Tag Archives: Kafka Pony


Melbourne Jazz Fringe Festival / Melbourne Jazz Cooperative double bill, Bennetts Lane Jazz Club, Sunday, May 1, 2011

Tamara Murphy

Bassist and MJFF committee member Tamara Murphy introduces the gig.


Jonathan Dimond bass, percussion; Mastaneh Nazarian guitar; Adrian Sherriff Zendrum percussion controller



I was fascinated by what emerged from Jonathan Dimond‘s trio Loops, which is a Melbourne incarnation of the Brisbane ensemble of that name, which was formed in 1995 and included Ken Edie (drums), John Parker (drums), Jamie Clark (guitar) and John Rodgers (violin) as core members. Dimond is now senior lecturer and head of the music degree at Northern Metropolitan Institute of TAFE (NMIT) in Fairfield.

But I also felt ignorant and uninformed about what I was hearing. Granted, that says something about me, but on reflection I believe there could be some benefit from some simple and brief explanations of the musical forms an audience is about to hear. Dimond is highly qualified in classical trombone and contemporary improvisation, and has recently spent four years overseas. Of particular relevance to this performance, he has also undergone “vigorous training” in North Indian classical music in Pune, India.

Dimond on electric bass

Dimond on electric bass

Dimond’s website states that Loops compositions “act as vehicles for improvisation, framed by formal structures which take inspiration from Indian classical music (both Hindusthani and Carnatic), Western classical music, jazz and other world musics”. I would like to have hear him expand a little on that for the uninitiated.

Adrian Sherriff on Zendrum percussion controller

Adrian Sherriff on Zendrum percussion controller

The other fascinating part of Loops’s performance was Adrian Sherriff’s amazing facility on the Zendrum percussion controller, which looks a little like something from the set of Dr Who. As I understand it, he had it linked to drum kit and tabla sounds on his laptop, with the large “buttons” configured so that he could produce an array of sounds which belied the squat triangular instrument.

Loops opened with American sitarist Paul Livingstone’s Blessing, which he says is based on the raga from South India, Hamsadwani. Livingstone’s website  says that the melody is played on a nine-string fretless guitar and bansuri (Indian flute) accompanied by a traditional South Indian rhythm section of mridangam (barrel drum), ghatum (clay pot), and moorsing (jews harp). The piece uses several Indian calculative rhythmic cadences called tehai and koravai, which are played in unison by the whole ensemble.

Adrian Sherriff was most impressive on the Zendrum in this piece.

Nazarian and Dimond in Loops

Nazarian and Dimond in Loops

Next, Loops played Blues Jog (Dimond) based on a raga and incorporating a “bluesy” approach, followed by Koraippu (Dimond), a fully composed piece beginning with a South Indian drum solo and adding a night-time raga from North India. This segued via a Zendrum solo into another Dimond original, GST. It was not especially taxing.

I think “jog” may be another term for raga, but that may be way off the mark.

Mastaneh Nazarian

Mastaneh Nazarian

The final Dimond piece, Ek Bisleri was in a scale with no third (he told us) and “in eleven”. The name is essentially “one mineral water”, which Dimond apparently believed he needed to have in India to avoid the local water.

I would like to hear this music again, but with some more understanding of what’s going on. The MJFF is meant to challenge us, and I like that, but I wanted to know more.


Mastaneh Nazarian guitar; Jonathan Dimond bass, percussion; Sam Leskovec drums

Kafka Pony

Kafka Pony

Nazarian’s Kafka Pony has, like Loops, had earlier incarnations — in Boston and Brisbane. Given Dimond’s time in Boston, perhaps they met there. With Sam Leskovec at the real drum kit, Kafka Pony opened with a Cecil McBee piece “with the same tempo as ‘Round Midnight“. But not before Nazarian told us that “political correctness is the thing for the next decade” and urged patrons to defy this by taking up smoking. Her sense of humour and personality were evident in this set, which proceeded with Waltz Schmaltz (there was a mention of goose fat here) and then “an arrangement of a controversial piece written in the late ’50s” which the audience members were urged to yell out if they could identify it.

I had to leave before the set ended, so cannot do it justice. After the sense of difference I had encountered from Loops, I think Kafka Pony seemed not as exotic and not so exciting. But I concede that the need to depart early and prepare for work next day was stopping me from being in the moment, which is not a good way to appreciate music, especially if it is subtle.

Nazarian and (out of shot) Dimond

Nazarian and (out of shot) Dimond


Preview: Melbourne Jazz Fringe Festival, April 29 to May 8, 2011

Mastaneh Nazarian

Mastaneh Nazarian barely contains her love for her Parker guitar

Yes, the image above is unashamedly a bid to attract attention to this preview of this year’s MJFF, but in my defence it is the picture guitarist Mastaneh Nazarian chose to be used on the Melbourne Jazz Fringe Festival website, which is where all the details of this festival can be found. Nazarian, who migrated from Teheran, Iran to the US and suffered “mild malnutrition” in Boston in the mid ’90s, will feature in a double bill with Jonathan Dimond‘s Loops and her group Kafka Pony, which she named after reading lots of Kafka, dreaming of a pink penguin and waking with the word “pony” on her lips.

