Avant-garde, Beyond category, CJC Creative Jazz Club gigs, experimental improvised music

The Circling Sun – midsummer heat

Circling Sun 096As a group of the worlds leading astrophysicists excitedly ran one last check. At the precise moment that the astonishing mathematical proofs confirmed Einstein’s theory of ‘gravitational waves’, the Circling Sun hit the CJC. This rare cosmic event released fresh gravitational waves which pulsed throughout central Auckland; altering the molecular structure of any ear within radius. It was an appropriate evening for the Sun to manifest this ‘climatic singularity’, preceded as it was by a dog-day as hot as any on record.

There are five musicians in the Sun – four human and one android. On tenor saxophone, doogan & keyboards was Cameron Allen, on drums & electronics was Julien Dyne, on pedal steel guitar & electric guitar was Neil Watson and on electric & acoustic bass was Rui Inaba. When fine musicians like this play out-crazy music, influenced by sources as diverse as Yusef Lateef, Alice Coltrane, Mulato Astatke and Tom Waits, you know you are in for a wild and danceable ride. The doogan is a cunningly contrived android, assembled from antique parts and loosely controlled by Allen. It is an independent minded machine often exceeding the prime directive; a mechanical and musical ‘singularity’.Circling Sun 086The Circling Sun is more a phenomena than a group. They defy musical form and yet exist convincingly in their own orbit; circling an altered reality. As with all wonders there is much to appreciate. The intricacy of their many machines, the indelible sonic footprint and the sheer joy they bring. I took some guests down to the club that night. Flamenco artists Isabel Cuenca and Ian Sinclair (and Ian’s wife Zarina). I wondered how they would react to this wild unconstrained mix of free improvisation and world beat psychedelic Jazz. Isabel the Flamenco dancer was quick to respond. ‘This is amazing, it has deep passion’. Passion is the heart of many musics and like authenticity it is a vital component. Long live the avant-garde – long live passionate music – whatever the genre.Circling Sun 093In his seminal work “This is Your Brain on Music’ neuroscientist Daniel Levitin reveals the following. ‘A liking for dissonance is a development arising from deeper listening and on attaining musical maturity. A very young child prefers consonance over dissonance, the mature listener increasingly values contrast and enjoys having expectations confounded. After spending time listening to deeper or more complex music, lightweight consonant passionless music becomes boring. There is a neural basis for this’.

Instinctively, the Circling Sun understands this and they feed audiences a healthy diet of dissonance. At one point Watson called down thundering chordal dissonance (as the drum beats rained like Thor’s hammer and the keyboards created strangely intricate figures while the bass overlaid danceable grooves) . As Watson repeated the two chords over and over he varied them ever so slightly. It was recidivist mayhem, but there was a logic, a cosmic logic and a deep raw beauty in the onslaught. I loved every moment of it as I reeled from the sonic blows. Adding to the excitement was a strong kinetic effect, Watson dropping lower each time he struck the strings. Dyne dancing all over the kit. This was Ceramic Dog territory and done to great effect. Levitin talks of this also. ‘Experienced listeners often get more out of live music than recorded, because they read the musicians body language in micro detail. The body language of the musicians sharpens the listeners expectations’.Circling Sun 090The Montreal born Dyne was just the drummer for a band like this. His musical credentials are impeccable. His expertise extends well beyond the kit to that of producer and forward-looking experimentalist; electronic future beats, hip hop, house, afro beats, boogie funk and instrumental jazz. His work with Ladi6 has brought him to wider attention, but his own Lord Julien recordings and his deeply funky ‘Down in the Basement’ (Vol 2) cuts are well worth checking out. This band has few constraints and it gives him ample room to stretch.

