joe chindamo trio

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

aron ottignon trio

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

gran torino

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

duo buck / mayas

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

strike 3

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

nick cave and the bad seeds

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

the saints

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

the necks

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

laughing clowns

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

dead meadow

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

conway savage

all tomorrows parties - part of the sydney festival 2009

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

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

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

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

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

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

the opposite end to which i had found myself after disembarking

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

past the second stage and a performance sounding out of place

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

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

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

a small crowd gathered and seated in the small area available

a sense of anticipation that suggested greatness was imminent

then the man himself is seated at his electric piano

accompanied by fellow man on guitar and lady on other keyboards

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

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

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

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

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

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

but not good enough for one couple seen standing and departing

who are then subjected to a grilling from the main man

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

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

more gently played and well rehearsed tunes from the trio

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

all quite pleasant really especially with a swap to accordian

amanda lee demonstrating her comfort and skill with this instrument

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

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

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

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

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

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

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

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

but i suspect not - better keep the night job conway

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

i've loved you so long

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

james blood ulmer

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

slumdog millionaire

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

mamadou diabate bobby singh jeff lang

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

dale barlow quintet

the first act for me on the main stage on sunday at the wang jazz festival
2 legends of the australian jazz scene fronting a very appealing lineup
james 'pug' waples on drums again demonstrating the regard in which he is held
favourite-of-mine brother ben waples in charge of the double bass department
and an almost famous chap named bobby gebert tickling the ivories
dale barlow as leader, composer and instigator of this quintet on tenor sax
his old mate bernie mcgann sparring and harmonising on alto sax
so it's a old guard / new guard kind of combination on stage
barlow and mcgann having been strutting their stuff for many years
the waples brothers part of a bunch of young and talented musicians
and thus always good to see them being encouraged by their mentors
not that this is any kind of lip service (groan) that they are being paid
for they are supremely talented and can certainly hold their own
james waples is always a pleasure to watch at work on his kit
a quite hunched posture and unique grasp of his sticks
clearly absorbed and totally focused in the task at hand
always displaying exquisite timing and in the choice of flourishes
ben waples seems to be constantly looking everywhere except downwards
indicating a confident grasp (double groan) on the use of his instrument
bobby gebert - well - brilliant i am sure but kind of side-lined in this outfit
alto saxophonist bernie mcgann is just too solid for words - he delivers
and the man himself always seems to have a great time playing
dale barlow neither a young whippersnapper nor an old pro
not seen much on the circuit but always gives a great show
anecdotes, jokes, retorts, one-liners also rolled out
today he made great use of having an equal on stage with him
these two made it look all too easy as they jammed it up
some superb harmonies in many various tunes with solos to match
a rich, up-tempo, swinging, melodic, comforting sound filling the room (marquee)
which had me with my foot tapping thoughout and head hooked in
though running off on a tangent comparing this to other acts seen so far
there's been some very insistent noise-making improvisors
and an equal number of fresh and experimental combinations
but this kind of outfit sits squarely in the mainstream of australian jazz
mainstream in the sense of centred and totally essential
from which all else kind of hangs off as long as possible
and drawing in elements that can be further enriched
but putting all that aside they are just so easy to watch and enjoy
coming mid sunday afternoon and setting things up nicely
happy now to take whatever else comes my way

