After the filmshoot (2002)

Dave Edwards solo cassette tracks, in Wellington NZ, 2002.

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About

Meatwaters Festival, Wellington NZ, 2002

These solo recordings were originally released as interludes, between the acoustic ensemble pieces in the Loose Autumn Moans (2003) album. But they’re now re-presented separately as a standalone short album (with a different running order and some light remastering).

I wrote the words to the title track in a notebook during the wrap party for a short film I’d worked on – a surrealist description of the evening, based on deliberate mishearings of the conversations around me:

“Taking notes throughout the performance. Humans become worms, with a sameness that is frightening. Politics is bad: we knew this already, but now it’s confirmed. Collapse into laughter.

A cigarette chair from which comes a dictator; everyone in thrall to his conversation. A plastic wooden horse to capture the city – incongruous? Indeed. Expelled all the virtues? You to decide.”

I made the soundscape with electric guitar and a 4-track tape recorder.

The other tracks on the album expanded on this wordy fusion of postpunk singer/songwriter and free improvisation. Radio stations wouldn’t touch it with a bargepole.

‘Working Like a Fountain in the Slender Morning Chill’, live 2010 version

Background

In the early 2000s, I was living in Wellington (New Zealand’s capital, and my birthplace), looking for a way to follow up the almost-success of The Marion Flow (part 2).

But I was moving further away from conventional 3min song formats into the avant-garde.

Dave Edwards (far left) as an extra in Lord of the Rings

Although I lived not far from Courtenay Place I was more interested in the scene based around Newtown venue The Space (a precursor to the Pyramid Club), then in its baroque period.

I was an underemployed arts graduate, living in a scody flat doing casual work as a film extra (blink and you’ll miss me in Lord of the Rings) or builder’s labourer, and (trying &) failing to write a novel. Partly due to lack of money, I made my own entertainment.

Although the internet existed in early form, this was before social media – so instead of selfies, oversharing took a more oblique form, filtered through art.

In all, I was a noisy (as opposed to noise) guitar & spoken word footnote to the Wellington free jazz / avant garde music scene.

Tracklist

1.	After the Filmshoot (take 1) 03:25
2.	Interlude: the sociopolitical context 00:51
3.	Sleep/Grease 02:57
4.	Etude, for electric saxophone 03:16
5.	Working Like a Fountain in the Slender Morning Chill 05:11
6.	Interlude: les paul tapdance 01:36
7.	After the Filmshoot (take 2) 04:51
8.	WLAF reprise 03:32

Further listening

The tracks on After the Filmshoot were originally part of

Loose Autumn Moans:

Acoustic songs with a string section, recorded on all-analogue equipment, by Dave Edwards, with Sam Prebble, Mike Kingston, and Simon Sweetman (2003)

Continue reading →

in the non-idiomatic idiom in Norway (part 2, 2014)

A few years ago I wrote a chapter of Jazz Aotearoa, a book about New Zealand jazz music history, discussing the free improvisation and avant-garde jazz scene in Wellington at the turn of the millennium.

in the non-idiomatic idiom in Norway is a collection of improvised instrumental music with some of the musicians in that scene, from the point of view of my own attempts as an untrained outsider to fit in with these advanced jazz players.

The title is a reference to Simon’s house on Norway Street, where the recordings took place. The ‘non idiomatic idiom’ suggests the paradox that improvising non-idiomatically (eg in an original personal style without reference to any genre – playing neither jazz, nor rock, blues, reggae, classical etc) is an idiom in itself.

Confluence Quintet: (l-r) Julie Bevan, Michael Hall, Simon O’Rorke, Chris Prosser, Dave Edwards

with

Simon O’Rorke – synthesisers

Blair Latham – bass clarinet
Julie Bevan – acoustic guitar
Michael Hall – alto sax
Chris Prosser – violin
Dave Edwards – bass, electronics, tenor sax (8)

These sessions were recorded in 2014. I’d just returned from living overseas, 15 years after my first exposure to Wellington free jazz.

