nick bowd quartet

the bohemian grove is an underground venue - figuratively speaking
it's actually 2 floors up in a warehouse in surry hills
apparently some of the local jazz fraternity live there
they part of the new wave of young guns in the sydney scene
i suspect frustration with lack of venues has driven them
so every sunday night it's an open invitation to their place
each night a local or touring act plays 2 sets at the venue
tonight it's the nick bowd quartet that is playing for us
the main man most recently seen in snap - the 4-part saxophone quartet
he's got drummer extraordinaire dave goodman also in the band
and megastar-in-waiting james muller on electric guitar
his claim to fame being a stage-sharing gig with john scofield
karl dunnicliff on double bass not seen before but he must be good
not a large audience - about 20 of us on lounges and milk crates
but such is the atmosphere at this place it doesn't really matter

my feeling is that this is the jazz equivalent of garage bands
on any given night chances are you will see something special
in this case about 2 bars of music confirmed that expectation
it's quite a gentle and melodic opening tune they are playing
nick bowd and james muller already into some nice harmonising
one of the sweetest sounds in jazz being sax and guitar together
there is serious concentration happening with all 4 reading sheet music
being a new band this indicating it's as much a rehearsal as a gig
i personally don't mind that - catch them at their rawest i say
but raw does not mean sloppy especially with this group
continuing a fine tradition in this town amongst the young guns
a clear dedication and love of their craft that drives them
nick bowd for one as leader, composer and saxophone player
i've only seen him once in snap on his baritone sax
but tonight he's playing a very fluent tenor sax
the rest of the band mostly playing around his lead
though in this long first piece he's happy to step aside
take up a seat like the rest of us and watch mr muller at work
who takes the lead and delivers some outstanding guitar sounds
this man is fast, fluent and very inventive with his playing
you can never tell what is coming and nor can he i suspect
a real sense of giving over to the moment and trusting his skills
it's hard to imagine guitar-playing getting much better than this
helped along by a rhythm section that is also holding their own
dave goodman on drums by reputation able to deliver the goods
and as suspected karl dunniciff is a very capable bass player
between tunes nick bowd takes the time to chat to the audience
briefly talking about his compositions or advising of covered tunes
in one case happy to admit the next tune only written the day before
and not yet played by the band so we are as new to it as them
this could be cause for concern but not with these musicians
watching this band interact on the fly is quite absorbing
their faith in their own and their peers skills well placed
the tune played a bit tentatively but to me also faultlessly
tradition at this venue means 2 sets so a chance to catch breath
and in the case of james muller time to study the sheet music
the second set sees the confidence levels go up a notch or 2
me thinking that this is a quartet that could really go places
a fine balance of sounds, great skills and excellent material
and also not afraid to stretch out with some interesting covers
a steve reich piece in particular challenging james muller
his stunning chops playing now replaced by repetitive chords
dave goodman's drumming now also stretched with some tub-thumping
karl dunnicliff again seen to be playing at speed all over the bass
in the final piece titled arrival nick bowd plays his baritone
lets rip with some deep and rich blasts from this large saxophone
a shame it all has to come to an end really as it's been fun
though there's a plug for an upcoming show for this new group
and a bit more of a permanent reminder - youtube'd

kirk lightsey quartet

kirk lightsey is a french-based american-born pianist of some note

has played with very many legendary jazz musos - dewey redman, etc
sima had been promoting his 3 shows at the sound lounge for months
i was out of town during the week and had planned on heading further west
but a change of arrangements made it possible for me to get back for the last show
a check of available tickets during the day and surprisingly not sold out so it's on
walking into the sound lounge and impressively it's a large crowd already there
including various respected musicians which is always a good indicator
same old story for me - a spare seat down front with a fellow single white male
things are a bit late getting underway but before long they are at it
kirk lightsey obviously loves life, music, playing, interacting
he's a very jovial, animated, cheerful chap - and not a bad pianist
in the first couple of tunes it's just him and the rhythm department
brendan clarke on double bass again demonstrating his very solid skills
andrew dickeson in suit as usual providing admirable drumming
i've seen these 2 often and mostly as the core of bernie mcgann's quartet
always impressive as a unit and tonight the same as they hold their own
in fact i'm feeling just a little bit proud that they are mixing it with this man
there's constant eye contact between the 3 of them as they lock it in
kirk lightsey leading with rapid-fire and melodic piano-playing
andew dickeson most visibly answering the challenge and mixing it up
all over his kit with a vast array of actions all with exquisite timing
as a 3 piece this outfit would be world-class but wait - there's more
eventually they set it up and extend the invitation to bernie mcgann
he's then on his feet and centre stage adding in another dimension
his beautiful alto sax playing starting a bit tentatively but soon perfect
his usual rhythm section locked in and the pianist fully supportive
but then the heat got turned up and the band just took off
i doubt that i have ever seen a 4 piece outfit so well connected
each player giving their all and appearing to be well into the moment
this confirmed by a brief chat to andrew dickeson at the bar at the set's end
he in awe of kirk lightsey and saying their tour had been a complete joy
sad that tonight it ends but at the same time promising a great second set
of which i have no doubt as they return to the stage as a 4-piece
their confidence sky-high as they launched into some more ensemble playing
a tune or 2 in and my ears caught big time with a familiar set of notes on the piano
followed by bernie mcgann using his sax to great effect to play so what
the miles davis standard from his classic kind of blue album
so i'm already on cloud nine musically and then this is happening before me
bernie mcgann playing this tune with clear love and respect for it
what a brilliant night of stunning music from these musicians
couldn't help myself - had to thank the man as he stood alone afterwards
kirk lightsey a gentleman in all respects as he embraced my gratitude
advised me to come to paris for a show he has coming up there
i wish - a clasp of hands and into the night i went
utterly, totally fulfilled musically....phew

