Tag Archives: Bae Il Dong

A WINDOW ON OUR RAISON D’ÊTRE

 

The Usefulness of Art, Concert 2

The Usefulness of Art, Concert 2: Final moment

REVIEW

The Usefulness of Art, Concert 2, performed by the Adam Simmons Creative Music Ensemble at fortyfivedownstairs, Melbourne, August 24, 2017

A lot of water has passed under the bridge since this opening night performance, but vivid recollections remain. I recall thinking as the music faded to silence and a single spotlight played on a suspended “cloud”, that once again Adam Simmons and his crew had demonstrated the power and value of art.

Mundane matters — a computer failure and the need to find a replacement before packing for an imminent flight to Canada — brought me down the many stairs of this wonderful, hidden away venue in an unsettled state of mind.

Yet the sense of excitement and expectation engendered by the colourful Concert 1 of this series, with its streamers, balloons and joie de vivre, was heightened on this occasion by the imaginative set — devised by Diokno Pasilan and Christine Crawshaw — with suspended chairs and clumps of fluffy clouds.

Adam Simmons has recently written about his long preoccupation with Auguste Rodin’s views on The Usefulness of the Artist.

Rodin’s definition of the artist as “the man who takes pleasure in what he does” is immediately appealing — artists in all trades forming part of “an admirable society”. As someone who has come to love beekeeping — not just for the acquisition of honey, but for the deep pleasure it brings — I can identify closely with this concept.

But Rodin’s view is much more expansive than individual fulfilment: “I call useful all that gives us happiness.” And over many years Simmons — an energetic, creative and inspiring multi-instrumentalist and composer — has delved deeply into what art can offer.

“Beyond the more utilitarian nature of art being for economic or personal development, it is also how art can build community,” Adam Simmons has written. “Through performances with my ensembles … I have seen firsthand how music and art can bring disparate people together in shared and transformative experiences. Social connectedness has been identified as an important factor for health and wellbeing. I believe art is fundamental in helping us communicate and connect which other.

Simmons continues: “Artistic expression manages to convey understanding and insight via means other than language. The things that make art so powerful in this regard are the intangibles – the way it helps inspire, question, empathise and unite us, helping create stronger communities. I think that’s useful!”

That unity and sense of community is what has lingered in my mind so long after this second concert in a series of five that will stretch into 2018. The sense of fun and joy was still evident among the ensemble members, although the set and costumes conveyed a darker mood. As collective voices joined Pete Lawler’s distinctive and arresting solo vocals at the culmination of this concert, drawing the audience into their harmonic spell, I felt that we were indeed united and there was much power and benefit in that.

With any offering inspired by Adam Simmons there is going to be more than merely music. But additional elements — in this case the darkly Gothic costumes by Christine Crawshaw — are always beautifully integrated. As Simmons breathed gently and circularly into his bass clarinet to begin the Creative Music Ensemble’s journey through music originally conceived to highlight qualities that art engenders — acceptance, empathy, generosity, compassion and faith — we were enfolded in a sense of mystery.

The pieces, named for those qualities, were familiar. Origami’s album The Usefulness of Art was released in 2013. But this rendition, with 13 ensemble members (unfortunately some others were unavailable on opening night), was dramatically different. Simmons has assembled this ensemble with care and utilises their skills imaginatively. Each piece segued into the next in gradual transformations, swelling and receding as Simmons conducted from within, directing the gestation.

This was very much an ensemble work rather than an airing of solos, but there were highlights. Diokno Pasilan on gamelan instruments, Niko Schauble and Hugh Harvey on drums, Peter Lawler on a hand drum and Nat Grant on Marimba provided a rich feast of varied percussion that was at times an underlay and at others more prominent.