Allen plays saxophone and a variety of other instruments. He has long been known for his hybrid mechanical/electronic creations. His tenor is a Buescher (a brassy beast of ancient lineage) and its earthy tone is always pleasing in Allen’s hands. In recent years he has given equal time to his android doogan and an assortment of strange keyboards. He flies in the face of the prevailing fad for tracking down quality analogue instruments. Instead he plunders the throw away machines from the early digital age. This is an interesting development, as the reason these instruments were often abandoned, was because they didn’t sound like the acoustic instruments they sought to emulate. They sounded like new instruments and fed through a variety of pedals they are reborn. This is a recurring theme of the new millennium, reoccupying old spaces in new ways. Recycling, conservation and ultra modernism in one package.Circling Sun 088I have long been a Watson fan. The man is fearless and his musical ideas cross territory few others dare to traverse. His increasing mastery of the pedal steel already sets him apart, but his ventures into the experimental avant-garde with the instrument are unique in the New Zealand context. While an accomplished studio musician his preferred gigs are those without boundaries. With Watson you get Americana, blues, Jazz psychedelia or wild forays referencing Marc Ribot & Sonny Sharrock. The Sun suits his wild eclecticism.Circling Sun 092

The remaining band member is Rui Inaba on bass. I have seen him play a number of times and most often with Watson. This is the first time I have seen him on electric bass and the instrument counterbalanced the free ranging explorations of the other three nicely. There was also a guest artist performing on Wednesday – the ever popular J Y Lee on Baritone saxophone. During one number Lee, Watson, Inaba, Dyne and Allen took the tune ‘outside’. It was mayhem and madness of the best kind. This is a very loud band and the enjoyment rang in my ears like summer locusts for days after the event.

Footnote: The doogan improves with age, but its strangest feature is an ability to time travel. As each improvement appears a proportionate regression in time occurs. When it first appeared it had wheels, an alarm clock and many more modern parts. The recent assemblage is altogether older – a regression to the beginning of the digital era. A small yellowed-plastic Cassio keyboard routed through various pedals and midi boxes, sitting opposite a mysterious plywood box. The box bristling with nobs, toggles and sporting an impressive amount of gaffer tape. Beside the pedals a Moog like instrument with an early AM transistor radio plugged into it. Below that an ancient weather-beaten Korg. The small wooden box is most intriguing and although it resembles the two-valve home made radios of my youth, I suspect that it is something like Orac (Google ‘Blake’s Seven’ for more information on Orac).

The Cycling Sun played at the CJC (Creative Jazz Club), 10th February 2016, They are Julien Dyne (drums, electronics), Cameron Allen (saxophone, doogan), Neil Watson (pedal and electric guitar), Rui Inaba (electric and acoustic bass)

Advertisements
Beyond category, Concerts - visiting Musicians, Review

Marc Ribot & I

RibotI am a Marc Ribot enthusiast so when local musician Neil Watson sent me a message to say that Ribot was coming to New Zealand I whooped for joy. My first thought was, wow, this will be the good shit. My next thought was, oh yeah I want to interview that cat about his musical and social activism. Watson was to open for him which pleased me. Watson was a good fit for this gig. An iconoclast multi genre improviser himself.

I put out a few feelers to people connected to the tour, letting them know that a local Jazz Journalist was keen to interview Ribot. I heard nothing back and assumed that the tour would be whistle-stop; this is often the case when a single New Zealand concert follows an Australian tour. I let it drop with some regret.

Because I keep an eye on the wider improvising scene, I was aware that Ribot toured Ceramic Dog the previous month. I love that band. Ribot with band mates Shahzad Ismaily and drummer Ches Smith are a force ten hurricane. Wild and free-ranging but subtle at the eye of the storm; Jazz infused while taking few prisoners from the past. They are the music of everyman and all time. I learned at the venue that this was not a Ceramic Dog concert but Marc Ribot on solo acoustic guitar. He is known for the diversity of his projects and I would turn up to a Ribot gig if he was just whistling.

