JAZZ MINIMALISM
The Necks: A Review
by Rob Nugent
8 pm, 19 February 2008. Venue: The Street Theater, ANU.
The three members of The Necks walk silently onto stage and focus on their instruments. There is a theatrical hush while they prepare themselves. Three notes on the double bass play repetitively for a minute before a single note on the grand piano builds slowly into a fluttering trill. You don't notice the brush on the snare and the pulse of the kick drum at first. The journey begins. We are heading into badlands and strange spaces. This could be the
beginning of a murder plot or a crime of passion. There are no slamming doors. They creak open, as things creep up on you. Thoughts slowly resolve themselves, or are overwhelmed and consumed.
I found the music of The Necks created spaces for all sorts of imaginings. You can superimpose the events of your life onto it, or simply be carried off into cinematic landscapes. Sometimes you are there with it, other times it leaves you behind and you have to catch up. Wonderful stuff.
The three members of the necks walk silently on the stage and focus on their instruments. There is a silence theatrical as they prepare. Three notes on the double bass game repeatedly for one minute before single notes on the grand piano configurations slowly in a swaying trill. You don't notice the brush initially on the trap and the shock drum pulse. The journey begins. Head in the badlands and unknown spaces. This it could be the beginning of a murder plot or a passion crime. There are no slamming doors. Creak open, as things soar upon you. Thoughts resolve slowly, or are overwhelmed and consumed.
I found the music of the necks created spaces for all sorts of imaginings. You can overlay the events of the your life on it, or simply be carried off into cinematic landscapes. Sometimes you are there with
it, other times it leaves it behind and you have to take it. Wonderful stuff.
JAZZ MINIMALISM
“For those unfamiliar with The Necks… their approach is to take a musical idea, sometimes a seemingly inconsequential musical idea, with a short life expectancy, and develop it, slowly transform it, roll it around for approaching the hour mark, riveting your attention throughout "
The Wire - David Stubbs
Chris Abraham (piano), Tony Buck (drums), and Lloyd Swanton (bass) conjure a chemistry together that defies description in orthodox terms.
These three musicians are among the most respected and in-demand in Australia, working in every field from pop to avant-garde. Over 200 albums feature their presence individually or together, but the music of The Necks stands
apart from everything else they have done.
Featuring lengthy pieces which slowly unravel in the most intoxicating fashion, frequently underpinned by an insistent deep groove, The Necks stand up to listening time and time again.
The deceptive simplicity of their music throws forth new charms on each hearing. Not entirely avant-garde, nor minimalist, nor ambient, nor jazz, the music of The Necks is possibly unique in the world today.
“Australia & # 039; s the Necks defy conventions about making and listening to music. Each performance… is an hour of unbroken improvisation, each one different to the last. So if you are a Necks fan, you cannot be sure you will hear your favorite Necks moment again. After 20 years, there are no greatest hits, only what is next. "
The Guardian - John L Walters
JAZZ MINIMALISM
“The Necks communicate a fierce energy and warmth at the same time. Their music is a thrilling, emotional journey into the unknown. " The Guardian
"Absolutely riveting ... how three musicians can sound like eighteen is a mystery." Financial Times
“The Necks turned the auditorium into a majestic, vibrating cathedral of sound” The Age
Fresh from a hugely successful European tour, including two sell-out shows in London, cult minimalist jazz trio The
Necks (Chris Abrahams piano, Lloyd Swanton bass, Tony Buck drums) return to home soil for an eagerly awaited Australian tour.
Fans worldwide of this extraordinary band who have been lucky enough to catch them live will know that no two Necks concerts are the same. For over two decades now, The Necks have been stepping on stage with absolutely nothing pre-arranged, yet have managed to conjure intoxicating sonic journeys, frequently underpinned by an insistent deep groove, that often last for up to an hour and leave audiences hypnotized and transformed.
“One of the joys for me, after twenty years of making music with this group, is that we're still completely unable to predict where our pieces will go. I think that's one of the things that our audience loves about The Necks, ”says bassist Lloyd Swanton.
