Tag Archives: Ren Walters

DON’T LET YOUR FRINGE DOWN

MIJFF13Invite_500x

Preview: Melbourne Jazz Fringe Festival, including 2013 APRA Composer Commission Concert, Sunday 5 May, 2-8pm at
 Northcote Town Hall

Lovers of popular music, including fans of classical and opera, may regard many incarnations of jazz as being on “the fringe”. Purely in terms of bums on seats at concerts, that is probably a reasonable view. But anyone familiar with the improvised music on offer in Australia knows there are gigs that sit on the fringe within the broad genre.

It’s not worth wasting energy on where to draw the line between more mainstream jazz and material that’s “out there”. But some context can be helpful. Martin Jackson, who runs the Melbourne Jazz Co-operative, has suggested that patrons of gigs sponsored by the co-op should keep in mind that the diversity of music on offer means they may find some outings a challenge.

I can recall a few occasions on which people looking for some live music after dinner have lobbed at Bennetts Lane Jazz Club not knowing what to expect, then discovered that what’s on offer on the night does not appeal to them. On the other hand, anyone who finds the way to the Make It Up Club at Bar Open in Fitzroy is likely to expect performances that stretch the boundaries of music.

Organisers of the Melbourne Jazz Fringe Festival have had to do some hard thinking in recent years about the challenges of staging a festival with limited resources, declining patronage and arguably some encroachment on its turf by the Melbourne International Jazz Festival. If anything the MIJF is now leaning to the more accessible side of the spectrum, but under Sophie Brous it ventured into experimental music with the hugely popular day-long multi-stage Overground at Melbourne Town Hall, which was similar in concept to the MJFF’s previous Big Arse Sundays.

That’s hardly a comprehensive summary of the issues facing the hard-working MJFF organisers, but the upshot is that this year’s festival will consist of one afternoon of concerts grouped around the 2013 APRA Commission Concert, which has become a significant landmark for the festival and in Melbourne’s annual jazz calendar. For anyone unfamiliar with this concert, it’s worth saying that each year APRA funding enables MJFF to invite proposals for a commissioned work that breaks new ground. The chosen work is given its debut airing during the festival. These are always innovative and interesting.

This year Darrin Archer has chosen to focus on Allen Ginsberg‘s poem Howl, using modern composition and improvisation to explore the sex, drugs and spirituality of the beatnik as a sonic landscape. If that sounds weird, it probably will be, but surely that’s what we want from a MJFF concert. The work, titled Drunken Taxicabs of Absolute Reality: Howl to music, will debut at 5.30pm.

But the music begins at 2pm with solo piano performances by Steve Grant (a multi-instrumentalist who is often playing cornet or accordion) and Marc Hannaford (who will soon leave for New York to take up a fellowship at Columbia for a PhD in music theory). It will be a treat to hear these pianists at work solo.

At 3pm drummer Ronny Ferella will usher on his band IshIsh, which has its roots in the music of drummers Eddie Moore and Ed Blackwell’s groups, and the music of Don Cherry and Ornette Coleman. The line-up has varied since the ensemble’s first album, but for the latest CD End of a Line it featured Eugene Ball trumpet, Jordan Murray trombone, Julien Wilson saxophone, Mark Shepherd bass and Javier Fredes percussion. A special guest for this outing will be Stephen Magnusson on guitar.

At 4pm, expect things to move a little further out there as Scott McConnachie on sax joins Erkki Veltheim on viola and Ren Walters on guitars in a trio that emphasises process of creation rather than any planned result.

After the commissioned work, at 6.30pm Chris Port on drums and laptop will join James Gilligan on bass/tape machine/effects and Marty Hicks on piano and Nintendo DS in exploring Beat and hip-hop culture through improvisation. Titled “Mixer”, this will draw inspiration from Kanye West, Ableton Live, Drake, Pro Guitar Shop videos, Flying Lotus, Hudson Mohawke, Aphex Twin, and the Boston Celtics.

Tickets for this biggish arse Sunday cost $35/$25 and are available at the door or online or via Northcote Town Hall website.

Don’t let your fringe down. Be there.

ROGER MITCHELL

SNEAK PREVIEW: LYNCH MOB AT UPTOWN

Ren Walters, Steve Magnusson

Duelling guitars: Ren Walters and Steve Magnusson

GIG

Yes, it hasn’t happened yet, but there are already pictures circulating.

