Jazz on Lockdown ~ Hear it here series

My normal weekly post has been sitting in my ‘drafts’ folder for over two weeks. Since writing it,  my attention has been focused elsewhere.  Although in isolation, I am not referring to my personal situation but to the J JA ‘Jazz on Lockdown’ project which has rallied Jazz Journalists from every corner of the globe and asked them to respond collectively to the pandemic. My colleagues and I are now working together using an online workspace and our individual blogs may be delayed. Those who are able to have volunteered to join an editing working group as we grapple with the challenges of a fast-moving situation. This is a Jazz Journalists Association project aimed at keeping improvised music current and to get updates to and from countries on lockdown. 

Because of that, Spain first captured our attention. When the virus hit, a popular Jazz musician succumbed and soon every resident was under lockdown. As the virus spread, so did our focus and within days the problem had reached every country. One by one the great Jazz centres like New York closed and the iconic and much-loved Jazz clubs closed with them. When the city that never sleeps locks down, you know that you have urgent work to do. Jazz Journalists are not going to sit around moping; nor will we restrict ourselves to watching another era’s YouTube clips. It is the current musicians who need us the most. We are learning new ways of working and it is our intention to direct you to live gigs or the gigs of working musicians where we can. 

We need Jazz fans and Improvised alternative music fans to keep buying current albums. If there is a live-stream concert with a tip-button give them a few dollars. This is a new version of the pass-the-bucket tradition which goes back to the earliest days of Jazz. Many of the live-streamed concerts will be free, some could be pay-per-view. Buy their music and on Bandcamp or their website if possible. ‘Jazz on Lockdown’ will inform you of the links.  

Barry/Metheny/de Clive-Lowe/Alchemy/Smirnova/Martyniuk

The week before the virus arrived was a week of plenty in Auckland, but the above-named artists did not all appear in the same band. Nor at the same gig. They probably won’t mind if you think that though. Attending Ronnies a few years ago, I caught English pianist Kit Downes at the late show. This followed a sold-out earlier show featuring Kurt Elling. I informed Downes that my write up would begin ‘Elling opens for Downes at Ronnie Scotts’. He liked that. 

Arriving in a rush, as if waiting for the cooler weather came Pat Metheny, Steve Barry, Mark de Clive-Lowe, Alchemy, Callum Passells, Trudy Lyle, Simona Smirnova, and Michael Martyniuk gigs. As always, painful choices were required. 

Steve Barry Trio: Barry left Auckland many years ago; settling in Sydney and returning yearly to perform. Each time he visited there were new directions on offer, highly original material and each iteration offering glimpses of lesser-known composers. His recent albums have taken him into deeper waters still, moving beyond the mainstream. For those of us who like adventurous music, they have been compelling. Two albums were released last year. The first is on Earshift Music and the second on Rattle; both available on Bandcamp.  

‘Blueprints and Vignettes’ trod a path reminiscent of 60’s Bley; boldly striking out for freer territory and edging its way confidently into the classical minimalist spaces. That album was followed by ‘Hatch’ which is an astonishing album of stark pared-back beauty. It is an album pointing to new possibilities in improvised music. This concert felt more exploratory, with denser compositions and jagged Monk-like moments. He played one Monk tune halfway through and this reinforced the connection. 

Mark de Clive-Lowe: It was barely six months ago since de Clive-Lowe passed through Auckland during his ‘Heritage’ album release tour. He attracted capacity audiences then (and now). After years of living away from his home city, he is now reconnected to the Auckland improvised music scene and we hope that he will maintain that link. Having a room like ‘Anthology’ certainly helped, as its capacity is significant. During this tour, he treated us to a wider range of his innovative music; especially his Church Sessions. Showcasing the genre-busting underground gigs that he began in LA and which spread like wildfire throughout the world; giving fresh impetus to the improvised music scene and the endless possibilities looking forward.  

