Category: Music

Events, Music, Performances, Review, Whats On

REVIEW: Stewart D’Arrietta’s MY LEONARD COHEN

Public acclaim for this personal tribute

By Christine Moffat

Leonard Cohen is the master of sexy, dark revealing lyrics and music that sweeps you away. Stewart D’Arrietta has been swept away, but it hasn’t overpowered his unique performance of this selection of Cohen’s powerful works.

My Leonard Cohen

D’Arrietta nurtured a connection with the audience and took them on a very personal journey through the world via Cohen’s songs. Nothing makes a show duller than a show based merely on impersonation, but with his gravely voice and laconic humour, D’Arrietta’s performance was only reminiscent of Cohen.  What the audience was treated to instead was a collection of confident and original interpretations.

Sensitivity to the composer and actual musical skill are all very well and good, but the most important test a show like this must pass is “Was it a good time?”  The answer is a most definite “Yes!”  The ensemble played like a bunch of old-fashioned romantics, giving the music all of their energy and style.  Frontman D’Arrietta adapts his persona song after song, holding nothing back.  In the end he is the embodiment of a Cohen song: sexy, funny, sad – human.

The music was interspersed with bite-sized insights into Cohen’s life, titbits about the composition of various songs, and importantly, D’Arrietta’s personal connections to those songs.  It made for an entertaining one-and-a-half hours of live music, performed by accomplished musicians.

The exquisite leadlight window of Chapel Off Chapel‘s theatre was the perfect backdrop for a show bringing to life Cohen’s emotional lyrics of god and love, men and women.  When I left, a crescent moon was hanging low in a dark starless sky, seemingly imbued with a poetic connection to the moving performance that had just finished.

Dates: Sept 11 – Sept 15

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Times: Tue-Fri 8pm / Sat 7pm & 9pm / Sun 5pm & 7pm

Tickets: From $49.50

Bookings: 03 82907000 or online at chapeloffchapel.com.au

Events, Music, Performances, Review

REVIEW: A VERY GAGA VARIETY FUNDRAISING NIGHT

Variety night an exciting preview for new musical

By Scarlett Harris

Last night at their new location on Carson Place in the city, The Butterfly Club hosted a Lady Gaga variety show in an effort to raise funds for the latest creative endeavour of Kin Collaborative’s Melbourne Uni student arm. Kin CoLaboratory’s MUD Festival entry, Gaga & Assange, promises to be a romp of epic pure-pop proportions.

Gaga and Julian Assange both rose to dizzying heights of infamy around the same time: she with her anthem of tolerance, “Born This Way”, and he with the release of U.S. diplomatic cables and apparent “honey-trapping” rape charges.

Gaga & Assange

Gaga & Assange plays on this theme of sex, introducing the two via a sex-tape- and STD-fuelled romp—a “Bad Romance”, if you will—and going on to dissect the egos and dogmas of two of pop culture’s most recognisable names and faces.

But as for last night, it was a riotous tribute to all things Mother Monster, with renditions of “Paparazzi” by Gaga & Assange creator, Will Hannagan; Gaga’s Tony Bennett effort, “The Lady is a Tramp”, with G&A director and MC for the night, Jeremy Russo; and “Bad Romance”, “Alejandro” and “Americano” by Melbourne bluegrass band The Scrimshaw Four.

Alex Frank and Alexia Brinseley had the audience in stitches for “Edge of Glory”, “Hair” and “You & I” (arguably the performances of the night), while Belinda Jenkin remixed “Dance in the Dark” and “Just Dance” into ballads, and James Worsnop and Nicola Guzzardi parodied “Telephone”. The Collaborative topped off the night with a mashup of two original songs from Gaga & Assange, staged by their very own Gaga, Laura Raiti.

After the success of this fundraising event, I’m looking forward to seeing whether the musical deals with our readiness to let certain things about its titular “characters” (because isn’t that what they are—especially Gaga—to an extent?) fly, like Gaga’s alleged cosmetic surgery and Assange’s abovementioned sexual assault, in order to embrace their wider messages of acceptance and freedom of information, respectively. All with a side of Europop club anthems to boot.