In a few hours, at 6.30pm on Saturday, October 6, 2012, Uptown Jazz Cafe will host a Lynch mob as guitarists Steve Magnusson and Ren Walters present a creative project which has been 12 months in the planning. With two musicians of such talent at work, the audience is guaranteed of twin peaks in this performance.

These fascinating and free guitarists will play acoustic guitars, with effects pedals, as selected images are screened of Eraserhead, David Lynch‘s seminal 1977 surrealist masterpiece. Uptown is the ideal venue for this adventurous outing.

Magnusson is ubiquitous these days. He played at Bennetts Lane Jazz Club on Thursday with Nick Haywood, Colin Hopkins and Allan Browne (it was a hoot), then joined Frank Di Sario and Dave Beck at Uptown on Friday night (sorry I missed this).

Cost: $15/10

And moving from the surreal to the sublime, Uptown follows at 9pm with the Paul Williamson Quartet, with this Williamson on trumpet, birthday boy Marc Hannaford on piano, Sam Pankhurst on double bass and Tony Floyd on drums (very sorry I can’t make this).

Cost: $15/10

ROGER MITCHELL

Now, more than ever, seems it fit to have a Melbourne jazz fringe

RANT

Anzac Day seems a good opportunity for reflection. A week or so back I was gearing up to post about the coming season of jazz festivals in Melbourne and the need for us to get off our couches and venture into the wintry nights to hear live music, prodded or encouraged perhaps by a surge in publicity about the delights of improvised music. I reckoned that the first cab off the rank — before Stonnington Jazz (May 17 to 27) and the Melbourne International Jazz Festival (June 1 to 11) — would be the Melbourne Jazz Fringe Festival.

MJFF

Fond memories of Fringe: A man called Miles makes pancakes on an electric frypan while a patron of the Captain's Bar requests a libation.

Fond thoughts came to mind about favourite Fringe moments … the sausage sizzle at Fitzroy Bowling Club where your snag is handed over by one of your favourite musicians; the ache in the bum that you notice only at the end of Big Arse Sunday when you’ve listened to eight hours or so of music; the challenge of staying in the room long enough to appreciate the subtleties of what seems like noise; the growing sense of anticipation and excitement as the APRA Commission work by Fran Swinn, Gian Slater, Erik Griswold or Ren Walters is about to unfold; the fun of following fellow patrons through city streets from a performance in an art gallery to another in which a violinist appears on a balcony and an orchestra of laptops plays below; the adventure of heading along a dark light industrial street to a dimly lit warehouse where a man called Miles makes pancakes on an electric frypan, the tiny Captain’s Bar serves enticing libations and there’s an iPhone mash-up making “music” at night’s end; the thrill of discovering Sandy Evans playing in a band that sets the pulse racing … Need I go on? Anyone who has been at these gigs will identify with the vibe.

Xani Kolac

Fond memories of Fringe: Zani Kolac plays violin from city gallery balcony.

With these thoughts in my head I was gently salivating as I looked up my calendar and saw the listing, gleaned from a useful jazz gig guide, showing that MJFF would run from April 23 to May 2, 2012. Then it dawned on my feeble brain that there had been no mention of the program for this year’s Fringe.

A word with drummer and festival administrator Sonja Horbelt revealed there was reason for concern. Sonja said Fringe is “re-evaluating and quite sponsorless this year”.

“Over the past year in particular we’ve felt the impact of Melbourne being “festival-ed out” and of the Melbourne Jazz festival drifting closer to what we believe to be the intrinsic identity of the Jazz Fringe Festival. It is flattering to think the main festival is drifting closer to what the Fringe is, but on the other hand it has left us searching for a definition of Fringe and a more focused purpose for the festival,” Sonja said.

“The Board has decided to use 2012 to take stock of the essential fabric of what is happening on the Melbourne scene and to re-evaluate the true purpose of the Jazz Fringe and its meaning for our community. We don’t have any major funding sponsors this year, aside from APRA for the composer award, so the Commission event will be the only event we stage.”