On tour with de Clive-Lowe was the respected LA drummer Brandon Combs. A drummer who can hold down a groove beat while working it every which way; able to interact intuitively with the electronic beats generated by de Clive-Lowe as he dances across the multitude of keyboards and devices. Together with locals Nathan Haines and Marika Hodgson, they created wizardry of the highest order. This artist is the wizard of hybridity and we are happy to remind people that he came from this city. Live re-mix, dance, groove beats, jazz, whatever: it has all been captured, mined for its essence and released for our pleasure.

Alchemy Live: This was the first live performance of the ‘Alchemy’ project. It followed the successful release of the eponymous album which got good airplay and deserves ongoing attention. The concept was the brainchild of producer Mark Casey and its realisation by the musical director and Jazz pianist Kevin Field. The pianist has created some truly fine Jazz charts and the assemblage of musicians he brought into the project brought it home in spades. The tunes have been selected from the New Zealand songbook. Perennially popular and chart-busting classics like ‘Royals’ and ‘Glad I’m not a Kennedy’. Artists as diverse as Herbs, Split Enz and Phil Judd. Because of mounting travel restrictions, several of the artists on the recording were replaced for the live gig. New to us, was Jazz student vocalist Rachel Clarke and she won us over that night.

Pat Metheny: This concert had been long anticipated and it was only the second time that he has appeared in New Zealand. In spite of the looming health scare, the town hall was packed. This was a retrospective of sorts as it featured his best-known tunes. Who would not want to hear a fresh version of Song for Balboa or the joyous ‘Have you Heard’? I loved the concert but two quibbles. I didn’t like the way the piano was miked and mixed except for one number. Gwilym Simcock is a great pianist. It would be nice to hear him in a trio and with an acoustically mic’d up Steinway. The star of the show (Pat aside) was bass player Linda May Han Oh. How stunningly melodic and how sensitive she was in each situation she encountered; solos to die for.

Simona Smirnova: This was Smirnova’s third trip to Auckland. By the time she had arrived in the country, people were becoming cautious about attending crowded gigs. She still attracted a good audience and those who did come were delighted with her show. The setlist was similar to her last year’s show but in the bigger Anthology venue, it sounded stronger. Smirnova interacts extremely well with audiences and they respond in kind. Her beautiful ballads (accompanied on the Lithuanian Kanklas) and her upbeat Slavonic styled scatting were the highlights. Her material is delightfully exotic, being an original blend of Jazz, Lithuanian folk music and beyond. Her voice is simply beautiful and her zither playing beguiling. She was accompanied by Auckland veterans Alan Brown on keys, Cam McArthur on bass and this time, Jono Sawyer on drums & vocals). I have some nice footage which says it best.

Michal Martyniuk: The last gig I attended before isolating myself was the Michal Martyniuk Trio. I did not have video equipment with me but I captured the concert in high-quality audio. I will post on that shortly and will be adding sound clips. You can purchase Michal Martyniuk’s albums at michalmartyniuk.bandcamp.com His ‘Resonance’ album review can be viewed on this site if you enter his name in the search button.

Jazz On Lockdown‘ posts will now move to the principle page and the Jazz on Lockdown page will feature information and links from around the world as the information comes in.

The lockdowns won’t stop jazz! To assist musicians who’ve had performances canceled, get their music heard around the globe. The Jazz Journalists Association created a Jazz on Lockdown: Hear It Here community blog. For more click through to
https://news.jazzjournalists.org/category/jazz-on-lockdown/.

The artists featured were:

Steve Barry (piano), Jacques Emery (bass), Alex Inman Hislop (drums),

Mark de Clive-Lowe (keys), Brandon Combes (drums), Marika Hodgson (bass), Nathan Haines (saxophones).

Marjan Nelson (v) Allana Goldsmith (v) Chelsea Prastiti (v) Lou’ana Whitney (v) Rachel Clarke (v) Kevin Field (piano), Roger Manins (saxophone), Mike Booth (trumpet), Mostyn Cole (bass) Ron Samsom (drums), Stephen Thomas (drums)

Pat Metheny, Gwilym Simcock, Antonio Sanchez, Linda May Han Oh

Simona Smirnova (v, Kanklas) Alan Brown (piano, keys), Cameron McArthur (bass), Jono Sawyer (drums).

Michal Martyniuk (piano), Cameron McArthur (drums), Ron Samsom (drums).

