I bought a ticket back when I thought I'd have more time than I do. Chris Abrahams on the piano was the draw, and his collaborators — Tony Buck on drums and Lloyd Swanton on bass — were also excellent. I really enjoyed the washed out ambience of the first set, while the second was a bit more insistent and harder to space out to. They pulled a far bigger crowd than I would have expected. The light show was beautifully subtle, especially a fade to black at one point.
With Dave. Someone is trying to revive the Sydney jazz scene with this cute little venue near the University of Technology, Sydney; the last time I remember seeing Vince Jones was at the Harbourside Brasserie in the late 1990s. The place was packed so we propped up the bar for a bit, got some food in Chinatown at interval, and sat near the door for the second set. I was/am still pretty out of it and struggled to get into much: I did enjoy the piano a lot though, and was a bit stunned when he played Gil Scott Heron's Winter in America.
"This is a song about finding yourself at an airport with James Brown one day and Mick Turner... Mick Turner, ladies and gentlemen... boy from Sandringham, done good..."
There comes a time in every man's life when he's listened to the Dirty Three's Live at Meredith so many times he can lip sync to Warren Ellis, and it is that very moment, when the bits have worn off those CDs, to see what the boy can do solo. I grant that a tiny circus tent on the edge of Hyde Park, and the Sydney Festival itself, is not that conducive to ruminating on new tunes, especially when one is totally preoccupied with showing a garbage collector collects garbage, and only the garbage.
Atypically he played with a band featuring three ladies and two other blokes. I sat in a strategically stupid spot and got the Warren Ellis treatment, i.e. he faced away from me the whole time. In fact the only person I could see was the (entirely agreeable) bassist Peggy Frew, and I got the impression that his tunes were not taxing her. One lady did vocals, the other keyboards. A bloke played some kind of backing guitar and the drummer was up against it with Jim White sitting in the crowd, though maybe I hallucinated that last part.
Bernie always reckoned Mick Turner was too much of a doodler to take the lead, and he was somewhat right; however as I'm looking for that kind of spaced-out non-intrusive and not-boring thing that he carried off so well on Ocean Songs, I later blew another $85 on what's available from his online shop.
All this came at the end of an afternoon in the State Library. Their internet is still all Port 80, which precluded a commit that I've been aiming for all week. I was also very tired, and am not sleeping enough presently. Betts got parked out front of the Lands Office, in a 2hr zone next to a red CB250 with ~30,000km on it, and a bit later on, next to the adventuring kind of BMW I just don't want.
As advertised by the NOW now, John Wilton was bashing a cymbal in the drain under Sydenham Station. I think he also had some post-processing that lent it a spooky ambience.
The Australian Chamber Orchestra at the Sydney Opera House: Bach Brandenburg ConcertosSun, Dec 08, 2013./noise/music | Link
My Christmas present to myself. They played four Bach Brandenburg Concertos: No. 1 in F major (BWV1046), No. 6 in B flat major (BWV1051), No. 2 in F major (BWV1047) and No. 3 in G major (BWV1048). For an encore they played the final (third) movement of No. 4 in G major (BWV1049). I enjoyed No. 6 the most, perhaps because it was a much smaller ensemble and the two blokes (Christopher Moore and Alexandru-Mihai Bota) leading on violas (no violins) enjoyed themselves so much. I was sitting in the front row of the choir, which was a mixed blessing; the hunting horns pointed backwards so they tended to blot out the rest of the instruments. The couple sitting next to me told me I was sitting where Barbara usually sits, and presumably her health issues prevented her coming today. Overall I'd prefer to buy a recording and listen to it multiple times than go to this kind of concert, if only because (irritatingly) the familiar bits were the best.
Apparently I went to two previous New Music Network gigs this year: Synergy Percussion and Tangents. This one was in the Paddington Reservoir and was quite restful. The ambient noise (traffic, pedestrians, tourists) drowned any subtleties the two saxophones may have had.
Before this I went to the COFA annual exhibition. Several Tracey Emin-inspired pieces there, such as the chained lion in the semi-made bed, and the prize-winning laundry line with embroidered self-loathing. The undies looked far too clean. (GOMA in Brisbane has a Tracey Emin neon piece.) Whoever stuck some hands made from soap on the wall (also prize-winning) is very skillful but needs to work on the politics of placement. Contrary to what I'd been told, there was a small amount of glasswork there too. Apparently they have a Creative Robotics Lab now. Looks like fun.
