After the rain

After the rain is the title of the Fifth National Indigenous Art Triennial at the National Gallery.   I had attended the opening to hear Aretha Brown introducing her major, large, monochrome work in the foyer, but only managed a return pretty late in the season.  It runs to 27 April.  I admired a goodly part of the exhibition, enjoyed some, was deeply impressed by several, learnt something from many.  There were 7(?) rooms, each with a theme, some with several or at least several artists featured.  I was particularly taken by rooms dedicated to Albert Namatjira, with paintings, pottery, a glorious house of stained glass, a witty portrait by Vincent Namatjira.  There was film and a room of timer flying foxes, another of Aboriginal gay scene, one of starry skies, paintings pf rain clouds and a knitted woollen statue of woman  with children.  Thea Anamara Perkins, granddaughter of Charles Perkins stunned me with her paintings, one of her on a phone at a desk, many stunning others.  Then a lovely desk that suited the scene, a rest space after the exhibition, to read catalogues and the like.  Another beautiful work.  A wonderful experience for pleasure but also understanding.

After the rain is the Fifth National Indigenous Art Triennial, held at the National Gallery.  

Artemis 2 Triptych

Artemis 2 - Earthrise

Artemis 2 - Dark side of the Moon

Artemis 2 - The search for water on the Moon

My Artemis 2 Triptych, after a visit to NGA and James Turrell "Within without" Skyspace.  As Artemis 2 circles the Moon.  Without excess seriousness.

Stabat Mater

To finish off this Easter season, at least the music side, it was Stabat Mater by Greta Claringbould and Toby Cole at Smiths, upstairs at McGregor Hall, with accompaniment by Linus Lee and Zachary Connor, piano and cello.  This was a revisit to last years vigil, then with just Linus on piano.  The addition of a cello spelt out the accompanying melody line with vocal-adjacent tone and demanded from the piano a less expansive role and more defined role.  Nice.  Great high vocals are expected from and delivered by this pair and the melodies and harmonies in the work are gloriously beautiful.  I chatted with some audience and this was their return too: such is this work and these performers.  Others have done this work, but probably the Pergolesi here is the most renowned and loved.  Taken with candles and centred spot in a close setting and this is an experience of inestimable beauty and touching intimacy.  How could it be otherwise with such a topic: a mother standing below her son on a cross.

Greta Claringbould (soprano) and Toby Cole (counter tenor) performed Pergolesi Stabat Mater at Smiths, McGregor Hall, with accompaniment by Linus Lee (piano) and Zachary Connor (cello).

Good Friday Alt.

It was fairly quiet in town when we went to Molly, it being Good Friday, I thought.  But we are none too religious a society these days and Molly was alive.  Even buzzing more when Tom Fell's quartet opened with a take on Green Dolphin Street, with Chris Pound playing emphatic chords from the first beats of the A section.  Tom on tenor spelling out the melody then a lovely, inventive solo with a goodly share of dissonance over more driving grooves from Nick McBride and Damien Slingsby.  Tom took a solo that I could only love for its firmness but also fleet inserts and Damien solid and chordal, perhaps less than bop flightiness, and occasional solos from Nick through the night, but always driving, powerful grooves and insistent fills.  Do I need say I was very taken by this.  Then on through In a mellow tone, something sounding Shorterish that Tom later identified as One for BM, a track from his new album, Mantra, and Fee-Fi-Fo-Fum which is by Wayne Shorter and the bouncy Cold Duck time to finish the first set.  In the meantime, we had a few beers, watched the locals, admired the band to the hilt, me remembering Tom from years back and marvelling at his expressive fluency and dissonance of today.  We only stayed for the first set but it was a doozy.  Now to have another listen to  Mantra, Tom's first album, bought and signed for my shelf by Tom.  Chase it up.  It's this same band other than Steve Barry on piano.

