Patrimony 2

We went early for the final concert of the Patrimonoire series. This was in a famed Brussels rock/pop called Ancien Bruxelles. Dark, tall stand-at tables, a huge PA that had Anna, Canberra sound engineer and just back from a few weeks doing that at the Edinburgh Festival, drool. A 128-channel analogue desk; the best standard mics; large phased array; standard lighting desk. We both noted how clear the outcome was. And it was a fascinating gathering. Another ensemble from the Belgian National orchestra, a Brass ensemble, played to the left of the stage. To the right was Marockin’ Brass,a Berber/jazz ensemble playing Coltrane with diverse rhythms and non-Western scales with lots of busy syncopations to confuse the counters. Me too. I tried to count one and in the end realised it was four below with the most twisted polyrhythms above. This was good. Interesting also to feel the infectious earthy life (as evident from the nodding bodies) against the lively, carnivalseque, but essential intellectual classical players. I was a bit surprised with a really interesting jazz vibes solo from the classical percussionist and I loved the playful fat toned Marockin’ tuba (and contra-tuba? He switched to a one very large tuba for one tune). But a fabulous gig all round and evidently enjoyed by all the players.

There on to look for a beer and perhaps a band. We happened on a rock venue and the Death metal support, Epidemian. Too loud to stay for any time, but I was enjoying the head banging and especially the well played Warwick 6-string fretless bass. Never put it past the commitment of the metal community.

A Brass ensemble from the Belgian National Orchestra played with Marockin’ Brass at Ancien Bruxelles. Death metal band Epidemian played later, elshwhere.

Demur and deranged

Virtually a first priority is the local art museum. Brussels has a series of Royal Museums of Fine Art. We attend the Old Masters and quickly pass touch on the Fin-de-siecle as we have little time. The first Old Masters room started with flowing excesses of Baroque but I was earlier works later. Did that say something about art her or what they collected? There’s a good deal of obvious interaction with the Netherlands and also Germany and somewhat Italy, perhaps less France until later years. My fave work was the demure Matsys the Banker and his wife but some popular stars were also a room of incredible Brueghels (various Bruegel family members are spread throughout the displays) of absurdity and mania and religion or society but also of popular recognition. Interesting to find a matching pair of Cranach Adam and Eves that have cousins in the Ufizzi. Then slightly later, David, the French heroic painter, including his famed portrait of Marat dead in his bath. And various van Dykes and Rubens and Gossarts and Masters of… . As are these galleries, bliss. Then off to the Fin-de-siecle located in modern digs literally -4 to -8 floors below. From mid C19th poverty through impressionism and many movements and to WW1 and nouveau and decorative arts, it’s far closer to us and less a surprise; more lovely or informative and neighbourly to my eyes than strictly historical, although it is, of course. But time was short so just a rushed walkthrough.

The Royal Museums of Fine Art in Brussels include the Old Masters Museum and Fin-de-siecle Museum.

Jazz messages from Brussels

Our CJ Belgian correspondent is at it again. As if the election wasn't exciting enough for him. Neal and Anne are in Brussels at the Music Village bar (not far from the Grand Place) to see a tribute to Belgian sax. That's apt given that Adoph Sax, the inventor of the modern saxophone, was Belgian. The band comprised four saxes, bass, drums and piano, playing Jazz Messengers, swing and the like. He says it's damn hot in Brussels; presumably the jazz is too. Thanks to Neal. I'll check it out soon enough.

Pic by Neal Gowan