Tag Archives: Adam Simmons

BE ENFOLDED, BE UNFOLDED

Posted on March 11, 2013 | Leave a comment
Origami

Ready to tour: Origami (Image supplied)

CD LAUNCH TOUR

Origami is touring this month to support the release of two new CDs, Karaoke and The Usefulness of Art.

The line-up: Adam Simmons alto sax and bass clarinet, Howard Cairns double bass, Hugh Harvey drums (Anthony Baker played drums on the albums)

This tour and these two albums are a must not to miss, not only because of the music, but also to view the wonder of the hand-folded album covers that have become the hallmark of this trio. These are bound to be collector’s items — if you can get one.

Anyone who has heard Origami’s earlier album The Blues of Joy will know that the band is capable of enfolding the listener in music that is accessible as well as beautiful, while at other times daring to unfold our preconceptions and take us down pathways that are not as familiar.

I am sorry to have to miss the Melbourne launch of The Usefulness of Art, but I highly recommend this collection of compositions, which gives voice to Simmons’ feelings at a time when the arts are not always considered too important in our society. In particular, this album is apposite given the recent cut to funding of the Melbourne Jazz Co-operative.

I had the privilege of sitting in at the recording session for this album. Don’t miss it. As for Karaoke, who can resist? Go on, you know you love it. This is Origami’s take on some songs that are well known.

The Origami tour dates and places are listed below:

Melbourne Mon 11 March. Musica @ La Mama Courthouse, 349 Drummond St, Carlton 7:30pm
Ballarat Sun 17 March. L’espresso, 417 Sturt St 8pm
Canberra Mon 18 March, The Front Gallery & Cafe, Shop 3, 1 Wattle Pl, Lyneham 7:30pm
Newcastle Tue 19 March, The Grand Hotel (presented by NIMA), cnr Church & Bolton streets 7:30pm
Sydney Thu 21 March, Colbourne Ave, cnr Colbourne Ave and St Johns Rd, Glebe 8pm
Canberra Fri 22 March, The Village Festival, Glebe Pk – http://www.thevillagefestival.com.au time TBC
Paraparap Sun 24 March, Wolseley Winery, 1790 Hendy Main Rd, Paraparap 3pm
Melbourne Thu 28 March, Melbourne Recital Centre, 31 Sturt St, Southbank 7pm

Here’s some background provided by the band:

Origami is the most recent of Adam Simmons’ various projects, which include the Adam Simmons Quartet, New Blood, Collider, La Société des Antipodes and the renowned Adam Simmons Toy Band. He has contributed to numerous ensembles and recordings over many years, including in recent times: Gotye, Tania Bosak, John McAll’s Black Money, Kutcha Edwards, bucketrider and many others.

Howard Cairns , a band leader in his own right as well as a pivotal member of Way Out West, brings a beautifully gentle strength in his bass playing that helps to define the sound of Origami. Founding drummer, Anthony Baker, has unfortunately withdrawn from regular duties with Origami , but the incoming Hugh Harvey complements the trio’s sound with ease, bringing his own exuberant style to the group.

Peter Wockner in Limelight Magazine, 2012, writes:

Simmons has been on the Melbourne scene since the 1990s, but this could be his defining moment. Origami, with masterly technique, embraces some of the most vital aspects of jazz tradition and yet has an utterly contemporary relevance. Swing, groove, interplay, self-expression, and in the example of past masters such as Rollins, has embraced pop without compromising artistic integrity.

Karaoke (2013) and The Usefulness of Art (2013) are distributed nationally by Trailblazer Records – contact Richard Fields, (03) 9510 1435
For physical and/or digital sales, (inc. 24bit, 96Khz quality) visit Fatrain

ROGER MITCHELL

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LIVE MUSIC FRIDAY — DON’T GO HOME WITHOUT IT

Posted on March 1, 2013 | Leave a comment

It’s all happening in Melbs tonight, so whatever you do, don’t go home before catching some live music. To make it easy to choose, here’s some of the gigs on offer:

Collider CD launch of Words at Uptown Jazz Cafe, Friday 1 March, 2013 at 8.30pm

Kynan Robinson trombone, Adam Simmons tenor sax, Andrea Keeble violin, Jason Bunn viola, Ronny Ferella drums, Anita Hustas double bass

Collider

Collider

Here’s some background info:

Uptown is very proud to host the launch of the debut album Words from the band Collider led by trombonist Kynan Robinson.

