Music for Commuting: A Bunch of Broadhurst

For the last couple of weeks the I've shared the ride to work with a handful of Phil Broadhurst albums. It's nice hearing the same (almost) personnel across the four albums. Roger Manins (ts) and Olivier Holland (b) are there all the way and following Delayed Reaction, drummer Alain Koetsier is replaced by Cameron Sangster. When not listening at 100% it's interesting to hear what pops out and sticks with you... and that forms the basis of this post.

Delayed Reaction might be the odd one out (solo disc aside) or at least the one I haven't dug as much. It splits Broadhurst's tunes with those of Michel Petrucciani (whereas the other albums feature Broadhurst compositions). There's a latin-type thing and general cleanliness (?) running through the album that I'm not much of a fan of, but Roger brings plenty of energy that gets things moving (although sometimes it almost feels out of place).

Flaubert's Dance has quite a warm, mellow vibe. Usually I listened to these albums on the way to work but this one hit the spot when I wanted to mellow out at the end of the day during the ride home (rather than caffeine music to kick off the day). Roger's tone has some added smoothness to it here which works nicely. The trumpet of Mike Booth eases into the group on three tracks (he made a single appearance on Delayed Reaction) and here, and on the albums that follow, his melodic approach compliments the busier Manins.

Of the five albums Panacea was the only one with which I was familiar. Roger is on form throughout and it’s no fluke that his discography has grown rapidly over the last 10 years or so (yet surprisingly, I don’t have a lot of his work as a leader yet). He is the go-to player if you’re looking for some contemporary tenor in this part of the world. He’s not all rip, shit or bust though – the opening of “Inverted” is one example of his lyrical side. Another thing that really pops out on “Inverted” is the pedal steel of Neil Watson. And it’s a nice touch (and an ear grabber) that he emerges about half way through the track (Watson also makes an appearance on “Knee Lever”). And then there's "Japanese Shadows", the sole trio track. Once again, it breaks things up nicely.

Positif opens up with some great energy (perhaps a flow-on from having an audience present) and the album really grew on me with each listen. You can hear the development over the span of the recordings and with the latter two, the quintet comes together and sounds like a really solid group. The horns and piano only on "Sorrento Sunset" was nice way to break things up.

Solo jazz records are not a common thing on the New Zealand jazz scene, so I was keen to hear the new release, Soliloquy. I recognized "Sambal" immediately, although I hadn't listened to Sustenance's Food for Thought in a long time - it's funny how some things stick in your brain. And another track that popped out was "You Stepped Out of a Dream", as it's the only standard across the discs. With a few exceptions, I tend to prefer hearing Kiwi's playing original material as it's pretty rare that I'm really taken by standards. And why so few solo records?

Each of these albums are worth more attention than I have afforded them, and no doubt I will return to them again. If I had to recommend any, I'd go with Panacea or Positif for the ensemble records and Soliloquy if you're after something a little more introspective.

NZ Jazz: Dixon Nacey - The Edge of Chaos

Dixon Nacey - The Edge of Chaos (Rattle)

Dixon Nacey (guitar) Roger Manins (tenor sax) Kevin Field (piano/keys) Olivier Holland (bass) Andy Keegan (drums)

Although Dixon Nacey has recorded a number of albums, from memory I’ve only heard him on Tim Hopkin’s Seven (which I wrote a bit about here).

I picked up The Edge of Chaos on the spare of the moment from Slowboat Records the last time I was in the city. I wasn’t planning on reviving the series, it just happened to be the start of the month and I threw it in the car one morning on the way to work.... and here we are. And let’s face it... the title is quite apt for the current climate (hang in there everyone, isolate, take care!).

In the liner notes, Nacey mentions the problems practicing and developing the pieces with the aid of computer playback vs the realities of working with people. I’ve started getting into composition recently, but it’s an issue I’ve avoided as I don’t compose on a computer. I can see how it could be a real danger for many though.

One of the strengths of this listening project is it has me delving into things outside of my norm – and that’s the case here as The Edge of Chaos is not really the type of music I reach for on a regular basis.

The playing is first-rate – not surprising considering the personnel involved. I don’t recall having heard Andy Keegan before this, but his playing is on point throughout. And the remainder of the band – Kevin Field, Roger Manins, and Olivier Holland – are ever-present, heavy-hitters on the jazz scene in New Zealand.

