The Adults - Meow (1 Sept 2018)

After a 7 year hiatus, Jon Toogood's The Adults project is back with a new band and a new direction that celebrates women from the Middle East and embraces the music and rhythms of Sudan. 

Tim Gruar (aka The CoffeeBar Kid) popped along to their debut show at Meow Bar over the weekend.

What a thrill to see Jon Toogood back on stage with this side project.  The frontman for New Zealand's hardest workin' rock act, Shihad, has been, err, maturing over the years and branching out into other styles and genres outside heavy metal and power rock.  His first venture as a 'grown-up' (hence the name) kicked off around 2010 as a Kiwi supergroup, a musical collaboration involving many established New Zealand musicians, including Shayne Carter, Julia Deans, Anika Moa, Tiki Taane and Ladi6.

The Adults released a self-titled album in 2011 which reached number four in the New Zealand album charts. The Adults has also been nominated for Album of the Year at the 2012 New Zealand Music Awards, and the single Anniversary Day was on the long list for the 2012 APRA Silver Scroll award.

I can remember seeing them at the last Big Day and was well impressed by the diversity of the material.  And this time, 7 years on from their debut, Toogood has assembled a different line up to make considerably different music.  Inspired by his wedding in Khartoum, his writing has been definitively defined by Middle Eastern themes and chants.  Haja draws from Sudanese folk music Aghani-Al-Banat.  It is African music performed exclusively by women.  However, Toogood doesn't just appropriate, he showcases it.  Most of the songs on the album are sung by women.  And you can hear this on the opening track.  Sadly Chelsea Jade, who sings the actual vocals on the song was not present tonight but Rapper Raiza Biza was, alongside the wonderfully talented Estère, who delivered the percussion lead groove Bloodlines.  This one mixes ancient Arabic drum tattoos with heavy electronic layers and reedy chanters.  Her voice was finely tuned and as impressive as her elegant attire.  This lady is all class and delivered perfectly.  She told me after that the rehearsals had been short and intense.  Toogood seemed pretty nervous on stage, lest we didn't like what he was bringing.  The distance from Churn and Haja is vast - at least on paper.  Yet musically, it's not really that far.  After all, heavy rock gods Led Zep managed it.  Take Kashmir, for a start.

Percussionist Steve Bremner

That Gold was originally done by Aaradhna but guitarist Emily Browning and Estère gave us a really powerful rendition.  With help from Raiza Biza on rhymes, this track had the potential to be huge.  However, Meow's living room/lounge room space and sound system don't really give the bass power the track really needs.

Most of the set, with the exception of Nothing to Lose and the big wig out encore Short Change, came from the new album.  Despite knowing their roots, to me, all of them had an indeterminate Middle Eastern flavour to them.  So, it was hard to actually pinpoint exactly where influences come from but that didn't really matter.  Only Gisma, the final song on the album was specific in its identity - being a dedication to one of the musicians who played on every track.

Raiza Biza opens the show with his jazz-based rap

The songs weren't overly long, as that could easily become mundane and repetitive.  Some hinted at the kind of Raga that Paul Ubana Jones does so well.  In the mix was dance, pop, hip-hop, reggae and a bit of the old Toogood indie (think Home Again) - all glued up with moody bass lines played by Toogood himself and backed by some superb percussion from Steve Bremner and Trinity Roots' Ben Would.  The latter two made some excellent tribal beats which weaved themselves through the tracks seamlessly.

The lead single Bloodlines remains a standout, boasting Estere's ethereal vocals and Jess B's insane bars which at times seem to flow with barely a second to breathe.

The most redeeming track tonight is the single Take it On the Chin, originally done by Kings, originally lacked the female voice that was present elsewhere on the album but that was rectified with both ladies on the song's vocals tonight.  It would not be right to call this album, or Raiza Biza's opening slow jazz rap set, 'Girl Power' but you definitely felt that there was a huge amount of respect being paid here.  And that needed to be acknowledged.  For an opening show, it was short and painless.  Not entirely overwhelming, but a good start made from the security of a stage in a room that was only just a little bigger than an oversized living room.  Just wait until they get to Auckland!

