Posts Tagged ‘On The Stoop’

I was one of a lucky few who heard the songs from On The Stoop‘s new album Home previewed at a Redfern house concert a few weeks back. The room was tiny, the band sounded big; leader/writer Serge Stanley‘s cinematic musical vision made the Redfern lounge room grow outwards and upwards: now it was a Leone desert, now a jumping Juarez cantina, now a noir cityscape, now a Balkan wedding.

Back in 2015 I wrote that On The Stoop were “my new favourite Zappa-flavoured, Spaghetti Western, gypsy-eyed, banjo powered, 1920’s/2040’s, Newtown, Balkan wedding band” in my review of their debut On The Stoop. That still goes – Home is a delight.

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As with On The Stoop, one is almost too busy chuckling at Stanley’s wry observations on the mess we have got ourselves into as a tribe, to appreciate the devilishly clever and cleverly delicious compositions, arrangements and performances Serge and the band deliver. On The Stoop is peopled with some of Sydney’s brighter sparks, such as drummer Tim Bradley, guitarist Dirk Kruitof and the remarkable Ellen Kirkwood, so the band can realise anything Stanley throws at them. on the stoop home 1

Check the sarcastic Dixieland of ‘The Political Song’ – “I don’t care for your politics/ or the hair growing out your nose” – which follows the future-imperfect rocker ‘In-tense’ (a gold star to saxophonist Matthew Lee for the magnificent skronk solo).

The Mexicali foxtrot of ‘One Trick Pony’ made me happy, then sad because it brought to mind dear departed Ry Cooder, then happy again with guest vocalist Angela Rosero‘s tart and sexy Spanish rap. The Mexican groove pops up again in the sardonic mariachi of ‘Friends’ – ‘Friends like the friends of Julius Caesar’ (while I am handing out gold stars, another one goes to Ellen Kirkwood’s backing vocal on this track and across the entire album). The surprising codas of both ‘Friends’ and the reggae ‘Water Revisited’ leap out as strident movie themes which had me strapping on my six-guns, so portentous were they.

On an album of surprises, a surprise cover of – of all things – Bruce Springsteen‘s ‘State Trooper’ glides menacingly along on a hammering punk highway, giving Kruitof licence to rock and roll in an acidly dissonant way, and Stanley to get his 70’s cop show groove on with the horns. It is so wrong it is righteously right.

Stanley’s ear for contemporary media buzzwords and vernacular Ocker-isms illuminates his satirical writing and saves it from becoming anything close to mere po-faced putdown. Often the satire is hilarious, as in the greasily lascivious ‘Get Your End In’ – “I ain’t no Vincent de Paul/You ain’t not Mother Teresa/So what you waiting for?/You get your end in…”

The album leaves us with the sweet horn chorale of ‘Zulu Sierra Foxtrot’ – a tune maybe for the funeral of a friend, or maybe of an idea, or of the death of goodness in a society. Serge Stanley thinks about his world and its foibles, and makes music that is smart yet fun. You can still think while you shake your moneymaker to his mariachi – maybe, in a Trump world, there is nothing better than that.

 

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Trumpeter and composer, Ellen Kirkwood is a Sydney jazz artist I always look forward to hearing more of.

She first made me prick up my ears with the all-women Sirens Big Band, whose catholic orbit happily included her Balkan/jazz/blues mashups (check her ‘Balkanator’, the opening track on Siren’s LP Kali and the Time of Change). Her first album under her own name (ok, Captain Kirkwood), was a jazz/spoken word retelling of the ancient Greek legend of Theseus and The Minotaur.

She also bobs up with Mister Ott and Serge Stanley’s On The Stoop as well as others around town, including David Sattout’s grisly Zappa-flavoured Facemeat. The binding quality of her music and her collaborations is that is consistently has one foot firmly in jazz and the other trailing in the waters of a tangy broth of blues, rock, gypsy swing, klezmer, reggae and you-name-it.

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Her new release – under the band-name of Fat Yahoozah – titled I Don’t Care, is no exception to her unique catalogue. Maybe a bit more fun, maybe a little more raucous, but as smart and brightly arranged as anything that has come before.

And she adds the arrow of vocalist to her quiver. The title track, ‘I Don’t Care’ has Kirkwood singing a world-weary lyric over a breezy pop song (Lotte Lenya goes to Bondi?). Simon Ferenci’s trombone solo is light and grinning before a lilting horn/voice ensemble riff.

‘Klezmore’ (get it?) is a drunken wedding waltz with a dark lyric of childhood foreboding. Even though I am reviewing this album in dry July, I look forward to listening to this tune (hopefully live) after maybe one too many shiraz cabs. Once again, beautifully balanced and heartfelt horn arrangements paint the picture.

‘Translation Day’ has Ruth Wells’ soprano intro-ing with some Eastern European blues before the ensemble clips along on a lovely village polka; Jessica Dunn’s bowed bass singing like Grandpapa. The tune accelerates and accelerates until all the winter leaves are blown off the trees. This tune made me realize how vivid the sound pictures are on the album; how much Soul it has.fat yahoozah 1

The band Kirkwood has assembled helps paint the pictures beautifully. She has smartly drawn the players from her previous and current collaborations – Wells from the Sirens and Facement, David Sattout on guitar, Serge Stanley on sax and accordian, Ferenci, The Sirens’ Dunn on bass with Evan McGregor on drums and percussives.