At times the density, particularly the over-excited thing, gets a little too much for me – maybe this is my edge of chaos? Higher, faster, more notes. At times it’s fine, but it is often the “go-to” option – not only on this album, but a lot of contemporary jazz recordings/performances/aesthetic suffer from it too. Or maybe it’s just me ranting and raving as a result the current lockdown situation. I’m still not sure about the chaos though.... the music is not uncontrolled or disordered – actually I feel it is quite the opposite. Something bugs me though. Maybe it’s the lack of chaos? What exactly is chaotic jazz? Is The Edge of Chaos at the edge of chaos? Cluttered maybe? Not that I’m a minimalist, but things here seem constantly busy. But the arrangements manage to contrast things too – the solo passages of melody on “Bench Wrecker”, the way they brings things down for the piano solo on “Sketchy” brings some welcome relief (though it didn’t take them long to ramp things up again). “Ballad 2” offers some respite, but I feel it could have been stripped back further (chaos via silence?). The added vocals of Jonathan Leung and Chelsea Prastiti on “Taupo” bring a nice textural change. Once the vocals enter the piece has bit of a sound-tracky vibe - not a bad thing - I hear it as some kind of dark, rainy, murder mystery thing (not that I can think of many soundtracks with bass solos). Again, I prefer it when the vocals are less busy, particularly with the piano playing lines at the same time.... that just seems to be the mood I’m in at the moment.

It’s been a lot of fun returning to the NZ Jazz series. There’s every chance I’ll be back next month with another round. Let’s see how things pan out.

NZ Jazz: Jonathan Crayford - Dark Light

Jonathan Crayford: Dark Light (Rattle)

Crayford (p) Ben Street (b) Dan Weiss (d) 2014

After a couple of saxophone heavy recordings, I headed back to the piano trio for June edition of the NZ Jazz series. Dark Light provided some great accompaniment when driving at night pondering the mysteries of life. For some reason, putting this post together was a hard slog. I'm not sure why as I've really enjoyed spending time with the album this past month.

The overall feeling is one of introspection with a focused intensity that keeps things moving along and draws you in. Dark Light is more of a long simmer than a rapid boil. And for me, it's more about the mood generated by the compositions and the group sound rather than individual solos.

I like the tension that Weiss creates and the way he moves between tension and release. If he sounded more conventional, sticking to the groove of the piano and bass, it would be a far less exciting recording. Throughout, Weiss' accompaniment is often not what you'd normally expect - but it works. The are countless examples: 2.25-3.35, 5.45 on the title track; 1.30 on “Rita Finds the Light” (and the release at 1.53 into the light, skipping is tasty); the snare on “Galois' Candle”; and how do the fills at 1.45 and 3.40 on “Panties” work? Plus, I dig the tone he gets from his kit.

Taking care of business, often with the minimum amount of fuss, Ben Street's playing is nicely understated. That might be shortchanging him though... I don’t want to give the impression that he is phoning it in - but his tasty use of space on “Impetus”, lets you know he's not. Weiss is much more in the background here and the bass comes to the fore. The opening section of “Bikes in Space” caught my ear too.

I wouldn't describe Crayford's playing on this album as flashy (and he's definitely not trying to impress the first-call rhythm section), but he has a vitality that I dig much more than showy pyrotechnics. I particularly enjoy his sparse, melodic moments: 2.09-2.17 and 5.25 on “Rita Finds the Light”;3.50 “Impetus” (there's a welcome touch of blues here too). And the teaser at 3.55 on “Bikes in Space” is a nice touch (and the band feel on the out head is really on point).  All the tunes are by Crayford, and in a couple of spots, there were moments with a Herbie Nichols vibe (the second section of “Skyscraper Scaffold” and maybe the opening of “Bikes in Space” too).

The way the title track shifts mood so naturally is highlight. Dark Light couldn't be more apt name for the album. The mix of dark and light throughout the album brings plenty of mystery that I find very appealing. It's dark, yet uplifting.

I was surprised that this didn’t win jazz album of the year (not taking anything away from Dog). Maybe it was a victim of not being New Zealand enough (only 1/3 Kiwi) - I know of other nominations that were marked down for that reason. It seems that that line of thinking has subsided with the trio’s follow-up, East West Moon, winning in 2017 - I’m looking forward to giving that a spin too... eventually. 

NZ Jazz: Tim Hopkins - Seven

Tim Hopkins: Seven (Rattle)

Hopkins (ts) Dixon Nacey (g) John Rae (d) Richard Nunns (taonga pūoro) 2011

Last month featured the longest single track of the series so far. This month we have the shortest album of the series to date. Clocking in at 33 minutes and 38 seconds, Seven is the shortest album I've heard in a some time. I'm sure people have written about this and I'm late to the party, but with the decline of the compact disc will we see (have we seen?) a change in recording lengths and approaches. Maybe the vinyl uptake will see a return to shorter albums (not that this album was released on vinyl). 

