Storm in a Teacup

Storm in a Teacup

Campbell | Rae | Dyne

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Al Campbell (guitar)
John Rae (drums)
Paul Dyne (bass)

Perhaps more than any Jazz Series release so far, Storm in a Teacup exudes one of the fundamental qualities of good jazz - joy. The album is comprised of ten uninhibited, unpretentious examples of jazz at its most life-affirming. The playing is superb, the recording is excellent, and we're sure you'll agree that the music is honest and infectious.

Al Campbell was born Lower Hutt, New Zealand in 1979. He lived and worked in the UK (London and Nottingham) after completing a Bachelor of Music with Honours in jazz guitar at NZSM. He now lives and working in Melbourne, Australia.

John Rae was born in Edinburgh, Scotland in 1966, and recorded his first album at 16 with legendary Scottish saxophonist Tommy Smith.  He has recorded over 30 albums, and as a member of the acclaimed Brian Kellock Trio has backed a who’s-who of top international jazz musicians.  Since moving to NZ with his family in 2005, John has continued his busy playing and recording activities, and was composer in residence at the New Zealand School of Music for 2009-2010.

Paul Dyne lived in Montreal, Canada from 1970 to 1980, working with numerous top Canadian musicians as well as U.S. jazz legends Sonny Stitt (alto sax) and Pepper Adams (baritone sax).  He returned  to New Zealand in 1980, and has since played on an array of radio programmes and albums. He remains a first choice for visiting international artists, which have included Lee Konitz, Emily Remler, Bruce Forman, Bill Cunliffe, Ralph Sutton, Bobby Shew, Mike Nock, Andrew Hill, Darrell Grant, Scott Hamilton, among many others.  Between 1989 and 2002, Paul was the Head of Jazz at the New Zealand School of Music, and continues to be a vital presence within the Wellington jazz scene.


"Auckland's Rattle label -- which has an unimpeachable track record in releasing beautifully produced, impressively packaged, award-winning contemporary classical and elsewhere albums -- now makes a serious foray into jazz..."

Graham Reid, Elsewhere

Click HERE to read Graham Reid's Elsewhere review.




RAT-J-1009 (October, 2011)
This recording was made possible with support from the New Zealand School of Music, Wellington, New Zealand

Produced by John Rae, Paul Dyne and Al Campbell 
Recorded by Richard Caigou at the New Zealand School of Music, Wellington, New Zealand
Mixed and mastered by Steve Garden at the Garden Shed, Auckland, New Zealand
Design by Carvan

  Storm In a Teacup
  Campbell Rae Dyne

    Just Me, Just Me (4:15)
    No Show Blues (4:56)
    K.C. Blues (4:01)
    There Wont (6:01)
    Hands Onl (2:45)
    Suspended Light (5:48)
    Milton's (Many) Words (5:18)
    Storm in a Teacup (2:21)
    White Christmas (1:41)
    Ostensibly Obsequious (4:40)

    Total playing time (42:21)

    Tracks 2, 7, 10 © Al Campbell (APRA)
    Tracks 1, 5, 8 © John Rae (APRA)
    Tracks 4, 6 © Paul Dyne (APRA)
    Track 3 © Charlie Parker (APRA)
    Track 9 © Irving Berlin (APRA)

The trio gratefully thank the New Zealand School of Music and Victoria University (both in Wellington, New Zealand) for their generous assistance and support of this project. We wish to thank Richard Caigou for his very fine recording skills, Steve Garden for his superb mixing and mastering, and Stephen Gibbs of NZSM for his photography. 

Al Campbell would like to thank Derek, Lynda and Jeremy Campbell. Tom Callwood, Rick Cranson, Andy Hoy, Seamus Jolly, Lex French, Mike Isaacs, Reuben Bradley, Dan and Chris Yeabsley, Lucien Johnson, Tyson Smith, Jamal Rizki, Patrick Bleakley, Milton Parker, Noel Clayton, Happy Bar and the Midnight Cafe staff.


Comments from Al Campbell

No Show Blues
Unlike some of the tunes I have written, this one came out almost fully formed. It was written during a lesson at a high school when one of my students failed to front, hence the title.  

Milton's (Many) Words
To say that Milton Jackson Parker is a great guitar teacher is to do the man a severe disservice. His dedication to the craft knows no equal. He was my first important teacher and remains a great friend and influence on my music. The name of the tune refers to his penchant for conversational tangents. He always comes back to the point eventually, often when you have long forgotten where he started.   

Ostensibly Obsequious
This tune took shape in a few stages. The chords came some time before the melody but I really liked the sound of the progression so I kept playing around with it. Ultimately the tune seemed to grow out of the sound of the voicings in an organic way. The title simple means 'pretending to be obedient in the extreme', like a young man who pretends to do what his girlfriend says but runs amok as soon as she turns her back. 

K.C. Blues
I first heard Charlie Parker in 1996 and have had a deep fascination with his music ever since. His ability to blend the complex with the simple, sometimes within a single phrase, is amazing to me. 

White Christmas
This solo arrangement is dedicated in memory of my Nana, Dorothy Campbell. She taught me the true meaning of Christmas, which is to be with family. I heard a great jazz version of this tune by Bird and Miles and loved it ever since. I later found out that it was also Nana's favorite. 


Comments from Paul Dyne

There Wont
This is a contrafact written on the chord changes of the tune “There Will Never Be Another You” (Warren/Gordon) using some Bebop devices.

Suspended Light
A composition using lots of sus4 chords




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