The Winter: 2003-2015

Simon Sweetman – drums, percussion

Mike Kingston – guitars, cello (2-5), clarinet (7,11,14), charango (7,10)

Dave Edwards – guitars, vocal (3), harmonica (4,7,9), banjo (7), ukulele (7,9,11), saxophone (10,14), piano (10), bass (12,13), electronics (6,8,13)

Wellington, New Zealand,
free improv music trio, formed on winter solstice day June 2003.

An archive compilation,

Continue reading “The Winter: 2003-2015”

Spastic Rhythms ’22

Featherston, NZ – early 2022 – spontaneous compositions, two wet weekends in a row.

A sequel to Spastic Rhythms vol 1 (2021)

– a series of ‘quickfire’ DIY solo albums created in a couple of days each.

This one features interspecies guest collaboration with Oscar the huntaway.

credits

released February 13, 2022

Dave Black – guitars, bass, banjo (2), clarinet (6), sanshin (10), loop pedal, e-drum

Oscar – vocal

Oscar and Dave

w/ Hans Landon-Lane, 3 January 2022

Happy new year! Here are some first recordings for 2022, made on 3rd of January,

with Hans Landon-Lane (my nephew) on accordion, ukulele and vocal:

The Land of My Youth

Here’s a Health to my Cronies’

Continue reading “w/ Hans Landon-Lane, 3 January 2022”

Top 10 albums*

by Dave Edwards (aka Dave Black) and collaborators,

(*as picked by casual streaming listeners, based on % of tracks played in full minus % of tracks skipped… not necessarily the ones I would have picked – there’s little or no correlation between the “important” works and the parts other people like!).

#1 After the Filmshoot (2002)

Dave Edwards solo postpunk spoken word free improv guitar spasms (2002)

[send us your review]

#2 Other Islands: 2012-2018

Gamelan Taniwha Jaya at Te Papa, Wellington, 2016

Compilation made in New Zealand, Okinawa, Western AustraliaIndonesia and Fiji,,

by Dave Black with The Winter, The Electricka Zoo, Dr Emit Snake-Beings, Nat da Hatt, Campbell Kneale, Gamelan Sekar Puri, Gamelan Padhang Moncar, and Gamelan Taniwha Jaya

“The 20 song album covers traditional Javanese and Balinese gamelan, AsiaPacific folk music, free jazz, and free noise…. If you have an open inquiring mind and love hearing a variety of sound, this is excellent. – Darryl Baser, muzic.net.nz

# 3 After Maths & Sciences (2005/06)

An Australian novel for the ear – a double album recorded in Melbourne, Victoria,

and Sydney and Gosford New South Wales,

by Dave Black with Cylvi M, Mike Kingston and Francesca Mountfort (2005-2006)

Dave Black’s debut release (and a re-birth, if you like, for David Edwards) is as much a post-modern piece of Performance Journalism as it is a static batch of “songs” or tracks, After Maths & Sciences is a pleasing challenge of an album. It lives up to the cliché of presenting something new with each listen,”Simon Sweetman

#4 Live 1999

Solo postpunk live at the old Bar Bodega, Wellington NZ, opening for Chris Knox

“If only I could play guitar like that… bastard” – Chris Knox

# 5 Glimpses of Utopia (2020)

Palette-cleansing Dave Black solo electric guitar improv.

[send us your review]

Continue reading “Top 10 albums*”

Farewell to Thee, Charming Deceiver

A 19th century unrequited love ballad – how anachronistic in the 2020s?

John Collie (1834-1893) – lyrics

Dave Edwardsbanjo, harmonica, vocal

lyrics

FAREWELL to thee , charming deceiver , No more will I crouch at thy gate ; I once was an earnest believer , And my folly I see when too late .

Continue reading “Farewell to Thee, Charming Deceiver”

Loose Autumn Moans (2003)

“Wellington, NZ composer Dave Edwards with some able assistance from duo or trio the Winter... Guitars, violin, cello, and percussion all stack up… He’s got a persona that’s all his own.”

George Parsons, Dream Magazine #5

All acoustic, with a string section, recorded and mixed on analogue equipment, and originally released on cassette in 2003 – new 2020 remaster.

Featuring

Sam Prebble (violin)

Mike Kingston (cello)

sam & san

and Simon Sweetman on percussion.

simon w newspaper

Wellington, New Zealand

Bats Theatre, Wellington NZ 2003

Sam Prebble RIP, 2014

Loose Autumn Moans is dedicated to Sam Prebble (aka Bond Street Bridge), who died in 2014.

Further listening

Loose Autumn Moans consists of five acoustic ensemble tracks:

1.