The trio executes Tim's vision well, and his own playing is on game. Any of the trio could have over-played their hand and filled in the space – but they don't. You can tell it's Tim's album as he's the most

prominent soloist throughout the album. But the brevity of Seven keeps things from being a saxophone show and puts a lot of emphasis on the trio and how they interact – something I've really enjoyed focussing on. Tim's choice of personnel was crucial. One change and the album would sound extremely different.

I think this is only the second time I've heard Rae outside of The Troubles – the other occasion being a performance with Paul Dyne and Tim at Victoria University (there was someone else too, but I forgot who). His use of dynamics are a great asset across the album, ramping things up when needed but not afraid to back off either. John's playing is less boisterous than with The Troubles, but highly effective. When he's busy, it's appropriate and never out of character for the piece. 

Guitar has hardly been featured in this series (I need to work on that)and it's underrepresented in my collection, so it's been nice spending some time with Dixon Nacey – he never overstates his case. And his comping, in particular, was a stand out. He provides just enough to maintain that push-and-pull between sound and space. I could be tempting to have the guitar hinting at the missing bass by playing lots of ostinatos of bass-like figures. There's a little of that, and it does help pull things together, but not enough of of it to grow weary.

I'm not sure the addition of Richard Nunns on a few tracks was entirely necessary. It provides a change in colour and texture, and I like the way his playing helped transition between tunes (“Road from Perdition” into “The Sleeping Giants”), but if he wasn't present I don't think the impact on the album overall would be that large [yeah... I'm contradicating myself here with what I said about personnel choices!].

Higher energy pieces bookend the album, the funky-ish “One Set to Rest” and uptempo swing of “Biting the Big Apple”. In between there's the stark blues of “All Blacks and Blues”, the ethereal “The Sleeping Giants”, the grooving “Road from Perdition” and a lilting “23rd Century Love Song.” The odd track out could be “Brown Frog”, a piece for unaccompanied saxophone. But it actually slots into the flow of the programme nicely. [Side note: I can't think of (m)any solo albums by NZ jazz artists]. 

The space aspect is something I kept coming back to. It's something I want to address in my own playing. How do you utilize space without sacrificing momentum? 

Seven has provided a refreshing set of music to listen to this month and it's the finest album I have heard from Tim. 

Shuffle on tour at Rogue and Vagabond

Easter weekend didn’t really pan out as I would have liked. The first plan went pretty much as expected (I made an effort to be slightly more social and enjoyed the night that ended listening to slightly drunken renditions country tunes). The second fell through and its replacement never got off the ground. By the time I remembered that Shuffle were playing in Whanganui on Sunday night, it was too late for me to make the gig. Thankfully they were playing the following night in Wellington, so I braved the end of Easter traffic as far as the train station and bookended the weekend with brief trips to the city.

Shuffle - Roger Manins (saxophone) Ron Samsom (drums) Michel Bénébig (organ) and Neil Watson in place of Carl Lockett(guitar) - were touring in support of the newly released, self-titled album on Rattle Records.

“B.B. Gun” was a  nice slinky opener for an Easter Monday. Perhaps it was a little too relaxed, but the high energy “Beep” kicked the crowd into action. Feet were tapping, heads bobbing, some swaying, and plenty of smiles. It remained that way for the rest of the night. There was plenty of swank during “Big Leg Shuffle” as everyone hit their stride. Bénébig found the deep pocket as he opened his solo. And through this solo he kept tapping back into it. It fed the band and Watson really dug in too for a fine solo. I thought Roger was perhaps a little tame earlier in the set but became increasingly unhinged (in a good way!) throughout.

Roger’s between tune banter can be a little off the wall, and his mid-solo-cadenza shout out to Rogue sound man (and all-round nice guy) Chris was a classic. A compilation of these with the context removed would be bizarrely entertaining (hidden track on your next album Rog?).

“Gout Foot Shuffle” kicked off the second set with Bénébig playing another fine solo with a really happy feel to it. Throughout the night I’d catch myself getting drawn in to his hypnotic feet working the pedal board. Watson hit the deep pocket in “Dog Funk Walking” while Roger moved from laid back and sub-toning into some classic blues honking and wailing. They rounded out the night with the mellower (in comparison) “Hungry Pig Shuffle”. 

Two sets of shuffles is about all I can take but the infectious feel, good grooves and high energy end to the long weekend could make returning to the grind tough going. It’s an extra short week so I guess I’ll manage.

Unwind on tour

It was time to take an overdue break from work and catch a few of Unwind's gigs as they toured New Zealand.