Tim Gruar (tim_gruar@yahoo.com)

facebook.com/theadultsnz

Aretha Franklin: Close-Up (1968) | A Must See!

1968 TV news special chronicling the extraordinary rise of Soul singer Aretha Franklin. Features tons of candid footage at Atlantic Records recording studios with Jerry Wexler, Tom Dowd and first husband Ted White; being presented an award by Martin Luther King; backup vocal and dance rehearsals with her sisters; appearance at a teen dance show; interview with her father CL Franklin about her gospel roots. This documentary can be found elsewhere on YouTube in full color, however this B&W print has better audio and has been rendered in 720p HD.  I do not control the rights. Shared for historical purpose

Check out new book reviews at the Groove Book Report

New books by Andy Griffiths and Terry Denton's kid's new classic 104 Storey Treehouse and John Ajvide Lindqvist's creepy thriller I Always Find You, plus a whole lot more at http://groovebookreport.blogspot.com/

Respect it. Aretha Franklin turned Otis Redding’s plea into the most empowering popular recording ever made.

New York Times - By Wesley Morris - Aug. 16, 2018

Officially, “Respect” is a relationship song. That’s how Otis Redding wrote it. But love wasn’t what Aretha Franklin was interested in. The opening line is “What you want, baby, I got it.” But her “what” is a punch in the face. So Ms. Franklin’s rearrangement was about power. She had the right to be respected — by some dude, perhaps by her country. Just a little bit. What did love have to do with that?

Depending on the house you grew up in and how old you are, “Respect” is probably a song you learned early. The spelling lesson toward the end helps. So do the turret blasts of “sock it to me” that show up here and there. But, really, the reason you learn “Respect” is the way “Respect” is sung. Redding made it a burning plea. Ms. Franklin turned the plea into the most empowering popular recording ever made.

Ms. Franklin died on Thursday, at 76, which means “Respect” is going to be an even more prominent part of your life than usual. The next time you hear it, notice what you do with your hands. They’re going to point — at a person, a car or a carrot. They’ll rest on your hips. Your neck might roll. Your waist will do a thing. You’ll snarl. Odds are high that you’ll feel better than great. You’re guaranteed to feel indestructible.

Ms. Franklin’s respect lasts for two minutes and 28 seconds. That’s all — basically a round of boxing. Nothing that’s over so soon should give you that much strength. But that was Aretha Franklin: a quick trip to the emotional gym. Obviously, she was far more than that. We’re never going to have an artist with a career as long, absurdly bountiful, nourishing and constantly surprising as hers. We’re unlikely to see another superstar as abundantly steeped in real self-confidence — at so many different stages of life, in as many musical genres.

That self-confidence wasn’t evident only in the purses and perms and headdresses and floor-length furs; the buckets and buckets of great recordings; the famous demand that she always be paid before a show, in cash; or the Queen of Soul business — the stuff that keeps her monotonously synonymous with “diva.” It was there in whatever kept her from stopping and continuing to knock us dead. To paraphrase one of Ms. Franklin’s many (many) musical progeny: She slayed. “Respect” became an anthem for us, because it seemed like an anthem for her.

Most Americans had never heard anything quite as dependably great and shockingly big as Ms. Franklin.

The song owned the summer of 1967. It arrived amid what must have seemed like never-ending turmoil — race riots, political assassinations, the Vietnam draft. Muhammad Ali had been stripped of his championship title for refusing to serve in the war. So amid all this upheaval comes a singer from Detroit who’d been around most of the decade doing solid gospel R&B work. But there was something about this black woman’s asserting herself that seemed like a call to national arms. It wasn’t a polite song. It was hard. It was deliberate. It was sure. And that all came from Ms. Franklin — her rumbling, twanging, compartmentalized arrangement. It came, of course, from her singing.

