Anthology, CJC Creative Jazz Club gigs, Guitar, Post Bop

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.

Anthology, Beyond category, CJC Creative Jazz Club gigs, experimental improvised music

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.

Anthology, Avant-garde, Beyond category, CJC Creative Jazz Club gigs

Elsen Price (Aust)

Elsen Price (5)Two bass, two drummer gigs while not unknown usually occur in service of a chordal instrument or of a horn line, and when a solo bass concert occurs, an audience is frequently shown ‘cleverness’. On this occasion, the bass of Elsen Price freed the instrument from the narrow confines of the standard rhythm section or the conventional solo bass repartee; instead, exposing the beautiful resonances and the reach of the instrument. This was sublime music and complete unto itself. It celebrated a gifted musician and a wonderful instrument but without displays of egocentricity. The feat was achieved by inviting us inside the music, and into a sonic cornucopia. We listened and we were captivated.

Life is full of unexpected sonorities and if we believe ourselves to be familiar with them all we are deluded. It is a paradox of modern life that popular music, while prolific, is cursed by formula-driven compositions. On Wednesday, Price and his ensemble teased the new from the familiar. Each instrument adding colour-tones and texture. Hands, fingers, ‘broom’ sticks, standard sticks, mallets, all deployed to good effect. Clicks, taps, scrapes on parchment, rim shots, gongs, bells and balloons under cymbals. And Price leading the way; a conduction answered by each musician and often in unison; acts of collective intuition. 

It is rare to hear Jazz arco bass played so well, it filled the room and swelled, but during the pizzicato passages Price was equally stunning. He is clearly a master technician but this was not about chops. He oversaw the ensemble as a true democrat, giving space and responding to the others. The first set was solo bass. Here Price showed us the breadth of his vision. He employed a looper peddle and would set up a drone or a motif. He would play counterpoint, either arco or plucked, sometimes creating a second loop over the first. He did not rely overly on the live samples, but harnessed them for discrete passages and always under his precise control. 

What we experienced in the second set were energised permanences by Price and his ensemble. Each revealing in their own way what lay deep within the music. That particular set ran a full hour and without interruption. It was a composition for improvisation but with no music on display and as far as I’m aware, no prior rehearsal. Price guided them with gestures or by changing pace. For these types of gigs to work well, the combined energies must feed a room. Music like this leans heavily on interplay, an intuitive reading of cues and deep listening by the musicians. Such high wire acts can easily falter, but this didn’t. That the terrain was navigated so effectively is because the right people were in place on the bandstand. 

Besides Price, on the second bass, was Eamon Edmundson Wells. Although the youngest member of the ensemble he is well versed in playing avant-garde situations. He would be among the first you go to for anything adventurous and he always delivers. On drum kit was Ron Samsom and it was pleasing to have him on this gig. Nothing daunts him and he has few stylistic limitations. He clearly relished the opportunity to play in the ensemble and to interact with another drummer. As he initiated cymbal scrapes, tapped with mallets and scuffed the ‘broom’ sticks the textures richened. This was colourist drumming of the best kind; extending the kit beyond the role of mere timekeeping. On hand drums and percussion was Chris O’Connor; the drummer most often seen in line ups like this. His ability to move seamlessly between genres is legendary; in these situations, he adds inestimable value. With O’Connor you get an ‘Art Ensemble of Chicago’ experience; all the tiny bells and gongs and with each one appearing exactly where it should for best effect.

Gigs like this can sometimes be difficult for audiences, especially those unfamiliar with a freer type of music. In this case, the audience showed enthusiasm, obviously enjoying the experience.

Elsen Price (upright bass, looper), Eamon Edmundson Wells (upright bass), Ron Samsom (drums), Chris O’Connor (drums, percussion) @ Anthology, CJC Creative Jazz Club, Auckland 14 August 2019

Anthology, CJC Creative Jazz Club gigs, Straight ahead

Kushal Talele

Kushal (3)It was four years ago and almost to the day, that Kushal Talele was last at the CJC. Then, as now, he had just returned from a long period overseas. I heard him for the first time then and I was impressed. That was in the cellar of the 1885, a place now a fond but distant memory. A few days ago he returned to the CJC and although he played with a different band, his unmistakeable upwards trajectory was evident. There is nothing unduly flashy about Talele as he radiates calm and absorption. At the microphone, he talks quietly, but there is passion in those subdued tones.  

