A bunch of live Coma Jazz Flip albums: hear me drumming or listen to a string quartet play Immermann tunes
I was involved in a few of the Jazz Flip things which Coma puts on at Fringe time. Jazz Flip is where artists or bands get together and swap repertoire for one night.
Here is 1.1 Immermann playing the music of the fabulous Adelaide string quartet Zephyr Quartet:
And here is Zephyr playing our tunes:
I was also in guitarist Dylan Marshall’s band, playing the music of guitarist James Brown. It turned out really well. In a few of the tracks I play drums and drum machine (Roland SP-202) simultaneously.
And while we’re at it, to completely document my history with the Jazz Flip concept, here’s Ross McHenry’s group from 2012 playing the tunes of Lyndon Gray:
Adelaide’s premier funk/hip hop big band. 18 players! Look at them all:
Alex Musolino – alto saxophone
Giovanni Clemente – alto saxophone
Alex Ioakim – tenor saxophone
Jamie Capatch – tenor saxophone
Natalie Cruse – baritone saxophone
Sean Carey – trumpet
Luke White – trumpet
Michael Mauch – trumpet
Christopher Bickley – trumpet
Alex Taylor – trombone
Luca Spiler – trombone
Steven Bickley – trombone
Cassandra Pope – bass trombone
Jarrad Payne – drum kit
Nikki Stedman – bass guitar
Sam Cagney – electric guitar
Logan Watt – piano synthesizer (except “Theme” ), vocoder (“Just Awesome” )
Alex “The Big Wig” Wignall – piano synthesizer on “Theme”
Alex Mckay – lead vocals on “Starlight”, “Toffee Apple” and “Omoi”,
Sophie Zerner – backing vocals on “Toffee Apple”
Andrew Barley – deep voice on “Toffee Apple”
Evan Bassani – backing vocals for “Omoi”
Film courtesy of Dave Streeter. Thanks again Dave!
Your sexennial dose of 6-piece two-bass double-horned improvised dance music. I’m using my traditional Raucoustra drum setup: kick/snare/hats/cymbal. Check out the glass smashing around 8:10 into the second track.
Bestseller, playing contemporary jazz. We snake our way in and out of tunes as we please.
Here is a promo video for a concert we played earlier this year, which was part of the Nexus World Music Series. It gives you a good idea of what the music was about but there isn’t much actual drumming in there… you can hear a bit of the band towards the end and see me in a vest occasionally. Mark wrote a bunch of originals which were beautiful and challenging in equal measures. With violinist Julian Ferraretto and bassist Lyndon Gray.
The slightly slower output of voiceROM albums and things recently can be partially explained by my being on tour with the musical called Mother, Wife & los Complicated Life. It’s been loads of fun so far and has been receiving some excellent reviews, although none which mention the drumming. No matter–I will keep adding more and more drum fills until they do so.
This is pretty special. Ross’s group of people playing at the Promethean in October this year. A great tune by Ross, recorded very nicely. And the playing’s kind of great too if I do say so.
It’s a 25 minute documentary about us rehearsing, recording and gigging the new Shaolin Astronauts album. It’s pretty good! Many of my good friends are featured, and it’s a great insight into how an 18 piece band gets in a studio to record some crazy music.
I don’t get much camera time, and when I do I look like the least fun person to be around. I don’t remember being that not fun the whole time.
You can view all his lovely monochromatic photos and videos of Louisiana Blues and some rambling Bon Iver song that everyone who isn’t me seems to love here:
Also included are photos of us hanging out after the gig, featuring me partying the only way I know how: not particularly hard.
I was privileged to be a part of the demonstrably monstrous (in size and goodness) Shaolin Afronauts earlier this year. I’m one of the percussionists on the upcoming album and we played live at Barrio and at the Space Theatre, which looked a lot like this:
Emily Smart and her new band Little Two Eyes spent a bunch of time in Kilophone with me, recording their very new All The Things I Never Told You And Why EP. It was mixed by KRAMER in the USA, who proved himself to be quite the dude. Friendly and hard-working, and he also once signed Boredoms to his record label, which is a cooler thing than most have ever done.