A Very Gaga Variety Fundraising Night was performed at The Butterfly Club on Wednesday July 17, 2013

Cabaret, Cabaret Review, Festivals, Music, Whats On

REVIEW: Sweet Dreams – SONGS BY ANNIE LENNOX

Exceptional cabaret is made of this

By Ross Larkin

It’s a brave performer indeed, who not only assumes the guise of a celebrity of the opposite sex, but endeavors to perform and ‘become’ Britain’s most successful female artist of all time – cabaret style.

Sweet Dreams

A graduate of the Western Australian Academy of Performing Arts, Michael Griffiths has some big shoes to fill. Yet, fill them he does – until they are bursting at the seams.

The former Jersey Boys star, along with director Dean Bryant, have thankfully avoided indulgently churning out Lennox’s ‘best of’ catalogue, one after the other. Rather, they have created a comical, yet heartbreaking narrative of a fascinating artist with nothing but integrity and awe-inspiring skill.

Initially, one might grapple with suspending their disbelief over a young man at a piano, who is not so much paying tribute to Lennox, but portraying her in character.

Yet, wigs, costumes and accents would undoubtedly take Sweet Dreams into less-appropriate tongue-in-cheek pantomime or drag-queen territory.

While die-hard fans may need to overcome some fictional story elements (mostly added for comic relief), the narrative generally stays true to Lennox’s career and personal life, exploring with particular intrigue, her relationship with Eurythmics partner, and former lover, Dave Stewart.

While it’s no secret she and Stewart broke up as a couple just prior to forming Eurythmics in 1981 (which subsequently fueled an often tempestuous working relationship), Bryant and Griffiths have brilliantly used Lennox’s music to shed a clearer light on the meaning of her songs.

Griffiths plays and sings with effortless charm, innovation and finesse, giving new insight into the likes of ‘Who’s that Girl?’, ‘Missionary Man’ and ‘Why’.

Along with a newly-explored meaning of these familiar tracks, is the re-interpretation of the music itself. Griffiths adds a vaudeville charm to the formerly dark, synthesised ‘Love is a Stranger’, and a refreshingly melancholic sadness to pop classic ‘When Tomorrow Comes’ – injecting a gorgeous energy that, dare it be said, surpasses the original.

Sweet Dreams is a mesmerising feast of laughs, sadness and brilliant music showcasing a true icon with style and wit, recommended even for the lesser of Lennox’s fans.

Sweet Dreams: Songs by Annie Lennox is playing nightly as part of the Melbourne Cabaret Festival until Sunday, July 7 at 7.30pm at 45 Downstairs, 45 Flinders Lane, Melbourne.

Bookings on 03 9662 9966 or fortyfivedownstairs.com

Events, Festivals, Music, Performances, Review

REVIEW: Melbourne Jazz Festival and CASSANDRA WILSON

Innovative, iconoclastic and exquisite

By Anastasia and Peter Slipper

The Melbourne International Jazz Festival certainly brought out the star power for their closing night last night with a standing ovation for singer Cassandra Wilson at Hamer Hall.

Cassandra Wilson

Wilson’s voice – honey-smooth, seductive and powerful – had the entire audience under her spell for two deceptively long sets, so that it almost seemed that she had the power to control time itself. Infused with the swampy blues sound of her native Mississippi, her performance showcased songs ranging from her early career to her latest album, Another Country, released last year. Wilson’s performances of covers were as heartfelt and individual as that of her own material, and the encore of Cyndi Lauper’s Time After Time was a masterpiece.

She is known as a performer who transcends genre, and this performance was no exception, although the blues were never far away. The backing ensemble of bass, percussion, guitar, violin and harmonica wove elements of latin, country and folk around jazz- and blues-based grooves in a perfect synergy. Arrangements were often sparse, providing plenty of opportunities for the five musicians to show off their improvisatory prowess – exciting and very much in-the-moment.

Swiss harmonica player Gregoire Maret was an absolute stand-out, kicking off the gig with his version of Stevie Wonder’s The Secret Life of Plants. Often compared with Wonder, Maret created supple tendrils of sound from his chromatic harmonica, building into virtuosic extended solos.

The diversity of Wilson’s performance reflected the nature of jazz in the twenty-first century – it doesn’t fit into neat little boxes of genre, or exist in isolation, but is one of many musical styles constantly evolving and adapting with new influences and innovation.  Under the stewardship of Michael Tortoni the Melbourne International Jazz Festival is to be commended for reflecting this diversity in the programming for 2013 – and these reviewers are certainly looking forward to what delights next year’s festival may bring.