Brass meets strings melded together with drums creating the unique force that is Australian ensemble Collider – an exploration in sound and composition that is luxuriating as it is challenging

Collider was first formed in 2006 and has developed its beautiful and unique sound over the past four years. Collider is a band which is co-lead by Adam Simmons and Kynan Robinson. Both Kynan and Adam have built great reputations for both their individual and highly sort after playing styles, featuring in many bands including Aria award winning C.W Stoneking, Ernest Ranglin, Peter Brotzmann, Odean Pope, SkaZZ, Peter Knights 5+2, The Bombay Royale etc. but also for their uncompromising and unique approach to the bands that they individually run. They are both extremely prolific leading very successful ensembles with multiple releases such as The Escalators, Adam Simmons Toy Band, Des Peres, En Rusk, The Adam Simmons Quartet and The Creative Music Ensemble.

With Collider they have joined forces to create a unique musical experience. The integration of a string
section adds a textural layer that is rarely heard in a improvising context.
Every member of the ensemble is a composer in their own right and all have contributed music to the repertoire performed by Collider. As well as short pieces each member has at some stage composed a major work for Collider.

“This was really visceral music and its effect was felt physically. The combination of instruments provided a timbre-laden treat that would gladden the heart of a Tasmanian conservationist or an Orbost logger, or both.I loved the contributions of each instrument. I loved the percussive interludes and the way Ferella intervened with such sensitivity and minimalism. There were some absolutely entrancing standout solos — Kynan Robinson digging deep into the gravel, Ronny Ferella taking the space to take us on a sublime journey of intricacy and introspection, Anita Hustas opening the final piece of the night with great presence, and Simmons on fire in slow-burn fashion that etched tenor notes into the dark room.” Roger Mitchell – ausjazz.net

Collider has had work commissioned by The Melbourne Writers Festival (Solo In Red composed by Kynan Robinson, 2012) and presented at sold out shows at the Melbourne Recital Center. In 2007 Collider premiered new work composed by Anita Hustas and Andrea Keeble at the Melbourne Women’s International Jazz Festival. Collider has also been presented by the La Mama Musica Series, Melbourne Jazz Coop, Melbourne Jazz Fringe Festival and Lebowskis.

In 2011/12 Collider presented major new works by Kynan and Adam with a very literary focus. Kynan composed music inspired by the writings of American author Cormac McCarthy (Solo In Red) while Adam composed work based on the famous children’s book Green Eggs and Ham. This sold out concert was presented as part of 45 Downstairs 2011 program. This literary focus has been a subtle teme found in much of Colliders work.

Two sets from 8.30pm. To reserve a table please email – uptownjazzcafe@email.com

And there’s more:

Paul Van Ross Quartet CD launch, Paris Cat Jazz Club, 9.30pm , $20
Featuring original music from the new CD “The Buck Stops Here”
with: Paul Van Ross – saxophones / flute, Kim Kelaart – Hammond B3 Organ, Hugh Stuckey – guitar, Hugh Harvey – drums

And there’s more:

Great Waitress, 7pm Richmond Uniting Church, 310-314 Church Street
After many shows in Sydney, and across Europe, Great Waitress is finally coming to Melbourne!

Rosalind Hall – solo sax, Marc Hannaford – solo piano,
—
RCKTSRGRY: Tina Douglas – wii/laptop/visuals, Nik Kennedy – electronics, and Great Waitress: Magda Mayas – piano, Monica Brooks – accordion. Laura Altman – clarinet

And there’s more:

Lior with Gian Slater and Invenio, Spiegeltent, Melbourne, 7pm
Tickets: from $46
Lior has a long standing relationship with The Famous Spiegeltent and has always endeavoured to bring a unique approach to these shows as a reflection of the venue’s undeniable charm. This year is no exception with Lior inviting renowned Melbourne vocalist/composer Gian Slater and her vocal ensemble ‘Invenio’ to join him.
Over three highly acclaimed studio albums Lior has built a reputation as one of Australia’s finest songwriters and vocalists. Gian Slater and her ensemble are known for their imaginative arrangements and innovative vocal performances – together with Lior they will be performing a selection of Lior’s songs. A unique performance not to be missed.

http://spiegel.artscentremelbourne.com.au/2013/lior-with-gian-slater-and-invenio/

$10 entry ($8 conc.). Doors at 7pm. Music from 7:30pm

And there’s more:

Warpigs, with special guests The Naxalites, Roundtable
Tago Mago, 744 High Street Thornbury, 8pm

Like wandering lost in a field somewhere in Russia. You look up to see nothing but clouds and power-lines, and for all you’re worries you can’t seem to think of anything but Grandpa. Warpigs epic space, Warpigs meandering dissonance, Warpigs angelic and divine, Warpigs cut throat blues. Brought to you by sonic lovebirds The Naxalites and intelligent designers Roundtable. Free entry.

