CJC Creative Jazz Club gigs, experimental improvised music, Post Millenium

Chris Mason-Battley Group

CMB (1)Hearing people talk about the Chris Mason-Battley Group reminds me of the Hindu parable – the blind man and the Elephant.  “Oh yeah, that guy has a smooth sweet sound’ one said as if that settled the matter. Well yes, he has got a smooth sound when playing a ballad, but anyone who thinks that defines his music has simply not been paying attention. This band has enormous depth; playing anything from a melodic ballad to music that is way off the grid. What we experienced on Wednesday was music with integrity; at times raw and inventive, drawing us into its heart, emotionally engaging and above all satisfying.  CMB  The first number was ‘Mountain Song’ (by CMB); then they moved to a series of pieces from the CMB John Psathas project ‘Dialogos’ (progressing through excerpts from ‘Song for Simon’ and ‘Demonic Thesis’). As that set progressed we heard a new composition or two and lastly ‘Tahuna Caravan Park’ from his ‘Two Tides’ album. This gave us a broad sweep of his past projects and the Psathas album in particular. Dialogos was widely acclaimed as an exciting and bold step forward for the band – I can highly recommend the album (out on Rattle). Before the band left the stage for a break, Mason-Battley said; “That was the nice half – the second set is nasty half” (quoting from an album titled ‘The Jaberwocky comes to Town’ which had a ‘nice side’ and a ‘nasty side’.)CMB (3) As pleasing as the band were in the first set, they reached much deeper for the second; pulling out an utterly engaging and masterful performance. It began with several of the blacker pieces from ‘Dialogos’, ‘The Calenture Suite’. The drummer Stephen Thomas must be mentioned at this point – His work was integral to the overall performance and it underlined his maturity as a musician. At times subtle, at others incredibly complex – and all made to look easy in his hands. Thomas was extraordinary throughout and although a relative newcomer to this long-established band, his searing flames licked at their underbelly, an indispensible presence. In perfect contrast to the complex drum flurries was Sam Giles on electric bass. Giles is a master of the ostinato – repeated motifs, perfect time feel and the voodoo factor writ large. He is also an influence on the bands direction; favouring Zorn like explorations and paths less trodden. CMB (4)The CMB Group keyboardest is David Lines, an intersting and in my view under-rated musician. On this gig he played a Roland RD-700. What a beautiful piano and Rhodes sound. A  machine hardly heard these days, replaced by the Nord Stage or modern Korgs. While the newer keyboards have more bells and whistles, I am unconvinced that their piano sound is an improvement. Perhaps it sounded so good because of Lines touch? He is not a busy pianist and every note counts, in this gig his often voice leading role was perfect for the project (his solos were stunning). I only wish we saw him more often.

As good as the rest were, Mason Battley stood out; especially on soprano and alto. He has a real stage presence and his luminous lines are always well conceived. It is great to hear him reaching ever deeper as time goes by. The number I have posted is a tune of his titled ‘Drum Dance 4 (Psathas)’; a Coltrane-esk exploration that exemplifies a way-point on their interesting journey. On that tune, everything is in perfect balance, Thomas taking a leading role while the others work off that, each bar taking us deeper, highly charged and sparse.CMB (2) The last tune of the evening was free and political. It was titled ‘The Emperor Has No Clothes’; an obvious reference to the greedy authoritarian amoral elites that hold sway in the world; particularly the Trump administration.  It was free and it was raw emotion – in the background a loop recited ‘billions and billions’ – then, faintly at first, we heard the strains of ‘The Star Spangled Banner’. The band read the mood of the audience well with that one – people stomped and cheered afterwards as if someone had taken the words right out of their mouths and rendered them into abstract musical form.

