Little Symphony Sax Trio + Blair and Anton at Rogue

Still playing catch up with the blog. Here's a couple of shots from gigs back on the 23 and 25th of October. First up was the Little Symphony Sax Trio (l-r: Blair Latham, Jake Baxendale and Oscar Laven) at Photspace Gallery. I heard The Noveltones there earlier in the year (or was it longer ago than that?) and it's a nice venue for this type of thing. The quartet was minus one (Anton Wutts) but that didn't stop them as they played through a recently written suite - 6 short pieces based on colours (Purple, Green, White, Red, Black and Pink) and some other older and newer material.

 When Anton made it to town on the Sunday, he was at the Rogue & Vagabond along with Blair, Paul Mouncy (electric bass) and Peter Elliot (d). The group had a fun name but I forget what it was now.... (that'll teach me for not taking my notebook). It was great hearing Anton and Blair join forces again - the pairing goes back over 20 years and the spark remains.

Anton stuck mostly to alto sax (and some synth too), with the tenor only a making an appearance towards the end of the evening. In addition to the usual tenor sax and bass clarinet, Blair also busted out the guitar too (a rare doubling combo). It was a fun gig, high energy and a little quirky - not unexpected with these guys.

COVID-19 Lockdown: Day 2

Root 70’s Riomar kicked off the day. This is quartet’s album with a string trio and it had a darker vibe than I remembered (or maybe it was the cloudy skies and pouring rain, as the music brightened up along with the weather after lunch). If they ever return to the “Conceptual Works” series, may I suggest “Root 70 Plays Root 70”, featuring compositions from the band members’ other projects.

Then later in the day it was time for Magic Ocean Tree – an EP from The Woods. I’ve only managed to catch them live once and it was a fun evening. It’s taken me too long to pick up their two recordings. If you’re after groove-heavy, feel-good instrumental music, The Woods could be place to find it. It was a nice way to mellow out at the end of the day. Very rarely do I listen to music while at work so this is making a very pleasant change.

Arthur Street Loft Orchestra: Blair Latham & Anton Wuts

Blair Latham (b.cl/ts) Anton Wuts (as/ts/bs) Jake Baxendale (as/b.cl) Bent Hunt (trpt) Jasmine Lovell-Smith (ss) Alistair Isdale (b) Thomas Friggens (d)

I had been well overdue getting along to another Arthur Street Loft Orchestra concert, but I really didn't want to miss out on this week which featured Little Symphony Sax Quartet and Noveltones (with Ben's trumpet in place of Tristan's violin) and joining forces to play music written by Anton and Blair. There's always plenty of energy from these two and a bit of humour too. Plus their music works well together too with the set moving seamlessly between works from both composers. So often you hear original compositions just once, but I'm glad that Blair's “Message in a Bottle” has reappeared at a few gigs - I must have heard three versions for different instrumentation so far. It's nice when artists have a chance to only present original music, but also the oppourtunity to develop works over time. Week to week there's plenty of variety at the Arthur Street Loft Orchestra gigs both in terms of instrumentation and content. There's three weeks left in Season 7 – Louisa Williamson, Daniel Hayles and John Rae – I'll need to check my work schedule but I hope to get to at least one of these.

It can be bit of a rush to get in straight from work. Or at least it feels like a rush, but I always seem to get in with time to spare (great... now I've just hexed it for next time!). Although, I have to remember to stand next time... too much time sitting (in the car, at the gig, in the car again). It makes for a long day – about 7am-11pm - but it's worth the effort.

Swagman, Norm and The Woods

Swagman at Raumati Social Club (June 2019)

I’ve been totally slack keeping up to date with things here... time to catch up!

I'm trying to make a habit of catching Swagman's monthly gig at Raumati Social Club (the last Friday of the month). I really enjoy hearing a group working with a set of tunes over a period of time. This time around they included one or two news tunes too. It's been a while, so I'll be brief.... but a couple of memories are that the balance was a bit off - louder than usual and lack of clarity. And, Brent quoting Max Roach's "For Big Sid" during one of his solos over an ostinato from Joe and Gabe (I think Brent was surprised that someone picked up on it). 