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VOICE, STRINGS TAP DEEP CULTURAL SPRINGS

Posted on February 21, 2013 | Leave a comment
Gelareh Pour

Gelareh Pour on qeychak

REVIEW: Pre-launch concert at La Mama Musica, Faraday Street, Carlton at 8pm on Monday 19 February 2013 for Gelareh Pour’s debut album, Tanin-e Melbourne

Gelareh Pour on kamancheh, qeychak, voice; Brian O’Dwyer on drum kit, percussion; Andrew Polydorou on guitar and Adam Simmons on shakuhachi, bass clarinet

We had a long wait on this oppressively hot and humid Melbourne evening before the doors opened and we entered the familiar intimacy of La Mama, its darkness beautifully cool.

I had no clear idea what to expect — just an inkling that Gelareh Pour would not play traditional Iranian music. That idea came from the fact that I had previously heard her play, with Adam Simmons, at the Make It Up Club in Fitzroy, which is not known for its traditional approach to sound and music. On that occasion, it should be said, their short set was quite restrained and different from the music before and after it on the night.

Andrew Polydorou and Gelareh Pour

Andrew Polydorou and Gelareh Pour

At La Mama, Pour again demonstrated her ease and proficiency with kamancheh and qeychak, as well as the power of her voice, which flows from deep within her tiny frame without apparent effort, but with compelling effect. I often appreciate other instruments more than voice, yet when I first heard Pour sing on that occasion, that was not the case. In combination with her vocals, Pour manages with each stringed instrument to capture — for me — the years of learning, culture and history of her country, despite the modern context and compositions.

Adam Simmons and Gelareh Pour

Adam Simmons and Gelareh Pour

Pour, who was born in Tehran, Iran in 1985, began learning music at age 10 and chose kamancheh as her main instrument, along with alto qeychak and vocals, while studying Persian music at the Art University of Tehran. After attaining her BA, she moved into teaching, largely with children, at Tehran’s Institute for the Intellectual Development of Children and Young Adults. Since arriving in Melbourne she founded A a L B a a L o o S art group.

Brian O'Dwyer

Brian O’Dwyer

Andrew Polydorou (Poly Styrene) used his guitar effectively to produce a drone effect in the first set, providing a backdrop to Pour as well as at times moving to the fore within a piece. Brian O’Dwyer‘s contributions were deft and subtle.

Adam Simmons and Gelareh Pour

Adam Simmons and Gelareh Pour

Definite highlights of this outing were the duos of Pour with Simmons — respectively on qeychak alto and shakuhachi to close the first set and on kamanche and bass clarinet to open the second set. These two developed divine dances of improvisation in both pieces, darting and weaving their sounds and timbres to entrance and engage.

Gelareh Pour

Gelareh Pour on kamancheh

Other pieces in set two featured Pour with Polydorou with O’Dwyer on a hand drum and then drum kit in some up-tempo, lighter pieces, before being joined by Simmons on bass clarinet for the closing Moonlove Gilava.

Gelareh Pour and friends

Words here

Before the concert finished — leaving the audience obviously wanting an encore — O’Dwyer told us it was his and our privilege to hear Gelareh Pour play music that she would not be permitted to play in Iran. During my brief stay in that country, before the retreat of the Shah, Mohammad Reza Pahlavi, in 1979, poets, musicians and artists were a vital voice against tyranny and injustice. It is sad that a musician is not free to perform her work there now.

Gelareh Pour

Gelareh Pour

The fact that we can hear her play does not redress that wrong, but it is a beautiful thing that we have a chance to hear Gelareh Pour show such skill on strings and with vocals, improvising so imaginatively with Melbourne musicians.

We look forward to the launch of Tanin-e Melbourne.

For further details, see Gelareh Pour’s album page.

ROGER MITCHELL

Gelareh Pour

Gelareh Pour

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LET THE MUSIC UNFOLD

Posted on October 30, 2012 | Leave a comment

Eighth reason

___________

8. Origami IS SIMPLE. OR IS IT?

Media coverage of festivals often gives emphasis to overseas drawcards, which is understandable given that these artists are not usually on the musical menu at Australian venues.