CMB Group: Chris Mason-Battley (soprano, alto, tenor saxophones, compositions arrangements, electronics), David Lines (keyboards), Sam Giles (electric bass), Stephen Thomas (drums) @ CJC Creative Jazz Club, Thirsty Dog, K’Rd, Auckland, July 26, 2017

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CJC Creative Jazz Club gigs, Post Millenium, Straight ahead

Stephen Thomas – No Hawkers

Steve Thomas (1)In spite of his relative youth, Stephen Thomas is counted as one of New Zealand's better Jazz drummers. He approaches his craft with care and intelligence and it shows in his playing. While his technical skills are superb, he can also communicate on a human level and this is important as it speaks of character. Thomas is a regular on the scene, but like many sidemen and most drummers, he prefers to remain in the shadows. On Wednesday he changed that focus and convincingly staked his claim as band leader.Steve Thomas (4)The ingredients that contribute to a successful gig are often intangible, but this gig ticked a number of those boxes. While tailored to suit a Jazz audience, it did so without being remote or elitist. Another reason the gig worked was because Thomas used humour to good effect; not just his on stage banter but in the music as well. In a live setting this is important – interacting with the listeners on some level, bringing them inside the circle.Steve Thomas (3)Thomas has an abiding interest in the Ellington/Mingus/Roach, 'Money Jungle' recording and Wednesday provided him with a further opportunity to explore that project. While unusual as a source of standards material, it is a great album to focus on – the perfect vehicle for deconstruction. At the time it was recorded, it stood out for a number of reasons. In fact it shouldn't have worked at all, as the trio members reputedly disliked each other. Each had marked stylistic differences and Ellington was of an earlier generation. Ellington told the others that what they would play on the record should be a collective decision; then he turned up with a set list of his own tunes. The one tune which was not Ellington's was by Juan Tizol – a man who Mingus had once been in a knife fight with and because of whom, he was sacked by Ellington. What should have been a disaster for many reasons was a success. A brave post-bop recording by artists firmly rooted in other eras.Steve Thomas

Chosen from the Money Jungle material were 'Wig Wise and 'African Flower' (Ellington). Both of these tunes were given interesting treatment. The latter rendered into a dreamy fusion like vibe and the former, given a wonderful vaudevillian twist; the head melody line played on an analogue Prophet 08 synth. Reverence and open exploration in equal parts.Thomas's own tunes were interesting as well. 'No Hawkers' was a cleverly constructed solo piece; his engaging beats triggering pre-recorded samples, which he played over. 'Rat Race' was another great tune, this time with the full ensemble.Steve Thomas (5)

The other two standards were Giant Steps (Coltrane) and 'Fascinatin' Rhythm' (Gershwin). His quintet featured Crystal Choi, Michael Howell, Tom Dennison and J Y Lee and what a great band they were. Choi was especially wonderful; she's comfortable in a variety of settings and she just keeps growing as a musician – she really digs in and the sky's the limit for her. Howell was also decisive in his playing and it really suited him. Lee and Dennison are seasoned professionals and we are never disappointed by either. I was still buzzing from Dennison's previous weeks gig on electric bass – that boy can do no wrong.

No Hawkers: Stephen Thomas (arrangements, drums, samples), Crystal Choi (keyboards), Michael Howell (guitar), J Y Lee (alto saxophone), Tom Dennison (upright bass) – CJC Creative Jazz Club, Thirsty Dog, K' Road, Auckland, July 12, 2017

CJC Creative Jazz Club gigs, Concerts - visiting Musicians, Interview

Ari Hoenig as Time Lord

Hoenig (1).jpg
When drummer Ari Hoenig was among us recently, it was as if he came from another dimension; he was future and past – a Jazz time lord. The elements of the old were all there at his finger tips, but also something that was forward looking. He could lead with a melodic line, he could set up a groove, he was a colourist plus and he could subdivide time in ways that made me doubt reality. As he played, stuff happened on the kit that I had not seen before; it felt like a new dawn of drumming, but here’s the thing; as fresh as it was, it was also the most natural thing imaginable – nothing jarred – everything flowed from a deep well of musical knowledge. He was deep inside the music, looking half crazy – inside the tune and outside. He was so integrated with the keyboardist Nitai Hershkovitz that they appeared as a single unit. I detect Ari’s influence in modern drummers and because his influence is so palpable, I thought it a good idea to engage some local Jazz drummers on the topic. Here are Ron Samsom, Mark Lockett and Stephen Thomas with a few insights.Hoenig (2).jpg

JL32: Ron, when you introduced Ari and Nitai in Auckland you spoke of Ari’s influence on modern Jazz drumming. You described him as an innovator; suggesting that he may not be aware himself of the extent of his influence. Could you expand on that and tell us why?