‘Alchemy’ Album Review

Alchemy2 (1)Have you ever heard one of New Zealand’s iconic pop songs and wondered how it would sound reimagined as Jazz? The journey from popular song to Jazz piece is a well-trodden path. Many tunes that we now refer to as ‘Jazz standards’ began their life as tunes written for broadway musicals or for the popular music market. For a tune to successfully cross that divide it needs to be well constructed and to lend itself to reharmonisation. With ‘Alchemy’, this elusive symmetry is realised.

In the late twentieth century, classic Beatles tunes or those of Michael Jackson, Prince and Stevie Wonder were effortlessly adapted as Jazz vehicles. If you hear Uri Caine, Brad Mehldau, Herbie Hancock or the Kiwi Jazz pianist Jonathan Crayford playing ‘Blackbird’ you might conclude that Blackbird was written with a Jazz pianist in mind. These crossovers are a tribute to the composer and to the transformational skills of arranging Jazz Musicians. Alchemy2 (3)

A few years ago the award-winning New Zealand writer/director/producer Mark Casey embarked on an ambitious project to recast a number of New Zealand’s best-loved pop songs as Jazz tunes. It was a significant and perhaps a risky undertaking but gradually the project gathered momentum. In mid-December, ‘Alchemy’ was released and immediately, it rose up the NZ music charts. This is a significant achievement but it is not down to Casey alone. His masterstroke was engaging leading New Zealand Jazz Pianist Kevin Field as the Musical Director. Field is not only a gifted Jazz Pianist and acknowledged Warner recording artist, but his skills as an arranger and vocal accompanist are beyond question. Creative New Zealand came to the party and backed the proposal.

As the project moved forward a variety of Kiwi Jazz musicians were approached, some working in New York, most local, and one by one they came aboard. When the album was about to be recorded, I was asked by Field and Casey if I would be interested in witnessing the recording process. I was. I seldom pass up a chance to become a fly-on-the-wall during recording sessions and this project fascinated me. Being an embedded observer in such situations is always intriguing. It affords a writer the opportunity to gain insights that would otherwise be invisible. As the musicians turned up to rehearsals and to recording day there was a palpable sense of enthusiasm. No one questioned Fields guidance as he tweaked the charts and made suggestions. And any sense of disconnect between the pop and Jazz world evaporated swiftly. This was not pop Jazzed up. It was Jazz, and although there were reharmonisations and Jazz rhythms, the integrity of original tunes remained intact.

In the recording studio were Auckland’s premier Jazz and Soul singers and a selection of experienced Jazz instrumentalists. On vocals were Caitlin Smith, Lou’ana Whitney, Chelsea Prastiti, Allana Goldsmith, Bex Peterson and Marjan Nelson. On piano and keyboards was Keven Field, Roger Manins was on tenor saxophone, Richard Hammond on electric and acoustic bass, Michael Howell on acoustic and electric guitar, Ron Samsom and Stephen Thomas on drums and percussion. In addition, there were two special guests, Michael Booth (trumpet) and Nathan Haines (soprano saxophone). This was serious firepower and thanks to the arrangements, all well deployed. The NY based ex-pat bass player Matt Penman had arranged tracks 7 & 12 and Marjan co-arranged tracks 4 & 8 with Field. Alchemy2

There are six vocalists on the album and they sing two tunes each. Careful thought had obviously been given to who would sing each song because the strengths of the individual vocalists were well matched to the tunes. For example, the warm but wistful lyricism of Chelsea Prastiti paired with ‘I’m glad I’m not a Kennedy’ (Shona Laing), the heartfelt reflectiveness of Caitlin Smith with ‘I hope I never’ (Tim Finn) or the engaging bell-like clarity of Marjan singing ‘Brown girl’ (Aradhna Patel). Together the musicians delivered something unique. This is a project which works and the more you listen to it the more you are beguiled. It is Kiwiana and it could be the perfect soundtrack for your summer.

‘Alchemy’ the album is available in New Zealand stores or from online sources. 

