Then, as if this wasn’t enough, the AAO members moved back into position and with the mighty clap of Paul Grabowsky’s guiding hands the orchestra joined in again, thundering through to the coda. For 20 minutes we were mesmerised by the brilliance and accuracy of their playing. If there is a definitive list of “classic” cross-cultural compositions and performances, then Into the Fire is definitely on it for me.Just as we reached the crescendo, the AAO put down their instruments and sat back to listen to the Sruthi Laya. At an emotional level I found the performance of this composition deeply satisfying. With the brilliance and accuracy of some of the best classical and jazz players in Australia flying through the melodic phrases, sparse but warm harmonic material, and the total focus and control of the Indian master musicians, the audience was captivated. The composers have taken the basic material of the raag, the karnatik scale, and developed an exhilarating, enthralling performance. One of the real difficulties in cross-cultural composition is the need to find ways of overlapping the styles, and also of working at a level of depth and respect within the 2 cultures. Adrian Sheriff and Sri Mani’s title track from the Into the Fire CD grew out of their 1996 collaboration in India and later in Adelaide. A big band in the round with the karnatic musicians in the solo spot. The AAO musicians were seated in a semi circle, cradling the Sruthi Laya ensemble, who sat at the very front of the stage. Airwaves is a big piece, chockerblock, a must-have for the collection when the CD comes out. In Airwaves, music effortlessly holds the mirror to the musicality of language. ‘Now is the time.’ ‘I have a dream.’ ‘Turn on, tune in and drop out.’ Strange, abstract rhythms suddenly synch perfectly to all time favourites. I’m not surprised, the music’s often complex, the timing always precise. The performers play to a click track, they’ve each got headphones on. The sound is excellent, right volume, right balance on the instruments. …At the beginning I think of a happy John Zorn, then associations disappear pretty quickly as I get caught up in the individual personality of the piece. Not that the music was all quotes and ironic degree by a long shot. But most times the references were oblique, witty, laugh out loud nostalgia. Sometimes the musical quotes were right there on the staves cut and paste, a straight up arrangement. Dad and Dave ride on the back of Click Go the Shears. The Goons bubble up and Max Geldray lives again. George Bush whingeing about Saddam and damn that’s some funky bass.
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A series of episodes and program pieces to reinforce or foil the text. It’s stochastic history not storyboard history.Īnd over and under the ‘Voice Portraits’ plays the music. But the vocal text isn’t about cheap moralisms. From now to then, from us to them, a salad of history where before White Australia was Belsen, before Clinton was Ghandi, where men had to walk on the Moon before Cathy could run that great 400. Databases of dickheads, geniuses, opportunists, and self-promoters. Old timers scraped out of mouldy shellac grooves.
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