Posts Tagged ‘African’

Since forming in 2010, the Sirens Big Band have been a blast of Persian-scented fresh air into Sydney’s jazz scene, a scene where the rare female musician (who is not a vocalist) can stand out like a sapphire in the gravel. The Sirens are all-female, all-funky and all-embracing in their influences.

Sirens - pic Quirijn Mees

Band co-leaders Jessica Dunn and Harriet Harding have guided the Sirens from the beginning into a unique style heavy on the world-music grooves – oh, how I hate that word (as John McLaughlin, himself a great cross-pollinator, said “we ALL live in the World, don’t we?”) – there are Ethiopian, African, Latin, Balkan, Indian sounds there as well as New York funk, Chicago swing and Newtown boogie.

The Sirens’ debut album, Kali and The Time of Change reinforces these pan-continental grooves just as it reinforces the good time the band has when making music. Opener ‘Balkanator’ – penned by trumpeter Ellen Kirkwood (definitely a composer to watch) – jumps out like a joyful and slightly tipsy village wedding dance, the players throwing the solos around over drummer Lauren Benson’s grinning groove.

Sirens mentor (“our jazz mamma”) Sandy Evans’ Indian-spiced nine-minute-plus piece, the title track ‘Kali and The Time of Change’ opens with Harding’s sopranino talking back to the Band’s unison riffs. The piece settles down into a floating groove over which Harding raps “something majestic/ something lyrical/ female Aladdin representing future changes yo…” – a bright rap that evokes scenes in the mind and a call for peace in the heart. Quite beautiful.

Harriet Harding and tenor saxophonist Ruth Wells travelled to the Middle East last year and came back with more than they took away. These inspirations fuelled Harding’s ‘Kali’ rap and also Wells’ gorgeous ‘Hawassa to Addis’. This piece has guitarist Milan Ring singing over the entire band singing as a choir. I don’t know why it affects so deeply but it does – is it the lovely pentatonic Ethiopian folk tune the piece is based on? or is it that the choir of female voices sounds like children? or is it the low blues moan of Jessica Dunn’s bass during her solo? Who knows – best not to dwell on these things, best to just dig beauty as she should be dug, unquestioningly.Sirens Kali

The Sirens have, since their inception, played charts by some wonderful local composers and it is gratifying to see they have included several pieces here that they have had in their setlists from Day One. Paul Murchison’s hip-shaking 7/8 (if there can be such a thing, this is it) ‘I Still Remember’ gets the whole band cooking before a coolly soulful piano solo from Monique Lysiak. Nadia Burgess’s evocative, watercolour-washed ‘The Music in My Dreams’ is a masterclass in jazz big band tone-colour and restraint.

Jenna Cave’s sprightly African-limbed 9/8 jaunt ‘Odd Time In Mali’ has long been a Sirens’ favourite – by the time it smoothes out to 4/4 for Emma Riley’s sinuous trombone solo and Milan Ring’s chicken-picked guitar solo, if your foot ain’t tapping you are either made of machine-parts or dead.

Closing track Mulatu Astatke’s ‘Yekatit’ has all the elements that we love about the Siren’s Big Band – Ethio funk that swings, killer solos (Sophie Unsen’s baritone sax burning here) over a blasting band, and a joyful vibe presiding over all. It is a combination you won’t get anywhere else and they are one of Sydney’s – if not Australia’s – treasures.

The Siren’s Big Band – long may they sing us over the edge.

The Siren’s website is http://www.sirensbigband.com/

Published February 2103 on australianjazz.net 

Sometimes I think it is Europe that will save Jazz – not that Jazz really needs saving, just as Rock doesn’t need saving, but both could do with the occasional cracker up the wazoo.

Whenever Jazz seems threatened by the over-zealous or paralysingly-respectful American approach, I am heartened by Northern sounds such as Esbjörn Svensson’s  E.S.T. (R.I.P. the band and the man) from Sweden or more recently Norway’s crushingly heavy Elephant9. I also think back to the enormous popularity among the hashish-and-Escher set of the arty ECM label from Germany, who gave us Chick Corea and Keith Jarrett (Americans ignored initially by their homeland) and continues to break new and intriguing artists to this day.

Phronesis-58 long

The recent release of Walking Dark by Scandinavian-British trio, Phronesis, as well as reminding me of that particularly European approach to improvised music, is a delight. I say ‘improvised music,’ instead of Jazz, as their approach seems – like so many Euro Improv artists – to have leached any trace of the Blues out of it, finally cutting off that already shrivelled branch to Mother America.

The Euro approach seems to take as much from Northern European classical music as anything else, and (surprisingly) Latin music – especially the rhythmic quirks of Cuban music, which in itself was a beautiful mongrel of Spanish, African and anything else that happened to sail into port. Blues out, Latin in – ‘Chega De Saudade’ indeed.

Just check out Walking Dark’s ‘Upside Down’ which starts with a single, repeated syncopated piano note from Ivo Neame (UK). This simple-yet-complex motif is soon joined by the bass of Jasper Hoiby (Denmark) and the drums of Anton Eger (Sweden) to create a very Latin lattice of cross-rhythms and cross-currents that works so perfectly. Maybe it is because the piano cannot bend a note that the Blues is banished but I don’t see that as the full story. Phronesis seem to work best when creating this mesh of sound and pulling and pushing it into different texture and shapes.

Phronesis – the word means ‘wisdom’ or ‘intelligence’ or, more specifically ‘the wisdom to change our lives for the better’ – is the brainchild of London-based bassist Hoiby and was formed in 2005. The group has been described by Jazzwise Magazine as “the most exciting and imaginative piano trio since E.S.T.” and I think they are right.PhronesisLP

Much of this excitement, to my ear, comes from the democratic approach of Phronesis, each player given entirely free rein to move their strand of the music forward as they see fit, or feel at the time. In this sense, ‘democratic’ is not an accurate term, as it suggests a lowest common denominator. Phronesis are all leaders – they just lead simultaneously (is this the essence of true democracy?). Check out some of the improvising – or ‘blowing’ sections – on Walking Dark, such as the middle of ‘Lipwash Part II’ or the drum solo over a groovy montuno (there’s that Latin vibe again) in ‘Zeiding’.

Walking Dark is a revelation. Any Radiohead or Brian Eno fan out there will dig it – once again, the European-ness of it all brings it together.

Thinking of checking Jazz out? Now’s the time, Phronesis is the band, Walking Dark is the album.

Pics by Katja Liebing. Check out Katja Liebing’s gallery of photos from Phronesis’s recent Blue Beat show here.

Phronesis’s website is here.

Published March 2013 on theorangepress.net