keep your silver shined

devon sproule is a 26 year old canadian-american singer songwriter
pictured centre of the album cover for this latest cd virgin review
not heard anything of her before that i recall but am aware of the name
her wiki bio makes for interesting reading - she has hippie parents
was born and raised in a commune and has fond memories of that time
her music apparantly shares elements of folk, country and jazz - hmmm

old virginia block
kicks in with a strummed banjo and what sounds like a tea-chest bass
so we are in real folk/country territory here - love it or.....
then her voice comes in - oh so sweet, lucid and natural sounding it is
violin (fiddle) joins, the pace picks up and it's a bit of a knees up
all sounding very authentic, natural, and kind of contemporary

keep your silver shined
lovely picked acoustic guitar and bit of slide in the background
a slow number with her stunning voice once again the focal point
this one demanding a read/re-read of the lyrics as the song builds
i want to land in a tugging hand - a youthful bed with a youthful plan
i want to wait and take my time - all my time, to keep my silver shined

1340 chesapeake st
there's an instrument mentioned in the credits for this tune - a trash kit
which may explain the tom waits-ish beat and feel to this ode to home life
her lyrics are so evocative of time and place - this one seems quite nostalgic
jeff romano plays all sorts of instruments on various tracks and also produces
great job on this one as he brings in a fine mixture of vibes, guitars, etc just right

let's go out
a clarinet sets the tone here closely followed by an accordian in this little ditty
so easy to identify with her as she tells a simple story of desire to go out
there's nothing in the fridge, nothing in the cupboard, there's nothing on the tv
i'm sure there's a a jazz band playing in one of the bars downtown - honey let's go out
swings along just so nicely and has just a most lovely romantic ending - sigh

the well-dressed son to his sweetheart
hmmm - now moving into a more identifiable country sound/lyrics
that middle america country sound with a straight beat and electric guitars
so probably not my favourite genre and this one doesn't change that much
but someone will think this is the best song on the album
kind of trite lyrics too that suit the feel - the only one so far not repeat-played

eloise and alex
husband paul curreri the writer of this one and in charge of acoustic guitar
very low key and simple instruments and vocals/lyrics to match
not sure who eloise and alex could be - quite possibly favourite pets
she really does have a gorgeous voice that stands out in the quieter tunes
hubbie providing backing and harmonising vocals - loverly really

does the day feel long?
her voice is the main instrument here - closely followed by clarinet
a really nice combination together with an acoustic guitar played very well
proving she is also a talented guitarist - she writes, she sings, she plays
such a laid-back groove here allowing the clarinet to seduce as it can
in a way such a loose sound but hanging together as in the hands of experts

dress sharp, play well, be modest
yes well another one that kind of just is and not much else to be said
the lyrics don't seem so cohesive either and give no clues to the intent
electric and pedal steel guitars in there doing their thang adequately
the term album-filler springs to mind but again someone will love this
i just find it quite lazy - composition, playing, delivery - not my favourite

stop by anytime
jazz influence coming through here as the drummer taps out a beat
her voice lending itself very well to this departure in style
can easily imagine her using this to demand attention in a jazz club
there's also a standup bass which gets a bit of prominence at one point
this tune absolutely proving her versatility and the promise of what will follow

the weeping willow
choosing a traditional song as the album closer is not a bad idea
mary chapin carpenter lending her voice to provide great harmonies
a bass harmonica played by producer jeff romano making an unusual noise
get the impression everyone is having fun on this head-bopper
but it's all over just as it cranks up a gear - which is a shame really

summary
this young lady proves in this album that she will become revered by folk/country/blues/roots fans and those just liking a beautiful voice and authentic, organic musicianship

sambatropolis

being the title of a cd by hendrik meurkens
he being a harmonica and vibraphone player from germany
though besotted by brazilian samba music and resident in new york
after a number of years in rio absorbing all things musically brazilian
never heard of him myself so a listen to this album seems in order

sambatropolis
first impression - well - very light, non-offensive background jazz
this one reminding me of intermissions at picture theatres in my youth
reading more into mr meurkens reveals his band are all south americans
so that would explain the not-overwhelming latino feel to the tune
kind of bops along for 5-6 minutes with lots of different lead breaks

nem la nem ca
and picking up where the opening track left off in pace and feel
mr meurkens now at work on the vibraphone and also a flute in there
piano grooving away and some brass coming in and out
still sounding like intermission music though - no need to offend
though there is some nice vibraphone playing featuring here

ocean lights
getting a bit more moody now with a gentle, slow flute-led number
then the man picks up the harmonica and takes over lead duties
it's just so - nice - lower the lights, light the candles, romance is on
i'm trying really hard to like this but, but, but it just doesn't grab
did i mention the electric bass is so bland it sounds like the player is asleep

