NZ Jazz: Jann Rutherford - Discovery

Jann Rutherford: Discovery (Tall Poppies) 1998

I picked this out of the pile on the spare of the moment as I was about to head out the door on the first of the month. Sometimes the fit is just right for a particular moment. And having this keep me company whilst driving through the Horowhenua fog.... it just felt right.

The album contains 14 solo piano pieces – original compositions and some improvised pieces too. Overall it's warm and intimate with nice amount of introspection (with a sombre edge). Some pieces are quite joyful (yet slightly restrained), while others are searching deep. There are some shades of Mike Nock on the more up beat tunes (“Expectations” “Eve” "Weird Blue Lady”), but rhythmically Rutherford is different. Forceful is not the right word, but Mike is more rhythmically pronounced or percussive. As a bonus, listening to Discovery led me to giving both Talisman and Piano Solos a spin too.

Although the more introspective pieces may have led to some naval gazing, they are my favourite parts of the album – particularly those that I'm assuming are free improvisations such as the 2-part “Flights of Fancy” and 3-part “Adventure” (I finally checked the liner notes... they are free improvisations).

I noticed that this album would often lead my mind wander off and ponder things beyond the music at hand. Was it the music or just my general state of mind in this month? It seemed to happen often enough that I feel the music was setting the wheels in motion - just zoning out with it but not in it. I may have felt a bit zoned-out at times, but the music was going in. And as the month passed I was catching myself singing along with bits and pieces across the album – no doubt due to the lyrical, melodically memorable aspects of her playing.

Some music can change your mood, other (or at other times) music can reinforce it. But in this case I feel I’m projecting my own feelings into the music (we always do that though, don't we). Had recent times not been what they were, how differently would I hear this music? Would I be projecting something else entirely on this music? Would listening to this album in a years time change my perception of it - or perhaps my impression is now ingrained in me. Revisiting this album down the track could be an interesting experience.

Why is this on my mind this month and what is it about this recording that made me think about it? Would I have thought about it had I been listening to something else? Further, why am I doing this series on New Zealand jazz recordings? Why not just listen to music I really love? Two years in and I’ve found it interesting and quite rewarding at times. But how much of the music has touched me on a truly deep level? Not much really. I started this series at a time when things were getting tough, and probably more than anything else it was a way to reconnect with home. The struggle continues but for now, at least, I feel like things have run their course. Maybe it’s time for a break and step back from this before it becomes a drag.

Across the month moments change but none quite fit like that first listen. It’s funny, you sit down to write about an album and something else comes out.

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.

Everyday Life

Not unexpectedly, I had a great hang with my old mate JJ tonight. As usual we started with jazz (the methodologies of Coltrane and Rollins, radio, live performance, the magic of Lester Young etc) and then branched out (life, death, the vastness of space, cosmic expansion, and living in the moment). Music from Everyday Life hit the spot on the ride home. Of Connie's album, this is the one I have listened the most over the past three years. Vital.

Swagman at Raumati Social Club

I'm trying to keep up the tradition of catching the monthly Swagman gig. This time around I convinced my sister to bring along my nephew - his first gig - and I enjoyed watching him take in everything. He hung in there for the first set and then they bailed before he melted down.

Swagman draw a regular, local crowd. By the end of the evening it's 85% (at least) regulars who are there every time I'm there. It makes for good vibes, and this time round it was a night of enjoyable hangs - first with the family, the band between sets (Swagman groupie alert!), and meeting some new people at the end of the night. The band was sounding really together, and perhaps as a result, the soloists stretched out a little more (especially in the second set). Until next time.

Thursday Night Listening

It's been nice mellow night at home alone. Things slowly ramped up as the evening progressed towards The Ashes. The stereo has keep things interesting as I cooked and ate dinner along with Frank Sinatra's Best of the Columbia Years 1943-1952, did the dishes as the Takacs Quartet played Bartok's second String Quartet, and as I waited for the Ashes to start, I picked up the horn and played along with Yoruba Drums from Benin, West Africa. Now that I've got my stuff together for tomorrow, I can kick back and tune into the game and watch the first session.  Busy day tomorrow - plenty to look forward to, but I won't be able to watch the game so I'll make the most of it tonight.