Tom Fell (soprano, tenor saxes) led a quartet with Damien Slingsby (piano), Chris Pound (bass) and Nick McBride (drums) at Molly on Good Friday night.

Good Friday

It's Good Friday and thanks to a request from the venue, there is no applause after these Holy Week concerts.  Absolutely apt, although the music was delicious.  This was a larger order than the Lamentations: SATB vocals with 6 instruments, although we only heard 5 given absence due to sickness.  The composer was Christoph Graupner, prolific and a contemporary of JS Bach.  Apparently, his cantatas (1,400+) are well preserved and his reputation has grown through recent decades.  We heard "Where is Jesus going?" (GWV1119/39) on Christ's departure and faith and trust in divine guidance, and "We know that tribulation brings patience" (GWV1121/44) on suffering as a pathway to spiritual endurance, character and hope.  I quote from the program, of course, given the German was not obvious to my ears.  But lovely four part singing, occasional solos from all parts, enticing counterpoint and harmony and effective interplay of vocals and instrumental parts.  The instruments were two violins, viola, bass and harpsichord.  The missing instrument was cello, which certainly would have added  considerable embellishments in the mid-range, but the solo bass took on a clear, effective presence which also responded with and to vocals.  Fascinating to the ears of this bassist.  Then the quiet and pleasure after the two cantatas and perhaps some dissonance with the Easter story.  Thus is history and modernity.

Singers Greta Claringbould (soprano), Maartje Sevenster (alto), Will Millard (tenor) and Andrew Fysh (bass) performed two Graupner cantatas at Wesley with accompaniment from John Ma and Lauren Davis (violins), Brad Tham (viola), Isabella Brown (bass) and Marie Searles (harpsichord).

Lamentations 2

We are deep into the Holy Week music program at Wesley.  I've missed several concerts with conflicts and the Porpora Lamentations cover two sessions, Wed and Thurs, and I can only get to Thursday.  Alan covers the recording activity for me with my gear and I process the two sessions in one.  Its an exciting outing given this performance of Lamentations by Nicola Porpora (1988-1768) is thought to be the Australian Premiere.  Wed is sung by Greta Claringbould and Thurs by Maartje Sevenster, a powerful pair of local singers, soprano and alto.  Accompaniment is Ariana Odermatt on virginal and Rachel Walker on viola da gamba.  Wesley stalwarts and strong players all.  Holy Wednesday's lament is 1:10-14 The enemy laid hands on all her treasures followed by a short viola da gamba instrumental Recercada ottava sobre tenores Italianos by Diego Ortiz.  Maundy Thursday's lament is 2:12-15  They said to their mothers, "Where is bread and wine" followed by The Carman's whistle by William Byrd performed on virginal.   The Wednesday session "depicts the deep humiliation and physical suffering of Jerusalem following its destruction by the Babylonians in the summer of 586BC[E]".  The Thursday lamentation describes "describes the city as a 'scorn and a hissing' to the nations.  Jesus is famously 'the man of sorrows' who wept over Jerusalem."  The themes may be distant as I try to recall details of Holy Week from school days, but the music is delicate and full of dread and disappointment.  And maybe an Australian first.

Greta Claringbould (soprano), Maartje Sevenster (alto), Ariana Odermatt (virginal) and Rachel Walker (viola da gamba) performed Porpora lamentations at Wesley on Holy Wednesday and Maundy Thursday.  The pic is from Maundy Thursday with Maartje Sevenster singing.  And thanks to Alan Hinde for tracking the Wednesday performance.  

Many happy returns

Once again our great joy to return to Red Hill Primary School with memories of kids and Sausage sandwiches without the politics.  But this only gets a post if we play with someone new.  This time, it was Gus Henderson and it all worked a treat, including a take in a New Orleans groove.  Always a pleasure.

Tilt Alt. comprised James Woodman (piano), Eric Pozza (bass) and Gus Henderson (drums) at RHPS.  Thanks to Lin for the pics.

