If not exactly an endangered species, local jazz is certainly a rare animal. Being a minority music, major labels shy away from it, so its survival has depended on true believers such as Kiwi-Pacific (which was once active in jazz, recording Sustenance and Frank Gibson's original Jazzmobile) and particularly Ode,
whose back-catalogue of albums by Brian Smith, Gibson, Mike Nock and many others is perhaps overdue for reissue.
There were also labels run by artists such as Braille in the 80s, which gave an outlet to the Primitive Art Group, Six Volts and their offshoots, or Rodger Fox and Murray McNabb, who have always done things their own way.
Times haven't changed much.
Ode has resurrected itself with albums by Gibson and Dan Papirany, the indies plug away, and artists do it for themselves. Wellington pianist Kevin Clark is one of them.
He deservedly picked up the 2003 Tui for jazz album of the year with Once Upon A Song I Flew, which brought numerous world music elements to play. Clark's win was a surprise to those outside the capital, where he lives and works, but his new live album recorded at his regular venue in Paremata confirms his broad musical reach.
The Sandbar Sessions covers a lot of ground from deft and lively Latin balladry (Quizas) to the classic bop of the Clark original Nawor's Waltz, featuring expat British saxophonist Alex Nyman.
There is an impressive guest cast: former Sustenance saxophonist Colin Hemmingsen (also on Once Upon A Song) turns up for the Coltranesque original The Chase; vocalist Hannah Griffin brings sassiness to Miss Celie's Blues and sultriness to Good Bait; and young guitarist Wade Sharp (who brings stuttering runs and Al Di Meola-like melodies to Dark Eyes) is definitely one to watch.
From Cole Porter's So In Love to the blues and Brazil, this is an enjoyable, often exciting journey, and all within the walls of a pub in Paremata.
Caitlin Smith is widely known as a vocal coach but her credentials as a live performer are extensive, and the Fondue Set she formerly fronted was very popular.
Her debut with her Caitlin Smith Group is Aurere, a professionally packaged album that sits at an appealing place between jazz and singer-songwriter, but is also a showcase for her fine band, which includes guitarist Neil Watson, drummer Rota Barrington, bassist Vanessa McGowan and guest pianist Kevin Field.
Smith has penned almost everything here. She is a sophisticated songwriter. Her lyrics don't insult the intelligence and stretch around the melodies. Lounge jazz about suicide (I Am Joe's Heart) and incest (Brother) might not be to everyone's taste, but everywhere else she delivers adult lyrics about love, relationships and family that often have an inviting, narrative quality.
The sole covers are the ageless I Get Along Without You Very Well and a well-chosen Where Fairburn Walked, one of the finest songs by Devonport singer-songwriter Ross Mullins.
An album of originals has been a long time coming from Smith, but it has been worth the wait, and this is a band - which can swing but also lay way back - with considerable depth.
The Yellow Eye label out of Wellington - which enjoyed success with CL Bob and Syzygy albums - released two albums late last year: one by pianist Norman Meehan and the other a compilation of (mostly) Sydney-based expats such as saxophonist Rick Robertson, the Ottignon brothers (pianist Aron, saxist Matt) and pianist Mike Nock.
The Meehan album The Bells was recorded more than two years ago (various members of the quintet then worked overseas) and captures a band with classic bop and post-bop tastes and, in pianist/composer Meehan, someone with a sure sense of a melody, which will open itself up for exploration. The spirit of Charles Mingus, 60s Miles Davis and Nat Adderley are the clearest reference points for an album that is interesting rather than innovative, pleasing rather than penetrating.
As Nock says on the cover, "A thoroughly enjoyable listen."
The Meehan track Good Friday appears on Yellow Eye's eclectic Trans Tasman compilation alongside material by Nock (the trio track Strata, which harks back to his 70s style), soprano saxophonist Rick Robertson (formerly of Superbrew and Fables of Faubus here in the 80s), who again confirms his gift with the featherlight and wiry The Essence featuring Matt McMahon's parallel piano lines, and the funky Bad Babysitter by Matthew Ottignon's sextet.
There is a wealth of tantalising material here, from the grooves of Roger Manin's Norwegian Bush (with organist Stuart Hunter) through Aron Ottignon's mature, quirky and engrossing piano work on The Ambo to the late Jann Rutherford's free-spirited piano work on And A Good Time Was Had By All.
But this being a collection you just get into one mood - be it bristling free-jazz by the Jeff Henderson Trio or CL Bob's quirky-jerky Shallop - and the tone changes. A sampler in other words.
Kevin Clark Trio: The Sandbar Sessions
(Herald rating: * * * *)
Wellington pianist follows his award-winning 2003 album with a live set confirming his reputation, and the calibre of his classy guests.
Label: Clark Music
Caitlan Smith Group Aurere
(Herald rating: * * * *)
Popular Auckland vocalist extends herself on a collection of originals dealing with life, love and the whole damn thing.
(Caitlansmith.com)
Norman Meehan The Bells
(Herald rating: * * *)
Quintet from the capital finds its heart and soul somewhere in the 60s.
Label: Yellow Eye
Various Trans-Tasman
Diverse, 12-track compilation of locals and expats living in Sydney.
Label: Yellow Eye
All that jazz
Caitlin Smith's album of originals has been a long time coming.
If not exactly an endangered species, local jazz is certainly a rare animal. Being a minority music, major labels shy away from it, so its survival has depended on true believers such as Kiwi-Pacific (which was once active in jazz, recording Sustenance and Frank Gibson's original Jazzmobile) and particularly Ode,
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