Greg Malcolm & Lucien Johnson at Pyramid Club

 Nice to get out two nights in a row and hear some quality music., albeit very different. Pyramid Club was the scene for Friday night for two sets by guitarist Greg Malcolm - joined by Lucien Johnson's soprano saxophone for the second set. There was a healthy crowd without it being totally packed. It would have been nice to see a few more of the jazz crowd there, but I wasn't surprised that they weren't (benefit of the doubt.... maybe they all had gigs). I was particularly keen to hear the second set as it featured pieces by Steve Lacy (Greg's album Leather and Lacy is worth hunting down). Greg has a unique take on Lacy - a slowed down, drone-y type thing - and it really works. Lucien has a deep understanding of Lacy's music and he easily slotted into Greg's approach. Plus, it was great hearing Lucien sticking just to soprano - I can't remember the last time I heard that.... if ever, and I really enjoy his soprano playing. His tone has great clarity without getting bright or thin. He also created some sounds on a mystery box that I don't really know what it was!

 

John Rae trio at Wellington Jazz Club

It's (very) rare that I get along to a Wellington Jazz Club gig, now that I'm in the city I might get to more, but often the programing just  doesn't run with my taste. This past Sunday was an exception so I popped down to Meow to check out the John Rae trio - John Rae (drums) Lucien Johnson (tenor/soprano sax) and Patrick Bleakley (bass). A pretty decent crowd turned out - probably about 50 - and I had the impression that the vast majority were club members.

There was a great mix of tunes across the two sets from Scott Joplin through to Steve Lacy plus a couple of originals - Lucien's "Les Oiseaux d'Amour" (from The Troubles first album) and John's "Eastern Promises" (part of The Troubles current repertoire). And even with all that variety the two sets had plenty of continuity. Perhaps my favourites were the ballads "Chelsea Bridge" and "My Ship" - for whatever reason they seemed to hit the spot on a Sunday evening. It was nice hearing "Eastern Promises" outside of the larger set up of The Troubles, Lucien's tone on soprano is crisp and focused (and he's pretty fleet-fingered on it too). John was his usual high energy self and Patrick underpinned everything with some very nice lines. Rae and Bleakley are a fine rhythm section pairing. They've been playing together for over a decade (since the formation of The Troubles) and it comes through in their playing. And it was nice too hear them in a trio setting, which I can't recall having heard before. If I did it was a long time ago and hopefully it won't be so long until the next time.

Live music is back - Lucien Johnson Quartet

Well, we're pretty lucky here in New Zealand - live music is back. And when I heard Lucien Johnson had a couple of gigs scheduled with the stellar band of Jonathan Crayford (p), Tom Callwood (b) and Cory  Champion (d), it was a no-brainer to get along. Lucien has been in the studio working on a new album (with vibes and harp in place of piano) and it was those tunes that were featured at both concerts. There was no time for a break on Friday as it was straight from work and into Meow....I'm surprised I made it in on time. There was definitely a sense of anticipation and excitement in the room and the band didn't let them down. Many of the pieces had an atmospheric quality to them, but it wasn't all wishy-washy (not a term I associate with Lucien) with plenty of variety to keep things moving along. One particularly memorable moment was the bass and piano re-entry following the drum solo on "Jungle Rendezvous" was magic and you wouldn't pick it was their first gig playing this material. Tight. Butch Morris' "Spooning" and David Murray's "Morning Song" wrapped up the evening - a welcome return to live music.

Unsurprisingly, things were more a little more formal at the Whanganui Opera House on Saturday night. The concert was produced by Chamber Music Wanganui, and they pulled in a pretty decent crowd (I couldn't tell if there people on the upper deck) - great to see them supporting jazz. It was my first time at the opera house, and I was keen to check it out as a venue for jazz.  It was fantastic to hear the quartet playing without amplification (bass aside. In that room, bass and drums could be problematic, but overall the sound was nice without a lot more room for subtleties that can be lost in amplified and noisier setting. Sometimes the front of the bass was lost a little, but Cory did a great job balancing the drum levels. It was a chilly evening in Whanganui, but I don't think that was responsible for the shiver I got when Cory entered with double time against Tom's ostinato on one of the pieces (I forget the name of it, but its a nice tune). He seems to be getting better each time I hear him. It was great hearing Lucien's tone in that room, especially on soprano (which is tricky to mic up). I can't remember the last time I caught Jonathan Crayford live, and it was a treat hearing him on the concert grand in that acoustic space - his solo intro on "West of The Sun" was a highlight. Jonathan mentioned he really dug the room and is keen to return, and I would recommend others to investigate playing there. 