First stop was the 4^th Wall Theatre in New Plymouth. It meant missing out on Matt Penman in Wellington, but I hadn't heard Hayden since 2012, so I wanted to make the most of him being home (sorry Matt! What are the chances?). It's a nice sized venue and was pretty much at capacity (100 or so). The trio have added a couple of gospel tunes to their repertoire - “Nearer to Thee” and “Precious Lord” - both of which proved to be popular choices. A Serbian folk tune about a son who leaves and never returns seemed like a fitting choice to play (and sing.... as promised to his Serbian friends) to his hometown crowd.

While I was in town I made sure to get to the Govett-Brewsster Gallery/Len Lye Centre. The Group Therapy exhibition featured three of Lye's sculptures, “Rotating Harmonic,” “Zebra” and “Watusi” (I'm pretty sure they said it was the first time since the 60s it had been exhibited). They were also playing “Free Radicals” and “Tusulava.” It's a great space in which to calm your mind. Do check it out. 

Following work on Wednesday, I jumped out to Lucky Bar + Kitchen in Whanganui for round two. There was bit of a different vibe, compared to the more hometown-casual feel of New Plymouth, it was more “gig-like.” The night was bit more high energy, the spiritual pieces got bluesy-er and there was even a little wailing altissimo. I enjoyed the venue - friendly staff and surprisingly decent acoustics (they just need a piano!). A crowd of about 40, not bad for mid-week I guess, tended to stay away from the stage. Paul's “The Last Desperate Hoot”, was a stand out for me. I loved the joyous swing and interaction between P.D and Hayden's weaving lines (Norm laid out, only comping during the head – a recurring pattern for each performance).

I didn't catch the titles of all the new tunes, but I hope “Tumble” (?) makes the new recording. Having heard them debut a number of tunes on this tour I'm keen to hear any that make the next album. One tune I dubbed “Norm's Groove” eventually I discovered was titled “Gabriel.” Norm's “Morning and Evening Calm” to open each concert.

Considering Unwind were touring in support of the release of Orange, they didn't play much from the album - “Miracle” made a regular appearance in the set list. And “Fly” was the only piece from the trio's debut album. But that really didn't bother me, as I enjoyed the chance to hear them working through tunes that will feature on their upcoming album (to be recorded while they were in Christchurch). After four gigs I was starting the new tunes were starting to sink in.

St. Paul's Lutheran Church was the scene on Thursday night in Wellington. I know some people had gigs that night (credit to Jake for making the first set!), but I was expecting a much larger crowd – at least one that was heavy on sax players. We need to work on this! 

For some of the tour Unwind expanded to a quartet with the addition of Julien Dyne on drums. I was really keen to hear how Julien slotted into the group. Particularly on the older material that may not have been written with drums in mind. He had already played a few dates with them earlier in the tour but this was my first chance to hear the new line up. It seemed like the first set he was still coming to terms with the acoustics (there's a reason why Bach didn't have drums in his church band!) but I enjoyed his approach. Unsurprisingly, it did change the fundamental sound of the trio. There was less room for the music to breathe (one of the strengths of the albums). At times he plays the energy that is implied on the trio recordings. Did that space need filling? Sure, Unwind could keep operating as a trio, but the addition of drums definitely brings a new feel to the group. But why change? I guess it may freshen things a little to avoid the third recording being samey. I don't really have a problem with samey... as in stable line-ups working creatively in samey settings (Root 70, Connie Crothers Quartet, Steve Lacy Quintet/Sextet come to mind). But regardless of the reason, the addition of drums has plenty to offer and build on.

One change that did stand out was P.D's approach with the addition of drums. I felt he was more interactive and broke up the time more in the trio setting. This was one of the elements I really enjoyed on the recordings, Unwind and Orange. It came to the fore in Whanganui and on a couple of trio tunes in Raumati. But it was nice hearing him settle into a groove with his son.

One of Norm's strengths is knowing when not to play (a seriously underrated quality!). He can be happy digging the sounds around him without the need to be constantly stabbing at the piano. And when he does play – he means it. It's definitely not a chops-heavy approach, and it suits this group to a tee. 

Friday lunchtime and St. Paul's Cathedral was the setting for a condensed version of “The Well-Tempered Shruti Box.” It's a recording of Hayden's I have listened to a lot, so it was fantastic to hear it live in a acoustic space that really showcased his alto tone to the max. Understated virtuosity – he makes it seem so easy and sound so good, without having to wow people with pyrotechnics. The 35 minutes floated by in no time.

It was great to hear the trio for a couple of nights and then the quartet for a couple of nights. Again, it was very interesting hearing Julien with the group the following evening at the house concert in Raumati South. He's an improviser, as his approach to the same tunes two nights running varied quite a lot - and this time round the acoustics were in his favour. Everything seemed to dovetail together on Friday night – the coziness of New Plymouth, the energy of Whanganui, not having to battle acoustics as they did in Wellington. The crowd (full house) really got into it, and I chatted with a bloke attending his first ever jazz concert and he was blown away.

