wanderlust

part 2 of a run of blue-chip bands playing this weekend at the sound lounge
last night it was the much-loved ten part invention laying it on
tonight miroslav bukovsky and james greening are back on stage
but significantly in this case at front of stage with the six part wanderlust
understandably a completely different sound with jeremy sawkins on guitar
steve elphick also puts in a repeat performance guesting on double bass
fabian hevia assuming his usual position at rear on drums and percussion
and way over there stage left is alister spence in charge of the yamaha c7 piano
a typically quiet and gentle start with him doing a solo piano piece
then one by one the others come in also quite tentatively and gently
it's a classic warm-up number allowing them to check and synchronise
another case i suspect of rehearsal time being nil or very limited
this confirmed by the friendly embraces exchanged between members pre-set
and so it's the decades of performances that provides the foundation
some reassuring glances, nods and smiles indicating this will be good
miroslav bukovsky is the driving force of this band and does mc duties
james greening also in his usual master of comedian role with his quick wit
so everything is in place for the band to crank into it and excel once again
my feeling is that the outstanding component here is the songwriting
tunes that all have a unique edge to them and true to the band's name
dakar, samba nova, mumbo jumbo amongst the stunning tunes played tonight
the band name very aptly describing the music that they play so convincingly
always a sense of travelling, distance, foreign places invoked when they play
so easy to give into the music and go with them on the journey for an hour or 2
a wonderful hybrid of music with jazz, world and even rock (guitar) intersecting
and as a bonus alister spence on piano adding a lovely melodic component
as for last night's performance it's the sense of control that dominates
in this case bass-player and drummer a constant in every tune
allowing the 4 chaps up front to come and go with ease
piano, trumpet, trombone and guitar solos all taken and played brilliantly
then on the occasions when they are all at it there's impressive harmonies
a highlight in dakar being trombone and guitar sounding as one
if there was one standout musician tonight then jeremy sawkins did it
every time i have seem him with this band he has contributed faultlessly
but tonight he went up a notch or 2 in intensity and inventiveness
his left-handed chord-based effects-driven guitar-playing superb
bringing to mind more than ever pat metheny at his fastest and best
sounds meshing so well with the music coming from his peers
and significantly applause, whoops and large smiles also from them
which pretty well summed up the whole nights performance
you know you're onto a good thing when the band is enjoying it
this band has 6 members of equal and individual skills
each one of them clearly with respect for each other
as evidenced by the after-show embraces and handshakes
me - just so happy to be there and now re-charged (again)

ten part invention

for about the 3rd or 4th or 5th time in the last year or so
but like a few other bands, events and occasions in this life
not to be missed unless physically impossible to be there
tonight it's back to the sound lounge for part 1 of a stellar weekend
the last one was 2 nights of incredible new-to-these-ears music
this one sees live on stage 2 acts now seen with commitment
but true to life tonight's first lesson is don't assume anything
walking in well early to secure a good seat and sound-check is on
but uh-oh no john pochee on drums and a young dave goodman instead
and to add to the concerns is dale barlow tuning up not bob bertles
musically not a problem - comically is the main concern
for it is mr pochee that leads this group especially as m c
as the music starts such concerns dissipate with the familiar
the constant 8 of the 10 part group all in familiar territory and into it
tossing the musical ball around as they all take a lead at some point
at the end of this tune ken james steps forward and assumes mc role
announces the tune as their usual warm-up set and does the welcomes
he also has a fine sense of humour so it's best wishes for john pochee and on with it
this band is carrying forward the legacy of deceased pianist roger frampton
a couple of his pieces - jazznost and the longest journey played in sequence
both composed during a tour of eastern europe so the mood to match
every time i see 10 part invention i am in awe of their connection
i believe that they do not (can not) rehearse their material endlessly
but after 20 years of playing there must be a sense of understanding
allowing familiar pieces to be played with known reference points
but all around that all sorts of different things happen with each play of each tune
tonight there's the need to count in or otherwise assist the new chaps in the band
dale barlow hardly needs any tuition but it's him that gets the most assistance
dave goodman on the drums mostly playing as though he's been there from day 1
then there is the manner in which solos are given, taken and absorbed
james greening on trombone in particular fine musical and comical form tonight
he gets to solo in one tune leading eventually to all other players stopping
his playing also winding down to an almost whisper/talk from his instrument
but at the same time the tune is hanging in the air waiting for resurrection
and sure enough at some magically appointed moment the band kicks in again
a rousing return to the tune with loud and enthusiastic applause to match
bringing to mind that this band is tight with control but loose with delivery
loose allowing the freedom for individual players to be as into it as they want
tight meaning the music never gets lost or wanders off into improvisation
every tune thoroughly composed and requiring regular reference to sheet music
sandy evans and miroslav bukovsky again referenced as the main composers
she in her usual excellent form on tenor sax, he giving all on trumpet or flugglehorn
in typical don't-assume-anything style though another surprise at the end
blues for clanceye has always been the big closer and a favourite tune of mine
but not tonight - they have decided to haul out another piece new to these ears
ken james introduces the tune written by miroslav bukovsky in 1988
after witnessing the tall ships in the bi-centennial celebrations
coming up sydney harbour adorned with coke sponsorship
and so it is that welcome to captain coke is introduced and then played
2 members of the band featured playing drumsticks in aboriginal style
and then dale barlow on his baritone sax using circular breathing to great effect
invoking a rich deep sound in a very reverential manner like the sound of a didgeridoo
the rest of the band then joining in to play a very sombre but moving piece of music
leaving no doubt as to the intent of the tune as a reminder of an event 200 years ago
piano, double bass and brass all used most effectively to add to the mood
and then an ending to match the beginning with the didgeridoo sax sound
back with the sticks and then a few moments of absolute silence
a stunned audience before wild applause breaks out for the band
sigh...another performance by ten part invention over
but there's a couple coming up in april
featuring one andrea keller
aria-award winning pianist
...and the band plays on