Norman Meehan's farewell concert (June 2019)

The following night it was off to St Paul's Lutheran Church for Norman Meehan’s farewell concert (Norm is now based in NYC). The two sets featured pieces (old and new) from varying line-ups comprised of Norman (p) Hannah Griffin (vocal) Blair Latham (ts/b.clarinet/g) Lance Philip (d) Martin Riseley (v) Andrew Laking (b). Hannah seems to get better each time I hear her (admittedly only twice since I've been home) - I particularly enjoyed her duo with Martin Riseley. And when was the last time you heard someone double on tenor sax, bass clarinet and guitar? Blair managed it well (even playing all three on one tune). There was almost a house concert feel about the evening (maybe it was the cuppa tea and ginger nuts?).

The Woods at Raumati Social Club (July 2019)

The Woods play that dreaded mixture of jazz, world music and rock. It was the first time hearing this group (aside from a sneak peak on bandcamp a while back.... begs the question, “Why don’t I have their album yet?”) and once again, hearing original compositions being performed without sheet music is refreshing!

Hearing Blair twice in a week playing the unlikely combo of instruments, I couldn’t help giving Blair a little shit that he now has to lug around a guitar, pedals and an amp (he said that wasn’t lost on his bandmates either - after years of him hassling them for all their equipment). I have to give him credit for doubling on guitar in the same band as Joe! And his raspy tenor tone is the perfect fit sonically for this group.

I'm really glad to have caught Joe as much as I have since I’ve been home. I've probably mentioned it before, but I dig his relaxed intensity, and it makes it look easy. And and much as I enjoyed Tom’s playing on upright earlier in the evening, the electric pulled out a different quality in the group sound that really worked. By the second set the volume started getting a little out of balance with the room (I was sitting somewhere different too), with the bass getting a bit too buzzy but it seemed to settle down eventually. I haven't heard Rick Cranson all that much since I've been home. He knows when to turn up the power but didn’t overdo it. He did unleash over the vamp on final tune and the dynamic shift at the end was nailed by the entire band. The two sets flew by, and that's always a good sign.

What was meant to be 'The Woods' at Rogue and Vagabond

 James Illingworth (p) Tom Callwood (b) Blair Latham (ts) Rick Cranson (d) 

Tonight I was geared up to hear The Woods but it didn't quite pan out that way. Joe called in sick, and as I hadn’t heard this group before, and I was in the mood for a Joe Callwood fix, it was a little disappointing that he was stuck at home with the flu. However, I got over it pretty quickly and enjoyed the night.

I hadn’t heard James play for ages so that was a bonus. He brought plenty of intensity throughout the night (“Lonnie’s Lament” being a highlight early on), although sometimes the chops are a bit much for me (but he can sit in the pocket too). He doesn’t lack energy!! After a long dry spell, its nice to have heard Blair a few times lately. For whatever reason his articulation stood out tonight (great energy as always) maybe a bit notey-er than usual but it fit the vibe of the night. I dug Tom’s arco tone (it wasn’t too ampy) and his lines on "Chasin’ the Trane" leapt our at me. I hadn’t heard Rick for a long while either and they make a good rhythm section pairing. 

The quartet performed plenty of tunes by John Coltrane included "Lonnie’s Lament," "Crescent," "Wise One," and "Chasin’ the Trane" with a couple of others thrown in too - "I'm an Old Cow Hand" and Drew Menzies' "Oh Lord!" "Chasin' the Trane" closed out the night and was the highlight for me. Lots of great interaction and the band were clearly having a lot fun and the crowd was on the ride with them

There’s something to be said for the 5pm Sunday time-slot - it draws a crowd. Disappointed I can’t get in next week to hear Paul and Julien Dyne.