Dixon Nacey ~ The Edge Of Chaos

 

Nacey.jpgThis Dixon Nacey album has long been anticipated and although Nacey has previously recorded as co-leader, this is the first album to be released exclusively under his name. Nacey is firmly on the radar of Jazz loving Kiwis, but his fan base extends well beyond that. He is a professional musician of considerable standing, an in-demand teacher and in recent years the musical director of CocaCola Christmas in the Park. To up and comers he is a guitar legend and on this album, they have something to aspire to; twenty years of experience distilled into excellence.     

The material arose from his Master’s degree which focused on advanced compositional techniques and which was completed last year at the UoA Jazz school. In the process, he gained important realisations and applied these to his art. As listeners, a music degree is not needed as the album has visceral appeal. Just follow your ears and you will get to the heart of things, and that is the point of compelling Jazz performance. 

I have caught many of Nacey’s performances over the years and they never disappoint. I have also gained a sense of the man. He is generous, open-hearted, enthusiastic and very hard working. He takes his craft seriously, but never at the expense of his human qualities. All of the above are evident in his warm playing. The man and his music are not separate. He was aiming at a modern sound here and he has achieved this beautifully and done so without a hint of contrivance. This is how guitarists sound post-Rosenwinkel or Moreno, but he has made the sound his own. A more exact equivalency would be to place him alongside the top-rated Australian guitarists. Price (1).jpg

On the album, he is accompanied by former colleagues and friends and it reminds me how lucky we are to have such musicians in our city. Keven Field on Rhodes and piano, Roger Manins on tenor saxophone, Olivier Holland on upright bass and Andy Keegan on drums. One track features Chelsea Prastiti and Jonathan Leung on vocals. With friends like this to help him realise his vision, he has received an added boon. They are all in peak form here and Rattle Records has also done the artist proud. Steve Garden and UnkleFranc you are extraordinary.

The launch at the CJC Jazz Club, Anthology room had Alan Brown on Keys and piano instead of Keven Field. I looked into my database and learned that it was exactly six years ago to the night that Dixon Nacey led a band at the CJC, and as it was last Wednesday with Alan Brown on keys. It was a great night filled with enthusiastic applause as everyone bathed in the vibe; and the soaring runs which glissed and glowed like silken fire. As well as numbers from ‘The Edge of Chaos’ album we heard a few earlier Dixon compositions like ‘Sco’ and ‘The all Nighter’. I have posted a video of The all Nighter from the gig – how could I resist. To listen to a sample of the album go to Rattle Bandcamp where you can order a hard copy or download it in any format. Try a sample track and you will certainly buy. And while you are at it, take time to reflect on our extraordinary musicians. 

The gig took place at Anthology for the CJC Creative Jazz Club, K’Road Auckland, 16 October 2019. Purchase the album from Rattle Records Bandcamp

Keith Price ‘Upside Downwards’

coverCanadian Jazz guitarist Keith Price is a welcome addition to the Auckland scene. He brings with him fresh ideas and a musical connection to his hometown. Manitoba is associated with Lenny Breau and Neil Young who both grew up there. Perhaps it’s the proximity to the open spaces which echo in the music, that wide-open sound (and in Young’s case an overlay of dissonant melancholia)? Whatever it is, it certainly produces distinctive musicians. Lenny Breau is an important Jazz guitarist and one who is sadly overlooked, Hearing Price’s respectful acoustic homage on Wednesday, cast my ears in that direction again.  

Before moving to New Zealand, Price recorded a collaborative album in his home state of Winnipeg and that material formed the basis of what we heard last Wednesday. While the album features Canadian musicians, it was released on our premier Kiwi label Rattle. ‘Upside Downwards’ is a terrific album and from the first track, you become aware of how spaciousness informs the compositions, a note placement and phrasing which allows the music to breathe deeply. This feeling of expansiveness is also underscored by a certain delicacy. In the first track especially, you marvel at the touch; the skilfully deployed dynamics grabbing your attention, but it is the artful articulation of Price’s playing that is especially evident. Listening through, it impossible not to feel the presence of the open plains and of Lenny Breau. 