milk

there's some big things going for this latest sean penn film
apart from him in the starring role gus van sant is directing
it's had almost unanimous rave reviews - penn's best film, etc
and is based on a true story about american politician harvey milk
he being the first homosexual to reach high office in the u s of a
high office in this case being a city administrator in san francisco
this happened in the mid 1970's so this film is a kind of period piece
centered on the events leading up to the murder of harvey milk in 1978
the film opens with harvey recording his memoirs should he be assassinated
and from that point on the film cuts between that and the events he describes
the starting point is harvey's 40th birthday which he is celebrating in new york
he meets robbie the love of his life and they decide to make a change and head west
san francisco is a magnet for homosexuals and so it is there that they settle
harvey has an interest in photography and they open a camera shop
centrally placed in the heart of the mainly gay district of castro
and before long a meeting place for the many gays flocking to san francisco
but there are straights out to spoil the fun including the local police
so before long harvey finds himself a spokesperson, activist and politician
my impression is that the director has very deliberately stuck to the truth
which means he can use archive footage to both augment and verify the story
quite often it's this footage that is slipped in that is the most impressive
actual scenes of tv interviews, police harrassment, protest marches, etc
the switching between documentary and drama very subtle and effective
sean penn as usual provides an exemplary performance as harvey milk
no fear of this actor over-acting his part or being miscast in the role
and no doubt inspiring those around him to also deliver the goods
josh brolin seems a little understated as the straight administrator
us and him it seems a little confused about where his mind is at most of the time
but enough lines worked into the script to suggest he is a ticking time-bomb
there seems to be genuine respect between him and harvey milk
and it is this relationship that is the foundation of the film
understandably so as there is no secret how this all ends up
which is another clever part of the film - there is no big unpredictable ending
several times throughout the film we are told what is going to happen
which has the effect of allowing us to concentrate on the facts behind the crime
and enjoy the ride as the film builds towards the inevitable finale
for me it was a bit of a nostalgia trip - fashions, music, attitudes of the 70's
cars, gadgets, furniture, etc all meticulously representative of that era
there's no argument that gay rights then (and now) is a big issue
in a way not much has changed with the attitude of some right-wingers
which had me thinking how disappointing it would have been for gay activists
knowing that their struggle then in a way has gained so little in the u s at least
but putting that aside this film is very educational and entertaining
sean penn does it again - not forgetting gus van sant - nice one

snap

sandy evans has a knack of coming up with clever band names
there's the eclectic 8-piece sandy evans tony gorman led outfit named gest8
and tonight for our listening pleasure her latest 4 piece outfit titled snap
featuring sandy, nick bowd, andrew robson and phillip johnston
but a change in personnel has seen andrew robson replaced by paul cutlan
snpp just doesn't have the same ring to it and so wisely snap is retained
there's something quite satisfying about a 4 part saxophone quartet
my first exposure to this format being the adelaide sax pack
a bunch of 4 highly talented and inventive chaps having a lot of fun
the delta saxophone quartet another group heard recently on cd
their latest album an exquisite selection of diverse and unique tunes
which after many listens had me yearning to hear more of this format
and so it is that the essential sandy evans and friends deliver the goods
though it is apparent that phillip johnston is the driving force in this band
the first tune starts very noisily as they blast their way into startup mode
a little bit of trepidation as to the sustainability of such a racket
and the lack of rhythm section particularly is noticed straight away
but such doubts are very quickly dispelled as they settle into the tune
and plenty of harmonising between the various players comes to the fore
we have before us 4 supremely talented musicians giving their all
on 4 quite diverse sounding instruments - baritone, tenor, alto and soprano
the first tune giving some indication of the possible diversity of sound
phillip johnston is mc for the night and thankfully seems to enjoy this role
taking the time to announce each tune with respect and humour
so that a wonderful rapport is established on and off the stage
it's quite apparent that each musician greatly respects each other
so that each tune is played with the utmost conviction and skill
every piece requiring full concentration from each player
this music to me seems very complex and challenging to play
every note has been arranged and so sheet music is essential
they move between solos, duos and group harmony with ease
the richness of the sound of the saxophone used to the max
totally justifying this format and the redundancy of other instruments
there's a mix of material by other composers and themselves
a sandy evans tune called street party wraps up the first set of the night
hard to pin it but a sense of african township jive creeping in
but really it's the same old story - that australian jazz sound again
that one where the influences are diverse and the result indefinable
in the second set a piece titled reviled changes the mood totally
this being a very slow, melancholic, almost orchestral styled work
quite breath-taking in it's scale and range of sounds achieved
musicians eeking out the strangest of sounds from their instruments
phillip johnston apologising on this valentines day for the mood change
one other standout track being another sandy evans composition
the title being dawn over (insert aboriginal named place near bellingen)
this piece should be used in schools to demonstrate art in music
so easy to imagine a sunrise as the instruments are used inventively
there's random bird noises and the crackle of leaves and branches
a slow build as the sun comes up and illuminates the day
the full heat of the sun invoked by 4 musicians blasting away
then a drop-off in intensity as the sun recedes and finally sets
an amazing piece of music played amazingly by this group
tonight's audience totally won over by the performance
leading me to think if they were stringed things would be different
they'd be commanding big fees playing to big audiences in concert halls
hopefully someone of influence will remove cloth from ears
of blinkers from eyes - or whatever it is that gets in the way
snap - great name - superb music - long may they play

translators

this show at the sound lounge billed as steve hunter : the translators
i'd heard or read his name a lot in a reverential manner over the years
tonight he is with a relatively new outfit of eclectic musicians
the man himself playing electric bass and leading the show
damien wright stage left on nylon stringed spanish guitar
stage right is ben hauptmann on mandolin and effects pedals
between them all his brother james hauptmann on drums and percussion
the promise of an interesting sound fulfilled from the first tune
a long piece proving the skill of each individual musician
and at the same time showing what a great sounding band they are
my first impression within a few bars was that this is a very tight outfit
forget improvisation - each musician knew exactly what they were all doing
complexity also sprang to mind - time changes, solos, duets all done expertly
no reference to sheet music (as often is the case) with this band
indicating to me that they have rehearsed their material intensely
so much so that they had the freedom to play it with confidence
and at the same time enjoy the experience as much as the audience
all this observed in the first tune - could they maintain this for 2 sets?
steve hunter did the honours on the mic between each tune
made us feel welcome and provided some insight to the music
and then another piece of amazing music would be presented
if any musician had any prominence it was steve hunter himself on bass
setting up several tunes with a solo and the focal point in all of them
demonstrating amazing dexterity with his melodic, funky sound
but he is also very generous towards his fellow musicians at all times
introducing tunes composed by each of them and sharing the stage
damien wright producing a beautiful sound from his spanish guitar
his right hand strumming at speed in true flamenco manner
producing a rich, warm, melodic acoustic guitar sound of difference
ben hauptmann on mandolin doing the same with his instrument
at times sounding as you would expect like a classic mandolin
but producing an exquisite sound when the effects pedals are engaged
reminiscent of a full-on electric guitar but not so demanding or dominating
brother james the perfect drummer for the 3 guitarists in the band
nothing too flashy but perfectly balanced with the combined sound
keeping and changing time precisely, filling out with ease, having fun
which was true of all of them - a great sense of enjoyment seen on stage
lots of smiles between musicians as they knew it was going to plan
several times i tried to think what pigeon-hole their music belonged in
but not possible - they have forged a unique and hybrid sound
that which several experts claim is the sound of australian jazz
influences from many before but free to go wherever it wants
bringing to mind the likes of wanderlust who are in a similar space
but also in at least one piece a reminder of pat metheny the way up
so to me as a metheny fan very happy to hear a brief connection
couldn't help but think how lucky we the audience are to be here
this is a band who has devoted countless hours to hone their craft
we show up on the night and they are our servants for an hour or 2
but what a time - exquisite, unique, hugely satisfying music
now i know why the man is regarded as such an icon