the bee
the drummer is allowed to show off here with a few opening flourishes
harmonica is then out front and harmonising with the higher keys of the piano
both moving very skillfully and quickly over a range of notes
is it that the sound is supposed to remind us of some kind of insect?
a quite up-tempo number remaining quite close in sound to previous tracks

fotographia
the first cover on the album of a tune by bossa nova king antonio carlos jobim
quite a nice feel with harmonica, sax and piano working together
though still so light it almost floats away - no grounding here from the rhythm section
the electric bass is very average and the drummer likewise seems um, gutless
i'm thinking now that there's probably a huge fan base for this schmaltzy schmicko schit

hot and stuffy
ok - up the tempo to full-pace, wake up the bass-player, let the sax player rip
then answer the call with some admittedly very classy and stylish harmonica work
i can see (hear) why he is rated up there for his harmonica playing
you can imagine this tune being a throwaway on some other jazz album
but here it is rooted well inside the boundaries of the rest of this album

voce vai vere
another tune by antonio carlos jobim and not at all dissimilar to fotographia
the piano naturally is the main instrument used throughout this tune
vibraphone and harmonica playing from the main man also featured
and that cursed electric bass that monotonously just keeps going
if nothing else this tune begs the question - i wonder how the original sounds?

you don't know what love is
thanks - but you don't know what gutsy jazz is - another bland-out
though the sax is quite slow and seductive sounding for a while
before the vibraphone takes over proceedings and kind of annoys
it's one of those instruments that you can only do so much with i think
which may be why mr meurkens has mastered another instrument also

choro da neve
the title alone promising something - brazilian choro music is alright, alright?
apparantly hendrik meurkens main vision is to fuse choro with jazz
fusion being the word that probably most unfortunately defines his style
i do actually quite like this up-tempo tune with it's very distinctive latino feel
there's a cavaquinho (stringed instrument) featured which adds to it's appeal

a summer in san francisco
and appropriately adopting a west coast kind of sound for this one
whatever that may be but it feels like something some smooth dudes would play
the yellowjackets spring to mind (for some reason) - this is definitely - jazz - nice
and again conjuring up images of the band in the corner playing the tune
while the diners enjoy their meal and talk and drink to their success

bernie's tune
a jazz standard apparantly - originally performed by gerry mulligan in the 50's
again a promise of something of substance with a history to match up to
well? - more of the same really - same bass, same drums, same vibraphone
gets along at quite a fast pace and encourages the sax player to have a go
but in the end (phew) this tune sounds like all the others on this album

summary
internationally acclaimed harmonica and vibraphone player performs with a south american based band to deliver an album of mostly originals showcasing very safely a hybrid of jazz, samba and choro music that is very easy to listen to

esbjorn svensson r.i.p.

2 days ago i had a good listen to a new album
tuesday wonderland by e.s.t - the esbjorn svensson trio
i had the fortune of seeing them live a couple of times several years ago
they were the major headline act at the wangaratta jazz festival 2005
but somehow despite that i had not connected with their recordings
until recently i was given a bunch of cds to have a listen to
this one was amongst them and the first one i went for
it's a real beauty of an album with some great sounds
one that i had decided will go on high rotation
i.e. will be loaded into the iriver/mp3 player
then yesterday the supplier of the cd's contacted me
seems ebjorn svensson had met with an accident
he had been scuba-diving near an island off stockholm
and was found on the sea-bed near a jetty with severe injuries
no more detail than that but he is now no longer
what remains though is a body of work
some 12 albums recorded since 1993
searching around on the www reveals a lot of info
he and his music were certainly held in high esteem
jazz group of the year in europe several times apparantly
which would indicate he is no slouch on the piano
i also stumbled on an impressive youtube video
featuring the masterful pat metheny on guitar
which says a lot in itself as pm rarely jams
so there has to be a high level of regard there
he was born on the same date as me but 6 years later
44 years of age and survived by a wife and 2 boys
some relevant links follow
wiki entry for esbjorn svensson trio
obituary in the times
and here is a youtube video of dodge the dodo
a tune mentioned in the obituary as being the groundbreaker
demonstrating their willingness to stretch out
adding other noises to the conventional
something seen and heard more and more
and something i for one appreciate