My partner and I arrived early as we wanted good seats. Amazingly we found seating in the front row and this proved a blessing and a problem. A blessing because we could see and hear Ribot with crystal clearly. A problem because of what happened next. A rotund bearded man clumsily took the seat next to us. As he seated himself heavily I could smell the booze on his breath. Fucking drunks. This guy had been pre-loading for at least a decade. He struggled to focus and said, ‘I can’t believe that Marc Robot is here; this guy plays with Zorn’. He was right to disbelieve because his drunken buffoonery denied him the entire experience.Ribot (2)My first act on arriving at the venue was to approach the Tuning Fork floor manager and ask about photographs. He told me of a request from Ribot for absolute quiet. It was solo acoustic guitar, not Ceramic Dog and at Ribot’s request the venue turned off the air-conditioning and fridges. Camera clicks were obviously out of the question unless between numbers. I respected that and took photographs unobtrusively during moments of applause. This was a special gig that required a womb of engaged silence. Audience and musician locked into an embrace of sound.

Because of the above, what happened next was all the more appalling. The drunk, who was so excited about hearing Ribot fell into a deep stupor at the first note. It was a stupor with sound effects and alarming floor-wards lurches. At first his awful wheezes were low volume, but as the concert progressed they became multi-phonic.

After carefully arranging himself, foot on his guitar case, hunched over his ancient acoustic guitar, Ribot dropped into the performance zone. Balanced gently on his knee was an incredible 1937 Gibson L-00; a simply wonderful instrument. When he plays solo he prepares by withdrawing from outside influences. Before a concert he examines a plethora of possible tunes, weighing up musical ideas and searching for new and often oblique ways to tell stories. He seldom has a set list in mind and lets the music and the moment take him where it may. This is a frightening high wire act and only a master improviser would attempt it. Putting yourself in such danger is fraught with risk and an unexpected audience distraction could be fatal. Ribot is more than up to such a challenge. He is one of the worlds greatest improvisers and an acknowledged master of his instrument.

The guitarist was deeply absorbed throughout his astonishing performance. creating an orchestral sound and telling stories free from ego and constraints. In Zen like fashion he examined the various tunes, turning them upside down or examining them from an oblique angle. Although lightly miked, the sound was fatter than an 18 piece orchestra. The subtleties all astonishing micro journeys, complete in themselves. Naked improvising at its best. The journey took us into the classical Spanish or Cuban guitar world, it traversed standards, Delta blues, Coltrane; I could even detect the all but forgotten vibe of Eddie Lang and Carl Kress. At times avant-garde and at other times pastoral. This was a night that I will never forget. Everyone there was spellbound…….except for one fool.

I will now relate my communication moment with the great man. I value it even though I wish it had been other than it was. There were two moments when Marc Ribot looked up and engaged directly with me. I know that I didn’t imagine it. My partner Darien had left her seat long before to sit elsewhere. The fumes and lurching were doing her head in. (Reprise) Fucking drunks. During one particularly drunken wheeze Ribot looked directly at me. Although only a few feet away, I tried to make myself invisible. My superpowers deserted me. Shit, shit, shit I thought, he must think it’s me. I quickly inclined my head sideways towards the drunk, hoping that he could see my gesture in the gloom. Then I lunged out and jabbed the man hard in the ribs.

Ribot caught the gesture and gave me the hint of a smile and a brief nod. That last gesture confirming that my desperate telepathic signal was received; an acknowledgment that it was the fool disturbing the force and not me. This was better than an interview; my superpowers were back and we were communicating by telepathy. Emboldened I reached across again and again to jab the fools ribs. I am not an aggressive man, but the great Marc Ribot had given me permission.

And all the while the music flowed unabated, wonderful music. The art music of everyman.Ribot (1)Footnote: Neil Watson acquitted himself well and added to the enjoyment of the evening. He played three types of electric guitar plus his pedal steel guitar; his set list ranging freely across genres. A Nirvana tune, a Hendrix referencing ‘Hear my train a comin’, a nice tune composed by his partner and the Kiwiana classic Blue Smoke as high points from his set.

Marc Ribot: Solo acoustic guitar at the Tuning Fork, Auckland, New Zealand, August 2015 – supporting act Neil Watson (guitars) with Rui Inaba (upright bass).