I couldn't have asked for a better return to live jazz with two very enjoyable evenings of music, and it made a nice change to have some company for the Whanganui leg. I'm looking forward to hearing the album.

Jazz on Sunday in Wellington

I kept myself busy on Sunday by getting along to two gigs. If I had been organized, I could have got along to a third - maybe next time.

First up, it was off to Cafe L’affare for The Dry Horrors - Anthony Donaldson (d) Tom Callwood (b) Lucien Johnson (ss/ts). I didn’t realize that L’affare had music and I stumbled upon this while making a last minute check of the gig guide.

It was interesting to hear these guys playing a cafe gig - some tunes by Monk, Ornette, Bird, Ellington and David Murray, and some standards and blues. The acoustics had everyone pulling back. I was expecting it to get really washy but it actually wasn’t too bad. I hadn’t really heard Anthony in this context before (maybe ages ago) but I really enjoyed his playing. In some ways his beat has an old feel but it ends up sounding modern (which brings to mind Han Bennink). It was a chilled out afternoon - even when things were moving along - and it was nice to see parents with their young kids listening to the band (even if just for a moment).

The Donaldson and Callwood pairing is quite longstanding. Will it attain the stature of the Sellers/Dyne, Gibson/Brown, Hopkins/Haynes pairings? Maybe it is already there? I’m glad to have caught Lucien again before he heads to NYC this week. I’m looking forward to hearing what he gets up to.

Next up it was off to Rogue and Vagabond for the Jasmine Lovell-Smith Quintet - Jasmine (ss) Mike Taylor (trpt) Anita Schwabe (p) Phoebe Johnson (b) Hikarangi Schaverian-Kaa (d). What started out as a sunny day had now clouded over, and the music seemed seasonly appropriate and continued the Sunday vibe - intimate, warm and pretty chilled out.

I was expecting Callum Allardice on guitar, but he was subbed out by Anita. And while I was keen to hear a guitarist playing Jasmine’s music, it was a bonus having Anita there as I hadn’t managed to catch her live since I’ve been home.

It was my first time hearing Phoebe Johnson and I was particularly impressed by her creative accomplishment, nice sense of space and unhurried approach. She fits in with Jasmine’s approach really well. She locked in nicely with Hikarangi too. He doesn’t overdo it, but gives things a kick, often unexpectedly, when needed. At times the sound guy didn’t do the bass any favors - quit turning up the volume during the bass solos. It really threw out the balance of her tone and make the bottom end overly boomy.

I enjoyed listening to the contrast between the sax and trumpet. Between the more notey playing, Mike hints at a melodic side too. The notey-ness has been part of his playing as long as I’ve known him, so it might be a bit odd if he edited it out, but sometimes the strength of a melodic line is lost when bookended with superfluous notes (and, in this case at least, the contrast with Jasmine would diminish). I would like to hear them together more to see what develops, especially as far as collective improvising goes. And while the performance may not have been as cohesive as the album but I enjoyed hearing some pieces from Fortune Songs live. 

After the gig we were talking about Sunday in Wellington becoming quite the scene - Third Eye’s regular afternoon session, L’affare in the arvo (not sure how regular it is), Rogue at 5pm, and the odd Sunday night gig (JB3 were at The Library that evening). So if you’re a jazz fan and in the city on a Sunday, there’s something happening somewhere - check it out.