Cassandra Wilson performed at Hamer Hall on June 9 2013 for the Melbourne International Jazz Festival.

Events, Festivals, Music, Performances, Review, Whats On

REVIEW: Melbourne Jazz Festival’s CHUCHO VALDES AND THE AFRO-CUBAN MESSENGERS

A glorious experience

By Christine Moffat

Chucho Valdés is truly a genius.  He is an innovative virtuoso who, after more than 50 years as a pianist and band leader, is still composing and playing with panache and energy.  He also has a long history of award-winning composition and performances, and is a teacher and practitioner of Afrocuban-Jazz.

Chucho Valdes

His band The Afro-Cuban Messengers (Gaston Joya on bass, Rodney Barreto on drums, Yaroldy Abreu Robles on congas and Dreiser Durruty Bambole on bata) are labelled on Valdés’ official website as “a group of Cuban phenoms” – this is an apt description, as they are the epitome of artistry and dynamism.

The composition ‘Blues Scherezada’, one of the few songs with minimal percussion, was a masterclass in jazz fusion, with amazing bowing work by bassist Joya.  The majority of the pieces performed involved driving rhythms of Barreto, Robles and Bambole in a truly Afrocuban way, intertwinging classic African call and response vocals with a Latin beat.

Last night’s performance was a testament to the effect jazz can have on the body and mind.  Valdés’ style of Aftocuban-Jazz is a heady combination of sophisticated piano and bass with those powerful drums.

The mixture of sound sparkled and bounced around Hamer Hall like light refracting off a polished gemstone.  The audience was transported by the music, and rose for a standing ovation for the final number, and for the encore that we were given in response.

If you have the opportunity to see this act live, do not miss it.  You will be rewarded with an evening of unparalleled jazz, from a fabulous ensemble led by a man well and truly in his musical prime. Amazing.

Chucho Valdés and the Afro-Cuban Messengers performed at Arts Centre Melbourne, Hamer Hall on 8 June 2013 pm as part of the Melbourne International Jazz Festival. See www.melbournejazz.com for more details.

Dance, Events, Music, Performances, Review, Whats On

REVIEW: The Australian Ballet Presents VANGUARD

Mesmerising modern ballet reaches new audiences

By Ross Larkin

Few art forms command the same degree of discipline as that of dance. The absence of external tools, leaving solely the body as instrument, requires as much stability and fine-tuning as any solidly, hand-crafted alternative. The commitment is therefore not only a full-time one, but one which must be lived and breathed.

Vanguard

The Australian Ballet showcase this lifestyle to its full extent in their current production of Vanguard at the State Theatre. Three strikingly different pieces are presented back to back by highly accomplished choreographers George Balanchine, Jiri Kylian and Wayne McGregor with a beautifully, flawless outcome.

Opening with ‘The Four Temperaments’, originally choreographed by George Balanchine, performers are exposed under a stark, white light for the duration, with no external theatrical aids, save for the varied and glorious accompanying Orchestra Victoria. Viewers are hard-pressed to withdraw focus from the dancers’ palpable control and beautiful unity displayed with seemingly effortless execution.

Second offering, ‘Bella Figura’, raises the bar to stunning and mesmerising heights that impact the audience almost conspicuously. Rarely does one witness such effortless command of an audience’s attention. The moments of stillness and silence were breathtaking and captivating, and, unlike its predecessor, dramatic lighting and clever use of external elements were present in abundance, with particularly intriguing use of stage curtains.

The poignant direction of Kylian’s choreography encapsulated tasteful eroticism and tenderly seductive bodily engagement throughout, with unexpected comical moments in the form of puppetry dance.

Third piece, ‘Dyad 1929’, faces the challenge of following the former spectacular act, and initially feels slightly random and less focused, as the ensemble move frenziedly about a black polka-dot background to jarring, discordant music. Further into McGregor’s piece, however, the focus materialises with spirited passion and the gorgeously fluid dance proves as striking as its cousins, climaxing with the first male interaction of the evening.

The entire ensemble of Vanguard, each present for all acts, are graceful and flawless. Daniel Gaudiello, Lana Jones, Miwako Kubota and Calvin Hannaford leave impacting and lasting impressions, though every performer is worthy of mention.

