Richard thanked me for coming to the latest SoundOut
gathering and noted that it's not my music.
That's true to some degree but I've attended quite a few SoundOuts over
the years and I deeply respect his work in this. It got me musing on what I like and like less
of this form of music. SoundOut posters proclaim
"free jazz and experimental music" and this is perhaps a large
field. I've heard some great
jazz-trained players amongst some people lesser trained in the formal
arts. That's not to put them down, but
it is a different approach. I heard that
again this time. To some degree it may
be familiarity but I loved Miro's expressive and repeated or developed lines
over the partner sounds less formal, often created with non-traditional techniques
on traditional instruments or other.
They can be interesting and varied but they can be like pots that you
play for a while then switch to another pot, sounding of change but not
development. But then, you could say
something the same for sections of formal music, that you lurk in one, then
switch. I do find some comfort and
invention in rhythm and harmony and melody that are functions of our formal
systems, and again they can go missing. Much
of formal non-European music ignores
harmony. Miro's lines over the top
provided and defined the structures through those techniques. And Miro was not alone. There were several players who displayed
those techniques even if not always using them in this context. And also players who displayed good chops
without indulging in the traditional forms.
Charles Martin was there with computer and he's well trained although I
didn't notice obvious links to traditions this time. Richard himself has some great chops on tenor
and preferred tonguing and alternative techniques. Karim Camprovin did some wonderful vocal work
defining all manner of harmonies and even scalar plays against Miro and also
played with alternatives. Percussion came
in too with Karim and Miro. I think it
was Bruce Spink on a classical guitar who displayed classical chops then all
manner of dissonances, but that's standard technique these days. Jamie Lambert, playing with him, avoided
standard technique on e-guitar but coaxed some intriguing tones, especially
with a small metal strip (?) and a more traditional little bow. Paul Wong was also on a guitar and Yichen
Wang on OP1 (?) with a VR headset and projection and tones varied with hand
movements (did I get this one?). That
was strange. More guitar/keys and
invented electronic instruments from Stuart Orchard and Brian McNamara. Various combinations of commercial effects
and noise generators like this are common at SoundOut and can be fascinating
and inviting. Then the all playing as a
large ensemble to finish. And all the
while, Nicci Hayes provided a varying projection of drawings, colours and
washes. And the backdrop was NZ mountain
paintings by Euan Macleod. So, is this
"my music"? Yes, I like the
formalities and enjoy the experimentation.
I guess I prefer the free jazz to the experimental . But I also remember a response from a NZ
female pianist at a SoundOut years back.
I complimented her on her excellent set then asked what key she was
playing. She answered that she didn't
know. Best to retain some humility in
our preferences and opinions. And thanks
to Richard for his ongoing work that is SoundOut.
Richard Johnson (tenor) assembled the latest SoundOut Explorations session at the Drill Hall Gallery. Miro Bukovsky (trumpet), Karim Camprovin (vocals) and others performed.
No comments:
Post a Comment