But festivals are also an excellent opportunity for patrons to discover how much our local musicians — many with extensive overseas experience — have to offer.

Saxophonist Adam Simmons’ trio Origami, with Howard Cairns on bass and Anthony Baker on drums, is another highlight that I’d highly recommend not be missed at this year’s Wangaratta Jazz and Blues Festival.

Last year this trio released a superb debut album The Blues of Joy. Recently the band was back in the studio, so there are more recordings on the way.

Inspired by the Japanese art of folding paper, this trio works from a simple beginning to create pieces of great complexity and beauty.

Simmons is quoted on the festival website as saying, “Whether it is the stripped back instrumentation or the musical compositions, the idea has been to focus on limited materials and expand from there.

“My original idea was to form a ‘fierce alto trio’, full of strength, bravado and power – but partly due to choosing the friendliest rhythm section in Melbourne, as well as composing a whole bunch of gentle tunes, the reality became something quite different. It is still strong, due to the individual voices of each musician and their vast experience, but it is a gentle strength, without having anything to prove.

“At Wangaratta, we will perform original music from the CD, The Blues of Joy. And there will be music from a forthcoming CD, which will feature the songs by well-known (and not so well-known) contemporary artists such as Nick Cave, Gotye, Colin Hay and others.”

Simmons cites his musical influences as Ornette Coleman’s trio, and  alto sax players such as Maceo Parker, Johnny Hodges, Ian Chaplin, Tim O’Dwyer and Anthony Braxton.

Performance: Sunday, November 4 at 2pm, St Patrick’s Hall

ROGER MITCHELL

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BOAT MUSIC — A JOURNEY TO WHERE?

Posted on September 23, 2012 | 3 Comments

GIG: boat music, a new work by Adam Simmons, performed at Quartetthaus, Melbourne on Saturday 15 September 2012
Adam Simmons, David Brown, Annabel Warmington, Howard Cairns

Quartetthaus

Unexpected, like a spacecraft: Quartetthaus, Melbourne

It was intriguing. It was mysterious. It was hard to find.

The concept was intriguing — four musicians performing on a sculpture entitled “boat music”, a sequel of sorts to Adam Simmons‘ recent exhibition at Catherine Asquith Gallery and inspired by his concerns about the plight of refugees and the absence of compassion towards them by many in our community. The performance was a mystery — would they play instruments or be in a boat? The venue was hard to find — described as “part design installation, part architecture and part music”, ANAM (Australian National Academy of Music) Quartetthaus is a special listening place developed for the 2011 Melbourne Festival. It is also moveable, so its appearance on a vacant block of land in Melbourne’s arts precinct was sudden and unexpected.

The setting for boat music

Tents and a caravan provide the setting for boat music

The setting was surreal. A few tents, a caravan and a few cars populated the surprisingly vacant prime real estate beside the Australian Ballet School, on the wall of which was projected some sepia images that, it turned out, had no connection to the performances in Quartetthaus. Around makeshift tables in the gathering dusk were scattered a few metal bins with smouldering and smoking fires to warm waiting patrons.

Enclosed by a wire fence was the invitingly lit timber structure, suggestive of a packing case, lit from within and sitting lightly like a space craft on the land, illuminating the green of weeds beneath. It felt as if, at any moment, with appropriate noise from within, it may lift off and soar into the heavens.

boat music

boat music

It was chilly waiting to get in, but cosy and comforting within the space, which seemed wholly constructed of warmly hued, light timber. It was like a wooden version of the Spiegeltent. Two rows of seats surrounded the circular stage, on which there were four stools. The ceiling resembled a huge wooden ceiling fan.

In centre stage stood a tower of timber boxes that could conceivably have held paper — in trays or out trays, perhaps?