The first volume was recorded in Wellington in 1999

Continue reading →

the Ballad of William Knife

Music video from the album ‘South Island Sessions‘, set in 19th century New Zealand with an ecological theme. ‘The Ballad of William Knife’ was the name of the show we took to the Dunedin Fringe Festival in 2006.

1861 revisited – Continue reading “the Ballad of William Knife” →

The Woods

www.thewoodsnz.com

The Woods EP is available free during May 2017 (NZ Music Month) only… grab a copy at www.thewoodsnz.com/musicmonth2017

If you’re a fan of World Music, Blues or Jazz, then ‘The Woods’ are a must have for your collection. With influences from John Lee Hooker to Pharaoh Sanders, from Africa to Peru, their music will take you some place else…

https://youtu.be/kkzXD4HRfoc&w=280&h=150

https://youtu.be/bceQOwQL9Sw&w=280&h=150

For a FREE DOWNLOAD of ‘Cuzco’ and ‘Epic Dance Phantasy’ CLICK HERE

“This is easily one of my favorite albums of the year.

Continue reading “The Woods” →

Ngumbang

The first collaboration with even more legendary & underground NZ artist Snake Beings.

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About

Ngumbang is the first collaborative album by two of New Zealand’s more unusual artist/musician/filmmaker/ethnomusicologists.

Performed on guitars, bass, banjo, percussion, saxophones, clarinets, harmonicas, synthesisers, Okinawan sanshin, ukulele, violin, loop pedal, piano, drums and spoken word.

The title ‘Ngumbang’ is an Indonesian word that refers to the slight difference in tuning between a pair of gamelan instruments, which gives gamelan music its shimmering quality.

The album name reflects a shared interest in ethnomusicology and experimentation, and the almost-but-not-quite-equivalent approaches of these two artists.

The album was recorded in and near Auckland, New Zealand in 2014–2015 and includes live performances at Vitamin S and the Audio Foundation.

Emit Snake-Beings,

who over several decades has travelled intensively in Spain, Holland, the Middle East, Mexico, America and Japan, is a New Zealand / British experimental filmmaker and musician who has produced over 40 independently released film soundtrack CDs and made a number of short experimental and narrative films in Spain, U.K. and New Zealand. www.snakebeings.co.nz

Dave Black,

originally from Taranaki and active since the late 90s on the NZ underground music scene, began by fusing acoustic songs, noisy postpunk, spoken word and avant-garde improvisation – and has diversified further from there. Notable performances include the award-winning 14-piece Ascension Band, appearing as an international artist at the Liquid Architecture Festival in Brisbane, Australia, and teaching a thousand Okinawan school students to perform a haka. www.fiffdimension.com

Tracklist

1.	Huia Vortex (feat. Nat da Hatt) 03:56
2.	The Feathered Serpent Sings Again 05:13
3.	Illbelly Gritts 03:57
4.	Watching a Painting Melt 01:47
5.	さくらさくら (Japanese folk song) – live at the Audio Foundation 04:52
6.	Pig in the Bamboo 01:47
7.	Live at Vitamin S (#1.5) 04:37
8.	Pick up the Pieces (after the gig) 04:48
9.	Pick up the Pieces (after the jam session) 04:45
10.	Ornery Return Cravings 02:40
11.	kuningan dan perunggu (Indonesian brass and bronze) 02:50
12.	So Long Notes 06:01

Further Listening

Continue reading →

in the non-idiomatic idiom in Norway (part 1, 1999)

It was recorded in Wellington in two halves, in 1999

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Simon O’Rorke – percussion

Paul Winstanley – synth bass
Blair Latham – alto sax
Jeff Henderson – clarinet
Bridget Kelly – tenor sax
Dan Beban – electric guitar
Dave Edwards – electric and acoustic guitars

and 2014, to show an evolution.

Simon O’Rorke – synthesisers

Blair Latham – bass clarinet
Julie Bevan – acoustic guitar
Michael Hall – alto sax
Chris Prosser – violin
Dave Edwards – bass, electronics, tenor sax

In 2024 Simon O’Rorke struck up a new collaboration with Dave Edwards, this time in the Wairarapa, as a trio with Antony Milton named The Margins:

Background

Free improvisation is a genre of music with a self-explanatory name. Nothing is planned in advance, and the performers create the music on the spot by responding to what the others are doing in that moment.

