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?

trio apoplectic

apoplectic = intense enough to threaten or cause apoplexy

apoplexy = a fit of extreme anger, rage

so an interesting name for this previously unheard trio

part 2 of a 2 part series of trios this night at the sound lounge

the three omegas had set the scene quite resoundingly

and passed the baton or at least the drumsticks to their friends

a similar lineup but electric guitar substituted for alto sax

and a rare opportunity to hear 2 trios in quick succession

visually the trio apoplectic are quite unique

radical haircuts indicating a youthful attitude

and pre-performance banter confirming this

swinging into the first tune revealing fine musicianship

dave jackson on a sweetly sounding alto saxophone

abel cross playing a very lyrical double bass

alex masso on percussion filling out the sound

leading the audience back to a lovely melodic sound

my first impression was that of a very skilled outfit

most comfortable with their place in the musical world

but exuding a confidence that promised much

which came to pass as they worked through their set

a mixture of standards and their own material

dave jackson's confidence grew with each number played

nothing too flashy but able to lead every tune with aplomb

most of my attention was on abel cross on double bass

again seemingly playing quite conservatively

but at the same time demonstrating amazing dexterity

as his hands constantly moved all over the strings

producing a very rhythmical bottom end that was just there

occassionally stretching out with some slap style playing

admittedly the haircut also unfairly demanded attention

signifying quite unintentionally that this music has a future

in the hands of such young and able (sorry) musicians

alex masso over on drums and percussion was similarly solid

no need for solos or look-at-me bravado performances

just a very efficient, layered, fill-in-the-gaps mix of sounds

the small audience showed great appreciation for each tune

demanded and received a rare encore at this venue

which brought to mind a line from the flier

don’t miss your chance to hear the next generation of australian jazz

well a lot of people did miss their chance

but not i - thankfully

the three omegas

so, so disappointing - you have to feel for these musicians
showtime rolls around at 8:30 as they come on stage
and the sound lounge isn't exactly packed to the rafters
14 people in the audience - friday night, big city, world's best music
i just don't get it at all - has me questioning my music taste
for about a millisecond
then about 2 bars of music dispels such thoughts
master percussionist jame waples brushing and tapping cymbals
double bass player extraordanaire mike majkowski gently plucking strings
i've seen both of these 2 before in various lineups - they do good
dave de vries on electric guitar promising an eclectic combination
he closes his eyes and strums his guitar in quite a unique way
sounding slightly off-key but strangely appropriate
together it's a very gentle sound reminiscent of 1980's ambient
which is fine by me as i loved some of that music
and in the hands of these 3 anything is possible
the first piece is back-announced as untitled
written by a member of the audience we are told
her partner on double bass then leads with his piece titled posting
a more up-tempo number that confirms this outfit is out there on their own
has me thinking that there really is something special about a trio
especially one such as this where musical skills are unquestioned
confidence in each other and themselves is a given
and the willingness to push out is a driving force
confirmed by dave de vries announcing some improvisation
seriously hoping not to offend anyone he offers
but actually not really caring too much anyway he counters
now things are about to go out even further i suspect
mike majkowski has displayed his noise-making skills in the past
doing all sorts of things with strings, fingers, hands, bows and wood
but tonight he added a whole bunch of other sounds to the mix
using his bow to beat the floor mic for a bass drum effect
whipping the bow through the air for a swishing sound
and expelling air from lungs at volume for a similar effect
totally stole the show while his musical partners wigged out
had me thinking after listening to much recorded improv
that live and in the right hands it is a totally valid form
cleverly they segued into a composed piece of music
a touch of clarity is a beautiful tune showcasing the lineup
had me shuffling through the mental filing cabinet of sounds
pausing briefly on early pink floyd, wes montgomery and others
but nothing so obvious for any length of time as this was their own
at the conclusion there were 3 happy musicians on stage
and a bunch of very lucky music-lovers in awe
which may have assisted in their confidence as they wound up the set
taking the liberty to demonstrate their absolute lack of fear
take on any style, make any noise possible, engage the moment
so they cranked into hard-rock mode belting it out big-time
dave de vries madly working a chord on his guitar like a man possessed
james waples giving his drumkit a belting rarely seen at this venue
mike majkowski actually screaming as he also thrashed his instrument
what an amazing noise - the complete opposite of where we started
but absolutely proving the power of a 3 piece
and this is the support act for the night
with still only 14 people in the audience
go figure

