Australian String Quartet. Adelaide Town Hall. 15 Nov 2017
For live classical music, programming is vital. Get it wrong and even the ‘die hards’ won’t turn up. Get it right, and you live to play another day with confidence.
With their third and final national tour for 2017 – styled ‘New Beginnings’ – the Australian String Quartet got everything right: the programme, the playing, and the performance aesthetics.
The highlight of the evening was Bartók’s String Quartet no 1 op 7. I always find Bartók’s music a challenge and I need to turn a ‘different ear’ to his music. Its dissonances, rarefied harmonies, odd interval leaps and spiky rhythms always challenge me – it’s the way my brain is wired – but on this occasion the ASQ’s performance transported me to a new level of appreciation. The clarity in the fugal section together with the delicately held notes in the counterpoint of the first movement from all members of the ensemble won me over, and, like the rest of the audience, my applause at its conclusion was heartfelt and as passionate as the red light that bathed the stage and walls of the Town Hall.
The concert began with a rarity – a performance of Scarlatti’s Sonata à Quattro no 4 in D minor, which is likely one of the very first string quartets ever written. The ASQ expertly applied their matched Guadagnini instruments (all dating from 1740s to 1780s) to the five short movements and produced a tightly controlled but poignant baroque exposition that was as soothing as the blue hues that lit the stage and the players.
Beethoven’s ever-popular String Quartet in F op 59 no 1 – one of the so-called “Razumovsky” quartets, after one of Beethoven’s strongest supporters – rounded out the concert. The ensemble handled the composition’s dynamic layering and emotional shifts with assuredness but they did not hold back. Clarity was a hallmark of the performance.
The ASQ’s 2018 season includes a wide mix of styles and compositions by Philip Glass, Brett Dean, Widmann, Beethoven, Schubert, Ledger and Shostakovich, and kicks off in Februrary.
Kym Clayton
When: 15 Nov
Where: Adelaide Town Hall
Bookings: Closed
The Tea Party. Thebarton Theatre. 2 Nov 2017
It’s no secret that Canadian trio The Tea Party are one of my favourite bands. In fact, of all the bands that are currently in existence, they would probably be number one! So it’s needless to say that I am pretty pumped to witness them grace the mighty stage of the Thebarton Theatre once again to celebrate the 20th anniversary of their killer transitional album, Transmission.
The album followed in the footsteps of the band’s breakthrough Edges Of Twilight, and saw them experimenting with electronica and the sounds of the Middle East more than ever before. There are more than a few awesome standout tunes and live favourites thrown into the mix.
It was not too long after the release of this one that I started to get into The Tea Party, dabbling a little while still in high school, and interested in the synergies with Led Zeppelin. Within a few years, I was a full blown fan, and I’m pleased to have had Transmission on high rotation on my stereo ever since.
With the first set of the night due to be a recital of the full Transmission album, where would things begin? Would the band play through in the normal track order, or would they change things up a bit? It’s The Tea Party, and one never really knows what’s coming next (singer Jeff Martin’s remarks during the show are certainly true!), it only adds to the anticipation.
With an album full of light and shade, and plenty of ethereal sounds of the East, there are lots of good starting places, but tonight, it is with the thumping Army Ants, a riotous riffing tune perfect to get the blood pumping. A quick bit of Zeppelin’s Wanton Song intro gave way to equally pumping Babylon, before the first of the melancholic tunes with Psychopomp taking us not into the shade, but into full-blown darkness.
The journey further to the Zeppelin-esque East continues with Gyroscope, and into a live rarity in Emerald. Even the band remarks it is only one of a handful of times they’d played the song live. Alarum and Release balance each other before they launch into one of my faves, the epic Transmission.
Pulse and Aftermath bring up the rear of the set, before it all ends with the obvious choice, the sensational Temptation! The whole crowd is on their feet, joining in and bringing things to fever pitch!
With the Transmission album played in its entirety, there is a short break before things ramp up even further, with the iconic thumping drum intro to The River blasting out and announcing the beginning of the second set. This is such a cool song that gives the band loads of flexibility to incorporate all sorts of interludes, and before long the familiar River tide gives way to Zeppelin’s Dazed And Confused - about as good as it gets without Jimmy Page on stage!