Playing a home gig

Over many years I've seen talented and experienced Australian musicians, often Canberra-trained,  returning home in travels, presumably to catch with with family and friends.  With recent ructions at the SOM these returns may decrease over time but I caught one at Wesley.  Justin Bullock and Alexina Harkins graduated from the Canberra School of Music about 15 years back.  Justin is now regular guest principal bassist at QSO.  Alex moved to Berlin and "accidentally remain(ed) there".  Amusing story and common enough.  They have both played with numerous groups here and in Europe.  They came together this day for a duet playing Bach two part inventions, a Gliere suite for viola and double bass and a contemporary piece by Cathy Milliken.  There was huge joy, stunning performance and quite some preparation involved in this program.  I just sat in awe with Justin (but then I play bass).  Perfect intonation, delightful tone, just a few tricky lines that briefly affected his smile.  To see such players in such intimacy with such glorious music for such a special and effective pairing is a special pleasure. 

Justin Bullock (bass) and Alexina Hawke (viola) played Bach, Milliken and Gliere at Wesley.

Jamagain

I am somewhat overwhelmed by processing and Wesley Holy Week recordings and more but I managed an evening at the Smiths jazz jam.  I caught up with a friend I'd not seen in jazz contexts and played for a least a few tunes with the band.  Perhaps jams go this way, but the players were all the same as I remember from the last jam there and interestingly several singers so several ballads.  I find the singers tens to define the music that gets played.  Singing is, after all, the most immediate and personal for of music making, and there were some decent singers.  And guitars, horns, interestingly, a range of percussion.  Not quite a drum circle but a rhythmic feels even if with no latin tunes that I remember.  Whatever, it was fun.

Jazz jams are held at Smith weekly on Tuesdays.

From outside in

Usually I'm playing in NCO so to attend a concert as an audience member is to sit out and look in and I was mightily impressed.  NCO has grown of late, so 16vl1,14vln2,10clo,6bs.  Six basses, with 2 new names I'd not met.  The format was pretty standard, so a fanfare, a concerto, an interval, a symphony, but they were all hugely impressive works, often challenging, often popular and familiar.  First up was Natalie Williams Sonic Boom, a fanfare, raucous, loud, inviting, huge fun, with Natalie in the audience.  Then Mendelssohn with his violin concerto that is familiar as all out, delightful and pretty and a hugely successful work.  Mia Stanton played that one with panache: Canberra girl returning home for a gig.  Then Saint-Saens Symphony no.3 Cmin, known as the Organ symphony, with organ (obviously) and four handed piano and some very demanding quick lines for the basses, several octaves up or down the neck.  The organ was a bit quiet but the presence was there in key passages.  I didn't know this one, although I did recognise some melodies.  I stopped to consider a while.  Louis has brought this orchestra to big dimensions and impressive in capability not just volume.  They no longer fit easily on the Snow stage; it's a growth to admire, impressive in development and quality.  But Canberra is like that: a town of significant capabilities.  Congrats to Louis, Mia and all.

National Capital Orchestra performed Natalie Williams, Mendelssohn and Saint-Saens under Louis Sharpe (musical director) with soloist Mia Stanton (violin) at Snow Concert Hall. 

Catching up is hard to do

This is Adelaide and I attended a launch party for a novel and it was by a close cousin and I thought of it as a personal event so not for CJ.  Not true.  This was the launch of Lara's fourth book, a novel following three books of woman and dog self-help guides.  Four books!  I am impressed.  Even some recognition on Amazon, especially for her third release, apparently well received and well purchased.  This last novel is an amalgam of people and dogs and a story of human relationships and loss of a much loved dog with a few places and events that look close to home to a relative.  And this is something dog lovers will understand, those with that awareness of the commitment of dogs, that immense attachment that so well invites our response.  As dog lovers will recognise.  So Lara, best of luck with your fourth book, Gidget and Grace / Lara Casanova.