The performance began like a meditation, the four stools occupied by the four musicians, sans instruments, who sat quietly without moving. Before them rose the irregular stack of boxes, connected by loops of flat, wide tape. Nothing was happening. Nothing seemed about to happen.

boat music

boat music

In time there was movement. At some point the four — I came to see them variously as custodians, facilitators, public servants or operatives of the state — arose from their chairs and began to tend the tower. About the same time it became apparent that, ever so slightly, the scene was changing in another way. The stage was silently, but inexorably on the move, beginning a slow rotation that would take the duration of the performance — about 50 minutes — to complete.

boat music

David Brown at work in boat music

In near darkness, lit sporadically as they moved, the four tended the tower, moving without haste to push and pull, slide and drag the tape to keep a process going. But to what end? Would there be an end?

boat music

Inexorable: The process continues in boat music

The “paper” tape was being propelled by Adam Simmons winding the tiny handle of a music box, but for a while there was no sound. The loops of tape needed constant attention. The focus of the four operatives was intense. No excess of tape was allowed, because that would lead to deprivation elsewhere. The tape could not propel itself. It had to be coaxed, cajoled, given impetus. It had to be shuffled, nudged, nurtured. The process was the focus. The end, if there was one, was not apparent, not important.

In time, notes emerged from the music box — slow notes delivered as Simmons turned the tiny handle. It became mesmeric. It became a meditation. The process and the music merged. It was the preoccupation of the four on stage. It became our preoccupation in the audience.

boat music

Annabel Warmington in boat music

All sorts of things came to mind while this process continued — the enormity of the refugee problem worldwide; the seemingly endless processes that form a big part of that problem; the trauma, heartache and loss experienced at a personal level by the individuals and families involved, rather than much removed as a problem of numbers (of boat people, of votes); the waiting; the hopelessness; the paper shuffling; the time spent getting nowhere; the devotion to process that becomes the end in itself.

boat music

Moving down: David Brown at work in boat music

In our pursuits we are often told that process is important, rather than ends. But what if the process becomes the focus and the ends appear endlessly unattainable? What if the process becomes unendurable, if it puts lives on hold?

boat music

End in sight: Adam Simmons in boat music

Eventually, and unexpectedly despite its logical inevitability, an end to the tape emerges. At the top of the tower, David Brown has less to do. The process moves down the structure.

The pushing and sliding and shuffling and pulling becomes the focus of fewer operatives. In the end, there is only Adam Simmons turning the handle slowly as the tape completes its journey. The music and the process stop. The stage stops turning.

We have turned full circle. We are back where we started.

ROGER MITCHELL

Ausjazz blog was a guest of Adam Simmons at this ANAM performance.

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COLLIDER IN A NOVEL WORK

Posted on August 25, 2012 | 1 Comment

GIG PREVIEW: Saturday 25 August, 8pm, The Salon, Melbourne Recital Centre

Collider

Collider

Melbourne sextet Collider will tonight perform Solo in Red, a new work by Kynan Robinson which utilises words, music and images to explore the sparseness and fragility of Cormac McCarthy’s writing.

Collider — Robinson, Adam Simmons, Anita Hustas, Jason Bunn, Ronny Ferella and Andrea Keeble — was formed in 2006 to perform as part of the Adam Simmons
Retrospective and adds the texture of strings to brass, woodwind and drums.

Presented as part of the Melbourne Writers Festival, the work focuses on McCarthy’s novel Blood Meridian, but is also inspired by Suttree and The Border Trilogy.

Solo in Red has been described as “textured and dynamically complex” and “a hauntingly beautiful work”.

Robinson says, “McCarthy’s writing and the atmosphere he creates has a sparseness, detachment and tension and is always touched with a dry wit. He presents both the absolute beauty and absolute ugliness of existence, often within the same sentence.”

Tickets ($40, $30 concession) can be purchased online from the Melbourne Recital Centre.

The Age previewed Solo in Red in an article on 18 August, 2012.

And Miriam Zolin’s Jazz Planet did a couple of detailed interviews with Kynan Robinson and Melbourne Writers Festival Director Steve Grimwade


ROGER MITCHELL

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McALLS FAIR IN SIBLING RIVALRY

Posted on May 30, 2012 | 1 Comment

REVIEW: Stonnington Jazz 2012
John McAll’s Black Money/Barney McAll’s Chaos Lento: A Guajira Project, Chapel Off Chapel, May 23, 2012

John McAll's Black Money at Chapel Off Chapel

John McAll’s Black Money at Chapel Off Chapel

The brothers McAll performing together in the one venue was always going to be something special — it had never happened before — and it proved to be a real highlight of this year’s festival. The elder brother, John, is in Australia these days and the younger, Barney, in New York.

John McAll

John McAll at the piano in Black Money, with Phillip Rex on bass.