valkyrie

it's a bit of a surprise that i even bothered with this one
for one i'm not a big fan of war films - the reality is too depressing
for another i'm not a big fan of tom cruise - but who is these days?
but - circumstances sometimes override such negative thoughts
in this case the previous evening i found myself parked in front of the box
a fairly rare occurrence these days but all is not lost - it's the abc i am watching
there's a late night documentary being viewed about the valkyrie project
using lots of archive footage and actors reconstructing the events
relative ignorance of this moment in history now overcome
a realisation of it's significance and how close it came to changing the world
or at least had it succeeded how many millions of lives would have been saved
so in discussion with my hosts of the moment it was agreed the film should be seen
and lo and behold it's on at the local picture theatre on this night - so off we go
tom cruise plays the part of colonel claus von stauffenberg - the main man
the film opens with him on duty and in retreat in north africa in 1943
some deference to the origins of the story with the use of language and sub-titles
but a very quick transition to english as the man is seen writing his diary
expressing his concerns for the fate of his beloved country under adolf hitler
cut to some action as they come under attack and he is badly injured
these scenes providing some quite shuddering realism of the brutality of war
and also leading me to bracing myself for the possibility of a long ride
he is relocated to a hospital back in germany having lost an eye and his right hand
upon release he then fnds himself working closer and closer to the despot
exposure to the inner workings means he can then plot the takeover plan
during this part of the film the other main characters are introduced
in large played by british actors but to their credit convincing as germans
there's only a touch of romance as von stauffenberg's wife has a minor part
she beautiful and passionate - he handsome and caring but detached
intentional or not it is clear that their relationship is quite inconsequential
the main focus of the story kept on the planning and execution of the plot
in my case this all helped with the previous nights documentary in mind
though significantly some clear differences in interpretations of events
relatively minor but still a reminder that this film also may be subjective
that aside the film succeeds in portraying the seriousness of the times
it's quite dark but so too are the circumstances in which it is set
this is a war film after all but thankfully action scenes are limited
the emphasis placed very deliberately on the people involved in the plot
adolf hitler in a few scenes and the actor providing the necessary trepidation
tom cruise very capably playing the hero of the film with good effect
in the end of course the plot fails and hitler continues his reign of terror
possibly and as suggested with renewed vigour for another 10 months
during which time many more millions of people perish in europe
as the credits rolled, and rolled, and rolled it was a time for reflection
the conclusion being that this moment in history was hugely significant
and that tom cruise has been involved in a successful story-telling
still not going to rush out and see more war or tom cruise films
but in this case a combination that has worked very well

preston reed

there's this little self-imposed rule that i observe
after x number of years working in the music 'industry'
and not pushing too hard for tickets, names on door, etc
when something does come along - accept the offer and attend
especially if it's something low-key and with some promise
in this case i had seen a grab of preston reed on qantas in-flight
enough to give a definite yes to attendance at his show at the basement
walking in pre-show and it's a very sparse crowd in attendance
i recognise the man himself walking around willing up the numbers
he like me probably wondering what is it with this city
4 million people and about 50 of them here tonight
of which most likely many such as me are on the 'guest' list
so a little bit of doubt creeping in about the attendance rule
until i notice there are 6 beautiful guitars lined up on the stage
a single amplifier, a chair and a microphone stand all set for use
on he comes, straps on the ovation acoustic, plugs in and fires up
i have never seen nor heard what came next from this one man band
he's playing the guitar with both hands dangling over the neck
both of them moving up and down rapidly to draw out complex sounds
the right hand also somehow finding time to tap the body of the guitar
so that there's a drum sound worked into the mix also
there are no vocals - no room or time for them i suspect
at the end of this first tune he takes time to welcome us
i'm a bit embarrassed for the lack of numbers but no problem
he's a very tall, imposing looking man and quietly spoken
he seems genuinely grateful for this opportunity to play
then plays a couple of more tunes in a similar way to the first
one of them very memorable - titled shinkansen - japanese bullet train
closing the eyes and the beat used to imagine being on one
3 totally impressive tunes but can he maintain this for a whole set?
the answer given when he swaps over to a stunning looking jazz guitar
sits down and plays a couple of tunes more conventionally
one titled street beat that is actually more a song than a tune
a simple structure but some more amazing skills on display
number 3 guitar is a long-neck acoustic 12-string
the first tune on this instrument is introduced as overture
and again easy to see why when he gets it up and running
so many sounds drawn out from one set of hands at work
i worry for his fingers and the strings when he's hard at it
but everything holds up as the room is filled with noise
he announces that he's so happy with this sound he does another
which had me thinking what total freedom he has on stage
no-one to defer to, no expectation, so he can play what he wants
a steel guitar is introduced with a compelling story from his youth
involving witnessing a german man playing a saw with a violin bow
this experience presumably influencing his own unconventional style
it's a great blues based tune that segues into a more rock-based sound
one tune only on this unique instrument and then it's a 6-string acoustic
any doubts about the ability to maintain interest for a whole set now gone
the small audience totally captivated and giving resounding applause
2 encores are demanded and supplied from this consummate performer
he does the necessaries in the promotions department
but with a sense of humour and total graciousness
he says he hopes to come back to australia soon
me thinking that one thing is guaranteed
an exponential growth in audience size
preston reed - world's best guitarist?
...quite possibly actually

the church

this one has been a looooooooong time coming
favourite band of all time - no question about that
first heard them 27 years ago and have seem them many times since
every album a gem - particularly number 23 just released in recent days
this show the final one in a week long set of dates through the eastern states
punctuated by 2 cancelled shows due to the hospitalisation of the main man
steve kilbey collapsing with some heart issues related to dehydration, etc
so up until even today there is some uncertainty about the show
i'm close to pinching myself as they come on stage and launch into it
marty wilson-piper now looking a full blown hermit buzz-sawing big time
steve kilbey plucking his beloved fender bass and owning the space it makes
peter koppes stage left looking like he has been transported from 27 years ago
tim powles up the back already contributing big time with some powerful drumming
that's me down on the floor thanking all the forces that allowed this to happen
there is not one group of musicians on this planet that mean more to me
so to start proceedings with tantalised is beyond my belief system
especially when mwp hacks away furiously in a way not seen before
clearly announcing his intent as usual to give his all and more
i'm thinking that it's like i'm seeing something very fresh and new
these guys looking and sounding better than i could have imagined
each tune given full respect, attention and effort from the band
interlude from uber-album the blurred crusade a total treat
don't know how many times i have listened and wished to hear it live
likewise the old live show closer of you took back with a vengeance
this tune owns the title of best introduction of all time
great intro tonight and then it just got better and better
there are 5 songs off the latest album played throughout the set
each one of them sounding like they have been played for years
such is the confidence of the band as they keep peeling them off
the only thing that had me worried was a relatively subdued audience
i used to put this down to a drug induced stoner haze
but tonight i think it was a bunch of stunned fans
like me hardly believing what was going on up on stage
blah, blah, blah, gush, gush, gush, enough, enough, enough
welcome back chasps - so very good to see you again
the church - sunday night - ides of march - perfect

