Wellington Jazz Festival
9th – 13th June 2021
Wellington, New Zealand.
Reviewed by Tim Gruar. Photography by Stephen A’Court.
The Wellington Jazz Festival has commissioned two new works this year and quietly injected support into many other projects that saw the dingy glow of beer lights all over the city this past weekend.
Here ’s the first:
‘Solid Spirit, Liquid Body’ – Callum Passells with LCR.
Wednesday 9th June, St Peters Church, Willis St.
LCR are:
LEFT: Jong-Yun Lee – Alto Saxophone. Tom Dennison – Upright Bass. Tristan Deck – Drums.
CENTRE: Callum Passells – Alto Saxophone. Eamon Edmundson Wells – Upright Bass. Ron Samsom – Drums.
RIGHT: Eilish Wilson – Alto Saxophone. Phoebe Johnson – Upright Bass. Hikurangi Schaverien-Kaa – Drums.
Callum Passell’s new work was directly inspired from the experience of attending ‘Black Lives Matter’ rallies in Tāmaki Makaurau in 2020. Tonight’s performance, he said in the liner notes, “seeks to capture some of the stochastic, ecstatic energy of making music while marching in protest”. The composition wanted to capture the sound of a crowd moving and speaking with purpose.
The wonderful thing about a commission is the freedom to work outside the restraints of commercial demands. The music can literally be created for the event, without the need to be structured for resale on record or video. Or even performed again. For something like this, it was as much about the experience, living in the moment. Just like being at the centre of a protest march. Unique, unexpected, decentralized and fluid; voices as ‘songs’ erupt out of nowhere, rhythms clash and shift against one another like intellectual tectonic places to create little earthquakes and a groundswell of conception.
With three distinct ‘groups’, bass, sax and drums, positioned on the left, centre and right (LCR) of the stage, Passell’s concept was to envelope the audience into the middle of this spontaneous cacophony.
“We will play everything at once,” Cassells announced at the start, “There’s the bathroom, there’s the bar. Get up when you need because we won’t stop.” And they didn’t. Starting with a long, drawl/drone of individual saxophones layered over each together then splitting off work the groups worked their way through nine short pieces, based on the concepts of chant and transformation.
Each instrument was given a chance to lead the music – ‘say our piece’ before that vice was drowned out by a maelstrom of noise, the ensemble building differing ‘comments’ over the ‘speaker’, almost shouting them down. This happened nine times, with each voice adding a fragment, or a scrap of a tune to the collage of sound that built and dropped like crashing waves.
At times this was overwhelming. To my ears it was also chaotic and seemed to have little direction. Until the end, when snippets of Charlie Parker, Mingus, Miles Davis and all their Black Jazz heroes started to appear like ragged newspaper cuttings. I’d wished they’d came earlier, because until then, I couldn’t find any real connection with the ‘Black Lives Matter’ movement. Sure, I understood the construct built around marching. But I needed a clear direction. The problem with improvised music is that without some clear architecture, it’s too hard to access the concept and that could mean all this effort just sounds like some huge, beautiful, wild aural car crash.
Whirimako Black
Friday 10th June, Wellington Opera House
Ben Hunt – Trumpet. Eilish Wilson – Saxophone. Louisa Williamson – Saxophone. Hikurangi Schaverien-Kaa – Drums. Johnny Lawrence – Bass. Eugene Fuimaono – Guitar. Daniel Hayles – Piano. Lisa Tomlins and Hope Fuimaono – Vocals.
“Put your hand up if you are whanau,” Whiramako Black asked the capacity gig on Friday. Wellington’s Opera was stuffed to the top of the ‘gods’ with fans – old, young, multi-ethnic, and of course, plenty of whanau (close and distant). Four sat next to me in the stalls and shouted encouragement enthusiastically every time the singer hit a high note, which was more often than I expected from this sultry, sassy alto. One thing you have to know about Whirimako, is when she’s on stage, she owns it! Class and presence from many years of performing locally and internationally show, to her credit. And the audience were loving it, too.
