Posts Tagged ‘Nick Garbett’

With the great number of projects saxophonist and composer Jeremy Rose involves himself with, one could fairly expect his output to be prolific yet patchy. As one who follows Rose’s trajectory and music, I am still waiting to hear any hint of a lapse in quality and vision.

Rose’s most recent release under his own name – rather than with the Vampires, the Strides, the Earshift Orchestra or any of his many other collaborations – is Within & Without. Recorded in Germany and featuring US super-guitarist Kurt Rosenwinkel, the 10-song album holds up Rose’s impeccable standards without at all veering from his unique creative path.

Rose Within & Without2For an album concerned with themes of “opposing forces of attraction and repulsion, joy and anguish, hope and despair, pain and ecstacy” the music is beautifully cohesive and complete­­. The players – Rose and Rosenwinkel together with German bassist Andreas Lang and drummer Tobias Backhaus, as well as Rose’s long time piano foil, Australian Jackson Harrison – mesh exqusitiely, almost telepathically at times. Rarely does any soloist seem to rise sharply out of the ensemble or blown sections, the band breathing as one.

The album’s compositional cohesion is also a surprise considering Rose’s thematic material, which veers from odes to places (the lovely bijou opener ‘Trawangan’ and the Atlas Mountains drums’n’bass groove of ‘Afensou’) to a quote from a David Bowie song (‘Strange Doors’), to even a zombie-inspired piece (‘Zombie’) – the latter’s pentatonic folk melody really bringing Rosenwinkel to the fore as he plays in and around the simple bones of the tune, always shining, often startling. Rose Within & Without1

There is also the sweetly Monk-ish melancholy of Rose’s tribute to the dear departed Charlie Haden in ‘Ballad for Charlie’. Album closer, a take on the Australian bush ballad ‘Flash Jack from Gundagai’ – with its hints of the children’s rhyme ‘Incy Wincy Spider’ – (‘Flashjack’) is set over a 6/8 Afro-latin groove, allowing the Germans, American and Australians to get some simmering heat going.

I asked Rose a half-dozen questions, leading up to the launch of Within & Without over June and July.

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John Hardaker: Within & Without, which features Kurt Rosenwinkel, follows hot on the heels of The Vampires’ (which you co-lead with Nick Garbett) album with guitarist Lionel Loueke. What is it about guitarists?

Jeremy Rose: I love guitar, it has the ability to convey an incredibly rich range of textures and sounds, and has a history of amazing players. However, when I choose collaborators, it is often based on the individual: Lionel Loueke and Kurt Rosenwinkel are both unique voices on their instruments, and aesthetically, I felt they were a great match for the respective projects I was working with.

 

JH: The ensemble works superbly. How did you come to pick the players on the album?

JR: I have worked with pianist Jackson Harrison for many years now, on my Sand Lines album, and with Compass Quartet, on Oneirology. I had worked with Berlin based drummer Tobias Backhaus before, as I have been going back and forth to Berlin for the past few years also and had performed at Jazzahead with him in the Vampires. Bassist Andreas Lang was recommended by Tobias.

 

JH: What led you to playing an adaptation of the Australian bush ballad, ‘Flash Jack (from Gundagai)”?

JR: As part of my research for composing my Iron in the Blood (out on ABC Jazz), I found an excellent source of Australian folk songs, a few of which I arranged and adapted throughout the work. Flashjack was one that I liked but didn’t use for the project and thought it would work well on this album.

 

JH: Many of your pieces reflect or are inspired by your travels and adventures around the world. You are also one of our most prolific musicians, spreading your energies over many projects, with rarely a lapse in quality or direction. You appear quite restless, even driven. Is that a fair call?

JR: Yes I am driven, but grateful that I have had many opportunities and mentors to guide me along the way. I also very much love what I do, and so am incredibly lucky to be following my passion.

 

JH: What next for you?

JR: I am undertaking a residency at the OMI International Arts Centre in New York in August. Also planning some more touring with The Vampires in Europe.