Member-button

CJC Creative Jazz Club gigs, Hard Bop, Straight ahead

‘Hardbopmobile’ (with Carolina Moon)

Hardbopmobile MONK 11-3-2014 059Frank Gibson Jr’s ‘Hardbopmobile’ has been around for a number of years and the band always delivers uncompromising hard-hitting performances. Gibson and Watson see to that. This no nonsense approach guarantees that Hardbopmobile’s music, even while traversing well worn standards, is fresh. This particular gig was titled ‘Hardbopmobile plays Monk’ and with the interesting addition of vocalist Caroline Moon (Manins) on vocals, it gave us much to enjoy. Familiar and lessor known Monk tunes appeared as the evening progressed. While all of Monk’s recorded material is perennially interesting and seemingly beyond caveat, in the right hands vibrant new interpretations are possible. This is the nature and Monk, the Picasso of modern Jazz; a modernist movement in perpetual progress.Hardbopmobile MONK 11-3-2014 069Ted Gioia pointed out in his book ‘The Jazz Standards’, that only two composers of pure Jazz standards remain in ascendency.  One of these is Monk whose stock has risen steadily for many decades now. The other (and that has occurred more recently) is Billy Strayhorn. Both of these composers had an astonishing modernity about them. In spite of some beguiling melodies, neither offered the listener simplicity. What you get with Monk is often jagged and quirky compositions, but for all that his hooks snag deep. Listening to Monk you hear the sounds of New York. The broken lines andHardbopmobile MONK 11-3-2014 066 startling dissonance are echoes of traffic and street life. Very human sounds and offered from his unique vantage point. In spite of the difficulties life threw at him the music is somehow tender.  Monks was essentially a humanist voice.

Frank Gibson, Neil Watson, Roger Manins, Caro Manins and Rui Inaba gave us an enjoyable evening. At times boisterous and loud, but occasionally gently reflective (e.g.Ruby my dear). I was delighted to hear ‘Ask me now’ as it is all too often ignored by modern Monk interpreters.

Gibson has a driving incessant beat that never flags and this spurs on Watson who loves nothing better than asymmetric lines and chords that drop like IED’s. He told me that he finds Monk liberating. Roger Manins and Rui Inaba were the newer band members. Inaba kept the pulse secure while Manins adopted his usual approach which is always dangerousHardbopmobile MONK 11-3-2014 067 and wild.

Monk has been interpreted by vocalists before and most notably by Carmen McCray.  The last time anyone sung Monk at the CJC was Susan Gai-Dowling and that was three years ago. Hearing Carolina Moon (Manins) doing these interpretations I wonder that it is not done more often. Moon has re-written the Monk arrangements, adding vocal lines. Her ‘Carolina Moon’ (Monk/Moon arr.) is irresistible.  When this was composed in 1924, composers Burke & Davis must have hoped for a hit.  It rose in the charts twice and never more so than when Connie Francis sang it in 1958. I bet that they never saw Monk coming though. Turning the song on its head (no pun intended)and giving it that crazed bebop makeover.  Hardbopmobile MONK 11-3-2014 061

There was also a marvellous interpretation of ‘Epistrophy’. This also featured Moon who had cleverly added some slow rap into the mix. During her preparation for the gig she listened to a famous live performance of Monk doing ‘Epistrophy’. Her attention was immediately drawn to a number of irritating audience members, talking loudly through the solo. She then transcribed the banter and it is now integrated into the tune. This is not only clever but it is fitting and cathartic. Monk would have loved to see these talkative ghosts exorcised. Gibson asking Moon to join the band was inspired. More please.

Who: Hardbopmobile – Frank Gibson (drums), Neil Watson (guitar), Roger Manins (tenor saxophone), Rui Inaba (bass), – guest Carolina Moon (vocals)

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland, New Zealand 25th March 2015.