If they played a better concert than this house concert, and if you managed to catch it, consider yourself extremely fortunate. The walk back to my sister's place was too short to contemplate the mystery and magic I'd heard that night. A great evening.

The week came with mixed emotions – great getting to hear and hang with one of my favourite musicians who I haven't seen in a number of years, but it also was a reminder of times passed, when getting out to four gigs in a week was standard fare, when music was more prominent in my life, and when everyday life was far more fulfilling. Coming down from such such a high isn't easy. In some ways, it served as a stark reminder of just how ordinary parts of my life have become – but I'll try to focus on the positives. During my lessons, Connie Crothers would often talk about momentum. I want to talk this week's energy, move with it and build on it. 

NZ Jazz: Unwind - Orange

Unwind: Orange (Rattle)

Hayden Chisholm (as/shruti box) Norman Meehan (p) Paul Dyne (b)

This month I've been listening to another new release from Rattle. Orange is the follow up to the trio's 2017 debut, Unwind. The added bonus here is the inclusion of a DVD featuring the trio in concert at Orange Studios in Christchurch. 

As was the case when I wrote about Unwind, Orange is quite different from the previous month's featured recording (Antipodes' Good Winter). While both groups have a definite ensemble sound the means in which they attain it are very different. The velvety quality of Hayden's phrasing, Norm's hints of churchiness (without overdoing it) and P.D's counterpoint come together as one to form a distinct trio sound.

The album opens with Norman's “The Chickenfoot Tango” with an alto solo introducing what becomes a duo between Hayden and Paul. One thing I noticed immediately is that the bass sounds a little more “ampy” than on Unwind. Not that it stopped from enjoying Paul's playing. In fact, I really enjoyed the dialogue between P.D and Norm across the album. There's a really thoughtful quality and delicate placement of notes to Paul's work on “Mendoza”. And the collective soloing of piano and bass. 

This conversation playing also stood out on “Grolnick” - particularly Paul's playing during Norm's solo. The trio attain a very rich sound. Warm, and at times, there is a bittersweet element to sneaks in (not only on this tune). I know Norm is a big fan of Don Grolnick's compositions. He's someone I've never really checked out but perhaps it's time I got around to it.

The tracks are fairly short mostly in the 3-4 minute range with three tracks over 6 minutes. It keeps things rolling along which isn't a bad thing with a program heavy on ballads and slower pieces. “Placeholder” and “Ms Mulgan” are well placed to and provide a little lift. The former is upbeat, and while it is quite busy and even dense at times, somehow it remains light. I dig Hayden's phrasing as he opens up the latter unaccompanied. Norm hides his left hand for the entirety of the piece and it makes for a welcome change in color.

The title track is a brief collective improvisation that had me imagining how a set of free improvised music could sound coming from this trio.

The bulk of the tunes come from Norm. Two are by Hayden and the lone tune from Paul is “Miracle.” It fits well into the mix and next time around I'd like to hear them tackle some more of P.D's tunes. At 3.55 Norm hints that things are going to rev up a little and Paul joins him for 10 seconds of walking before the unwind a little more.

The colors Hayden can draw out of his never fails to please my ears. Often it's subtle, but that just draws me in closer and closer. There's an intensity to his attention to detail with tone that really appeals to me. Listening to “Star Shepherd” always had me focusing on his tone. Does this tune showcase something different (tonally) than the other tracks? I don't think so, but I definitely caught myself zoning in on tone here. 

It wasn't immediately apparent what was pulling me in “Star.” But with repeated listens, I realized it was the way the phrases swell and pulsate that caught my ear – music that breathes.

Orange was very much a case of knowing what you're going to get and not being disappointed. I was expecting and unhurried, warm, intimate album featuring lyrical playing, and it checked all those boxes. But Orange is much more than that. Often in jazz, we fall into the trap of being wowed by chops, the fanciness of hip chords, fancy licks, and weird time signatures. But there's something seriously underrated about presenting a melody, taking your time and not having to shout. And that's the wow factor for me that Hayden, Paul and Norm express so well on Orange. Not a bad way to round out what has been a hell of a year.

Unwind are on tour in February (with Julien Dyne added) with details over at Norm's website. See you there!

PS. I love that the watch beep made the final cut. 