Continue reading →

Fame & Oblivion: 2005-2012

“This is something that he has to do, that he will do, come fame or oblivion” –Chris Knox

Made in New Zealand, Australia, South Korea, Thailand, Mongolia, and Japan.
Includes tracks by Ascension Band, The Winter, Cylvi M, Wellington’s Most Famous Orchestra of Miraculous Delights, Dave Black & Nat da Hatt.

“As Dave Edwards he has explored fuzzy punk, free-jazz, spoken word, alternative-folk and demented pop… as Dave Black, the palette is broadened” – Simon Sweetman

by Dave Black (acoustic & electric guitars, banjo, harmonica, laptop, bass, tenor saxophone, field recordings, piano, gayageum, vocal), with

Mike Kingston (acoustic guitar),
Simon Sweetman (percussion),
Nat da Hatt (electric guitar, keyboards),
Cylvi M (vocal, field recordings, percussion, shakuhachi),
Hayden Gifkins (electric guitar),
Nigel Patterson (hammond organ),
Ryan Prebble (tone generator),
Matthew Thornicroft (electric guitar),
Jeff Henderson (drums),
Noel Meek (vocal),
Hans Landon-Lane (ukulele)
and field recordings from Australia, South Korea, Thailand, Mongolia, and Japan.

“Experimental and avant-garde…. There is a clear passion, and a commitment to pushing the boundaries… This will challenge your perceptions of what constitutes music and open the mind to new possibilities of sounds that surround us – muzic.net.nz“

This is a sequel to the Gleefully Unknown: 1997-2005 compilation.
The third part of the trilogy, Other Islands: 2012-2018, documents my return to NZ via other Asia-Pacific countries,
A fourth volume águas Brilhantes: 2018-2022 covers more recent works made in the Wairarapa and Fiji.

Continue reading →

The Winter: Flying Visit (2012)

Acoustic instrumental music by Wellington, New Zealand, improvising trio The Winter.

Mike Kingston: charango, guitar, clarinet

Dave Edwards: ukulele, sanshin, tenor sax, piano

Simon Sweetman: xylophone, percussion

Continue reading “The Winter: Flying Visit (2012)” →

South Island Sessions (2006)

Recorded in Nelson, NZ, 2006.

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About

1861 revisited – my pākeha (European) ancestors, John ‘Totara Jack’ and Mary Edwards, arrived in the South Island of New Zealand on board the Olympus and settled in Nelson¹.

John ‘Totara Jack’ Edwards

Nelson, New Zealand

When I lived nearby a century and a half later,

I found the address where they’d lived, just below a spot on a hill that marks the geographical centre of NZ.
I recorded and toured with South Island musicians;
studied at the Nelson School of Music – and finally had the chance to learn some ‘conventional’ technique;
played in Hokitika, Greymouth, Westport, Nelson, Blenheim, Lyttelton and Dunedin
- (as well as Brisbane, Australia²);
and recorded the sound of tui and makomako (native birds) in Nelson Lakes National Park.

The early settler stories marked the start of an interest in genealogy, and prompted the music video for The Ballad of William Knife³ (loosely based on ‘Totara Jack’).

In contrast to the ‘traditional’ South Island NZ ‘Flying Nun‘ or The Dead C inspired sounds, South Island Sessions blended acoustic instruments with field recordings and electronic glitches. I played acoustic guitar, banjo and saxophone, and delegated the electric guitar role to two local players. We named this new genre “Steampunk Folktronica“⁴.

Credits

Dave Black – acoustic guitar (2,6), banjo (3,4,6), drums (4), harmonica (2), laptop, field recordings, tenor saxophone (6,7), and vocals
Cylvi M – vocals & phat beatz (1)
Hayden Gifkins – electric guitar (5,7)
Matthew Thornicroft – electric guitar (5,7)
Damian ‘Frey’ Stewart – no-input mixing desk (3)
Cookie – drums (5, 6)