Tag Archives: Ken Edie

NTRPDN — THE ANTRIPODEAN COLLECTIVE

CD REVIEW:

NTRPDN

The Antripodean Collective's NTRPDN

3.5 stars

TRUMPETER Scott Tinkler irritates when, on this second Collective outing with this line-up, he lapses into familiar patterns that verge on exercises. But he also elevates, inspires awe and is often bloody magnificent.

Violinist John Rodgers frequently unifies. On piano Marc Hannaford comforts, excites and makes the fragmentary whole. When Ken Edie‘s drums intervene, it is always apt.

Influenced by the work of American composer Elliott Carter, this entirely unscripted music emerges from the performers’ shared language. The journey is remarkably cohesive, but they don’t try to guess its destination.

Any “flat spots” are easily outweighed by experiencing the energy of raw creation, unedited and unplanned.

File between: Lost and Found, Roil

Download: Track #1, Track #2

ROGER MITCHELL

This review was published in the Play liftout, Sunday Herald Sun on November 21, 2010.

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WANGARATTA 2009 — AUSTRALIAN ART ORCHESTRA: FOLK

Scott Tinkler and Philip Slater trumpets, Simon Barker and Ken Edie drums, Carl Dewhurst and Stephen Magnusson guitars, Marc Hannaford piano

Scott Tinkler wets his whistle
Scott Tinkler wets his whistle

This extended work — composed and improvised — was intended to represent the music of the folk in Tinkler’s life. Folk music it was not. I had to close my eyes to avoid being distracted by the man (Tinkler) with his trumpet in a bucket, but that party trick I had seen a few times, so that was not hard. Slater’s breathy, muted contribution was joined effectively by Hannaford. Dewhurst was growlingly aggressive. And that was just the beginning.

Would it succeed? Would the whole be more than the sum of its assorted parts? Yes, it gradually grew an identity. Hannaford helped the cohesion, along with Dewhurst’s low thunder. I found it hard to pick up Magnusson’s input. Slater’s trumpet spiked and soared resplendently, using simple sequences of notes. Then came interplay between the horns before Dewhurst changed to a red guitar which he slapped and tapped with a drum stick. The trumpets went hammer and tongs. My second festival highlight came with a muscular solo from Tinkler, who was doing some circular breathing to keep the air flowing, and Slater’s efforts with a mute to extrude pure gravel. Loved it!

This was the sort of music that you adjust to over time, so that what might seem outlandish at first then becomes a living, breathing thing — not, perhaps, of beauty, but some sort of primal expression that is mesmerising and profoundly satisfying.

Simon Barker
Simon Barker gives some stick

Dewhurst and Edie
Carl Dewhurst and Ken Edie play Folk

Phil Slater
Phil Slater makes a mute point

Scott Tinkler takes note
Scott Tinkler takes note

The Garden of Forking Paths — Marc Hannaford

Garden of the Forking Paths

(Extreme)

WHAT a difference a pianist makes. The line-up is only a piano player away from that of the scintillating Tinkler, Rex, Grabowsky, Edie Live album, having in common trumpeter Scott Tinkler, bassist Philip Rex and Ken Edie on drums.

Hannaford takes Garden down a different path, using frameworks of melodic fragments, rhythms and notated music as an occasional guide to improvisation.
Only on two tracks — the epic 17-minute G.E.B. and What was that? — are all four musicians featured. Three tracks are for piano, drums and bass, with one track solo piano.
Hannaford urges us to “hear what this music is, rather than what it is not”. So what is it? This is complex, simple, aggressive, delicate, triumphal, dazzling, acerbic and engaging. Moods change, notes — especially Tinkler’s — take flight and soar.
Music to experience rather than effortlessly enjoy. Best heard live.

In short: These garden paths go almost anywhere you can imagine.

ROGER MITCHELL