I was going to ride Betts down to Campbelltown (specifically Campbelltown Road) with this gig as the excuse. The rain put paid to that, and I was giving Erina a lift anyway. As always they had some nice bits but it was difficult to get into the whole thing. I liked the gong as played by Bree van Reyk. They did some performance art-y bits in the middle - and I had to wonder if these came with the piece or were intended to spice up some fairly abstract sounds. The venue was the same as, very pleasant (and I do like the neon in the foyer). We had a drink and a light dinner at the cafe in between the sets.
Erina invited me along to see this men's choir which is certainly not a men's group. The best part for me was when they momentarily paused in their cleverness and sang a Gregorian chant straight; that was captivating. I enjoyed the rest in a Monty Python sort of way. We had their pizza for dinner, and the bar staff were very friendly. A pretty stock inner-west kind of crowd, I think. The venue is full of Camel (cigarettes) paraphernalia, upstairs from the Django bar which is full of other sorts of stuff. Teascapes was this kitsch back in the day.
David Angell, my first-year calculus tutor, took up conducting amateur orchestras some time in the late 1990s. I made it to a couple of his gigs years ago. At $30 for an adult, the crowd was small and appreciative, and St. Stephen's in Newtown has super acoustics for this kind of chamber music. Betts is super-happy after her tune-up, and I enjoyed the ride over despite some overly aggressive traffic (for a Sunday, anyway). I think one of the music profs was was playing cello; last time I saw him (or the bloke he most resembles) he was opposite some of his students: the Tawadros brothers and a bloke playing tabla, in the Clancy. The draw was Barber's Adagio for Strings, which I only recently realised was at the heart of Ennio Morricone's score for Lyne's Lolita. The second set featured some lovely harp.
A 6pm gig at the venue that looks like something out of A Clockwork Orange (no, no, not the korova bar). I liked the first set by A Slow Rip; a wall of noise slickly done. I skipped the second one due to running out of energy (again). The inbetween guys were interesting too.
Alaska Projects: Musical Alaska #12 — Phillip Glass: Music in FifthsSat, Oct 05, 2013./noise/music | Link
I headed back to the carpark in the Cross for another subterranean gig. Free booze and all that for their second birthday, and I missed out as I was on Betts. The Glass piece came over OK after I realised that the squealing children and barking dog (yes, someone brought their dog) improved it. I skipped the second set in response to an urgent need to hack, the like of which I haven't felt for years. My attempt to buy their free water with a $10 donation was met with a copy of the third issue of the World's Only zine.
I've been meaning to see Tognetti play his violin for years now. For thirty five bucks I also got to see him play the keyboard ala Warren Ellis, or more accurately, Leonard Cohen. (OK, he didn't actually make a big deal of switching it on.) Shades of Dylan in a park in London in 2004? I guess I can see why Ellis will never play with these guys.
I think Satu Vänskä usually plays second fiddle to Tognetti, but this was certainly her night. She was super-awesomely-excellent on the violin. Her repartee made it clear she was amongst (north shore, Vaucluse) friends. They did two renditions of Reznor's Something I can never have (the latter the entirety of the encore) , citing Natural Born Killers, somewhat spartan and cleaned-up where Reznor does fragile violence, which is inward directed and hence somehow OK. Some other songs that I can't name verged on the twee. I had to wonder if we've seen all this before with Fourplay's "infamous" Metallica cover. And that was back when I was a kid. They closed out the main set with some pleasant Vivaldi before an aborted encore and then the reprise.
I got wondering if they should have kept their other night jobs; did almost everyone in the crowd wish they were playing something else, or with their old bands? Guests Jim Moginie (Midnight Oil) and Brian Ritchie (Violent Femmes) left me hungry for words with bite.
The warm-up was a poetry-slam over some nice violin work by one of the ACO blokes. They called themselves Marcie.
MacDonald/Spence/Denley/Altman/Pettigrew @ The People's RepublicMon, Sep 23, 2013./noise/music | Link
A Laura Altman segue from her Alaska Projects gig, pointer from the NOW now. She was playing clarinet as part of an improv five-piece, and it had nothing to do with frogs. I bailed after the first set as I stupidly didn't eat before I went. Nice venue. I'll be back.