Most effective and affecting duos came from Paul Simmons (sax) and Gemma Horbury (trumpet), and Bryn Hills (trombone) with Adam Simmons (bass clarinet). Miranda Hill, with and without bow, was a ball of creative energy on double bass. David Brown, on guitar, not unexpectedly made deft and entirely apposite interventions. Cara Taber and Gideon Brazil on reeds enjoyed making great lamentations. Peter Lawler made fiendishly superb contributions on his mini synth and left a lingering impact with vocals that called to mind the Korean p’ansori singer Bae Il Dong.

This performance lasted 50 minutes, yet it seemed to flash past. Clearly the musicians enjoyed their outing greatly, yet there was a sombre feel in the music that went beyond the mood created by set and costumes. I felt this concert invited the audience to become deeply immersed in the work of creativity and, ultimately, to join in a shared experience.

Art had indeed opened a window on our raison d’être, as Rodin might have put it.

ROGER MITCHELL

Here’s a gallery of images from opening night:

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INDONESIA’S OVERGROUND INVASION

Overground, Melbourne International Jazz Festival 2011
Sunday, June 12, 3pm-9pm, Melbourne Town Hall

Rully Shabara

Arresting: Rully Shabara on vocals

It was late in a solid afternoon of music when the Indonesians invaded. In a day of occasional confusion, with some patrons not quite sure who would be on next and which gigs were running late, musicians needed some drama to make their presence felt. A small but curious crowd had gathered to hear Rully Shabara (voice) and Wukir Suryadi (bamboo instruments) from Yogyakarta, but this soon became a large and intensely interested gathering which pressed forward as if forced by the ferocity of the vocal onslaught.

Rully Shabara

Ferocity: Rully Shabara

We had heard Chiri, in which Bae Il Dong had demonstrated the power and emotive impact of Korean p’ansori singing, so the idea of strong vocals was not new. But the forcefulness of this duo came as a surprise. Hearing Shabara at close range can be likened to having a steam train roaring towards you, though he did vary the dynamics and could move the audience as well as assail. But the main attribute of his voice seemed to be ferocity and the ability to deliver a sudden vocal onslaught that was awe-inspiring and even a little frightening.

According to a post by Marvin on Free Albums Galore,  Rully Shabara is a member of the Indonesian avant-rock/punk group Zoo and Wukir Suryadi is an innovative musician who experiments within the boundaries of the traditional music of Indonesia using a musical instrument he built.

Wukir Suryadi

Amazing: Wukir Suryadi on bambuwukir

Suryadi played two instruments. His primary one — a bambuwukir, constructed (as the name suggests) from bamboo and producing sounds like an electric guitar with built-in percussion — was capable of amazing variation in his skilled hands.

Suryadi

Virtuosic: Wukir Suryadi on bambuwukir

Between Shabara’s vocals, Suryadi erupted into a rock-star-like frenzy that was virtuosic and compelling. It was if he could just touch the instrument to produce a band’s worth of sound. The audience showed appreciation with whoops and wild applause. An excellent description of a Sydney gig by these two musicians is at Sydney Outsider — Java in Waterloo.

Wukir Suryadi

Wukir Suryadi on recorder-like flute

At the end of the set, Suryadi played a long recorder-style flute, which was ideal for the soulful lament delivered by Shabara. For Overground patrons who stayed, this gig must have been a highlight.

Rully Shabara

Soulful lament: Rully Shabara

Should it have been part of a jazz festival? I think so. In the lower town hall Will Guthrie & Cured Pink (if I’ve got the correct gig) had been doing some amazing things with a piece of meat, I’m told. And, Bae Il Dong was a big hit during the festival. Overground is meant to take us out of our comfort zones, which is also what the Melbourne Jazz Fringe Festival is meant to do. I say, bring it on.

That said, I think Overground needs to work on some improvements. Because there are late changes to the order of gigs, and because concerts inevitably run over time, there ought to be a way for patrons in the main entrance foyer to see at a glance exactly which gigs are on at any moment in each venue — upstairs, downstairs and in the main hall. And I don’t mean gigs scheduled, but those actually on at that time. This would be a challenge to update, but really helpful.