in the valley of elah

i missed this film on first release late last year
so i took the opportunity to see it at a small town theatre
tommy lee jones plays hank the father of a returned soldier
back from iraq but soon reported missing from his base
hank decides to head to the base to try and track him down
he enlists the help of a local police detective emily sanders
she is (down)played by the the beautiful charlize theron
in a believable role where her male peers treat her with disrespect
so hank and his case arrive at a time where she needs to make her mark
this story is based on fact around the murder of a returned iraq soldier
but is more about the wider problem of post traumatic stress
in evidence with many soldiers returning from duty in iraq
and given little or no support by the military back home
one can only imagine the ripple effect of such problems
which is why this film is such a valuable insight
and probably why it got such a bad reception in the u s
it really does hold up a large mirror to life in that country
there are various scenes in bars, fast food outlets and gun shops
all providing a reminder of how far off the rails american society has gone
also worked into the film are some harrowing scenes in iraq
cleverly shown as footage recorded on hank's son's mobile phone
and used by hank to piece together his son's state of mind
these scenes seem very real and thus quite disturbing
powerfully telling us what is going on in that country
therefore also explaining the post traumatic stress
which in this case leads to the brutal murder of hank's son
there were a few scenes in the film that seemed over-acted
some critics suggesting that tommy lee jones was miscast
seems his detachment and lack of emotion was unbelievable
but i thought in his ex-soldier role he acted appropriately
for me his wife (susan sarandon) was a bigger casting mistake
in a relatively minor part the actor outshone the character
and so a bit difficult to feel for the mother having lost 2 sons to war
but a minor quibble amongst some otherwise fine acting
the final scene is the unexpected coup in the film
very cleverly and simply telling the truth
that america is in big trouble over iraq
tommy lee jones for one raising the flag
and so another successful film for him
iraq - no country for american men
film-making at it's relevant best

tuesday wonderland

e s t - the esbjorn svensson trio - huge in sweden

saw them at the wangaratta jazz festival several years ago

they have a new album out that was handed to me

time again to play the game of first impressions

a track by track listening and commenting on a full cd

fading maid preludium

gentle solo piano sounding like some kind of lullaby

then most unexpectedly a big rock guitar and drum sound crashes in

falls back to a 70's sounding prog-rock floyd/elp kind of tune

but here saved by the dominance of the piano layered on top

fades out and departs leaving anxious thoughts about the rest of the album

tuesday wonderland

title track of the album and a much more contemporary sound

overdubbed piano playing on this fairly standard straight-up jazz piece

bass and drums do the required backing and pianist shows off his skills

a quite up-tempo tune with losts of action all over the keyboards

but quite nice for all of that - gets the head nodding and feet tapping

the goldhearted miner

backing off on the beat big-time for this gentle number

there's a drum being brushed and a double-bass being gently played

the piano dominating on a quite melodic tune with an unusual string instrument added

some kind of asian type of lute usually heard in isolation

but added to great effect in this tune that otherwise would be quite average

the brewery of beggars

a clever segue from the last tune back into some heavy jazz-rock territory

the producer and engineers have had fun with this one i suspect

lots of different parts recorded and multi-tracked and mixed together

the intensity of sound moves between light and heavy with piano the constant

blows out to a full guitar histronics sound with jazz backing - then the big fade-out

beggar's blanket

and another seamless segue into a quite introspective piano and bass piece

a quite simple and repetitive bass line with the piano trilling laid on top

there's the promise of a sudden return to power and noise at any moment

but the 2 instruments are instead left to quietly work off and support each other

in the end this tune seems to be there to mostly provide a moment to catch breath

dolores in a shoestand

there's something about this outfit that lifts them above the pack

in one sense they are a fairly standard and very competent jazz trio

but there's a willingness to discreetly add other sounds to augment the sound

in this case there's an unobtrusive scratching sound worked in sparingly

cleverly drawing the listener in and then able to enjoy the melody on this up-tempo tune

where we used to live

slow, slow number with piano and brushed snare drum dominating

totally unfair but sounding very close to fellow scandanavian tord gustavsen

which is nothing but a good reference for any outfit also carving out their own sound

besides there is something quite beautiful and calming in this melodic sound

it would be brave to do a full album of this kind of tune but one is very comforting

eighthundred streets by feet

there's something about this one that sounds very familiar

again possibly because it's a fairly standard tune/approach for a 3-piece

drummer using the high-hat and snare to contain the rhythm

piano trilling at a nice pace over the top and bass doing the required job

another nice bit of unusual production work adding some extra textures at the end

goldwrap

the percussion working hard to provide the backing on this up-tempo tune

and again some extra electronica textures added in most appopriately

a quite catchy, fast-moving, piano-or-effects-leading tune of some familiarity

not the first time a kind of 1980's windham hill piano sound seems to be there

an unfair association no doubt but it usefully describes the piano sound on this tune

