The Troubles band

The Troubles @ CJC 2014

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IMG_3891 - Version 2

‘Troubles’ come in many forms and what a proliferation of ‘Troubles’ we have seen in Auckland. In mid 2012 we saw a nonet replete with a sizeable string section (and clarinet). Earlier this year at the Auckland Jazz Festival we saw a septet (strings, no clarinet and with Roger Manins on tenor saxophone as guest artist).  By Wednesday December 10th 2014 all trace of rosin was purged and the sweet sounds and fresh faces of the front line string section replaced by three tall bearded men clutching saxophones (and a shorter clean-shaven trumpeter).  This was a bold and brassy line up; a weightier manifestation, delivering anarchic messages from darker corners.  IMG_3877 - Version 2This was too good an opportunity not to record and Rattle did just that.  Capturing chordal instruments in a space like the CJC is challenging as the sound has a number of hard edges to bounce off.  Recording a live performance of this particular brand of ‘Troubles’ might work well.  IMG_3883 - Version 2Guiding the proceedings with his well-known brand of anti-establishment megaphone diplomacy was ring master John Rae, ‘Troubles’ co-founder.  He shepherded the ensemble through a constantly shifting landscape. His effervescent flow of joyous and often irreverent cries only stemmed by Patrick Bleakley’s timely interjections.  Rae is the supercharged engine room, but Bleakley is clearly the anchor.  Like Rae he’s an original member.  IMG_3872 - Version 2With this Auckland horn section in place, a new front had opened and the tweaked charts took maximum advantage of that. On baritone was Ben McNicoll and his presence gave the sound added bottom. Roger Manins, who had stunned us with his wild death-defying solo’s at the Troubles Portland Public House gig was on tenor again.  Jeff Henderson took the alto spot and that was a significant addition. His ultra powerful unblinking delivery was the x-factor.  Unafraid of repeated motifs but able to negotiate the music without ever resorting to the familiar. That is the Henderson brand, original clear-cut and uncompromising.  In no way diminished by the powerful reed instruments surrounding him was Kingsley Melhuish on trumpet. Melhuish has a rich burnished sound and like the others, he is no stranger to musical risk taking.  IMG_3869 - Version 2Together they evoked a spirit close to the earlier manifestations of the Liberation Jazz Orchestra. Not just the rich and at times delightfully ragged sound, but the cheerful defiance of convention and discarding of political niceties.  Rae’s introductions were gems and I hope some of them survive in the recording.  He told the audience that it had been a difficult year for him. “It was tough experiencing two elections in as many months and in both cases the got it woefully wrong” (referring to the Scottish referendum and the recent New Zealand Parliamentary elections). “there are winners and losers in politics and there are many assholes”.  IMG_3890 - Version 2It wouldn’t be the ‘Troubles’ if there wasn’t a distinct nod to some of the worlds trouble spots or to political events that confound us.  I have chosen a clip ‘Arab Spring Roll’ (John Rae), a title which speaks for itself.  Following the establishment of a compelling ostinato bass line, the musicians build a convincing modal bridge to the freedom which follows.  Chaotic freedom is the perfect metaphor for the ‘Arab Spring’ uprising. The last number performed was the ANC National anthem and as it concluded, fists rose in remembrance of the anti-apartheid struggle.  It is right that we should celebrate the struggles for equality, but sobering to reflect on how far we have to go. The Troubles keep our feet to the flame, while gifting us the best in musical enjoyment.

What: ‘The Troubles‘ – John Rae (drums, compositions, exaltation), Patrick Bleakley (bass, vocal responses), with Roger Manins (tenor sax), Jeff Henderson (alto sax), Ben McNicholl (baritone sax), Kingsley Melhuish (trumpet, Trombone).

Where: CJC (Creative Jazz Club), Britomart 1885, Auckland New Zealand, 10th December 2014

Auckland Jazz Festival 2014

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This is great news Auckland.  The inaugural Auckland Jazz Festival opens on the 17th October, followed by 9 days of gigs across town.  Put together by Ben McNicoll and the CJC (Creative Jazz Club) team, which guarantees the excellence and diversity in programming.  A number of bars have enthusiastically come onboard and Jazz lovers should reward their commitment.  Because there are smaller venues or bars in the mix there will be some gigs with no cover charge, while others will charge a modest entry fee.  For pricing, bookings and programming visit the Auckland Jazz Festival website (below).  The headline gigs will be held at the CJC with the Mike Nock Trio (Australia) appearing on Tuesday 21st October, followed by the Benny Lackner Trio (Germany/USA) 22nd October and Francisco Torres/Roger Fox (USA/New Zealand) on the 23rd.   the-troubles

It would be crazy to miss any of these three gigs, in fact hire a babysitter or cat minder and cancel anything that gets in the way.  I know that I will endeavour to catch as many gigs as I can.  If this is well supported it will likely become a feature of the Auckland City arts calendar.  The gigs vary in style with each unique in some way.  Opening the festival at the ‘Portland Public House’ Kingsland is Wellington’s, fabulously wild anarchic band ‘The Troubles” (who I can’t wait to see again).  There are also offerings from the early swing era, groove funk, experimental improv and more besides.

