Nathan Haines – Powerstation, 2 November 2024: Review

Nathan Haines presents a special celebration of his new album Notes, a real bitches brew of Soul, Jazz, Funk, Dance and Electronica which cooks and overheats. At all times class is maintained.

This was the album that took many years to gestate. Commenced with the great UK producer Phil Asher, who passed away in 2021. Haines pays tribute to his spirit investing the album.

Nathan Haines himself faced the adversity of throat cancer over the last decade. The battle to successfully overcome this reaches into the core of your soul, along with the heavy artillery of radiation and toxic chemo.

Haines does have a husky voice, and you get the sense he’s had to travel through some dark valleys to be able to walk along the highest peaks (of music), as he does tonight.

Do you want to have your voice, or do you want to play your saxophone, was the choice given by his specialist. He chose the saxophone.

This is his first concert playing behind a big ensemble in New Zealand, for possibly 15 or 16 years.  

Brother Joel Haines on electric guitar, Joe Kaptein keyboards, Alan Brown keyboards, Elijah White drums, Ben on authoritative bass, and Richie on percussion. The instrumental core with Haines on saxophones and flute.

Kick-off is from the top with Love You More. The engine room rhythm section lock in immediately and do so all night. Soul Jazz which keeps tumbling (like dice) with a smooth sax lead.

Night Moves introduces first guest singer, Lisa Tomlins (standing in for Ruby Cesan, who co-wrote the song), and a smooth Soul vocal with some light Funk in the background.

Changing styles completely and we next hear Eo, a slow-paced Rap delivery on Just Holdin’ On. Around him is smoky late-night café noir Jazz.

Who is Eo? It is Auckland Rapper and artist Ethan Oliver King.

Another instro with Journey to the Peak. Haines mentions later in the show, the layering of sound that can be achieved by top musicians and this is a perfect example. The bass anchors and the momentum shifts around the sax phrasing.

Title track Notes is where Haines takes his only lead vocal. There is emotion here as he relates some of the difficulty it took, over three years, to get this it’s final stage.

He does have the jazz husk, a little like current Dylan and the damage that lifelong cigarette smoking does.

Rachel Clarke joins on backing vocals singing you don’t know what you got ‘til it’s gone. The version tonight is a little messy and unfocussed, but it pulls together with a sax break. Paradise paved and a parking lot?

Give Thanks is Funk like Mother Popcorn. Sam Allen joins Clarke and Tomlin to sing no one can take this joy away from me. The dance groove peaks with a breakdown.

Sleek has busy percussion and electronic effects reminiscent of Sixties Joe Meek (I apologise for that). The guitarist solos in thrilling Mahavishnu McLaughlin style.

Changing direction completely again is a cameo from singer Tama Waipara.

Comes from heartland Opotiki. Studied at Manhattan School of Music. He has a rich Soul voice, and the song they do with him is Home, a Frank Booker song we are told.

The world can see my weakness/ Send me home again. Sounding like classic Gil-Scott Heron.

La Coco is Samoan Māori R’n’B vocalist Latoia Sasa-Tepania. Come Into the Light is gritty Sixties Soul like an Etta James, perfectly framed by a flute.

Belo Dia has Latin rhythms and busy Funk with some special Kaptein keyboard pyrotechnics. Even faster flute riffing.

The pace and the persistent and multi-layered grooves have not abated all evening.

They encore with Southern Freeze, everyone piling on the stage.  

Nathan Haines is triumphant, and deservedly calling out towards the critics that denigrated the music of Notes. Passion and belief are everything.

Rev. Orange Peel

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