Powerful and accessible, the Australian Ballet’s production of Vanguard is an experience deserving of a universal audience, and succeeds in moving viewers across all emotions.

Vanguard is playing now at the Arts Centre’s State Theatre with Orchestra Victoria until June 17, 2013

Events, Festivals, Music, Performances, Review, Whats On

REVIEW: Maria Schneider and Darcy James Argue with the JAZZGROOVE MOTHERSHIP ORCHESTRA

Jazz queen reigns with a wave of her hand

By Anastasia Slipper

Maria Schneider

The anticipation was palpable as one of the world’s foremost jazz musicians walked onto the stage. Yet she didn’t hold an instrument or approach a microphone. In fact she didn’t make any sound at all. She merely held up a hand, and with a few gestures created exciting, complex and subtle music.

This mysteriously silent musician whom everyone had come to see was arguably the premiere big band composer and arranger of the last three decades – Maria Schneider. And her instrument? An eighteen-piece jazz orchestra, that she played like a puppet master, pulling all the strings to elicit finely-tuned dynamics and expressive solos.

From boisterous grooves such as ‘Gumba Blue’ to the haunting hymn-like lyricism of ‘Sky Blue’ the Sydney-based Jazzgroove Mothership Orchestra effortlessly rose to the task of interpreting Schneider’s sumptuous works under the watchful eye (and hand) of the composer herself.

Members of the band were given plenty of soloistic freedom and space, resulting in some exciting improvisation, especially from sax players Roger Manins and Richard Maegraith. The blend of finely-crafted structure and precision together with sections of improvisatory exploration was exquisite, and a real feature of Schneider’s work.

Earlier in the evening, the band opened with a set of tunes by young Canadian composer Darcy James Argue, who also conducted his works. While not in the same league as Schneider, Argue’s style was innovative and energetic, using colour and effects extremely well. An early trumpet solo from Ken Allars featured half-valve techniques set against a backdrop of muted trombones, and set the tone for an enjoyable first set.

These two internationally-acclaimed composers, along with a fabulous Australian band, are proof that the big band era lives on – and has a great future ahead of it.

Maria Schneider, Darcy James Argue and the Jazzgroove Mothership Orchestra  performed on June 6, 2013 as part of the Melbourne Intermational Jazz Festival.

Events, Festivals, Music, Performances, Review

REVIEW: Melbourne Jazz Festival Presents SNARKY PUPPY

Top dogs won new fans

By Anastasia and Peter Slipper

The Melbourne International Jazz Festival audience was treated to a genre-hopping jazz-fusion spectacle by young US band Snarky Puppy at the Forum last night. Perhaps serendipitously, numbers were boosted for this still relatively obscure ensemble by jilted ticket-holders who missed out on seeing legendary New Orleans band Rebirth Brass Band after they had to suddenly pull out of the festival. However disappointed the punters may have been to miss the Rebirth second-line parade earlier in the day, they were certainly not disappointed by the end of the night!

snarkypuppy

Vocalist Alison Wedding (who was first responsible for alerting festival Artistic Director Michael Tortoni to the existence of the band) warmed up the room with a short set of her own material. “Too Tight” was a stand-out, reggae-inspired declaration against unhealthy body image.

After a short break, the band again took the stage, this time sans vocalist, lead by bass player extraordinaire Michael League. His whole body became part of the instrument, as he impressed the audience with extended virtuosic solos, and laid down some seriously funky grooves.

Each member of the band had plenty of chances to shine as they worked their way through a labyrinth of constantly changing styles and moods. Every solo was thoughtfully constructed and carefully built towards an exciting climax, and even in their supporting roles, all band members were responsive, showing how tightly knit they are after years of touring. Crowd-favourite “Quarter Master” was a highlight of the night, switching from New Orleans second line-eque grooves to gospel harmonies.

Throughout the gig, time changes and horn stabs were super-tight, but the band never drifted into vulgar displays of virtuosity. A special mention must go to Justin Stanton, who consistently excelled, whether on trumpet, moog synth or Hammond organ. An epic drum and percussion solo from Nate Werth and Robert Searight was musically and dramatically exciting, while never migrating into self-indulgence.

If you like funky grooves, a few 80s-synth effects, and exciting twists and turns Snarky Puppy are one to keep an eye out for!

