Tag Archives: Nik Kennedy

LIVE MUSIC FRIDAY — DON’T GO HOME WITHOUT IT

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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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