jolie holland

sometimes it pays to take a bit of a risk music-wise
this lady on tour from the us of a presumably to build the base
the writeup for the show mentioning some big name connections
names as big as m ward who played and produced some tunes with her
a surprisingly small crowd at the basement as she steps on stage
picks up her beautiful acoustic guitar and shows us how to play
one guitar but there's a bass line and a melody coming out
so me thinking if nothing else then musically things are fine
and then soon we hear her strong, accented, versatile vocals
there's an exaggerated texan drawl featured in this tune
making it necessary to concentrate hard on the lyrics
voice and guitar together making for a unique sound
in the second tune she is joined on stage by her band
she is now flanked by a bass and electric guitarist
and a lady up back taking up position on drums
a very well balanced outfit at least aesthetically
with all them now playing it makes for a clean sound
it's a kind of country-rock-americana sound with a twist
that coming in the form of the voice of jolie holland and her lyrics
the first band tune titled the living and the dead quite bittersweet
reminding me of the handsome family seen at this venue also
tonight some more sweet sounding tunes and acerbic words
the band occasionally rocking it out but also holding back
and at times all 4 musicians harmonising on the vocals
the guitarist mixing in sounds and riffs well suited to the tune
none more so than a singing riff on a tune called the littlest birds
jolie holland is also a capable pianist as she switches instruments
adding another dimension to the sound coming from the stage
as the set goes on she seems to loosen up with the audience
between songs she speaks very sweetly about her experiences
making clear reference to a bohemian life lived in new york
she mentions quite a few unheard-of-by-me fellow songwriters
also included is a cover of a bob dylan song that sounds like her own
heading towards the end of the set and the intensity builds
another change of instrument as she picks up a violin / fiddle
proving beyond doubt that she is a supremely talented musician
the set ends as it began with her back in solo mode with her guitar
and an audience totally besotted with her and her music
loud and long applause rewarded with a 2 tune encore
my impression - she could break through big time
everything is in place for that to happen
gorgeous lady, great songs, gifted talent

matt mcmahon trio

2 of this trio have been seen many times before
matt mcmahon one of the most respected pianists around
simon barker would have to be the drummer's drummer
unknown jono brown completing the trio on standup bass
they're at the excelsior hotel on this tuesday night doing the late set
a respectful audience in both numbers and attitude in attendance
matt mcmahon in charge of his trusty rhodes electric piano
looking every part of it's 70's vintage - and that at a guess
he leads off with a gentle noodling of the keys
a very distinctive hybrid sound that defines this trio
halfway between an acoustic piano sound and full-on electronica
not a sound my ears are particularly tuned to in normal circumstances
but this player deserves respect whatever the instrument
over on percussion simon barker is also sneaking in
the gentlest of taps and scrapes on cymbals his early contribution
at back of stage jono brown also gently adding the bass line
the lack of melody and sheet music suggesting full improvisation
happy about that as the early signs are that it will work here
there's not much eye contact as the players zone into the sound
simon barker particularly quickly seen locking into the moment
taking up his usual eye-closed, head-turning, body-swinging motions
keeping away from drums and providing unique percussion
his side-on position at front of stage making him dominant
it's only a couple of minutes into it that i am also locked in
ready to go along with this fine sound they have generated
another example of expert musicians combining expertly
producing a balanced and integrated sound that is quite unique
the opening piece is then closed out with some warm applause
and surprisingly matt mcmahon announces it as a composition
he then introduces 'unaustralian of the year' last heard played solo
impressively then on a beautiful yamaha c7 grand piano
tonight it's unrecognisable and only slightly less appealing
the rhodes keyboard sound dominating in this tune
with all 3 musicians now well settled in and enjoying the moment
setting the scene for the rest of the tunes in their set
jono brown does all he can to avoid the spotlight
happy instead it seems to work in a smooth bass sound
leaving the 2 musicians at front of stage to dominate
my impression being that there is a great rapport on stage
that infuses the music with an essential binding element
this confirmed by matt mcmahon introducing his close friends
the audience well into it and demanding an encore
one call for another cole porter tune that surprised me
mainly because it came from another local jazz contemporary
the trio finishing their set with a slow and gentle ballad
a reminder of how close this kind of outfit is to disarray
but confidence and skills overriding any chance of that
instead providing a perfect bookend to an hour of fine music
and then a wander out into the warm air of the night
all thoughts of bushfires, etc banished from the head
ah....the power of music once again to the rescue

rodric white quartet

i hadn't planned on another friday night sound lounge visit
but partway through the day it was decided some live music was needed
the best tonic for anything and all else that may be ailing the mind
this show advertised with a special guest making up the quartet
dale barlow adding flute and sax noises to the piano-based trio
rodric white the composer, leader and pianist in this unheard outfit
dave goodman - heard of but never heard - on drums and percussion
an unheard of kevin hailey completing the lineup on double bass
sadly it's a small audience in attendance at tonight's show - about 40
and mostly clustered around the tables at the rear of the lounge
leaving me with a fine choice of tables up front where i settled in
a big breath, beer in hand and ready once again to be swept up
things start quite tentatively which is not unusual at this venue
a sure sign of very capable musicians finding their way
in an outfit that probably rehearses and plays quite rarely
but that is also the thing that also amazes me about this music
it can be complex but skillset and confidence makes a huge difference
dale barlow would have to be one of the most capable musos around
which had me thinking that rodric white must also be highly regarded
the writeup indicating he has travelled and recorded extensively
tonight he politely introduces each tune and goes to work
he's not a large chap and with head down the piano swallows him up
at least from my seat where his presence is in sound only
in each tune you can pick out the gentle melody of the piano
but whatever dale barlow is doing at the time dominates the sound
he switches seamlessly between flute, alto and tenor saxophones
in several cases asking his leader which instrument is preferred
the rhythm department looking comfortable with each other
smiles and laughs exchanged as they play without fuss or fanfare
after a few tunes the pattern has been well established
rodric white is the man with the tunes and therefore in charge
there is definitely something very appealing about his sense of melody
each tune was quite different to each other - a feat in itself
one in particular - because of you (?) - just beautiful and melodic
suggesting in recorded mode this music would be worth checking out
especially as dale barlow has also been involved in the recordings
and here the man at centre stage can't help but be the centre of attention
he has an imposing physical presence as does the music he plays
my thinking being that anyone he played with would have to lack ego
fortunately tonight that is the case as rodric white happily sits back
lets the man do what he is here for - fill out the sound superbly
it's not often the flute is heard as the lead sound in a jazz combo
but tonight dale barlow reminded us all how it can be played
a rich, strong, haunting, floating sound that dominates the tune
there's piano and rhythm in there somewhere as well
on occassions mr barlow would step aside and let the others have a go
rodric white adding some interesting flourishes on the yamaha c5
one quite loud and busy drum solo that didn't seem out of place
but the sound seemed to be lacking without the brass
in the second set things seemed to pick up in pace and intensity
rodric white introducing a tune inspired by african music
what followed was a great ensemble piece that had them all hard at it
that seemed to give them confidence for the remainder of the set
except for one uninspiring, under-rehearsed, very average waltz tune
one of those rare times when you just want it over and done with
but apart from that it was a very enjoyable night of music
take a nod mr white and co, take a bow mr barlow
his dominance highlighted by the last tune
an improvised free-for-all with 2 distinctive components
pianist almost floundering trying to find his part in this piece
and a sax player seemingly using the moment to have an indulgent blast
good stuff - wouldn't have been anywhere else
....again

