NZ Jazz: Lucien Johnson + 5 - West of the Sun

Lucien Johnson + 5: West of the Sun 

Johnson (ts) Lex French (trpt) Nick Van Dijk (trb) Jonathan Crayford (p) Tom Callwood (b) Chris O'Connor (d) 2016

I still find it tricky writing about recordings when I know many of the individual's involved (whether they be teachers, colleagues, friends... or all of the above as is the case here). As a result, this post almost got put on hold - but here it is!

I've known Lucien almost 20 years. When I started music school it was immediately clear that he was one of the better musician's around (and he knew what that place was about). I remember being blown away hearing him play Warne Marsh's solo on “All The Things You Are” (from the Copenhagen trio recordings) and his and arrangements and compositions were always interesting. He spoke his mind (and ruffled some feathers) but I always found him approachable and a great source for listening suggestions (it was Lucien who encouraged me to check out Steve Lacy).

Although Lucien hasn't recorded a ton, there is plenty of variety in his output - The Night's Plutonian Shore, Stinging Nettles, Captain Blood (I haven't heard the latter in ages) are all very different. So was it a surprise to see his latest recording change things up again and feature three horns and rhythm section playing six original compositions? Not really, but it didn't disappoint either. The opening track, “Clarion Call,” set the mood for the album and grabbed my attention. West of the Sun appears upbeat on the surface, but a darkness also is present, a combination that drew me in from the beginning. 

As with Jim Langabeer's Secret Islands, I found Lucien's choice of personnel was really on point. The sextet is comprised of players that I've heard live quite a bit and they meld together here to form a very cohesive unit. Chris O'Connor has long been one of my favourite drummers on the NZ scene and he doesn't disappoint. He gets a little room to move on the closing track, “Zapata,” but other than that, he's quite understated. However, the taste and groove is always there. Supportive and creative – it's hard to ask for more than that. 

It would have been nice to hear a little more from Nick Van Dijk as his playing mines deep and captures the essence of “Asturias.” His solo features a reaching lyricism, not a quality I hear all that often but one that I find very appealing. There have been many occasions this past month when I have looped this solo. I'd love to hear Nick get oppourtunities to be able to stretch out in this manner more often.

Lex French's tone and playing during the obbligato over the tenor and trombone on “El Cid” fits the vibe of the piece to a tee. His solo work is strong across the album and I enjoy the contrast between the tenor and trumpet in terms of color and feel. Both play some slinky lines but Lucien tends to be a bit more laid back and perhaps Lex is a little more notey. 

Sometimes I find Tom Callwood's tone is a little ampy but I enjoy his playing. “Asturias” opens with Joe strumming solo bass and he does a fine job of setting the mood. His accompaniment during Jonathan Crayford's solo on the title track hits the spot. The piano solo itself is very tasty and a study in not overstating things. Fans of jazz in New Zealand need no introduction to Crayford and it will come as no surprise that his playing is top-notch. I know he was an important part in Lucien's development so it's nice hearing them recording together. His playing here was a reminder how much I need to give a listen to his two trio albums on Rattle (more to add to the list!).

Lucien's woody, dark tone with some buzz and ring to the edges really slots into the overall vibe of the album. His solos are strong throughout as he creates weaving lines with some nice bolder melodic interjections that grab your ear. The title track (with its stripped down line-up sans trumpet and trombone) features a very mature solo that flows on very nicely from Crayford's solo. It's expressive ballad playing with no need for lots of flash – he cuts things back to the bone. The “lazy” opening phrase of his solo on “El Cid” puts a smile on my face, and it leads into a well-paced solo. His writing is also very strong and he utilizes the instrumentation to bring a depth of sound to the ensemble passages without weighing things down. It's been refreshing listening to a three-horn front line. They get a nice blend and the shout chorus between the tenor and piano solos “Light Shaft” is a very nice touch.

I was pleased to see West of the Sun amongst the finalists for Jazz Album of the Year. In my book, the LP length is a bonus as it's a great length for listening and remaining focussed. So head over to Bandcamp and pick up a copy. If Lucien has any vinyl left I might have to grab one next time I see him.

NZ Jazz: Jim Langabeer - Secret Islands

Okay, so I'm running a little late.... maybe not the best start for 2018 but here it is.

The pattern of alternating between newer and older releases continued in December with Jim Langabeer's Secret Islands, released in mid-2017.

All 11 pieces are by Langabeer. They stand alone really well and combine make a great album with a lot of variety yet there is a unified thread running through the work making for a superb album. The choice of personnel is crucial and Langabeer made great choices and the instrumentation provides plenty of textural/color variety too. 

Jim Langabeer (tenor sax/flute/alto flute/putorino) Roger Manins (alto sax) Rosie Langabeer (piano/fender rhodes, organ) Neil Watson (guitar/pedal steel) Eamon Edmundson-Welles (b) Chris O'Connor (d)

Rosie was one of the more creative musicians during my time at music school but I haven't heard too over the past several years so her inclusion is a welcome one for me. Roger is the foil to Langabeer's stripped bare approach – reminded me a bit of the contrast between Miles and his saxophonists. It's nice to hear him on alto too.

When he was based in Wellington I regularly heard Chris O'Connor and he's one of my favourite drummers on the NZ scene. His versatile and creative playing is somewhat understated here but integral to the overall sound of the album.

Neil Watson was in some ways the surprise package (most likely due to me not really keeping tabs on his work). He combining jazz/rock/blues/country to great affect. His pedal steel playing is an important part of the sonic make-up of the album.