rokia traore

megastar performance time on sunday night at womadelaide
this time on this night usually reserved for the year's star attraction
cesaria evora, femi kuti, jimmy cliff, youssou n'dour seen in previous years
this lady also seen previously in 2001 on a side stage in mid afternoon
probably the one act seen at my first womadelaide that set the scene
a decision made at that time to return every year to this festival
since then she has become a megastar of world music in europe
has released several stunning albums and a glorious dvd
filmed at a large concert in paris with her in all her glory
bare-footed, shaven-headed, superbly accompanied
a fine testament to the warmth, rhythm and sound of mali music
so basically - very high expectations for this main stage performance
the scene also set by being witness to a low-key acoustic set the previous night
dressed in jeans, telling long and riveting stories, singing beautifully
tonight is showtime on the big stage and a huge crowd in attendance
the opening number a comforting sign we were in for a real treat
a slow and strange beat, african feel, rokia's unique voice
so the expectation seemingly justified and excitement high
rumours had gone around of a 12-piece band joining her on stage
but disappointingly there are a total of 6 musicians before our eyes
rokia, guitarist, bass-player, drummer, backing singer, ngoni player
the ngoni a small stringed mali instrument of which she normally has 2
uh-oh - signs of a shift away from tradition towards contemporary
confirmed by the sighting of whitey-boys in the rhythm department
and the next number evidence of this shift with the band rocking out
it's a very loud, clean and hybrid sound that they making on stage
still definitely african based but with strong white-man overtures
me already thinking someone has told them the change is necessary
world domination beckons but compromises are required for that
so the purist in me saddened a little by this obvious change in direction
but then again - this is rokia traore - she is adorable - let it go
and with that i give over to what turns out to be a superb show
excellent sound, great lighting, stunning musicianship, megastar
i spent most of the night with eyes clasped on the lady herself
except for the times when she stepped aside and shone the spotlight
mr bass-player in particular now appointed the king of that instrument
in one outstanding solo he effectively stole that title from juan nelson
he the man alongside ben harper and with a similar virtuoso style
at the end of the set rokia went off stage leaving the band to have some fun
the backing singer stepping forward to show off her dancing prowess
another gorgeous lady now in the spotlight with all eyes transfixed
leading to a huge round of applause and a very happy audience
all in all a brilliant show from rokia, band and management (ahem)
guess you just have to keep moving musically these days

mihirangi

this lady had a very appealing writeup in the womadelaide program
and significantly her 2 appearances are on side stages at the festival
standing at the back of her previous day's performance quite enticing
leading to a desire to get a better spot at this late sunday performance
but seems the word is out - there's a huge crowd gathered pre-show
best spot literally side-of-stage as she takes to the stage and fires up
this involves quite an impressive process for this one-woman band
her approach is that she literally constructs music in the here and now
this is achieved by singing a line, strumming a chord, or making a noise
the clicking of the tongue, the tapping of a cheek, maybe a whistle or 2
then whatever the sound it is then captured and recycled repeatedly
so over the space of a minute or 2 there's quite a full sound happening
a virtual cacophony of beats and harmonies coming from the stage
once this is in place she then uses it to take up the role of lead singer
though not any kind of standard verse-chorus-verse-chorus stuff
her vocal style close to hip-hop and dare i say rap in in the delivery
with an added bonus that the lyrics to the tunes are quite discernible
but not content with that she then adds yet another element to the mix
her audience it seems is also an important part of the performance
the first few tunes enjoyed by most of the audience seated on the grass
but one word from mihirangi and everyone is on their feet and jiggling
good for me at side stage as an opportunity presented itself to re-locate
and so it was i found myself well positioned a few metres back centre stage
easy to get drawn into the rhythm she had worked up from nothing
also impressive to see close up how much was required to keep it going
she using her feet and hands constantly to get the mix right
a very clear indication of the concentration required to do that
but simultaneously she is clearly enjoying the moment with the crowd
plenty of smiles and praise coming from the stage between the tunes
being a kiwi her favourite expression of the crowd was 'awesome'
we're pretty impressed with her too so there's a great feeling all round
especially as she works the crowd through a call-and-response section
some very loud and inclusive singing from the crowd on world citizen
a totally contemporary tune with an infectious and constructed beat
by the end of the set it feels like party-time at the morton bay stage
everyone happy, everyone dancing, everyone i suspect very impressed
i'd be willing to suggest nz has a new musical star breaking out
it will be interesting to see and hear how she goes - great stuff

kaki king

operating somewhere between funk and flamenco
29-year-old kaki king has dragged the art of solo acoustic guitar back to prominence
with wild technique that blends soaring melodies and slapping percussion on her guitar
with an edginess that matches the temperament of her generation

so reads the womadelaide program for this sunday afternoon show

the timing and placement on stage 3 suggesting it is not a big drawcard

meaning the artist is still on the rise or has possibly peaked at a certain level