Benny Lackner Trio

An Auckland Jazz Festival of this sort is long overdue and sensibly it’s run along the lines of a fringe festival.  There are no big sponsors calling the shots, which means that the choice of artists is in the hands of the organisers.  In the absence of any taint of commercialism you can expect edge, cool and excellence.  Think of it as a crowd sourced festival in which you have a vital part to play.  I have attended Jazz festivals run along these lines before and I prefer them, as they offer intimacy and a listening experience which you just can’t find in the larger venues.  The Montreal ‘L’Off’ festival immediately comes to mind.  It is important that we show our support by attending as many gigs as we can and don’t forget to visit the web site and ‘like’ the various gigs on offer (you know the drill, it is an important indicator of support).  The organisers and venue’s have put time and money into this and all we need to do is attend and enjoy ourselves.  Let’s show them that we appreciate it and put to bed the tired old myth that Auckland never gets behind the arts – see you all there.

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What: www.aucklandjazzfestival.co.nz   (Live link)

Where: At a number of prime small venues about Auckland including, CJC (Creative Jazz Club), 1885 Britomart, The Portland Public House, Tom Tom, The Golden Dawn, Hallertau

‘Troubles’ hit the CJC

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John Rae exhorting everyone; call & response

It has always been said that troubles arrive in pairs.   In this case the old adage was woefully awry as ‘The Troubles’ arrived in nonet form.  Their arrival may have ‘Rattled’ us somewhat, but we are built of stern stuff in Auckland.   We fortified our ourselves with strong liquor and pep talks, adjusted our parental lockout settings to allow for some serious swearing and settled in for the realpolitik of John Rae’s and Lucien Johnson’s crazy-happy Jazz.     ‘Oh Yeah’, we told ourselves, ‘We are ready to handle anything a Wellington band can throw our way’.

The Troubles-  call & response

There are bands that I like, bands that I respect and bands which drive me wild with pleasure.   ‘The Troubles’ are of the latter kind.   I’m besotted with this band and their deliberately ragged, madly political, quasi-serious satire.    This band digs deep into the well-springs of life and what bubbles up is a joyous lake of barely controlled madness.   The anarchic overtones are deliberate, but there is a scream-in-your-face humour that overshadows all else.   This is about chiaroscuro; a bunch of opposites vying with each other for attention.

This band is about plunging us without warning into the troubled spots of the world and then showing us humour where we thought none existed.  The overt political messages were a joy to me as I have never quite understood why this space is not filled more often.   The history of Jazz is intensely political and to describe ‘The Troubles’ music as a continuation of the work done by Carla Bley, Charlie Haden and especially Charles Mingus (even Benny Goodman) is not too far-fetched.    This band is a talented group of clowns shaking us by the scruff and saying; laugh or cry but for god’s sake look at the world about you.   There is no solace for Lehman Bros, Merrill Lynch, Barclay’s or John Key here.  For Jazz lovers with big ears there is joy aplenty.

This band is about call & response; not just between instrumentalists, but by the band vocally responding to John Rae’s trade mark exhortations.  Although he leads from the drum kit, that doesn’t prevent him standing up and shouting at the band (or the audience) to elicit stronger reactions.  During one of the middle Eastern sounding numbers (which appeared to lay the Wests hypocrisy bare), he shouted in what I can only assume was faux Arabic.  A flow of equally Arabic sounding responses flowed back .   It was the string section verbally responding as they wove their melodies around the theme.

On another occasion John Rae announced that we would be celebrating an often ignored trouble spot.   “I will now express solidarity with the North Americans”, he announced.  “The Sioux, Cherokee, Iroquois, Apache, Mohave etc”.   He began with a corny war dance drum beat which quickly morphed into a tune from ‘Annie Get Your Gun’.   As the melodic structure unwound into free-Jazz chaos we all understood the history lesson and laughed at the outrageousness of the portrayal.

Another Tango melody written by Lucien gradually reached a joyous fever pitch.  During the out-chorus the instruments dropped out one by one and as each instrument stopped playing the musicians raised a closed fist in a revolutionary salute.   Although it was quite dark in the club we had all picked up the cues.  This was a musical night beyond glib definition.

Like life, the music gave us lighter and then more thoughtful moments.  Musically it was amazing fun and after a difficult week I was suddenly glad I was alive.

Mission accomplished I think John and Lucien – keep shaking us up please.

John Rae (drums, co-leader, co-writer, co-arranger).  Lucien Johnson (sax, co-leader, co-arranger, co-writer).  Patrick Bleakley (double bass).  Daniel Yeabsley (Clarinet). Jake Baxendale (saxes). Hanna Fraser (violin). Charley Davenport (cello), Tristan Carter (violin). Andrew Filmer (viola).   Buy a copy of ‘The Troubles’ today at Rattle Records Ltd.  Venue – CJC Jazz Club Auckland.