I know the band has been knocking everyone out playing live around town – it’s a killer one-two punch: jazz chops with gypsy party moods that anyone can love. It’s awfully good to drink to, but even better to listen to. I recommend you do.

 

Published July 2015 on australianjazz.net

 

And into my life just at the right time comes Sydney’s On The Stoop.

Saxophonist/accordianist/vocalist Serge Stanley‘s 6-piece (sometimes seven, sometimes nine-piece) superband is my new favourite Zappa-flavoured, Spaghetti Western, gypsy-eyed, banjo powered, 1920’s/2040’s, Newtown,  Balkan wedding band. They are wild and silly, drunk and serious. They leave roomfuls of people with huge grins across their faces – people who really couldn’t give a shit about the jazz luminaries who people On The Stoop, people who should (and do) give a shit about Serge’s choicely barbed lyrics – sticking it to the bankers and wankers and wowsers and posers (while making your whole legs tap and jig).

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From Eastern European skirls to corduroy banjo songs, from truck-sized Big Leg Emma (Google her!) funky rockers to Da Blooz par excellence, I think I really do love it all. Their self-titled debut album is all this and more. Go buy it.

I asked Serge Stanley a few questions about the where, why and how of On The Stoop. And this is what he said.

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1. Where does On The Stoop come from; how did the band start?
A stoop is an American word for the stairs in front of a tenement building. I used to live in New York City from 2003 – 2007. Living the dream in the big apple made me write a lot of very dark songs, some of them while standing out front on the stoop. When I came home, Dirk our guitarist and a musician I have been playing music with for many years, suggested we call the band On The Stoop. The initial material we played was quite dark and brooding, reflecting my time in NYC. Gradually however the sound of the band however has gone through a kind of phoenix-like cathartic revolution. Our music has evolved to become uncompromising and ultimately optimistic. I’d like to make music that flies in the face of the madness and adversity that life can throw at us.
2. You have some heavy-hitters on board from the world of jazz and experimental music. How did you pick your players?
It’s true we are very fortunate to have musicians in the band who are as accomplished as they are. I’ve admired the playing of everybody in On The Stoop by seeing them play in other bands. The rhythm section is composed of the most versatile musicians I’ve played with. Many of my tunes have these massive atonal horn lines so it was fun getting people to play who wanted to play kind of semi-unusual stuff. As a saxophone player myself I’m influenced by jazz, even though I wouldn’t consider myself a jazz musician. So most of the people in the band inevitably have jazz and experimental music backgrounds. I’ve made squeaky noises previously in other experimental music bands so it wasn’t hard to incorporate that into On The Stoop as well.
On the Stoop33. I hear Balkan music, country, Zappa, 20’s jazz and raw blues in there. Where does your music come from?
I always wanted to be in a punk rock band. When I was a teenager I went to private school in the inner city. I remember cruising down Yurong St Darlinghurst in my school blazer in the 80’s and seeing all the dodgy looking rocker people. Skinny black jeans, lank black hair, lanky pale arms and legs. I wanted to grow up to be just like them. The obstacle was I was 13, living in the Eastern suburbs, was healthy and played clarinet. Since then I’ve always been perennially uncool. But I love punk rock. A lot of the music I like has a nihilistic, I don’t care energy in it. For that reason I’m influenced by musicians like Mark Simmonds, Charles Mingus, Eric Dolphy. Bands like The Buzzcocks, Wire, The Fall, The Beasts of Bourbon, Tom Waits, Howling Wolf, John Hurt, Captain Beefheart, Taraf de Haidouks and many more from all sorts of genres.

4. You seem to wrap your satirical and fight-the-power lyrics in rollicking good time music – is it more important to get the message across or to get people boogying?
These days I like to have a rollicking good time when I’m playing gigs so that’s the kind of music I’ve been doing lately. I’m not interested in whether people agree with my views, my ideas aren’t that unusual and we live in a free country. As long as I play well and have a good time and the audience likes it then that’s what I call a satisfying gig. Social justice is in this country is definitely on my mind as well. I guess it’s made it’s way into the tunes. I’ve always had a healthy distrust of preachers, and I think wiser people tend not to hang on to their opinions too tightly. However if you’ve got something to say and manage to say it respectfully and keep people listening and having a good time then you’ve probably done a good show.

5. What is next for On The Stoop?
I’d like to do some more touring. Our last few trips have gone really well. Lots of fun, the band had a good time and was well received. I’m writing a bunch of new tunes, got a lot of material for a new album. The new music is going to be pretty angular I think. Hopefully a little more dangerous. A lot rockier. The band is in a good creative position at the moment to stretch the paradigm to try some interesting things. Lately I’ve been listening to a band called James Chance and The Contortions and a Japanese 80’s group called The Plastics. I’m hoping my next recording will be inspired by a bit of that stuff.

6. What are you thoughts on music today: jazz in particular and the wider range of music in general?
I love the state of the music industry at the moment. In Sydney there are some wonderful musicians doing some very cool things. We’re lucky in this town to have such a great pool of talent. There is the tendency for us to think that there are better or more inspiring musicians overseas however that’s not necessarily true. I’ve certainly been massively inspired by the musicians in the local scene here. I’ve been getting into listening to random music on Spotify and have found some fantastic music I’ve never heard before. They say it’s hard to make a living as a musician, but it’s always been hard. So what’s changed? And that has never stopped me writing or playing.

Published May 2015 on theorangepress.net