way out west

groundhog day at the wangaratta jazz festival of 2008
another midday start at the same stage to see a melbourne based outfit
way out west previously heard of but never actually heard
apparantly they have appeared at a few overseas jazz festivals
this according to the festival program which gave them a big rap
wonderfully atmospheric, intensely evocative - a treat
there's a big crowd in attendance and so the anticipation is high
presumably most of the crowd like myself well sated and into it
following on from a most enthralling day of music the day before
there's wine-sippers in abundance and a few little ones running around
and so a very easy and relaxed atmosphere as the band starts up
all very kind of gentle, groovey, cuban-ish sounding noises coming forth
sax and trumpet up front with 2 percussionists laying in the beat
composer, leader and main man peter knight on trumpet and flugelhorn
paul williamson making a nice deep sound on the baritone sax
dave beck on the regular drum kit now looking far more relaxed
last seen the previous night providing noises to an intense lost and found
ray pereira obscured at back of stage providing the south american percussion
howard cairns stands quietly at the back and plucking away on double bass
and to complete the lineup dung nyugen seated and on electric guitar
the sound is all very nice - an appropriate start to another long day
peter knight takes the time to introduce tunes with some background
on quite a few occasions making reference to their inner-city origins
suggesting a common bond that infuses their music - fair enough
it's all very pleasant latin-jazz-rock-eastern-mixed-up-stuff
though for these ears at this time maybe over-reaching a bit
trying too much to be all things to all people and kind of blanding out
though with a few notable exceptions from the man seated stage left
dung nyugen pulling some exquisite sounds from a precisely tuned guitar
then swapping to a dan tranh - single stringed lap-based instrument
his contributions adding something quite unique to the sound
in the end there was plenty of very polite applause
a lovely way to start the day really
but there's more....

trio apoplectic

part 4 of a continuous stream of a 4 hour stretch of amazing music
and in this case favourite band time at the wangaratta jazz festival
had seen this sydney based outfit just once before in a double-bill
on that occasion i was way impressed with their fine style
apart from looking the part these young chaps make a great sound
legend has it they met at the sydney conservatorium of music and kept going
presumably they welcomed the opportunity to play at this festival
but maybe didn't account for their billing before the megastars across town
lovano and scofield due to hit the stage as these guys finish
but the tyranny of distance presumably kept the crowds away
most i suspect preferring to secure seating there than be here
their loss - making this performance quite initimate and personal
st patricks hall has a nice ambience about it for their sound
dave jackson on a sweet alto saxophone that he has singing
able cross playing the most fluid double bass imaginable
alex masso on drums and percussion filling gaps with style
this is such a well-balanced trio it seems unfair to single out anyone
but dave jackson on alto provides the single largest point of difference
for he makes a floating, melodic, grooving, sweet and hypnotic sound
after a couple of sessions of hardened noise-making this was like manna
just so easy to get completely taken in by their accomplished sound
i'm sure there may not be much difference technically to other acts
but there's a freshness about trio apoplectic that is very appealing
and definitely that over-used cliche is very relevant here
the one about...the whole being greater than the sum of...
not much talk between tunes but the impression is they are all originals
also not much on-stage rapport or communication but not needed
there's a very pervasive sense of respect for each other's part
especially when on occasions a sax, bass or drum part is highlighted
me mr-already-a-fan taking note of the audiences on-going reaction
the first few tunes bringing polite applause from the small crowd
but before long the appluase became louder and longer
leading to a laughable outburst from one enthusiastic listener
as dave jackson pre-announced the last tune of the night
suggesting we would probably all be wanting to get to lovano/scofield
from the audience - to hell with scofield and lovano - this is heaven - i'm staying here
which kind of said it all for me - hard to imagine it getting any better
and so it was that a day of excellent music ended for me on a high
i just hope there was someone in the crowd with some influence
and that this superb performance reaps some reward for the trio
thanks guys - day 2 over and all good

lost and found

part 3 of a 4 part continual string of performances
each starting on the hour at alternate venues
these venues being a good 5 minute sprint-walk apart
so again a walk into a performance (just) underway
in this case there are 3 performers on the large stage
jamie oehlers centre stage and in command of a tenor saxophone
dave beck stage right in charge of drums and percussion
paul grabowsky stage left belting it out on the grand piano
the festival program promised another improvised performance
which in the right hands can be quite exhilarating
mr oehlers is no slouch on his chosen instrument
proof - winner of the world saxophone competition (2003)
the immediate prior performance saw scott tinkler hard at it
my first impression of this show was that of equivalence
a brass player center stage with the ultimate musical freedom
musical colleagues providing support on compatible instruments
but otherwise free to make whatever noise was possible
and in a similar way jamie oehlers gave it everything he had
an unbelievably generous physical performance to say the least
he's a tall and seemingly very fit and athletic chap
his position of choice is knees slightly bent and a straight back
eyes closed and vein-popping exertion of air into his instrument
it's a fairly random sample of sounds he lets rip with
though at times he hooks into an almost-melody that gets repeat play
it's a very commanding performance which dominates proceedings
easy to forget there are a couple of exceptional musos also on stage
paul grabowsky i sensed almost out of his comfort zone
i've only ever seen him performing set pieces for other performers
or presenting seriously complex works of his own composition
his job tonight was mainly to provide relief for the main man
and so as though inspired he gave his keyboards a real bashing
trying and mostly succeeding to be the total free improvisor
dave beck is one of those drummers with an amazing instinctive skillset
not too much indulgence but more a job of sound-filling
adding complementary noises to whatever else was going on
and very much succeeding in filling and not drowning the sound out
a very impressive set by any standard - mental note to get the cd
and as soon as it was over - high tail out of there
the next performance due to start immediately
part 3 - extraordinary - part 4 - coming up