The first set was also a CD launch for pianist, bandleader and composer John McAll‘s second Black Money album, Alter Ego, featuring David Rex on alto sax, Adam Simmons on tenor and contra alto clarinet, Jordan Murray on trombone, Sam Bates on drums and Phillip Rex on bass. With Simmons abroad, Julien Wilson stepped in on tenor at Chapel Off Chapel, but there was no one to fill in on the lower-range  clarinet, which was a pity.

David Rex on alto sax and Jordan Murray (at left).

David Rex on alto sax and Jordan Murray (at left).

John McAll’s eponymous first album Black Money. recorded in New Jersey in 2007 and released in 2009 with a different line-up, has long been a favourite of mine. The darkish allusions, black humour and perceptive inspirations behind John’s compositions are there again on Alter Ego.

Phillip Rex on bass and Sam Bates on drums.

Phillip Rex on bass and Sam Bates on drums.

The band began with I Love Black and I Hate Love, which confirmed that John’s compositions are always full of interest, followed by the robust, vigorous Standing Room, with great solos from McAll, Rex, Murray and Wilson.

John McAll

With feeling: John McAll

The solemn, even melancholy Mirrors followed, with Murray showing why the trombone is so easy to love and McAll’s piano expressive and fluid.

Julien Wilson on tenor sax, John McAll on piano

Julien Wilson on tenor sax, John McAll on piano.

Boogie Dragon, off the first album, came next, followed by ’40s movie-inspired Assassin, which saw McAll right into it and Wilson catching just the right flavour for a desert song. I could almost see “El Aurens” riding past on his camel.

Jordan Murray on trombone.

Jordan Murray on trombone.

Before Juggernaut, which intriguingly refers to the weight of all the responsibilities and troubles we all carry in life, John McAll appeared to take a call on his mobile. Scripted or not, it was in tune with the occasionally irreverent tone of the whole gig with the McAll brothers. The piano solo in Juggernaut was really swinging.

Sam Bates on drums.

Sam Bates on drums.

The set closed with Refugee, with top solos from Rex and Bates. The piece really built in intensity and had a spiky, staccato feel at times, as well some sweeping piano vistas. My only regret was that Black Money did not play Glitter and Dust from the first album, but the set demonstrated that this band, coupled with the elder McAll’s compositions, is — to repeat a cliche — on the money.

Barney McAll's Chaos Lento: A Guajira Project

Barney McAll’s Chaos Lento: A Guajira Project.

For Barney McAll‘s Chaos Lento: A Guajira Project, the line-up was Barney on keyboards, Ben Hauptmann on guitar, Phillip Rex on bass, Craig Simon on drums and Javier Fredes on percussion. According to Wikipedia, Guajira is “country music” in Cuban Spanish, and has a mixture of 3/4 and 6/8 rhythms, but I’m not sure how well that applies to this outing.

With feeling: Barney McAll

With feeling: Barney McAll.

The set began with Barney paying tribute to Mooroolbark (for producing such musical luminaries as Doug de Vries, Rob Barnard and Len Barnard) and dad Jack McAll, before telling a tale about his elder sibling painting rocks gold. Then the band delivered the strongly accented beat of Non Compliance, with Barney making his presence felt with some emphatic piano passages.

Javier Fredes on percussion.

Javier Fredes on percussion.

Then followed the compelling, rhythmically driven pieces Untitled and Transform, the latter with Barney playing piano and keyboard. There was heaps of swing and groove in this, with a beautiful fade.

Phillip Rex on bass, Craig Simon on drums.

Phillip Rex on bass, Craig Simon on drums.

Summer Lawn had Phil Rex deliver a potent solo. Piano was, with bass, the driving force in a sustained exploration of patterns with variations. Perhaps it went on a little long, but I found it mesmeric and felt that it was best described as “power meditation”. There was momentum and involvement here that I could not help but contrast with what I had felt was lacking to some degree in Barney’s performance of Graft at Wangaratta Jazz in 2011.

The final piece for this band, though not the set, was a superb debut of Feb, which was written for this gig. This piece canvassed a range of moods, with the piano opening with reflection and becoming expansive before some hot percussion from Fredes and drama in some “crash & bash” on the piano. I loved the changing colours of the piano in this — towards the end Barney produced a haunting feel with notes floating and short, high runs that had great beauty.

Julien Wilson, David Rex, Jordan Murray

Julien Wilson, David Rex, Jordan Murray

In the final piece for the night, Insight, it all came together — well, the bands did. The brothers McAll sat at piano (John) and keyboard (Barney), while the remaining four from Black Money joined Barney’s band onstage.