Ron Samsom: Well, Ari is a pretty humble guy really and I didn’t want to embarrass him in my introduction. But in reality, what he has accomplished in terms of the development of new drumming language, is pretty remarkable. I mean coming out of the tradition of implied pulse modulation with drummers like Tony Williams, Elvin Jones or even newer generation players like Jeff Watts, Ari has developed the ability to stay “outside” the ground rhythm for what seems like an eternity. The influence on younger players coming out of NYC is pretty evident. Just check out Henry Cole, Marcus Gilmore to name a couple of guys who seem to be going even further with this concept and their own language.

JL32: Mark, I think that you have had previous contact with Ari and maybe with Nitai as well. Can you tell me something about that and about bringing the project to New Zealand?

Mark Lockett: I studied with Ari for six years, I would travel to NYC and take several lessons go away transcribe my lessons and practice like crazy for a few months then do it all again.  Last year we were hanging at Smalls after Ari’s gig one night and I said ‘Hey you should come out to New Zealand sometime I’ll hook it up.’  As soon as we moved back to NZ Ari contacted me and asked if we could do something so I organised a New Zealand tour on the back of him visiting Australia.

JL32: Stephen, I saw you at the Auckland gig and like the rest of us you were blown away. How do you evaluate Ari’s work and how do you see his place among modern drummers?

Stephen Thomas: Ari Hoenig is the type of drummer who has inspired a whole generation of jazz drummers and music enthusiasts in general. Because of this, we were all amazed to see Ari play “in the flesh” as for us kiwis, our exposure to his playing comes from things like YouTube and mp3’s and the like. When I went to his gig in Auckland, from the very first stroke of the cymbal it was clear to me he was on a completely different level to anything I’d really seen before. Ari is clearly a pioneer of modern jazz drumming that has inspired a whole generation of musicians. His mastery of rhythmic subdivisions, polyrhythms and musical time has inspired not just jazz drummers but musicians in general far and wide. He really is at the forefront of modern drummers.

JL32: Ron, Ari appeared to hold the sticks differently, firmer, at times further down – perhaps because of this his flurries and modulation were so precise. Old school drummers must puzzle at this. Can you tell me a little about these evolving hand positions?

Ron Samsom: When he was in the workshop, Ari was quick to point out that “praying mantis” was a visual term used by one of his early teachers as a descriptor of his unorthodox style. I think we need to remember that the ‘drum set’ is a fairly new instrument and there are lots of options in terms of technical approach. The bottom line is really ’the sound’ and I don’t think you could ever fault Ari in terms of dynamic control and timbre. I think he is all about the sound. He plays drums that are wide open in tuning and resonance but finds a way to control this through his approach. You can hear him use the harmonics of the drums to create colour and depth – it’s a beautiful thing. How he achieves this is a great question.

JL32: Mark, I have seen you hold the sticks in a similar way. Can you talk us through this and explain how it alters control?

Mark Lockett: A lot of drummers in NYC e.g. Bill Stewart and Paul Motian hold the sticks a bit more rigidly and different to a lot of drummers I see out here.  I remember Michael Brorby at Acoustic Recording Studio (NYC) saying that this grip which is using more forearm helps create a much more accurate and defined cymbal pattern.  It was the great Australian drummer Darryn Farrugia who turned me on to holding the sticks a lot further up closer to the middle as this gives you more bounce and it worked for me.

JL32: Stephen, I think that so called Jazz drumming orthodoxy is being subtly deconstructed post millennium. Can you comment on his technique from a drummers perspective?

Stephen Thomas: I think this question really sums up the music world we find ourselves in post millennium especially in the internet era. We are exposed to such a wide variety of music through online mediums that it is hardly surprising the traditional art form of “jazz” is evolving at a rapid pace and taking on influences from many other sonic worlds and styles of music. I think in this same vein, individual drummers are finding their own voice which is informed not just by the history of jazz but also by other distinct styles and sounds of music. Although this is not a new concept, Ari Hoenig is very far down this road, as he is such a unique voice behind the instrument, you would know his playing from just hearing the first few measures of music. This is no easy feat and something we all aspire to.