 

JH: What are your thoughts on contemporary music in general – and Jazz in particular?

JR: Contemporary music is continuing to break down the barriers between styles and genres. Some of the most exciting music is happening on the borders of these known styles; collaborations between unexpected musicians, genres, and artforms.

 

Within & Without is available at https://www.earshift.com/jeremy-rose-within-without

Within & Without tour dates: 16 June, Unorthodox Church of Groove, Newcastle; 17 June, Sound Lounge, Sydney; 16 July, Jazz Lab, Melbourne

 

 

 

 

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I am so glad they called this collaboration The Vampires Meet Lionel Loueke, using ‘meet’ rather than the ‘and’ – which suggests two parts less than their sum – or the amicably adversarial The Vampires Vs. Lionel Loueke, as is used often in hip-hop.

I am glad because this new collaboration between one of the jazz world’s most innovative and joyful musicians, guitarist Lionel Loueke, and The Vampires, our genre busting and straddling national treasure is a meeting in the truest sense.

A meeting of minds; a meeting of souls, and all of which that implies: both entities bring their unique voices to the mix and The Vampires Meet Lionel Loueke is the Venn overlap of this meeting.

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Maybe it is because both Loueke, and Jeremy Rose and Nick Garbett’s Vampires have much in common, both the Berklee-via-Benin guitarist and the Australian ensemble having arrived, through artistic convergence at a beautifully sympathetic musical place: world music flavours, fusions of genre and innovation within those flavours.

Album opener and album closer are two versions of Rose’s ‘Endings and Beginnings’, the first a Moorish take on the melody and the latter more African – beautiful bookends that bracket a feast of Afro-jazz, reggae, on-the-one funk and some Mwandishi space-blowing.

The rhythm section of Jon Zwartz on bass, with Danny Fischer on drums and Alex Masso on drums and percussion, maintains a warm-blooded percussive bed throughout – bubbling up here, flowing like brown river rapids there: check the rippling 6/8 of ‘Suck A Seed’ and the momentum-rush of ‘Brand New’. Vampires Loueke 1

Rose and Garbett’s compositions are a perfect fit for Loueke to work his magic across and their playing seems as inspired as ever, working around Loueke’s guitar colours and brightly imaginative comping. Garbett’s echo-laden trumpet solos and snap-funky lines are a joy. Rose once again surprises with his Ornettey approach and the human-ness of his playing. The guitar/voice and alto opening of ‘Brand New’ is a conversation between friends, complete with secrets and a chuckle or two at an in-joke.

Herbie Hancock, with whom Lionel Loueke has worked, refers to him as a ‘musical painter’. True, his playing approach seems more concerned with colours and textures than fleet soloing. He plays inside the music, deep inside, and uses everything about his instrument to paint his pictures and hatch in his textures: he scats with his guitar lines, he rubs dissonance against the melody, he utilises some surprisingly radical electronics with surprisingly human results. His playing across this album has the mark of a master innovator and a relentlessly restless spirit.

Playing with the Vampires on this album has pulled some startling performances out of Loueke and, in kind, the band rise to his fire – one catches oneself thinking they sound the best they ever have; then you realise the Vampires always sound this good.

The Vampires Meet Lionel Loueke, is a meeting of many things – inspirations, approach, attitude and musical vision. But the glue that binds this fortuitous meeting is respect. You can hear it.

We do hope they meet again.

Album available thru www.earshift.com

The cover of the new Strides album The Youth, The Rich & The Fake shows an Indian sadhu (white and red painted face and festooned topknot as befits your local holy man) taking a nice deep drag on a chillum of (i would say) potent bhung. If you want to know how the gentlemen is feeling, all you have to do is step inside and let the Strides be your guide.

Australia’s premier proponents of reggae and dancehall, the 8-piece Strides have released their best yet in The Youth, The Rich & The Fake, their thirdThe band is already bristling with championship musicians, rappers and singers, and for the new one they have added guests to the party such as soul sister Ngaiire and Sierra Leonean ragga man Blacker Conteh.