her age suggesting the former in this case - worth checking i suspected

got myself down in the mosh pit with the sun beating down relentlessly

there's a bunch of us on our feet enjoying the friendly atmosphere

a lot more people back of stage sprawled out on picnic rugs, etc

she's on stage fronting a 3 piece outfit - guitar, drums and mac

another example of a mac used on-stage to fill out the noise

in this case the operator feeding other noises into the machine

mostly by way of a hand-held flute-thing that makes an organic sound

then is distorted, enhanced, amplified, etc by the mac beyond recognition

mostly adding the necessary bass bottom-end to the group's sound

over on the other side of the stage is a drummer behind a standard kit

though with the high-hat raised high above his head for some reason

he himself looking like an outtake from a serious heavy metal band

and pretty well playing in the same manner with some big hitting

kaki king herself is centre stage and in charge of guitar and vocals

first impression - she is one very accomplished and confident guitarist

and not in any conventional singer-songwriter-guitarist mode of playing

the songs are there as is the band to fill out the sound as required

but very centre-stage is her very inventive noise-making skills

she has a very loose, all-over-the-place, melodic, solid sound

at times tapping the body of her instrument for percussive effect

other times both hands working on the neck and usually at speed

she interchanges guitars often including a lap-laid instrument

this used to great effect on a slower, quieter number in solo mode

there are lyrics and songs happening but they seem quite incidental

she also speaks a little between songs and tells a few stories

including berating her keyboardist for lusting after netballers

and maybe inadvisedly for this crowd telling us of her love of netball

seemed a bit odd really - but by this time nothing was unexpected

a definite case of don't assume anything about this performer

not sure the program got it right about funk and flamenco

but the diversity of styles was certainly in evidence

as they closed out with a couple of huge rock-based tunes

probably more suited to the big day out than womadelaide

but that's one good thing about this festival - anything goes

just got to go looking for it on the minor stages

she's really good - star on the rise i think

lo cor de la plana

day 3 at womadelaide - sunday - midday start - compulsory attendance
the buzz was out - this outfit had performed already and had wowed 'em
they are a polyphonic group - which i think otherwise means acapella
the big appeal for me is that a favourite cd of mine is another french group
coure de berra from the pyrenees - these lads from the city of marseilles
they are on the large stage 2 this afternoon - it's looking a bit sparse
as they are introduced they take up seats and start their singing
each one of them equipped with a tiny head-mounted microphone
it's a beautiful sound they make - exquisite vocals and harmonising
first impression is that they are seriously well rehearsed
there's not a note out of place as they sing it up magnificently
gorgeous, lush, strong, rich, powerful vocals - though in french
so no chance of focusing on the lyrics - it's the delivery that is the trick
at the end of the first tune it's wild applause all round for them
and possibly a few in the audience like me wondering about longevity
specifically how they will sustain interest for an hour or so
the answer given in the next tune with the inclusion of percussion
several of them now armed with hand-held drums or tambourines
adding a sound that sits below the vocals on the next few tunes
it's a great mix of sounds but there's also something else going on
a deep, solid bass drum sound coming from somewhere on stage
then i notice 2 of the lads moving their right legs quite energetically
hitting the stage at the same time as the bass drum sound comes out
so some foot-stomping going on to provide this bottom end sound
all very infectious really as the crowd moves into dance mode
lots of shrieks, knees-ups, clapping, as the tempo goes up a notch or 3
a few tunes like this and then another change in pace
they rise from their chairs and gather in a circle centre stage
what came next was possibly the best group vocal performance i have seen
6 men in black t-shirts, brandishing tattoos and skinheads going sweet
10 minutes or so of the most unbelievable vocal harmonising imaginable
the tune itself very complex with many changes in tempo and structure
and it's not just words they are singing - various other sounds are made
one memorable section being the sound of a swarm of bees in flight
the voices note-perfect throughout as they remained in position
and just when you thought it was over they would go to another level
drawing chuckles from the audience as the clapping falsely started
then in the final end an eerie silence as their voices trailed off
the audience waiting longer than usual to get the signal of tune's end
then ecstatic applause erupting for a very moving piece of music
and so it goes on - no chance of boredom - variety is the trick
the big finale sees the crowd linking hands and running in circles
as the band goes crazy on vocal and percussion on stage
the biggest bass drum sound, percussion and harmonies
wild and long applause as they take their bows
a unique womadelaide performance
...possibly the one for 2009

seun kuti and egypt 80

here's another performer living off dad's hard work
about a year ago i had saw ravi coltrane in concert
son of 2 famous musicians in john and alice coltrane
at womadelaide this year fela's son seun is headlining
fronting a band made up of musicians from fela's band
though not fela's co-conspirator and drummer tony allen
he's also at womadelaide but at the other end of this day
which has me wondering if there is some animosity there?
seun and band are the headline act on saturday night on stage 1
the crowd is large, the weather perfect and the expectation high
one thing that seems guaranteed at womadelaide is african music
especially big bands on the big stage at the peak performance time
the band ambles on and a tall african chap takes charge at front
he revs up the crowd, cranks up the band and off they go
in typical afrobeat style it's a very repetitive beat
with brass, hand held sticks and percussion laid on top
this tune does not vary in style for a full 15 minutes or so
during which various musicians are highlighted doing solos
at the end of the tune the man out front laps up the applause
he then thanks the crowd, introduces the band and then...
brings on the main man himself who has been in the wings
me and a number of other people thinking we were already watching him
but no - seems seun kuti wants the band and crowd warmed up for his entrance
i must admit i felt this was a bit big rock-star-ish from the big star tonight
he's dressed in matching trousers and shirt just like his father used to
then upon opening up the vocal chords it sounds like a time warp
i probably shouldn't be surprised that it's so derivative of his father
seeing as it's his father's band behind him but to me it's not quite right
my reaction based largely on seeing other kuti son femi a few years back
he also headlining womadelaide with his outfit called the positive force
on that occasion it was still afrobeat but it actually seemed authentic
memories of a bunch of musicians digging in to a filthy afrobeat sound
fronted by a performer totally locked in to the sound they made
the brass section and backup singers looking genuinely inspired
tonight it looks like brother is also into it but it seems to be an act
the movements, the voice, the music all so very clearly fela
this is not a bad thing - this is as close as we'll get to seeing him
but the impression is that everyone involved is ok about a tribute band
which is really what it comes down to - even allowing for the close relationships
i think what really got me was when the political lecture was trotted out
i've only see a bit of fela kuti on dvd but this talk seemed very familiar
updated for today's economic circumstances but still not too convincing
in reality i think i had already decided that i was being manipulated
and also deciding that as a singer, sax-player, leader seun kuti was unoriginal
his father and brother having already cornered the market in afrobeat
i think i was also suspicious that tony allen was not there for a reason
my guess being that he did not want to be part of this scene
respectfully carrying the legacy forward but...but...but
...just not as inspiring as it could have been
maybe i got it all wrong...