joe chindamo trio

subtitled the obnoxious performer from hell episode
it was all a bit of a rush to get to this one for starting time
but i succeeded in arriving as the band stepped on stage and started up
i also managed to fluke a spare seat at a near-stage table in a very full venue
didn't take too much notice of the crowd and concentrated on the music
i'd heard and read of melbourne based joe chindamo quite often
mostly as a performer at the wangaratta jazz festival
but i had actually never made it to any of his performances
so when he was booked to appear at the sound lounge i was there
the program had also promised jonathan zwartz on double bass
and brother of you-know-who john morrison on drums and percussion
first sign of things to come - no zwartz to be seen and someone else instead
ok - no problem - that's the thing about jazz - versatility and improvisation
or to put it another way - in the wrong hands - make it up as you go along
the opening tune was all very pleasant - nice piano, nice tune, nice melody
at the conclusion of this tune there was almost rapturous applause
which had me a bit baffled and the second sign of things to come
i looked around and took a closer look at those in the audience
uh-oh - i'd got myself entrenched into the high-brow jazz scene
no disrespect intended - but - this is a scene at one end of the scale
my actual main interest in jazz music is significantly at the other end
i'm just not that into gentle, easy-listening, inoffensive, safe, nice jazz
give me noise, improvisation, originality, sensibility-challenging any day
but of course unfair to judge after one tune so the decision is to go with it
which is about when things got really ugly and had me most unhappy
mr chindamo shoo-ed his 2 musical partners off the stage to go solo
and proceeded to tell us that he would be performing 2 pieces
the first would be a tune by paul simon titled america
the second would be the theme from fargo by the coen brothers
and then from a chap seated at the front of the venue - a loud woo-hoo
which seemed perfectly reasonable - i too was a bit excited by this
but mr chindamo was not happy about someone expressing such joy
i appreciate your enthusiasm but could you keep it to yourself it's really annoying
yikes that's a bit rude i'm thinking to myself - this is a live show after all
our friend down the front made some unheard comment - the reply
yes and you will find yourself out of here if you carry on like that
to which rightly so the paying guest quietly departed without any fuss
i was actually quite ready to walk out with him but decided to persevere
but the damage had been done - the simon and garfunkel tune was just....nice
the theme from fargo was largely unrecognisable and basically boring
when the 2 others returned to the stage it was better but not so good
the stand-in bass-player struggling and barely adequate at this venue
drummer john morrison also seen to be below average in comparison
and so it came to pass that i decided i did not like the man nor his music
the end of the first set couldn't come around quick enough for me
as much as i hate arriving late or leaving early for live music
this one was not going to get any better and the bad taste had set it
and so i was out of there - sorry joe - maybe it was a bad night

aron ottignon trio

it's been a long time between seeing and writing
but for the sake of completeness a review is required
actually it's more because of a memorable bit of music
i hadn't actually intended in attending at this performance
but driving past the venue at the right time forced a change
i had a feeling i would be in time to catch the second set
and sure enough i walked into a sound lounge relaxing between sets
quite a decent sized audience and one other lone chap seated down front
a spare seat at his table and no problem with him as i asked permission
then a brief q&a session on the merits of the first set - not too bad
but the excitement was being held in check for the second set's treat
a steel drum player by the name of sam dubois joining the trio
led by highly respected young gun aron ottignon on piano
tonight there is another surprise in the trio's lineup
the rhythm department not at all as promised in the program
a little bit disconcerting as the advised drummer always turns it on
simon barker does no wrong in this fans ears so a disappointment there
still - i'm only there on a whim really so no right to complain
the first tune of the first set and it does sound a real treat
the steel drum sound mixed in precisely with the piano
sam dubois standing with a twin steel drum on a stand
playing it so fluently pulling a huge array of notes
and therefore able to harmonise with the piano nicely
apparantly pianist and steel drummer play together quite often
in various lineups back in their current home country of the u k
this is yet another case of jazz music heading off in another direction
a clever combination of usually quite disparate instruments
then to add to the mix brother matt ottignon is invited on stage
he also has a big reputation as being a leading light in melbourne
regarded as one of the better sax players based in that town
tonight he lets fly with some very melodic tenor sax playing
so between the 3 stars and the capable rhythm section it's all good
the combined sound quite unusual, quite loud, and quite enjoyable
though i must admit by the end of the set i'd heard enough
the steel drum sound is quite unique and quite dominating
despite some expert playing it is a bit one-dimensional
so maybe why it has been restricted to one set tonight
lucky me able to see that set in it's entirety
a quick chat with my namesake at the table
then out and continuing the drive south
tuned into some jazz on local fm radio
while driving through the national park
all in all a very enjoyable night

gran torino

clint eastwood - one of those actors who demands trust
in that whatever he produces is going to be the goods
which is why i decided to check out this his latest film
and why the changeling will probably get a viewing also
a gran torino it seems is a prized classic american car
in australian terms think valiant charger or (old) holden monaro
clint eastwood's character walt kowalski has one in his garage
his pride and joy and rock of his life since his wife has died
the film opens at the funeral with kowalski the grumpy old man
showing disdain for all and sundry particularly his grandchildren
there's no desire or intention to understand or get close to them
the young parish priest also cops it when he suggests a confession
this apparantly being the last wish of walt's deceased wife
she aware that his bitterness needs to be released somehow
but instead he continues to take it out on the neighbours
a chinese immigrant family representing a changed society
walt is a korean war veteran and a retired auto worker
at the twilight of a hard life that has no respite in retirement
he really wants to just hang out with his labrador named daisy
but a gang initiation ceremony gone wrong changes things
the son next door botches up trying to steal the gran torino
his traditional punishment meaning he becomes walt's slave
walt reluctantly taking him on to fix up his and other houses
and so lives become entangled and before long there's a thawing
walt to the rescue of the daughter when threatened by a gang
seeing the clint eastwood of old drawing a gun in defence
and doing all but actually uttering his most famous line
and so it is that walt becomes his neighbours reluctant hero
visits are made between houses and walt is showered with food
in the meantime the parish priest persists with the confession
a softening of attitudes suggesting that it may now be possible
the film very assuredly works it's way to a big climactic scene
a totally unexpected but very clever twist in this urban tale
by the time this rolls around walt has been transformed
he's now much wiser to the modern world and much less caustic
he adheres to his wife's last wish as a symbol of the change
though the real evidence of his transformation involves the car
a closing scene that cleverly wraps up this excellent film
clint eastwood as director and star delivering the goods
a tale of redemption and transformation of a senior citizen
thereby pointing the way for others with similar attitudes
i'm sure some would view the film as blatant morale-pushing
but there's a very good and believable story at the core
meaning the film is successful on many levels
certainly had me thinking about it for days
a good sign that it has had some impact
avoiding grumpy-old-man-ness the aim
it's certainly not a good look
thanks clint for the reminder