NZ Jazz: Antipodes - Good Winter

Antipodes: Good Winter (Rattle)

Jake Baxendale (as) Callum Allardice (g) Luke Sweeting (p), Ken Allars (trpt), Max Alduca (b) and Aidan Lowe (d) 

Well, I finally got my hands on Good Winter (along with a couple of other new releases from Rattle). It was of particular interest to me as I've known Jake since the first week he moved to Wellington - that must be over 10 years now....rust never sleeps. Back then he was just a fresh-faced lad moving to the big city. It was while I was abroad that he developed into one of the movers and shakers on the scene here. Not only as a player but also an organizer, seeking out playing oppourtunities not only for himself, but the wider jazz community in New Zealand too. One of his main collaborators is guitarist Callum Allardice, who joins him here to form the Kiwi contingency of the trans-Tasman collaboration that is Antipodes. 

Compositional duties are evenly split between Jake, Callum and Luke Sweeting, with Alduca contributing one.  And it should be noted that Callum has been the recipient of the APRA Best Jazz Composition award on two occasions, and the 2017 winner, “Deep Thought,” appears on Good Winter.

I'm not sure why as I haven't listened to them in a long time, but two artists/recordings came to mind almost immediately during the first spin. There's an uplifting kind of vibe that made me think of David Binny and the other was Reid Anderson’s The Vastness of Space. But I wouldn't say that Good Winter sounds like either (but it did lead me to giving a listen to both just to check in with my initial reaction). 

It's the ensemble sound and collective effort rather than soloists that stands out to me. It is quite a busy and dense sound that features throughout with multiple soloist weaving lines together or soloists improvising lines as written melodies are stated. There are hints of ECM vibe too, but for the most part, things are a little over-the-top for the ECM thing. And that's probably my main criticism – there's just a bit much of everything (yet something is missing). There's no shortage of youthful exuberance but that seems to lend itself to an overblown “epicness” (think jazz power ballads). At times I almost caught myself laughing (definitely chuckling). I'm not sure why I do, but it's probably not what they were going for!

Perhaps the “diametrically opposite” component of the definition of Antipodes is reflected in the contrast between the mellow and the grandiose that is a feature of many (all?) of the tracks. It's not just a band name, but part of the aesthetic of the group. For me it’s a bit overstated and at times somewhat predictable(and in that regard, it reminded me of hearing The Bad Plus live). For example, you just know that the phrase at 0.55 on “Deep Thought” will reappear later coated in full-blown epicness (and it does at 3.20). “Sympathetic Resonance” provides some respite, as does “Haritomeni,” until things get cranked for the last minute or so.

Listening to the album has a whole had me wanting a change of pace. I was better off just listening to a couple of tracks in a sitting. I do like that they have a conception even if it's one that's not really for me. However, I'm still curious to hear where they would take things on a follow-up album.

The New Zealand leg of the album release tour kicks off in mid-December (next week!).

Dec 12 - Auckland, Backbeat Bar, 8pm

Dec 13 - Hamilton, Nivara Lounge, 8pm

Dec 14 – Rotorua, Princes Hotel, 8pm

Dec 15 – Whanganui, Musician's Club, 8pm

Dec 16 - Wellington, The Rogue and Vagabond, 5pm

Dec 18 - Christchurch, Space Academy, 8pm

Dec 19 - Nelson, Fairfield House, 8pm 

Dec 20 - Golden Bay, The Mussel Inn, 8pm

Dec 21 - Blenheim, Dharma Bums, 8pm

Music for Commuting: Jonathan Crayford and Jean-Paul Celea

A couple of albums keeping me company as I roll through the farmland each morning and evening. Jonathan Crayford’s Dark Light will eventually get the NZ Jazz post treatment, as it deserves more than a passing mention. As does Yes Ornette!, from the trio led by bassist Jean-Paul Celea. This one was of interest on a few fronts: I’m into Ornette and this album features his compositions including many he did’t record. Plus, featured throughout is the soprano sax of Emile Parisien, a player I hadn’t heard before. I’ve been listening to a bit of Ornette played by others lately so expect to see more Ornette-oriented albums getting a mention here soon.

NZ Jazz: Chris Mason-Battley Group - Dialogos

Chris Mason-Battley Group - Dialogos (Rattle)

Chris Mason-Battley (ts/ss/ewi) David Lines (piano) Sam Giles (bass) Stephen Thomas (drums/loops)

I had no idea what to expect from this album. Many years ago I heard Two Tides from the CMB Group (also on Rattle) but it didn't make much of an impression on me. This time around there are exploring compositions by John Psathas. And although I'm not familiar with the compositions, this was the kicker for me to pick up Dialogos – contemporary jazz group interpreting contemporary classical compositions. I can't say my unfamiliarity with the compositions lessened the listening experience for me - just take the music at face value and away you go. Similarly, I'm not really familiar with the musicians involved, so once again the (almost) clean slate ruled the day (or month in this case).

