Tag Archives: Zoe Frater

MELBOURNE JAZZ FRINGE FESTIVAL 2010 — DAY 9

CLOSING NIGHT AT BAR 303 IN NORTHCOTE

It was a hectic day as the two festivals crossed swords for our custom. So with the sounds of the Big Jam ringing in my ears, and after literary delights at the extempore launch, and after the Paul Grabowsky Sextet at Bennetts Lane (phew!) it was time to see off the fringe festival in the best way possible — with great music at a comfortably packed Cafe 303.

DAZ HAMMOND COMBO

Daz Hammond Combo

Darrin Archer on hammond, Hugh Stuckey on guitar, Tim Wilson on sax and Andy Keegan on drums, with Ben Hauptmann sitting in occasionally had the place humming when I arrived and they fired some good energy into the gathering.

Tim Wilson
Tim Wilson

Ben Hauptmann
Ben Hauptmann

Jess Green’s Bright Sparks came on to close the night and close the fringe festival. What a finale! Ronny Ferella on drums had had only one rehearsal (it didn’t seem to matter) in the afternoon with the band, which included Zoe Frater, now a Melburnian, on electric bass. A high-powered crew from up north made up the rest of the band, comprising Jess Green on guitar and vocals, Adrian Shaw on trumpet and percussion, Sandy Evans on tenor sax, John Hibbard on trombone and Lachlan McLean on alto sax.

Jess Green's Bright Sparks
Jess Green’s Bright Sparks

In an energetic, robust set, the Bright Sparks played Orange Rock Song, Your Checkered Shirt, Patterns and Stories, the edgy Alias, the softer Mali-referenced and zydeco-feeling Bamako Youth, Clickety Clack and the Full Moon O’er the Thames and an ode to Nick entitled Dear Mr Cave. There were some great solos from Shaw, Evans, Hibbard, Frater, McLean, Ferella and Green — yes, that’s everyone, but it’s true. There was plenty of room for soloing, but no one was trying to grab the limelight and the compositions allowed for plenty of duos and trios in the highlights.

Adrian Shaw and Sandy Evans
Adrian Shaw and Sandy Evans

Bar 303 was pretty crowded for a gig going so late, but I could not help thinking that, like The Dilworths, here was an ensemble that would really hold a crowd on a big occasion. There is a lot of talent in Sydney and we have the Jazz Fringe Festival to thank for bringing us some as a treat.

Speaking of thanks, Sonja Horbelt in particular and other Fringe committee members deserved a huge thank you from audiences for their efforts in making this festival such a success. Bring on the next MJFF in 2011!

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MELBOURNE JAZZ FRINGE FESTIVAL 2010 — DAY 7

MOVEable Feast: Kings Artist Initiative

The brainchild of Zoe Frater, this feast took us to two inner city galleries — Kings Artist Run Initiative in King St and Brood Box in Rankins Lane. The night began and ended with Bach.

John Taylor Electric Guitar Quartet
John Taylor Electric Guitar Quartet

First up we heard the — shock horror — totally scripted and completely unimprovised The Art of Fugue (Die Kunst der Fuge), or fugues 1, 2, 3, 4 and the unfinished 14th, played on soprano, alto, tenor and bass guitars by Fran Swinn, Jon Delaney, Zoe Frater and Ben Edgar. A bit of fun was had the ensemble’s title — John Taylor Electric Guitar Quartet — because British eye surgeon John Taylor operated on Bach in Leipzig in 1750 and this may have contributed to Bach’s death in July that year at the age of 65.

Zoe Frater
Zoe Frater

Fran Swinn
Fran Swinn

The longest piece was the unfinished fugue, Contrapunctus XIV, which breaks off abruptly. I think it was Jon Delaney who said Glenn Gould had likened listening to this fugue as being like “hearing the universe become balanced”. But there was nothing at all boring or hard to take about this sensitive rendition by musicians whose usual fare is improvised. The spare gallery, with delicate shadow patterns on its white walls, was a great setting for this classy ensemble.

Jon Delaney
Jon Delaney

Ben Edgar
Ben Edgar

Zoe Frater
Zoe Frater

Fran Swinn and Jon Delaney
Fran Swinn and Jon Delaney

John Taylor Guitar Quartet
John Taylor Guitar Quartet

OK, it was not improvised, but the freedom of the fringe festival is the ability to break the “rules” and defy expectations.

For the next set we took to Melbourne’s streets, some of us (Bob and Michael from RMIT) deep in conversation about the artistic possibilities of the city’s laneways, soon arriving at Brood Box gallery, resplendent with the colourful works of Ed Bechervaise.

Xani Kolac
Xani Kolac

In her tiny, elevated “secret space”, electric violinist extraordinaire Xani Kolac performed four of her compositions in her debut with a laptop. In Five, using the ping-pong delay effect on the laptop, Kolac sent soaring surges of sound sashaying into the room below.


The “secret space”

Xani Kolac
Xani Kolac

The fluidity and expansiveness of her next piece reminded me of a Curved Air album from the 1970s, Air Conditioning. Some of the “chords” as Kolac bowed across strings had a satisfyingly grunge depth to them.

Xani Kolac
Xani Kolac

Kolac closed with Merry Go Round, which included pizzicato, string strumming and vocals, ending with the words “I’ll play whatever I like because I choose to die happy”. Magnifique.

NMIT Laptop Orchestra
NMIT Laptop Orchestra

Finally, in the room below, Myles Mumford and Adrian Sherriff assembled an extra-curricular ensemble called the NMIT Laptop Orchestra. They played Up Down Up Down Up, a piece by Mumford making use of the laptop system sound, followed by a sine tone dedicated to La Monte Young and inspired by his intonations with two pianos tuned to a Pythagorean scale.

