Zapped

Zappa has been on my radar for years but not so much on my turntable so a retrospective like this was a blessing and a huge excitement. And this one was a learned outing. Gathered by Steve Fitzgerald after his Masters studies of Zappa and informed by musicologist Stephen Loy who speak between sets on Zappa, the Mothers, the '60s, pop and avant garde and Adorno. As for the music, it's similarly complex and considered and influenced and a mass of work to prepare. Lots of 16th-note unison lines and odd starts and stops and changing rhythms and whimsical grooves. The original had plenty of famously sly lyrics, too, and Clare presented some of these in tunes from mid-first set on. The two sets were very different. First up was more acoustic, or at least, less rocky, read, no drums: vibes, alto/soprano/flute, Rhodes/Moog, double/e-bass. The second set added tenor and screaming guitar, Zappa's instrument, and Steve switched from vibes to kit, so louder and heavier and rockier. We learnt of Zappa's influences in C20th "classical" music - Stravinsky, Schoenberg, Varese, Cage; of Adorno's critique of art as commodity or resistance; of Zappa's perverse approach of innovation presented as a "product" or "entertainment", contradicting Adorno's perspective; of Zappa's catholicity in querying whoever, straights or hippies; of his clever contrariness joined with biting hilarity - Stephen Loy quoted Zappa: "I'm really just a phoney but forgive me 'cos I'm stoned" or "Is there any art at all ... it really doesn't matter". So much for pretensions when the guy who says that is a master. Also interesting was to touch on these "fine music" influences in rock at the time, on the Beatles (Revolution no.9, Sergeant Pepper, etc). Little time to touch on that, but it's significant that Zappa's music was recorded by the LSO and Boulez. Steve's vibes were a huge pleasure, classically trained and vital and so precise; Callum played the hardest of lines with panache and some great solos; Clare did a great job, mostly Rhodes, sometimes with effects, some Moog synth and a great take on some very challenging vocals; Jared's bass was a pleasure, great tone on double and demanding reading throughout. The second set had Steve on snappy and superbly apt rock drums (one of very many pleasures on the night), Josh on tenor with one memorably searing solo and Matt Lustri doing a fabulous take on Zappa's solos, all busy and dirty. Zappa was prolific but had an exceptional band and following in the early '70s (I saw him on tour in Adelaide at this time) and much music was from then. The finale was Peaches en regalia; others included Black page, Uncle Meat, Don't you ever wash that thing, Twenty small cigars, Sofa, Echidna's arf, Idiot bastard son, Zombie woof, Watermelon in Easter hay, Son of Mr Green Genes. Names that suggest the times but also Zappa's wit. So, a great night that must have taken a huge investment of time or some exceptional reading (probably both). I loved it and learnt lots.

Steve Fitzgerald (vibes, drums), Calum Builder (alto, soprano, flute), Clare Fitzgerald (Rhodes, Moog, vocals), Jared Plane (double and electric bass) played Zappa. They were joined for the second set by Matthew Lustri (guitar) and Josh Buckler (tenor). Stephen Loy (musicologist) spoke between sets.

Family affairs

This was great fun, like a family get-together. Elise Walsh out front, releasing her new Bella Groove album. With her regular band of Victor, John and Steve. With various guests invited for her CD and to play at the release, John, Miro, Eric, Hugh and backing singers Francine and Juanita and Sharon who doubled on vocals and keys. A big performance of a series of tunes from Elise's CD including some originals. Should we (dance) was a love song; City of yes was an ode to politcal involvement; Open your mind was an affirmation; City lights celebrated city life. Also original lyrics to modern jazz tunes and some borrowings from Mike Murphy and even some funky Motown originally from the Messengers. Eric apparently grew up listening to that one on the radio. Nice to hear an old favourite that's not too common, Coltrane's Naima. But this was like family. Everyone knew someone or many others, so some good cheer. So much so, the red wine expired and the local pub was mentioned for afters. And a lovely twist: included with entry was a copy of the CD. What a great idea to get your work out. There was some seriously good playing, too, from some seriously good players. There was good sound and a video recording, but mostly the good cheer of Elise and her wide jazz family having a good time. I'm looking forward to sitting down with the CD. Until then, good cheers and some very nice music.

Elise Walsh (vocals, flute) released an album under her band name, Bella Groove, at Ainslie Arts Centre. With here were her normal band, Victor Rufus (guitar), John Burgess (bass) and Steve Fitzgerald (drums) and guests John Mackey (tenor), Miroslav Bukovsky (trumpet, flugelhorn), Eric Ajaye (bass), Hugh Barrett (piano), Francine Minjoy and Juanita Cucinotta (vocals) and Sharon Robinson (vocals, keyboard).

Farewell Cam

It was Australia Day and maybe we shouldn't have been at a band having a good time, on a hot day, being Indigenous aware as we are. There's politics here, just ask cantankerous, reactionary ole Barnaby J, but Cam Smith was having his last gig with Brass Knuckle Brass Band before he returned to his place of origin, Qld, and I wanted to say goodbye. It was at Smiths, outside, hot, shaded for some, decently loud, delightfully cosmopolitan, tats or business shirts, all manner, and beers, coffees and a general jovial good will. It's a pleasantly diverse collection that gathers at Smiths (thanks to Nigel and Beth for such a nice venue) and a joyous and welcoming atmosphere and the band was nothing less than chugging and noisily inviting. Good and tight; perfect for dancing; drums and percussion; charts for harmonies of horns; that lovely lumbering and enveloping sousaphone bass and all so nicely played. Some march tunes with New Orleans references, some two feels and pop tunes arranged for the band. I recognised the pop as Careless whisper (with help), Sweet dreams, Sexual healing. That was just the first set. How much fun is this, rollicking and joyous, musically capable and an irresistible invitation to dance. Was Trump right about art being just for entertainment? He was wrong about that (there's lots he's not right about) but sometimes it can be for fun and this was and it was a great outing. I guess the BNBB will continue, but farewell Cam, thanks for so much local music and, thinking back, for your help with a few festivals. Congrats also to Xavier Kim for the piano interlude before the gig.