In terms of technique, I think Ari has developed his own technique which has allowed him to pursue this unique voice. In some ways, his technique is quite unorthodox and from my humble observation, it seemed to me he was using a lot of tension in his physical body to generate his sound. The fact he has been able to make this work for him is very unique and I think is a good reminder that there is no real ‘right or wrong’ in terms of technique as it is what brings the individuality out in drummers. As as a small side note, however – although this works for Ari, mere mortals like myself who have had body tension/pain issues in our playing have found it to be a stumbling block that we are seeking to overcome and I think long term, too much tension can become an issue.

JL32: Ron, I saw some astonishing neo-colourist drumming; subtle accenting and gentle cymbal work, but then turning on a dime. Ari seemed to extend the concept way beyond the Paul Motian model. He would suddenly create a melodic line or just tap out an accelerating beat in the centre of the snare. Can you comment on this extension of the colourist palette?

Ron Samsom: I don’t really know enough of Paul Motian’s playing to offer a solid opinion – but the trio records with Joe Lovano and Bill Frisell are pretty great examples of how a drummer can colour and support melodic ideas or become an entity in its own right. I think what Motian’s playing did for everyone, is suggest that the drummer could be more. Drums could be melodic, textural, a motivating soloist/accompanist, a complete musical statement onto itself. Ari’s playing has all of these things in spades but I’d hesitate to say it’s beyond Motian’s achievements – It’s just context. Ari is communicating with his generation of improvisers that are versed in rhythm scale, odd time, implied modulation etc. but these are just tools to convey music. They are not music without context and personalisation.

JL32: Mark, that was some seriously deep stuff that Nitai was playing. I have heard Brad Mehldau do something similar. This is brave, as it will leave the purists behind. It sounds exciting to me. Would you like to comment on their use of deep improvisational groove music as a vehicle?

Mark Lockett: I don’t really think this is anything new, but in this setting, there was only a duo so this gave Ari and Nitai lots of space to stretch out and they weren’t confined to a bass player or another comping instrument being in the mix.  I think the rhythmic vocabulary they draw upon brings a real element of excitement to the music.  I think Ari chooses his sidemen very wisely and consequently, they sound like a band and want to play together rather than have their own agenda.

Stephen Thomas: I really dug how at the Auckland show I was at, Nitai had some PHAT bass synth going on. So much so that at one point, because he and Ari were so locked in, I thought the bass drum had like a sub-bass mic or something on it which was a good indication of how impeccable their time feel was and how locked in they were even just as a duo! This is probably what I meant before about jazz taking on influences from other sound worlds and musical styles, with electronic timbres in the fold more and more. What stood out to me and I said this to Ron after the show, was that although there were only two musicians playing, you never felt like there was any lack in terms of sound or textures which was kind of mind blowing. Also, it was clear that both Ari and Nital are so versed in jazz vocabulary that even though some of what they played was “non-traditional”, there was a depth to what they were playing which was hard to describe. The well of musical concepts and language that they both had was very deep, to say the least, and I was left feeling very inspired indeed.

JL32: Guys, what do you want your students to take away from this experience?

Mark Lockett: The students I spoke to after the concerts were totally blown away and I saw them beaming.  I heard one student say ‘this concert changed my whole musical trajectory’.  I think if the students can be inspired to listen, learn, practice, want to get better and create that’s really all anyone could hope for their students.

Stephen Thomas: think Ari gave us a fantastic provocation to pursue individuality behind the instrument, whilst reminding us to pursue a depth of knowledge and language of the jazz tradition. Although this can sound like an oxymoron, Ari Hoenig seems to personify this as he is such a unique voice whilst having all the language and depth there too. This is inspiring for students to keep checking out the history whilst also pursuing what gets them going musically and sonically, to hopefully find their own place in the music world and create something which is ultimately fun and rhythmically/musically satisfying! Every time I see an inspiring player, the thing that really gets me is the amount of joy and playfulness they have whilst making music and Ari had this in spades, which I think we can all learn from. It’s a great reminder that music ultimately should be a joyful and playful experience which we can bring our own personality and emotions to which can ultimately move people and bring joy and healing to a world which needs it!