Grand larceny: Barney removes brother John from the piano.

Grand larceny: Barney removes brother John from the piano.

It did not take long for the sibling rivalry to surface. Hamming it up awards could have been handed out to the brothers as Barney grabbed John and hauled him off the piano. Of course the elder brother returned on keyboard and the two put their heads together to cap off this extraordinary collaboration with their bands.

First time performing together: The brothers McAll.

First time performing together: The brothers McAll.

The brothers McAll gig was a hoot, but also had plenty of great musicianship to go with the fun and games.

ROGER MITCHELL

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THE FINE ART OF PRESTIDIGITATION

Posted on March 11, 2012 | Leave a comment
Griswold and Simmons

Finger tip touch: Erik Griswold and Adam Simmons

Erik Griswold & Adam Simmons performed Prestidigitation at Footscray Community Arts Centre on Saturday, March 11, 2012 as part of the centre’s Portraits Series

It was hard to know what to expect. I’d heard Erik Griswold perform some pretty way out stuff. And Adam Simmons has been known to deliver some fiery blasts from from the saxophone, in particular during a ‘sax armageddon’ with Peter Brotzman and Kris Wanders at the Melbourne Town Hall in 2010 for the Melbourne International Jazz Festival’s Overground.

But after being treated to the musical intricacies, subtleties and delights of Prestidigitation at this excellent venue beside the Maribyrnong River in Footscray, I regretted only that I had not applied some gentle pressure to encourage friends to take a little risk, come along and enjoy. What the tiny audience saw and heard was highly inventive, but by no stretch of the imagination hard to take. Instead of any bid to blast us out of the auditorium or mystify with odd sounds, Griswold and Simmons displayed great sensitivity in their explorations of the timbres and textures of their many instruments.

Prestidigitation is defined as “magic tricks performed as entertainment”. After experiencing the performance, I felt that the German expression “fingerspitzengefühl” would also be an appropriate description. Griswold and Simmons seemed to have that “finger tip touch” — intuitive flair or instinct, a great situational awareness and the ability to respond most appropriately and tactfully.

This outing had elements of Simmons’ instructive and entertaining previous solo performances on his array of breath-driven devices, and a little of his work with the Toy Band. But it was not just a case of two musicians throwing together some toys and seeing what eventuated. Yes, it was often fun, and often joyful and exuberant. But it was also moving and a delightful audio treat. One musician in the audience had the right idea, I thought, closing his eyes as he settled comfortably into one of the bean bags in the front row and letting the sounds wash over him.

The slideshow below can be paused to show a particular image for longer.

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So what was it that made Prestidigitation work? The musicians may have the best insights into that (for their thoughts about improvisation the current tour see Jazz Planet’s Q&A), but I think it reflected their abilities to take instruments they know well — some of them usually seen as toys — and extend the ways in which these could be utilised in unexpected ways. The genius (if that seems too strong, then creative power) of Griswold and Simmons was that the combinations of instruments they chose and the ways in which they used those instruments worked so well, so often. That’s where I thought their sensitivity was evident.

Of course there were times when the array of colourful spinning tops or little squeezeboxes seemed to be more for novelty value than great music, but they were a lot of fun.

Adam Simmons told Jazz Planet that “if there is a strength and artistic commitment in a piece of art … it will communicate at a fundamental level with anyone”. I think that will hold true of this performance as it tours parts of Australia. The audiences may not know what to expect, but if they take a little risk and try the show, I’d bet Griswold and Simmons will communicate — in spades.

ROGER MITCHELL

March 12, 7:30pm — La Mama Theatre, Carlton
March 13, 7:30pm — Buninyong Brewery, Buninyong
March 15, 7:30pm — University of Wollongong (1/4 Inch Series)
March 17, 8pm — Campbelltown Arts Centre (see the event on Facebook)
March 18, 4pm — Cockatoo Calling, Cockatoo Island, Sydney with Vanessa Tomlinson
March 19, 8pm — Pearl Beach Community Hall, Pearl Beach
March 24, 6pm — Ian Hangar Recital Hall, Queensland Conservatorium, Brisbane
March 25, 3pm — Cooroora Institute, Sunshine Coast

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ORIGAMI — THE BLUES OF JOY

Posted on October 16, 2011 | Leave a comment

CD REVIEW

Origami — The Blues of Joy

4 stars

Listen/Hear Collective

The hand-folded CD case is ingenious, but as the music unfolds it is clear this trio is thinking outside the box.

