The interesting diversity in the CJC programming was again on display last week with two international acts as different musically as acts could be. Wednesday featured a multinational mostly free-improvised music ensemble Kira Kira and Thursday the Harlem born Jazz/Soul Singer Vivian Sessoms. Both attracted good audiences, once again proving the value of adventurous programming.
Kira Kira features two renowned Japanese avant-garde musicians, Satoko Fujii, composer/pianist, and partner Natsuki Tamura on trumpet. This particular project is a collaboration with the Australian pianist Alister Spence. It is usual for Fujii to challenge herself by performing alongside musicians new to her acquaintance and for the Auckland show, the basic trio added drummer/percussionist Chris O’Connor. This was exactly the right choice.
These are seasoned musicians at the peak of their powers and it showed as they navigated a less travelled musical terrain. Fujii is the best known of the ensemble, having attracted accolades from around the world. She has been called the Ellington of free music. Her early teachers and mentors included Paul Bley, Cecil McBee, and George Russell (all appeared on her debut album). She has released 80 albums so far and this year, her 60th, she will release an album a month. She is an extraordinary musician who plays as free as a bird; but who never-the-less weaves in a mirage-like momentum. There is a sense of purpose, a pathway leading to deep beauty, but all of the above is elusive. Like all free music, the essence can dissolve if you try too hard to grasp at the form.
Spense came to New Zealand recently, touring with trumpet player Eamon Dilworth. He impressed me deeply then as his tasteful minimalism told bigger stories than a busier player. In Kira Kira, he plays Rhodes, electric piano, preparations, and controls effects. Few people have seen a Rhodes performing topless but it was certainly captivating. As he stroked and tapped under the hood he extracted an array of wonderful sounds and colours. He interacted with the other three musicians in ways that only a deep improviser could; responding to and working with the ever-shifting duo segments.
When Natsuki Tamura played, his trumpet cut through the air like a swooping hawk. Sometimes Percussive and confronting, at other moments gentle, cajoling. At times he reminded me of Wadado Leo Smith. His lines could be supportive or squalling and contradictory and he was the perfect foil to the chordal expansiveness of the piano.
Lastly the newcomer to the group, New Zealand drummer Chris O’Connor. If anyone could add value to an already fulsome sound it was him. He reacted and contributed with such sensitivity that it became impossible to imagine the group without him. I have uploaded part two of the Kira Kira suite to YouTube and posted it (part one was marred by fridge noise and the other two movements were too long). I invite you to listen and then listen again. This is music that rewards deep listening. This was freedom.
Kira Kira was performed by Satoko Fujii, Natsuki Tamora, Alister Spence and Chris O’Connor at the Backbeat Bar, for the CJC (Creative Jazz Club) November 21, 2018