Arthur Street Loft Orchestra: Lucien Johnson's "Party Sax"

I’ve been a bit slack getting this post together. On Monday night (25 March) I made the trek in for the Arthur Street Loft Orchestra. This week featured the work of Lucien Johnson and an 8-piece group (trombone, 2 trumpets, sax, piano, bass, drums & percussion). Under the title of “Party Sax,” it was indeed a night of good vibes, groove, riffage and plenty of wailing saxophone (Lucien largely stuck to tenor but he also busted out a little baritone). It was a rarity in that the set wasn’t 100% original compositions (the emphasis on the series has been on writing original work). Lucien included pieces by David Murray and Butch Morris (“Morning Song” and “Spooning” respectively) and I think there was one from Art Blakey too. The choices were very much in fitting with the overall vibe of the night. Solo-wise the emphasis was on Lucien (no complaints there), but there some other nice contributions too. James (sorry, I don’t know you’re surname!) blew a nice muted trumpet solo on the final piece of the night and Dan Hayles stretched out early on in the set I haven’t heard him playing much in a context that I dig, but he was the right choice for the piano chair tonight. Cory Anderson took care of business from the drum throne. I think this was the groups pre-CubaDupa gig, and based on what I heard, I’m sure it would have gone down well the following weekend. A fun night.

Mark Lockett Trio at Havana

Last Thursday night, I made the trek into the city to catch the Mark Lockett Trio at Havana (Lockett (d) Lucien Johnson (ts/ss) Patrick Bleakley (b). It made for a long day but was well worth the effort. It was nice to be up close for two sets of standards, Monk tunes and a couple of originals. In a few months, Lucien will be leaving our shores - make sure you catch while you can.

1st Set
- I Could Write a Book
- Valse Hot

- Loose Motion
- My Ship
- Off Minor

2nd Set
- Bye Ya
- Pannonica
- an original by Patrick Bleakley

- Strode Rode
- Epistrophy 

The car ride home had me thinking a bit. First off... Where was everyone? Wellington can be a bit quiet this time of year - usually it’s back to normal following Anniversary weekend. Of the small crowd, it seemed most people were there incidentally (although they did appreciate it). 

But was I surprised that there wasn’t a solid turnout? Yes and no. Why wouldn’t you go? No cover charge. High quality playing featuring some of Wellington (and New Zealand's) best jazz musicians. Schools out for summer, so maybe that explains the lack of students and faculty. But let’s face it, how many faculty do you see at gigs? But are all the musicians out of town too? (there are some musicians I virtually never see at gigs). And how about the run-of-the-mill jazz fans? (there were a couple present). Do Wellington Jazz Club members attend anything other than club organized concerts? Is it a case of artists being over exposed on a small scene or a lackadaisical attitude from the listeners ("I'll see them next time")? Is 9-11pm too late for a gig on Thursday? As fans and musicians, this is something we need to think about and work on together.

It had been a while since I'd been to Havana Back in the day it was a regular spot for me to check out some live music. It's a nice place to sit and listen to music. Have a cocktail, a beer, or in my case when driving - a pot of tea. But I noticed some changes. Maybe it's less dank and gritty than it used to be. Rose-tinted glasses perhaps, but I feel some of cool factor has diminished? Havana need to cut the crappy music between/before/after the sets. It really kills the vibe. At least they could play some cuban music. How about having the musicians pick some tracks to spin? In Chicago, I enjoyed the DJ sets on jazz nights at The Hideout - each week a different musician would DJ before the gig and during set breaks too. 

I’m guilty myself of not attending more live shows. Living well over an hour drive from the city makes me pick and choose more than I would like to. Gone of the days are just popping out after dinner, teaching, or practicing and grabbing a set. If I'm coming straight from work, sometimes it's just not possible to get in without missing half the gig. And when it’s a 3.5 hr round trip (from work) to catch a single set, that’s a bit rough. But I want to get organized so I can catch more live music. Maybe I can set the example! 