lars and the real girl

i had been aware of this one for a while
something about a bloke with a life-sized doll
kind of takes over his mind and life
so first impressions were that a light comedy was in store
wrong
there's a few laughs at the start pre-arrival of the doll
as lars is presented as determindly single, shy and alone
he lives in the garage of a house he co-owns with brother gus
they having inherited it jointly from their father
he having raised the boys alone after the death of their mother
gus has a sweet wife karin who is expecting their first child
she is particularly fond of lars and tries to connect with him
lars has a regular job sharing a cubicle in an office
his co-worker stumbles on a porn site with a difference
this one offering full size dolls intended for more than company
before long lars takes ownership of the beautiful bianca
which is where the film really kicks in dramatically
for lars sees her as real and treats her with respect
his family, friends and workmates are soon with him
as the town psychiatrist has advised caution
she recognises the deep problems in his mind
seems his mother died when giving birth to lars
his father led a heart-broken life until his death
and his brother ran off as soon as he could
so the film has quietly moved on from light comedy
we see lars and bianca in various roles and situations
at the dinner table, at the hairdresser, on a picnic, etc
and unbelievably i was with everyone else and seeing her as real
so some great acting and directing successfully allowing the leap
and therefore a foresight into the mind of lars
as he imagines life with the perfect partner
this film has had some rave reviews
the first part had me unwilling to give over to it
but then i was totally engrossed and seeing the truth
that anyone can be affected by external circumstances
then possibly triggering mental illness or instability
when it strikes community support is most important
which provides the feelgood factor in this film
as the whole town it seems rallies to the cause
the conclusion of the film is not unexpected
but nonetheless it does wrap things nicely
leaving the audience to ponder the power of this film
another low-budget film from small town america
seems american modern day introspection is now a genre
striking a chord with film audiences
this film is not for everyone
but i got a lot from it
thought provoking
and very enjoyable

bernie mcgann quartet

friday night = sound lounge
got there as the mc was on stage doing the big intro
a scan of available seating revealed one unoccupied table
front row, centre and about 1 metre from the stage
so as bernie mcgann strode on stage
i also took my cue and settled into position
some in-jokes on stage indicating a fine night was in store
before launching into the first tune
this outfit didn't even have to warm up
a count-in by bernie mcgann and away they went
he on alto sax and warwick alder on trumpet
perfectly harmonising and producing some sweet sounds
sounding more like a couple of clarinets than serious brass
these 2 out front and displaying a special connection
the new (to me) rhythm section behind but also linked
brendan clarke almost outsized by his double bass
andrew dickeson inhabiting drums and percussion
together displaying mutual respect for their fellow musicians
it would be hard to imagine a more balanced lineup
the 4 of them producing a beautiful, clean, swing-like sound
bernie mcgann leading and confirming his stature
giving his all as though nothing else existed at the time
before retiring seemingly drained to a chair on stage
leaving warwick alder to similarly lead with his gentle trumpet sound
before he too steps aside to allow the rhythm section to take over
brendan clarke is not flashy but totally also in the moment
after his first spot leading i'm sure he was close to hyperventilating
then andrew dickeson was left to display his virtuosity
producing an eclectic array of sounds and beats
a quick glance and nod and they are all back in unison
which left me with two words uppermost in my head
pure music
and this only the first tune - 30 minutes or so of sublime noise
back announced by bernie mcgann as a tune by thelonious monk
he of course being a piano player but confirming my impression
these 2 on brass making the need for keyboards redundant
a george gershwin piece up next and given the same treatment
4 chaps on stage totally absorbed and giving their all
at least 1 chap in the audience experiencing transendence
but a quick look around confirmed i was not alone
2 superb sprawling engrossing tunes in the first set
the opportunity to take a breather and charge the glasses
the second set was equally as enthralling for all involved
3 more long pieces each with multiple sections
culminating in d day written by bernie mcgann
sitting so close to the stage gives a great insight
there can be nothing better than witnessing such joy
for these musicians know they are totally in the moment
aware that the 4 of them are bound in a way beyond musicianship
the audience a necessary component to provide the love
which is why i guess they keep doing it
playing superb music to a small crowd
which continues to defy me
but i'm now hooked
long may it last