Also, I was also a guest drummer on tracks 2 and 6, not whatever the CD artwork says.
Here is some video of a very cool production of the Magic Flute with which I was involved. It was a 29-piece band: piano (Richard Chew), bass (Lyndon Gray), drums (me) and vocals x 26 (the Tutti Ensemble).
Improvised music with Richard Chew, Ian Dixon, Lyndon Gray and me. We spent time playing with every possible solo, duo, trio and quartet combination within this group.
Another great song by Emily which we recorded in Kilophone (Studio Concrète) a little while ago. I play drums and also went ZING with a plectrum across the grand piano strings while Hamish held down chords. Download it from the bandcamp site here if you like.
Earlier this year I hit the studio for a few weeks with Southie (a.k.a. T-Slice to the hip-hop crew). We had a blast, learning bits and scraps of foreign languages, discussing our mutual man-crush on Christopher Hitchens, constructing toy birds out of percussion instruments, clamps and blu-tack and recording a bit of music.
Tim came in with a swag-ful of catchy un-cliched songs and an open mind, and we had a great time combing through the songs (with a metaphorical comb NOT AN ACTUAL COMB) making sure every cubic centimetre was interesting and pleasing to the listener.
I started out as co-producer but ‘Chief Reverb Applier’ would be a better description of what took place. I think I played some percussion here and there too.
Chris Weber has a couple of guest spots on trumpet, Flik Freeman makes some bass-like noises and a couple of tracks feature a choir that may or may not have known that they were in a choir at the time.
Southie on Triple J’s Unearthed (wherein you can rate and/or review it which encourages Triple J airtime which in tern makes life better for everyone)
And there’s a clip for this song!
So this has been out for a little while now but my website updates are few and far etc. I think this is a truly excellent album and I’m pretty pleased that I had a small part in making it.
Zeal is Robert Jarvis, an Adelaide human who is now a Melbourne human. He makes good music and does lots of interesting stuff, like making musical instruments out of toys and visa versa.
Here’s what I did on the album, according to the bandcamp site: Additional mixing on track 4, drums and percussion on track 7, drums, clapping, jeans, bass drum, programming and additional mixing on track 8.
Check out all the cool stuff that Robert does: Singing, nylon/electric guitar, electric/upright bass, piano, pedal organ, harmonium, melodica, sampling, sequencing, stomping, clapping, drumming, humming, self-oscillating delay pedal, alarm clock, banjo, ukulele, playstation 2, glockenspiel, toy piano, casio.
I think that gives you a better idea of what the album sounds like than some broad or made-up genres (likeacousticcy electro-pop groove jazz-hop-wave or something).
Three great tracks from Emily. As a co-producer, it’s my job to make suggestions like ‘how about I play banjo on this one!’ or ‘why don’t I put down some banjo on this other one!’. I think the results speak for themselves.
One of the biggest projects I’ve been involved in to date is this magnificent double-album by Ronnie Taheny. I was engineer and co-producer, plus drummer, backing vocaller and shakuhachist.
Disc one – Renaissance – is a fairly chilled-out acoustic classical/pop affair, mostly with the Outhouse Orchestra (Marie De Lint on Flute and Amanda Goodfellow on Cello). For lovers of well-written text and lush harmonies.
Disc two – Point – is a bolder and more diverse story. I’m particularly proud of the first two tracks. Pop gold! both of them. They are Ronnie’s idea of a ‘simple and catchy’ song, which, while undeniably catchy, still contains lyrics like “keep in mind your solitude’s fine, but it’s better spent with us” and “Well, you’re eating lead now. Gonna go for Goya’s cred now.” (compare with “stop calling, stop calling, I don’t wanna talk anymore”). This disc also has some out-and-out poetry and sound-scapes and about one million instruments and things. It’ s an explosion of colour and thoughts. And more lush harmonies.
Ronnie’s website (with heaps of stuff including a few free downloadable mp3s)