the antipodean collective

walking in late to a performance is not a favourite pastime
but in this case one must-see performance ended as another started
and with the temporary placement of the main stage (tent)
it was a bit of a hot-foot trip through town to this performance
happening in a hall normally next to the regular main venue
(which is currently under re-construction for next year)
the place was almost pitch black and so a gentle tip-toe to the front
found a spare chair (the advantages of gig attendance in solo mode)
then sat down to try and tune into what was coming from the stage
this was a sound like none ever before experienced live
primarily scott tinkler letting rip on trumpet
blasting out every possible noise he could make
mostly full throttled, screaming, stabs of sound
not a melody or any kind of form to be heard
other musos on stage similarly belting it out
now this was a challenge for any audience to take up
improvisation as raw, loud and confronting as it gets
the darkness of the hall and the acoustics adding to the mood
a relatively large audience up for the challenge and taking it in
my thinking that it's a good thing when a musician is so inventive
i'd not seen scott tinkler before but he comes with a reputation
regarded by some as the best trumpet player in the land
and admittedly what had drawn me to this performance
i'm not sure that his medium tonight was entirely embraced
but some vocal audience members whooping it up
for me i found the performance very demanding
in a positive way though as noise is a favourite genre
this performance on this night being a fine example
barely time though to dwell on it at it's conclusion
as it was another dash across town to the next show
gotta love this festival - eclectic performances plus...

bernie mcgann quartet

mr bernie mcgann - he the man
have seen him and this quartet a number of times in sydney
always in a small-ish i.e. intimate venue with usually 30-40 others
so today was an opportunity to see him perform to a much larger crowd
he's on the main stage at the wangaratta jazz festival early saturday evening
my rough estimate would be that there may be 8-900 in the audience
good to see the rhythm section back in their familiar roles
having played part in the opening fiasco of the spare parts orchestra
my opinion entirely and also something way out of their control
ditto with mr warwick alder who was 1 of the 4 trumpet players there
putting the music aside this quartet have a great on-stage comraderie
every other performance i have seen has included plenty of in-jokes
which i think then directly imbibes the music they make together
a sense of the joy of making great music oozes from the stage
today the on-stage chatter was not so discernible
possibly due to the importance and physical size of the stage itself
but that did not have any effect on the quality of the performance
to these ears there is no sweeter sound than their harmonies
bernie mcgann and warwick alder so connected they sound as one
alto sax and trumpet perfectly in sync in timing, key and notes
some quite complex melodies being played but making it look easy
ditto for the rhythm section at the back of stage
while not needing to be so tightly bound they are also very solid
i'm sure bernie mcgann would command the very best performers
andrew dickenson sounds and looks the part for this quartet
nothing at all flashy or even adventurous but delivering the goods
complete with a unique upright seated position, smile and head rotation
making regular eye contact with brendan clarke on double bass
mostly absorbed and concentrating on doing the very best he can
there is no letup for the whole set for this excellent rhythm section
warwick alder and bernie mcgann in some tunes taking turns at solos
allowing the other to be seated or side stage and enjoying the music
bernie mcgann has recorded a heap of albums so lots of material to draw from
though i sense the live performance has been honed down to a regular set
names of tunes recognised as they are announced by the leader
in particular the regular and memorable closing number titled d day
i'm not sure how many appearances bernie mcgann has put in here
probably more than any other single musician or group i suspect
he deserves the accolades as a respected contributor to australian jazz
for me i'm glad i finally hooked into his music in the past year or 2
from here on it's a case of being in attendance at every opportunity
hopefully that means many more shows with this quartet
tonights show being one that brought respectful applause
tick - anything else seen at this festival now a bonus

