Rob Adams Journalist

Saxophonist and multi-instrumentalist Oscar Lavën releases Elegant Calamity, the follow-up to his internationally admired debut, Questions in Red, on Thick Records on Friday 16th January 2026.

An effervescent presence on New Zealand’s currently vital jazz scene, Lavën (pronounced Lah-venn) is a double graduate from the New Zealand School of Music and brings his degrees in jazz and classical music to bear on both the music and the personnel featured on Elegant Calamity.

“I wrote Elegant Calamity in pursuit of a sound that allows the personalities of the eclectic mix of musicians to shine through,” he says. “These players represent different corners of the vibrant New Zealand art music scene and I hope listeners around the globe will be able to appreciate this through this album.”

Bringing together string players alongside woodwinds, brass and a five-piece rhythm section, Lavën has produced what he describes as “music that blends forward-facing boldness with a certain shade of cinematic nostalgia”.

Influences including trumpeter Dizzy Gillespie’s Afro-Cuban experiments, Ennio Morricone’s atmospheric film soundtracks and bandoneon master Astor Piazzolla’s nuevo tango can be detected, as can the sophistication of Duke Ellington’s jazz orchestra and bassist Charles Mingus’ mighty gospel-infused excitement.

The compositions were made possible through trumpeter Michael Costeloe’s groundbreaking Jazz Orchestra Composer Series, which offers musicians both freedom to create imaginatively and a platform to perform. Elegant Calamity was recorded live at the intimate Bedlam & Squalor venue in Wellington with the audience needing little encouragement to become involved. It was engineered and mastered by Alistair Isdale.

“This was a very spirited, joyful process from beginning to end,” says Lavën. “I hope people will enjoy listening to Elegant Calamity as much as we enjoyed playing it."

Following a successful run of four sextet recordings, Cork-born, Hertfordshire-based pianist John Donegan changes direction with a return to the jazz piano trio tradition on his latest album, Interfuse.

“I loved working with the sextet – I still do – but I wanted to shake things up a bit and revisit the trio format,” says Donegan whose piano influences include Bill Evans, Wynton Kelly, Hampton Hawes, Bud Powell, Keith Jarrett, Chick Corea, and Kenny Barron.

The trio recordings of Bill Evans are particular favourites of Donegan’s and they inspired him to explore the tradition again. He had also been struck by saxophonist Richie Buckley’s lyrical side and improvising strengths while leading the Irish Sextet that has made three enthusiastically received albums. So the trio becomes a quartet on tracks including the energetic opener, Blues Jive, which also pays homage to Thelonious Monk with its edgy attack.

Blues Jive is one of two new compositions – the other being the heartfelt ballad A Resolute Rose dedicated to Donegan’s young grand-daughter – on the album. A prolific composer, Donegan also likes to reinterpret previous work, finding new meaning and new inspiration when taking a different approach.

The album’s title track, Interfuse, which originally appeared on the sextet album A Kite for Kate, returns as a quartet piece here and the idiosyncratic Funny Isn’t It, which Donegan first recorded as a solo piano piece, is updated in the trio format.

Donegan is joined in the trio by two longstanding colleagues. Drummer John Daly has provided the swing, drive and detail on Donegan’s three Irish Sextet albums and bassist Bernard O’Neill, who has acted as producer on eight of Donegan’s nine previous albums, takes up a dual role as producer and Daly’s rhythm section partner.

Alongside the trio and quartet tracks there is a solo piano performance of A Song for Ciara, a tender dedication to Donegan’s eldest daughter which first appeared on the pianist’s 1997 album of the same name.

A musician of huge experience – he has played with jazz luminaries Art Blakey, Art Farmer, Barney Kessel and Greg Abate as well as the world class Irish guitarist Louis Stewart – Donegan is constantly driven by the desire to explore music, both his own and other musicians’.

“I love to listen almost as much as I love to play,” he says. “Above all, though, what I want to do is keep my own music interesting, for me and for the listener. I feel we’ve done that with these nine tracks and I couldn’t have asked for better recording partners than John, Bernard and Richie.”

Interfuse was recorded at Camden Studios, Dublin on 28^th and 29^th May 2025 and 28^th August 2025. It's released on Jayde Records.

Wellington-based Scottish drummer John Rae and New Zealand-born pianist Ben Wilcock follow their internationally acclaimed Splendid Isolation album with March of the Octopus, a suite of original compositions ranging from reflective solo piano pieces to quintet explorations, on Friday 28th November.

Recorded in Neil Finn of Crowded House’s Roundhead Studios, the album features Rae and Wilcock with NZ jazz stalwarts, bassist Patrick Bleakley and tenor saxophonist Roger Manins, plus emerging guitarist Theo Thompson.

Long-time collaborators and co-founders of Thick Records NZ, Rae and Wilcock brought their shared vision to life in the studio, reflecting their own ideas while also creating an open canvas for the quintet’s distinctive improvisational voices.

“Our years of performing together have shaped an organic, conversational interplay,” says Wilcock. “It’s music that - for us - feels at once deeply personal and effortlessly collective. It was also great to bring in Theo Thompson, whose fresh sound expands the ensemble’s tonal palette.”

The album comprises nine tracks, utilising eight compositions, with the writing credits split equally between Rae and Wilcock. Rae’s opening What’s in a Name, a solo piano feature for Wilcock, returns later as The Fox, arranged for the quintet. The piece has also featured as a big band arrangement for the inaugural concert by the Aotearoa Jazz Orchestra, the national jazz orchestra of New Zealand of which Rae is the musical director.

Inspiration for the music included family members, including Rae’s wife, Suzy, and a sniffy request from an audience member that Wilcock wittily transformed into a composition with a coded title.

“We really enjoyed the process of putting the music together and then recording at the now legendary Roundhead Studios,” says Wilcock. “We hope that enjoyment passes on to the listener and having premiered this material at Wellington Jazz Festival 2025 we’re looking forward to taking it out to more audiences.”

March of the Octopus was engineered and mixed by De Stevens and mastered in Scotland by Scottish guitarist Kevin Murray. It's released on Thick Records NZ.