Whiramako Black is one of our most distinctive jazz/soul singers, a multi-award winner (Best Māori Album, Best Jazz Album, a Silver Scroll for Best Māori Composition) with a rich and versatile sound. Hailing from Mātaatua, Horouta, Te Arawa and Aotea waka and raised in the Ruatoki Vallery, she wears her whakapapa on her sleeve and on her tongue, singing in both English and Te Reo. She’s recorded everything from jazz standards, U2 and Stevie Wonder to Ngāi Tūhoe waiata as well as her own material. Oh, and in 2006 she was made a Member of the New Zealand Order of Merit for services to Māori music.
In comparison to Passell’s experimental music, Black brought us comfort ‘soul’ and ‘jazz’. Opening with sumptuous renditions of her own re-worked standards like as ‘Summertime/He Raumati’, ‘At Last’ and Cohen’s ‘Dance Me ‘Till the End of Love’. she also gave us some reworked original and traditional waiata, including ‘Hohou Te Rongo’ and the tender ‘Te Mauri o Nga Waka’. The classics were great, and Black’s take, helped by Pianist Daniel Hayle’s luscious arrangements were really wonderful. But the star moments were when she sung Te Reo. Hearing the lyrics this way, they are far more lyrical, dramatic, fluid. A real treat. For those needing a good album to relax to in the evening, with a glass of Pinot, check out ‘Late Night Plays’.
Her 9-piece were young and hungry – all very talented – especially Ben Hunt (trumpet) and Louisa Williamson (sax) who both got to show off will short but sweet solos. And it was great to see Hikurangi Schaverien-Kaa (who was also helping out Callum Passells and no doubt others over the weekend) playing some very expressive drums in between Black’s vocals. And it was great to see and hear Lisa Tomlins back on her feet after her operation. Tonight’s show was a festival slice. At just over an hour 20 it was too short. It felt like she was just warming into it. Finishing with ‘I Loves You, Porgy’ and ‘Brokenhearted’ were safe choices but appropriate for this crowd. A wonderful, warm vibe all night, smiles all round.
Te Kairanga Nga Whetu by Ruby Solly with Tararua
Saturday 12th June, St Peter’s Church, Willis St.
Tararua: Ruby Solly – Cello, vocals, taonga pūoro. Al Fraser – Taonga pūoro. Ariana Tikao – Taonga pūoro, vocals.
With Phil Boniface – Double bass, taonga pūoro. Riki Gooch – Drums and auxiliary percussion. Gerard Crewson – Trombone, trumpet. Rosie Langabeer – Piano, accordion. Ruby Solly – Cello, vocals, taonga pūoro.
This was the second Festival Commission. Poet, Music Therapist, Academic and musician, Ruby Solly is many things. Tonight, she brought a very special celestial jazz experience to the festival. The venue was sold out. Old, young, and everyone in between. We’d heard of this event and were intrigued to see what might happen. Even before the first notes, children crawled up the aisle as the lights darkened, to sit at the very front. They wanted to watch everything.
First, Solly comes on, by herself. And with bird calls and then a smattering of flutes she begins with a conch-like welcome on a Pūtātara. Then Ariana Tikao joins her waiata, as the tell of Rehua, rakatira of the stars, father of precious birds the tūī and huia. These birds are at the very heart of the origin of our human language and song. We then journey far below the ground, to the underworld, and learn of Raroheka, which is the birthplace of Puaka. This is a star that marks the year for people. We call it Kāi Tahu. It ‘gifts’ us with her children – whitebait (in reo, inaka) and the river flower clematis (puawhanaka).
The lighting, which was dim like fading candles starts to brighten at this point, winter is coming to to an end. Phil Boniface takes up the bass, with his bow he drawls out long, warm notes, which are accompanied by Al Fraser and Ariana Tikao spinning Pūrerehua, which hum and vibrate together in this strange, otherworldly harmony. There are piwakawaka flutes, small and high pitched, accentuating the journey onwards again to Autahi, a principal star in the Southern Cross and te puka (anchor of the great waka in the sky).
Then the music changes again, to a kind of Klezmer groove, a nod to Solly’s Jewish roots (she has both Maori and European whakapapa). With the drones of Rosie Langabeer’s piano and accordion we get a nod to the sea shanty, an exploration of Aotearoa’s tradition of voyaging. And through out, reminders of Pacific and European navigation by the stars. To Maori, these ‘celestial beings’ will eventually take us home, with the help of Pohutukawa, to the great world beyond.