The news that the Commission concert would go ahead was good. The rest was a disappointment, not only because there would be less of the adventurous music for which this festival is known, but because there would be, essentially, no MJFF this year. I lament the loss of sponsorship and I lament the loss of a much-loved and vital part of Melbourne’s jazz and improvised music scene.

The irony is that Sophie Brous, who expanded Melbourne’s international festival into areas that had been Fringe territory, is no longer at the helm of MIJF, so in a year that could have seen Fringe filling in where the popular multi-stage experimental extravaganzas at Melbourne Town Hall left off — albeit on a necessarily smaller scale due to budget constraints — there is just one event rather than a full-on festival.

I am not saying the Fringe organising committee had any choice. Nor do I think it is a bad thing for the MJFF to re-evaluate its purpose. But I am hoping that this vital and valuable festival emerges phoenix-like from the ashes in 2013, because it is worth far more than just a collection of gigs on a calendar. MJFF can provide the special, quirky experiences mentioned above, which more formal festivals may not find so easy. It is surely also the ideal place for emerging exponents of new approaches to music to try them on audiences willing to be shocked, even horrified, but often exhilarated. And established artists can try new line-ups or alternative approaches.

That’s about it for the rant. The message: Keep the fringe in Melbourne jazz in the years ahead. May sponsors everywhere — apart from APRA, extempore, Melbourne Jazz Cooperative and Northcote Town Hall — hear and heed that message.

PREVIEW

Tilman Robinson

APRA Commission winner: Tilman Robinson

Sunday, May 13 from 5pm at Northcote Town Hall

Network of Lines premieres ‘If On A Winter’s Night a Traveller’

Tilman Robinson, composition/trombone/processing; Peter Knight, trumpet/processing; Callum G’Froerer, trumpet; Xani Kolac, violin; Melanie Robinson, cello; Brett Thompson, guitar/banjo; Berish Bilander, piano/accordion; Samuel Pankhurst, double bass; and Hugh Harvey, drums.

Robinson’s new work is inspired by Italo Calvino’s 1979 postmodern novel of that name. Robinson is a composer, arranger, trombonist and sound artist whose works are not easily categorised. He graduated from West Australian Academy of Performing Arts in 2009. He has received commissions from such jazz and classical ensembles as the Australian Brass Quintet, the WA Youth Jazz Orchestra, Fused and the Arundo Reed Quintet. He has been an arranger for Sinead O’Connor and was commissioned to write for Orchestra Victoria’s Seven Songs to Leave Behind. His music has been performed by the Bennetts Lane Big Band, Canada’s Frontier Justice Big Band and EMO (Enthusiastic Musicians Orchestra).

Ren Walters

Ren Walters plays Cafe 303, Northcote

Close Conversation

David Tolley bass violin, Ren Walters acoustic guitar

Tolley and Walters have a long, close musical connection. As Tolley puts it in his High 5 for Jazz and Beyond, “Hardly a month has passed in 18 years without some creative interaction [from Walters] which translates into a permanent place at my ‘table’ as my adopted son.”

Tolley gave up the bass violin in 2005 because of Parkinson’s Disease, but his recovery was “fed by intensive studio work with computer-generated electronic sounding and sporadic painting and drawing”. Late last year he organised RRaPP — a Reunion Retreat and Performance Project concerned with the “discovery through the process of composing and performing simultaneously, in real-time, interactively, without preconception but drawing upon the vast collective creativity, skill and experience of the protagonists.” This project facilitated Tolley’s return to bass violin.

Ren Walters is known to Fringe patrons for, among many other outings, his APRA Commission work performed at Iwaki Auditorium in 2009.

Stephen Magnusson

Steve Magnusson in a MJFF festival gig at the Melbourne Recital Centre.

MAGNET Trio: Stephen Magnusson guitar, Eugene Ball trumpet, Carl Pannuzzo voice

MAGNET is a new project for guitarist/composer Stephen Magnusson as a creative collaboration with Ball, Pannuzzo and Argentinian drummer, Sergio Beresovsky, who is in Argentina. Beresovsky’s absence offers the trio version of the group a way to re-interpret their repertoire, as they do every time they perform, starting with simple melodies and building it “from their ears up”.

We can expect interaction and harmony at the deepest level of collective improvisation, with “the moments made as pure as if they had been composed over crystal”.

ROGER MITCHELL