Eamon Edmundson-Welles was the only player I wasn't familiar with. He slots in really well. Nice arco tone. Sometimes the bass is a little muddied in the mix but when it's not it pops. He hooks up well with Chris.

I never really heard much of Jim's music but I was aware of his position as a veteran of the New Zealand jazz scene. His recordings are few and far between - the Superbrew album is on the shelf waiting for a spin but I'm not aware of others (suggestions and recommendations welcome!).

His playing is unhurried, sparse and the importance of tone as an expressive device comes through.  It's not ego driven, leader centric music. He's not dominating in any way as an individual (and often takes a backseat to proceedings) but still his conception comes through clearly.

“Bad Call” eases the listener in and is nice introduction for the things to come. The piece simmers as the collective improvisation builds.

The lounge-y “Rata Flowers” features a dreamy padding of pedal steel and mellow fender rhodes with melodic tenor floating above.

The melody of “What If” features multiphonics from the saxophones over a slinky swing feel. Rosie digs into the blues with unexpected twists and turns. Her rhythmic strength holds things together. Watson opens with staccato playing before moving onto the slide with plenty of off-kilter blues swagger (much like Rosie but with different outcomes). And Roger gets slippery on alto before the out head. For whatever reason I couldn't help but think of film noir and Neil Young's Tonight's the Night.

The collective improvisation, shifting tempos and hits of “The Big Smoke” keeps your ears primed for surprises. Provides a nice example of contrast between the saxes – Roger follows Jim's lead but with busier approach. Roger may be a more slick or conventionally virtuosic, but he is not lacking in fire or feeling.

“Tangi” is well placed following the more hectic “Big Smoke.” No one overstates their case and it's a wonderfully paced piece. The droning guitar and arco bass lay the foundation. The two saxes have a cry to their tone (with Roger drawing on some influences from India). One of the highlights of the album is the Rosie's solo piano stretch that ends the piece.

“Out Of Harm's Way” gives Chris some room to solo with backing from the rest of the band. There'a nice angular and jagged dialogue between bass and piano and plenty of exuberant saxophonic wailing as Jim and Roger ride tandem on the way home.

The Unhurried and well placed “Hinemoa and Tutanekai” makes great use of minimalism. Featuring the saxes playing octaves, multiphonics, and sustained notes. There's very subtle background tinkling (what is that... organ/guitar/bass? - great texture) with percussion eventually added to the mix. Space is a key ingredient.

Alto sax, flute, and piano improvisations are underpinned with textural drums and sparse bass lines until an explosion of distorted guitar really starts ramping things up for just a moment on “Orakei Karoako.” “Freequency” flows in from the previous piece with dense distorted guitar and rolling percussion.

Again there's some Indian allusions on “Central Plateau” with lyrical flute, drone-ish guitar and mallet percussion opening the piece. It kicks into some solid swing for Rog and Watson to blow over. Rosie's comping behind the alto solo grabbed my ear. Things settle as the flute re-enters but the piece doesn't lose urgency.

“Waiata o te Taniwha,” a lullaby-like tenor feature, seems like the perfect way to sign off.

Secret Islands made great listening during December and feel it is an album I will keep returning to. For me, the two key ingredients are fun and mystery. Highly recommended.

Final words.... more Jim Langabeer please!

NZ Music Month: Syzygy - Tongue Grooves

For Part 4 of my New Zealand Music Month posts (Part 1, Part 2 and Part 3), I've been revisiting an album I listened to a lot during my time at music school.

Syzygy: creative music ensemble - Tongue Grooves (Yellow Eye)
Jeff Henderson (as) Joe Callwood (g) John Bell (vibes) Paul Dyne (b/e.bass) Chris O’Connor (d)
Recorded in Wellington during 1996, I never managed to hear this group live. But later on I did get to hear the members in various other groups playing around Wellington (particularly from 1999 up until I headed to the U.S in 2004. And again between 2005-2009). This album may be a bit harder to track down than the other three albums I've written about this month. Originally I brought it from Slowboat Records and somewhere along my travels I lost it. But thanks to Gemm, I managed to get another copy from Slowboat.

Tongue Grooves has plenty of variety - the grinding "Pain and Darkness", straight ahead swinging "Nquitpausuckowashawmen",  the comedy of "Saydah's Tongue Groove", the mellow "Breathe Now", the high energy of "The Risk" and the angular "Demented #2" - but there is also continuity that glues the album together into a solid work. 

Mike Nock recordings aside, Tongue Grooves was the NZ jazz album I listened to the most during music school (C.L. Bob (live and recordings) got plenty of airtime too). It was rare that anyone ever mentioned NZ jazz around school (Paul, Chris and Jeff (briefly) taught me at the university, as did John but I don't remember having any classes with him). The curriculum didn't place any emphasis on NZ jazz and I cannot recall playing tunes by Kiwis (although there were a couple of big band charts by Alan Broadbent), nor can I remember our jazz history class spending any time on the NZ scene. I hope this changes.

Listening to Tongue Grooves this month has brought back memories of 1999 and listening in my bedroom overlooking the car park out back of The George. Nostalgia has kicked in and I want to check out more NZ jazz recordings from that time period. I'm sure there are plenty of NZ jazz albums from the 90s that I haven't heard but Tongue Grooves must still rank very highly. Next time I'm home I'll have to hit the used record stores to try and track some of them down.