The Necks have produced 14 critically acclaimed, highly successful albums that have sold in the thousands. They have won two ARIA awards for Best Jazz Album - 'Chemist' in 2007 and 'Drive By' in 2004 which has also recently been included in The Guardian's '1000 Albums To Hear Before You Die'. Their latest gem, 'Townsville' released in Sept 2007 has also been attracting excellent reviews worldwide including The Wire's (UK) Top Ten
Jazz / Improv Releases of 2007.
"Teetering perpetually on the edge of creation, Townsville is a sort of rhapsodic minimalism, as magical in its own way as a ping-pong ball pirouetting on a jet of air "4 stars - The Independent (UK)
"La Colli communicate a fierce energy and warmth at the same time. Their music is a thrilling, emotional journey into the unknown. " The Guardian Their music is an exciting, exciting journey into the unknown. "The Guardian
"Absolutely riveting ... how three musicians can sound like eighteen is a mystery." Financial Times "Absolutely riveting three musicians… how eighteen may sound is a mystery. ”Financial Times
"The Necks turned the auditorium into a majestic, vibrating cathedral of sound" The Age "The neck the auditorium transformed into a majestic, vibrant cathedral of sound "The Age
Fresh from a hugely successful European tour, including two sell-out shows in London, cult minimalist jazz trio The Necks (Chris Abrahams piano, Lloyd Swanton bass, Tony Buck drums) return to home soil for an eagerly awaited Australian tour. Fresh from a hugely successful European tour, including two sell-out shows in London, cult minimalist The Colli jazz trio (Chris Abrahams piano, Lloyd Swanton bass, Tony Buck drums) homecoming of the soil for a highly anticipated Australian tour.
Fans worldwide of this extraordinary band who have been lucky enough to catch them live will know that no two Necks concerts are the same. Fans from all over the world of this amazing band who were lucky enough to live catch them will know that no two neck gigs are the same. For over two decades now, The
Necks have been stepping on stage with absolutely nothing pre-arranged, yet have managed to conjure intoxicating sonic journeys, frequently underpinned by an insistent deep groove, that often last for up to an hour and leave audiences hypnotized and transformed. For over two decades now, the neck has been stepping on stage with absolutely nothing set out, but they managed to conjure up intoxicating sonic journeys, often backed up by a insistent deep grooves, which often last up to an hour and leave the audience mesmerized and transformed.
“One of the joys for me, after twenty years of making music with this group, is that we're still completely unable to predict where our pieces will go. "One of the joys for me, after twenty years of making music with this group, is that we are not yet fully able to predict where our pieces will go. I think that's one of the things that our audience loves about The Necks, ”says bassist Lloyd Swanton. I think one of the things ours audiences love it on The Hills, "says bassist Lloyd Swanton.
The Necks have produced 14 critically acclaimed, highly successful albums that have sold in the thousands. The Colli they produced 14 critically awarded, hugely successful albums that have sold in the thousands. They have won two ARIA awards for Best Jazz Album - 'Chemist' in 2007 and 'Drive By' in 2004 which has also recently been included in The Guardian's '1000 Albums To Hear Before You Die'. They have won two awards for the Best Jazz ARIA
Album - 'Chemist' in 2007 and 'Drive In' in 2004 which was also recently included in The Guardian's'1000
Album To Hear Before You Die '. Their latest gem, 'Townsville' released in Sept 2007 has also been attracting excellent reviews worldwide including The Wire's (UK) Top Ten Jazz / Improv Releases of 2007. Their latest gem, 'Townsville' released in September 2007 has also been attracting excellent reviews around the world including The Wire (UK) Top Ten Jazz / Improv Releases of 2007.
"Teetering perpetually on the edge of creation, Townsville is a sort of rhapsodic minimalism, as magical in its own way as a ping-pong ball pirouetting on a jet of air ”4 stars - The Independent (UK)" Teetering perpetually on edge of creation, Townsville is a kind of rhapsodic minimalism, as magical and on its own way as a pirouetting ping-pong ball on an air jet "4 stars - The Independent (UK)
JAZZ MINIMALISM
I heard this album driving home one day around about midday. The drive was probably about 10 minutes long.
Instead the drive took an hour which roughly the length of this monstrous, free jazz masterpiece. I was completely encapsulated and unable to move from my car. Any song, let alone album that stops me from leaving my shit bomb (but much loved) of a car is worth my praise. By far this is my favorite album from 2007.