Concert Review - Julia Deans - We Light Fire Tour San Francisco Bath House 11/08/2018

The one thing that has always been consistent with Julia Deans is her purity of voice.  It's always such a beautiful and unfiltered delight to hear.  No need for studio trickery or autocues here.  And with it, she's a humble and graceful performer, with just a touch of the dramatic diva for punch.  I remember interviewing her at WOMAD and being impressed by her phrasing and patient treatment of every word.  These are the same skills we saw tonight as Ms Deans brought us a collection of songs, mainly from her latest release, We Light Fire. 

Deans' voice is spinetingling from the opening notes to the dying embers.  Clearly the best honey-tinged falsetto in Aotearoa - ever!

She opened the set with the smouldering, slow burn of Clandestine.  That song sets the mood for the evening.  This is not a rock concert.  The efforts are in the effortless delivery of every song, with careful attention paid to the execution of each lyrical phrase.

Primarily, ... Fire is a pop-rock record,  with traces of synth-pop and jazz influences.  You saw that tonight in her treatment of the album's lead single, The Panic.  It's an instant winner coming mid-set after the more sultry, sparse numbers like Pick Up and Centre.  And it's the most radio-friendly song on the album.  So again a winner.  Its urgent beat and grungy bass lines have been heightened by the small wooden room, emphasising furious anxiety in the bass.  Her lyrics centre around a cold revelation in the chorus of this song: "Deep in our hearts, we sleep alone." 

The album's first half has the strongest songs, which we get scattered through the set.  Like Souvenir, which is strangely meditative, as its shuffled beat lends a sense of mystery to Deans' stunning harmonies.  She's not alone.  Deans is flanked by two confident wahines, Tali on guitars and Auckland Americana singer Reb Fountain, who also plays the guitar, and is in charge of the tom drum for one dramatic moment.  They do who do their best to match her vocal skills.  They almost carry it off.  But Dean's honey-toned vox is a real challenge to master, and you can never predict which octave she'll choose to settle on before transforming into a growling rage.  The album was recorded by Deans and her partner, former Shihad soundman David Wernham, at their home studio is impressive; the production quality is immaculate throughout.  Unfortunately, that level of quality is almost impossible to match on stage.  That said the approximation is pretty good.

On wax the electronic elements are largely welcome, certain synth lines and embellishments are superfluous and border on gimmicks. On stage, you don't get that.  With Richie Pickard on bass and drummer, Jono Sawyer driving the engine room and the ladies providing the strong direction vocally from the cab this truck has a clear destination and knows its way to its destination.  It's a clean and clear delivery, without embellishments.

It has to be said that Dean's 15 song repertoire, tonight, was not extensive.  But she does the occasional nod to past works.  Modern Fables and Skin (both from her last former album) get a look in, and a big tick from the crowd.  It wasn't a huge or packed gig but those that had hoofed it up from the Beervana Fest downtown like me were rewarded well. 

Another highlight is her response to the world's continuous poor treatment of women, Walking In the Sun.  It begins, perfectly with some delicious harmonies from the three women and this time they totally nail it.  Another wonderful moment to savour.  The hook in the chorus is addictive. 

While I'm used to seeing Deans behind a guitar, it was nice to see her at the keyboards, sepecially at the end of the night with her two encore pieces Chelsea and Dialogue.  Both are delivered with a delicate care, like handling a newborn.  Which, given this album has only been released seems appropriate.  I really like this new album and it works superbly live and on record.  My biggest regret was not having the cash to pick a vinyl copy, having heard to songs live and thoroughly enjoyed them.

Review and photos by the Coffeebar Kid

The Others Way Festival is Back!

Clear your calendar, dump any existing plans and brace yourself to leave the house for a change... because The Others Way will return on Friday August 31.

For the uninitiated, The Others Way is a festival where we curate a line-up of the best alternative acts from across the country (and a few from around the globe) and have them perform across a number of favoured K Road venues such as Whammy Bar, The Wine Cellar, Neck of the Woods, Galatos and Studio Venue, with some exciting new locales yet to be announced!

