Jasmine Lovell-Smith Quintet at Rogue and Vagabond

Jasmine Lovell-Smith (ss) Jake Baxendale (as/b.cl) Daniel Hayles (p) Emma Hattaway (b) Cory Champion (d) 

It seemed like it had been quite a while since I had heard Jasmine play (Noveltones aside), I think the last time was a quartet gig during the festival last year... or maybe a gig at the Southern Cross. I forget, but it had been a while. I wasn't too sure if Jake would be the right fit, but the more notey contrast grew on me. He’s more melodic/lyrical on bass clarinet (less chops!) and that made for a change in pace too. Sonically, I find the pairing of bass clarinet and soprano really works (Jasmine used this on her album Yellow Red Blue). It's not a line up you encounter often, and I'd be happy to hear more (recommendations welcome!). I was looking forward to hearing Cory with this group as I hadn't heard him playing Jasmine’s music before - he was a great fit. Should I be surprised?.... not really, as Cory always brings something to the music. The live sound was more amplified than when Chris is on the desk, but the balance was pretty good if a bit bright sounding (especially piano and bass clarinet). 

The volume got louder in the second set and I wasn’t digging the sound as much. Then I noticed he had moved from nearer the stage back to the desk.  Surprise surprise... it was much better near the desk. And then when he moved nearer the front the levels dropped a bit. The downside of a sound guy roaming with an iPad (set them and leave them!). I minor complaint. On the upside, there was a decent crowd in and they were listening.

 

Jasmine Lovell-Smith Quartet at Third Eye

Last Thursday, it was off to the Third Eye for the Wellington Jazz Cooperative gig featuring the Jasmine Lovell-Smith Quartet - Jasmine (soprano sax), Daniel Hayles (piano), Emma Hattaway (bass), and Hikurangi Schaverien-Kaa (drums). This was the first outing of this line-up. I'd heard Hikurangi a few times with Jasmine and he is well-suited to her music - a sensitive and creative accompanist who isn't afraid to interject and kick things along as needed. I hadn't heard Emma before, and she slotted in nicely. At times her tone was a bit lost in the mix but it got better as the gig went along. Her melodic conception works well with Jasmine's compositions. I was most curious to hear how Dan fit into the group as I thought it was bit of an odd choice. It seemed to take him a while to settle, and for me there was a marked difference between his playing in the second set as he found his groove in the music. Overall they created a nice band sound that filled the room without being loud. There was nice mix of material from Jasmine's output - older pieces, new pieces, and adaptations of larger works - and her melodic, lyrical vibe hit the spot for someone who's brain needed to relax.

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.

NZ Jazz: Jasmine Lovell-Smith - Fortune Songs

Jasmine Lovell-Smith's Towering Poppies – Fortune Songs

Jasmine Lovell-Smith (ss) Russell Moore (trpt) Cat Toren (p) Patrick Reid (b) Kate Pitman (d) 2011 

While this listening series was designed to get me listening to more jazz by New Zealanders, with a particular focus on albums/artists I hadn't listened to, occasionally I make an exception and revisit a work – as was the case this month. Originally, Fortune Songs was slated for a straight-horning post, but then I thought of the NZ Jazz series and put that on hold (I'll have to revive that series), so now I'm finally getting around to spending more time with the Tower Poppies. 

I've known Jasmine since the early 2000s, and it's always tricky writing about your friends. But I have to say, it's a really solid outing – lyrical, joyous, hints of darkness and drama, plaintive, and conversational. 

Having two takes of “Confidence” is a nice touch. Each draws something quite different from the piece. The first is uplifting, buoyant and warm. While the second version strips things back for a more reflective approach. I can't think of many soprano/trumpet pairings (a couple from Lacy come to mind playing very different music) but I like the blend they get.

“Darkling I Listen” is somewhat more dramatic with a nice dialogue between piano, bass and drums as the horns step aside following the melody. There's elasticity to the underlying feel. Patrick Reid's bass is bold and the way he comes out of his solo seems like the perfect fit.

There is something chilled-out, yet driving, about “Let Go Be Free” that I find very appealing. During my studies with Richard Tabnik and Connie Crothers, we worked on making notes come alive, listening to where they want to go (rather than subscribing to preconceived lines). Some of Jasmine's notes here (2.06 and at other spots on the album) feature an unstable resonance that really pop out. It's a quality that makes me feel that the note could go anywhere.

The drumming of Kate Pitman is a highlight of the album. Her accompaniment is inventive throughout. She has the knack of not over-doing things while still maintaining propulsion. I enjoy the way she spreads the time around the kit. The propulsion is important factor as many of the tempos are on the slower side but she keeps things moving and interesting.

Cat Toren is pretty understated but that is the approach that is needed with this music. I really enjoyed her comping throughout the album. A nice example is her work behind Russell Moore on “Let Go Be Free”, where she mixes up single note lines, lush chords, and composed material from the melody, yet it never seems to get overbearing or in the way.

“Seven of Swords” is similar to “Darkling” in that is dramatic and features a rubato melody supported by busy accompaniment. I like the way the density backs off following the melody into a section collective improvising. In this case I think I would have like the improvised section to be a bit longer and have the out head stripped back to just soprano, bass and drums – but I'll survive!

Moore throws a bit grease on things during his solo “A Nest To Fly.” It adds a bit of spice to the relaxed groove and the band responds. But restraint is shown (once again). No one is going overboard. Jasmine plays a couple of notes at 2.59 that always remind me of Nathan Haines' “Chinese Burn." The rhythm section just a great job at varying the color and textures behind the soloists.

“Lover's Knot” is a nice example of Jasmine's need not to rush, and her approach permeates through the band. Buy-in from the band, supporting Jasmine's vision, creates a cohesive ensemble sound – one of the strengths of the album (along with her choice of personnel). Sometime I'll have to ask Jasmine how she feels that her love of poetry has influenced her improvising (and writing).

I love the fragility of the opening phrase of “When The Tide Is Right” and how it grows bolder with repetition – but not overly so. From that comes an assuredness to her phrasing of the improvised line. As with here playing throughout the album, it's a lyrical style that doesn't need to rely on an arsenal of well prepared material. A personal approach to the horn. 

Why have I been so slack to get hold of the follow-up, Yellow Red Blue?

Stroma and The Jac

Jasmine Lovell-Smith's "Cerulean Haze" was premiered by Stroma and The Jac as part of the Vox Fem concert that featured women composers whilst celebrating 125 years of women's suffrage in New Zealand. It was a long day, but I'm glad I got along. It had me thinking on the trip home... how about a Stroma concert featuring works composed by New Zealand jazz musicians/improvisors? I'm sure the likes of Jasmine, Rosie Langabeer, Jeff Henderson, Hayden Chisholm, Lucien Johnson etc, would come up with some worthy music. Plus it could make an interesting addition to the Wellington Jazz Festival.

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.”