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.

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! 

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 Music Month: The Truth Isn't Always Ornamental

Bleakley/Crayford/Donaldson: The Truth Isn’t Always Ornamental (Rough Peel Records)

Patrick Bleakley (b) Jonathan Crayford (p) Anthony Donaldson (d)

I stumbled across this 2016 release quite by accident a couple of months ago.

There is a slightly hypnotic feel running through the 1st four tracks. It leads to continuity while each piece still retains its own flavor. “Dots” features an ostinato from the piano that is maintained through as the solo buildings in intensity with lines of clusters. The flow created by rhythm section is superb. There is another repeated groove on “Bruno’s Tom Toms.” This time the piano holds firm as the bass bows over the top of a slightly sinister feel. The ballad “Street of Dreams,” features the drums bubbling away and building throughout the piece while the bass pedal makes you wait for resolution as the piano ruminates with sparse lines and plenty of sustain. It’s very collective approach rather than soloist and accompanists. The aptly named “Wall of Jazz” bursts out of the blocks and just keeps going - the trio is unrelenting. At times on this track (and some of the others too) Crayford’s phrasing brings to mind Lennie Tristano.

“Pink” is on the brighter side mood wise. The vibe is very familiar but I couldn’t put my finger on it. I kept thinking, “I know this… oh wait… I don’t.” Maybe there’s something about the piano that occasionally reminds me of Paul Bley, and perhaps Mike Nock too. The hypnotic feel present on the first four pieces fades as the rhythm is more broken up (it hints at a return towards the end of the piece as the bass pedals and the piano plays a short repeated figure) and once again it’s a very collective approach to trio playing.

The relaxed swing of “Departing Souls” is broken up with interjections from the drums. It keeps you on your toes and brings something different to the table (as Donaldson tends to do). Possibly the most “straight ahead” track is “Ornamental” and, courtesy of a fade out, it is frustratingly short. It may be a little more conventional playing than what I usually associate with Donaldson, but I’m really enjoying his playing across the entire album. The meditative “Tinalaca” frames the album with the return of the hypnotic quantity. The piece unfolds with a pedal, plenty of sustain and some timely fills from the drums. It wouldn’t be out of place on an ECM album.

There are no composer credits (it's hard to tell if there are tunes involved or if the trio is freely improvising - but I like that!) or recording date. The bass lacks some clarity and at times the overall sound is a bit “boxy,” but the recording does capture the live vibe (at Happy in Wellington) and if anything, it makes you hone your attention a little more. While the 38 minute length is refreshing, it was a little frustrating that some of the tracks fade out. But it left me wanting more, and that’s not a bad thing. These are minor complaints, and nothing that has stopped me from enjoying the music.

The Truth Isn’t Always Ornamental will likely be overshadowed by Crayford’s two trio albums on Rattle Records, Dark Light and East West Moon (both with Ben Street and Dan Weiss), but it offers something a bit different while still maintaining plenty for everyone swing, ballads, groove and collective playing.

Last weeks NZ Music Month post on C.L. Bob can be found here.