Last year featured 40 acts including Bic Runga, The Courtneys, Grayson Gilmour, Jonathan Bree, Lawrence Arabia, Mermaidens, Street Chant, Tiny Ruins and Wax Chattels and this year will see another plethora of great artists from indie to electronica to hip hop to pop and much more…

The first line-up will be announced next week, but we're letting all you keen beans grab tickets as soon as possible. Like last year we have a tiered ticketing system; currently you can buy an "Early Bird" for the low price of $59, and once they run out you'll have to stump up some extra cash for a "General Bird" ticket and even a little more once all that is left are those pesky "Late Bird" tickets. The "SUPER Early Bird" tickets are all gone already, so don't sleep on it... grab a ticket below!

Click here to find out more

And here's a taster from Jed Parsons, who we expect will be in the line up.

We're under a week away from Cantabrian Jed Parsons releasing his solo debut album Midnight Feast. Over the past couple of months you might have seen his cheeky clips for tracks like Get Lost, Everybody’s Stupid and Time (pictured above) but don't let them deceive you, Parsons is a skilled musician, having worked with nomad, Pacific Heights and cousin Mel Parsons. If you're a fan of Mac Demarco, Conan Mockasin, & The Phoenix Foundation, Midnight Feast will be the perfect indulgence.

Jed Parsons is about to traverse Aotearoa in celebration of this release, stopping in Auckland, Wellington, Christchurch and Dunedin at the end of the month. Dates and ticketing details can be found at Undertheradar. 

Kamasi Washington Debuts 'Street Fighter Mas' video

“Lavish, portentous, aware of its political significance, Heaven and Earth also swings like crazy, and the seriousness of the endeavour never detracts from the warm-hearted way in which Washington reframes jazz history for both neophytes and connoisseurs” - MOJO

Groundbreaking artist Kamasi Washington debuts the A.G. Rojas-directed video for “Street Fighter Mas” today—watch it here. The video includes cameos by famed Street Fighter legends Gootecks and Combofiend and one of Washington’s Los Angles heroes—Kevin Gilliam a.k.a. BattleCat, a longtime collaborator of Dr. Dre, Snoop and Tupac Shakur. The video was inspired by Washington’s love of the Street Fighter video game and depicts Washington’s adventure through Los Angeles en route to an epic battle to claim the title of champion against Combofiend. Rojas and Washington previously collaborated on a short film titled “Truth” for Washington’s 2017 EP Harmony of Difference.

Talking about the “Street Fighter Mas” video, A.G. Rojas says:

“I love inhabiting Kamasi's world, and Street Fighter Mas was an opportunity to take a left turn and explore the surreal qualities of that world. When Kamasi told me the background of the song, how Street Fighter was a safe space for him - it took me back to the supermarket down the street from my childhood home where my brother and I would try and get in as many games before our mother was finished shopping. It was a true labor of love for everyone involved, coming from a desire to interpret the cinematic qualities of the track into something equally unpredictable, familiar, absurd, and ultimately triumphant."

Washington’s immensely anticipated second album Heaven and Earth is out this Friday, June 22 via Young Turks (Records).

In celebration of the release, Washington will play a very intimate hometown show at The World Stage in Los Angeles—the historic Leimert Park venue where he has been performing since his teens—this Thursday, June 21.

The show will be streamed through Kamasi’s Facebook and on Boiler Room.

Album Release - DOG - No Dogs Allowed (Rattle Records)

Dog - aka Roger Manins (sax), Kevin Field (Piano) Olivier Holland (Bass) and Ron Samson (Drums) have released their second album of contemporary jazz.  In a haphazard display of performance and humour, they played some of the new tunes at Wellington's Rogue & Vagabond this morning to a full lunchtime crowd.  Photos by Tim Gruar.

