gigs about town. A prolific writer and arranger, he has released a number of albums in recent years and all have done well. His tribute to Michel Petrucciani ‘Delayed Reaction’ garnered favourable reviews here and offshore and his 2014 album ‘Flaubert’s Dance’ was short listed for a Jazz Tui.
poorly kept secret, anticipated and not puzzled over. As the band set up, the shiny pedal-steel guitar and the battle-worn fender dispelled any remaining doubts. The band was Phil Broadhurst, Roger Manins, Mike Booth, Oli Holland, Cameron Sangster and of course Neil Watson (AKA the mystery guest).
began the process of mechanically purging duplicate copies of old tunes. By this point all had been given titles and saved elsewhere. Rescued from the lonely obscurity of the ‘untitled’ nomenclature. As he deleted them one by one he spotted an anomaly. One particular tune was mysteriously labeled ‘untitled-untitled’. He opened it, liked the look of it but didn’t recognise it, so he played it. He recalls wondering who had written it until the penny dropped. ‘Untitled-Untitled’, the tune rescued in the eleventh hour, was later shown to Neil Watson who was wrangling with his new pedal steel guitar. There are so many levers to operate he complained to Broadhurst, who replied, “I think that you’ve just named my lost tune’. ‘Lever’ is a great tune and its improbable genesis gives it that added piquancy.
Auckland’s CJC (Creative Jazz Club) has created a Jazz Appreciation Month program with all of the above in mind. This week there is a B3 master from French New Caledonia, next week the globe-trotting genius of the keyboard Jonathan Crayford. Best of all is the long anticipated album launch of ‘Dr Dog’ on International Jazz Day. I feel lucky to live near a club that can present such wonderful artists. Grab this opportunity by the ears Kiwis, now is the perfect time to enjoy this music and above all share it with others.
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