sipping on the solid ground

the defining sound here seems to be a constant and gentle cymbal and snare tap

piano and bass working in harmony before giving way to another unusual sound

chords being played and heavily mixed possibly from an electric guitar

then the familiar and lilting piano sound taking over and then giving way again

the sum of this all being a quite unique yet familiar feeling and lovely tune

fading maid postludium

oh so clever - the return of the big prog-rock sound from the opening track

but now the fading maid is postludium as opposed to preludium

whatever - this tune is quite outstanding at the end of the album

significantly bookending a set of tunes that seem very original yet familiar

and to cap it all off a beautiful fade-out with piano the solo voice

summary

award-winning and revered swedish jazz piano trio use modern recording techniques to create a very contemporary mixed-up album while retaining a beautiful melodic sound resulting in a very accessible set of tunes that offer repeat playing and familiarisation

this riot life

another interesting looking cd handed to me
very happy to receive all and sundry for serious consideration
which amounts to at least a track by track listen and comment thereof
veda hille by all accounts (i.e. wiki) is a canadian singer/songwriter lady
most interestingly records on the ape label which is owned by xtc-er andy partridge
xtc being one of the better bands out of the 80's so this should be good
though of course i dive in with no pre-conceived expectations

lucklucky
plucked violins leading in the opening track promising something different
a female voice then comes in repeating the title over and over
then the same voice comes in on top strongly singing
with major orchestration also coming and building loud and strong
so yes not your average singer/songwriter here - i think i like it

book of saints
piano lead-in presumably at the hands of the lady herself
she does have a sweet voice though the lyrics are quite the opposite
which of course makes it quite appealing - here in reference to womanhood
our bodies are not made of brass they're made of thread and air
and blood comes out in pints and litres keep your hands off you filthy cheaters

ace of the nazarene
starts out like a throwback to 80's synth-pop but then kicks in
a fast, catchy, anthemic, singalong tune with electric guitars and cello
wiki tells me this album is composed mostly around editted christian hymns
this one in particular has a lot of lyrical reference to biblical terms
successfully putting it at odds with the totally contemporary music

a shining forth
a lovely solo piano lead-in with the ladies voice following in reflective mode
very clever production has her self-accompanied with strings and flute
no drums or bass anywhere to be heard so the voice/lyrics standout
quite organic sounding really and showcasing her lovely voice
i'm reminded of katie noonan (george) but only fleetingly

oh come on
they must have had a lot of fun putting this one together
the cover notes inform that it is made up of first line of hymns
but reading and listening to the lyrics they flow very nicely
there's brass harmonies dominating in the music
she oozes confidence, skill and style on this another unique piece

the moon
trilling piano leads in to strings and toe-tapping up-tempo tune
another outstanding piece of production sounding flaming lips-ish
kind of off-key vocals on top of busy instrumentation
then a fallback to a simple string sound and the sense of a return
all intruments then hard at it with the piano leading a great outro

sleepers
i never knew how nice to sleep with you would be
a lovely little ditty extolling the enjoyment of sleeping with the loved one
i never cared for metal hair until the boy you were - slayer
and on it goes telling a story of blissed out contentment in the joy of sleep
the music - piano, xylophone, trumpet, violins working very nicely together

soapland serenade
seems our lady has had some experience with a bathhouse in japan
tells the story of ladies working to appease the male customers
it's quite a complex tune musically with various key and timing changes
different voices also used to represent the customers and workers
and the first and final cutting line - would you like to look at loneliness?

cowper's folly
this one actually requires a couple of plays to get the head around
starts out as another beautiful piano/voice/harmony collaboration
the lyrics again are based on an 18th century hymn - god moves in a mysterious way
which raises the question - what is her motive - reverential or cynical
though i suspect actually she just loves the phrasing that suits her style

rose of sharon
and now for a complete change - this one sounding eastern european
a gypsy kind of beat, with violins and clarinet worked nicely into the mix
but the consistency of her voice out front and the lyrics again leaning to bitterness
i opened to my lover, my lover he had gone, i looked, i could not find him, i called, he did not come
all over in less than 2 minutes but leaving it's mark musically

constance
another short little ditty at just over 1 minute and again with hymnal lyrics
the hymn in question being i've found a friend written in the early 19th century
old time piano sound leads into harmonising vocals with a string backing
a lovely homage to a special friend which really has a beautiful message
you have to wonder at this lady's determination to carry these songs forward

this spring
another lovely lead-in on the piano and her voice and violins following
a very gentle, reflective piece telling us about a very special spring
the blossoms have achieved their peak, explosions in electric leaves
ridiculous abundance, the air attacks my lungs, the warm pale yellow sun
sigh, gasp, just loverly then the climatic - i see it because you are gone