ROGUE CLASSIC ALBUMS LIVE: I’M MOVIN’ ON

A Homage to Jimmy Smith's 1963 Blue Note classic

Organist Chris Yeabsley (Twinset) and his band present Jimmy Smith's I’m Movin’ On live as Rogue & Vagabond hosts four nights of classic albums played live by top local musicians.

Tonight from 10PM

Jazz at the Rogue & Vagabond

Once again Rogue coming atcha with our classic album series for Wellington Jazz Festival, featuring some of our favourite local musicians playing some of their favourite classic Jazz albums in their entirety (as well as a couple of very special late night and early morning performances thrown in)

Wednesday 6th:
Early Jazz at 5pm with Bruce Forman, Larry Koonse and Tom Warrington
Rogue Piano Lounge with Dayle Jellyman from 7

Thursday 7th:
Rogue Classic Albums Live - Question and Answer w/ Callum Jephson Allardice
Rogue Classic Albums Live - Black Saint and the Sinner Lady w/ Jake Baxendale Music

Friday 8th:
Rogue Classic Albums Live - Boss Tenors w/ Baron Oscar Lavën
Rogue Classic Albums Live - Karma w/ Blair Latham

Saturday 9th:
Roger Manins GRG67 Album Launch 'The Thing'
Rogue Classic Albums Live - I'm Movin' On w/ Christopher Yeabsley
Rogue Classic Albums Live - Thrust w/ Daniel Hayles

Sunday 10th:
Rogue Classic Albums Live - Crescent w/Rick Cranson
Rogue Classic Albums Live - Nancy Wilson/Cannonball Adderley w/ Bryn van Vliet

#welljazzfest

TOP JAZZ TALENT RECOGNISED AT NZ JAZZ AWARDS

The winners of the Recorded Music NZ Best Jazz Artist and the APRA Best Jazz Composition were announced tonight at an awards event ahead of the opening of the Wellington Jazz Festival.

Umar Zakaria was awarded Best Jazz Artist for Fearless Music and the Best Jazz Composition was awarded to Anita Schwabe for ‘Springtide’.

Umar’s career is exciting to follow.  At just 25-years-old, Umar has already performed internationally with jazz legends like Bob Moses (US), Hagai Bilitzky (Israel), Rob van Bavel (Netherlands), Snorre Kirk (Denmark), Magnus Hjorth (Sweden), Steve Barry, and Mark Lockett, among others.

The album Fearless Music is a strong collection of tracks recorded in collaboration with some of New Zealand’s top jazz musicians.

Recorded Music NZ CEO Damian Vaughan says Fearless Music is an exceptional record, and Umar is well deserving of the Best Jazz Artist Tui.

“It will be fascinating to see where his career takes him – both here in New Zealand and overseas. I feel like he’s just getting started.”

The APRA Best Jazz Composition was awarded to Anita Schwabe for ‘Springtide’ off her 2018 album Eat Your Greens.

Anita is a jazz pianist and composer who has been a lecturer at the jazz school in Wellington since 1995, who has an impressive resume of live shows including major New Zealand festivals and international venues such as Vanuatu and New Caledonia.

APRA AMCOS Head of New Zealand Operations Ant Healey says: “It’s important for us to be able to celebrate the wonderful work of jazz composers in New Zealand, and to witness the strength and breadth of talent in this community as we come together for the NZ Jazz Awards. Anita has been a well-respected jazz musician and composer for many years, and we’re delighted to see this award go to ‘Springtide’, which is a great reflection of her artistry.”

Anita will be performing her new album at the Wellington Jazz Festival on 8 June as part of the free Jazz at St Peter’s programme.

Other finalists for the Recorded Music NZ Best Jazz Artist were Hayden Chisholm, Norman Meehan, and Paul Dyne for Unwind and Lucien Johnson for West of the Sun.

Callum Allardice for ‘A Gathering’, and Jake Baxendale for ‘Beyond The Palace’ were the other finalists for the APRA Best Jazz Composition.

The awards were announced at the opening night of the Wellington Jazz Festival, which runs from Wednesday 6 through to Sunday 10 June, and features around 150 gigs with local and international jazz performers throughout the week.