JL32: Thanks for your insights guys. I know how busy you all are and I appreciate that you put down the sticks to answer these questions so thoroughly. Finally, thanks for supporting JazzLocal32.com.

Ron Samsom is a Canadian born Kiwi and the course coordinator at the University of Auckland Jazz School. He is well recorded and has worked with Jazz musicians from many continents. Mark Lockett has just returned after many years in New York and he teaches, tours and gigs around Australasia. Stephen Thomas is a gifted New Zealand drummer who is increasingly in demand for high-end gigs and highly regarded on the New Zealand Jazz scene.Hoenig.jpg

CJC Creative Jazz Club gigs, Guitar, Straight ahead

Nick Granville

NickThe last time Nick Granville played in Auckland was 2014.  A year prior to that he released his Rattle Jazz album ‘Refractions’ here  At that time the CJC was located in an old downtown basement venue and that feels like a lifetime ago. Wellington is his home base and Wellington keeps Granville busy. He teaches, he gigs about town, he backs visiting artists, he plays in shows, he records, he tours and he is the featured guitarist in the Rodger Fox Big Band. The last time I saw him play was in Wellington, but that was a few years ago. Much water has passed under the bridge since then and his reputation has meantime grown apace. I have also kept an eye on his teaching clips, and his ongoing evolution as a musician is evident in these.  Almost everything Granville plays is coloured by the blues in some way; that is his thing. On a mid-winter night, it is my thing as well.Nick (1)With the exception of ‘Alone Together’ by Schwartz/Dietz, all compositions were Grenville’s.  Some were from his Rattle Album, such as Tossed Salad & Scrambled Eggs or Blues For Les, while others were much newer. The compositions were all ear-grabbing and most appeared to reference geographical locations or old TV programs. ‘Funky New Orleans Groove Thing’ was certainly true to label; a rhythm-driven groove piece that generated white heat. With Stephen Thomas on the job, the New Orleans beat never sounded better. Thomas is an exceptional drummer.Nick (2)A tune that I have heard Granville play previously is ‘Somewhere You’ve Been’. The title is a clever play on Wayne Shorter’s ‘Footprints’. The tune, although not a contrafact of Footprints is close enough to bring it to mind, It is nicely constructed and a good vehicle for a band to play off. For this gig Granville had wisely engaged old friends; Roger Manins, Oli Holland and Steven Thomas. Together on the bandstand, they represented genuine firepower and everyone dug deep when it came to delivering solos

Footnote: If things go according to plan, Granville will soon be off to the Monterey Jazz Festival with the Rodger Fox Big Band, followed by a recording session in a famous LA recording studio.

Nick Granville (guitar, compositions), Roger Manins (tenor saxophone), Olivier Holland (bass), Stephen Thomas (drums). The gig took place at the Thirsty Dog K’Road for the CJC Creative Jazz Club, 28th June 2017.

 

 

CJC Creative Jazz Club gigs, Piano Jazz, Post Millenium

Kevin Field @ Thirsty Dog

Kevin 3-2017 254 (1)It was appropriate that Warners ‘A List’ recording artist Kevin Field brought with him local A listers Dixon Nacey, Cam McArthur, Roger Manins and Stephen Thomas. Field has a substantial following in New Zealand and his innovative music attracts musicians and fans alike. Since his last ‘A List’ gig he’d clearly been busy – writing new material and rendering the familiar into something altogether different. Zoot Sims once quipped, “Jazz is a music where you never play the same thing once’. Field certainly exemplifies that tongue in cheek descriptor. Commentators and visiting musicians often remark on his innovative approach to harmony and rhythm. It is as if he has invented a new musical language out of the old. In truth, there are strong elements of related genres like R & B, latin and even disco funk there; under his fingers they become unique vehicles for improvisation.Kevin 3-2017 258Unlike Janet Jackson, Field never suffers from wardrobe malfunctions. He does however occasionally suffer from equipment malfunctions. I mention it only because his Rhodes had failed him during a previous weeks CJC gig. No one listening comprehended that he had lost some of the middle-register.  No one noticed because he re-voiced mid improvisation to work around the problem. I have heard of old timers doing this but seldom modern pianists. Field can effortlessly jump over obstacles and find a sweet spot.