Thanks to Lara for the pics of her book launch

A century of jazz women

I'd booked this one on our side o town for an easy park for Mum and me.  We arrived to find a delightful casual but attractive bar with a generous outdoor space out back and what seemed like 1800s storehouses.  The wine bar was Ern Malley's with a copy of the classic painting and a claimed establishment date of 1943.  Sounds about right; another hoax?  But a lovely spot, dark and decorated.  This fringe show was Offbeat with the Molly Silvy quintet celebrating decades of female jazz singers from 1920-2020.  We arrived to chat with Molly's grandmother at the door then guitar and drums at the bar.  The band comprised students, ~second year of jazz degrees at the Con, Molly on vocals with guitar, tenor, bass and drums. Molly introduced various singers and interestingly, styles and techniques, and not just the obvious and not exactly each decade.  Ella and Esperanza (Spalding) were mentioned in the description.  Neither ended up on the program, but we did get some classics, some interpretations, a few female composers and daring choices, in all a fascinating outing.  No more blues / Carmen McCrae; These foolish things / Billie Holliday; Green Dolphin Street / Sarah Vaughan; all with intros and chatter of vocal ranges, twang, belt and cry, jazz vocal techniques.  And some more obscure finds: Bernie's tune / Tierney Sutton; Lawns / Carla Bley as influenced by Kristen Berardi; Colours of my dreams / Judy Bailey arranged with borrowings from Olivia Chindamo.  Then an encore which they didn't have ready, but an excellent choice: Centerpiece / Lambert, Hendricks and Ross.  It's still going round in my head.  Some nice, capable, informed, young playing.  Molly did an inviting job as the central expositor and I particularly noted Daniel on very fluent bass and Johnny on a responsive, subtle, aptly dissonant tenor.  The audio balance wasn't perfect but the respect and ongoing studiousness was clear and propitious.  A very promising next generation.  But it was not just the music and the fabulous bar setting and mild evening.  We met and chatted as one does at a jazz gig and happened to sit with a committee member of the Southern Jazz Club.  So small world; small venue.  And to end, I was not alone in praising bassist Daniel's recent haircut that looked all the world like early Paul McCartney: nothing better for a bassist!  Lovely night and well done by the  band.

Molly Silby (vocals) led her quintet with Johnny Turner (tenor), Hugo Evans (guitar), Daniel Cavallaro (bass) and Micah Capin (drums) at the Ern Malley Bar for the Adelaide Festival Fringe.

Works on walls

I had some time to kill but it was in the morning.  Pre-noon is not a time for concerts or theatre but it is for art on walls.  I chose two exhibitions that sounded interesting and were likely parkable.  First up was The Mill, a place of 70+ artist studios plus gallery, theatre space, a recording studio.  Welcomed by a friendly staffer and intrigued by a few displays and looks into at least one impressive studio.  Juliane Brandt's was the studio with deliciously detailed small sculpted heads with occasional bodies.  Hasta la raiz (to the roots) was a photographic exhibition by Carmen Alcado, Spanish migrant of ~4 years, with various complex images referring to her roots, the implications of the migrant experience for family and personal history.  Nadia Rasulova merges impressions of handwoven Uzbek ikat with the colours and movement of Australian and Central Asian landscapes.  Christian Best display was 36 of a planned 1,000 photos of friends, acquaintances, housemates and  more, to create a story of community and friendship around the world.  Then off to another galley, the Pepper Street Arts Centre, this supported by Burnside Council, near the old Penfolds winery, up Magill Road, in an intriguing area of old cottages, presumably serving the earlier, then much more extensive winery.  The exhibition as Waste to Wonder, "an exhibition of artwork with a recycled and upcycled theme" by ~40 local artist working in textile, sculpture, mixed media, more.  Some delightful, some jovial, many quirky, inviting, even exciting.