duo buck / mayas

part 2 of a night of improvised music put on by sima at the sound lounge
the first set an exhilarating experience coming from stringed trio strike 3
so tony buck on percussion and magda mayas on piano have a hard act to follow
presumably these 2 know each other from their common base of germany
mr buck a resident of berlin and ms mayas born and living in germany
a very enticing preview of their show provided on the sima website -
tightly intertwined at the level of both the sonic material they pursued
and the rhythmic pointilism with which they went about their journey
they stunned me into wide-eyed, open-mouthed attention
phew - that's a big rap so i'm up for some jaw-dropping action also
the first impression is that there's a physicality to be overcome
magda is stage left at the controls of the yamaha c7 grand piano
buck is set up centre stage parked behind his impressive drum kit
me - kind of stage right so the 3 of us form a perfect triangle
not that i'm doing anything for them but i want to lock into this
tony buck earns my respect big time for what he has done over the years
the necks such a visionary band formed what 20 years ago
their music now is really not that much different to what is was then
but - to these ears and eyes there are a bunch of acts playing catch-up
fuelled by some incendiary musicians ready to also eschew fame and fortune
in pursuit of following their ideals musically despite limited acknowledgement
but i digress - tonight tony buck has decided to play the game once more
now i really want to be totally taken away by what he has to offer
and great to see him doing all sorts of clever things with his kit
a favourite trick being the dragging of a cymbal across the snare drum
and many other things happening besides in the percussion department
but...oh yes...there's another musician on stage also - better check her out
she seems lost in her instrument and making some very interesting sounds
occasionally she is on her feet and leaning into the body of the piano
bypassing the keys and directly tapping and bashing the piano strings
a nice trick but to me it seems not this beautiful piano was intended for
but put such purist thoughts aside and go with her right to do as she pleases
and then shift focus back to the other musician on stage for a while
which pretty well sums up their performance at this time on this night
a feeling that there were 2 quite independent musicians going for it
hardly any symbiotic connection at all - and not much eye contact either
i don't think i was alone with my impressions of this performance
applause was respectful but not at all wildly enthusiastic
improvisation fans have seen better at this venue
but improvisation can be like that
stunningly original one night
kind of average the next
but nice try anyway
maybe next time
or something

strike 3

improvisation - a creation - spoken or written or composed extemporaneously
strike 3 - mike majkowski, jon rose and clayton thomas (left to right)
young gun double bass player majkowski having just returned from europe
older gun jon rose missing in action somewhere but with us tonight
clayton thomas gracing us with a visit from his usual abode in berlin
i've seen the other 2 perform previously but mr thomas' reputation precedes him
what an extraordinary lineup - 2 double basses and a violin - all plugged in
i don't think it would be an overstatement to rate mike majkowski as the man
i've seen him on many occasions and always with total freedom to go at it hard
i don't know if he is at all that interested in structure or form or composition
to me it seems he is on a mission to discover every noise a double bass can produce
artery was the last sighting of jon rose - that lineup including pianist chris abrahams
memories of a violin taken to previously unheard places with empathetic support
clayton thomas is new to my ears but i'm told he is the king of improvisation
the last exposure to a twin double bass lineup was in a more conventional lineup
with astonishing results in the bottom end department of that band (blow)
so tonight should be an absolute stunner - helped by a front row seat
they are the first part of a 2 part lineup of improvisaton tonight
so they have one set of less than an hour to do their utmost
and no time wasted with the first tune a fast and furious number
it takes a minute or 2 to get the ears tuned into this unique sound
in particular the sound of the violin heading towards screech levels
but played with such command that overrides any aural anxiety
confidence is a wonderful thing combined with supreme musical skills
these 3 know how good they are technically and give over to the moment
a clear case of put in anything and everything and see what comes out
but it's not shambolic or meaningless or without some kind of form
this becomes quite clear when without any apparant signal it stops
suggesting at least some practise or agreement on how to wind a tune up
some very contented musicians on stage and then on with the next piece
in one sense more of the same but then also completely different
beat, pace and feel making each tune different to any other
and in each tune each musician searching for a new sound to add
mike majkowski scrapping palms over the body of his bass
or whacking the strings with his bow or ditto with the mic pickup
jon rose laying the violin across his knees and giving it a spanking
or embracing it like a lead guitar and working the strings accordingly
clayton thomas inserting all manner of things into the strings of his bass
number plates, steel rods, wooden sticks used to distort the sound
but always the same - an inert ability to know when to stop
take in the enthusiastic applause from the audience and move on
i lost count but i think there would have been 8 tunes played in all
nothing as mundane as introductions or explanations with strike 3
just a determination to totally exploit that which was available
their instruments, their skills, a sound system and a stage
not to mention the audience - which i think is no small component
but i would think that - it's about all i can provide
oh what an amazing noise they produced
string quartets of the world beware
strike 3 and you're out
(sorry about that)