ilmiliekki quartet

it seems the scandanavians lads were at it again
late on friday night working the cd stall was the first sign
a number of people asking for cds of this group post-performance
they were also the talk of day 2 at the wangaratta jazz festival
a few people i spoke to raving about their friday night performance
drawing comparisons with norwegian group the tord gustavsen trio
who blitzed the festival with 3 stunning performances 4 years ago
the relatively unheard-of ilmiliekki quartet hail from finland
1 other performance scheduled for late saturday afternoon
so i too headed for the main stage with most other attendees
it seems the word travels fast when a new discovery is made
mind you a program write-up referencing radiohead adds appeal also
its a standard drum/bass/piano/trumpet lineup that comes on stage
adding to the appeal is an average age i reckon to be 20-something
i love the old(er) guys but the inventiveness of youth is very appealing
trumpet player verneri pohjola assumes the role of band leader
quietly and politely thanks the crowd and takes it away
leading the band into a set of tunes delivered expertly
the impression being that each note has been rehearsed
the music seems complex and yet quite light and precise
the trumpet particularly sounding very lyrical when in charge
with the other musicians also given time to demand attention
it somehow sounded unlike anything i had heard before
though i couldn't really point to why that was so
tempting to put it down to a generic scandanavian sound
which really is quite a lazy way of describing a group
apparantly they include a few covers in their set
bjork and radiohead being favourite artists to borrow from
so my ears were trying to pick up any known melody
but alas nothing was recognised though highly likely played
each tune was disctinctly different from each other
most memorable though was the last tune in the set
where the trumpet player played a very impressive solo piece
with his instrument pointed well inside the body of the piano
so that the vibration of the piano's strings was picked up
and brilliantly added into the mix of the sound
providing a hauntingly melancholic piece of music
this had the crowd totally besotted and as one
leading to wild and generous applause at its conclusion
this show-closer a ornette coleman tune titled what reason could i give
their whole set justifying the mutterings at the festival
i encountered the band at the coffee stall post gig
thanked them for their eclectic performance
in turn politely and genuinely thanked for being there
methinks that's not the last we'll hear of the ilmiliekki quartet

blow

ted vining has the reputation of being somewhat of an innovator
the afternoon began with his very cool 3 piece the impressions trio
one hour later and that trio is back on stage and now augmented
2 brass players and an additional double bass player now on stage
bob sedergreen has done a 90 degree adjustment to take up electric piano
most interesting about this lineup is the double double bass configuration
as the band was introduced it was announced this was a last minute thing
there was supposed to be a trombone player (simon kent) on stage
but for some reason he could not make it and so ted vining got inventive
went off in another direction and instead filled out the rhythm section
mid afternoon on a quite hot saturday and there's a full house
their record label (birdland) have set up 3 cameras to record the event
so everything is in place for what promises to be a memorable hour
same as before the band kicks in very confidently from the start
dominating the sound is the electric piano at the hands of bob sedergreen
ted vining almost obscured but no doubt quite busy at the back
a very tight and nicely harmonising brass section - sax and trumpet
the double bass department working also in unison very comfortably
which was what held my attention for a lot of the set
having only ever seen a single double-bass player on stage
i had come to believe that mostly they played by feel
always impressively all over their instruments
free to improvise at will as long as the rhythm was there
but today i witnessed 2 players clearly very well rehearsed
almost always playing the same lines but with no cross-reference
which meant there was a solid, rich, fluent rhythm underpinning it all
peter harper on alto sax made the most of all this and let rip
some long, energetic and impressive solos at various times
on more than one occasion leaving him visibly breathless
ian dixon on trumpet also giving his all to the sound
more content i felt to lend harmonies to his foil on sax
i can't recall recognising any tune in particular
though there was a lot of variety in the tunes and delivery
afterwards i had the opportunity to exchange words with ted vining
back at the cd stall where i mentioned the unique lineup
his retort being that he loved the double double bass
would always use it if he had the choice
so we were very lucky to witness it
hope there's a dvd to follow