Arthur Street Loft Orchestra - Mark Lockett

Monday night at The Third Eye is big band night with the Arthur Street Loft Orchestra. The band shifts personnel each week and features the music of a local composer. This past Monday, drummer Mark Lockett provided the tunes (mostly from his trio album Sneaking Out After Midnight) which were arranged by Lucien Johnson for the pretty standard lineup of 5 saxes, 3 trumpets, 3 trombones and rhythm. I was surprised to learn that this was Mark's first ever big band gig. And maybe that's what I liked most about his playing... he didn't seem like a big band drummer (that chops-driven, bombastic, big band drumming cliche has never really appealed to me). Due the pick-up nature of the band, things tend to be a little underrehearsed, but it really didn't matter at all, as the feeling projected by the band overpowered any inefficiencies. In fact, it was the most fun I've seen and felt exuding from the bandstand in quite some time. It's catchy too, as the crowd really got on board with the good vibes. Jake Baxendale is doing a great job putting together this series, get along and check it out.

Mark Lockett featured with the Arthur Street Loft Orchestra

Arthur Street Loft Orchestra

Lucien Johnson

While I was back home I wanted to check out some live music. On the short list was the series organized by my friend Jake Baxendale - The Arthur Street Loft Orchestra. And it just so happened that my visit coincided with the series featuring the music of my friends Jasmine, Lucien and Jake. While the name implies a single unit, the series actually features various large ensembles utilizing a rotating cast of players, showcasing the works of local composers. This Monday night series has been going 12 weeks and so far he was the series booked through the end of September, but is confident he can keep it running until the end of the year. The Arthur Street Loft Orchestra is a welcome addition as it fills a gap in the Wellington scene, which hasn't had much room for regular performances by large ensembles - especially ones presenting original music.

It was nice to hear people writing music for large ensembles outside of the standard 16(ish)-piece big band line up in terms of both instrumentation and conception. First up was a large ensemble led by Lucien Johnson - five saxophones, two trumpets, two trombones, and rhythm plus Lucien on synth (and he played some soprano too). Unsurprisingly, Lucien came up with something a little different – a synth and bass driven big band sound. Normally I wouldn't like the bass as prominent in the mix for a big band but for this music it really worked. And it was nice to hear “Light Shaft” and “Asturias” from West of the Sun arranged for a larger group. The playing was enthusiastic, even if they were a little underprepared (yet delightfully so!).

Jasmine Lovell-Smith and Jake Baxendale

The following week I got along to an evening of music written by Jasmine Lovell-Smith & Jake Baxendale played by a ten-piece lineup consisting of rhythm section and six horns (2 brass and 4 saxes with a couple of doubles). It was advertised as a “chamber jazz” group, I'm not really sure I would have picked that descriptor. But based on that, I was it expecting something more on the quiet side – largely acoustic, light, subtle, brushes, weaving lines, etc. (although perhaps the acoustics at The Third Eye may not be suitable to such an approach). And while it didn't really check all of those boxes, it didn't stop me from enjoying the music. 

I was not surprised to see plenty of new (younger) faces on the bandstand, but I was surprised that I didn't really know anyone in the audience (both gigs we pretty well attended) - compare this to when I was home last year I knew about 75% of the crowd at a gig of Jasmine's. This time round the average age was older too. I'm not sure what to put it down to - Monday night perhaps... or maybe because it's more expensive than most gigs around town. But it's a nice atmosphere, so if you're in Wellington on a Monday night check out the Arthur Street Loft Orchestra at The Third Eye. To quote Jake, “the only other gig in town on Monday is the folk jam at the Welsh Dragon, and that used to be a public toilet.”

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.

2018 NZ Jazz Award Finalists Announced

The finalists for the Recorded Music NZ Best Jazz Artist and APRA Best Jazz Composition have been announced. 

Does anyone know why change Jazz Album of the Year is now Best Jazz Artist? To me they are different things and the award is still based on the album. Anyway....

It's great to see a number of friends in the running. Of the albums, Fearless Music, is the only one I haven't heard, but Unwind has had plenty of airtime since I picked it up last year (and I woke up at 3am this morning with "View of the Moon" floating through my minds ear) and I'm listening to West of the Sun as I write this post. I've been listening to it sporadically since picking it up at the start of the year - Really enjoyable and recommended (I'll get around to blogging about it eventually). I'm a little surprised that Jim Langabeer's Secret Islands didn't make the final three. The composition award is a different matter – I'm not familiar with any of them! However, the works by Callum and Jake were recorded by Radio New Zealand and you can listen to the The Jac & Black String there (part of my plan today). Anita's tune is on her soon to be released album, Eat You Greens – her first as a leader (I think) and I'm looking forward to hearing it. 