There is a nice sense of space across the album. This contrasts/compliments the (at times) busy drums, which are featured throughout. The chops-heavy, busy playing, while creative, didn't appeal to me. Along with Mason-Battley, Thomas is the dominant solo voice, but I felt that he could have backed of a little without sacrificing his contribution. Rhythm is a unifying force across the album. As Mason-Battley stretches out on “Calenture Reprise: Dialogos,” the underlying rhythm from the rest of the band keeps things grounded.

Although my preference is for acoustic, the electric bass fits in to the group sound well. Occasionally I thought things got a little muddy, but then I'd listen again and didn't notice it. If anything, the sum is greater than the parts. There is a definite band sound that I find stronger or more appealing than the individuals. Dynamics are often neglected in jazz performance, but the CMB Group harness them across the album to great effect (and not just in that “building to a climax” kind of way). Likewise, there is plenty of textural variety throughout the album. These two elements added plenty of strength to the performance and kept my ears primed.

The overall mood is dark, brooding and perhaps, at times, introspective. With all that is going on here at the moment maybe it wasn't the right month to pick this album, and as a result I probably haven't listened to Dialogos as much as some of the other albums in this listening project to date.

If you are after a swinging jazz album, you'd be best to look elsewhere, but the exploratory playing provided plenty of surprises and resulted in stimulating listening this month. I wouldn't hesitate recommending Dialogos for those looking for something a little different in the New Zealand jazz discography. Plus, fans of John Psathas would be well advised to hear where his compositions can go in the hands of improvisers. Perhaps it's time to cast fresh ears on Two Tides. 

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 Jazz: Chisholm / Meehan / Dyne - Unwind

I first met Hayden when he toured NZ with Root 70 in 2007 and have been listening to his music since about 2003 (more on that later). Of all my friends I've written about his music the most - and I still feel a bit guarded in doing so. Going back to 1999, Norm and Paul were teachers of mine at jazz school and earlier this year while back in NZ, I got to hear them both - P.D with Jasmine Lovell-Smith, and Norm just happened to be playing a gig at the airport(!) when I was there to head back to the U.S. This series of posts is going to challenge me to write about my friends, teachers and associates more than I have in the past. 

Unwind is quite the contrast to the Space Case discs from last month. Following the initial spin I played word association and scribbled down some words that came to mind: space; warmth; quiet; understated; open; cozy; subtle; intimate; sparingness; dark; unhurried; joy; communicative; and intense.

The three originals from Haden have been explored before in the alto/piano/bass setting. “Fly,” “Inebriate Waltz” and “Tinkerbell's Whim” all appeared on Breve with the latter named “Tinkerbell Swing”) and “Inebriate Waltz” is also on Star Shepherd. One thing I haven't done this month is give some comparative listening to the match-ups of Dyne/Meehan, Penman/Taylor and Kaufmann/Eldn alongside Hayden. Norm contributes seven pieces and “Nick Van Dijk” (Hi Nick!) seemed very familiar to me. I think it's from watching the video of the trio that John Fenton posted on his blog late last year as I don't recall hearing another recording of it. There are some strong melodies here and later in the month I started working on “Free Motian” and “S.T.B.”

It's always interesting what pops out as you listen passively - “Edward” and “Free Motian” were the two melodies that initially drew my ear. And there's phrase from Hayden's improvisation on “Nick Van Dijk” (at 1.54) always seemed on leap out at me and now I catch myself waiting for it. Parts of the melody (the bridge) of “View of the Moon” remind me a little of “Ballad of the Hurting Girl” from Norm's Small Holes In The Silence (also on Rattle).

One of the keys to the album is the nuanced playing and subtleties – Paul's upper register playing during the melody of “Beekeeper,” or the way Norm uses a pedal tone to generate some gentle propulsion during the out head of “Free Motian.” Hayden's Basie-esque riff behind Paul's bass solo on “S.T.B” (a live track to end the album) and Norm's intro to his solo on the same piece. Some of these examples last only a matter of seconds but are vital nonetheless. On a mostly ballad outing such as this, textural variety can make a big difference. The piano/alto duo of “Free Motian,” the brief solo sax opening up “Tinkerbell's Whim” the bass/alto duo on “View of the Moon,” and Hayden's comping behind Paul on “S.T.B” provide enough variety to keep the ears fresh. Oh, and the counter point on the out head of “S.T.B” is a nice touch too (the melody of this tune brought to mind Bernie McGann).

The trio brings some laid-back churchy blues to Hayden's arrangement of Robert Schumann's “Sei Gegrusst Viel Tausendmal.” I'm enjoying the way Paul's interactive lines breath with the soloists.

