Mantis: The Music of Drew Menzies (album) with Reuben Bradley

MANTIS: the music of Drew Menzies
2014 JAZZ ALBUM OF THE YEAR finalist

While these recordings are by no means definitive, they are an example of the openness of Drew’s writing, and a fine expression of the respect and enthusiasm with which his music is regarded by the assembled musicians and arrangers. Reuben’s vision for this project was so infectious that each collaborator was willing to freely support the project, and the results speak for themselves – warm, lucid, generous performances, captured and presented with great affection and skill.

‍

Personnell

NZ String Quartet
Roger Manins (sax)
Matt Penman (bass)
Reuben Bradley (drums)
John Psathas (string arrangements)

Produced by Reuben Bradley
Engineered by Richard Caigou
Mixed by Steve Garden, John Psathas, and Reuben Bradley

Review

June 8, 2013 by Simon Sweetman

Reuben Bradley: Presents MANTIS: The Music of Drew Menzies

I first heard the pairing of string quartet with jazz quartet for a “Double Quartet” as part of a double Max Roach CD; one of the formative albums in my life. Though the music on this CD is less frantic I can’t help but think of the Roach album; of that pairing. I assume it was one of the crucial antecedents for the work Reuben Bradley and Andrew Menzies planned.

Created as a tribute to Drew Menzies – in honour of his life and compositions – Bradley arranged these pieces (with string arrangement assistance from the redoubtable John Psathas) – the result, featuring the New Zealand String Quartet in collaboration with a Bradley-led quartet (James Illingworth, Piano; Matt Penman, double bass; Roger Manins, tenor saxophone) – is one of the finest jazz sets I’ve heard in a long while.

It builds too on Bradley’s Resonator which showed his chops as player, leader, arranger, composer. As with that album MANTIS is in part a showcase for Bradley’s commitment to extending the role of jazz drummer – and from there extending the role of jazz.

This is concert music with contemplative classical ballads and European folk song sitting inside it; there’s hints of post-bop and post-modern. They are open-ended compositions that show Menzies’ skill and interest in both jazz and classical playing and composition. These versions allow space for individuals to shine (Illingworth’s lovely lilting piano cascades on I’ve Got Nothing Good To Say for example; where in fact he has plenty of good to say and so many good ways to show how he can say it).

The profits from the sale of this album go directly to the Drew Menzies Memorial Scholarship for young New Zealand bass players.

The album will be recreated as part of Wellington’s 2013 Jazz Festival.

It’s a stunning record – and I’m looking forward to the concert.

‍

Resources

RESEARCHERS: EXPLORE MANTIS THE MUSIC OF DREW MENZIES ALBUM WITH REUBEN BRADLEY AT THE ALEXANDER TURNBULL LIBRARY

‍

Personal Note

It is difficult to write about this, even after so many years.

I first got to know Drew when I supervised his one-on-one Honours paper in jazz bass transcription and analysis. I always looked forward to our sessions; his work was consistently excellent, he was very motivated, and he was a joy to spend time with. I remember him as someone who was really on top of things; confident, busy, very funny, warm, intelligent and highly perceptive.

After finishing his studies in Wellington Drew moved to New York and I didn't hear from him for some time. He reached out at one point asking for a letter of support for his audition to Cirque de Soleil, which both thrilled me and felt like a natural step for him into a higher realm of recognition and work that seemed an obvious consequence for his talent. It was a pleasure to be able to add a small token of heartfelt support to Drew's journey. It seemed inevitable that, over time, he would move into even greater and more impressive realms of music-making and collaboration.

At this current peak of his progress in his life, I was shocked and utterly devastated to learn that he had suddenly passed away. I never knew that Drew struggled with mental health. Now, I'm aware of many people who hide this side of their lives so expertly. There was, and still is, no way of getting over this loss. Drew was a bright star in the lives of people that knew him.

I subsequently got to know Drew's parents, who after some time asked me to accept Drew's bass music and look after it. I still have his collection.

Some time after Drew's passing Reuben contacted me and asked if I would help out with the string arrangements in the album project he was planning, to honour Drew's memory. The album would be made up entirely of Drew's own compositions. To me this was almost more of an opportunity to deal with the grieving process than it was a musical project. I threw myself into it - Reuben had already done the lion's share of the work with the string writing. We completed the work, made the recording, and there was a powerfully charged concert at the Wellington Opera House.

A note about Reuben; I've seldom witnessed such beautiful friendship and love. It's one thing to have the feelings, which most of us do. It's another thing entirely to embark on such a massive, fraught, and complex journey dedicating oneself to the heartfelt sharing of a best friend's musical work. Work that has been sitting (and could have remained forever) under a pile somewhere. I admire and appreciate Reuben for ensuring Drew, also through his music now, will be remembered.