The co-leaders are perfectly attuned to each other throughout; playing as if one entity. There are no ego-driven flights here and in that sense, it reminded me of an ECM album. I had not come across either the pianist or the drummer before but they impressed deeply. From Jeff Presslaff, that delicate touch on the piano and the ability to use a minimalist approach to say a lot. The drummer Graydon Cramer a colourist and musical in the way Paul Motian was.  

Wednesday’s gig was in part an album release, but Price also traversed earlier albums and played a short acoustic set. The album was a trio, but this time he brought four of Auckland’s best to the bandstand. The quintet format worked beautifully and his bandmates were clearly enjoying themselves. These guys always sound good, but it felt like they there were especially onboard for this. In the acoustic set, Price played what looked like a Martin (a Breau and a Young tribute). The other standard was a killing arrangement of Wayne Shorter’s Ju Ju. Why do we not hear that more often?

When setting up my video camera I made the mistake of locating myself near the bar and because of that, there is bleed-through from the air conditioners (the curse of all live recordings). The sightlines are also poor from that end. Never-the-less, I have put up a clip from the first set titled ‘Solstice/Zoom Zoom’. It was worth posting in spite of the defects. I have also posted a sound clip from the album titled ‘6 chords commentary’.  

Album: Keith Price (guitar), Jeff Presslaff (Piano), Gradon Cramer (drums)

Auckland Quintet: Keith Price (guitars), Kevin Field (piano), Roger Manins (tenor saxophone), Olivier Holland (upright bass), Ron Samsom (drums). Anthology, CJC Creative Jazz Club, K’Road, 09 October 2019. Recoding available at Rattle Bandcamp.

Reuben Bradley ~ Shark Variations

SharkPost Trump’s inauguration, improbability is the new normal and in keeping with the mood of the times Wednesday’s gig emerged from improbable beginnings. It began with an international cat rescue mission, an attempt to thwart a ‘catricidal’ former neighbour. Before the mission had even been concluded a subplot had emerged; one involving the inhabitants of three cities, two countries, and assorted sharks. Those familiar with Reuben Bradley will not be surprised at this turn of events as he’s known for his humour, good nature and above all for his ability to turn improbable adventures into really good music. ‘Shark Varieties’ is a drummer led trio and a vehicle which showcases a bunch of the leader’s original tunes. It also showcases a joyful reunion.

The Shark Variations album was released by Rattle in 2017 and it followed a successful tour by the band a few months earlier. Bradley was in the process of moving to Australia at the time and he was keen to record with longtime collaborators Roger Manins and Bret Hirst. He needed to do this while they were all in the same place and this was his best window of opportunity. Hirst is an expat Kiwi who lives in Sydney, Manins is based in Auckland and Bradley was at that point, about to head for the Gold Coast. Because of their shared history, the musicians knew exactly what they were aiming for; an open-hearted collaborative and spontaneous expression of their art form. That they realised this vision will be apparent to those who listen to the album.

As a leader, Bradley never shies away from an opportunity to leaven his gigs with humour. He tells jokes against himself (the trademark of all good Kiwi humour) and as you peruse his tune titles you find a plethora of throwaway lines and in-jokes. During live gigs, the titles become hilarious stories and his delivery is always pitch-perfect. Improvising musicians frequently tell an audience that the title came after the composition and that they struggled to name tunes. In Bradley’s case, I suspect the reverse is true; that a series of off-beat incidents have stimulated his already vivid imagination and the incidents become the catalysts for his compositions. ‘Wairoa or L.A.’ ‘Wake up call’ Makos and Hammerheads’ are all examples, the latter giving rise to the title, in spite of the fact that he could only name two shark types (which he felt was more than enough). 

Humour aside, this is seriously good music. Bradley is a gifted and popular drummer and musicians love having him alongside. It is therefore not surprising that he would choose these collaborators. Manins is undoubtedly the best known contemporary New Zealand saxophonist and a musician whose formidable abilities are attested well beyond these shores. Hirst left New Zealand many years ago and is regarded as a bass heavyweight on the Australasian scene. He is frequently found performing with Mike Nock and his resume includes playing alongside James Muller, Greg Osby and other notables. 