the trees
which segues at least in subject matter to the big final tune of the album
a up-tempo number with brass dominating but everyone hard at it
a not so subtle dig at the ignorance of man(kind) from the view of trees
you are dumb, you are green, you are a sap----ling
and therefore ending the album in typical mode with the rest of the album

summary
did someone mention andy partridge (xtc) is involved with this most contemporary and consistently impressive collection of pop-meets-hymn tunes from this canadian singer/songwriter with a fine want to mix in brass, piano, strings, and harmonies

aaron goldberg trio

lucky me snagged a ticket for this show on the day
had been a bit indifferent to going so rolled the dice
if there's a ticket left i'll take it and attend
so sure enough only a few left so in i went
unusually for the sound lounge it was a full house
so 30 minutes before showtime and seats are scarce
but fortunately there are other single white males
inclined to self-indulge in live music alone
so he had taken over a centre table a few rows back
2 empty seats at his table so i took one
closely followed by legendary pianist mike nock
so i'm thinking this promises to be a great night out
there's a brief introduction and the band are under way
aaron goldberg stage left on piano
reuben rogers middle stage on upright bass
greg hutchinson on drums to the right
acclaimed musicians and trio from new york u s of a
their origins and 15 years playing together had me suspicious
so in the first long all-over-the-place tune i was looking for signs
were they the consummate entertainers or the real deal?
absolutely no doubt about their musical skills
aaron goldberg in particular with a beautiful deftness on piano
his drummer showing mastery of beat, subtlety and dominance
the bass player with the longest middle finger i have ever seen
using that and his first finger to calmly lay in the rhythm
lots of smiles on stage and many more changes in style
the musical ball tossed from one member to another with ease
with the complexity of the changes indicating serious structure
this is not an outfit needing to improvise to impress
though greg hutchinson had some fun winding up the first tune
continually re-launching a new flourish as we all went for the applause
and apparantly even fooling his musical peers forced to play along
by the time it was finished i was now sure this was for real
even more so as aaron goldberg stood up and took to the microphone
thanked us for coming down and saying it was good to be black
a definite slip of the tongue that had reuben rogers chuckling away
quietly confirming he likes it that way and me thinking no doubt
the main man then politely praising what australia has to offer
and hoping there will also soon be a regime change in his country
and on with the music - tune after tune of sublime sounds
at one point i closed my eyes in a particularly fine piece
as aaron goldberg's piano playing floated out over the rhythm
the musicians and audience as one in transendence
opened my eyes to look across the table at mike nock
he also with eyes closed and a beaming smile on his face
a moment of absolute confirmation of this empyreal music
throughout the set aaron goldberg took the time to announce the tunes
many were self-compositions and a few from antonio carlos jobim
which gave a lovely bossa nova feel to this new york jazz sound
during the interval i received some schooling on this subject
as a hardcore fan of n y jazz explained to me what that meant
she being from the east coast and quite dismissive of the west coast sound
to her the discipline, skill set, confidence and complexity makes it unique
and confirming that this outfit we were witnessing were masters
another set of outstanding and varied tunes followed
each musician demonstrating supreme skill at every turn
a lot of eye contact and approval taking place on stage
heads thrown back, eyes closed, large smiles at the end of tunes
just the best night of music you could hope for
and a wonderful host ending the set with an encore
a new tune with no title yet but about the abasement of ego
such a simple, almost off-key, mistake-ridden little piece
intentionally i felt played to bring us all back down to earth
they then left the stage to more resounding applause
responding with gracious thanks and one request
....vote for obama

