Tag Archives: Golden Fur

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

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MELBOURNE INTERNATIONAL JAZZ FESTIVAL 2010 — DAY 2

OVERGROUND AT MELBOURNE TOWN HALL

Han Bennink
Han Bennink

Bennink
… and again

Lots of gigs. Lots of noise, but some quiet moments as well. Music non-stop from 2pm Saturday until 8:30pm in four Melbourne Town Hall venues. Having emerged late the previous night from the finale of Melbourne’s jazz fringe festival, which has for years had its full day of music entitled Big Arse Sunday, I could not help but think the Overground concept seemed strikingly similar. Was MIJF making a bid to attract the fringe festival audience?

A few observations: The idea of a lot of bands playing in the one place over many hours (as in The Big Day Out) is great and the town hall was humming. Great to see the crowds. But the program running sheet was initially only posted on the doorways and many of us spent valuable time writing it down, because once a gig finished (many lasted only 20 minutes) it was hard to know where to go next. And unless you knew a lot about say, The Deadnotes or Pure Evil Trio or Carolyn Connors — that demonstrates the diversity of what was on offer — it was hard to plot a route through the Overground. For a festival as big and sophisticated as MIJF now is, it seems this aspect could have been done better. Perhaps the MIJF website could carry links to each band/performer, with background info and samples of audio or video.

While on the basics, I had possibly the worst coffee in the universe at the MTH bar, at a time when I needed greeeaaaat coffee. Extempore journal editor Miriam Zolin would have suffered apoplexy. It was lukewarm and I think came out of a thermos. Also, when you are rushing from one concert to the next, there will come a time when you need sustenance. And you need it on the spot, not out along Swanston Street.

Bennink
Han Bennink takes to the floor

Brotzmann
Peter Brotzmann vies with Bennink

Enough whingeing. I made it to 14 sessions, some only for a quick taste. I loved the buzz, but concerts were happening a little too thick and fast, and often I did not know who would be a must-hear for me.

wall of noise
Pure Evil and Occult Blood make noise

Pure Evil and Occult Blood was a wall of noise, but I left with a smile. Greg Kingston (electric guitar and toys) and Tarquin Manek (of Bum Creek, on various instruments) had everyone smiling with their antics, but it had me asking — also after the opening Han Bennink and Peter Brotzmann gig — when the showmanship interferes with the sound.

Greg Kingston
Kingston turns on the tricks

Gorfinkel
Dale Gorfinkel on contraptions

Bennink’s explosive virtuosity and sublime sense of humour are endearing — we love him — but when Cor Fuhler on prepared piano joined Dale Gorfinkel on sonic contraptions and Kym Myhr guitar and objects, I found it impossible to concentrate on the sound without closing my eyes. Gorfinkel’s device spinning polystyrene cups and a trumpet with tubing was fascinating, but I just wanted to hear the result.

Connors
Carolyn Connors

In certain contexts Carolyn Connors‘ extraordinary vocal talents would be OK, but I wanted to get away. And when classical met punk — Golden Fur with True Radical Miracle — I found it a momentarily interesting spectacle, then I wanted to get away.

Fur/Miracle
Hoping Fur a Miracle

The vocal ensemble that included MIJF program director Sophie Brous sounded amazing, but I caught only the last few minutes. (Others in that group were Carolyn Connors, Nik Kennedy, Pete Hyde, Jessica Aszodi, Alex Vivian, Christopher L. G. Hill and Tarquin Manek.

Misterka/Chase
Focused: Misterka and Chase

Two concerts deserved to have full attention, but I had to keep moving. These were Seth Misterka (CCM4) and Brian Chase (of the Yeah, Yeah Yeahs) on sax and drums, which was minimalist but compelling, and Vanessa Tomlinson (percussion),
Eugene Ughetti (percussion) and Robin Fox (processing), which provided a period of slowly evolving relief from the mayhem elsewhere.

I missed Cor Fuhler with Scott Tinkler and Simon Barker with Bum Creek. I missed Kim Salmon (The Scientists, Surrealists) with David Brown (Bucketrider, Candlesnuffer, Western Grey, Pateras Baxter Brown). Pity.