It is especially evident when he plays, as you are taken directly to melody and it’s heartfelt melody carried on his distinctive sound. There were many influences evident last time, but on this gig one thing was clear. We were now hearing something closer to a modern New York tenor sound; the tonal qualities, the clarity of articulation when in full flow. On ballads, however, there was a hint of vibrato and at the end of phrases, the merest whisper of breath. Taken as a whole package, these stylistic approaches are appealing. 

Talele does not play at high volume, or at least he didn’t on this gig. He stood back from the microphone and this emphasised a number of acoustic subtleties. Small flurries, slight changes in modulation, nothing demanding greater amplification. Playing at lower volume allowed for more interplay and the conversations between instruments were more nuanced. There was however one uptempo number and to everyone’s delight, that channelled a bebop vibe. 

Talele’s compositions were also noteworthy and most of the tunes we heard were originals. In all of those, it was the melodic arc which grabbed your attention. Harmonically, they leaned toward romanticism, but every voicing was in service of the melody. Reinforcing this was his rhythm section, drawn from among the finest that Auckland has to offer; Kevin Field, Olivier Holland and Ron Samsom. Having the piano away from the bandstand is at times a little disconcerting, but Field always makes the best of any situation. He made that white piano sing and because the sound was well mixed, the proximity of the piano was not an issue.

This was an enjoyable gig and I hope that Talele gets to stay a while. New Zealand and Australian saxophonists are gradually developing their own distinct thing. They absorb what they hear elsewhere and bring an antipodean perspective to it. Perhaps a bit of the Chris Potter vibe, so evident in players like Talele will accelerate that process. 

Kushal Talele (tenor saxophone), Kevin Field (piano), Olivier Holland (upright bass), Ron Samsom (drums). The gig took place at Anthology, CJC Creative Jazz Club, Auckland 7 August 2019.   

Anthology, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Post Millenium

The Committee (Mat Fieldes)

CommitteeThe original  ‘Jazz Committee’ was formed while bass player Mat Fieldes was still living in New Zealand. Back then he had quite a few fans, and many who remembered him turned out for his recent CJC gig.  Anthology, the new CJC venue, was packed to capacity and that was good news. A lot of water has flowed under the bridge since Fieldes left and New York has long been his base. When he arrived in that city 25 years ago he studied at Juilliard. From there he went on to establish a solid career that spans genres and continents. He has played with symphony orchestras, on Broadway and with out-jazz musicians like Ornette Colman. He is a master of fusion and comfortable with Hip Hop. That he is always in demand is a tribute to his abilities as the US music scene is extremely competitive. It is apparent to me, that our New Zealand bass players do very well in hothouse environments (e.g. Fieldes, Hammond, Penman).

It is not often that Fieldes gets back here as he has a busy performance schedule, but this time he was open to doing some local gigs. The vehicle, a collective, was an updated version of the ‘Jazz Committee’ now simply called ‘The Committee’.  In its new incarnation, Fieldes is on upright bass and electric bass, Dixon Nacey on guitar, Roger Manins on tenor and Ron Samsom on drums. The program was fusion heavy or as Fieldes put it, ‘I don’t know if this is Jazz, I’ll let you decide’. Manins clarification muddied the waters further. ‘If you like it then it’s Jazz, and if you don’t, then it’s still Jazz’.

It was a compelling grab you by the collar type of music; it was punchy, improvised and drawing upon many streams; tilting towards an updated but funkier Return to Forever or Electric Miles vibe. Many of the tunes were Fieldes but the others submitted originals as well.  Among them, Samsom’s funk offering, Nacey honouring Scofield and Manins showcasing his wonderful tune, Schwiben Jam (see clip). That tune featured on last years ‘No Dogs Allowed’ album and I am happy to see it in this setlist. Occasionally, I hear a tune that could become a standard or at the very least a local standard. Here it was in a different context and with Nacey and Fieldes steering it into fresh waters. It was immaculate and I hope that I hear it played often (perhaps, with Rhodes fills for additional texture and Nacey as a must-have).  

It’s always interesting when the diaspora of improvising musicians return.  They bring with them the stories of their new home and the influences of those who they’ve played alongside.  It is also instructive to see how they interact with their old bandmates (and some new ones). If last Wednesday is anything to go by, the answer is, very well.  This type of gig is increasingly important in our fast burgeoning scene. We have hit a sweet spot and the audiences are responding. When artists like Fieldes return there is cross-pollination. As a consequence, we are enriched. And just maybe, some of that essence finds its way back into the New York scene.  