As well, it would be good to have more information available about each band, so that if you have never heard its music you’d be able to make a judgment about where to head if there was a clash. With the crowds that turn up to Overground, it is hard to get into the smaller venues, so some planning is necessary. I do realise the concept is meant to allow patrons to try whatever pops up, but this often leads to a fragmentary experience if you have no idea what to expect.

What else was a highlight on the day? Well, I missed Yoshida Tatsuya and Satoko Fuji, Charlemagne Palestine with Oren Ambarchi, and Tony Conrad with Chris Abrahams. I felt for Matt Mitchell on solo piano, who came on between the Indonesian invasion and Sean Baxter with Jerome Noetinger and Faust (at which time I had to go to catch Paul Grabowsky‘s gig at the Forum).

James Rushford, Oscar Noriega and Scott Tinkler

James Rushford, Oscar Noriega and Scott Tinkler

The combination of viola, sax and trumpet  worked well in the set by James Rushford, Oscar Noriega and Scott Tinkler, and it was a pleasure to hear Noriega again — I love his work. I also enjoyed hearing Anthony Pateras at the piano with Tim Berne on sax and Gareth Thompson on drums.

Sophia Brous with Tim O'Dwyer

Sophia Brous with Tim O'Dwyer

It’s not often that the program director — and principal mover and shaker — at a major international festival is also on the program as a performer, so Sophia Brous’s outing with Judith Hamann on cello, Chris Abrahams on piano and Tim O’Dwyer on sax was a must-see.

Abrahams, Hamann and Brous

Abrahams, Hamann and Brous

My attitude to vocal gymnastics has already taken its toll on Norma Winstone (who, along with all other vocalists who indulge in a little scat, can sleep quite easily at night without my applause for that aspect of their work, I’m sure). But I am reliably informed that Brous is following a path well trod by Maggie Nichols and Julie Tippetts. Here’s a link to Maggie Nicols, Dave Fowler, Phil Minton in a Mopomoso Christmas Special 2009. And here’s a link to Keith and Julie Tippett live in Jazz à Luz in 2007. (I did not discover these links, but received them as an aid to my education.)

Sophia Brous

Mover, shaker and vocalist: Sophia Brous

So, being honest, I preferred this vocal experimentation, especially with the cello, to other instances of what I call “vocal gymnastics”. And, though it may be following an established path, it was stretching my comfort zone, which is always good. But it’s still not really my cup of tea (I don’t drink much tea).

Alex Garsden

Out there: Alex Garsden

The other gig of particular interest was US drummer Ches Smith‘s outing with Jim Denley on sax, Alex Garsden on guitar and Natasha Anderson on “recorder” (though it looked like a laptop to me). Garsden managed some pretty interesting sounds and did some pretty strange things to his guitar’s strings, and Denley had some amazing ways to play a sax and a wooden flute, but Smith’s input was not spectacular compared with his earlier work.

Jim Denley

All we needed to know about sax: Jim Denley

To sum up, Overground was definitely worth doing, and worth attending. But this year I felt that we were missing a Han Bennink or Peter Brotzmann (the stars in 2010) to give the day some focus. Palestine and Conrad are undoubtedly characters, but their performances lacked the action-packed feel of Bennink or Brotzmann’s gigs. That said, I’m certain many punters went away happy — or deaf and happy.

ROGER MITCHELL

MELBOURNE INTERNATIONAL JAZZ FESTIVAL 2011 — PREVIEW

Saturday, June 4 — Monday, 13 June

Rollins

Sonny Rollins. Photo credit: Denis Alix / Festival International de Jazz de Montréal

It’s eclectic. It’s like an octopus. Yes, just when you thought the word eclectic had become too hackneyed a term, there is really no better way to describe this year’s MIJF, which had its program launch at 6pm today.