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Across the twelve tracks they spread their message, their virtuosity and many moods, yet without ever losing the roots(-reggae) of what they do so well. The variety and scope is wide as a Barbados beach, yet all are lit by the same sunshine. The easy reggae of ‘History’ with the sinewy horns of Jeremy Rose and Nick Garbett to the fore; the smooth croon of frontman, reggae master Ras Roni, over ‘Murawina’; the clipped ska of ‘Wizard’, with its suggestion of Horace Silver‘s ‘Song For My Father’ under it all; the mellow yet tough dub of ‘One for One’, the sort of dark groove that Fat Freddy’s Drop do so well; the sunny hymn to Jah’s love, ‘One Heart’; so many moods.

Hip-hop flavours add sweet-and-sour to ‘No Drama’ (shades of Slim Shady) and closer ‘Rude Boys’, rapper Ltl Gzeus’ joy-of-sex rap over a spooky funk reggae chug. Ngaire’s two features, ‘Rasta Live’ and especially ‘One for One’ are warm and smooth as skin.

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Standout track ‘Arnhem Land’ shows alto saxist Rose and piano player Danny Pliner stretch out on their jazz chops: Rose’s solo climbs like a snake or like a vine seeking sunlight at the top of the jungle; Pliner’s piano solo goes some dissonant places that would even make our Indian holy man sit up and take notice.

Worked up at Campbelltown’s Art Centre in gritty Western Sydney and recorded in a Byron Bay rainforest studio (U-Live), The Youth, The Rich & The Fake is a unique and uplifting statement of reggae music by one of our – and one of the World’s – best.

 

Published March 2015 on theorangepress.net

A dubby fanfare from Jeremy Rose and Nick Garbett and we are off into the new Vampires album, Tiro – into that unique Vampires place where Ornette Coleman jams at Black Ark, while New York traffic snarls by outside and Bondi surf laps at our (tapping) toes.

The said dubby fanfare introduces Rose’s ‘Mandala’, an upbeat slice of reggae-jazz that is reminiscent of the UP vibe of their last (wonderful) album, Garfish.

But that vibe is a touch misleading – overall Tiro is more blues, more downbeat and definitely (maybe not but maybe because of the blues) more truly beautiful (define that!) than Garfish. It is a leap, horizontally and vertically, from that 2012 album; the band and the compositions widening and deepening as any great band does as it evolves.

Vampires-KarenSteains

Garbett’s ‘Palau’ follows – a churchy NOLA blues that reminds us why we love the Vampires so much – as with Ornette, the piano-less, astringent sound reveals such poetry: funny how less voices make for more poetry. We fill in the gaps from our own experience and it hits us in the gut.

Rose’s ‘Pseudoscience’ is the most Ornette-y track here – over an Alex Boneham ostinato, Rose and Garbett weave and duck and feint and jab almost telepathically. The later track, ‘Colombiana’ also kicks nicely over Boneham’s Fender bass with Garbett’s heavily reverbed solo recalling the lightning sparkle and shimmer of electric Miles. Drummer/percussionist Alex Masso jumps right out at you here, snapping shots and accents all around the frantic funk of the two-horn melody.

The blue mood returns for Rose’s ‘Beautiful Decay’ before the first of two ingenious remixes in collaboration with Paul Bromley at Brisbane’s Tanuki Lounge Studios, ‘Tiro-Tanuki remix’ – 0:49 of the title track tipped at a surreal angle. The second remix is ‘Mandala-Tanuki remix’, a beautifully reverb-heavy dub take on the opening track in 1:27. The remixes are a nice touch and, as well as reminding us of the roots of The Vampires’ music, serve to lighten the mood with some fun and spacey atmosphere.

