Wellington

Swings & Roundabouts ~ Mark Lockett

/ JazzLocal32.com

Mark Lockett has released his seventh album Swings & Roundabouts, arguably his finest. The project had been in gestation for a while but like many projects, it was delayed by the pandemic. Still, once the travel restrictions were lifted he headed for New York, engaged some of New York’s finest Jazz musicians and set up the session in the Samurai Hotel Recording Studio, Queens—a studio versed in the intricacies of recording jazz tracks.

Lockett may be a Wellingtonian and from Aotearoa, but he is very much a citizen of the world. He has spent his most productive years dividing his time between New York, Melbourne and his hometown, and frequently touring in between. Over recent years, he is most often caught with chordless configurations, especially saxophone, bass and drums. His drumming style is interesting and these configurations afford him more room compositionally (and as a player). He is first and foremost a storyteller, and his ability to amplify his stories benefits from this type of spaciousness.   

I have often seen Lockett perform with chordless trios, but adding another horn has created interesting possibilities. He has always preferred these configurations and this is another step along the way. These are often referred to as saxophone quartets or trios but unlike Lee Konitz’s famous ‘Motion’, where the drummer kept as much in the background as possible, this is a very democratic unit where everyone shines. The compositions are all by the leader and there are unmistakable references to Ornette, and perhaps even Jerry Mulligan’s chordless quartets (Happy go Lucky). In reality, the term cordless is misleading as chords feature in the head arrangements, but above all, these compositions provide an opportunity for untethered linear improvisation. 

It is hard to imagine a better unit for this project. Dave Binney on alto saxophone, whether moving with his light-as-air alacrity or gently probing at the compositions, locates the most interesting pathways forward. And as he goes, flashes across the firmament with rapid-fire lines. I love what he does here. Duane Eubanks is also well-suited to finding the essence of these interesting tunes and burnishing what he finds. A respected veteran who delivers and provides the counterweight of solidity. The unison lines and the moments where these two converge in counterpoint are immaculate. It is also, always a pleasure to hear Matt Penman and he is so consistent in what he brings to a performance that I have come to doubt that he could ever put a foot wrong. His sound is woody and rich and his lines are perfect. Above all, he lifts those around him. 

And none of this would work with a mediocre or reticent drummer and Lockett is far from being either. His unusually melodic approach to the kit and his ability to react in the moment gifts his band some real meat to chew on. I have never heard him play better. If the release tour heads your way, don’t miss it, and buy the album. Swings and Roundabouts is available on all platforms and is released by Thick Records,  www.thickrecords.co.nz

JazzLocal32.com is rated as one of the 50 best Jazz Blogs in the world by Feedspot. The author is a professional member of the Jazz Journalists Association, a Judge in the 7VJC International Jazz Competition, and a poet & writer. Some of these posts appear on other sites with the author’s permission. 

‘Melancholy Babes’ + Eric Boeren – out cats@CJC

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Any club that was attempting to present a wide spectrum of Jazz styles would commit a sin of omission if they failed to include some of the more experimental Jazz on offer.    The CJC management have open ears and so on Wednesday they offered up the well-respected Wellington based new-jazz ensemble the ‘Melancholy Babes’ (plus guests).  The Melancholy Babes are: Jeff Henderson (alto sax), Anthony Donaldson (drums), Tom Callwood (bass) – [replaced by Gerard Crewdson (tuba)]. – special guest Eric Boerens (trumpet), John Bell (vibraphone).

The ‘Melancholy Babes’ appeared with guest trumpeter Eric Boeren of Amsterdam, who has long been touring the world and setting audiences on fire with his free ranging improvisation.    Eric has a long history in avant-garde music having played with titans like ‘Malachi Favors and  Roscoe Mitchel (of Art Ensemble of Chicago & AACM fame).   The usual Bass player (Tom Callwood) had been replaced for this gig by Gerard Crewdson on Tuba and a vibraphone was added for the last number (which occupied the entire second set). In Auckland we seldom get the chance to hear such groups, as Wellington is the New Zealand home of the experimental music scene.

In experimental music you are seldom going to get a gentle melodic swinging introduction to a tune and this is perhaps the point of the music.    It will find its own rhythms and develop an organic logic as the pieces progress.   The band opened with an explosion of sound and the force of it was initially startling.  The quick runs on the horns rose and fell, often ascending into squalls of sound or multi-phonic effects.  The insistent propulsive drum beats and the steady pulse of the tuba sent them even further out.     While the music was often wild, it took the sometimes incredulous audience along with it and as the journey progressed we felt ourselves to be part of what was unfolding.

At times the band would mysteriously coalesce into a gentler incarnation of its wilder self and in this reflective space, miniatures or tiny motifs would be crafted.  Perfect creations that stood apart, but somehow augmented the whole.  I was surprised at just how drawn into the process I had become and others felt the same.    We were hearing hints of something vaguely recognisable and intriguing, but for a number or two, just what, remained elusive .    Then it hit me; this felt like the history of Jazz and improvised music unfolding.    Rambunctious would be Buddy Bolden‘s swaggering up an ancient New Orleans street as the crowd egged them on.   1930’s Harlem bands, Hoe-downs & Jigs, raggedy defiant funeral marches.   They were all in the mix and our collective Jazz memory was being teased and refreshed.     I was not alone in arriving at this realisation as my friends Jason and Catherine and Sarah heard similar echoes arising from the music.

Having the Tuba was inspired as it gave the music a depth and a foothold in history that it would otherwise have lacked.   The Tuba nearly always took up the bass line in early Jazz as the bass would not have been heard above the brass dominant bands.   It was not until the advent of better recording techniques and amplification that double bass replaced it.   Tuba player Gerard Crewdson has solid credentials on the experimental scene and he understood exactly what was required.   There was also an element of word Jazz when Gerard intoned the story of the Melancholy Babe, while turning the pages of what looked like a very large comic book.  Like the music this was anarchic and humorous.  Many sacred cows were savaged on this night and if any cobwebs had been hiding in corners of the club they would have been blown away by the night’s performance.

Both Anthony and Jeff are well-known on the experimental music scene and I will hunt them out in Wellington one day soon.    Afterwards I talked to the band for some time and I was surprised to learn just how active the experimental Jazz scene is.   Anthony and I talked about Annette Peacock, the Black Saint label, Hat Art, the Art Ensemble of Chicago and Free Jazz music in general.    This sub-genre is certainly very well-respected around Europe, but in the USA it has a stronger following in some cities than in others.    Wellington it appears is solidly in the mix.

The night was fun and it was challenging.   I am glad I went.