Blair Latham Quartet at Rogue and Vagabond

Blair Latham (ts/as/b cl) Al Campbell (g) Paul Dyne (b) Thomas Friggens (I think? d)

Due to the regular slot clashing with the vigil for the mosque shooting victims, the gig started early. Although I was in town in time, social media algorithms failed to work in my favor so I was unaware as I followed up a honk in the park with a cup of tea thinking about band ideas. I showed up early for the regular kick-off and they were just about to start the second set. While I expected to hear some original tunes from Blair, instead, I was treated to a set of standards. It was great to hear Blair on alto again - I don’t recall hearing him play alto since he made the switch to tenor many moons ago (I feel he managed to bring some of the buoyancy of the alto across to the tenor). They finished things off with Coltrane’s “Spiritual”, which seemed like an appropriate choice in light of current events. Al’s use of e-bow and various effects could easily have been over done but I think he got the mix just right. I was disappointed to catch only one set but it was enjoyable nonetheless. 

While I was a Rogue, Chris mentioned that Ben van Gelder was playing at LBQ. I knew he had been in town last week with Reinier Baas but I hadn’t realized they were still here. I arrived during the set break and contemplated bailing so I could get the next train home - but I stuck around to catch the second set which featured: Ben Van Gelder (as) Chris Beernik (bass) Myele Manzanza (d) Reinier Baas (g) Brad Kang (g). It was my first chance to hear Brad live - particularly interesting him and Baas (who played one tune) playing on the same set up (shows how much sound is in the hands/feel). It was definitely a “jazz school” crowd - the first I’ve come across since I’ve been back. I don’t get the applauding solos thing, maybe it’s something you learn at school? I used to do it but stopped when I realized I didn’t know why I was doing it. It was a little bit too much on the “epic contemporary jazz” side of things for me, but I’m still glad I didn’t get the early train. 

Arthur Street Loft Orchestra - Blair Latham and Anton Wuts

This week the Arthur Street Loft Orchestra was a 10-piece group comprised of five reeds, two brass, guitar, bass and drums playing compositions by Blair Latham and Anton Wuts. I was really keen to get along as I hadn’t heard Blair live for quite some time (years), and I can’t recall hearing Anton since he moved out of Wellington (15 years ago!).

I always found their music to be have plenty of energy with a quirky edge. And not much had changed in that regard. The evening had an interesting contrast between buoyancy and darkness. Tunes often moved in unexpected ways, sometimes the changes were abrupt, other times smooth. Blair’s “Message in a Bottle” featured a great soprano solo from Jasmine Lovell-Smith, who was wonderfully melodic and mysterious (that intriguing combination of light and dark). My only real complaint is that I would have enjoyed both Anton and Blair giving themselves a bit more room to stretch out.

The inspiration for some of the tunes hit home. The increased celebration of military is something I too had noticed on my return home. However, Blair's “Unknown “Warrior”, chose to celebrate the unknown musical warriors he heard while in Mexico. The “Daily Grind” is a familiar concept to many, and increasingly why I want to find an outlet for my music. And “Money Isn’t Everything” is something I can get behind.

This next paragraph is in no way directed at the music written by Anton and Blair - just a comment on the series in general. Last week while chatting to Jeff Henderson about the series, I mentioned the under-rehearsed nature of the group and he has a great suggestion - if you’re composing knowing that there will be minimal rehearsal time, it should inform your writing. Wise words.

I'd like to see the Arthur Street Loft Orchestra record a selection of tracks from the various composers. The series is a welcome addition to the scene and it would be a shame not to see the efforts of those involved documented. Or how about a featured spot at the Wellington Jazz Festival? The latter will have to wait until 2020 now as the headliners have been announced - and based on that, I’ll likely be checking out the lower profile local groups - I’m looking forward to seeing the full program.

NZ Jazz: Vibrant Tongues - The Shadow Out of Time

Vibrant Tongues: The Shadow Out of Time
Blair Latham (ts) Tom Callwood (b) Reuben Bradley (d) 2006

Up until now, this project has focussed on filling some gaps in my listening. So I why did I choose an album that wasn't new to me? Aside from it's nice to revisit albums once in a while, I don't really know. Somewhere along the way the CD developed a glitch on the last two tracks but thankfully it ripped onto the computer without a problem. I pulled a pile of NZ jazz albums off the shelf and for whatever reason, here we are, with The Shadow Out of Time.