un secret

pronounced une sea-cray - beautiful french phrasing
and not some twist of the english language for a e.g. a non secret
which was a bit of a relief really as i had it pegged as a hollywood film
but it's another one from france and about as french as it gets
according to margaret and david this one failed to get into cannes and vienna
but scooped the pool at the nearly as famous montreal film festival
unusually as it seems lately they both loved it and gave 4 stars
so tonight on opening night i shared a theatre with 20 or so others (huh?)
the opening scenes are very reminiscent of swimming pool (the film)
showing a very fragile looking boy in a beautiful pool setting in 1955
watching his beautiful mother tania (cecile de france) swimming and diving
he is the son of her second husband maxime (patrick bruel) who has a (the) secret
the son sees a ghost of a brother and suffers nightmares
his athletic father is openly disappointed with his son
though fast-forward to 1985 and a reconciliation occurs
the son played in later life by mathieu amalric
last seen as the star of the diving bell and the butterfly
then it's back to 1935 so we can be let in on the secret
there's a jewish wedding underway in paris
this is maxime's first wedding to hannah where his eye falls on tania
hinting at a sordid affair or some other kind of tête-à-tête
but first there is the serious business of world war 2 at hand
tania innocently comes and goes in the life of maxime and hannah
and the perception of hannah detects the yearning of her husband
maxime is a non-practicing jew and baulks at yiddish tradition
even having his first born son secretly yet overtly baptised
he also believes france is tolerant and not in hitler's plans
but of course the weight of history is against him
he agrees to escape to unoccupied france to set up a new life
then eventually sends word for his wife and son to join him
and casually mentions that tania has also innocently shown up
his wife and son never make it - the reason being the big secret
which then has a ripple effect down through following generations
this film is another beautifully crafted piece of french cinema
superb acting, beautiful costumes, and stunning scenery
a story that hangs at times by a thread as the film goes on
which is something i find the french can do so well
have such confidence in the mood and ambience of the film
that the thing most resembling a plot lurks around in the background
then is gently brought forward usually in the most moving way
in this case in the scene where maxime and tania finally submit
both being free of past true loves and ready to love again
fast forward again to 1955 and then 1985 and it all makes sense
we are now armed with the knowledge of what the secret is
and now able to fully understand it's long-term effect
another charming french film
un success

the year the gypsies came

this book the result of a flying visit to a second-hand bookshop
one book about to end and a train journey about to start
a few minutes available to ensure book-reading continuity
this title is from 2006 and met the current selection criteria
a story of people in another place and in another time
therefore in line with other recently read and enjoyed titles
the book is set in a well-off white household in 1960's johannesburg
bob and lily iris have teenage daughters named sarah and emily
he runs and works hard at a successful chocolate import business
she plays the dutiful wife though most happy spending the cash
for there are imported fashions, cosmetics, records to be bought
to complete the picture of self-absorption she is having an affair
her oblivious husband allows a transient family to take up residence
parking their land-rover and caravan on their sprawling property
jock is an australian wildlife photographer married to peg
their 2 sons otis and streak are uneducated, clumsy and ill-mannered
having endured their gypsy lifestyle for all of their lives
also living on the property are 2 blacks on minimal wages and long hours
lettie is the housekeeper and the elderly zulu buza is their security guard
the youngest daughter emily has a great rapport with both of them
so while her parents indulge themselves in their shallow and insular lives
their daughters are exposed to and absorb stories and experiences of the land
buza is one very wise old man and foretells trouble with the gypsies
his foreboding is justified and soon unchecked teenage testosterone makes its mark
a lid is briefly kept on the results of this problem that sees the gypsies scarper
but tensions run high and before long the truth escapes explosively
at this point in the book i was totally absorbed with the story
in a short amount of time a lot of issues had been touched on
family relationships, abandoned lifestyles, apartheid, puberty, spiritualism
even politics in the form of nelson mandela are included in the story
the book is written in the first person from emily's point of view
adding another dimension as she struggles with all that surrounds her
but thankfully buza is there as her companion, mentor and guiding light
he passes on stories and expressions from his own life and ancestry
providing the reader with a expose to zulu customs and language
their relationship is the strength and truth in this wonderful story
showing that the wisdom of indigenous people is a powerful force
able to help anyone who is prepared to listen - even a 12 year-old girl
the final chapter reveals emily now as a grown woman with her own child
still in contact with buza now close to death in his zulu homeland
a beautiful, moving, gut-wrenching, unforgettable story
based on the upbringing of author linzi glass
surely a film is following