Best Jazz Artist 

Lucien Johnson: West of the Sun
Hayden Chisholm/Norman Meehan/Paul Dyne: Unwind
Umar Zakaria: Fearless Music

APRA Best Jazz Composition 
Callum Allardice: "A Gathering"
Anita Schwabe: "Springtide"
Jake Baxendale: "Beyond the Palace"

More details can be found on the APRA/AMCOS website.

NZ Music Month: Lucien Johnson - Stinging Nettles

Johnson/Silva/Sato: Stinging Nettles (Improvising Beings)

Lucien Johnson (ts) Alan Silva (b) Makoto Sato (d) November 2006, Paris. 

Lucien was a year a head of me at music school (and light years a head of me as a musician!). Although back then he had the reputation of being a bit surly (probably because he wasn’t shy of sharing his opinion), I got a long with him quite well and enjoyed his playing too. He was a great source for album recommendations and made sure I checked out Steve Lacy.

A couple of years ago I remember seeing that this trio had an album slated for release on HatArt. The release never happened and I forgot about it until I bumped into Stinging Nettles earlier this year. While I’ve heard a bit from Silva (initially via Cecil Taylor and Albert Ayler recordings), I was unfamiliar with Sato until now.

Considering that Lucien met Silva at the recording session (he and Sato had been playing together for a bit before the session), the trio works really well together. They may burst out of the blocks on the title track but the album is not all just crash and bang (neither is the title track for that matter). Throughout the album there are moments of fire and reflection, melodicism and abstraction, as each improvisation takes its own shape. There’s a lot of listening going on.

The short phrases of  “Abora” give the piece lots of breathing room before a quiet drone emerges to round out the track. The rhythm section maintains a broken time feel throughout “Copper Sky” which has quite a pointed or jumpy start. As the piece develops Lucien mixes up longer phrases with distorted held tones and short bursts. 

“Family of Silva” gradually unfolds. Solo bass opens the piece, Lucien adds a delicate, economic, melodic approach, the drums eventually join in and the trio create an swing feel with a nice push and pull between bass and drums without sacrificing forward momentum. “Pieces of Eight” features high register wails from the sax and arco bass throughout as the drums rumble beneath, while the quiet, minimal “Ice Shelf” finds another side of abstraction via high register arco bass, spacious use of cymbals, and a whispering, breathy saxophone. The fire returns on “Burnt Fingers.” Flurries of notes from the sax, unexpected changes in pulse from the bass, and clattering drums (not a bad thing….it was the only word I could think of!) give the listen plenty to tune in to.

The album wraps up with “Rhyme nor Reason” which has a wandering quality that appeals to me - unhurried but going somewhere. Lucien paces himself well really well and hints at a melodic fragment throughout, bringing continuity to his improvisation. One thing I spent some time focusing on this week is Lucien’s varied tone color - subtone, distorted growls, altissimo, brightness/darkness, throaty resonance, clean, dynamics and shifting vibrato - something I want to work on a bit more in my own playing.

Lucien is featured in Norman Meehan’s book, New Zealand Jazz Life, which I have been re-reading in bits and pieces this month (the chapters on Jim Langabeer, Anthony Donaldson, and Lucien). Lucien speaks about the impact Alan Silva had on him and, as always, has plenty of other interesting things to say too. I particularly like his idea that arts funding should be to directed to areas with more long term benefits like building the community and audience (such as funding venues that can host many artists over a period of time rather than one-off projects that quickly fizzle out). It’s a good read - check it out!

The chapter on Lucien is subtitled, “Jazz is not music for ambience.” This could not be more accurate in the case of the expressive, yet thoughtful, music on Stinging Nettles. 

You can read previous NZ Music Month posts here: C.L. Bob and Bleakley/Crayford/Donaldson