Snarky Puppy performed at The Forum Theatre on Saturday 1 June for the Melbourne International Jazz Festival which ends June 9.

Events, Festivals, Music, Performances, Review, Whats On

REVIEW: Matt Dyktynski and Bang Mango Cools in EDIBLE PETS

Guaranteed good festival fun

By Tania Herbert

As an audience member, you are one of “The Keno Dancers” waiting for your performance at the Mordialloc Welcome Club. Sharing your backstage green room are Matt and Mango – the wannabe rock duo Edible Pets. Disgruntled musician Matt “Dyk-something-ski” and his sidekick Bang Mango Cools (name changed after a mind-altering trip to Thailand… despite being a middle-class bloke from Diamond Valley) are about to perform their final show, and it’s not exactly in style in the back room of an outer-suburbs pokies venue.

Edible Pets

We travel with Matt and Mango on their journey back through 25 years of musical mediocrity: from 80s’ teens to 90s’ try-hard rappers, to naughties’ new-agers and finally the low point of X-Factor wannabees.

Edible Pets: The Farewell Tour for MICF is nicely constructed, has good flow, great pace and comedy, and lovely audience interaction. Mango played the “Silent Bob” of the duo beautifully, with superb coming timing and understated humor in nice contrast to Matt’s tirade against the world.

The little snippets of song throughout added to the sense of pace and were well-executed, though there seemed to be a few missed comic opportunities in some of the music. However, the “pay off” song at the conclusion of the show was well worth the wait, and Mango’s description of his masterpiece- “It’s f’ing anthetic”- is well deserved.

If you’re in town for the comedy run, this is a good one to chuck on the list. Sweet, light, and personable, it’s like watching a couple of your funniest mates messing around with guitars and awesomely bad mullet wigs. And it’s probably the only time you’ll get the opportunity to see someone rap “the Little Drummer Boy”.

Edible Pets: The Farewell Tour can be seen at The Victoria Hotel 28 March – 21 April, Tues-Sat 8:30pm, Sun 7:30pm.Ticketmaster 1300 660 013, www.comedyfestival.com.au

Events, Music, Performances, Review

Review: ERIC WHITACRE In Concert

Utterly beguiling

By Jessica Cornish

Eric Whitacre, complete with a cheeky smile and armed with a ridiculous amount of charm enchanted his audience on Saturday night.

Eric Whitacre

The young American composer conducted numerous original works and more traditional orchestral and choral pieces, performed by the Choir of Trinity College and the Monash Sinfonia.

Before every piece commenced Eric explained with passion and humour the story and significance behind each song, giving his grateful audience a deeper insight into the music.

Stand-outs and crowd-favourites composed and conducted by this golden-haired boy were “Five Hebrew Love Songs” and “Animal Crackers“, as well as Bach’s beautiful “Come Sweet Death“, which saw Whitacre stand aside, letting the choir members sing at their own pace and creating an eerie and oddly intriguing piece.

“Five Hebrew Songs” was created fifteen years ago, inspired by his ‘hot Israeli girlfriend’ at the time. Whitacre explained he had asked her to create five short Hebrew poems on the backs of different post cards, and then set these beautiful lyrics to music. Fifteen years later the couple are still together, and very much in love. Clearly besotted by his wife he consistently blew kisses to her, and passionately dedicated numerous numbers to her.

“Animal Crackers” was a quirky musical anthology which had the audiences in stitches. It was a series of short original compositions based on various animal poems by Ogden Nash. Stories included the cow, the firefly, panda and appropriately the kangaroo- ‘that should be grateful it was not transmuted by a boomerang, otherwise it would be turned in to a morang.’ As Whitacre created these intriguing little bits of comedy, he related how he would consult with his five year-old son to check whether they were in fact funny or not.

Overall his show was a delight. The choir sang beautifully, and the orchestra were seamless. Watching Eric Whitacre conduct was mesmerizing: it was like watching some strange bird dance in the wild, with flowing hand gestures and occasional little stamps and backside twists. The beauty of Whitacre is that he was so engaging and passionate about his music that he was able to make the audience feel that same love and amazement that he does when experiencing it.

Eric Whitacre In Concert was performed on Saturday 13 April at Robert Blackwood Hall, Monash University