nick cave and the bad seeds

the big headline act at this all tomorrows parties festival in 2009
the climax to a full day of many various acts curated by this band
which basically means they got to pick the artists appearing prior
things are cranked up significantly for the main man and his band
there's an impressive light show and volume is up significantly
to hell with the neighbours across the water in their harbourside homes
it's been about 15 years i reckon since i last saw nick cave and co in concert
he's a relative old-timer now so it will be interesting to see if this act has aged well
first impressions are almost over-whelming in the scale of the stageshow
this is one big presentation with all guns blazing from the word go
nick cave displaying all the energy he is known for in the live mode
constantly on the move with all the unique gestures he has made his own
looking very dapper and comfortable in his tailored 2 piece suit
latest member warren ellis on violin now his main foil on stage
this very hirsute musician playing like a man possessed
the 2 of them hard at it and literally bouncing off each other
leaving the rest of the band to concentrate on doing their jobs
the crowd lapping it up and loving this quite incredible setting
after a very hot day it's a still and balmy night that we are enjoying
the sound probably carrying well into the nearby suburbs and beyond
and what a sound - faultless production matching the big time light show
the latest album gets a healthy airing including title track dig lazarus dig
this tune translating brilliantly live and probably a highlight of the set
then there's the classics - tupelo, deanna, the weeping song, the good son
all sounding as fresh as the new material - maybe it's the ellis factor
or else simply because nick cave is now the consummate performer
knows how to put on a show and has the musicians and material for that
the only disappointment being the lack of banter between tunes
the one time he tried for that he got himself surprisingly tongue-tied
and so no more - the music does the talking and the crowd ok with that
i lost track of the time (a good sign) but it would have been close to 2 hours
a strange eeriness of silence in the night air as the applause waned
the end to a day of great music in perfect conditions for a large crowd
most now in very long queues for the ferries back to the real world
me - thought about hanging around to see the reformed reels
but memories of 2 other reformed 80's act still uppermost in mind
and not wanting to spoil that so a wandering i went on the island
through long abandoned tunnels and a dj set in a darkened shed
stumbling across another ferry departure point not known by many
straight onto the waiting boat and off we went on the return journey
standing on the bow with the warm wind blowing into the face
...i am the king of the world - well not quite but otherwise sated
get the impression we now have another annual music event
the gauntlet well and truly thrown by cave and seeds

the saints

mr kuepper out front of another reformed band for this festival
though in this case sharing the stage and the limelight with chris bailey
by all accounts still not the best of friends and so here for one reason only
resurrect this seminal band from way, way back and blow away some cobwebs
ek must have been well relieved to be relieved of the vocal duties at least in this band
allowing him to concentrate fully on the fine art of axeman extraordinaire
it's an impressive sight seeing him with a marshall stack at his disposal
and i suspect a motivating factor in getting this band back on the road
(though presumably some well-earned cash would help the cause)
the saints are the warm-up act on the main stage for the big one
there's a huge crowd in attendance and clearly some serious saints fans
quite a few fuelled-up chaps around me singing along note-perfect
drawing a few sideways glances from others - typically their sons
a slimmed down chris bailey also in fine voice and performing well
though not at all very complimentary about various matters
security arrangements, weather, audiences all drawing his ire
mostly in comparison to what he is used to internationally
so for me just much better he shuts up and does his job thanks
leaving me to look on and listen to some fine guitar-playing
ek in a posture almost permanently pointed to his left
which i suspect had something to do with singer on his right
the rhythm section pretty well ignored by the main men
and putting together a very solid bottom end to fill out the sound
but again it seems this band has also suffered with the volume control
it's just too damn quiet - it's ok - but it should be all over us down here
i'm not alone in this department with a number of shouts to turn it up
a futile gesture - is it noise restrictions on the island - or support band blues?
stranded and know your product are cranked out convincingly
great to see ek giving his all (does he know less) and thrashing away
hopefully expunging any pent-up desire to once again play these tunes
for i'm not sure that this is where he really wants to be musically
in a way he looks quite alone up there on the stage with this band
it's all done very successfully but i'm not sure of it's longevity
with not too much recorded material (for the original lineup)
and ek's itch to continually keep moving it seems short-term
by the end of the set the audience are giving due applause
i doubt any saints fan here would be less than delirious
and for me - great to see - tick - another first on this day

the necks

the necks in now familiar territory on a large stage at a large festival
something they apparantly do a lot of in other parts of the world
clever chaps have established themselves thus as an in-demand outfit
this while maintaining their musical integrity and no compromise approach
the thing with the necks is that you always know what you are going to get
it will be one piece per set with improvisation and repetition dominating
but even knowing that it's always a pleasure to see them deliver it live
for me it's no small part due to the satisfaction felt knowing they have made it
meaning hopefully other such noise-makers will find it onto the big stage
though as in this case it may take 20 years to get there but that just proves one thing
perserverance pays when onto a unique, original, even essential sound
today's set is further proof of their confidence, skill and belief in their music
tony buck on drums stage left to me was a trailblazer in percussion-stretching
today again demonstrating that any piece of any piece of equipment is usable
similarly mixing in other various hand-held rattles, cymbals, and metallic objects
mostly used in conjunction with snare drums or cymbals to eek out some weird noises
he's still the master but now there's various others locally empowered with his style
which means as in this case it's the drummer who provides the visual focal point
lloyd swanton on his hybrid electric/standup bass rooted to his spot centre stage
eyes closed a lot of the time as he locks himself into loop-playing his chosen bass riff
the occasional backward flick of either leg to ward off the cramps it appears to me
a self-satisfied smile on his face indicating all is well in lloyd-land - at least at this time
mr chris abrahams on stage right similarly fixed in a single position
head barely moving as he stares constantly down at the keyboard
and similarly belts out a repeated motif sometimes staccato like in sound
so between them they produce a very hypnotic and rapid-fire sound
close the eyes and at times it sounds like full-on machine-generated electronica
observe those on stage again and there are 3 sets of hands hard at work
and a reminder of why they are so much in a sound world of their own
jazz no ambient no electronica no dance no trance no drumnbass no
a bit of all these and mixed in with excellent musicianship is the appeal
good to realise also that someone in the nick cave camp likes them
enough to put them on the list for all tomorrows parties
and another reason to be at that festival on this day

laughing clowns

unbelievable really - 23 years after they called it a day and here they are
i've had the box set of all their recordings on the mp3 player for a couple of years
said mp3 player used frequently and mostly in random play mode
so tunes from a 3cd set are likely to pop up quite frequently
every single one of their tunes is unique, demanding and rewarding
at the same time as indulging in this recorded stuff i've indulged in live 'jazz'
seen some totally beguiling improvised and composed local music
quite often leading to a comparison to this music from the 80's
a regret that the clowns were never seen live in their heyday
but thankful that their music is now entrenched in my head
and so when i read that they were reforming it was manna to me
special guests at all tomorrows parties made for compulsory attendance
a mid afternoon spot and a desire to be close to the action meant one thing
hot hot hot (appropriately) with the sun beating down as they set up
presumably no soundcheck and limited time to get it all together
some tension on stage as it was clear that there were sound problems
the man himself demonstrating admirable calm under pressure
roadies and stage managers only just managing to deliver the goods
so by the time the first note was struck it was an almighty relief
leading to a comment by ek that absolutely nothing had changed
the first tune saw all sorts of hand signals on stage to side stage
but to my ears the sound was just fine - as unique as recorded
louise elliot blasting away on her sax as though the last gig was yesterday
ed kuepper looking the part on the large stage in front of a large crowd
a glorious, contemporary, relevant and comforting sound belting out
the audience responding enthusiastically as each tune concluded
my feeling being that a lot of sets of ears were tuning in to this great sound
though a lack of volume was the a common complaint from the crowd
a reference by ek to the kiss army incisively shutting down the dissent
and back into the delivery of an exemplary set of original tunes
so good to hear mad filies mad flies live and from a large stage
to a mostly curious audience though reacting very positively
one wag behind me saying he goes to every ek gig
which seemed to be the pervasive mood in attendance at this show
a sense that everyone was a long-term fan - maybe they were
and of course the big numbers in the set were stunning in delivery
the slow, deliberate dig-in dirge-like collapse board a masterpiece
dedicted (by me) to a dear now deceased friend who loved this tune
ek completely dominating and controlling the pace and timing
just jaw-drop that this 23-year old piece sounds so contemporary
which has to be said also for the other big oft played classic
one can never tire of eternally yours and so good to see it reclaimed
ek has looked after this tune over the years in many different lineups
always welcomed, always brilliant, always a highlight of any set
but, but, but the missing element was now home and chiming in beautifully
louise elliot adding her haunting and melancholy sax to great effect
a definite eye-closed, spine-tingling, goose-bumpy moment or 2 for me
not to mention a whole lot of others in the audience who clearly love this tune
it should permanently be numero uno on any 'best songs of all time'
but that of course that defines what ek has had to endure for years
however today i sense an awakening - starting with reforming the clowns
a great set in the hot sun that sadly had to come to an abrupt end
wandering off wondering if the performance will ever be repeated
an anwer given in the form of a flier thrust into my hand
laughing clowns - 2 nights at the basement - locked in
that's it for all tomorrows parties for me
anything else a mere bonus