Brass Knuckle Brass Band played a farewell gig for Cameron Smith (trumpet). If I have all the names, right, the rest of the band is Tim Bowyer (trumpet), Michael Bailey and Josh Hart (trombones), David Abkiewicz (sousaphone), Nathan Sciberras (baritone sax), Josh Buckler (tenor sax), Steve Fitzgerald (drums) and Damon Counahan (percussion). Xavier Kim (piano) preceded.

Coming together

DRUMatiX presented the first of two nights of performance for its 15-year retrospective. William Jackson introduced it at one stage by noting that percussion is the oldest of musical forms and that’s “inexhaustibly diverse”. I’ve been thinking about both those claims. It’s easy to think that it’s the oldest musical form. Certainly, it’s basic, requires no complex and constructed instruments although it wields a few these days. There’s something essential and would-be prehistoric about slapping or slamming or hitting one thing against another, and there’s lots of timber amongst the instruments and that’s a product that’s been around forever. The other claim is inexhaustibly diverse. That’s more difficult, but this concert showed a vast array of styles and dynamics and tuned and untuned instruments, so maybe it’s true. Here’s the program.

Gary’s France’s Celebration was an exciting and joyous rock drum rhythm, enhanced by three snares/toms and interspersed with a melody on glockenspiel, vibes and other tuned percussion and played by an array of performers across the stage.
Next was Kalabash, the first Nigel Westalake tune, this one played on two wonderfully thuddy and luminous marimba by four players. This was all child-like tonality, bouncy and intriguing as the melody flowed over barlines in what I guessed was some sort of polyrhythm overlaying 4 and 3. It had to reference Africa, but I found that more with the later Westlake piece. Then a blindfolded duet in 3/4 with a rhythmic melody on woodblocks and accompaniment with damped toms, called Blindfold music. Bree van Reyk said she’d arranged this after noting that orchestral audiences were as interested in the choreography of percussion as by the sounds. Then some John Cage music for prepared toy piano, arranged for 4 percussionists. Then a long work of many movements, Transmutations by Anthony Pateras, performed by six percussionists on drums and cymbals and any number of other percussionable instruments laid out on a long bench in front of them, and led by a conductor. Perhaps it was here I noted the dramatic lighting and I had my own choreography moment. After interval, the first movement of Steve Reich’s Drumming, played by four performers with eight mallets on eight bongo drums. I recently gave up on a CD of this after a few minutes, but music works so much better when played live. Then Musique de Tables, by Thierry de Mey, with three women sweeping tables and tapping and clapping to three, dramatically lit charts. What a demonstration of dynamics, as I strained to hear the swishes of hands lightly drawn across folding tables. What a stunner! Then my favourite Nigel Westlake, Omphalo Centric Lecture, again with four players on two marimba, but this time accompanied by two drummers and with some African vocals and thumb piano. There were two further items on the program which maybe they didn’t; perform, or otherwise I merged in my mind with the Westlake composition. Certainly there was no change of instruments or performers.

Then the magnum opus, Coming Together by Frederic Rzewski. Eric Ajaye came on stage in work-house chains to recount the words of Sam Melville, 6 months in Attica and killed in the subsequent riot. This was tense, political, emotional, with repeated lines.
The text was from a letter to his brother. You can read the text on the Net, but some lines stood out “i am in excellent physical and emotional health. there are doubtless subtle surprises ahead but i feel secure and ready” and and “i can act with clarity and meaning. i am deliberate - sometimes even calculating - seldom employ histrionics” and “i read much, exercise, talk to guards and inmates, feeling for the inevitable direction of my life”. Wikipedia suggests Melville was not so innocent but neither was Attica. This was a charged environment that we can only imagine in these TINA days. The music was powerful, incessant. I looked for the steady bass and found it as an unceasing electronic keyboard line, subtly varying and played with mallets. Miro provided an imploring, muted trumpet melody while colour and fills and chords came from a bevy of 12 percussionists. This was stunning and overwhelming and purposeful music.

The final words of the night were thanks given to Gary France, associate professor, obvious friend and open-hearted supporter of the group and “a facilitator of dreams”. This truly seemed a wonderfully effective and creative department. There was obvious love of the form and support and respect for all within it and readiness to take part in whatever projects arose. Great music of considerable diversity, but also an honest presentation of active musical inquisitiveness. What a privilege to attend this retrospective. Let’s hope this retrospective doesn’t mark the end DRUMatiX performers were percussionists Gary France, Bree van Reyk, William Jackson, Steve Fitzgerald, Charles Martin, Christina Hopgood, Yvonne Lam, Anna Ng, Veronica Bailey, Jonathan Griffiths, Bart Haddock, Jacinta Dunlop, Adam Cooper-Stanbury, Wesley Faulkiner, Niki Johnson, Jared Synnott and Thomas Chalker with Eric Ajaye (vocals) and Miroslav Bukovsky (trumpet). Also Josh Chaffey (sound) and Owen Horton (lighting).