Committee: Mat Fieldes (upright & electric bass), Dixon Nacey (guitar),  Roger Manins (tenor saxophone), Ron Samsom (drums). The gig was at Anthology, K’Road, Auckland, 19 June 2016

CJC Creative Jazz Club gigs, Groove & Funk

‘Shuffle’ on Tour

Shuffle (6).jpgI reviewed the ‘Shuffle’ album in January and the band is now on the road, sharing its groove throughout the North Island.  As they passed through Auckland I attended the second gig, but this presented me with a problem as a reviewer. When you’ve already done a review, you don’t want traverse ground you’ve covered, and in addition, reaching for superlatives has its limits. During the live performance, the answer presented itself via my friend Stuart.  He and I have had this album playing constantly; in our cars and on our HiFi’s. In my case, I’ve sampled tracks on trains and while waiting in a supermarket queue.  It is that sort of album; addictive to a fault and quickly becoming an indispensable friend in times of need.  Last Wednesday we listened to the first number and as the set progressed, Stuart nudged me and whispered. ‘These are standards to us’ and he was right. 

We knew the head arrangements off by heart in the way you do for Stella or Autumn Leaves; everything internalised and ready for triggering before a single note was played. We knew the track order, we knew the rhythms – the tunes and arrangements. There were no official standards on the album but that was immaterial. The Shuffle tunes are memorable, danceable, filled with melodic hooks, and our minds raced ahead of the lines in anticipation; delighting at each newly improvised line; mentally comparing them to the album forms.

This is what happens with Jazz standards. We love the originals but we never want to hear a band slavishly repeating the material note for note. The crazier the interpretation the better. Performing mental gymnastics during an intro and gasping in delight as a key phrase or line hints at the destination.  That Roger Manins, Ron Samsom, Michel Benebig, Carl Lockett and stand in-guitarist Neil Watson achieved this with an album of originals was remarkable. Naturally, such a singularity is not a lucky accident but the result of good compositional skills and fine musicianship. In a troubled month, we have all needed good-hearted friends to lean on and what better friend than a Shuffle. Lockett is temporarily lost again as he wisely has no engagement with social media. Having Watson step in was inspired, as he brought the core Shufflers a new perspective. Crisp drums, deep organ grooves, stinging blues, and crazy horn lines. Shuffle is a wonderful band and I have no doubt that they will bring pleasure for years to come. An assembly of ’emerging standards’ winging their way across the land and demanding acceptance for what they are.  

The January Shuffle Album review is on this blog site or located at https://jazzlocal32.com/2018/12/18/shuffle-manins-samsom/

Definition of a Jazz Standard: Part of the repertoire of a Jazz musician, compositions widely known, recognised by listeners and played often by Jazz musicians.  Maybe Stu and I are not alone here.  These tunes will be performed often and when others recognise them as we do – they will become standards.

Roger Manins (Tenor saxophone, compositions), Ron Samsom (drums, compositions), Michel Benebig (Hammond Organ, compositions), Neil Watson (guitar) @ Backbeat, CJC Creative Jazz Club, 17 April 2019

Backbeat Bar, CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Jazz Journalists Association, World Jazz Day/Month

Neutrino Funk Experience / Music Soup & the ​healing vibe

Neutrinos (2)March fifteenth began as good days should, with sunshine, a cool breeze off the ocean, and a message from a Jazz Journalist colleague in Australia. ‘Would I like to meet some award-winning Greek Jazz musicians’? I had stuff planned, but the plans were easily shelved and I drove from my leafy hilltop retreat into the city. The musicians had flown into Auckland to join a passing cruise ship and were only in town for eight hours. Ahead of them lay four months of playing standards, original material (if lucky), and the inevitable but often regrettable requests. We met up in a central city cafe. ‘John’, they yelled as I walked around the corner. For the briefest second, I wondered how they had recognised me, ascribing it to a Jazz sixth sense, then remembering my tee shirt was emblazoned with the words Prahu Jazz. We introduced ourselves, and headed for the waterfront at my suggestion, chatting as if we’d known each other for years. That’s the way in the Jazz community. You travel to a place you’ve never been before and someone will message you with the contact details of ‘cats’ to hang with. Such hangs generally follow a well-trodden path. ‘Do you know this or that cat – killing?’ Always followed by outrageous road stories and laughter.     