Finalists for Recorded Music NZ Best Jazz Artist

Winner: Umar Zakaria – Fearless Music
Hayden Chisholm, Norman Meehan and Paul Dyne – Unwind
Lucien Johnson – West of the Sun
Finalists for APRA Best Jazz Composition

Winner: Anita Schwabe – ‘Springtide’
Callum Allardice – ‘A Gathering’
Jake Baxendale – ‘Beyond The Palace’

The 2018 Wellington Jazz Festival is on!

The Wellington Jazz Festival kicks off today, with an impressive array of international stars and home-grown jazz talent bringing their smooth grooves and cool beats to the city’s streets, bars and venues. 

Shelagh Magadza, Artistic Director of Wellington Jazz Festival, says that with around 150 gigs packed into the next five days, music lovers will be spoilt for choice - with many gigs that are either free or under $20 in the mix.

“Whether you’re seeing international stars Christian McBride, Chris Daveor Gretchen Parlato at the Opera House or enjoying some of the free gigs at Rogue & Vagabond, Te Papa or St Peter’s on Willis, the Jazz Festival is a mid-winter treat. Book tickets now to ensure you get to see some of the best acts on offer - but also make time for spontaneous late-night fun over the next week.” Shelagh said.

Performing with his ensemble New Jawn, Newport Jazz Festival director and renowned bassist Christian McBride will open the Jazz Festival with his anticipated one-off show at the Opera House tonight. Also on opening night, Ed Zuccollo will perform his magical soundscapes at Meow, while saxophonist Oscar Lavën takes to the stage at Moon in Newtown with his trio. Night owls in need of a post-show jazz fix should head to Meow to enjoy Jake Baxendale and the Jam for their late-night session. 

Thursday brings five-time Grammy Award nominee, guitarist Robben Ford to the Opera House stage, where he’ll be joined by American rock-soul singer Lydia Pense. Over at Civic Square, City Gallery will hold a special jazz-flavored edition of their Tuatara Open Late series, where Nigel Patterson (Black Seeds, Fly My Pretties) will play artist Michael Parekowhai’s stunning piano sculpture He Kōrero Pūrākau mo Te Awanui o Te Motu: Story of a New Zealand River before Bella Kalolo takes to the gallery stage performing with a full band. Local drummer Myele Manzanza has brought pianist Mathew Sheens all the way from New York for their two shows at Meow on Thursday and Friday evenings.

Sultry songstress Gretchen Parlato presents her superb vocal range to the Opera House on Friday night, while Caroline bar hosts award-winning composer Callum Allardice with his Quintet. Saturday features one of biggest highlights of the Festival, John Beasley’s MONK’estra, a15-piece big band inspired by the musical spirit of jazz giant, Thelonious Monk. A handful of New Zealand musicians will join MONK’estra for the concert.

Free events include the family-friendly Royal New Zealand Air Force Jazz Orchestra performing takes on the Great American Songbook at Te Papa at 12pm Saturday, the Wellington Mingus Ensemble at the Southern Cross on Saturday evening, a round table discussion about gender and jazz in Aotearoa at The Third Eye on Friday, a pop-up jazz band at Wellington Airport, and a late-night DJ session with Martyn Pepperell at Meow on Saturday.

A collaborator with Beyoncé, Lady Gaga, D’Angelo and Adele to name a few, Chris “Daddy” Dave has been called the “most dangerous drummer alive”, and audiences will find out why when Chris and The Drumhedz take over the Opera House on Sunday night to conclude the Wellington Jazz Festival in style. 

About the 2018 Wellington Jazz Festival

The Wellington Jazz Festival runs 6–10 June 2018

Around 150 gigs take place over five days at 45 venues

The Jazz Festival draws a national audience of around 30,000 music fans

The Jazz Festival is home to the New Zealand Jazz Awards, with the winners announced tonight, Wednesday 6 June

Visit   www.jazzfestival.co.nz