Beyond category, CJC Creative Jazz Club gigs, experimental improvised music, Fusion & World

The Circling Sun

Circling Sun 11-3-2014 063Any astronomer worth their salt will tell you that it is paradoxical for a sun to embark on a circular orbit. The last time this happened was during the Spanish Inquisition. On Wednesday the paradox increased when the Circling Sun departed their orbit to play at the CJC (Creative Jazz Club). This gig had been a long time coming and we welcomed it. Hearing them away from the babble of the hard-drinking Ponsonby Road crowd was a treat for us. The Circling Sun always give of their best, but this time we could hear the quirks and subtleties unfiltered. This is a band with a vast soundscape and the Jazz club echoed to the sounds of doogan, Tuba, analogue keyboards, digital keyboards, piano, trumpet, flugel horn, flute, tenor Circling Sun 11-3-2014 066saxophone, upright bass, drums and electronics. This is the type of music that sits well with me.

In spite of the name, the Circling Sun is not solipsistic. Not locked into an inwards gazing spiral. A dictionary definition tells us that Solipsism is a spiralling madness that no-one else can enter. Theirs is an inclusive madness of serendipitous happenstance. A band where personnel changes are as seamless as flowing water and where the only truly unchanging thing is the name. A band that can appropriate sounds and recreate them into new musical forms and all achieved without fear or favour. Another-world to experience.

The group cited influences as far-flung as Alice Coltrane, Yusef Lateef, Randy Western and Tom Waits. Although the link is possibly fanciful on my part, perhaps the influence Cosmic Jazz/Funk is present, an obscure genre close to my heart. They are chaotic, loose and free atCircling Sun 11-3-2014 074 times; then out of nowhere come tasty arranged melodic heads. Deftly extracted from the frequent mesmerising groove laden vamps.

Cameron Allen should be heard more often in settings like this. He is a gifted saxophonist and winds player with great musical ideas, often imparting a raw energy. He is also drawn to home-assembled electronic wizardry as many in this band are.  Finn Scholes on horns is another who doubles atypically (including tuba, keys and piano). He has recently been overseas and since returning I have seen him perform on a number of occasions.  His articulation is always interesting and he has a rich sound. Tinged with the vibrato of the mariachi trumpet. A sound which he owns and one that fits the bands vibe perfectly.  Circling Sun 11-3-2014 070

Neil Watson like Cameron Allen is a mainstay of this band. His classic fender, augmented lately by pedal steel guitar. The latter adding colour and texture and above all adding that warm embracing feel of country. Anyone who has followed Frisell’s journeys, fusing Jazz with country americana will get this. Rui Inaba on bass is often encountered with Watson and frequently in this lineup. Here he sits solidly at the heart of the storm, maintaining the rhythmic groove unfazed.  Circling Sun 11-3-2014 062The most powerful presence is drummer Julien Dyne. A versatile gifted artist who has travelled and recorded widely. His beats while often referencing his multi genre background, urge the band to greater heights. It is a privilege to see drummers of this calibre and I hope that he continues with open-ended Jazz projects like this. I have heard him on numerous occasions and I like what I hear.  As a unit, this combination takes no prisoners and the audience were glad of it. The first guest to join them was J Y Lee who quickly settled in on baritone saxophone. He often plays with the Circling Sun and is a popular addition.Circling Sun 11-3-2014 075During the second set a great gig got even better. Jonathan Crayford arrived and without too much persuading, sat in on piano. This was met with obvious delight by the audience, as Crayford is extremely popular. He knew none of the tunes as they were mostly originals and there was virtually no sheet music to guide him. It didn’t matter. Someone would announce the key and then a few chords in he would locate the heart of the tune. A musician of his experience and gifts is no stranger to situations like this. The audience, clearly wild about the gig, were by now whooping with enthusiasm between numbers. When Crayford sat in they felt like they’d won the lottery. He doesn’t get home often, but improvised music fans are eager to soak up what ever they can get of him.

Who: Circling Sun – Cameron Allen (tenor sax, flute, keys, doogan), Finn Scholes (Trumpet, Flugel, tuba, Piano, Keys), Neil Watson (Fender guitar, pedal steel guitar), Rui Inaba (upright bass), Julien Dyne (drums, electronics) – guests: Jonathan Crayford (piano, keys), J Y Lee (alto sax, baritone sax).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland 11th March 2015