Evgenia Karlafti is a B3 organist, pianist, and vocalist. Her husband Nester Dimopoulos is a guitarist. They were joined on the cruise by Argentinean bass player Julia Subatin and Mexican drummer Gerardo Lopez. Everyone spoke English which is lucky because I have no Greek or Spanish. After hours of discussing music, the topic took a political turn. Earlier the musicians had made a point of referencing the peaceful laid back Auckland vibe. I recall boasting that our geographical isolation, independent foreign policy, and nuclear-free legislation protected our Island from many of the problems besetting other parts of the world. “We are an independent social democracy very like Norway,” I said, little realising how strong the synergies were. I pointed towards the Pacific ocean at our doorstep, adding, “trouble is inclined to lose its way long before it reaches our shores”. We discussed the Greek political situation and I asked how the Syrian refugee situation had impacted on everyday life. We discussed compassion and the problem of compassion fatigue. We discussed Turkey and the unhelpful belligerence of President Recep Erdogan. Neutrinos (3)

Evgenia and Nestor promised me a physical copy of their latest album titled ‘Cut to the chase’, messaged me a link and we agreed to meet up again when the ship was in port next. After we had parted I grabbed my phone and listened to a track from their album titled ‘Senior Citizen’. Perfect. As I drove home I recall thinking that this was a day among days and then I turned on the car radio. The news spoke of an attack on a Muslim community. I am used to hearing such reports. Tragedies which occur elsewhere – reported on by Christiane Amanpour or Lyse Doucet. In this case, I heard a tearful Kiwi voice. Had one of our foreign correspondents been caught up in a terror attack in London or Paris? The word Christchurch soon dispelled that notion and numbness set in as more facts emerged. A massacre of fifty innocents was happening on our soil and perpetrated by an Australian Neo-Nazi white supremacist. The carnage had started at around the exact time I was boasting about our immunity from such horrors. I don’t remember driving the rest of the way home.

Our amazing Prime Minister set the tone for what followed while we glued ourselves to the TV sets silently grieving. Why here we all asked and the Prime Minister gave us the answer we needed.  For those of you who are watching at home tonight, and questioning how this could have happened here, we, New Zealand, we were not a target because we are a safe harbour for those who hate. We were not chosen for this act of violence because we condone racism, or because we are an enclave for extremism. We were chosen for the very fact that we are none of those things. Because we represent diversity, kindness, compassion. A home for those who share our values. Refuge for those who need it. And those values will not and cannot be shaken by this attack”. Norway and New Zealand were now linked in more ways than I had ever imagined. 

The next day New Zealand fell silently numb as people watched TV or visited the local mosque with flowers and cards. The Prime Minister’s words “They are us” rang out as we donated millions of dollars to the survivors and their families. Biker gangs offered themselves as bodyguards and our sadness grew as we contemplated the fifty innocents slain in our midst. Powerful images flashed across our screens. Jewish Rabbis, Imams, Anglicans, Catholics, Buddhists, Hindus and Coptic Christians arm in arm outside the Mosques. For the first time, our police carried weapons in public as our terror alert went from low to high. It had never been anything else but low. The unusual spectre of armed police, softened by the policewomen wearing headscarfs and clutching roses to their weapons. An entire nation heard the muezzin call the Adhan when the Islamic prayer rang from our Parliament the next day and from our public broadcast outlets. Surely, one of the most beautiful and evocative pieces of music ever conceived. For a day, following the lead of the Prime Minister, secular and Christian woman donned the hijab out of respect.  

This was an outrage hard to talk about; it was so new to us and so raw. We let the images guide us through our grief and as if urged by an unspoken force, started to debate our colonist past. The evils of racism and wrongs yet to be righted. Some days later I was back in our local Jazz club and the place was packed. There was no mention of the horror but it hung in the air. We had come there to be transported and to heal. Albert Ayler put it well when he said, ‘Music is the healing force of the universe’. On offer was Ron Samsom’s much-loved band ‘The Neutrino Funk Experience’. The band, understanding the vibe went absolutely wild as they sent their crazy danceable tunes heavenward. They turned happy into crazy happy and the barman, moved by it all, turned on the rock-effect strobe lighting. Each funk ridden note healed our bruised souls. We didn’t need overly complex or sad tunes; we just needed this.

Ted Gioia recently tweeted a finding by scientists, indicating that music may possess mass. A day later I read a piece by a prominent scientist reminding us of the absolute interconnectedness of life forms. It is likely then, that music is the glue; music that most ancient of languages. In my world, improvised music is super glue and the balm for all life’s ills.  I have played both the Neutrino Funk Experience album and the Music Soup album endlessly during the last few weeks and with each hearing, my belief in humankind restores.  

Dedicated to the victims of the Christchurch Massacre and to the musicians who heal us.  

With thanks to Rom Samsom, Roger Manins, Grant Winterburn and Cam McArthur of The Neutrino Funk Experience & to Evgenia Karlafti and Nestor Dimopoulos of Music Soup.