Not content to leave it there, a few bars of Tool’s Sober find their way in before the River gives way to the sea. Another Tea Party epic, The Bazaar follows, before really heading into the deep blue with the massive Ocean At The End, from the band’s last long-player of the same name.
Sadly, my wife Kathleen couldn’t join me at the show, but Jeff and Co. still play one of her favourites, Heaven Coming Down, this time adding a bit of U2’s With Or Without You into the mix in truly perfect style. U2 couldn’t have topped that! With plenty of jamming taking place, the second set starts to draw to a close, with a massive rendition of Save Me, where literally every crowd member screams the iconic chorus line to the delight of the band.
A quick sojourn from the stage precedes the expected encore. After all, they hadn’t played my favourite Tea Party tune yet! Jeff returns solo on the guitar for Zeppelin’s Black Mountain Side tribute, Winter Solstice, before things erupt into my all-time favourite, Sister Awake. An epic tune on its own, complete with different movements in the original album track, lending itself beautifully to incorporate other tunes along the way; we are treated to sections of Paint It Black and even a bit of Bowie’s Heros, before returning to Sister and finishing on a massive high!
As usual, The Tea Party satisfies 110% in what proves to be a killer show! They promise to be back again next year… perhaps with a Triptych celebration, perhaps just with a best of, who knows; either way, it’s sure to be sensational, and I can’t wait!
Luke Balzan
When: 2 Nov 2017
Where: Thebarton Theatre
Bookings: Closed
Fleur Green And The Keepers. Independent. 30 Oct 2017
One thing I’ve learned over many years of writing about music is that it’s always worth giving a song or an album or an artist a chance, even if reading a snippet of a press release would ordinarily have you reaching for the skip button. While everyone in this business loves to pigeonhole, some things just don’t fit a normal classification. Local artist Fleur Green is certainly one such musician. After reading that she and her band The Keepers are an alt-pop act, I would normally just move on, but for whatever reason, I decided to dig a little deeper and give Fleur’s latest offering a quick listen, and I’m glad I did!
While I do normally have a strong affinity for the heavier end of the musical spectrum, I do pride myself on having eclectic (and often, eccentric) tastes, so who knew, perhaps what one may describe as alt-pop may tickle my fancy. Listening to Fleur Green and The Keepers’ debut long player When The Tide Rushes In, it became clear very quickly that there’s a lot more on offer here than would normally be encompassed by pop description.
It was Fleur’s first single, Nadia, that really grabbed me. This was a mix of jazz, carnival, mellow pop-rock, world music flavours, and even touches of the classical, all driven by an awesome catchy wistful melody and tidy 6/8 groove. There’s a sultry mood, driven by strings and sax, and fantastic sounding vibraphone. Anyone playing vibes in a modern release deserves a closer listen! Couple that with gentle poetic vocals and I was in for the ride.
The rest of the album continues on a similar theme, with an interesting mix of instrumentation giving the whole thing a festive, carnival feel but with a classical style undercurrent. I learned that Fleur plays an impressive range of the instruments herself, dabbling in piano, strings, tuned percussion, and more. The Keepers are her rhythm section, and there’s a range of guests on the album too, supplying tubas, sax, cello and guitars where needed. Musically, the tunes owe a lot to jazz forms, but it’s certainly in no way traditional, though would go together with piano jazz nicely.
The more I listen, the more depth I realise there is. There are different melodies and interludes to hear with repeated listens of When The Tide Rushes In, new instrumental forms and nuances and the like, and that’s to say nothing of the lyrical content. While for me music speaks louder than words, there’s some interesting comments and themes that Fleur addresses here. It rounds the whole thing out to a nice little package. And best of all, it’s a local package too!
Fleur Green and The Keepers launch When The Tide Rushes In at The Grace Emily on Saturday November 4th. Check out their Facebook page for future local gigs.