impressions trio

saturday afternoon at the wangaratta jazz festival
the day starting with a wander off to a side-stage for a gentle start-up
ted vining (drums) is a stalwart of the melbourne/australian jazz scene
i'd seen him previously a couple of years back fronting a serious noise-making combo
memories of a bunch of musicians going randomly hell for leather
probably my first experience of such chaotic live improvisation
and something i now tend to search out and embrace
but today the program's write-up promises something more laid-back
the impressions trio is part 2 of the apparantly legendary ted vining trio
bob sedergreen still at it tickling the ivories - they have played together since 1969
their long-time bass-player (barry buckley) passed away in 2006
his place now being taken by melbournian michael meagher
sure enough the opening tune was gentle, melodic and easy on the ear
those in the crowd sipping on the local wine seemed well pleased
lots of smiles also on stage with the band obviously enjoying the moment
ted vining at centre stage dominates both visually and aurally
nothing too flashy but a solid drumming performance is provided
he seems well happy to be on stage with his old mate stage left
bob sedergreen also content to enjoy the moment and just play
lots of melody, chords, foot-tapping, wine-drinking and smiling
meanwhile stage right is michael meagher laying in the rhythm
looking completely at home with these 2 older jazz proponents
there's a few words from ted and bob at various times
mostly in praise of their newest member whilst mentioning he who is r.i.p.
i suspect the majority of the material was original and even familiar
a very solid mix of piano based up-beat melodic jazz music
the audience lapped it up while i was happy to kick back and relax
a hour long set in the middle and start of a long musical day
nice one - impressions trio - an appropriate name

david murray black saint quartet

wangaratta jazz festival 2008 - headline act number 1

david murray is a well respected african american sax player

founding member of the world saxophone quartet

grammy award winner, prolific recording artist (130 albums), etc, etc
prior to this performance he and his outfit had played at the basement
i had been offered a ticket but declined knowing i would catch them at wang
they came on stage to a rousing reception from a hungry audience
possibly some like me disappointed by the opening show
and presumably also some like me having travelled far and wide
eager to get their ears around some seriously good music
i think about 2 bars of music was all it took to appease
the quartet hit the ground running and never let up
on one other occasion this year i recall the same feeling
witnessing a performance that surpassed all else seen in recent times
interestingly enough that other performance was also a u s performer
with a band dominated by african americans in charge of rhythm
which on this night had me thinking maybe that's the secret ingredient
but of course analysis is not recommended - better to just enjoy
and so it was as i let mr murray's groove slide and glide into my head
he looking and sounding like he had been born with his saxophone
prowling the stage and appearing to effortlessly blast it out
a rich, deep, melodic sound that dominated the large venue
his fellow musicians equally talented and essential to the sound
jaribu shihad on double bass particularly impressive
his instrument, long dreadlocks and leather coat visually intimidating
his command of the double bass laying in a solid backbone
young dummer malik washington all over his drumkit
he too looking like he would be out of place anywhere else
on piano lafayette gilchrist adding in flourishes as required
not so much competing or combining with david murray
but filling the gaps whenever the man took a break
there were a few polite and gracious words spoken between tunes
and by the end of the set an audience demanding and rewarded with more
afterwards i had the pleasure of chatting to the band at the cd stall
as they graciously signed cds for the clamouring crowd
in no hurry to get away and happy to mix it with the fans
i did ask david murray how the gig at the basement went
oh - that was fun - we had a great time
this man genuinely loves his job
the end of day 1 at wang
sounding good