There is a liner note from Nick Garbett for Tiro’s final track ‘Brother Sykes’, a dedication to a friend lost at sea, the brother of the title. ‘Brother Sykes’ – maybe because it is suffused with such emotive rawness – is the standout here: building from a muffled drumbeat – a muted but merciless hammer of grief – the twinned clarinet-trumpet melody winds its sorrow around its own heart, squeezing it and then stopping when it hurts too bad to trickle away on a limpid melodic downcurve. Then it starts again…MadCds 2 outer pocket 4 P gatefold wallet

The band play around each other here, as if conversing, exchanging their grief – the feeling is one of a wake, funereal and puffed-out. It is a nod to the complete musicianship of Alex Boneham that the bass dominates here, expressing so much in answer to the gray-blues and watery mauves thrown at him by Rose and Garbett. All seems to happen underwater, beneath a heavy lid of mortality.

‘Brother Sykes’ finishes in an unresolved cadence, unsatisfying, hanging there – just as their good friend’s life and possibility was cut too short. It is a remarkable piece of music and a true expression of what great music can be – sadly overlooked in too many jazz releases in favour of clever-clever – a mirror on life, and us, and our path through it all.

‘Brother Sykes’ is a remarkable piece of music on a remarkable album – ‘Tiro’ is The Vampires fourth and doubtless best. It will be exciting to see where Rose, Garbett, Boneham and Masso go next. Long may they run.

Published October 2103 on australianjazz.net

 

Frank Zappa’s famous dictum of “Jazz is not dead; it just smells funny” was made at a time when Jazz had left the listener behind, cordoning itself off with fences of impenetrable theory and barbed wire tangles of unlistenable mathematics. Artists like Anthony Braxton, who named many of his compositions with symbols and numbers, chose to forget entirely about that function of music that activates the body below the cerebellum. The only way out seemed through fusing with rock, blues, funk and other, more vigorous mongrel-like musics.

Even though Jazz ultimately found its way again, it still intermittently reinvigorates itself by sucking on the funky, vital blood of other, more populist musics now and again – check current shining light Robert Glasper’s incorporation of hip-hop and urban favours into his Jazz, or our own D.I.G who mixed up House and Jazz so successfully in the 90s.

Sydney’s Vampires have long mixed reggae (Marley et al plus the Ethiopian skank of the great Mulatu Astatke and such) and African funk into their brew. Featuring compositions from altoist Jeremy Rose and trumpeter Nick Garbett their sound is beautifully open and spry – with no chordal instrument (piano or guitar) to thicken the sound, this allows the band to not only keep the jazzheads happy with some curly chromaticism in the solos, but helps the rest of us shake our asses to the surefooted grooves driven by Alex’s Boneham (bass) and Masso (drums).

Their prior releases – 2008’s South Coasting and Chellodene from 2009 – were hugely successful, pushing The Vampires out into the festival circuit and painting grins on the faces of all who heard them. The new one, Garfish is more of the same, thank God (and Ornette Coleman).

The title track opener, Nick Garbett’s ‘Garfish’ walks in with a beautifully  assured reggae stroll – the band, augmented by trombonist Shannon Barnett, moves between reggae, New Orleans march music and a joyous free-blown Dixieland section. Chilean percussionist Fabian Hevia introduces ‘Haiti’ and we are off into a Randy Weston-style Afrogroove. The ingredients are thrown in, the gumbo mix swirls and the album unfolds like a feast.

Much of this material was developed at the 2011 Banff International Workshop in Jazz and Creative Music under the direction of US trumpeter Dave Douglas – a musician known for eschewing genres and elitism: a righteous man, in other words. 

The calypso of ‘Dragon Del Sur’, the relaxed Cuban jump of Rose’s ‘Antipodean Love Song’ – it all reminds me of John McLaughlin’s statement that “all music is World music” – we all live in the World, don’t we? The Vampires take what they want and use what they want, to great effect.

And it is this which makes Garfish such a satisfying album – the solos and ideas are what is best about Jazz: adventurous, poetic, free and soulful; but the grooves and good humour here are also as valid as any other element. Seventy years ago, Jazz used to make the best dance records – in 2012, The Vampires make equally irresistible dance music. Garfish will have you shaking your ass while bright jungle flowers grow between your ears.

Published March 2012 on theorangepress.net