I remember listening to this album quite a bit after picking it up at the CD release gig (at Happy) but it has been a long time between listens. I couldn't really remember any specifics, but the overall vibe – a dark quality, yet energetic – was still firmly in my mind. It was the more up tempo pieces that had left that impression. I hadn't remembered the ballads being as strong, but I gave them a closer listen this time around and they went down nicely. They offset the more outwardly energetic pieces and bring variety to the album that I had forgotten. Blair and Reuben share the composition duties (with five and three respectively) and there is plenty of continuity between the two, creating a nice flow to the album.

At times the Tom Callwood's bass is a little low in the mix or it's probably more of a case of the tenor being too high. It could lead a listener to miss some of the subtleties of the important role he plays in the trio. On the upside in did cause me to tune in to the bass more closely. Mixing broken time, walking and double stops provides a welcome disjointed feel to “Mad Uncle” with the drums joining in as the sax swings along energetically. Around the 2 minute mark on “I Dare Hear” there are some nice, somewhat unexpected bass interjections that popped out at me. Tom's solo on “3 4 5” sets up the transition back into the final melody statement (this time taking a rubato approach – nice touch). Much like his work on “Asturias” on West of the Sun (see the last post in the series), the solo bass intro on “Search In Progress” does a great job of establishing the tone of the piece. The ostinatos (with variations) are an important factor in “Shimmering Sunset” and “Wanna Get Happy?” Not one for flashy pyrotechnic displays, Callwood is a creative accompanist and soloist who gets to the essence of the compositions and I find that makes far more interesting and enjoyable listening.

Back in my alto days (daze?), I remember being a little disappointed when Blair made the switch from alto to tenor, but that seems a long time ago now (I guess it was in the early 2000s). The album opens with “Make It Quicker” and Blair comes straight out of the blocks full steam ahead (and Rueben latches on to Blair’s energy throughout).Blair's playing contains a certain quirkiness that I find very appealing (and the quirkiness doesn't become gimmicky). His tone is resonant (vibrant) with a bit of bark and well as a cry. At times a vocal quality comes to the fore. The growl is well integrated into the overall sound and doesn't really sound like it is just pasted on (“and now it's time to growl”). Instead, it's part of the natural development of the line and feeling (I feel even Coleman Hawkins fell into the trap and overdid it). There is an exuberance to his time feel (almost a bubblyness) which makes for an interesting contrast with the darker qualities of the music. On “Wanna Get Happy” his lines are scattered and energetic and his tone almost splits as he attacks notes on “I Dare Hear” whilemixing up a swinging swagger with darting double time lines to great affect. There's even a little atmospheric bass clarinet during the intro of “Shimmering Sunset” before he switches to tenor for a very well-paced solo to round out the album.

I haven't heard Blair live for quite some time and he hasn't recorded all that much (this is the only recording I have and I must seek out others). But listening to The Shadow Out of Time has made me want to hear more. He doesn't really sound like any other saxophonist that I can think of..... and if this music is about developing a personal sound and approach then Blair is ticking those boxes. It's definitely not your garden variety, clean, generic modern tenor playing.

Reuben has established himself as one of the top jazz drummers in the country but I'm afraid to say that I haven't had a close listen to much of his recorded work. I'm keen to listen to Shark Variations (with Roger Manins and Brett Hirst) to hear him in another sax/bass/drums setting some 10 years after The Shadow Out of Time. At times he can quite busy but without cluttering or dominating even as he builds intensity throughout a piece as on “Wanna Get Happy?” On “Shimmering Sunset” he draws out some different colors and there's airiness to his playing that remains present throughout, even if only hinted at, as the piece develops. These days Reuben is based in Australia but hopefully he gets back regularly as I've always found him to be a positive force in the NZ jazz community. In fact, he played (with Blair) while I was back but I was unable to get along. Next time!

While this series was originally about discovering new music, revisiting The Shadow Out of Time has been time well spent – I'd forgotten how much I enjoyed this album.