Dave Edwards
2002: self-isolation before it was cool?
The difficult third album – recorded during a time of intense introspection in 2002. I locked myself in my room in Wellington for all of November with an analogue 4-track cassette recorder.The results rapidly put an end to my promising New Zealand music career!
In 2002, a year whose digits are an anagram of this one’s, I locked myself in my room for a month of self-isolation.
It had nothing to do with a pandemic!
It was just me living in Wellington and looking for a way to follow up The Marion Flow (part 2).
I was moving further away from conventional 3min song formats into the avant-garde. Read the rest of this entry »
Fiji 1976, by Alastair Edwards
Film footage by my father, Alastair Edwards, in Nadi and around Viti Levu in 1976.
It’s from a couple of years before I was born.
There was no sound, so I’ve added a soundtrack from Ruasagavulu, which Dr Emit Snake-Beings and I recorded in Suva decades later.
My Dad’s interest in film (then video) and photography was one of the influences on my own travel and videomaking. He was doing this long before youtube or instagram!
I miss you Dad…
16 February @ Fernside Gardens Open Days
I played solo acoustic at the Fernside Gardens Open Day on Sunday 16th February, 11am.
2019 roundup
At the end of the decade, and looking for a way to follow up the eclectic Asia-Pacific Odyssey of Other Islands: 2012-2018, I stripped things back down to the solo acoustic format of my early years with Live 2019.
The set, at Wairarapa TV in Masterton, New Zealand, was streamed live on the internet on 4th of May 2019.
For the past couple of years I’ve been living in a small town and don’t get to as many gigs as I used to… so here was an opportunity to use 21st century technology to play ‘virtually’ everywhere.
On the other hand musically this was closer to a traditional folk/singer-songwriter set than I’d done for quite a while. I eschewed dissonant improv, multitracking, live backing musicians, field recordings, or electronic trickery this time, and used just acoustic guitar, banjo, and harmonica (and a few seconds of wah pedal on ‘Eastern’).
The set was followed by an interview.
I also released a companion album to Live 2019 – its stroppier lo-fi postpunk ‘official bootleg’ predecesor Live 1999. This was recorded on cassette 20 years (or half my lifetime) ago, when I opened for Chris Knox at Bar Bodega in Wellington NZ last millennium:
Live 1999
I started and finished both live sets on the same two songs, to show continuity and evolution.
It’s been quite a journey in between!
Other projects
My other 2019 works in progress included
* experiments with animated visuals and electric improvisations (the ‘yang’ flipside of the deliberately toned down ‘yin’ Live 2019)
* a duo with Emit Snake-Beings, for an as-yet-untitled sequel to Ngumbang, coming in 2020 (we had a recording session in Suva, Fiji, of all places);
* a couple of informal jam sessions with the Electricka Zoo (which has otherwise been on hold since last year); ( http://www.soundcloud.com/darrel-hannon/jamming-with-dave)
* and I continued to adapt the 19th century book ‘Poems & Lyrics by John Collie’, which I’d learned was written by my Scottish great-great-grandfather in 1856 before he came to NZ. Three of his poems featured on Live 2019, with more in the pipeline.
Read the rest of this entry »The Marion Flow (part 2, Wellington 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
The Marion Flow was originally a longer album which spanned recordings from New Plymouth in 1999 and Wellington in 2001.
This page is for the 2001 Wellington recordings: produced by Paul Winstanley, & featuring Chris O’Connor (drums), Chris Palmer (electric guitars), Simon O’Rorke (percussion), and more. Recorded at Thistle Hall, Wellington, 2001, and mixed by Joe Callwood.
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- Paul Winstanley, recording The Marion Flow (1999)
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- Simon O’Rorke
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- Dave Edwards, 2004
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- Chris Palmer, recording The Marion Flow (2001)
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- Chris O’Connor
For the earlier 1999 New Plymouth sessions see The Marion Flow (part 1, Taranaki);
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.
“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
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.
Further listening
1999
At the close of the 90s, aged 20, I left New Plymouth, the large rural town in Taranaki province, where I grew up.
I moved to Wellington, New Zealand’s capital city, where I’d been born and where my 19th century pakeha settler ancestors had lived.
My second album, The Marion Flow reflected this journey. It showed a musical and lyrical evolution beyond my debut Scratched Surface.
(part 1, Taranaki).
The Marion Flow
Electric and acoustic songs, spoken word and instrumentals – an almost-recognised New Zealand classic (1999–2001)
“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
Paul Winstanley played bass on and engineered the recording sessions, which were hosted by Brian Wafer.
The “hit single” Banana Wizard was released on a compilation of Taranaki music and had some student radio airplay around the country… about the extent of my commercial success to date.
I was also opening my ears and mind to more experimental sounds, and moving beyond conventional pop song structures.
At the same sessions we recorded free improvisations, which Paul later overdubbed and rearranged into
dAdApApA: Waiting for the Drummer
Taranaki improvised rock/noise deconstruction with sputtering synth, air-sucking turntables, didgeridoo and sundry toys providing layers of surreal abstraction (1999)
“after recording tracks for The Marion Flow at Wafer HQ in New Plymouth, an ad hoc group of associated locals assembled to record… the only rock references here come from the guitars… throw in some spoken word and a special guest appearance by N.P. record mogul Brian Wafer on vacuum cleaner and the dAdApApA nova had blazed and fizzled in the blink of an eye” – Eden Gully
& then I got to the capital city, and was suddenly a small fish in a bigger pond…
Part 2, Wellington
Here’s what I sounded like around the time I arrived in Wellington – this solo postpunk set at Bar Bodega, opening for Chris Knox, was preserved (in lo-fi, a 90s aesthetic):
Live 1999
But apart from songs I also fell under the influence of the burgeoning avant garde and free improv scene in Wellington.
This was centred around a venue called the Space (later Fred’s and then the Pyramid Club)… the dissonant flipside of the more popular smooth Pasifika/jazz sound the city became known for (Fat Freddy’s Drop et al).
Although way out of my depth technically, I met up with improvising percussionist Simon O’Rorke, and jazz-trained players including Blair Latham and Jeff Henderson to make
in the non-idiomatic idiom in Norway
Free (in both senses) jazz from Wellington, Aotearoa (1999)
Click here for more detail on the free improv scene in New Zealand
The Wellington jazz sound informed the second half of The Marion Flow, recorded over the next two years
Further Listening
For an overview of my early period, try
1997-2005
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.
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
