The more you listen to different styles and genres of music, the more you understand that styles and genres don’t really matter, are not really distinguishable, and can’t be measured by any set of reliable criteria. It is also not so much a linear spectrum, rather than a scalar field gradient; when it comes to the Melbourne music scene, in particular, there’s an area in that gradient ranging from jazz to kraut rock, psychedelia to neo soul, tip hop to prog rock, and so on.
Liam McGorry has been travelling in this space for a while now, with successful bands like Dorsal Fins and Sasquatch, or through his solo project, Ex-Olympian. Now he moves to another point in the gradient, adding musical shades associated with European film music from the late ’60s-mid’70s era; think groovy bass lines, trippy organ, howling horns, and mysterious harpsichord brushes. The result is an album – Sumbisori – that sounds like the soundtrack of the best movie nobody ever saw, performed by a band – Temporary Blessings – that is essentially the Melbourne soul-jazz-e-delia (did I just coin this?) equivalent of a supergroup, comprising members of Karate Boogaloo and Surprise Chef, among others. This is all launched tonight at the Northcote Social Club. Here’s the band leader with more details.
What’s the Temporary Blessings backstory?
The spark was essentially just to make an instrumental record! It’s something I’ve always wanted to do. I’ve written a lot of vocal music in the past and have always wanted to make instrumental music.
The trumpet is my first instrument and I grew up listening a lot to the work of Ennio Morricone, and loving soundtrack music, particularly from Italian and French movies from the 1960s and 1970s.
Alongside that, I love the work of modern cinematic soul bands such as the Menahan Street Band and El Michels Affair, and wanted to combine those influences in new music and do something different.
How did you recruit the band?
Despite this being ‘my project’ in a traditional sense, to me making music is always very much a collaboration and a team game.
We’re lucky to have such a rich music community in Naarm/Melbourne and I’ve been a big fan of the music made by everyone on the record for a long time.
In particular the music written and recorded by Henry Jenkins, Hudson Whitlock, and Lachlan Stuckey. These three have been incredibly inspiring to myself with their own musical style and taste over the years (with their bands Karate Boogaloo and Surprise Chef), and it was fantastic to be able to collaborate with them on the album.
Their adherence to a now ‘old-school’ recording sensibility of getting the take together, emphasis on the arrangement at the fore, a band playing together in the room, live to tape — that was at the centre of making the record.
Will Morrissey and Tom Pettit are luckily long time collaborators of mine, and their playing and taste greatly enhanced the record. Katarzyna Wiktorski is an incredible pianist, and her voice is a key part of the sound of the record as well.
Why ‘Temporary Blessings?’
For me it was firstly a great name, and secondly a small mantra to enjoy the moment and enjoy the act of playing, of making music with friends.
How did you develop your sound?
The sound comes from a combination of the very tasteful people involved, the workflow and emphasis on getting the take together in the room, and also in the original soundtracks of Ennio Morricone, Francois de Roubaix, Piero Umiliani, Edda Dell’ Orso, and bands like El Michels Affair and Menahan Street Band.
I had to google the word ‘Sumbisori’ and I have a lot of questions, but I will just leave you explain, in as much detail as you want.
No problem. I read a fantastic book in book club called The Island of Sea Women by Lisa See describing a story about the life of the Haenyo women, free divers of Jeju Island in Korea who free dive incredible depths and conditions to provide for their family. The word ‘Sumbisori’ itself describes the exhalation sound when they come to the surface after a big dive, and how every diver has their own unique Sumbisori. At the time, the word took on a meaning of finding my own voice in this new instrumental music adventure.
If Sumbisori was a movie soundtrack, who would you want to direct it?
Ohh, so hard to choose but I would say Jean-Pierre Melville. Le Samurai and Le Cercle Rouge are my all-time favourites!
What would you say to a total stranger to get them come to Northcote Social Club tonight?
Come for a night of great instrumental music. Krakatau are one of my favourite groups, they’re back with some incredible ECM-inspired new music. I can’t wait to see them!
Imagine being on stage and someone approaches to sit in with the band; it’s not just a hero of yours, but someone beyond your wildest dreams. Who is it?
Most likely my favourite trumpet player, Dave Guy.
How ‘jazz’ is this project?
Great question. I think the music is very much influenced by Jazz and Improvisation, with a lot of the music from Italian and French soundtracks from that time being heavily influenced by American Jazz and improvised music, but also in the melding of styles, in classical and jazz, soul and funk. I like the contrast in the project between it being heavily arranged but also passages of improvisation.
What does jazz mean to you?
Jazz to me is freedom and individuality of expression in music.
Which tune best describes your current state of mind?
From the record… I’d say ‘Denouement‘ It’s feeling like a full circle moment for the record, it’s been a journey to get here and looking forward to launching it this Thursday 2nd April at the Northcote Social Club.