The program devised by Sophie Brous is indeed wide-ranging, broad-based, extensive, comprehensive, varied, diverse, catholic, all-embracing, multifaceted, multifarious, heterogeneous, miscellaneous and assorted. Like an octopus reaching out in many directions, the MIJF seems to defiantly defy encapsulation, yet it must surely offer — to use a standard phrase — something to appeal to everyone.

Yes, parts of the program will invite the query “Is this jazz?” and others will provoke or irritate. But no one can deny that any line-up mixing Sonny Rollins and Jason Moran with the ironed-smooth Chris Botti (apparently it rhymes with goatee) and the krautrock of Faust, or the resonant scream of Korean Pansori singer Bae Il Dong with the minimalist drone of Tony Conrad is never going to be boring.

Ausjazz blog was there when Brous gave her usual impressive, lightning-fast briefing on what to expect, but there’s no other way to grasp the enormity of this program apart from just diving in and going with the flow. All the fine details are available on the MIJF website, but hang on for a roller-coaster ride through the main events — probably in a little more detail than is possible via print media.

The emphasis, says Brous, is on the playful aspect of improvisation and on encouraging participation, so there will be free activities in day in the city “so people can explore their inner creator”.

The Big Jam, which attracted 5000 people last year, returns to Fed Square at 2pm on June 4, hosted by 774 ABC radio’s Derek Guille and supported by “pied pipers” — musicians at rail stations across the suburbs who will encourage people to bring trumpets, violins, clarinets, sousaphones, kazoos and any other instruments to join in a mass music-making event. The event, if last year’s is any guide, will be less of a cacophony than many will expect.

The free Opening Celebration Concert follows at 3pm, with Melbourne’s fez-wearing 1930s swing ensemble Cairo Club Orchestra and international guests to be announced shortly before the festival opens.

Other free events include morning sessions in Fed Square entitled Sonic Showers in which trained and untrained voices will be invited to sustain a pitch in a bid to produce “beautiful harmonic clusters” that, according to Brous, will be like “the heavens opening” and a musical pick-me up akin to tai chi. On selected evenings acoustic ecologist Anthony Magen will host evening sound walks encouraging active listening without communication in the city centre. And there will also be jazz musicians staging mini concerts across the public transport network from early May and daily during the festival.

MODERN MASTERS

The heart of the festival’s large-scale outings are in this series of 15 musical events, which include a repeat of last year’s Overground six-hour extravaganza celebrating the city’s underground creative music culture at Melbourne Town Hall on Sunday, June 12.

The opener is Fly Me to the Moon, an evening of jazz standards “from Cole Porter to Irving Berlin and beyond” at the Palais on June 4 that carries on from last year’s Baby It’s Cold Outside, which Brous described as celebrating “that caramel-toned schmaltz we’ve grown to love from the great crooners”. This time the vocalists will be Tex Perkins, Paris Wells, Eddie Perfect and Kimbra, backed by the Sam Keevers Trio.

That concert won’t set my heart pounding, but on Sunday, June 5 it’ll be a different, surreal kettle o’ fish when original Sun Ra collaborator Marshall Allen leads the 10-piece Sun Ra Arkestra in two sets at the Forum — described by sources close to MIJF as “a bunch of old space invaders” keeping alive the spirit of pianist, composer and organist Sun Ra.

It gets better, with tenor sax great Sonny Rollins at Melbourne Town Hall on Monday, June 6 with Peter Bernstein on guitar, Bob Cranshaw on bass, Kobie Watkins on drums and Sammy Figueroa on percussion.

Mind you, if you feel a desperate need instead to be smoothed into a mood of mellow mellifluousness, Chris Botti will be at the Melbourne Recital Centre on June 5 and 6.

Botti lovers may not be so soothed by the eight brothers from Chicago who form the Hypnotic Brass Ensemble. Their father, Philip Cohran, played with Sun Ra in the 1950s. Inspired by hip-hop artists such as Public Enemy and N.W.A. (Niggas With Attitudes or Niggaz With Attitude), the brothers “sound like a live sample of a lot of hip-hop we hear and it’s really dense and well arranged brass music with a heavy drummer and eight brass players”, Brous says.