The reunion gig took place on a cold wet Auckland night and many gladly braved the chill to get a piece of this. I have put up a video from the gig titled ‘Wake up Call’, which Reuben assured the audience had only the thinnest connection to an actual wake up call. In keeping with the ‘spirit’ of the gig, I miscalibrated my camera and the resulting shot turned Bradley and Manins into ghosts. The album is available from Rattle Records. The gig took place at Anthology, for the CJC Creative Jazz Club, 02 September 2019. 

Footnote: The cats were rescued safely and after an unfortunate travel accident they both found asylum abroad.

Eve de Castro-Robinson ~ The Gristle of Knuckles

Eve de Castro-Robinson is Associate Professor of Composition at the University of Auckland. She is well known as a New Zealand classical composer and although widely acknowledged in that field, she is strongly associated with the improvising and experimental music community.  Those who attended the CJC Creative Jazz Club last Wednesday witnessed the scope of her compositional output, with compositions interpreted by a plethora of gifted improvisers. The night was a rare treat.  Last year de Castro-Robinson released an album titled ‘Gristle of Knuckles’ and on Wednesday we experienced a live performance. When introducing it she explained, ‘although I am described as a contemporary classical composer, I am best placed at the ‘arts’ end of that spectrum’. In this space genres, overlap and artificial barriers are torn down. Out of these collisions comes original and vibrant music.

While de Castro Robinson is primarily seen as a composer, she is also an enabler and a canny collaborator; expanding her vision through skilled pedagogy. The above project has her engaging with colleagues from the UoA Jazz school plus a handful of gifted musicians from the diaspora of the avant-garde. The project comes close to being conduction; guiding the improvisers with a feather-light touch, letting them find their truth as her works are re-imagined.  The pieces were composed over a period of years, taking us on a journey from the primal to the avant-garde.       

The first set opened with Roger Manins and Ron Samsom playing ‘Doggerel’. A multi-phonic utterance which set the mood. That was followed by a moving ensemble piece featuring Don McGlashan, Kingsley Melhuish, Keith Price, Kevin Field and Ron Samsom titled ‘The Long Dream of Waking’ (a Len Lye poem). That juxtaposition, duo to quintet, worked well, in fact, most of the compositions were quite unlike those preceding them. These contrasts were an integral part of the ebb and flow and the contrasts worked to the advantage of the whole. There was also another factor in play and it was significant. Between numbers, de Castro-Robinson introduced the pieces, not in the usual way but by telling stories. She has a terrific stage presence and while I shouldn’t be surprised by that, I was. Her talk is peppered with wry humour, that understated self-deprecating Kiwi humour. She quickly had us eating out of her hand and although not playing an instrument, was very much a performer herself. 

Everything was interesting, everything engaged. ‘Twitch’ featuring Kristian Larsen, a piece for piano (but kinetic and expansively sonic),  ‘Passion Flower’ played by Kevin Field, a work inspired by a painting and by ‘The March of Women’ composed by the suffragist Ethyl Smyth. The original is a feminist classic but under Fields fingers de Castro-Robinson’s tune it took on a moody reverential feel. Consciously or unconsciously and deep inside the voicings, it captured the mood of another ‘Passionflower’ the Billy Strayhorn masterpiece; a perfect alignment in my view. ConunDRUMS featured Samsom, Melhuish and Larsen, a delightful percussive exploration, a sculpture. ‘Stumbling Trains’ a fiery piece on cello played by Ashley Brown of NZTrio (and co-composed by him). Check out the embed and above all go to the Rattle site and check out Field’s interpretation of ‘Passion Flower’.