dead meadow

the first act for me on the main stage at all tomorrow parties
a favourable writeup in the program added some appeal to this outfit
an american based 3-piece rock combo apparantly destined for big things
already a favourite on the festival circuit and to mr cave and his seedlings
so in my usual style it was a case of get in close and have a good look
first impression are that things looking a bit sparse for them on the big stage
bass guitarist, lead guitarist and drummer - the classic lineup
and in their case unashamedly milking a classic sound
mostly a dirge of a sound that pointed straight to the 70's
ye olde 3 chord heads down bludgeon-em-to-deaf rawk noise
the drummer in particular playing and looking the total part
not much percussion happening - but lots of methodical drum thumping
hair flaying also part of the act and adding to the timewarp
the bass player less showman and more rock of their sound
leaving mr lead guitarist to do his thing and sing his songs
the vocals of no real appeal and surely there just cause that's what you do
so all in all i'm standing there wondering is it me...or is it them
whatever it is there's not much connection happening
in fact it's getting downright painful to be close in to this dull action
so a drop back to a grassed area stage left to get some comfort
it's from here that i do detect some appeal to their sound
in a few tunes they manage to work up quite an impressive noise
bass-player gets all rhythmical top end playing like a lead guitarist
guitarist hits the wah-wah pedal big time and also lets fly
thus transforming from dirge to psychedelic quite effortlessly
...and then back again which leaves me cold on this hot afternoon
and thinking that if they stick around then they will get a lesson
local master guitarist with a reformed band doing dirge and plenty more
so dead meadow eventually leave the stage to somewhat muted applause
not a lot of new found fans for them on this day at this place
still someone of influence obviously likes them - which had me thinking
they'll be famous when someone else decides that they should be
so presumably they'll keep rocking it out until that happens
or otherwise they will disappear into obscurity
...which is what i'm thinking will happen

conway savage

all tomorrows parties - part of the sydney festival 2009

jump on a ferry and head to cockatoo island for a day of music

a list of artists hand-picked by nice cave and the bad seeds themselves

one act in particular of great personal interest and tipping the balance

if not for them then i would have stayed away - but more of that later

first act for me for the day was one of the bad seeds - conway savage

he's playing on the barracks stage at one end of the island

the opposite end to which i had found myself after disembarking

and so an excuse to go for a wander and take a first-hand look

past the second stage and a performance sounding out of place

goth-rock-female-guitarist-earnest-noisemaking stuff in broad daylight

not too much appealing to me at this time so quickly onwards

and upwards to the barracks stage at a high point by the mess hall

a small crowd gathered and seated in the small area available

a sense of anticipation that suggested greatness was imminent

then the man himself is seated at his electric piano

accompanied by fellow man on guitar and lady on other keyboards

and a wind added to the mix as gusts catch the mics and the hair

we're trying for a gentle, melodic, slow hot sunny afternoon feel

and basically pulls it off and then the demands are laid out

he's expecting to be handed a joint by the end of the set

and assuring us he's quite serious about this - of which there is no doubt

the pace picks up on the next tune and things are sounding kind of nice

but not good enough for one couple seen standing and departing

who are then subjected to a grilling from the main man

where are you going you c###s - typical - sydney people

laughs all round and on with the show and some more originals

more gently played and well rehearsed tunes from the trio

soft-rock-alternative-blues-country-fusion-protest...stuff

all quite pleasant really especially with a swap to accordian

amanda lee demonstrating her comfort and skill with this instrument

conway savage reminding us of his main job as a bad seed

and then causing the really big dropping of a really big penny

couldn't help but think this man likes being in the shadow

a long period of dedicated service to the cave man has rubbed off

some lyrics and choruses in particular sounded just too seed-y

but in the end this is not a bad thing - and probably why he is here

there was no doubt on this day he had good number of fans present

though i did leave wondering if his music would stand on its own

but i suspect not - better keep the night job conway

a final plug for that show due later on this day.....

i've loved you so long

or correctly known as - il y a longtemps que je t'aime
there are 2 big reasons to see this one - firstly it's french
but more significantly it stars english actor kristin scott thomas
she plays juliette a lady released from prison after 15 years for murder
and almost unrecognisable in the early scenes following her release
similarly impressive is that she seems to speak french like a local
she has flown across france to be met and taken in by her younger sister
who has married, adopted 2 vietnamese children and taken in her father-in-law
there is hostility from the husband and curiosity from the children
towards this mysterious new person now in their home and lives
her background is kept a secret so there is some tension around that
we know of her past but are not aware of the details of her crime
as she settles in juliette slowly and reluctantly allows others to get close
there's a sympathetic police officer who she has to report to
her young niece who though curious loves her new found aunt
and a male friend of her sister who understands and falls for juliette
but it's the relationship with her sister lea that is the most complex
lea has had to deal with abandonment and shame in the family
it is revealed that juliette's crime was the murder of her own son
this has had a direct and sad effect on the life of her sister
but lea does love juliette dearly and hence the title of the film
lea then goes about protecting, embracing and understanding juliette
in a way it's such a simple scenario but the relationships are complicated
over time we see juliette transform before our very eyes
starting out as a damaged, detached, timid and unhappy being
but with the love extended to her she slowly and beautifully transforms
the climax of the film sees lea stumble across some clues to juliettes crime
leading to a final scene in which she confronts juliette in pursuit of the truth
a stunning display of raw emotion as each woman angrily reacts to the other
but it's a sad truth that means we all have compassion for juliette
bringing tears to eyes both on and off the big screen in front of me
and the final words uttered in the film as significant as all others
this is such an amazing film based on human relationships
there are so many going on but all valid and believable
kristen scott thomas has delivered another exemplary performance
which had me thinking at the end of the film she should get an oscar
and also thinking no wonder nicole youre-kidding-man has gone to ground
a total amateur compared to what this lady is capable of as an actor
loved this film - and not just because it's french

