Archive for May, 2018

Like many communities outside the main urban centres, the Blue Mountains, west of Sydney, has long had a thriving and self-seeding music scene. Artists as diverse as hip hoppers Hermitude and DIY roots wizard Claude Hay have sprung from the Mountains musical melting pot.

Linda Mizzi is a Blue Mountains singer-songwriter who, over a relatively short time, has come to the attention of festival audiences local and interstate. Her debut album, Real People, will doubtless expand her audience with its honesty, charm and simple gifts.

image

Pic by Elizabeth Lawson

These twelve songs are written and sung very much from the heart. They are songs of everyman’s (and everywoman’s) blues – songs of longing, pain, joy and going down that road again.

Beautifully captured by Alexander Keller, who also plays bass (and sundry incidental instruments), the songs are allowed to breathe in their own atmosphere, rollout under their own sky. The musicians Mizzi has assembled have perfectly realised the nuances of her melodies and stories with intuition and balance, never cluttering or cloying the performances.

Keller and Mizzi have gone for a widescreen Americana palette here – desert moods and lonesome highways, the guitar of Stefano Cosentino painting the rangy vistas with reverb, tremelo and just plain good taste, and drummers Lindsay Tebbutt and Ian Morrison kicking things along with just the right amount of boot-heel.14761_linda

Players are added where needed – harp player Simon Crosbie breathes blues into ‘Crooked Man’ and ‘Mademoiselle”s rock’n’roll; Vince Pace‘s ethereal electric piano shimmers on ‘Qiqihar’ and his acoustic playing grounds the album closer ‘The Kind’ in gospel solemnity.

But it is Mizzi’s songs and her voice that make Real People such a pleasure. Her vocal has the country of Patty Griffin and Alison Krauss in it, but when the emotion rises, a honeyed burr enters the edge of it, to tell some low down Lucinda Williams tale. The album’s only cover, a measured and delicate reading of The Choirboys‘ (drummer Tebbutt’s old band) ‘Run to Paradise’ reminds of The Cowboy Junkies‘ hazy 1988 take on Lou Reed‘s ‘Sweet Jane’ – a ballad-like interpretation of a rocker, that turns the lyrics around to mean quite something else.

Real People is an impressive debut – especially considering Mizzi’s relative newcomer status. Doubtless it is that freshness that has her never second-guessing her listeners but speaking clear and pure from the heart.

Real People is real. And you don’t have to do much to be convinced, other than taking a listen. I think you should.

 

Linda Mizzi’s website is https://www.lindamizzi.com.au

Advertisements

The improvising artist searching for his or her voice had led this listener down some intriguing paths.

Some are dead ends – the artist becoming so enraptured with the voice of their musical hero that they only imitate; brilliantly, yet still only imitation. Some are tangled thickets of intricately and beautifully carved and shaped vines – the trap of technique, all too common in jazz, a music that continues to mistake the meaning of virtuosity. Some paths fade out to weedy and stony ground, the path dissipated, all direction lost.

Sydney trumpeter Eamon Dilworth has always led this listener down a path that seems to become stronger and more defined with every release. His keen focus allows him to divert occassionally – as I write his most recent aside trip has been working with rockin’ Ed Kuepper in The Aints – yet, soon enough his sure foot is back on that good, sound path.

Dilworth viata1

A recent trip to Romania has helped Dilworth shine a light on the road ahead – he says: “The trip opened me up to consider who I am, where I come from and how I deal with experiences and challenges. My musical output changed from this day to seek a deeper connection through my music and performance…”

The result is his exquisite new album Viata. The title is taken from the Romanian word for Life, but a much more existential and accepting definition of life – life as simply being.

This more passive and spiritual idea colours the album’s performances. Each of the nine pieces are more “settings” than compositions, or even improvisations – settings for Dilworth to express this idea of vista/life, and his reaction to it.

And the voice he speaks with is undoubtedly his own. The band of Alistair Spence on piano, Carl Morgan on guitar, bassist Jon Zwartz and long time Dilworth collaborator, drummer Paul Derricott, work impeccably creating these ‘settings’, lending them drama and a theatricality that makes each piece a small universe of its own.Dilworth viata2

‘A Love Affair’ is a duet between trumpet and piano, Dilworth staying with the mid to lower registers of his instrument, and creating some lovely burnished tones in his playing. The band joins in for ‘Discomfort’, Morgan’s high pearly notes adding an open-sky ceiling to the sound. The trumpet here has a deep anguish to it, reminiscent of Miles Davis‘ ‘weeping’ tone on ‘Solea’ From Sketches

‘Eick’ has Dilworth declining long tones over a childrens’ song piano. Morgan here reminds of John Abercrombie in his anti-guitar playing. Many of the tunes on Viata have a European dissonance, a Bartokian slipping in and out of key and tone – not exactly dissonance, more the stretching of the envelope, a very human thing, tying it to the universality of the blues.

Dilworth’s use of long tones used here seem to come from the same place as Jon Hassell – a virtuosity of restraint and atmosphere. ‘Prelude Dreamtime’ is a floating world of dreamy, languid brass tones; the lady of ‘The Lady’ moves in and out of shadows indigo and blue-green.

Album closer ‘Toran’ exemplifies the European human-ness that is across Viata. The extended trumpet tones across a repeated minimal rhythm – occasionally interrupted by an angular rhythmic figure – have a strong folk feeling; and you realise that so much of Viata has a sense of folk form about it.

This folk favour is one element that is part of the depth of what Eamon Dilworth has done here – in reaching into himself and finding ways to express what he finds there in music, he has found a voice at once entirely individual and yet, universal. The path leads on…

 

Viata is available at https://eamondilworth.bandcamp.com

Eamon Dilworth’s website is http://www.eamondilworth.com