Following the melody, “Unwind” momentarily features the tangled lines of dueting alto and piano before the bass reenters. This tune has bit of a different vibe to the other pieces – maybe a bit darker or starker (again, a nice bit of variety). But that feeling is more apparent during the melody statements than in the improvisations. It's nice hearing the melody used as a tool for accompaniment. I could hear this tune reimagined as a wilder out-of-tempo free-jazz thing too.

A positive vibe prevails on “Edward” which features communicative collective playing and swell to the accompaniment thats builds throughout the song. 3.28 and 4.20 were another couple of phrases/sound bites that caught my ear.

On the mid-tempo pieces like “Tinkerbell's Whim” and “S.T.B” Norm's lines have a nice singing quality to them. His playing on the latter has some nice twists and turns and use of space/phrasing that I'm digging. Paul's sound really pops on “View of the Moon” and “S.T.B” as he digs in for some walking and he plays some lovely counter melodies on “Beekeeper” and the title track.

Hints of Hayden's Johnny Hodges roots come through in “Inebriate Waltz.” The breath is very much part of Hayden's sound and while some players try to hide air sounds (or it is taught out of them), Hayden embraces it. At the six-minute mark he links two phrases with air – not something I hear people doing.

Unwind, lets you do just that – highly recommended. 

NZ Jazz: Mike Nock - Vicissitudes

Today kicks off a series of posts that will focus on jazz by New Zealand artists. There were a few motivating factors behind the series. I’ve enjoyed putting together the NZ Music Month posts over the last couple of years and wanted to build on them; reading (and re-reading) Jazz Aotearoa and Norman Meehan’s New Zealand Jazz Life; picking up a handful of albums when I was back home earlier in the year; and probably a touch of homesickness too. But perhaps the main driver was simply getting more familiar with the music and artists from back home.

It’s amazing how little emphasis was placed on jazz from NZ during my years at music school. It was rare to talk about NZ artists and records, and I only recall playing one composition by a Kiwi in three years of combo classes (there were some big band charts but no real emphasis there either).

Although I attended a lot of live music, I didn't buy many NZ albums …. and oddly, some that I did went missing along the way - C.L. Bob, Syzygy, Mark de Clive Lowe among others that I’m slowly re-acquiring. 15 years ago there was little interaction/collaboration between the scenes in various cities and I wasn’t very aware of what the NZ scene was beyond Wellington. It was rare to have musicians from Auckland playing in Wellington (and even rarer to hear musicians come up from the South Island). Thankfully, due to the work of the Creative Jazz Club in Auckland, and now the newly formed Wellington Jazz Cooperative, and OrangeStudios in Christchurch, it seems like things are changing.

I thought it was appropriate to start with something recent by the first jazz musician from New Zealand I was aware of - Mike Nock.

Mike Nock: Vicissitudes (Rattle Records)

I like the variety that comes with Mike Nock. He keeps the listener on their toes (ears?), as you never know what the next album will bring. This was very much the case with Vicissitudes - the 2016 album that pairs the Mike Nock trio [Nock (p/e.piano/synth) Brett Hirst (b) James Waples (d)] with the NZTrio [Justine Cormack (violin) Ashley Brown (cello) Sarah Watkins (piano)].

Four fairly brief collective improvisations open the album and I found myself starting the album over a number of times just to focus on those pieces. They have an improvised chamber music quality and are my favourites of the album (even if sometimes they seem a little unfinished). It gives the album a curious opening, and by default, they serve as a multi-part introduction to the six-part “Vicissitudes.”

I had to look up the definition of the title - a change in circumstances or alternation between opposite or contrasting things. Given that the work has origins in providing some solace to post-earthquake Christchurch, and it features the paring of jazz trio and classical trio, and improvised and composed music, it’s an appropriate choice.

Possibly due to the focus on composition and/or the addition of the string trio, I find the suite lacks some of the rhythmic vigour that I like in Mike’s music. My initial thought was that a “carefulness” dominated the playing, but now I’m more inclined to get a warmth and soft feeling coming through the piece. Although, there are still times when I catch myself waiting for things to take off and I have to remind myself it’s just not that type of work. The uplifting quality never smacks you in the face, but simmers just below the surface and I fell that makes things more interesting.

The use electric piano has yet to win me over. However, I find that the synth works pretty well, so I think it’s the tone of the electric piano rather than an aversion to the instrument itself….there’s something muted and soft that seems to disagree with me.

The album ends on a solo rendition of “El Testamen De Amelia” (which Nock recorded back in 1999 on The Waiting Game.. a fine duo record with Marty Ehrlich). And even though this track was recorded at an earlier session, it fits seamlessly into the flow of things and nicely rounds out the album. Vicissitudes, may not have totally hit the spot for me, but it has provided me with some fresh listening this past month, and that's always a positive.