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.

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

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

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 – including Jeff Henderson, Blair Latham , Paul Winstanley, Dan Beban, Julie Bevan and more.

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.

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.

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dAdApApA: Waiting for the Drummer (1999)

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About

A companion to The Marion Flow, recorded in 1999 by the same lineup who provided that album’s longest (and least conventionally song-based track, pointing the way towards the increasingly radio-unfriendly Mantis Shaped and Worrying), “Lucifer Directing Traffic (at 3AM)”

Recording engineer Paul Winstanley, head of the excellent, now San Francisco-based avant-garde music label Eden Gully recalls it thus:

“after recording tracks for The Marion Flow at Wafer HQ in New Plymouth an ad hoc group of associated locals assembled to record for several sessions of improvised rock/noise deconstruction. really, the only rock references here come from the guitars, with the sputtering synth, air-sucking turntables, didgeridoo and sundry toys providing layers of surreal abstraction. 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.

“it wasn’t until several years later after the master mixes had been lost, partially recovered and then rediscovered intact again that “Waiting for the Drummer’ was given a final mastering and released as a CDR on EdenGully. it’s been a long strange journey…..”

credits

released 01 August 2006 on Eden Gully as EG15

Fiff Dimension Dave – guitars, spoken word and furbie / Speed Cook – turntables and recording / Pal Diddly – synth and pithy observations / The Digitator – guitar, didgeridoo / BWafer – vacuum cleaner and coffees

Tracklist

1.	just in time for christmas 09:03
2.	making merry 09:00
3.	singing and drinking blood 08:31
4.	elves are farting bodies 14:10
5.	groan in extra stuffing 12:19
6.	smashed robots litter the pine 05:34
7.	an orgy of turkey gobble 08:04

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)” →

The Winter: 2011

2011 – year of the Christchurch earthquakes, the Arab Spring, the Fukushima disaster, the shootings in Norway,the Queensland floods… and the Wellington (New Zealand) winter was colder than usual.

Acoustic improvisations on guitar, ukulele, banjo, clarinet, piano, harmonica and percussion by The Winter (Simon, Dave and Mike).

Liner notes by Dave

Liner notes

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The Winter: Swansong (for the Huia) (2004)

The Winter‘s 2004 sequel to Parataxes was a tribute to extinct New Zealand bird the Huia.

After this Mike and Dave moved to Australia, and the band next played in 2009.

Further listening

Excerpts from the album appear on the band’s Shortest Days: 2003-2015 compilation:

You can download the rest of our back catalogue for free

The Winter: Parataxes (2003)

The debut album by The Winter: instrumental improvisations from Wellington, New Zealand, 2003. The band emerged fully formed on winter solstice day in June.

Builds from acoustic intimacy around the winter fireplace to the electric blizzard climax of ‘Parataxes 9‘.

“Derek Bailey on acid!” – Anthony Donaldson, Primitive Art Group

Photos by James Gilberd, from The Winter’s first gig at Photospace Gallery, Wellington NZ, August 2003.

Mike Kingston – cello, electronic composition (1,4,7), electric guitar (2), acoustic guitar and slide whistle (8)

Dave Edwards – acoustic and electric guitars, harmonica

Simon Sweetman – drums and percussion

“The Winter are a Wellington based improvising trio, and Parataxes is their 1st release. It documents both acoustic and electric live sets that drift from eastern sounding cello led pieces to fairly extreme feed-backy noise. A key member of the group is Wellington’s master of pseudo-autistic intensity, Dave Edwards, whose guitar and harmonica work definitely moves the whole into a fairly edgy sphere. Over such a duration this can make pretty harrowing listening, but sometimes such immersions are worth it.” – Antony Milton, Pseudoarcana

“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

“I can be pretty naive sometimes, and I often forget that it actually
gets cold in New Zealand. For many of us Americans, we think of New
Zealand as being somewhat tropical. It’s an island after all, and we
are brought up believing that islands are exotic places that exist in
the middle of the warm oceans. This is obviously a mistake. Although I
still forget that the seasons are opposite in the Southern hemisphere,
the existence of dreary weather in New Zealand is cemented in my mind.
A great deal of experimental music from New Zealand has a distinctly
desolate, overcast feeling to it.

“Appropriately named, The Winter hail from Wellington, New Zealand.
Most of you probably associate Wellington with the brilliant Pseudo
Arcana label, and keeping that sound in mind, The Winter offer up over
an hour of freeform aural explorations. These loose improvisations
range from processed field recordings to gritty blues dirges to
no-wave skronk. This trio consists of Simon Sweetman on drums and
percussion, San Shimla on cello, and Dave Edwards, whose great solo
albums have been circulating for years, on guitar and harmonica. All
three artists have a firm grasp of their respective instruments and
employ their talents well throughout “Parataxes.”

“One thing I enjoy most about this record is Edward’s playing. On the
second track, the highlight is when he gets into a real groove with
his guitar and harmonica. The two complement each other perfectly, and
it has this 1960s folk feel to it that somehow doesn’t seem out of
place. As Sweetman joins in using various metallic percussive
instruments, the two start playing off each other. Their interaction
is impressive, and adds a vague sense of structure to this otherwise
scattered piece. I love when long improv sessions flow like a wave. At
times, they’re completely disjointed, but during rare moments
everything seems to come together. These last few minutes of the
second piece on “Parataxes” is one of those. It’s excellent.

“Most of “Parataxes” is similar to the second track. Throughout long,
meandering jams, the trio searches through musty fog, searching out
common ground. As if in queue, they find each other, transfixed in the
middle somewhere. During the times when it all comes together, this is
as choice as any freeform improvisations I’ve heard in months.
However, these tracks wouldn’t this good if it weren’t for the journey
toward a collective state of mind. It might be all about the end
result, but the means of getting there is just as important…. The
Winter leave their mark. They soundtrack the devolution of autumn into
the coldest, cruelest of months. Using sparse sounds and sometimes
harsh instrumentation, “Parataxes” is all about finding the moment and
maintaining it for as long as possible. Recommended.”

– Brad E. Rose, Foxy Digitalis