rokia traore (acoustic)

saturday night at womadelaide 2009 and the night mapped out
experience proving that advance planning pays dividends
pick the 2 or 3 acts that are most appealing and work around that
forsake other shows to get a good position or buy food and/or wine
but on this night things were changed with an unscheduled show
at the end of gurrumuls set on stage 1 and the usual announcements are made
annette shun wah as m c almost casually mentioning rokia traore about to appear
this lady is the star (for me) of this years festival doing 1 big show only
but for some reason she is making an appearance on a minor stage
not in any formal show but alongside seckou keita in workshop format
so previous plans abandoned to get to see this megastar in intimate mode
surprisingly there's space down on the grass in front of the stage
so i take up position there and get involved in some story-telling
the 2 of them taking time to talk about their ancestry and countries
stories of family life, griot tradition and tribal rivalries and connections
each story then leading into a tune featuring one or other and band
most of seckou keita's band on stage and rokia's ngoni (lute) player
it's a beautiful setting to witness this scene on the morton bay stage
named for the huge fig trees surrounding this relatively secluded area
there seems to be a high level of contentment on and off stage tonight
i get the feeling that the musicians themselves are enjoying the jam
even though this is billed as a workshop it soon becomes a performance
rokia obviously enjoying the opportunity to be relatively spontaneous
at one point while waiting for the kora to be tuned she takes the lead
with her acoustic guitar she takes over and performs a stunning solo
her powerful and beautiful voice used to full effect in this setting
reminding me of the first time i saw her 8 years ago at womadelaide
then also on a small side stage mid afternoon as a relative unknown
now a world music superstar loved and hugely patronised in europe
so i for one am very conscious of her humility in being on stage here
but as the performance went on it became clear this was a mutual thing
her and seckou keita not able to disguise the fact they were enjoying the moment
similarly for their musicians and back-up singers on stage with them
lots of smiles and laughs as they made it up as they went along
possibly a rare opportunity for these globe-trotting musicians
playing in a beautiful setting with a responsive crowd and no pressure
applause and gratitude coming in abundance at the end of each tune
the final one seeing a gracious rokia traore bowing and clapping the audience
seckou keita admitting that they would like to keep playing all night
which confirmed my thoughts that this was a very special performance
now - normal service resumed - back to the planned schedule
...so happy to have been witness to this one though

geoffrey gurrumul yunupingu

i reckon australia really does now have a world music star
over the years at womadelaide there's been many local acts perform
some very good, some average but all drawing on other cultures
reflecting the multi-cultural aspect of this country and it's music
so to see a performer with roots deep in the ancient country is a revelation
he's had a phenomenal year based on mega sales of his solo cd
thanks to some rave reviews locally and overseas by influential people
aside from that the haunting and emotional sound of his music is captivating
on this day at womadelaide it's a huge crowd gathered at dusk in front of stage 1
it must be intimidating even for a blind performer to play to such a crowd
but as the crowds he plays to get bigger so to must his confidence
though in reality i suspect he can very naturally perform faultlessly
last year at the aria awards he stopped a pumped up crowd in their tracks
then at another show i saw he wowed a sold-out enmore theatre
there using a string quartet to beautifully augment his lovely tunes
it's quite a magic feeling as he is lead on stage and the crowd falls silent
his companion michael on double bass as usual at front right of stage
and on this day accompanied by 2 other guitarists and a viola player
gurrumul then plays the opening notes of the opening track of the cd
and there's an almost collective sigh from the audience as he sings
the tune wiyathal as moving and emotional as it is in recorded form
from there the performance just does not falter at all in any way
each tune delivered confidently and beautifully to a captive audience
michael again doing the duties as m c and providing brief introductions
one thing i did notice in at least the people around me in the audience
there seemed to be a pervasive sense of pride and love going forwards
success will do that for any performer most likely but today its different
my feeling being that these other long time womadelaiders were very proud
happy to know that one of their own countrymen had cracked it big time
but then again - maybe it was just a real love for the man's music
whatever - no issue - just a great atmosphere on this beautiful evening
the whole album played and a few other tunes from the saltwater band
the set closed out with his signature tune titled gurrumul history (i was born blind)
a totally moving tune that i'm sure would have turned on a few tear ducts
as the last note was played there was a spontaneous standing
every person in the audience on their feet and clapping wildly
a lot of very happy people having witnessed the man live
a perfect performance from australia's world music star

speed caravan

an interesting writeup in the womadelaide program for this group
essentially one performer named mehdi haddab on an amplified oud
the oud being an ancient intrument of middle eastern origin
this man has effectively turned this fretless lute into a lead guitar
alongside him on stage is a chap playing a standard electric bass guitar
there's a percussionist seated stage right armed with a djembe drum
at the back of the stage is a lady noodling away on a laptop
it's a big, heavy, rock-oriented sound that they are making
much closer to led zeppelin than any traditional oud music
reminding me of a performance from a fellow algerian several years back
in that case rachid taha rocked it out also with a big amplified sound
he as lead singer adding his very masculine vocals to the mix
the music of speed caravan lacking vocals but otherwise similar
the clever name itself suggesting a twist to a known tradition
these days most of the music i witness would be androgynous
very non-gender specific in composition, performance and delivery
however witnessing speed caravan had me thinking otherwise
the bass player cutting an intimidating presence with his style
not only looking like someone not to be messed with
but playing his bass with all the subtlety of a sledgehammer
pounding out rhythms and poses in no uncertain manner
what really confused me was the person at the back of the stage
the sound and music of speed caravan close to standard rock fare
so seeing a laptop instead of a drumkit on stage was quite odd
and not entirely sure what sounds the laptop was generating
though presumably responsible for various percussive sounds in the mix
but with the big meaty bass and the very loud oud not much else was heard
the tunes continued to be rolled out but not much change in delivery
thudding bass, clever lead guitar/oud player, big rock poses and volume
there is only so much that can be done with their approach to music
with limited vocals and an intention to bludgeon people with noise
i sensed that the large audience in the late afternoon didn't mind
certainly a lot of people seen to be getting into the groove physically
and like me also kind of appreciating this new sound coming to us
the oud by nature making a guitar sound with a difference
but for me just too close to cock-rock for my liking
good to see another variation on world music
though probably not something for oud lovers
just a bit far removed from it's natural sound
still - good to see and hear - now - moving on