Summer Skin 06:20

2.

3.

4.

5.

The album is structured as a progression from summer (with a NZ pohutukawa tree in flower on the cover) through autumn – a time of harvest, preparation, shortening daylight, and the shedding of old dead layers – and finishes with an extended live version of ‘O Henry Ending’, recorded at the Winter’s first gig.

The original C60 cassette (and later online) release included solo interludes recorded in 2002. The collaboration with these guys followed on from

After the Filmshoot (2002)

By focusing on the 2003 sessions Loose Autumn Moans becomes concise, emphasising the lyrics and the jazzy acoustic instrumental interplay – a mini orchestra to bring colour.

oose Autumn Moans is dedicated to Sam Prebble (aka Bond Street Bridge), who died in 2014.

Further listening

The collaboration with these guys followed on from

The Winter: Parataxes

The Winter live at Photospace Gallery, July 2003 (photo by James Gilberd)

The Winter‘s debut: electric and acoustic trio improvisations for guitars, cello and percussion, by Dave Edwards, Mike Kingston, and Simon Sweetman (2003)

“A strange sonic brew that includes dissonant rock textures, rough outsider folk-blues mysteries, electric and acoustic improvisations and a considerable part of tasty feedback. Imagine equal parts Derek Bailey, New Zealand’s Pumice and classic ’60s blues/folk and you’re in the right ballpark.”The Broken Face

Continue reading “Loose Autumn Moans (2003)”

Solitude

‘SOLITUDE’

by John Collie, 1856

OH give me near some swelling stream to stray, 0r tread the windings of some pathless wood, For I am wearied of the bustling day, And long to meet thee, gloomy Solitude: That I with thee may climb those shelfy steeps, Which frown majestic o’er the boiling deeps. Continue reading “Solitude”

Sonnet on Summer

A duo with my nephew, Hans Landon-Lane, from Poems & Lyrics by John Collie (1856)

Rosemary Bromley, Dave Edwards, Hans Landon-Lane

Clever Hansel – ukulele vocal
Dave Edwards – guitar, harmonica, vocal

This was the last in-person collaboration before the COVID-19 shutdown, recorded in Lower Hutt, New Zealand, March 2020.

John Collie (1834-1893)

THE sweet breath of summer blows fresh o’er each plain,

The woods have resumed their lost grandeur again;

The groves with the notes of the blackbird are ringing,

By fountain and streamlet the wild flowers are springing.

And the breath of the heather bell sweetens the breeze,

And the old stormy ocean lies slumbering in peace;

And the wild bees are humming around the wild flowers,

Afar above earth the lark proudly soars;

The bleat of the lamb on the moss-cover’d hill,

The sound of the shepherd’s pipe jocund and shrill,

All tell in a language most striking and plain,

T hat summer, fair summer, is reigning again,

The old face of nature her smiles has put on,

And the blustery appearance of winter has flown.

The Marion Flow (part 2, Wellington 2001)

: produced by Paul Winstanley, & featuring Chris O’Connor (drums), Chris Palmer (electric guitars), Simon O’Rorke (percussion). Recorded at Thistle Hall, Wellington, 2001, and mixed by Joe Callwood.

For the earlier 1999 New Plymouth sessions see The Marion Flow (part 1, Taranaki);

The Marion Flow was originally a longer album which spanned recordings from New Plymouth in 1999 and Wellington in 2001.

It’s lo-fi, organic and about as eclectic as one could manage. Kind of reminds me of Nick Cave if he had grown up in Timaru. No pretentious American accents or catch phrase choruses, just a bunch of people making music. A little beauty!” – NZ Musician, August/September 2002

By the time the opportunity arose to finish recording the Marion Flow I’d been thoroughly immersed in the Wellington free jazz and avant-garde music scene, and was very fortunate to have help from some of the top players there. I’d never studied music at school or been in a conventional band, and was out of my depth technically… so working around my limitations became a spark to creativity.

In 1999, aged 20, I’d left New Plymouth, a large rural town, where I grew up, and moved to Wellington, New Zealand’s capital city, where I’d been born and where my early pakeha settler ancestors had lived in the 19th century. The Marion Flow reflects this journey, geographically, sonically and spiritually.

]

I’ve now reissued the two halves of the album separately – to emphasise the sense of time and place, and stylistic evolution, and to re-present them more concisely for the short-attention-span 21st century.

Edwards’ music is often a sculpture rather than a melodic composition. Within this chosen form, amongst all the writings rantings & poetry there’s much difficult pleasure to be had for the musically adventurous.” – Brent Cardy, Real Groove, July 2002

Further listening

Continue reading “The Marion Flow (part 2, Wellington 2001)”