For this outing of mostly his originals, Adam Simmons uncharacteristically limits himself to alto sax, taking obvious delight in its versatility.

Howard Cairns, on bowed as well as plucked bass, and Anthony Baker on drums are equally moved to celebrate their instruments’ timbre and dynamics.

Don’t be lulled by the dreamy, slow openers, or the title track’s playful verve.

The grit comes in darkly tense Chimera, with growling bowed bass and protesting sax, and the restless, edgy Morse Code.

Jitters is carefree before a minor maelstrom, Chasing Cars revels in unhurried spaces.

Origami’s debut discloses many layers of intensity.

Download: Chimera, Morse Code

File between: Tom Christensen, Sandy Evans

ROGER MITCHELL

This review also appeared in the Play liftout of Melbourne’s Sunday Herald Sun on October 16, 2011.

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COLLIDER

Posted on February 28, 2011 | 4 Comments

GIG: Bennetts Lane, Sunday, February 27, 2011

Adam Simmons tenor saxophone, Kynan Robinson trombone, Ronny Ferella drums, Anita Hustas bass, Jason Bunn viola, Andrea Keeble violin

Jason Bunn on viola

Jason Bunn on viola

This was an unusual line-up, but not a surprise given the involvement of Simmons, Robinson and Ferella, who are always imaginative. It was formed in 2006 for a visit by San Francisco saxophonist and composer Phillip Greenlief, but he could not make it and neither did the charts for his suite, which was to draw on material from Ornette Coleman. So Simmons hurriedly put together a suite — untitled, but Adam suggests something like The Language in Beauty — inspired by Coleman, Greenlief and in part by the “what am I gonna do” panic that arose from wanting the gig to go ahead. Simmons asked Robinson to join and the band was born.

Kynan Robinson points the 'bone

Kynan Robinson points the 'bone

Collider has played infrequently since, at Melbourne Jazz Fringe Festival and the Melbourne Women’s International Jazz Festival. Most compositions are by Simmons and Robinson.

Jason Bunn on viola

Jason Bunn on viola

The evening opened with a Simmons piece entitled Words from Clouds, followed by three Robinson compositions — A Night on a Rollercoaster Turns a Woman’s Hair White, Midori and Malt as Water — followed by the Keeble and Hustas composition New Black Suite — New Black 1 & 2 and Homeland.

The second set at Bennetts included three pieces from the Language of Beauty suite — Raskolnikov’s Folly, What Were the Names of the Karamazov Brothers?, and  All You Need, and then Simmons’s Seven.

The pen I use to record track names and random responses to the music ran out early, so I hope the above is reasonably accurate. It certainly wasn’t accurate when this was first posted, but after multiple revisions and much help from Adam Simmons I’m hoping it is almost correct.

Andrea Keeble on violin

Andrea Keeble on violin

This was a most enjoyable and fascinating performance, but I feel as though words are a poor substitute for being there.

Collider at work

Collider at work

Collider works. It is unusual to have a violin and viola mixing it with more traditional instruments of improvised music, but the compositions and the musicians gave the whole performance an inspired coherence.

Ronny Ferella at the drum kit

Ronny Ferella at the drum kit

There were some absolutely entrancing standout solos — Robinson digging deep into the gravel and realising mid-solo he was breaking Ferella’s earlier appeal for quieter playing, Ronny Ferella taking the space to take us on a sublime journey of intricacy and introspection, Anita Hustas opening the final piece of the night with great presence, and Simmons on fire in slow-burn fashion that etched tenor notes into the dark room.

The viola gives voice

The viola gives voice

Jason Bunn on viola and Andrea Keeble violin were responsive, excited and exciting, ever adept as they set up and ran with rapid escapades that were often answered by the horns.

This was really visceral music and its effect was felt physically. The combination of instruments provided a timbre-laden treat that would gladden the heart of a Tasmanian conservationist or an Orbost logger, or both.

Anita Hustas

Anita Hustas on bass

I loved the contributions of each instrument, though Hustas seemed to be a little lost at times from where I was sitting. I loved the percussive interludes and the way Ferella intervened with such sensitivity and minimalism. And I loved the drawn-out string notes as the sombre final piece, Seven, came to a close.

Now that Collider has made such an impact, let’s hope the band gets out more.

Collider

Collider

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