Carmen Alcado, Nadia Rasulova and Christian Best exhibited at The Mill.  Amongst many, Juliane Brandt held a studio at The Mill.  Various artist displayed at the Pepper Street Arts Centre.

Chelsea NYC

I'm in Adelaide and it's for family not for festival but I collected a string of related promotional publications and I was stunned.  I shouldn't have been.  I'd seen last year's and it was of a similar size, but it still overwhelms.  1,500+ shows from 8,000+ performers at 500+ venues.  And there's the Festival itself too, even if no Writers' fest this year after a stunning and newsworthy misjudgment.  A friend had seen an 8-hour drama performance a the festival called Gatz (with breaks!!) from NYC about an office where the Great Gatsby story happens around a reader. She spoke well of that.  I just looked for a few odd Fringe shows to give me some exposure and that I could fit with family matters.  The first was See me at the Chelsea Hotel, ~90mins of songs by once residents at the famed artist hotel in NYC and telling some stories around the tunes.  All performed by an a capella vocal trio, two females, one male, and a folkish duo of male and female with guitars and ukelele.  The duo was Tin Can Alley; the trio was Heaven Knows Acapella.  TCA were more raw, louder, even reaching to Hendrix on dirty strat and then Bob Marley-fied.  Fun.  HKA was sweeter, more precise rather than jovially raucous, wonderfully accurate in harmonies and voices.  I did like that.  Sometimes the five played together; sometimes each group played individually or one sat in with the other: the mix could be informal.  But the story was intriguing and spoke of a prime artistic location and famed names.  Names going back to Mark Twain, Dylan Thomas and through a string of others, some mentioned here, some not.  Dylan, Mapplethorpe, Hendrix, Joni Mitchell, Nico, Arthur C Clarke and Stanley Kubrick, Mapplethorpe and Warhol.  We heard songs and/or stories from many of these as well as The Band, The Ramones, Janis Joplin, Patti Smith, Tom Waits, all associated with this hotel. There's much more (Corea, Spungen / Sid Vicious, Carole King) that didn't appear on the day.  Suffice to say this was worthy of a listen and inviting to a further read (Inside thee dream palace / Sherill Tippins was suggested).

Tin Can Alley and Heaven Knows Acapella performed Meet us at the Chelsea Hotel for the Adelaide Fringe Festival.  TCA comprised Jacquy Stoddart (vocals, ukelele) and Cliff Stoddart (vocals, guitar).  HKA comprised Jayne Hewitson, Meredith Mardun and Christopher Koop (vocals, variously guitar and melodion).  

Something else that evening

Our Ornette-enacting duo was in the afternoon and the evening was something completely different, although playful and rhythmic as before, if from another era.  This was four harpsichords playing Bach and more at Wesley with a string quintet accompaniment.  The promise of John Ma the Wednesday before.  The main work of the day was the final piece, Concerto for four harpsichords Amin BWV1065. This was not nearly so well known as BWV1060 and BWV1062, played by two harpichord pairs earlier.  Thees had us just beating and beaming with grins in our seats.  They are hugely popular, played with gusto and many smiles, and a joy to all.  Other pieces were an overture-suite La Bizarre Gmaj by Telemann and a Sonfonia no.4 Amaj by Solnitz.  This second was somewhat obscure and to add to confusion was played attacca into BWV1065 which ended the peformance.  We'd heard so much, with so much joy, so much attention and screeds of notes and love that I was surprised to see my watch showed only a one hour concert at the end. But with Bach one hour can be eternity (in a good way).  All that intricate and playful interaction between parts, those falling sequences and quaver to semiquaver accelerations are such joy.

Harpsichord divas was a performance at Wesley by Arianna Odermatt, Callum Tolhurst-Close, Marie Searles and Marko Sever (harpsichords) with string accompaniment comprising John Ma and Lauren Davis (violins), Brad Tham (viola), Clara Teniswood (cello) and Hayley Manning (bass).