dengue fever

a psychedelic take on cambodian pop sounds of the 1960's
so read the program for this act appearing on stage 3 saturday afternoon
this band formed by a couple of americans specifically to impress in cambodia
but here they are at womadelaide presumably looking for a wider audience
for me sometimes it's a matter of taking a punt on something a bit off centre
the schedule such that there are gaps between more desirable performances
my experience is such that the unknown ones are sometimes the best
a small-ish crowd in front of stage - many more under shade of trees
an interesting introduction from stage 3 m c mr lucky oceans
telling us that we are about to witness another first for womadelaide
then deflating most of the expectation by using the word cheesy
hardly complimentary i would have thought but we decide to go with it
an interesting mix of musicians on stage for this band
most striking was a tall imposing bass player and hirsute guitarist
on saxophone a geezer looking chap with a pork-pie hat
keyboardist and drummer at the rear of the stage
and a stunning diminutive figure in pink up front
another case of a odd mixture of races, genders, styles
but happy to go with that on this day in this place - the mind is open
as they crank into action it becomes clear why mr m c used the word cheesy
it's pop, it's world, it's rock but mostly it seems to be all for fun
you only call me when i'm drunk - i can tell by your voice
it's the only time that you open up to me and tell me you love me
or something like that - all very much tongue in cheek stuff
there's a real sixties sounding organ at work adding to the flavour
i quite like it taking it purely as intended - a bit of fun
which admittedly made it quite unusual in this serious place
serious in the sense of the music delivered by other performers
i'm not so sure the crowd in attendance really got it
a lot of earnest looking people do some symbolic head-scratching
but the band ignored that and continued to churn them out
a mixture of english and cambodian lyrics mixed in also
apparantly they have hit the target in their chosen country
they may not rate this performance as a crowd pleaser
mainly because of the small number in attendance
but full points to them for a fun/serious show
all good fun really - nothing wrong with that

seckou keita skq

the zoo stage at womadelaide is not the place where the big acts appear
but over the years there have been some very memorable performances
a couple of years a fine band from west african guinea called ba cissoko were the stars
turned in a set in a mid afternoon of youth infused kora music of the highest order
i still recall watching their set thinking they are destined for fame and fortune
such was the successful integration of traditional kora with contemporary intent
then last year mamadou diabate just nailed it with a beautiful solo set
helped along in a few numbers by cousin and living legend toumani diabate
definitely a highlight performance at womadelaide of that and any other year
so it seemed like a continuation when kora player seckou keita was listed for the same stage
he is front and centre of the seckou keita quintet - the skq part of the band name
this is a very interesting looking lineup as they take to the stage
stage right is a chap on double bass looking like a serious classical musician
stage left is violin player with the looks of someone from a baltic group
at the back a percussionist dressed in traditional african garb
a female vocalist with a wild blonde hairstyle against her dark skin
the man himself casually dressed in typical western gear (i.e. jeans)
not that dress has anything to do with anything but in this case all contrasting
and bringing to mind a great symbol of everything womad stands for
a great combination of styles, races, genders, etc and sometimes as here on the same stage
someone in the program had suggested seckou keita is the jimi hendrix of the kora
maybe a drawcard or not but there's a big crowd in attendance this afternoon
i personally love the sound of the kora - a beautiful chiming harp like sound
unmistakably african and thanks to toumani diabate now very well known
works a treat in solo mode and can hold it's own in front of a large band
in this case there's a clear tendency towards a jazz/classical sound
the organic feel of the double bass nicely complementing the kora
even more so when the violin sound is brought into the mix as well
it's hard to pin the sound though as it sounds unlike anything heard before
the vocalist providing a lovely distraction with a strong african voice
mr percussionist a bit lost out the back but covering lots of bases
so when they get cranked up its a very convincing and seriously good sound
a lot of almost nervous looking glances on stage as they work at it
indicating to me some complexity in the structures of the tunes
this is not any kind of improvisation - each piece thoroughly rehearsed
seckou keita doing a fine job playing/dancing with his kora
throwing the head back i think at the joy of the sound
looking very happy with his quintet on this day
not sure about the hendrix comparison
he's out there somewhere on his own
another successful zoo stage kora gig

paprika balkanicus

another fine womadelaide tradition being observed with this group
that being the inclusion of some eastern european music in the mix
every year it seems to be a given that such an act will appear on stage
in some respects and with all due respect - the music itself is kind of predictable
there's only so much that can be done with traditional style and instrumentation
i have a feeling that groups based on such traditions are very plentiful
so it makes sense that something else is required to make the transition
to pluck a group out of the rabble and parachute them into womadelaide
and have them accepted and hopefully enjoyed by this learned audience
in this case the first impression is that presentation has been considered
the 5 lads decked out in similar attire of black slacks, white shirt, wide ties
of course of no relevance when it comes to the music but a nice touch anyway
and for me at least an indication of some degree of respect for the audience
i.e. the want to create a good impression of a unified musical outfit
no doubt about that as they hid their stride with the first tune
twin piano accordians on a rapid-fire tune that gets the crowd moving
there's also a violinist, acoustic guitarist and a hybrid electric/double bass
belting out a very up-tempo number obviously very well rehearsed
there's time changes, stop-starts, solos, duos, and all then all hard at it
by the end of the first tune it is proven this band is full of confidence
then they roll out another appealing factor seen with similar bands
a sense of humour mixed with a heavy accented command of english
the first laugh coming with a tale of their early morning flight from perth
we arrive this morning in your beautiful city - we very lucky to be here
we very lucky to have single room in hilton hotel - 1 single room for all of us
lost in translation but some self-deprecating humour working well with the crowd
and then onto the next number - and now time to check out each musician
the violin player attracting the most attention with his skilled playing
all over the strings mostly at speed and drawing some amazing sounds
high-pitched shreiks, some familiar riffs, gypsy sounds, a hint of classical
and all in the same tune and supported by his bandmates effortlessly
it appears to me that this musician is the cornerstone of the band
his skills adding a dimension to the sound that demands attention
between each tune they take the time to explain a little about the music
and invariably also throw in some more genuinely humorous remarks
this tune is from macedonia - where they grow paprika and beautiful ladies
the impression being that this band knows to keep a crowd interested
they are not going to rely totally on the music - this is a show
and full marks to them - looks, sound, and stageshow perfected
it could be just very well rehearsed - but it's more than that
these guys genuinely have a lot of fun playing their music
which in this case sees the crowd respond appropriately
good clean fun basically - very easy to enjoy

