When two deeply experienced jazz voices come together with shared intent, the results can feel both intimate and expansive. March of the Octopus — the latest collaborative release from New Zealand pianist Ben Wilcock and Scottish drummer John Rae — is exactly that kind of record: exploratory, expressive, and quietly ambitious.
Recorded at Auckland’s legendary Roundhead Studios, March of the Octopus unfolds as a suite of original compositions that move fluidly between solo piano reflections, tightly wound trio moments and full-quintet improvisational stretches. The album follows the duo’s earlier collaboration Splendid Isolation, but broadens the palette considerably, leaning into ensemble interplay and narrative depth.
Two Masters, One Musical Language
Wilcock and Rae’s partnership is built on more than convenience — it’s the result of years of shared musical thinking. As co-founders of Thick Records NZ, both artists have played a central role in shaping contemporary jazz in Aotearoa, often blurring the lines between composition and spontaneous creation.
Ben Wilcock, originally from Hamilton, has become known for his harmonically rich writing and his ability to balance lyricism with risk. After years as a sideman and bandleader, his recent work shows a composer increasingly comfortable letting space, texture and mood drive the music as much as melody.
John Rae, born in Edinburgh in 1966, brings a vast international perspective to the project. A drummer and composer with decades of experience across Europe and the Southern Hemisphere, Rae is also widely respected for his leadership roles within New Zealand’s jazz community, including his work with large ensembles and orchestral jazz projects.
Inside March of the Octopus
The album plays out like a connected journey rather than a loose collection of tracks.
It opens with “What’s in a Name”, a reflective solo piano piece composed by Rae and interpreted with restraint and warmth by Wilcock. Later in the album, the same material reappears in expanded form as “The Fox”, now reimagined for full ensemble.
The title track, “March of the Octopus”, acts as the record’s centre of gravity — a slow-burning, shape-shifting piece that lives up to its name, unfolding with tentacular patience and quiet power.
Other highlights include “Suzy”, a tender dedication that evolves organically as the band joins in, and “Llueve en la Primavera”, one of Wilcock’s most lyrical compositions, drenched in atmosphere and gentle motion. “PSFJ” injects a jolt of humour and swing into the set, while “Song for Eddie” nods toward jazz tradition without ever sounding nostalgic.
The album closes with “Kei te pēhea koe?”, a calm and generous farewell whose title — “How are you?” — feels like an open invitation rather than a conclusion.
Supporting Wilcock and Rae is a finely tuned quintet featuring Patrick Bleakley on bass, Roger Manins on tenor saxophone and Theo Thompson on guitar. Each player contributes a distinct voice, but the group sound remains cohesive and conversational throughout.
A Record That Breathes
What sets March of the Octopus apart is its sense of collective listening. Nothing feels rushed or over-stated. The music breathes, stretches and contracts naturally, rewarding attentive listening and repeated plays. Even at its most complex, the album maintains a sense of warmth and openness.
Engineered with clarity and mastered with care, the record captures both the intimacy of small-room jazz and the scope of a larger musical vision.
Final Thoughts
March of the Octopus is a confident, thoughtful statement from two musicians who trust both their craft and their collaborators. It’s an album that invites you in slowly, then keeps revealing new details long after the first listen.
For listeners drawn to modern jazz that values mood, conversation and depth over flash, Ben Wilcock and John Rae’s latest collaboration is well worth your time.