jim mcneely with the spare parts orchestra

sometimes it's difficult to turn down an invitation
a long-time acquaintance lives in the town of wangaratta
runs the local music shop and ditto the shop at the annual jazz festival
so the offer of a free ticket and accommodation was hard to resist
all that was required was a bit of time flogging cd's at the stall
so onto a cheap flight out of sydney and into albury
seated coincidentally next to an acquaintance from sima
(sydney improvised music association)
who just so happened to have a friend meeting him
and so a lift to wangaratta was also provided for me
then another lift to the festival site in a car packed full of cds
the complimentary festival program tracked down and perused
a weekend of music offering a great mix of known and new music
first up for me being jim mcneely and the spare parts orchestra
never heard of the chap myself but hey he's from new york
the spare parts orchestra is a (presumably) hastily assembled combo
local (read australian) musicians again displaying their flexibility
4 trumpet players including sydney based star warwick alder
4 trombone players of unknown origins but presumably melbourne
5 sax players including paul cutlan and kiwi roger manins
the rhythm section of andrew dickeson and bendan clarke
last and consistently seen keeping time for mr bernie mcgann
jim mcneely himself leading the orchestra on piano and mc duties
well it all sounded very appealing and so i was there in the crowd
but, but, but it just did not work all that well unfortunately
sometimes i just sense that there is too much reliance on skills
this outfit had that to spare and in theory should have killed it
but then in my limited experience you have to add 1 of 2 components
either a connection forged from lots of rehearsal or live playing
or a connection and an absolute trust in your fellow musicians
so that improvisation works and comes naturally and easily
uh-oh - in this case, on this night, we had neither component
meaning that it was quite a shambolic, sloppy, unenthusiastic performance
couldn't help thinking the local guys were going through the motions
but trying their very best to lift the performance and make it special
jim mcneely between tunes seemingly trying to redeem himself
constantly name-dropping other concerts or orchestras
blatantly reminding us the audience of his stellar connections
i kept thinking i must have had it wrong - maybe a tuning problem
i.e. my ears not yet tuned into the cavernous space of the main stage
and very used to front row seats at intimate shows in small spaces
i left the concert very underwhelmed by the performance
was still thinking about it the next day in the main street
when i stumbled onto the local school big band doing it's thing
playing with confidence and in unison and making a fine racket
reminding me very clearly of the disappointment of the night before
sorry jim but for me not a successful festival opener

man on wire

a documentary about tightrope walker phillipe petit
based on a book by the man himself titled to reach the clouds
it's a tantalising opening sequence of archive footage
showing some home video of petit practicing his art
he's rigged up a wire in his back yard in paris
a young man with a devoted girlfriend pursuing his dream
plans to conquer the world trade centre even before construction
along the way he takes on notre dame and the sydney harbour bridge
again some great historical footage of those events
but a change in tact is used to tell the main story
a mixture of talking heads and event reconstruction
interspersed with still photographs and amatuer videos
some poignant footage of the building of the twin towers
showing the internal structure seen lately as it came down
understandably there is no actual footage of the main event
being the 1974 assault on the world trade centre
actors and a quirky directional technique filling the gaps
props, lighting, movement, as used on a stage show
most interesting though are the tales of his accomplices
balanced with petit himself recalling the event
a fascinating tale of intricate planning and subterfuge
as a ton of equipment and 4 people are smuggled in
raising questions as to (lack of) security pre 9/11
a reminder of a more innocent, naive and calmer world
thankfully there's enough information to explain the finer details
like how a large, heavy, long cable could be rigged up discreetly
i was also curious to know how a long balancing pole was smuggled in
the film is well paced as it builds to the big climax
luckily we know the happy ending and so do not fear for the man
as still photography and some ground based videos show him at play
incredibly he traversed the wire 8 times between the towers
including laying down on the wire over 400 metres above ground
i was bracing myself for a sense of vertigo creeping in
but fortunately the staggering height involved is not pushed
and it's quite a sense of elation as he completes the deed
though it doesn't end there with some post-event analysis
for petit is directly affected and is now a changed man
his instant fame now put to use with his adoring public
though some sad moments as his friends shed some tears
confirming that as much was lost as gained on the day
so there's more happening in the film than just facts
the music of erik satie and michael nyman most effective
beautiful piano music used to add an emotional resonance
depicting petit as a driven but ultimately lonely artist
and powerfully showing his chosen craft to be quite unique
this against the backdrop of knowledge of what would follow
though thankfully no reference to the other big day for the wtc
leaving us to ponder the significance of his day in 1974
still not sure how they smuggled in his balancing pole
just one of many resonating observations about this film
a highly satisfying and equally uplifting experience