On Wednesday he used the Thirsty Dog’s upright piano as well as his Rhodes. Miking an upright presents challenges that don’t arise when miking a grand, consequently the piano was a little quieter in the mix than the Rhodes (and Nacey’s guitar). It didn’t matter in the end because the music was wonderful and the others modulated their sound when necessary.Kevin 3-2017 256There were old favourites reworked like ‘Game Changer’, ‘Good Friday’ and ‘Left Field’, but the rest were recent compositions. Among the newer numbers were ‘Rain check’ and ‘Acme Music Corporation’ (the latter featuring Manins on soprano – a rare event). Another new number ‘Unconditional love’ was introduced by Field with the following story. ‘There are many types of love in the world and today an unusual  example came up in my twitter feed, – ‘Trumps deportation threats make my in-laws fearful. They live at 2b/34 Main St, Phoenix. My Mother in law arrives home from work at 4:30’ “.Kevin 3-2017 255The last tune ‘Home Schooled’ was the best possible number to finish the evening with. Far from being a wind-down number, the musicians reached inside themselves, each giving magnificent performances. Manins back for a second number was on tenor, and he sounded happy to be back on his favourite horn. Nacey was at his best, making his guitar soar, as if he had found an ancient alchemy, a way to condense sunlight into music; the epitome of sonic clarity, invention and virtuosity. McArthur and Thomas each in step and reacting to the challenges. With material like this good musicians can achieve wonders. 

Kevin Field: (Rhodes, piano, compositions), Dixon Nacey (guitar), Roger Manins (tenor and soprano saxes), Cam McArthur (bass), Stephen Thomas (drums). CJC (Creative Jazz Club, Thirsty Dog Tavern, 29th March 2017.

CJC Creative Jazz Club gigs, Groove & Funk, Post Millenium, Straight ahead, vocal

Kevin Field Group – Winter 2016

Kevin Field 124Kevin Field has for many years been regarded as a phenomenon on the New Zealand Jazz scene. A gifted pianist and composer whose approach to composition and harmony is strikingly original. When you listen to many pianists you can hear their influences, discern the pathways that led them to where they are. With Field, those influences are less obvious. I suspect that this independence, originality, makes it easier for him to strike out in any direction of his choosing. On his ‘Field of Vision’ album, he moved into uncrowded space, one occupied by very few Jazz pianists. It was Jazz without compromise but utilising grooves, rhythms, and melodies of other genres. The music contained distinct echoes of the disco/Jazz/funk era, crafting it carefully and forging a new post-millennial sound.Kevin Field 123The tunes were all memorable and within a few listenings, you could hum the themes. This is not so common in modern Jazz and less so with music (like Fields) which retains its Jazz complexity. In Fields case, the clean melodic hooks do not come at the expense of harmonic invention. That is a tricky balancing act and one he achieves convincingly. His co-leadership of ‘DOG’ took him in a different direction again, but the same deftly crafted grooves astounded us. His recent album ‘The A-List’, was a further excursion into the disco/Jazz/funk realm. It is slightly tongue in cheek while still challenging the listener to think outside the square. Artists like this take the music forward, it is up to us to catch up.