As well as music, there is poetry, and Solly’s beautiful jazz-tinged singing voice. She says in her notes that as well as kōrero tuku iho, her music also features specific notes, which have been “chosen from the pitches found when scientists send sound into space to see what bounces back. The returning pitch is the key to knowing the distance between us and these celestial rakatira.” This aspect was perhaps best represented in the brass, the bird calls and Gooch’s incredible drumming, with tattoos and chantlike repetitions that were, at times, mesmerizing.
It all comes to a soft and subtle completion with more birdcalls, and a response from some audience members, who stand to play small nguru, a small whistle like flute, usually the size of a whale tooth or stone.
The audience are ecstatic. Everyone stands to applaud. This is a remarkable composition. A really fabulous, sophisticated but accessible mix of traditions, taonga puoro, jazz and vibrant harmonies. There’s a thirst to know more too. I immediately set off on my own journey to learn, and I think, judging by comments around me, that others will, too.
They finish, as Tararua, Solly’s ‘band’, with their upcoming single, ‘Puaka’, which will appear on the new album ‘Birdlike Men’ and be launched at the fabulous Futuna Chapel, Karori, on July 24th. This is a mix of taonga pouro, classical and new age. It’s a softer, more contemplative piece, and warm and inviting. A great finish. It left me wanting to listen further.
Nathan Haines Octet
Saturday 12th June, Wellington Opera House
With Rachel Clarke & Jess Penson – Vocals. Joel Haines – Guitar. Michal Martyniuk – Keyboards. Alan Brown – Keyboards. Ben Turua – Bass. Elijah Whyte – Drums. Richard Cesan – Percussion.
Two years ago, Nathan Haines was supposed to do a concert on the Opera House stage to mark the 25th anniversary of his debut ‘Shift Left’. Unfortunately, that never happened. So it was extra special that he was the festival’s headliner tonight. Artistic Director Marnie Karmelita admitted that they had a bit of a ‘crush’ on him and ensured the booking was nailed in tight. No surprise. Haines is genre bending, experimental and a “modern musical fusionista” (Witchdoctor.co.nz). He’s also our most well-known jazz export and has been since Giles Peterson first took notice back in the influential days of his iconic radio show ‘Giles Peterson Worldwide’. He combines his love of dance music, classic vinyl recordings and world classics with jazz harmony, vocals and his trademark saxophone and flute work.
Tonight, flanked by a young and ridiculously talented band the ‘Squire For Hire’ treated us to a cache of classics, unknown gems plus a few new works from his upcoming album. I don’t know where he found them, but they are destined for great things. Keyboardist Michal Martyniuk was all over this performance. His playing on baby grand and Rhodes was nothing short of sublime. I caught his own Latin-tinged show on Sunday night (with a guest appearance from Haines himself). Man, he can play anything! Ben Turua (Bass) and Elijah Whyte (Drums) also deserve a shout out for being tighter than a cat’s proverbial. Whyte, in particular showed real skill with his kit. His impeccable timing and personality shined through. his understanding of ‘space’ and brevity was also amazing. These musicians were all allowed to shine. Unlike other band leaders, Haines often stood to the side and gave each room to show their skills – even brother, Joel, got a chance to play his guitar, without being rushed by his brother.
Haines also paid tribute to UK producer Phil Asher (who sadly passed away in January), the man who worked on albums like ‘Squire For Hire’. Most notably he does this on the slower but smoothest, ‘The Last Dance – Make It good’, which features Haines on flute and tenor sax, remains a classic to this day. Nathan is keeping Phil’s legacy alive by playing some of the material they lovingly made in London together, some of which has never been heard before!
The concert started with ‘Sound Travels’, the title track from Haines’ 2000 album. The perfect opener for a concert that will go all over the globe stylistically. Next up, ‘Lady Lywa’, a name-check to mum, who’s in the audience, along with his son, Zoot. The little man himself pops up on stage to help Daddy a few times during the night.
There’s a funky number, ‘Little Summer Flower’ with some exceptional flute, and Rachel Clarke sings up a storm, her vocals velvet and cruising. We get a new track, title unannounced, written by Joel Haines. It features a stomping bass and some very ‘throaty’ keyboards from Alan Brown’s personal digital laboratory.
Louis Baker, dressed like a New Jersey fisherman, makes a guest appearance on a Marvin Gaye tune, and Rachel Clarke returns to a charming version of a number by 70’s Brazilian icon, Joyce.
