“We’re always watching the dancers and responding to them – sometimes closely following the actions with musical cues, at other times creating a dynamic and textural sense of the emotion in the dance through the music. On the other hand, the dancers are listening to us and responding, taking their timing cues from us sometimes.”
“I recorded ‘Frame of Reference’ in London over two days with the band coming together for the first time at the session. I’d never really worked in that way before, so it certainly brought some new pressures to the whole thing, but also gave the recording a great intensity and focus.”
” I suppose as we’re all quite aware, there has been SO much incredible trio music, so the challenge [for Trichotomy] is adding something to this already rich repertoire of music; hopefully we’re doing that!”
“In no way did any of us want to honour or glorify the concept of war, so we were quite burdened with the seriousness of the task at hand: honouring historical happenings and putting a voice to these concepts and people’s experiences from this time”.
Collectively known as Berardi /Foran/Karlen (BFK), Hope In My Pocket is a musical exploration through the powerful experiences and emotions contained throughout the archived written correspondence of ANZAC history.
The band has been playing together so long that they know each other’s playing intimately: ‘We can just look at each other or play something and know that we are going to go on to a new section of the music or that the dynamics are going to rise or fall. It’s amazing how it works.
Trichotomy Fact Finding Mission (Jazzhead) 28 February 2013 Sean Foran (piano), Patrick Marchisella (bass), John Parker (drums) with James Muller, Tunji Beier & Linsey Pollak From the media release Trichotomy are a band with character – and, refreshingly, they refuse to stick to the same one. 4 stars. The Guardian’s John Fordham reviews a February …
‘the jazz and classical stylistic elements have been something to consider carefully. We’ve written music that is by no means easy – particularly the rhythmical aspects, so it needs players with both great reading chops and a solid understanding of feel’
A piano bass and drum trio might be expected to pick a furrow and plough it, like the Necks (an acknowledged influence on Misinterprotato), but this group are exploratory and firmly, imperiously so – even if not always successfully.
Though we live in the age of singles, the jazz genre has managed to maintain its penchant for complete projects over aural snapshots, and The Gentle War is no different. There is something innately special about the overall Misinterprotato aesthetic