showa 44

part 2 of a 2 part show of improvised music tonight at the sound lounge
artery had presented a fine set of violin and double based music
at least 2 of the members then seated front of house for this performance
anticipation running high after observing before set preparations
watching carl dewhurst meticulously tuning up 3 different electric guitars
his musical partner simon barker also fine-tuning his unusual drum kit
by the time they were on-stage and playing most of the audience were unaware
carl dewhurst seated with a guitar laid across his legs and lightly playing it
concentrating on pulling out a high-pitched, repetitive and constant single note
simon barker adding the lightest of percussive noises to the sound
a few shish noises from the audience directed at other audience members
and then a total focus by all on what was coming from the stage before us
the guitar sound slowly building in pace, volume and intensity
the drum-kit and accessories looking and sounding like part of a gamelan orchestra
with a sound not far removed from some kind of asian based trance
also easy to imagine the ocassional bass drum as some kind of war drum
this was soon displaced as things got more intense in the percussion department
various traditional looking hand-held drums laid and played concurrently
one being dragged across a snare drum to provide static sounds
the combined effect of all the sounds now throb-like
invoking an image of an approaching submarine or the like
and it just kept getting more and more intense for all
both musicians seemingly in a trance-like state oblivious to others
a full 30 minutes or so of this and we were all feeling the effects
i kept looking at each musician wondering how they would break out
they ocassionally looking at each other but not at the same time
until finally eye contact was made, a nod exchanged and pulldown commenced
winding the sound back to a complete fadeout of both sets of instruments
a moment of 2 of complete silence as the audience awaited confirmation
then a spontateous eruption of applause for an exceptional performance
a swapping of guitar for carl dewhurst to a beautiful red jazz electric
though this one held and played in the traditional manner
at least to start with as he used it to get some sounds happening
and then throughout this tune again warping the sound to the max
his left foot seen dancing across various effects peddles
his right foot squeezing down on a wah-wah to produce that distinctive sound
simon barker free to play his drumkit totally indulgently
dragging sticks across cymbals, otherwise tapping and bashing
eyes closed, soaking up the intensity of their unique sound
this tune also built to a very loud climactic ending
carl dewhurst's guitar held aloft providing a scream of feedback
before again being wound down to a gentle and effective outro
and yet again a round of loud and deserved applause
including the members of the previous band
i gave thanks to carl dewhurst on my way out
he genuinely it seemed replied it was a pleasure
so that made for a good night for all involved i suspect

artery

the writeup on this outfit promised for an interesting show
a trio consisting of double bass noise-maker mike majkowski
the legendary and relatively reclusive chris abrahams on piano
and a unheard of and therefore unheard jon rose on violins
i had no real idea what to expect from this eclectic combination
certainly not what came forth as they started their performance
a very light, fast-moving, violin-dominated sound
jon rose all over his instrument showing great skill
difficult to pin it but a kind of very lucid gypsy-ish sound
but unfair to even attempt to attach reference points
it took a few minutes to tune into the sound
there's a double bass on stage but no real bass sound
mike majkowski instead using his bow to great effect
drawing out harmonising or contrasting sounds
these 2 dominating both sight and sound
a mental reminder required of the chap on keyboards
chris abrahams almost superfluous but adding textures
tinkering away in trademark style at top and bottom
there's no sheet music in sight anywhere on stage
so these guys are either very well rehearsed
or else winging it with some fine improvisation
the lack of structure to the music would suggest the later
which is just fine by me when in the hands of supreme musicians
mike majkowski continues to astound with each performance
for me his technical skills on his instrument are unquestioned
his ability to find and add extra sounds continues to impress
but his reading of the moment is now his strength
able to adapt so easily to each combination he performs with
in this case keeping away from the bottom end sounds
and instead pulling an array of compatible noises
allowing jon rose's violin to rightly dominate their sound
and possibly encouraging his companion to also stretch it
chris abrahams effectively playing second fiddle (ahem)
his mere presence though providing an inspiration factor
his unique piano sounds there but lost in the mix somehow
possibly because i was seated on the opposite side of the room
this trio produced a sound i have never experienced live
i couldn't help thinking it may well be close to classical
closing the eyes an concentrating on the sound confirmed this
an immediate reminder of an obtuse form of classical music
that without melody or form but still in that genre's realm
at other times it was easy to imagine a future for this outfit
providing unique and totally original soundtrack music
cartoons, horror films, thrillers, sci-fi - anything really
3 long tunes made up the set and each received warmly
jon rose seemingly surprised at this positive reaction
as though he himself thought his music was too obscure
but not so - more a case of further confirmation of diversity
if the musicians are willing and the audience is open-eared
then in skilled hands such as these anything is possible
further proof that contemporary music is alive
just waiting for a larger audience
which will benefit all concerned
tonight being a fine example