After the interval, little Zoot leads his dad on, carrying a tenor sax. He waves and disappears, grinning. It’s charming to see how much love Haines has for his whanau. No surprise – after a scare with throat cancer, every moment is precious.
We get a new number, with a deep, heavy bass groove. Haines invites his audience to come up with a name. It’ll feature on the new album, once labelled. I like it, danceable, swinging – cool! We’re introduced to another guest, Jess Penson, who does a passable version of South Africa Letta Mbulu’s ‘There’s Music In The Air’. To most audiences, she’s an unknown quantity. Something Haines does well, introducing new artists and expanding our repertoire, educating and entertaining.
The final song was written when Zoot was born, Haines tells us, but never got finished. Given his recent medical dramas, he’s been re-evaluating and ensuring he finishes uncompleted work. Like this, appropriately named – ‘Give Thanks’. It’s accompanied by another guest, the song’s lyricist, multi-instrumentalist Arjuna Oakes Oakes, who sings with full energy and gusto. He’s new to me but I think he’ll be around for a while. He’s impressive. Watch this space.
The weekend also featured a number of regulars – like classical pianist Michael Houstoun and Jazz School teacher, jazz trombonist and big band leader Rodger Fox, with co-collaborator blues vocalist Erna Ferry. They were crowd pleasers for Saturday afternoon belting out adaptations of classic pieces by Gino Vannelli, as arranged by acclaimed composer Bill Cunliffe.
They also called on a classic or two, like Mike Farrell’s “Carry My Blues Away”, Gershwin’s “Summertime” and a cheesy mash-up of Lee Morgan’s ‘Sidewinder’ and The Beatles’ ‘I Feel Fine’.
Back again this year at the Rogue and Vagabond was a series of classic album re-makes including Sonny Rollin’s ‘The Bridge’(1962), performed by Sax man Oscar Lavën; Whiramako Black’s pianist Dan Hayles doing Billy Cobham’s ‘Spectrum’ (1973); Kenny Garrett’s 1995 classic ‘Triology’, led by Saxophonist Tyaan Singh; pianist Ella Dunbar-Wilcox performing Shirley Horn’s 1989 album ‘Close Enough for Love’; Ayrton Foote with the late Chick Corea’s 1968 classic ‘Now He Sings, Now He Sobs’; and flautist Rachelle Eastwood presenting Rahsaan Roland Kirk’s 1965 album ‘Talk with the Spirit’.
Past Tui winner pianist Anita Schwabe played with the Rio Trio, a Wellington based 3-piece playing beautiful, energetic and melancholic tunes from the Brazilian Songbook, including Samba, Choro, and Bossa Nova – the magic to El Barrio.
There were a couple of super group moments including Devil’s Gate Outfit, a septet featuring members of the Phoenix Foundation, Orchestra of Spheres, Six Volts, Little Blast Orchestra and Louis Baker’s band. They did a brilliant selection of all original compositions, with “an emphasis on exploring sophisticated yet unorthodox forms”. I’m not sure about that, but they were a very smooth outfit, tight and stylish.
Multi-award winners Jake Baxendale and Roger Manins also had sessions. As did the Royal Airforce Jazz band and the Wellington Jazz Collective.
And speaking of Tuis, it was announced during the festival that Lucien Johnson was this year’s winner of the APRA Best Jazz Composition for ‘Blue Rain’ and The Jac had won the AMA Best Jazz Artist for their album ‘A Gathering’. They performed this over the weekend and by all accounts was a brilliant night.
I only got a taste of what was offer this year, but with over 50 gigs it would have been a pretty big challenge to get around everything. However, I won’t be the first to say this: we are very lucky to be one of the first countries in the world to have a jazz festival, again. We are also very lucky to have such talent in our own country. Of course, having internationals would be fantastic, depending on how it goes with quarantines and travel bubbles, but for now, being stranded in paradise ain’t so bad.
Were you there in Wellington for this magnificent festival? Or have you been to the Wellington Jazz Festival some other time? Tell us about it in the comments below!
Note: The Wellington Jazz Festival provided passes to Ambient Light to review these shows. As always, this has not influenced the review in any way and the opinions expressed are those of Ambient Light’s only. This post contains affiliate links. If you purchase a product using an affiliate link, Ambient Light will automatically receive a small commission at no cost to you.
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