Ella Meg Paulsen
Closing out the Auckland Arts Festival in Aotea Square’s Spiegeltent was the Delbert Anderson Quartet, an incredibly skilled group of musicians playing smooth, funky melodies – or jazz fusion to the common ear. Between each song, Delbert Anderson (trumpet) shared intriguing background to the music, exploring the significance to their story and his Diné heritage. One side of their culture he shared with us was spinning songs. Similar to kapahaka, these spinning songs are a way to retain cultural knowledge that’s been passed down from a long line of ancestors. Anderson has incorporated traditional melodies that his tribe elders taught him in his youth, respectfully transforming them into his contemporary musical style. He noted later that historically the elders would not support the ‘appropriation’ as Anderson told it, to modify the composition of their traditional songs, but allowed it as a means to connect their culture to the younger generations.
Spinning songs saw the likes of To’tah and Opener. Anderson discussed the sacredness of the number three in many indigenous cultures, particularly as a representation of past, present, and future which is what their second song Dear Don encompassed. Dear Don was a smooth and sweet tribute to trumpeter Don Cherry, using a repeated melody three times to convey a gift from the past, a gift for the present, and a gift to the future. The third song on the setlist was To’tah, expanding upon number three ideology while also picking up the ante. The delicious blend formed in the rhythm section between Khalli Brown (drums) and Evan Suiter (bass) laid a driven foundation for Robert Muller (keys) to shine through, his fingers dancing across the keys and my head bopping trying to follow. Brown brought energy up from the undertow that, towards the end, had me jumping between each musician in delight, sharing the grins they shared between each other while playing.
Their second spinning song, Opener, was sixth on the set list, where Anderson introduced himself in his language. It included an explosive drum solo filled with fast playful riffs. Brown captivated the room with his energic drumming, his style incorporating tips and taps around the rims of the drums and bongos, dynamically fusing jazz to the rhythmic heritage of the arrangements. In the midst of his solo, at the height of engagement, Brown played a four beat silent count that was thrilling. Movement, cheers, and a gruff “YEAH!” raptured through the seats – oh YEAH, this is jazz.
Moving into their fourth on the setlist was Outer Inner, formally Ebola Blues, which was renamed at the request of TEDx around the time the Ebola virus had broken out of its borders landing fresh in the United States (of America). We laughed with Anderson at the need for the change, but they were right for donning the former name as each beat was sickening, evoking the colloquial ‘stank face’. The music moved bodies to a lively rhythm, I even noticed a handful of people recording the moment they came close to Ebola Blues (formerly). For some reason, the new name Outer Inner makes me think of Saturn, and like Saturn, this song makes me want to be in my own space twirling in a ring of rocks and dust à la Stevie Nicks.
There were two songs played that were dedicated to a Native American series of artworks. Though we didn’t see the paintings these songs were based upon, Anderson painted an image of the blue, orange, and yellow hued sunset with mountains, cliffs, and a valley that ultimately composed No. 5 Spine of Awakening signifying overcoming hardships, conveyed primarily through the bass with touches of symbols. The sound system did not disappoint as every bass note thumped beautifully, Suiter utilised a loop pedal to help symbolise time by a bass driven metronome. Suiter had me envisioning the trepidatious hike through those trees, Brown’s light tapping of symbols recreating chirping birds nestled within the forest, as I transcended beyond the cliff face to see a new dawn.
The second piece from this indigenous art series, No. 7 Heart Passage, Anderson shares two anecdotes that he drew from his culture; one that stressed the importance of generosity and giving; and to treat everyone as if they are at their highest potential. I was anticipating a joyous, optimistic ditty but from the first breath Anderson dunked a tragic melody into my chest. I can only describe it as beautifully melancholic which I guess in hindsight does project the ethos to see the highest potential in those around you. The piece was so poignantly moving that rather than interpreting sorrow as just that, the progression of the emotion moving through my body, in momentum with the quartet, had my sorrow shifting into pure appreciation for what I was hearing. Muller is exceptional in supporting Anderson with conveying the complexities, meanwhile Suiter and Brown are brilliant in driving a noir-like atmosphere. I could be walking alone in a winter’s downpour processing the most heartbreaking news and this song would help me see the beauty in the grief.
After celebrating the magic of Heart Passage, they closed their show with Groove Warrior where Anderson invited the audience to join them at the front of the stage to dance. The trumpet blew and a marching beat called to a score of audience members that flanked the front stage tout de suite. Under the red, pink, and blues illuminating the tent, the group danced in unity with the quartet’s casual confidence. The quartet noted references to hip hop throughout their show which I likened to the same womp’s as heard in Pharoahe Monch’s Simon Says. However, I’m someone who listens to a small variety of hip hop so I would have likely missed some nuances – as the crowd jiving may have too.
