I leave them alone in the set break and write in my notebook ‘They make more of their own collective and individual history every time they do this.’ When I read it back the next day I wonder what the hell I was thinking.
I’ve been listening to improvised music for over a decade and I still don’t ‘get it’. Musical friends say I don’t need to ‘understand’. They say I just need to listen. Over the years, that’s exactly what I’ve learned to do. I’m always learning to do it again!
These magical buoyancies rise from a persistent, intricate conversation of remarkable cohesion and purpose. Propositions are advanced and tested, sometimes at the same dynamic level, sometimes breaking into sensational bursts of energy. And for long stretches it all moves beyond conversation as if three lines of counterpoint are being written simultaneously by a single composer.
Exhilaration does not fade for those who are listening rather than assuming. It builds as the bricks seem to be stacked more rapidly to form more complex percussive patterns. Or are thrown one by one through the air.
‘The whole work was beautifully measured, finally showering us with brilliant sound and sensation. This was a triumph to be stored in memory…’
A kind of serendipity has been at work to bring Dresser in touch with the Australian musicians he’ll be playing with at Wangaratta.
Hear Scott Tinkler talk about his musical journey, improvisation and the Australian Art Orchestra. Oh, and the panda is explained as well.
‘…we might fall on our arses once or twice, but it’s often when you’re searching that the best things happen…’
Scott Tinkler Quartet at Bennetts Lane Jazz Club, Melbourne on April Fools Day, 2005
Marc Hannaford releases two digital recordings – a quintet release called ‘Ordinary Madness’ and a trio release ‘Sarcophile’. We ask him ‘why digital?’ and talk about the music…