Then came Sherriff’s Study No. 2 (For Jan Stole Who) — the title an anagram of John Oswald, of Plunderphonic fame, and the piece plundering Oswald, and Gobo Sine 47.3 by ensemble member Graeme Croft.

They finished with Four Musical Hobos, dedicated to Harry Partch, who spent 60 years creating musical instruments capable of using 43 notes in every octave and training musicians to use them, and the J.S. Bach chorale Jesu, meine Freude, which was slow, wistful and short.

Max MSP to the max
Max MSP to the max

It was fascinating to hear Adrian Sherriff talk about what the laptop ensemble can explore and how a motion sensor in each laptop enables players to control volume. Interaction between the players was obvious to the audience and the musicians played their laptops as they would other instruments, with great expression and obvious delight — and perhaps occasional apprehension — in what they were doing.

There was some wry humour. Sherriff noted that one of the group’s challenges was dealing with “six nervous computers on stage”. There seemed to be hints of swing or a dance band in Jan Sol Who, followed sampling of Dolly Parton’s The Great Pretender, which was mashed into what sounded like a sea of machine-gun chatter.

Controlling the nervous laptops
Controlling the nervous laptops

This was quintessential Melbourne Fringe Jazz Festival — the laptop as a means of creating instruments, creating an interface and creating new works, rather than merely for playback and recording. And the exploration of pure tones in the Harry Partch tradition was way over my head, but fascinating.

This ensemble will perform at the Quiet Music Festival this weekend. (Why does this excellent festival clash with the Melbourne International Jazz Festival?

The night’s performances were indeed a moveable feast.

Melbourne Jazz Fringe 2009 — Day 7

Downstream Label Launch

It was a strong turnout at 3RRR for the three gigs marking the launch of Downstream Music, a label that’s really a collective aimed at selling some CDs and getting people out to hear some live music. The main movers and shakers are drummers Ronny Ferella and Sam Price, with help from guitarist Geoff Hughes’s new studio. The new albums include Mandala’s I’ll Stop When You Stop, Sam Price’s Rand, Ish Ish’s End of A Line, Casma’s Whist, Not This Not That’s All This For That, and Streamers’ Multiverse. All are available through Downstream Music.

The Gravikords

Gravikords

For the first set, Hughes and Ferella were joined by Ben Hauptmann on acoustic guitar and electric mandolin, and Sophie Dunn on violin to play Ferella’s Retreat ‘Til One, Hauptmann’s Congo, Ferella’s What Is This? (a tune he heard on radio, taped and transcribed, because he really liked it), and Hauptmann’s Ben’s Other Tune.

Ben Hauptmann

It was all fairly restrained, with Ferella and Hughes lost in their rhythms and patterns, Dunn adding contrast, plaintive notes at times and then wandering alongside the others in a folk style. Mandolin and guitar interracted well in What Is This?, and in Ben’s Other Tune Hauptmann on acoustic guitar was in a holding pattern with Ferella while Hughes and Dunn carried out their explorations.

Sophie Dunn

Sam Price solo

Sam Price

In this set it was just Sam Price and a laptop and a drum kit. It was billed as sounding “like organic machinery”. Whatever Price had programmed on the laptop was released in stages, demanding responses on the drums. Occasionally the drum kit sounds were fed into the laptop and that led to further responses on drums. Price said later that he had to learn a programming language to do this.

My responses were various, and included lots of questions. I was wondering: Are the laptop sounds randomly generated, with Price responding? Does he know what’s coming? Are the drum sounds feeding into the laptop and re-emerging? Does it matter how music is made or only what it is like to experience? What is sound and what is music?

I found the sudden changes initiated from the laptop a bit disconcerting. It seemed a little like a drumming class with tapes that demanded a response. I thought if I were a drummer (hardly likely) I would prefer to play with other musicians. Before the piece ended, Price built momentum and generated a lot of energy. The whole concept was challenging and intriguing.

Mandala

Hughes, Ferella

It had been a long week of music and I needed a wake-up. Mandala did the trick. The first 20-minute piece began gently enough, with Ferella using “bells” for percussion and Hughes adding some feedback effects. Then Ferella initiated some sudden, but muffled, attacks and Hughes allowed his input to swell. Hannaford injected single notes. There were strong, robust, spiky inputs from each member of the trio, with short, sharp bursts and a progression until guitar and drums were creating a physical response situation — that lovely state when the body of the listener responds physically to the sounds produced. They calmed it down near the end.

Marc Hannaford

Ferella said, “The only thing this band can do consistently is play for 20 minutes, so we’ll play for another 20.” And they did, though I certainly wasn’t thinking about the duration of the piece, which was gripping and great. The musicians seemed totally immersed, with no interaction obvious by looks or signs, yet it was there in the music. Hughes produced an engrossing solo, and later some “tweeting” and deep, resonant notes. Ferella contributed some top “cymbal-ic” moments. Hannaford was focused, making key interventions. This was a therapeutic, cathartic experience.

Geoff Hughes

Maybe these live moments can never be captured on recordings. Nothing beats being there. But the Downstream albums are a pointer to what’s out there if you just take the risk and leave the house for a live gig.

The rest of the Fringe

I had a Stonnington gig next evening that clashed with the Zoe Frater Quintet outing at Cafe 303 with vocals by Carl Panuzzo, and I could not make Short Arse Sunday with the Alcohotlicks. It was a pity not to be in at the finish of the Fringe Festival for 2009, but no doubt it finished on a high note. Once again the organisers, all of them musicians, made it a great festival.