Briefly for those that don't know The Necks they are a free-form experimental jazz group from Australia. The group consists of Chris Abrahams on piano, Tony Buck on drums and Lloyd Swanton on bass. The three are concerned with exploring improvisation and the removal of ones self from the music making process. Chris Abrahams said on
ABC radio this year that 'the point is to avoid those conscious, ego driven decisions' and any performance that has a feeling of premeditation is regarded as substandard to ones that don't. This is music without cognisant suggestion though the only way to explain it is to do just that. I've heard many descriptions such as it's like seeing a world in a
grain of sand, the shrilling of birds or a cluster of mountain goats from the Himalayas. The fact that the three avoid applying these worldly connotations to their music actually allows the listener to find these analogies more easily.
Without egotistical input the movement of the music follows a natural progression that is mediated by human imprecision.
The album consists of one hour long piece recorded just outside of the Australian town of Townsville. The band records all their live performances but they believed that this one had an exceptional form and progression. Chris also mentioned that fact that when they arrived the concert standard Yamaha that they asked for was not delivered. Instead he used a much older piano and thankfully this meant a unique performance. In some sections he precedes to give the piano a great workout, pushing the keys to their limits to create a distortion that isn't typical of a piano's range.
I heard this home guide album one day around noon. The drive was probably about 10 minutes
long. The drive was probably around 10 minutes. Instead the drive took an hour which roughly the length of this monstrous, free jazz masterpiece. Instead the unit that took about an hour the length of this monstrous, free jazz masterpiece. I was completely encapsulated and unable to move from my car. I was fully encapsulated and able to pass by my car. Any song, let alone album that stops me from leaving my shit bomb (but much loved) of a car is worth my praise. Every song, not to mention album that stops me from leaving mine Shit bomb (but much loved) of a car that is worth my praise. By far this is my favorite album from 2007. By gran long this is my favorite album since 2007.
Briefly for those that don't know The Necks they are a free-form experimental jazz group from Australia.
group consists of Chris Abrahams on piano, Tony Buck on drums and Lloyd Swanton on bass. The group is composed by Chris Abrahams on piano, Tony Buck on drums and bass, Lloyd Swanton. The three are concerned with exploring improvisation and the removal of ones self from the music making process. The three are interested in exploring with improvisation and the removal of autonomous ones from the music making process.
Chris Abrahams said on ABC radio this year that 'the point is to avoid those conscious, ego driven decisions' and any performance that has a feeling of premeditation is regarded as substandard to ones that don't. Chris said Abrahams ABC radio on this year that 'the point is to avoid those conscious, I guided decisions' and all performance that has a sense of premeditation is considered to be below those that don't. This is music without cognisant suggestion though the only way to explain it is to do just that. This is music without cognisant suggestion although the only way to explain it is precisely for this purpose. I've heard many descriptions such as it's like seeing a world in a grain of sand, the shrilling of birds or a cluster of mountain goats from the Himalayas. I have heard many descriptions of what it's like to see a world in a grain of sand, shrilling
of birds or a cluster of mountain goats from the Himalayas. The fact that the three avoid applying these worldly connotations to their music actually allows the listener to find these analogies more easily. The fact that the three avoid applying these worldly connotations to their music allows the listener to find them more easily similarities. Without egotistical input the movement of the music follows a natural progression that is mediated by human imprecision. Selfish, without entering the movement of the music follows a natural progression, that is
mediated by human imprecision.
The album consists of one hour long piece recorded just outside of the Australian town of Townsville. The album it consists of an hour long recorded piece just outside the city of Townsville in Australia. The band records all their live performances but they believed that this one had an exceptional form and progression.
Chris also mentioned that fact that when they arrived the concert standard Yamaha that they asked for was not delivered. Instead he used a much older plan and luckily that meant a singular one performance. In some sections he precedes to give the piano a great workout, pushing the keys to their limits to create a distortion that isn't typical of a piano's range. In some sections he precedes the piano to give a grand workout, pressing the keys to their limits to create a distortion that is not typical of a grand piano.
The Necks - Review
Riverside Theater, 9 February 2008
The Necks' live performances have been described as minimalist, revolutionary, experimental, post-jazz, ambient, even mystical experiences. The nature of improvised music is that you never quite know what you're going to hear
- and the same goes for the performers.