The inventiveness doesn’t stop. On Wednesday, June 8, Jason Moran, who was a hit last year, brings his Bandwagon (Tarus Mateen on bass and Nasheet Waits on drums) to the Forum. An adventurous jazz pianist also influenced by J Dilla and rapper Nas, Moran brings sampling into his live performances. In a double bill, Bandwagon will be joined by Indian-born US-based Vijay Iyer (piano) and Rudresh Mahanthapa (alto sax), who view contemporary jazz, as Brous puts it, “through the lens of Indian and Asian musical influences”.

On Thursday, June 9, the Andrea Keller Quartet will open at the MRC for saxophonist and cool jazz exponent Lee Konitz, who played with Miles Davis on The Birth of the Cool album, accompanied by special guest Kurt Rosenwinkel and young New York players Dan Tepfer on piano, Joe Sanders on bass and Johnathan Blake on drums.

On Friday, June 10, Anthony Pateras’s Thymolphthalein will open at the Forum for the cult German krautrock band Faust, who Brous says “occupy a mythological space and only play when the situation’s right”. This “night of sensory overload” will feature original Faust members Werner “Zappi” Diermaier on drums and percussion, and the UK’s Geraldine Swayne on vocals, guitar, organ and visuals.

At MRC, Ron Carter, who Brous describes as “the grand poobah of jazz bassists” and who was a member of Miles Davis’s sixties quintet, will perform with Russell Malone on guitar and Mulgrew Miller on piano. Katie Noonan will also sit in (she worked with Carter on the Blackbird album of Lennon McCartney music)  as well as performing as Elixir with Zac Hurren on sax and Stephen Magnusson on guitar.

Rosenwinkel — who Gary Burton plucked from Berklee School of Music at age 19 and who later joimned Paul Motian’s bebop band Human Feel — is back at the MRC at 7.30pm on Saturday, June 11 with his Standards Trio (Eric Revis on bass and Justin Faulkner on drums) for an intriguing double bill with “beautiful, honey-toned but really contemporary” vocalist Norma Winstone, who will be joined by Glauco Venier on soprano sax and bass clarinet, and Klaus Gesing on piano to perform music from their Stories Yet to Tell album.

In the Forum from 8.30pm Australian group The Raah Project will perform “big band ensemble music moving into the realm of lounge”, with lighting design by Blue Bottle, known for Chunky Move visuals.

And from 9pm that night until 1am, minimalist drone music will fill the Melbourne Town Hall — expect sustained or repeated sounds, notes or tone clusters from mostly electronic instruments or processing, with slight harmonic variations. The stars will be composer, organist, pianist and visual artist Charlemagne Palestine, who will play the Grand Organ, and avant garde video artist, filmmaker, sound artist and composer Tony Conrad, who, with LaMonte Young and John Cale, was a member of The Theatre of Eternal Music, a mid sixties experimental drone music group that performed on the US east coast and in western Europe, known for using discordant, sustained notes and loud amplification.

I love this: most of the pieces performed by The Theatre of Eternal Music had long titles, such as The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer.

Conrad was allegedly indirectly responsible for the name Velvet Underground, because Lou Reed and Cale found a book of that title in Conrad’s old apartment in New York City.

Sunday, June 12 will see Charlemagne and Conrad headlining Overground, with many other performers taking over spaces in the town hall from 3pm to 9pm. Tim Berne, Mary Halvorson, Golden Fur and Sean Baxter are among the attractions.

And from 8.30pm at the Forum, the Paul Grabowsky Trio (Julien Wilson on sax, Frank Di Sario on bass, Niko Schauble on drums) will join a chamber orchestra to perform The Eye of the Storm, which Grabowsky wrote for the Fred Schepisi’s forthcoming film of that name. Grabowsky and Branford Marsalis recorded a live version of this work in October last year. This will be a festival highlight.