tony allen

not a name in itself that immediately suggests anything too interesting
but there is an awareness that this man has done all sorts of things musically
significantly as a founding member and driving force in fela kuti's band
and so he too has been credited with inventing the sound of afrobeat
for some reason he has been slotted in as the opening act of day 2
a delayed start for me meant walking into the park later than desired
but this in itself was an interesting experience with the man on stage
even from several hundred metres away i could detect a presence
and as i got closer to the stage the sound became more appealing
a driving bass and drum sound with a loud wah-wah guitar sound
mine not the only ears pricking up and being drawn to the source
there are several hundred early starters down in front of the main stage
many more taking up residence with picnics and rugs under the closest trees
presumably planning on permanent residency for this day of music
a quick scan of the stage revealing a large band at work
3 brass players, keyboards, guitar, bass, percussionist and the man
he on a raised platform stage left and looking appropriately aloof
playing to a bunch of whities in the middle of the day may not be the norm
but to his credit this 68 year old legend turned in a fine performance
he has obviously gathered around him a bunch of talented musicians
bass player and guitarist in particular looking and sounding the part
there is something to be said for black musicians playing black music
these guys just so effortlessly locking in to an amazing groove
afrobeat known for its long tunes of a very repetitive beat
and here we are being treated to a founder turning it on for us
making me think why has he been scheduled at this strange time
maybe to get him as far away as possible from his old band mates
egypt 80 scheduled to play with seun kuti at the end of the day
but that aside and into the infectious music coming our way
the chaps on brass providing texture also very effortlessly
a baritone sax in particular used to add in the dirty noises
at other times trumpet, tenor and baritone sax combining
always on top of a very solid beat coming from the man on drums
the total sound expanded by a lady on conga drums doing her bit
and the unmistakable electric piano sound also added to the mix
me thinking that the small crowd in attendance is having a musical treat
this is not some cover or tribute band to some legendary performer
this is the real deal - and delivered without fuss or fanfare
a fine old start to another fine old womadelaide day
the sun beating down and the music underway
hats off to mr tony allen - very, very groove-y

u shrinivas and u rajesh

there are quite a few personal traditions associated with womadelaide
the first one being - just get there - every year - no excuses accepted
others include - the same basic el-cheapo hotel in walking distance
drinking cider that any other time or place is relatively unappealing
making a plan of attack to see shows in their entirety from go to whoa
which invariably means missing out on possibly raved about shows
but the payoff is always a good spot of choice centre-front of stage
take a punt on performances taking place on minor stages (any of 7)
getting there at start of day and leaving after the last show ends
by and large ignoring others intentions and sticking with instinct
taking lots of big breaths, looking skyward and taking in the moment(s)
thus acknowledging the glorious combination of setting, weather and music
nice to have a few friends along and in sms range or sometimes closer
another lesson learnt a few years back is the revelation of indian classical music
someone in the know has figured out that the end of day is perfect for this
straight after a usually huge sound show on stage 1 has wound up
the vast majority of the crowd heading for gates and beds
but the lucky and persistent few head in the opposite direction
usually off to stage 3 which sits at the bottom of a slight hill
providing great viewing and a amphitheatre feel to it's placement
and better still a means to lay on the grass and give in to the sound
no real need to have eyes directed at the largely immobile musicians
more relaxing to cast eyes skywards, do some star-gazing and let go
tonight we are treated to some unbelievable electric mandolin playing
a beautiful combination of melody and percussion from these masters
the mandolin sound largely unrecognisable except that it sounds so guitar-ish
but not really - you know a stringed instrument is being picked expertly
combined with a tabla sound so distinctly indian and perfectly balanced
then there is just a hint of a sitar sound hanging around in the background
it takes about 2 minutes before end-of-day satisfaction takes over
with this sublime music dominating proceedings a trance is easily induced
so lying there on the grass means every other thing is a world away
time becomes irrelevant as an almost floating sensation takes over
maybe it was sleep but i don't think so - consciousness was just there
one full hour of glorious escapism brought about by music
making it a bit of a jolt at it's conclusion back into reality
luckily this involves an amble through the gardens
allowing a gentle recovery before hitting the streets
stumbling up the stairs to ye olde hotel room
collapsing on the bed and into a deep sleep
with the knowledge of 2 more days
just the best feeling really....

ska cubano

another big act on the big stage on the big opening night of womadelaide
slotted in to a later time to provide some late night revelry for the crowd
the name providing a perfect description of their style and origins
their dress sense also adding to the sense of occasion on this night
most of the members snappily dressed in very sharp white clothing
indicating a willingness to put on a show in more ways than one
the music itself - as infectious, fast and danceable as you'd expect
a natural sounding fusion of english ska and south american rhythms
brass dominating over the repeated beat of the guitars and percussion
vocals sung presumably in cuban so adding to the caribbean flavour
a sound making it very difficult to stay rooted to the spot in the pit
people all around me whooping it up and getting into the groove
the sun now well set and a beautiful balmy night settled in also
so a great atmosphere for this party band to provide the music
people happy to let loose on this friday night in this location
the band receiving loud and long applause as each tune ended
rumour has it that this band started in london using local musicians
formed by a music-loving investment banker yearning for a new career
drafting some well-heeled afro-cuban musicians into the ranks
achieving instant success in their ska and reggae loving hometown
on close inspection some clear differences in the age of the musicians
so presumably we are being treated to the original band in full flight
a faultless sound and enthusiasm and energy to match from these chaps
far removed from another london based musician last seen on this stage
so now feeling that the festival has well and truly been launched
ska-ska-ska-ska cubano - is good, is welcome, is fun
some more of that attitude please....