 

The second set opened with ‘Countercurrents’ a solo piece played by alto saxophonist Callum Passells. It began in a stairwell and moved among us, resonating beautifully as the figures and melodies filled the room progressively. ‘Small Blue’ had Field, Melhuish, Price and Samsom paired (a Tuba taking up a bass line), ‘Hau’ featured Mere Boynton on voice and crystal and Melhuish on Taonga Puora. This particular piece was a standout. An ancient-to-modern story of the passing of the spirit and told in a way that evokes New Zealand’s pre-colonial past. I defy anyone to listen to this and not experience a shiver run down the spine.  ‘Trouble Trouble Mind’ brought McGlashan back to the stage with Boynton, Price and Samsom. With two guitars a backing vocal and a raw bluesy feel, this was prime McGlashan territory. The vibe here hinted at a Dunedin punk sound. Rattle records Steve Garden also took to the stage with an array of vocal sounds on ‘The Gild’ (we often spot him launching a Rattle album but we forget that he is a drummer. His percussive vocalisations added quirky additions to the interactions between Samsom and Larsen).

On the face of it, the gig was a collection of interesting compositions, but it also felt a lot like theatre. However you describe it, it was great performance art and the audience loved it. The album can be purchased from Rattle at Bandcamp (as hard copies or high-quality downloads). The musicians were; Eve de Castro-Robinson (compositions and narration), Don McGlashan (guitar and voice), Kevin Field (piano), Roger Manins (tenor saxophone), Ron Samsom (drums and percussion),  Kingsley Melhuish (conches, tuba, Tango Puora, tenor horn), Kristian Larsen (piano, live sound, gilded cello), Kieth Price (guitar), Mere Boynton (voice, crystal glass), Steve Garden (sounds), Callum Passells (alto saxophone), Ashley Brown (cello).  The gig took place at Anthology, K’Road, CJC Creative Jazz Club, 28 August 2019.

Richard Hammond + Friends

R HammondSubject to availability, Richard Hammond is the kind of bass player that you would consider first for an important gig or recording.  He is known for his musicality, authenticity and above all for his deep groove. His upright-bass chops are immaculate, deep in-the-pocket; his electric bass, as punchy as a kicking mule. It is therefore unsurprising that he works among the elite ranks of New Yorks first-call session musicians. He also gigs around NYC, tours with well-known vocalists and works on shows like Hamilton.  Sometimes, when the luck falls our way, he visits Aotearoa. This time he returned primarily to play bass at Nathan Haines ‘Shift Left’ Civic Theatre gig.  The above show has garnered rave reviews. 

Hammond has real presence and his human qualities shine through all that he does.  I refer there to his warm and engaging persona, his instinctive friendliness and generosity. I mention those qualities because they appear to inform his playing. In his case, the man and his music are as one. Of late this has been a theme in my posts. I find myself increasingly looking inside the music to see if I can locate the human being behind the instrument. Seeking a musicians ability (or inability) to show us something of themselves. Such a manifestation can change a listeners perception and with improvised music, it is the bread and butter of good interactions. Hammond spends most of his time in the studio but he has never forgotten these essential communication skills. In live performance, this can be critical. It could be termed as ‘character’ and inevitably it feeds musical choices. A room filled with notes is one thing, but a room bubbling with musical life is quite another.

The setlist was a tribute to Hammond’s homeland. Apart from the two tunes written by a US musician, the rest were composed by Kiwis.  It was great to hear these tunes reprised and especially with a fresh and fired-up lineup. The most significant contributor was Kevin Field whose talent for composition and arranging is well known. Nothing appears to unsettle Field. At one point the sound was lost from a monitor (and from the piano). He immediately moved to the Rhodes and as usual, played at the top of his game. I have posted the version of his tune ‘Good Friday’. A familiar tune with numerous iterations but perhaps, never played as joyfully as this; the bass lines from Hammond giving it supersonic lift-off. 

The band were Richard Hammond (electric and upright bass), Kevin Field (piano and Rhodes),  Michael Howell (guitar),  Roger Manins (tenor saxophone), Stephen Thomas (drums) and guest vocalist Marjan. Together, they celebrated aspects of New Zealand improvised music’ much of it upbeat and funk orientated. Marjan showcased some of her own tunes plus a well known New Zealand tune ‘Brown Girl’ which had been reimagined as a Jazz tune by Kevin Field (more on that in a future post). 

This is Hammonds third visit home in as many years and I hope that he makes it a regular fixture. We seldom hear electric bass like that.  The gig took place at the CJC Creative Jazz Club, Anthology, K’Road, Auckland, New Zealand on 21 August 2019