To wrap up the Modern Masters series of concerts, James Morrison and some of Australia’s swing greats will perform A Tribute to Australian Swing, taking the audience through our history as it evolved with influences from visiting American swing bands in the 1920s.

JAZZ UP CLOSE

The Forum Upstairs and the Salon at Melbourne Recital Centre will host 10 Jazz Up Close concerts, beginning at 1pm on the opening Sunday, June 5, with eastern European melodies and contemporary jazz from the 3Cohens Sextet — a set of three Cohen brothers from Israel and the US — and US pianist Aaron Goldberg, who returns with Rueben Rogers on bass and Greg Hutchinson on drums.

At 6pm that day, AlasNoAxis drummer Jim Black will join Chris Speed (who with the Claudia Quintet last year was a highlight),  Hilmar Jensson on guitar and Skuli Sverrisson on bass to “explore elements of post rock in the context of improvised music”, to quote Brous. And an arresting set from Chiri, comprising Scott Tinkler on trumpet, Simon Barker on drums and the amazing Korean Pansori singer Bae Il Dong will complete the gig. Bae Il Dong sang beside a waterfall for 18 hours a day for seven years, building up scar tissue on his vocal cords and developing a deep, rumbling resonance.

New York drummer Ari Hoenig will join Perth-based saxophonist Jamie Oehlers in a double bill on Tuesday, June 7 with Vijay Iyer, who will perform solo.

And The Forum Upstairs is also the venue for a June 10 concert on the Friday night of the festival’s closing weekend. It should be something special, with Jason Moran joining Scott Tinkler and Simon Barker, before Tim Berne (who featured in his exciting Adobe Probe Melbourne at Bennetts Lane) ushers in his Los Totopos (“corn chips”) band with Oscar Noriega on clarinet, Matt Mitchell on piano and Ches Smith on drums.

In an Australian premiere the following night, New York’s guitarist Mary Halvorson — who has been likened to composer and instrument creator Harry Partch — will bring her trio to the Forum Upstairs in a double bill with Japanese pianist Satoko Fuji in “Ma-Do” (the silence between the notes”) with husband, trumpeter Natsuki Tamura.

Bell-Award-winning Coco’s Lunch vocalist Lisa Young will form a quartet on June 12 at 1pm with Stephen Magnusson on guitar, Ben Robertson on bass and Dave Beck on drums to perform her song cycle The Eternal Pulse, with south Indian vocal percussion. And Magnusson will then unveil his Magnet project with Eugene Ball on trumpet, Sergio Beresovsky on drums and Carl Panuzzo on vocals to complete the gig.

And at 6pm pianist Joe Chindamo will join Phil Rex on bass and Rajiv Jayaweera on drums in a double bill with the energy and allure of Sarah McKenzie‘s trio (David Rex sax, Sam Zerna bass and Craig Simon drums).

Jazz Up Close sessions in the MRC Salon will comprise Albare (Dadon), Anthony Pateras’s Thymolphthalein and Jim Black with students from Monash University.

BENNETTS LANE — AT THE CLUB

There will be some really exciting gigs in this series of 14 concerts, but I reckon it’s best to start another post to deal with what’s in store therein.

It seems that the involvement of Australian musicians in this eclectic and octopus-like festival may not be as great as in last year’s, at least in the sense of supporting  international drawcards. But the Bennetts Lane series will help make up for that.

Look for another post soon on the At The Club series and free masterclasses.

My laments? I always wish that the Melbourne’s regular jazz haunts such as Uptown Jazz Cafe, Bar 303 and Paris Cat, and also Jazz Vibe on Smith, would be included among the festival venues. And I am sorry that there will not be any sessions at the Wheeler Centre in which visiting and local musicians can chew the fat and respond to audience questions.

Now it’s time to post. Apologies for any errors. I may add some images later.

ROGER MITCHELL