the space cadets

at last - the boys club has been further infiltrated

sandy evans has been the single dominant female on this scene

that of traditionally male-oriented jazz/improvised live music

but tonight another lady is on stage with the space cadets

founder/leader john pochee on humour, drums and percussion

warwick alder as his foil and also playing trumpet

matt ottignon on tenor saxophones and main composer

greg coffin left of stage providing piano noises and tunes

and...zoe hauptman on double bass keeping the boys in check

first impressions are that john pochee is loud and expressive

piano barely audible, bass just there and brass doing the job

mr pochee totally dominating at least in my front row position

he's big on the snare drum but is all over everything in his reach

the first tune is titled pochee's opener which may explain his dominance

by the time the next few tunes are played things have changed

all members of the band have time in the spotlight

or together are combining to make some fine music

sax and trumpet harmonising nicely or leading confidently

then stepping aside to let the piano based trio take over

which confirms the strength of a quintet such as this

one moment the brass section demanding all the attention

then the next the pianist in charge and providing a gentler sound

both backed up by a rhythm section content to provide the anchor

between tunes john pochee takes the time to give credit where credit is due

consistently announces the names and composers of each piece

which i find as a latecomer to this music to be invaluable

in one sense this information provides a reference point

allowing the listener to attach a style or tune to a known name

donald henderson, ornette coleman, christian mcbride covered tonight

in another sense it allows the listener to appreciate those on stage

this when a piece of music composed by a member is played

greg coffin's ode to rodger frampton is titled to all those who have gone before

john pochee gave an emotional introduction to this tune

written for and dedicated to his departed colleague

a lovely, slow, piano-based melodic tune given due respect

the first set closed with a tune titled trigonometry by ornette coleman

which really had the brass section in particular digging in

sparring off each other with quite different stanzas of music

that to me seemed to require serious concentration to get through

and highlighting quite a complex, unusual and engaging tune

the second set was dominated by a work by matt ottignon

4 movements making up a long, sprawling, impressive tune titled spaces

each movement individually titled and standing on it's own

all the musicians deferring to sheet music throughout

indicating the depth of thought that had gone into this composition

and similarly indicating the skills of the musicians on stage

a small but very appreciative audience providing the appropriate ovation

the final tune for the night a blues based tune by christian mcbride

with lots of smiles, happiness and a giving of all on stage

at the conclusion i was once again left to ponder on this scene

another exceptional, highly individual, unpredictable night's music

but largely ignored by the millions of people outside

still my head was nicely filled for the long walk home

i think i may have an addiction problem

oh well, nevermind

shine a light

martin scorcese tipped the balance here
i have never been any kind of rolling stones fan
his involvement in this film was a temptation
there was also a feeling my judgement had been misguided
maybe this band deserves all the plaudits thrown at it
the film opens with preparations for the show
they have agreed to perform for a charity
2 nights in a small theatre in new york
small in comparison to their usual stadium show
the opening scenes show scorcese and the band at odds
they not wanting to reveal the set list and the director is frustrated
the lads presumably having a reputation to live up to
after all this is rock'n'roll and they are the kings
the hudson theatre itself looks like a great live venue
bill clinton is in attendance as patron of the charity
there's some great footage of him meeting the band
laying on all the charm and personality he naturally has
hard to see new presidential candidate obama doing this
even more bill's vanquished wife who trails him around here
a poignant moment in the film considering the timing
barack today announcing the winning of the democrat primary
bill does the introduction duties and off we go
straight into jumping jack flash as the band take over
mick out front strutting his stuff most convincingly
(fitness factor x age = results off the scale)
keef and ronnie assuming most preferred positions
on stage, guitars strapped on, eyes mostly fixed on the left hand
the lovable charlie watts still looking on bewildered
laying down the beat that defines this outfit
there's another bunch of musicians on stage also
darryl jones on bass going through the motions i suspect
a brass section, keyboards and a trio of backup singers
the sound in the theatre of my choice not the best
but thankful in a way for that as volume was not wanted
i was here for the visuals and not to be pummeled by sound
after 3 songs i'd seen enough i was thinking
confirming my lack of desire to see 'em live
and wondering how much longer this would go on for
but there's some respite as the first guest appears
jack white from the white stripes duets with mick
not long after buddy guy is on stage joining the band
performing a muddy waters number titled champagne and reefer
and in one song explaining and defining the rolling stones
white boys may plunder and revere the blues
but there's nothing better than the real thing
buddy guy has soul and style oozing out of him
keef in particular seemed rather in awe of his company
a non-plussed buddy guy the recipient of keith's guitar
payment for services rendered presumably
one excellent tune and the stones are back to it
grinding out a set of hits and lesser known tunes
an acoustic version of as tears go by quite impressive
sympathy for the devil is cranked out most convincingly
start me up is still the average tune it has always been
the highlight of the night for me is faraway eyes
ronnie playing a lap steel guitar very confidently
mick on vocals proving how versatile the band can be
christine aguilera makes an appearance to duet with mick
she matches it well with him though it seems not quite right
that a 20-something is in sexy poses with a 60-something
and so it all finally gets to the end of the show
one thing i was constantly on the lookout for
was crowd reaction to the presence of greatness
my impression was that this new york crowd was underwhelmed
a few excited individuals seen on camera at different times
but there just did not seem to be a savouring of the moment
which may well be typical in this overspoilt city
but possibly they were there for other reasons
curiosity, hype, nostalgia, see and be-seen
the rolling stones (nearly) live
cross that one off the list
been there done that
...moving on