natacha atlas

things are starting to get serious at womadelaide with this artist
she having a reputation preceding her that meant this would be good
a number of years spent lending her unique voice to various projects
transglobal underground most famously but many others besides
not to mention a body of work of her own that deserves respect
the main stage setup to also indicate that this show would be special
particularly a string section seen doing a last minute sound check
a quick look around indicating that the crowd was also in attendance
the lady coming on stage and promptly taking up position on a stool
straight into the first tune and the large band also with her
sounds good, looks good, though her voice a little underwhelming
putting this down to a settling in period at the start of the show
but unfortunately her voice never really lifted above average
and her attitude never lifted at all - a major disappointment
it really was a case of an apathy infused performance
this lady speaks english and actually deigned to speak at one point
but largely deferred to her keyboards player to do the talking stuff
confirming the appearance that she just couldn't have cared less
though part-way through her performance she did stand up
did a jiggle around the stage and then promptly returned to the stool
which had me thinking maybe she was contractually obliged to do that
for it seemed totally contrived and not at all a spontaneous act
i just could not believe what was happening on this large stage
a great light show, an interesting set of musicians and a receptive audience
her style of music able to translate very easily to a large stage
being electronica based beats music with her soaring voice on top
tunes from many years ago still lodged in the head and ready to come out
she sort of got there musically but she seemed determined to kill it
a very petulant performance to a crowd wanting a top performance
it would be interesting to know why she felt so disinterested
shy? lazy? bored? tired? injured? offended? suffering? egotistical?
anyway - whatever it was it just came across as bad attitude
a music retailer acquaintance advising afterwards of a story
he had been offered an instore appearance of the lady in melbourne
but advised by her own record company that she can be a diva
he politely declining to be part of that scene and tonight repudiated
damn shame really - this could easily have been a blinder
she could have won over a large audience so easily
translating to ticket sales for the subsequent tour
which apparently is not selling too well at all
this may explain her lack-lustre show
but really should have driven her on
oh well - there's more music here
she the loser - not us...

the black jesus experience

an interesting name and an interesting writeup in the program
promising a fuse of traditional ethiopian song with jazz, hip-hop and funk
which really should have sounded the warning bells but pressing on...
on opening night of womadelaide and an appearance on a favourite stage
the morten bay stage having hosted some memorable acts over the years
the anticipation that it could have been another case of the same
a hopeful expectation that something new and exciting would be heard
they are a large ensemble of musicians packed onto a small stage
a mixture of genders, races, nationalities amongst the group members
something to be embraced and continuing a fine womad tradition
where the only measurement is how good you are as a musician
the band starting up and demonstrating a high level of musicianship
trumpet and sax featuring as the major jazz component of the band
a very funky bass player putting his sound right at the centre
vocals coming in the form of a white-boy does hip-hop
percussion, guitar and backing vocals completing the lineup
a nod to africa given in regard to dress with loud colours favoured
not usually something of any significance but noticeable here
so all in all everything seemed to be in place for this outfit
as they worked into their set i noticed something was missing
basically for me the wow factor was just not coming over
which meant i fairly quickly moved into critical mode
looking for reasons why this group was not cutting it
an answer given when recognising the chaps on brass
the pair last seen at the wangaratta jazz festival
in that case at that time playing in a band called blow
and so it occured to me that this band was a local outfit
no problem with that of course except the probable motivation
an awareness of the popularity of rap-style vocals for one
mixed in with some play-that-funky-music-white-boy rhythms
add in some jazzy brass sounds to give it afrobeat cred
make it visually right with some african women on vocals
then give the whole thing a name that challenges interest
the black jesus experience - that will stir up the pot
and anyway bingo - a band bigger than it's element parts
nope - a band of obvious derivation and lacking direction
and worse still - possibly created quite deliberately
fill in some gaps at music festivals needing cheap filling
anyway i drag myself back from such negative thinking
concentrate on what they had to offer musically anyway
try to appreciate the chap doing rap out the front
watch the brass section in awe of their versatility
be inspired by the female vocals and their african heritage
get the feet tapping with the bass-drums-percussion trio
but in the end basically get annoyed with it all together
too much derivation for my liking and no spark
making the festival score so far originality 1 derivation 1
2 bands down and many more to go - thankfully
the black jesus experience - catch 'em while you can
they may not be around too long is my thinking
but for me - moving on - next please

the bedoiun jerry can band

womadelaide time again - another weekend of sublime music coming up
the city turning it on once again - clear skies, cool breeze, green grass
a bit of rain during the week perfectly timed to keep dust levels down
walking into the now very familiar botanical gardens again a treat
a stroll along pathways meaning the city is literally left behind
replaced instead with large trees, sculptures, plants and (dry) fountains
leading to an entry into the large area of the festival and a sort of homecoming
the organisers of the festival don't mess around with a successful formula
so everything is in it's familiar place - stages, food, markets, toilets, etc
and always hard to believe another year has passed since the last visit
friday evening tends to be for the hardcore all weekend pass holders
the locals i suspect preferring to keep it to one day passes for best value
so for the opening act it's a few hundred in attendance at front of stage
the lesson learnt on this so it's usually a relatively low key start
nothing different this year as the robed gentlemen amble on to stage 1
then take up position sitting cross-legged and with instruments in hand
several jerry cans seen on stage forming part of the percussion
apparently the cans themselves remnants of the desert war in 1967
now used to give this group their unique name and also their sound
first up is a very humble thanks for our attendance from their leader
then they gently launch into their set with an obvious eastern-based sound
a not unfamiliar sound of tabla drums, flutes and appropriate vocals
a chant like delivery, sound and rhythm that is immediately infectious
handclaps and vocal whoops mixed bringing to mind the music of tinariwen
the sound inducing a smile on a few faces as their music launches the festival
of course it is impossible for us westerners to understand their lyrics
but time taken between songs to provide an explanation is welcomed
the fine art of coffee-grinding the subject of one banter before the tune
vocal and lead duties are shared between 3 or 4 members of the band
each member in turn standing to come to the front of the stage as leader
some joyful dancing to be seen as each vocalist made the most of their time
a reminder also that the simplicity of music and dance important in their lives
which really had me thinking that this outfit was a perfect festival opener
genuine world music imported in complete form especially for the festival
an interested and receptive crowd acknowledging their contribution
the end of their one hour set bringing enthusiastic and thankful applause
the group too showing clear gratitude at the reception of the audience
mutual respect - womadelaide 2009 up and running very nicely