I only saw one other show at this arts festival so I’m grateful I got to see the Delbert Anderson Quartet live. I’m one for going to many concerts and gigs, so I was flabbergasted by the impressively high quality sound system set up in the tent. Not one note was muffled, every instrument played clear, and I didn’t leave with ringing ears. The mixing of this show was masterful and the lighting used warm pops of colour to compliment the bright jazz fusion we got to enjoy. The Delbert Anderson Quartet is an exceptionally talented and skilled band, each song is crafted with fun, care, and intention to continue the body of creativity produced from indigenous Native America. You can listen to all these songs on their latest live album found here and more info on the show that was here.
Their second spinning song, Opener, was sixth on the set list, where Anderson introduced himself in his language. It included an explosive drum solo filled with fast playful riffs. Brown captivated the room with his energic drumming, his style incorporating tips and taps around the rims of the drums and bongos, dynamically fusing jazz to the rhythmic heritage of the arrangements. In the midst of his solo, at the height of engagement, Brown played a four beat silent count that was thrilling. Movement, cheers, and a gruff “YEAH!” raptured through the seats – oh YEAH, this is jazz.
Moving into their fourth on the setlist was Outer Inner, formally Ebola Blues, which was renamed at the request of TEDx around the time the Ebola virus had broken out of its borders landing fresh in the United States (of America). We laughed with Anderson at the need for the change, but they were right for donning the former name as each beat was sickening, evoking the colloquial ‘stank face’. The music moved bodies to a lively rhythm, I even noticed a handful of people recording the moment they came close to Ebola Blues (formerly). For some reason, the new name Outer Inner makes me think of Saturn, and like Saturn, this song makes me want to be in my own space twirling in a ring of rocks and dust à la Stevie Nicks.
There were two songs played that were dedicated to a Native American series of artworks. Though we didn’t see the paintings these songs were based upon, Anderson painted an image of the blue, orange, and yellow hued sunset with mountains, cliffs, and a valley that ultimately composed No. 5 Spine of Awakening signifying overcoming hardships, conveyed primarily through the bass with touches of symbols. The sound system did not disappoint as every bass note thumped beautifully, Suiter utilised a loop pedal to help symbolise time by a bass driven metronome. Suiter had me envisioning the trepidatious hike through those trees, Brown’s light tapping of symbols recreating chirping birds nestled within the forest, as I transcended beyond the cliff face to see a new dawn.
The second piece from this indigenous art series, No. 7 Heart Passage, Anderson shares two anecdotes that he drew from his culture; one that stressed the importance of generosity and giving; and to treat everyone as if they are at their highest potential. I was anticipating a joyous, optimistic ditty but from the first breath Anderson dunked a tragic melody into my chest. I can only describe it as beautifully melancholic which I guess in hindsight does project the ethos to see the highest potential in those around you. The piece was so poignantly moving that rather than interpreting sorrow as just that, the progression of the emotion moving through my body, in momentum with the quartet, had my sorrow shifting into pure appreciation for what I was hearing. Muller is exceptional in supporting Anderson with conveying the complexities, meanwhile Suiter and Brown are brilliant in driving a noir-like atmosphere. I could be walking alone in a winter’s downpour processing the most heartbreaking news and this song would help me see the beauty in the grief.
After celebrating the magic of Heart Passage, they closed their show with Groove Warrior where Anderson invited the audience to join them at the front of the stage to dance. The trumpet blew and a marching beat called to a score of audience members that flanked the front stage tout de suite. Under the red, pink, and blues illuminating the tent, the group danced in unity with the quartet’s casual confidence. The quartet noted references to hip hop throughout their show which I likened to the same womp’s as heard in Pharoahe Monch’s Simon Says. However, I’m someone who listens to a small variety of hip hop so I would have likely missed some nuances – as the crowd jiving may have too.
I only saw one other show at this arts festival so I’m grateful I got to see the Delbert Anderson Quartet live. I’m one for going to many concerts and gigs, so I was flabbergasted by the impressively high quality sound system set up in the tent. Not one note was muffled, every instrument played clear, and I didn’t leave with ringing ears. The mixing of this show was masterful and the lighting used warm pops of colour to compliment the bright jazz fusion we got to enjoy. The Delbert Anderson Quartet is an exceptionally talented and skilled band, each song is crafted with fun, care, and intention to continue the body of creativity produced from indigenous Native America. You can listen to all these songs on their latest live album found here and more info on the show that was here.