Synergy Percussion: Check My Machine at 107 Projects, Redfern.Thu, Sep 19, 2013./noise/music | Link
A Bree van Reyk segue from the Ensemble Offspring gig out at Parramatta. Twenty bucks. Bree played most of the gig, with two or three blokes. Also a solo by one of the blokes. Some of it was quite good, other bits twee, like the 8-bit synthesisers / sequencers that put me in mind of the gameboy thing I went to a few months back with Ben. There seemed to be a fair bit of improv. Some of the automation was quite funky: automatic bass drums, and a snare (? - I think). Some ambient-ish stuff. 107 Projects is a nice space.
"Ethiopian Soul" for $5 on a Wednesday night. With Dave and Dan Ferguson, who both got right into it.
Alaska Projects: Musical Alaska #11 — [Volta Collective] time without lightSun, Sep 01, 2013./noise/music | Link
Dave and I got there in time (having been trained by them starting promptly at the last one) to hear the six-voice choir sing Carlo Gesualdo's Tenebrae Responsories for Holy Saturday. The acoustics of the carpark were perfect. Dave reckoned Laura Altman's interspersed compositions reminded him of a frogs' chorus after rain in Bangkok.
Alice Terry (and guitarist friend Dave Rodriguez) at Bohemian GroveSun, Sep 01, 2013./noise/music | Link
Dave's mate Em was heading out to this gig down near Central, so we went along too, after the gig in Kings Cross, in the spirit of why-not. Dave legged it from the Cross in record time. Em said she'd been to this venue a few times, and caught the performer at 505 last week (?). Smokey vocals for sombre jazzy (or country?) tunes, some covers, some originals. Small crowd. As always, it was someone's living room. $10 donation at the door.
The Silent Hour: Ion Pearce, Julian Day, Andrew Tuttle, Live&DirectWed, Aug 14, 2013./noise/music | Link
A NOW now advertised gig, though I didn't see any of that crowd there. Their blurb:
She's BACK.. elegantly composed! For those of you who appreciate the beauty of sound and symphonic textures. The Silent Hour is an intimate evening dedicated to electroacoustic and audiovisual composition.
Established in 2011, TSH is one of its kind and has presented Internationally acclaimed artists in the field of electroacoustic and audiovisual explorations such as Daniel Blinkhorn, Axel Singer, Chihei Hatakeyama, minamo, Greg Haines, Spartak, Pollen Trio, Ollie Bown, Seaworthy, Fourcolor, Pimmon and Moskitoo in the heart of William Street East Sydney.
Wednesday, August 14
Level 2, 77-83 William St, Darlinghurst
I went for Julian Day; Jacob keeps telling me he's into weird stuff, and he didn't disappoint. He turned up with his girlfriend, two vintage Casio keyboards and about ten hefty bolts (of perhaps 20mm diameter; see here). Seated on a cushion on the floor, his performance consisted of carefully placing the bolts on the keys of the synthesisers and adopting a zen of concentration. The result were lots of beats and harmonics between the notes and the two synthesisers, which was far more interesting than my description implies; as the perceived sound depends on the propagation path, moving one's head was enough to discover another timbre. It was certainly more emphatic than Eno's ambient, and I found it quite relaxing.
The second dude (Andrew Tuttle) had a laptop and a banjo and did something atmospheric. The last guy (Ion Pearce) was a poet-of-sorts, recounting over moody drums/bass/guitar, played by his two collaborators. I could see where he was going.
The venue was a Shaolin monk / martial arts room. Their propaganda (respect/trust yourself and your master, ...) is touchingly fascistic. There was no blood on the dojo floor, and the present Bruce Lee revival proved as yet insufficient for him to put in a showing. I think it used to be the General Store for Contemporary Art.
With Dave and his mates (Justin, Dan Ferguson, Em). Just like old times for them, and now that I am twice the age of those wearing not more than their underwear, kinda fun for me too. The music is clearly keyed to altered states of being, rushy and not too melodic. Too much bass for Dave until we found a possie up the back near the bar.
The NOW now promoted this gig. Ben and I got in for $10 by virtue of being on their mailing list. The appeal was to see Peter Hollo (ex-Fourplay) again after so long. We missed about half of the opening set, which I quite liked: Cycle 440 (Sam Gillies and Kevin Pen) on the piano and laptop, manufacturing soporific ambience. I didn't really get into Tangents proper.