the counterfeiters

die falscher - austrian for - the counterfeiters
i had seen the trailer for this one and had it on the maybe list
something in me says warning wil robinson - it's a war story
but in this case the academy had slapped an oscar on it
best foreign film for last year so that made a difference
an extra appeal being that the film is based on a true story from w w 2
so off i went and braced for another visit to a concentration camp
the film opens on the (stoney) beach at monte carlo pre-war days
salomon sorowitsch (sally) is seen to be in contemplative mode
then shows the swaggering anti-hero character at work and play
using his chips bought with counterfeited cash to win large
he is on a roll and wins money and love as a result
the action cuts back to pre-war underground berlin
giving an insight to changing attitudes towards judaism
he senses the danger and plans an escape while the going is good
but his libido gets the better of him and a final fling is his undoing
leading to his deportation to a brutal concentration camp
but he is a wily and pragmatic man who seizes opportunities
putting his artistic skills to work on the egotistical germans
then as his criminal background is realised he is transferred
he is then in isolation with other selected prisoners in another camp
they are forced to put their skills to work to produce money
initially english pounds in large quantities and then the us dollar
the nazis in desperation have determined to use this tactic
dump the money in the respective countries and ruin their economies
it is about here that i found my own belief system wavering
totally unconvinced that a few prisoners could achieve this
but the point of the film is more about the moral dilemma
some prisoners will do anything to preserve life and acquiesce
others take the higher ground and choose to resist the nazis
by determining that subtle sabotage of the cash is required
it is from this conflict that the film is further developed
backing up each prisoners position with background information
the strongest opponent having lost his wife and child at auschwitz
as the war comes to an end the germans turn to jelly
a farcical scene sees the nazi commander cowering
in a scene that just seemed to be too unrealistic
which pretty well summed up my take of the film
an interesting story delivered in an unconvincing way
even with excellent acting and bleak cinematography
it took a complete read of the credits rolling at the end
to state that the counterfeiters actually produced a lot of cash
4 times the volume of the english foreign reserves at the time
something i felt had not been well documented in the film
so in the end i was impressed by the historical fact
just not totally swept away by the film as a whole
certainly not my best foreign film 2007
but worth a look-see

the blackwater lightship

there's a bunch of second-hand bookshops in the nearest town
the kind of shop traditionally i had not frequented much
but these days books come from either libraries or recycled
which is fine by me as it means no or less reason to accumulate 'em
and even more reason to take a punt on a book with little to go on
case in point being the blackwater lightship by colm toibin
an irish author based in dublin writing in this case an irish story
we shall be reading and living with the blackwater lightship in 20 years
so reads a bold statement on the cover from the independent on sunday
along with a heading stating shortlisted for the 1999 booker prize
the synopsis on the back cover read ok and so the $5 changed hands
this novel is about a now grown-up dysfunctional family
sister helen is now a successful school administrator
married to hugh with a couple of young boys of her own
her younger brother declan is gay and has fallen ill
their estranged mother lily is a career woman
her own mother lives alone in coastal ireland
close to a place called the blackwater lightship
it is at the grandmother's place that the family gathers
including a couple of male friends of brother declan
so the book is set up with 6 quite disparate people under 1 roof
3 males, 3 females, 3 generations, old and new relationships
before long it becomes apparent that declan has aids
and his illness dominates proceedings in the house
as he is tended to and some old family issues re-surface
seems the 2 siblings were dealt with cold-heartedly
when their own father died of cancer when they were young
leading to a real resentment to and detachment from their mother
which really is what the book seems to be wanting to highlight
that the treatment of children is formative for their own lives
the issue of aids is dominant but reactions to his illness seem odd
leading to a check of the year that the book was set in
i could not form an affinity with any of the characters
and the 3rd person narration got to be quite annoying
mostly short sentences prefaced with he/she said/did
not an endearing writing style to encourage re-reading
i think i must have missed something in this one
i kept waiting for something appealing to develop
even expecting an inkling to get back to ireland one day
but the charm of that country and it's residents was lacking
as the end of the book drew nearer i'd given up
there was not going to be any big revelations
it became a case of get through it quickly
even the climax to me was a letdown
which was actually quite a relief
no big surprises with the ending
nothing missed along the way
anyway take the good with the bad
back to the second-hand bookshop we go
i'm sure someone else will pick it up and love it
but it don't come highly recommended from me
beware the quotes of critics on back covers
his prose rises to heights of extraordinary beauty
this is the most astonishing piece of writing
lyrical in its emotion and spare in its construction
yup - definitely missed something
nevermind - over