The Necks
Sometimes they discuss what they might do, but after 21 years together, they don't rehearse anymore. Tony Buck (drums), Lloyd Swanton (bass) and Chris Abrahams (piano) have an ESP-like communication on stage which gives every performance the sort of tension and excitement you sometimes miss from more traditional bands.
Tony Buck says they just started out playing the sort of music they wanted to hear - rhythmic, experimental, evolving soundscapes, pieces that continue for forty or fifty minutes at a stretch. “We didn't know what people would think of it, but they seemed to like it. " 13 albums later, the group spends equal time in Europe and Australia, and they are currently embarked on a national tour.
A typical gig begins with the three performers motionless at their instruments, eyes closed. One starts to play, perhaps some pattern from the piano, a low hum from the bass, the stroke of a drum skin. Unplanned, but entirely under control, the piece grows as they introduce changes, a new beat, bass chords, textures. The crowd sits, often with eyes closed, exploring the worlds the band throws out to them.
Every performance is unique. It is a temporary aural installation. You sit down, experience it, and it is gone. Unlike a band playing pre-rehearsed numbers, there is always the tension of creativity: the question of whether new ideas will work.
It is cerebral, thinking music, where you find yourself at the end of a set, in silence and often awe, wondering where the time has gone. Sometimes it's good. Sometimes it's bliss. Always it's vital, inspiring, a privilege to experience. (Lachlan Jobbins).
The Colli 'live performances have been described as minimalist, revolutionary, experimental, post-jazz, ambient, even mystical experiences. The nature of improvised music is that you never quite know what you're going to hear
- and the same goes for the performers. The nature of improvised music is that you never know what it is
he's going to listen - and the same goes for artists.
The Colli
Sometimes they discuss what they might do, but after 21 years together, they don't rehearse anymore. Sometimes, they discuss what they could do, but after 21 years together, they don't try anymore. Tony Buck (drums), Lloyd
Swanton (bass) and Chris Abrahams (piano) have an ESP-like communication on stage which gives every performance the sort of tension and excitement you sometimes miss from more traditional bands. Tony Buck (drums), Lloyd Swanton (bass) and Chris Abrahams (piano) have an ESP-like on stage at communication that gives the performance all sorts of tension and emotions that are sometimes lost more traditional bands.
Between them, they have over 200 recording credits, and have played with groups from around the world. Between they have more than 200 recording credits, and have played with bands from all over the world. But as The Necks they have developed a cult following. The neck, but how they have developed a cult following.
Tony Buck says they just started out playing the sort of music they wanted to hear - rhythmic, experimental, evolving soundscapes, pieces that continue for forty or fifty minutes at a stretch. Tony Buck says they have just started playing the kind of music they wanted to hear - rhythmic, experimental, evolutionary soundscapes, that pieces continue for forty or fifty minutes suddenly. “We didn't know what people would think of it, but they seemed to like it. " 13 albums later, the group spends equal time in Europe and Australia, and they are currently embarked on a national tour. "We didn't know what people might think of it, but they seemed like it."
13 albums later, the group spends even time in Europe and Australia, and are currently touring national.
A typical gig begins with the three performers motionless at their instruments, eyes closed. A typical concert it begins with the three instrument players standing motionless, their eyes closed. One starts to play, perhaps some pattern from the piano, a low hum from the bass, the stroke of a drum skin. One starts playing, maybe some model from piano, a low hum from below, the rush of a leather drum. Unplanned, but entirely under control, the piece grows as they introduce changes, a new beat, bass chords, textures. Unexpected, but completely under control, the piece grows as it introduces changes, of a new bar, bass strings, texture. The crowd sits, often with eyes closed, exploring the worlds the band throws out to them. The crowd sits, often with their eyes closed, exploring the world of the band throws them out.
Every performance is unique. Each performance is unique. It is a temporary aural installation. It's about a temporary phonetic installation. You sit down, experience it, and it is gone. You sit, experience, and it's gone.
Unlike a band playing pre-rehearsed numbers, there is always the tension of creativity: the question of whether new ideas will work. Unlike a bunch of pre-tried numbers playing, there is always the tension of
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