I found the quartet of Mick Turner (of Dirty Three, on guitar), Francis Plagne (guitar), Evelyn Morris (of Pikelet and True Radical Miracle, on drums) and Erkki Veltheim (Twitch, Australian Art Orchestra on viola) OK, but not overwhelming, and why Plagne played with his back to the audience was a mystery. Maybe he found an audience made it hard to concentrate.

Pateras
All stops out: Anthony Pateras

So to the standouts, for me. Bennink and Brotzmann were strong, relentless and cathartic. Bennink with Anthony Pateras on the grand organ was an amazing and beautiful thing. Great idea, executed flawlessly. The organ had the oomph to cope with Bennink’s madness.

Grabowsky
Grabowsky prepares for piano

Sean Baxter: A wok cover in progress
Sean Baxter: A wok cover in progress

Sean Baxter on drums and percussion with Paul Grabowsky on piano was another superb combination. In the end Baxter stole the show, but they were perfect together.

Han Bennink in action at Melbourne Town Hall
Han Bennink returns …

Brotzmann and Bennink revisited was again something special, but what lifted it beyond that was their final collaboration with the Embers Big Band. Embers members Adam Simmons (various saxophones), Dave Brown (electric microtonal bass) and Sean Baxter (drum kit and junk) and Kris Wanders (tenor saxophone) joined Abel Cross (Pure Evil Trio) on double bass. Greg Kingston‘s guitar seemed to be largely lost in the mayhem.

Kris Wanders
Kris Wanders

When Wanders joined Brotzmann and then Adam Simmons for a sax armageddon the audience was in raptures.

Sax armageddon
Sax armageddon

David Brown on guitar and pedals intervened at just the right moments, backed ably by Abel Cross (Pure Evil Trio). And then there was the duel of sorts between Bennink and the drummer with the hair (Kram from Spiderbait). It was all beyond words, and beyond expectations. What a buzz for performers and for the rapt audience, who left exhausted, but fulfilled.

For more on Overground at Melbourne Town Hall, Mess and Noise has plenty.

MULATU ASTATKE
WITH THE BLACK JESUS EXPERIENCE AT THE FORUM

Mulatu Astatke
Mulatu Astatke and the Black Jesus Experience

What a change of pace. All that noise and full-on duelling of the Embers Big Band subsided gradually in my head on the walk to The Forum as I mentally switched gears for Ethio-jazz. The Forum was an ideal venue for a spectacle and when The Black Jesus Experience came on stage with James Arben on sax there was all the atmosphere — and a smoke machine and coloured spotlights — of a big rock concert or stage spectacular.

Mulatu Astatke
Mulatu Astatke

But amid all the fuss, Mulatu Astatke seemed to exude calm and generosity of spirit. This was not some rock star with an air of importance, but a man content to make his gentle contribution among the assembled musicians and, obviously, to delight in doing it. He was attentive to the other musicians and at other times seemed lost in reverie as he played.

I did not catch all the names of tunes played, but there were some from the film Broken Flowers, a Heliocentrics piece entitled Cha Cha, another called Chic Chica, one called The Dawn and “one composed for myself” entitled simply Mulatu.

I did not know what to expect, but probably something a lot more energetic and even hip-hop oriented — I don’t know why. As it turned out most of the concert seemed to be gentle and celebratory, with repetitive rhythms and subtle variations. I’d need to listen to more to be able to adequately describe the music. But it was pleasant without being get-out-of-your-seat-and-start-dancing music.

Mulatu Astatke
Mulatu Astatke

There was some excellent musicianship from Souren Tchakerian on percussion, Peter Harper on alto sax, Ian Dixon on horn and Pat Kearney on drums, but I thought James Arben (Heliocentrics) on saxophone was fairly disappointing. A real standout was the keyboard playing of Thai Matus — he was quiet for most of the gig, then erupted with energy and fire, lit appropriately by a red spot. Great stuff.

Thai Matus
On fire: True Live keyboardist Thai Matus

All up, and perhaps I was suffering from the effects of Overground, this concert was not one to set the pulse racing or the blood flowing. It was a nice opportunity to chill in the club-like atmosphere of The Forum.

Mulatu and BJE