the deep field

science fiction is a genre i traditionally avoid
i hold it out there in the same manner as classical music
in that there is a whole world(s) of discovery to be had
but there is always more in known fields to be absorbed
the occasional dabble though is mostly satisfying
this book was encountered in a second-hand bookshop
an appealing cover, an interesting synopsis and bit of a rave
winner of australia's prestigious age fiction book of the year
the deep field is a sensuous and haunting meditation on love, time and loss
the book opens and closes well into the future as an old lady reminisces
she is examining some photos taken by her famous mother anna
the story then comes back in time into the near future
as anna is on a field study in country china
the official photographer on a fossil dig with experts in the field
it's a bleak, timeless setting with the introduction of fossils paramount
the first few chapters also reveal the state of the world post nuclear war
near anarchy in china with the pla in control and causing chaos
anna makes an escape back to her familiar sydney surroundings
the author knows the city well and many places and landmarks are mentioned
he has also has a good understanding of developing technology
and so the time in sydney provides for interesting reading
as anna uses vidphones to communicate visually or aurally
she has a codex as a pda (blackberry?) which has advanced features
including a searchware component to trace and report on her missing brother
she visits premises where she enters a merse tank
providing a virtual experience of anything she chooses
all the time with the backdrop of extreme poverty and a police state
anna finds herself drawn to finding out more about fossils and shells
ammomites in particular which are fossilised marine life
this journey of discovery leads her to an encounter with a blind professor
the author cleverly includes excerpts from his book in this one
each one of these is numbered and titled as apocrypha
(texts of uncertain authenticity or writings where the authorship is questioned)
providing an absorbing insight into the structure of ammomites
so the reader then also joins in anna's voyage of discovery
she finds herself falling in love with the young professor
but she has issues from her past days in china to deal with
and so the book moves between times and places as all is revealed
the disappearance of her twin brother in hong kong also absorbs her
she has also been infected with malaria which makes a comeback
leading to a very fragile physical and emotional state of being
this is the other strength of the book as the reader feels her pain
there are many passages in the book that demand re-reading
this one in particular as she ponders her emotions and fragility
love is not completeness, it is a perpetual incompleteness
a movement towards a boundary that is always in view but never attainable
it is the desire for immersion, for the oneness we can never have
a reaction against the very nature of what we are, our aloneness
stunning stuff really and relevant to all humans i suspect
i must admit i did find the book wandered somewhat in the second half
the author moved away from an interesting past/future expose
to a more narrative based straight-forward story of love, loss and redemption
in which a lot of disparate characters are introduced and have a role
overall it is a very enjoyable, educational and entertaining read
author james bradley resides in sydney and has written other books
so i will be on the lookout for those

flight of the red balloon

i have over-indulged big-time lately with french films
or at least on those few that get a release in australia
one thing mostly guaranteed with them is slice of life stuff
human stories, emotions, interactions, love (of course)
super-heroes, violence, sci-fi, action, etc totally devoid
there are a few actors that appear quite regularly
stars that add an appeal to a film that lacks it otherwise
juliette binoche being the case in point
last seen in the ensemble cast of paris
and many films prior to that providing the x factor
x-tract the dollars from the film lovers of the world
in the flight of the red balloon she is the deciding factor
so even with lukewarm reviews i decided to take it on
she plays the part of suzanne - solo mother living in paris
employs a chinese media student to mind her young son
while she provides the voice in a small chinese puppet theatre
this film is a french/chinese collaboration
with strong overtones of chinese culture in paris
which is the other appealing component of the film
it's quite refreshing to see asian overtones in a european setting
but the looseness of director hou hsiao-hsien is challenging
a lot of scenes where nothing happens apart from being there
which of course is the point - slice of life stuff
but taken to the extreme with the actors improvising
so there are a lot of gaps in the dialogue
and times when the dialogue seems unrelated or trite
which really proves how carefully constructed most other films are
of course this may well be the directors intent with this one
the red balloon itself makes quite a few appearances
hovering above or near wherever young simon is
but this is no average balloon as it moves in a jerking manner
as though attached to some invisible carrier
there are no real explanations for the balloon's presence
though the fact that only simon is aware of it offers a clue
and in one scene song his minder makes a relevant comment
overall it's quite hard to get too attached to this one
usually with french cinema i find the actual story quite simple
and the ambience of the film becomes it's strength
in this one the story is almost non-existant
and more so it lacks a binding component
though the music is quite memorable
a few well known french performers including the piano of erik satie
i had a brief discussion with someone who had seen the trailer
had to agree that this one is well in the 'art' department
maybe another viewing will be more enlightening?