Luke Balzan
When: 4 Nov
Where: The Grace Emily
Bookings: eventbrite.com.au
Follow: facebook.com/TheKeepersrock
10 Years. Mascot Label Group. 25 Oct 2017
I’ve been involved with music ever since I was a youngster. Raised on a diet of classic rock, I quickly graduated to my own journey of self-discovery through rock, metal, reggae, world music and beyond. I take pride in my prowess and the musical respect I garner from friends. I also enjoy discovering new things, and for me, this latest offering from Knoxville Tennessee band 10 Years serves as an introduction to these guys, and I’m quite impressed.
Most interesting though is that while this is my first hearing of these guys, (How To Live) As Ghosts is the band’s eighth album, and they’ve had quite a healthy dose of success over the years. Obviously not so much here in Australia, at least to my knowledge, but judging by the strength of this album, I hope that’s a trend that’s about to change.
Stylistically they remind me of music from days gone by; the post-grunge vein with a hard inner core, melodic vocals and wistful hard-edged melodies. It kind of reminds me of stuff like A Perfect Circle or even a softer Deftones, and a more rough and ready take on modern rock. There’s plenty of appeal, and I find myself getting into the groove on the first listen or two.
The album opener The Messenger is an instant winner, setting the pace for things to come. Novavaine is a hard edged funky tune, balanced by the minor melody of Catacombs. Metal fans will be satisfied by Vampires, while diversity is the key on tunes like Lucky You and Halos. This is an album with lots of depth, and I’m sure I’ll find and discover new things the more I listen.
Certainly a great little release!
Luke Balzan
10 Years is an American alternative metal band, formed in Knoxville, Tennessee in 1999. The band consists of Jesse Hasek (lead vocals), Brian Vodinh (drums, guitar, backing vocals), Chad Huff (bass guitar) and Matt Wantland (guitar). (How to Live) As Ghosts, is the band's eighth studio album.
Track Listing
1. The Messenger
2. Novacaine
3. Burnout
4. Catacombs
5. Ghosts
6. Blood Red Sky
7. Phantoms
8. Vampires
9. Halos
10. Lucky You
11. Insomnia
Adelaide Symphony Orchestra. Adelaide Town Hall. 13 Oct 2017
The eighth in the ASO’s Master Series was dubbed Pilgrimage of the Soul, perhaps as a reference to the significance to the composers of the periods of time during which the two main compositions on the programme were composed. Mendelssohn’s Piano Concerto No.1 in G Minor, Op.25, was in part inspired by his four-year ‘grand tour’ of Europe and Britain, and Elgar’s monumental Symphony No.2 in E flat, Op.63, was dedicated (but not written in response to) the death of Britain’s King Edward VII and in anticipation of the coronation of George V.
Pilgrimage of the Soul was a nice idea, but an appealing name of itself doesn’t ensure the programme has a gestalt and ‘hangs together’. If indeed there was a meaningful connection between the two major works, it was not evident under the baton of guest conductor Richard Farnes. Originally the programme was to be conducted by the late Sir Jeffrey Tate, but his sad and untimely passing required some quick work by the ASO’s leadership team to commission a replacement conductor. Farnes is of course well regarded, especially for his work in various opera houses, but the Tate-curated programme seemed to present challenges that he was not quite able to overcome.
The Elgar symphony is long and complex, with a narrative that does not easily reveal itself. Certainly there are many long and languid lines in the composition, but these risk coming across as laboured. At its conclusion on Friday night, the Elgar was greeted by polite but not enthusiastic applause from the audience.
The piano concerto fared much better, and Israel-born pianist Saleem Ashkar played the ever-popular Mendelssohn with great élan and near-astonishing virtuosity. His considerable forearm strength never gave way to any blurring of the elegant melody lines, which always shone through including on his expressive face. One was never in doubt that Ashkar was loving being in every moment of the concerto. At its conclusion, he and Farnes enjoyed an extended moment during which they (presumably) thanked each other for their artistry, but whatever they achieved wasn’t really matched in the Elgar.
Kym Clayton
When: 13 Oct
Where: Adelaide Town Hall
Bookings: Closed