NZ Jazz: C.L. Bob - The Great Flash

CL Bob: The Great Flash (Yellow Eye) 2005

Simon Bowden (guitar/banjo/keyboard) Steve Cournane (drums) Tim Jaray (bass) Toby Lang (trumpet/Synth) Nils Olsen (saxes/clarinets) Chris Williamson (guitar) and guests Nick Van Dijk (trombone) Blair Latham (clarinet) David Chickering, Donald Maurice, Rupa Maurice, Greg Squire (strings)

There has been a little nostalgia floating around at times this month. I can't remember if I heard the line-up before the addition on Toby and Chris... maybe... but I heard the latter version of CL Bob fairly regularly during the time I was at music school and a little less frequently after graduation. But giving them a spin again this month has definitely taken me back to that time. Not just thinking of CL Bob gigs, but some of the off-shoots – who remembers Bertha? (Nils, Chris and Steve) - a group that focused on Mingus and Monk tunes. And then there was the scene in general, particularly the vast array of happenings at The Space. There must be something about this band that does it - I just took a glance at the NZ Music Month post from 2017 on their self-titled debut.... that too had me in a nostalgic mood.

Of the three albums from CL Bob, The Great Flash, is the one I have listened to the least. Or it's the one that I'm least familiar with the material. I heard the band a lot during the Stereoscope period and as a result I probably didn't listen to that album as I could have at the time, and I didn't pick this album up when it was released and heard them live playing this material only once or twice.

As with all their work, CL Bob pull in a wide range music and make it their own thing. Quite dense and dramatic (“Raewyn”), at times dark and angular (“Greed”), plaintive (“Unheard Voice”), sombre (“Hira”), groove driven yet slightly of-the-wall (“Craters on the Moon”), quirky and fun (“Old Bob”), even a little tongue in cheek (“Ted and Sylvia”) and epic (“Carpet Master is Vanquished”[brilliant title!]) - they provide plenty of variety for listeners.

This is another album were I don't feel it's about soloists – there's plenty of collective playing, and a lot of focus on textures rather that soloists out front. Yeah, Nils has a bass clarinet feature on “Unheard Voice” and both the horns have some room to stretch out on “Psyion” (with some minor hints at Ornette's Quartet) but these are exceptions rather than the rule. You could hear “Raewyn” as a feature for Tim Jaray but it's really a three-way dialogue between Jaray, Bowden and Cournane.

Texture and colour are key and the big change between this and their previous recordings is the addition of keyboards and synth. The groove on “Craters on the Moon” does a nice job at making the keyboards and synth not seem all that odd. And it's pretty fun how they are deployed on “Old Bob”.

Nils spends much more time on alto here than I remember him playing and Toby Lang's tone is perfectly suited to the sound of “Ted and Sylvia”. And then there's the addition personnel. The string quartet works really well on “Greed” and Nick's trombone slots in fine on “Old Bob”. I remember hearing them live with additional personnel and it really didn't do it for me, and at the time, I remember feeling that it seemed like the right move to call it quits as things may have run their course. Listening here I do feel that the extra personnel distracts from the group sound which had taken on quite a different weight with the synth and keyboards in the mix. But I still enjoy the album, and it still sounds like CL Bob... so what am I saying? I'm not too sure!

One thing I noticed this month that hadn't occurred to me before – the CL Bob albums are pretty much the only examples of the individuals I have on record (John Bell is an exception, and Steve and Tim are on one of Norm Meehan's albums). I see Steve has a few recordings up on BandCamp ( https://stevecournane.bandcamp.com/) including Boat (with Simon and Nils) an album I've been on the lookout for quite some time.

Maybe the one thing that is missing from The Great Flash is a version of “Endings” that's heavy on bass clarinet, synth and banjo. But maybe that was would have been too obvious

Music for Commuting: A Bunch of Sam Newsome

For the last couple of weeks solo recordings from Sam Newsome have been accompanying the ride. I regularly read Sam's blog and follow him on social media, but it was about time I started catching up with his discography and these four are all new to me. I don't particularly like having to drive to work, but the music helps ease the pain - even if it is far from an ideal listening situation.

Sam often uses "extended" techniques in a way that those unfamiliar with them may find quite approachable. Over the last couple of years he's been working with "prepared" soprano saxophone
and while I dig the results of "Chaos Theory", I do miss the tone of his "unprepared" straight horn (although there are a couple of tracks where it appears).

There’s plenty here to keep me out of trouble (as there are with the other 4 discs I have of Sam’s), and I'm going to give each of these some dedicated time in the near future. And eventually I’ll get around to hearing his earlier work on Steeplechase... and his more recent ensemble recordings too (keen to hear him with Fay Victor).