james blood ulmer

sometimes things work out just fine on the gig front
had thought about going to see this chap at the basement
but the ticket price and relative unfamiliarity ruled it out
so instead the want for a night out meant a film was seen instead
which happened to be in the same area meaning a walk past the venue
and a decision to drop in to see what they would charge for a late arrival
the lady on the door waving me through and so free entry to the show
the man on stage and playing to a average sized but loyal audience
a quick trip to the bar to confirm that this man has serious fans
which seems to be the case with guitar-slinging black blues dudes
he's seated and leaning into the microphone to sing the tunes
a fine looking electric jazz guitar and some effects pedals
a sheet music stand which gets quite regular attention
it takes a while to get the head into the sound
a mostly strummed sound with distortion a-la pedals
bringing to mind a similar sound mostly heard with ed kuepper solo
but once tuned in it's the lyrics and his voice that are then rivetting
such a difference to hear a blues singer that is totally authentic
my feeling is there are countless skilled blues musicians
able to pour their heart and soul into their accomplished sound
but the nature of this genre to me is that the edge factor is important
if the musician is the real deal then there is an exponential difference
james blood ulmer has that edge factor in spades and to spare
after a few tunes i find myself totally absorbed with the lyrics
ain't never been in no white man's jail
my mamma never sent me to no white man's school
ain't gonna live my life by no white man's rules
and you know he absolutely, totally means what he says
so in a way ironic that this black man is playing to a bunch of whities
but then sensing that he's there because he wants to be
providing polite banter between songs despite a few annoying guests
ignoramus types conducting loud conversations as he performed
my pet hate at shows such as this where quietness and respect are in order
lucky me must have been witness to most of his set
as the tunes just keep rolling out and being mostly lapped up
leading me to think i need to see him again and fully
all tomorrows parties here we come...

slumdog millionaire

sucked in i was to the hype surrounding this film
hadn't seen the trailer or read/seen any reviews
so i was totally swayed by the official publicity
plaudits being tossed out by golden globe awards, etc
but is that a warning rather than a recommendation?
(or is that the film snob in me coming out)
anyway a minute or 2 into the film and doubts creeping in
it's very loud, very bold, very colourful, very fast
clearly the result of a big idea matched by a big budget
a rags to riches story of winner takes all - money and girl
the centrepiece of this story is the set of a tv show
the indian version of who wants to be a millionaire
our young handsome star coolly dealing with each question
we are provided flashbacks to explain his choice of answer
so that each question remarkably relates to a life experience
these experiences in chronological order with the questions
so we get a thorough telling of the story of his life
born and raised in the squalor of the slums of mumbai
losing his mother quite pointedly at the hands of muslims
then on the run with his older brother and a girl he befriends
it's all rough going for the trio as they beg, steal, hoodwink for food
providing the means for big brother to turn to crime
and in the ultimate betrayal he steals the girl from our hero
a fairly simple storyline told with a sledgehammer approach
pulsating and very loud music often used with clever visual effects
so that at times it felt like a series of big budget music videos
all with very rich and colourful imagery to keep the eyes locked in
our 3 young stars are of course all very good-looking
all other actors perfecting looking their part - never mind the acting
the overweight thug, the ostentatious crime boss, the sleazy game-show host
it occurred to me some time in that i had well and truely been taken
for this film was no more than a big-budget bollywood production
western values laid in to give it international appeal
the tv game show, the name-dropping, the music all quite deliberate
and so it was that i basically lost interest and went into cruise mode
then also noticed that the theatre i was in was almost full
so then also i felt a twinge of anxiety about this film
a combination of location and the sometimes use of sub-titles
would probably mean it gets classified as a foreign film
but to me it was nothing like the typical film of that genre
too much westernisation, too much crass acting, too much bollywood
including the overt dance scene on the train station at the end
it's going to be loved - fair enough
but not by me.....next!!!

mamadou diabate bobby singh jeff lang

womadelaide 2008 late saturday afternoon and a treat was had
mamadou diabate on a small stage in perfect conditions
had the crowd besotted including me sitting down the front
and that was without him being joined on stage
toumani diabate reminding us all how lucky we were
a rare ocassion to have the cousins playing together
and totally special it was to cap an extraordinary show
so the opportunity to see mamadou again so soon was welcomed
though sitting at the end of a very long travelling day
an early morning flight meaning the day started at 1:30am local time
the temptation to sleep was great but less so than seeing this performance
and so it was i walked into an relatively uncrowded basement club
a few minutes later and the big man is on stage seated with his kora
going through the familiar tuning process that had the crowd confused
some clearly seeing this as part of the performance
until the volume was cranked up and off he went
i think my musical pulse is tuned to the same key as a kora
an instant connection and total focus on the sound coming forth
unlike anything else except the obvious harp-like ringing sounds
but you don't get african rhythms, feel and groove with harps
neither in my limited experience do you get 3 instruments in one
a bass line underneath holding it all together
a high-pitched melody providing a tune to lock in to
and then all sorts of other random noises being made
staggering that one person and one instrument can provide so much
but best to avoid the marvel of the technicalities of it all
and just be totally swept up in the granduer of the performance
i couldn't help but think it just does not get better than this
so happy to see the man at home in a amall club environment
with a crowd completely besotted with each tune receiving rapturous applause
me again thanking my lucky stars that i was at this place at this time
and to wrap it all up such a humble, gentle, gracious man
he in turn thanking the audience for having him to play
and assuring us we would be very happy with the next part of the show
after a break jeff lang and bobby singh took to the stage
mr lang a local favourite and well regarded master guitarist
me - well - can't recall the last time i had seen him (or not)
bobby singh on tabla which is a favourite instrument of mine
there is no doubt jeff lang possesses an incredible talent
his mastery of steel and acoustic guitar there to be seen and heard
a blues based sound, a nod to neil young and a willingness to sing
combined with the tabler sound making for a unique experience
but i think tonight he had inadvertently been overshadowed
the opening act still fresh in my mind and high in my thoughts
so when mamadou diabate came back on stage it was a relief
and the 3 of them then combined brilliantly visually and aurally
tonight's performance a celebration of the album they have recorded
much happiness on stage as the musicians clearly revelled in the moment
producing a sound that required eyes closed at times to appreciate it
a combination of quite diverse instruments and players
sounding and looking so natural together on stage
3 players on 3 instruments from 3 continents
proving once again the uniting power of music
an amazing night at the end of an amazing day
the first live show for the year
it's going to be a good one...