Anyway, speaking of matters barely contained, my excitement is mounting about what’s on offer this year. Details are on the website, but here’s a quick glimpse of some highlights. First, because it is first, is the opening concert on Friday, April 29 at the Melbourne Recital Centre’s Salon, which will give us a chance to hear a work so far aired at only in parts, at least in Melbourne and at Wangaratta. Andrea Keller Quartet, with two violins, viola and a cello, will perform Place, a 60-minute commissioned work in seven parts that draws inspiration from the area surrounding Bermagui NSW, and explores notions of belonging and identity. The quartet employs electronics, improvisation, preparations and acoustic instruments in the piece.

We’ve had two tantalising tastes of this work — at Uptown Jazz Cafe in August last year, when the quartet played Guluga and Belonging, and in the WPAC Theatre at Wangaratta Jazz 2010, when Belonging closed the set. I loved these tidbits and look forward to hearing the whole piece. The icing on the cake will be special guests Stephen Magnusson and Raj Jayaweera performing as a duo.

I have to keep this short and avoid mentioning every gig, tempting as that is. So, on Saturday, there’s a wild night in a warehouse opening with Ronny Ferella and Sam Price, who make up Peon, no doubt playing some similar material to what’s on their album Real Time, and ending in an iPhone mash-up — an app-created orgy of sounds under the watchful ear of Myles Mumford. You have to be there.

After Loops and Kafka Pony on Sunday, and Sam Bates Trio on Monday, a real highlight for me will be Band of Five Names on Tuesday, May 3, at Bennetts Lane. When this group (Phil Slater on trumpet and laptop, Matt McMahon on piano and Nord, Carl Dewhurst on guitar, Simon Barker on drums and percussion) performed at at Alpine MDF Theatre, Wangaratta in 2009, I thought of it as entering a musical space of light and shade, frenzy and reflection, and at times absolute simplicity. The ensemble was affective, slowly evolving and highly involving. I thought then, “How can a Nord sound so gentle?” and “Stillness can take root here”.

Zoe Scoglio‘s audio visual evening on Wednesday will be a treat for the ears, because Stephen Magnusson (guitar), Stephen Grant (cornet) and James McLean (drums) will accompany what Zoe has in store.

And in an unprecedented move, MJFF this year has some gigs out west, which is fantastic for those of us who believe more music should happen where so many of those who create it reside. The first performance at the Dancing Dog Cafe/Bar, on Thursday, May 5, features award-winning Peter Knight (trumpet and laptop electronics) and the irrepressible Motion. The second, on Saturday, May 7, features Nat Grant (solo percussion and electronics) and Kewti with “wild black metal experimental microtonal tropical jazz”. How can you resist that?

“What about the famous MJFF commission concert?”, you ask. Well, yes, it’s on at BMW Edge on Friday, May 6 and it must not be missed. That rascal Allan Browne will open with his “three turks and a wasp”. The drummer has a new piano-less quartet with Phillip Noy (alto sax), Sam Pankhurst (bass) and Stephen Grant (cornet) in dialogue, using new material written for the Fringe plus “compositions from the Duke and Jelly Roll”.

And for the main act, Fran Swinn, winner of this year’s APRA Composer Commission, has written Inform for jazz quartet and corde lisse (aerial circus act involving acrobatics on a vertically hanging rope). Circus Oz virtuoso acrobat/aerialist Rockie Stone (pictured below courtesy of Seth Gulob) will perform with the Fran Swinn Quartet (Swinn on guitar, Tamara Murphy on double bass, Ben Hendry on drums), and guest soloist Eugene Ball on trumpet.


Rockie Stone at Circus Oz (Picture by Seth Gulob)

Swinn’s work promises to “integrate the forms and structures inherent in Jazz and improvised music with the forms and structures integral to a circus act” and acknowledges influences from dance, theatre and clowning as well as the music of Thelonious Monk, Ornette Coleman and Bill Frisell.

What could top that? Well, after such high-flying aerial pursuits it has to be time to sit. So Big Arse Sunday is exactly what’s needed. This year it’s at Cafe 303, 303 High Street, Northcote, from 2pm until about 9pm and the line-up includes Collider, Make Up Sex, Tinkler/Pankhurst/McLean, and 12 Tone Diamonds. And if you need a break from the music, the musicians you’ve heard or will hear later will probably be selling some nibbles or sitting on the door, so there’s a chance to chat.

With all these highlights, you may as well give in and decide you’ll never make it home before midnight during the Melboune Jazz Fringe Festival. This is a real grass roots festival run by musicians who volunteer lots of time to make it happen. If you’ve never dipped your toe in, try it. You won’t regret it.