Album Review: Notes

The whakapapa of Nathan Haines’ 11th studio effort, his first since 2014, stretches back over a decade and features a through-line narrative from his iconic London Jazz Café days to his darker moments battling throat cancer and brighter days as a new parent.

The signposts of Haines career are as easy to read as neon in the darkness. Given his personal journey, you can’t but help think of Notes as a life celebration of life, creativity and his incredible transformational 10-year journey, relocating back to Aotearoa from the UK, becoming a father, setting up his own studio with his wife, Jaimie, and the diagnosis, treatment and recovery of throat cancer which not only threatened his livelihood as a musician but his life, as well.

The album also honours his friend, the now departed UK producer Phil Asher, responsible for the key sounds of Haines’ two landmark releases Sound Travels and Squire For Hire and the early work on some of the tracks on this album. It was completed with the help of Marc Mac (4 Hero), Mark de Clive-Lowe, Jrive (Razor-N-Tape) and Fran Booker as a brilliant testament to resilience and courage.

Sadly, Asher never got to hear the final product. But his influence still appears loud and large on a number of tracks, especially in the opening numbers like the smooth cocktail grooves of Love You More and Night Moves, reminiscent of Haines’ earliest dalliances with hip hop and acid jazz. On the nocturnal grooves of Night Moves Ruby adds vocals as comforting as butter spread on warm crumpets.

That one contrasts the more ‘matter of fact’ Hip Hop delivery from UK rapper Eo (Edwin Onokhua) on Just Holdin’ On.

Then the mood moves into a moment of classic and lush 50’s orchestrations to open Journey To The Peak before spreading out to another funky solo from Haines’ trademark soprano sax, where you are transported back to Ronny Scott’s in Soho for another late night Martini.

A standout on this album is the return appearance of UK soul-diva Vanessa Freeman (Bugz In The Attic, 4 Hero, Kyoto Jazz Massive) on Brother of Mine who also appeared alongside Marlena Shaw and Kaidi Tatham on Squire For Hire. This Nu-Jazz number bubbles way, just under the boil with Freeman’s hot-chocolate smooth vocals providing nourishing comfort to your soul.

Sleek does what it says on the tin – shiny future electro-jazz with a small nod back to 70’s Stevie Wonder and Herbie Hancock.

And continuing in that mode La Coco ushers in lusher late-night Lounge with Come Into The Light. A slight shift left into the 60’s with Storm, featuring the smoother than silk self-harmonizing from Rachel Clark, Haines’ cooler-than-a-polar bear sax noodling and spine-tingling Rhodes from Joe Kaptein. This is also the album’s only cover, a reinterpreted version of the hit done by 80’s vocal group Rare Silk.

There are plenty of dance floor fillers in this collection, including Don’t Think, which features chanting vocals from Eo and a message to leave your baggage at the door and come join the party. Whether you’re in the club, the hairdressers or doing the Hoovering, it’s an invitation to get down and on it!

The afore mentioned Sleek is reprised in spirit by another briefer instrumental, Running Man, which is all keys and synths, no reeds in the mix. It’s a fine tune but I wonder why it was placed here because the more natural follow on to Don’t Think is what comes next. And Give Thanks is a brilliant festive banger.

No wonder, when you check the credits – Arjuna Oakes and Mark de Clive-Lowe give it the full techno-god treatment and the crowds will be jumpin’.

As an avid vinyl junky and musicologist, it’s no surprise that Haines would want to mine his collection for inspiration from some of the greats. On the single Belo Dia (‘Beautiful Day’ in Portuguese), co-written with guitarist Leon Stenning, is a likely homage to the joyous, carefree spirit of Brazilian culture. The inclusion of culca (Brazilian talking drum), analogue synths and piano (courtesy of the incredible Jonathan Crayford), Rachel Clark’s blissful BV’s, vintage mic and a real string section really takes you back to this music’s golden era.

Although now recovered, the cancer scars remain evident and you can hear clearly hear on Notes, the deeply autobiographical title track, which the closes this album and hopefully that black chapter, as well. “That day I met my maker. That day, I’ll never forget. I looked in the mirror, wondering how to get back.”

As with many going through medical crisis, it’s whanau that give strength and on this track they are there, too, with his brother Joel Haines on guitar and eight year old son Zoot providing a vocal line in the dying embers.

There’s also a spot of karma-culture with the amazing tabla performance provided by Manjit Singh. Appropriate for such a raw and highly personal piece, detailing Haines’ journey through his cancer and emergence on the other side with a new perspective on his life first time since recovering from throat cancer.

The final lines of Notes state “You never know until it’s gone”, an admittance to be thankful.

The production on the disc is deservedly warm and lush, as it should be with every Nathan Hanes recording. His reputation for adopting analogue equipment and mixing techniques just adds to the layers of this story. But don’t settle for the sub-standards of streaming, you want the full sensory experience of the needle drop to really appreciate this album. And believe me, it’s worth every groove!