The Kevin Field Group often meets up to work through new and old compositions – this work ethic is evident in what we hear. While personnel changes occur from time to time, the group has a core membership. Field, Dixon Nacey, Clo Chaperon, Cameron McArthur, and Stephen Thomas. While we heard tunes from recent albums there were also a number of new tunes on offer. The new material took his earlier conceptions further out, while the older material was cunningly reworked. I have heard this group a number of times and each time I hear them I sense the progressive momentum.Kevin Field 129They played at the Wellington Jazz festival recently and for many Wellingtonians, this was their first exposure to the group. I saw that show and I immediately noticed how the familiar tunes had subtly changed. ‘Perfect Disco’ with its energised danceable funk momentum was recast as a duo piece. Field and vocalist Chaperon wowed them with that number. We also heard this duo version last week. Other familiar tunes had developed into profoundly interactive exchanges. The sort that can only occur between highly attuned musicians. This is where the guitar mastery and the deep listening of Nacey came into its own. His Godin guitar soaring with stunning clarity while Field reacted in kind, urging them further out with each challenge.Kevin Field 122Again we see Thomas and McArthur doing what they do best. Working hard and rising to the challenge. Thomas laying down the tricky rhythms and while McArthur runs his bass lines. While pleasant to the ear, there is not doubt at all that these compositions required skill and concentration. It is on gigs like this that the musicians familiarity with the material and each other pays dividends. It was also nice to hear Chaperon on some new and old material. She is a real crowd pleaser – she looks great on stage and sings up a storm.

Keven Field Group: Keven Field (piano), Dixon Nacey (guitar), Cameron McArthur (bass), Stephen Thomas (drums), Clo Chaperon (vocals), CJC (Creative Jazz Club), Albion Hotel 20th July 2016.

Australian and Oceania based bands, CJC Creative Jazz Club gigs, Straight ahead

Peter Koopman’s Inner City Westies

Koopman 101When I started attending the CJC, I heard Peter Koopman quite often. He was always impressive, but never a showy guitarist. His approach matched his quiet demeanor, an easy-going manner obscuring a real determination to excel at his craft. Before long he moved to Sydney and although the local Jazz scene laments this musicians rite of passage, we also know it is the right thing. At best, these offshore journeys produce the Mike Nocks and the Matt Penmans, and we all benefit from that.

It is harder to track the progress of a musician once domiciled in another country, but news of Koopman’s milestones often reach us. Since he moved to Sydney in 2011 he has worked with a variety of bands; his own, and sometimes as a sideman. He has also placed himself in interestingly diverse musical situations and the learnings arising from these interactions are evident in his current compositions and playing.Koopman 104We have seen him back in New Zealand a few times during the last five years, but this is his first visit leading a guitar trio. As anticipated, we experienced a more mature Koopman, his guitar work showcasing well-honed skills. Australia is a merciless testing ground for improvising musicians and especially so for guitarists. Working in the same scene as Carl Dewhurst or James Muller, and holding your own, the proof of the pudding. In 2014 Koopman was placed 3rd in the Australian National Jazz Awards, which are held at Wangaratta each year. These awards are fiercely contested and that is no small accomplishment. Koopman 103The Inner Westies Trio for the New Zealand trip was Peter Koopman (guitar), Max Alduca (bass) and Stephen Thomas (drums). The guitarist and Bass player from West Sydney, the drummer from West Auckland. Alduca is a compelling bass player, and a drawcard on his own. He often includes a touch of tasteful arco bass in his performance. I last saw him when he toured with the ‘Antipodeans’, an innovative young ensemble, populated with musicians from three countries. Alduca made a hit then and reinforced our positive view of him this night. He has a number of gigs about Auckland aside from the CJC gig. A player bursting with originality and with a notable way of engaging with audiences. Nice to see him back and especially in this company.Koopman 099

In spite of his age, Stephen Thomas has long been established among New Zealand’s premier drummers. He is often a first call for visiting improvising artists. Although primarily a Jazz drummer he is as comfortable in avant-garde settings as in large rock auditoriums. This unit worked well for Koopman and his interesting compositions and new takes on old standards all sounded fresh. Koopman originals dominated the gig, often intensely melodic, modern sounding and at times with real edge. Among the standards, and the final tune was Joe Henderson’s ‘Isotope’; a warm rendering, with enough fire to melt the coldest night. Below is an original Koopman composition.

Peter Koopmans Inner Westies: Peter J Koopman (guitar), Max Alduca (upright bass), Stephen Thomas (drums). Performed at the CJC (Creative Jazz Club), Albion Hotel, 6th July 2016.