mark isaacs resurgence band

i had been very much looking forward to this show
based on seeing this same band perform a wonderful show last year
so unusually i had convinced a few friends to join me on this night
mostly i self-indulge big time with my sound lounge visits
not one for forcing my musical adventures on others
but this one came with satisfaction guaranteed
we got there close to showtime so best spot was at the back
the mc for the night gave a long and rambling introduction
most memorably telling us that mark isaacs is a transient
only sticks with a project as long as it works for him
which seemed to indicate this combo's days are numbered
the first tune was a gentle wandering piece titled minsk
giving time and space for the band to settle in
hinting at what i knew they were capable of delivering
memories of my last experience still exciting me
but something about what i was hearing was unsettling me
i tried to put it down to a rare seat at the back of the venue
or that i was very much wanting a great performance
so that my friends would understand my obsession
things became clearer as mark isaacs spoke between tunes
he informed us the band had not played for 6 months
but more than that he just seemed not that happy to be there
which then became true of the other 4 musicians
to their credit they used their skills admirably
matt keegan on sax doing his nod to kenny garrett
james muller proving again he is a master guitarist
tim firth on drums providing anchor and focal point
brett hirst on double bass being mr reliable as always
but...but...but there was something just not right tonight
even from a distance i could sense the animosity on stage
which spilled over to barbed comments between tunes
by the end of the first set my companions were on to it
admiring and impressed by the music (phew)
but questioning the point and in fact the need of the banter
me - feeling a little underwhelmed on this ocassion
all i could do was hope for a resurgence (groan) in the second set
but it seemed the damage had been done and more of the same
impressive soloing, professional playing and attitude
but the big totally necessary and undervalued component missing
no on-stage vibe, no sense of joy of the moment, no respect
which to me actually then seemed to find it's way into the music
at least a couple of times i sensed they had lost the plot
aimless meandering and ball-tossing on stage
long, indulgent, uninspiring, begrudging solos
providing mostly an excuse for a visit to the bar
something i usually avoid to the nth degree
in the end we all gave respectful applause
but in this case it was the end that i wanted
for whatever reason tonight was a letdown
my friends seemed not unimpressed
just not overwhelmed
me neither
...damn

alister spence trio

sound lounge - friday night - a favourite time and place
got there way too early and first into the room
advantage being the best seat in the house was secured
smack bang centre-front all but on the actual stage
by show-time the place was sadly less than half-full
leading me again to despair the irony of this situation
world-leading (and loved) musicians playing in their hometown
but largely ignored by their very many fellow citizens
alister spence is an accomplished pianist, composer and noise-maker
lloyd swanton on double-bass would be rated number 1 in australia
toby hall on drums, percussion and glockenspiel would not be far behind
this trio has been invited to play at the tokyo jazz festival
presumably meaning they will perform in front of large crowds
but tonight there's a few of us ready and willing to lap it up
things start gently and even tentatively with the first tune
being so close to the stage reveals some fine-tuning on stage
as the musicians discreetly adjust various settings and settle in
but all the time confirming their skill set and connection
the next tune luminescence sees the band really crank it up
3 musicians hard at work pulling all sorts of noises
there's a great energy to be had with a piano/bass/drum combo
that on a good night means a real transcendence can be enjoyed
as the melody, beat, and rhythm takes over the headspace
but then as in this case add another 3 channels of input
with each musician using imaginative noise-making techniques
and the result is almost overwhelming in it's originality
alister spence has no fear of adding any noise to the mix
on occasions he would stand and hammer the strings of the grand piano
at other times he would fire up the sampler and add textures
noises like the wind in trees, or a boiling kettle were heard
lloyd swanton circling the palm of his hand on the bass
toby hall dragging drumsticks over cymbals
his skills on the glockenspiel also evident at times
so an amazing musical intensity was achieved fairly quickly
and by the end of the first set of 3 or 4 songs it was clear this was special
confirmed by the large smiles and happy exchanges on stage
certainly it was good for us all to have a break and prepare for part 2
which was another set of 3 or 4 tunes delivered stunningly
the standout tune being a track titled mercury from the latest album
opening with a set of improvisation that had me hooked
then in the formal piece i was playing a favourite game
relax the body, close eyes, let go, crank up the hi-fi
acknowledge that at this time there is no better place to be
then open the eyes and see what is right in front of you
brings a smile to my face every time it happens
and in this case a smile coming back from the stage
lots of those as the lads obviously also enjoyed the night
which to me is the best thing about this kind of music
they love what they do and they do it brilliantly
just a real pleasure to be a witness to this magic
pha! who needs a crowd anyway?
the bank manager mostly i suspect
here's hoping japan embraces them
they thoroughly deserve it
new album soon too
....great