harmonica
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
Featuring
Sam Prebble (violin)
Mike Kingston (cello)
and Simon Sweetman on percussion.
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Loose Autumn Moans consists of five acoustic ensemble tracks:
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1.
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Summer Skin 06:20
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2.
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Mouth of the Caveman 03:26
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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. These are now available separately as
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.
Loose 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‘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
Sonnet on Summer
from Poems & Lyrics by John Collie (1856)
Clever Hansel – ukulele vocal
Dave Edwards – guitar, harmonica, vocal
THE sweet breath of summer blows fresh o’er each plain,
The woods have resumed their lost grandeur again;
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.
16 February @ Fernside Gardens Open Days
I played solo acoustic at the Fernside Gardens Open Day on Sunday 16th February, 11am.
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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- Simon O’Rorke
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- Paul Winstanley
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- Chris O’Connor
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- Chris Palmer, recording The Marion Flow (2001)
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- Dave Edwards, 2004
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
The Marion Flow (part 1, Taranaki 1999)
“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
Produced by Paul Winstanley, & featuring Steve Duffels, the Digitator, the Dadapapa Magickclone Orchestra and more. Recorded at the TFC Lounge, New Plymouth, 1999 – with special thanks to Brian Wafer.
The Marion Flow is a pre-millennial fusion of warm acoustic pop, spoken word and postpunk discord.. An almost-acknowledged New Zealand classic from Taranaki – of its time (the ’90s!) yet timeless.
In 1999, aged 20, I left New Plymouth, a large rural town, where I grew up, and moved to Wellington, New Zealand’s capital city, where I was born. The Marion Flow reflects this journey, geographically, sonically and spiritually.
The Marion Flow was originally a longer album spanning recordings from New Plymouth in 1999 and Wellington in 2001. I’ve now reissued the two halves separately – to emphasise the sense of time and place, and stylistic evolution, and to re-present each more concisely for the short-attention-span 21st century.
This page is for the 1999 New Plymouth sessions;
- for the 2001 Wellington followup recordings see The Marion Flow (part 2);
Further listening
- If you enjoy the avant-garde sound of the last track, try the companion album DDPP: Waiting For the Drummer – recorded at the same sessions in New Plymouth in 1999 with the same personnel;
- for my raw live solo punk sound at the time try Live 1999
Live 2019
An acoustic solo set, live at Wairarapa TV in Masterton, New Zealand
– which took place live on the internet. This was simulcast on Freeview CH41, ArrowFM 89.7FM and YouTube.
The set was part of the Property Law Service May Music Marathon – 12 straight hours of live Music to Television screens during NZ Music Month on May the 4th 2019.
Living in a small town I don’t get to as many gigs as I used to… so here using 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, eschewing dissonant improv, multitracking, live backing musicians or electronic trickery.
I kept my half hour minimal and acoustic (the discord and electric noise I’m saving for another time soon) and updated my past – with
Live 1999
Video Posted on Updated on
by Dave Edwards – electric and acoustic guitars, harmonica, vocal
Live at Bar Bodega, Wellington, New Zealand, June 1999.
I was the opening act for Chris Knox, so this is obviously dedicated to him.
Chris Knox
Summer Skin
Live 4th May 2019, at Wairarapa TV May Music Marathon, in Masterton NZ.
Solo guitar & harmonica version of track http://www.fiffdimension.bandcamp.com/track/summer-skin
Originally recorded in Wellington NZ, September 2003, for the album ‘Loose Autumn Moans‘, with a mini string section of Mike Kingston on cello and Sam Prebble (RIP) on violin. It also appears on the Gleefully Unknown: 1997-2005 compilation.
The Blast of a Wintry Day (by John Collie, 1856)
A song written by my great-great-grandfather John Collie, in Banffshire, Scotland, in 1856.
It also appeared on
Other Islands: 2012-2018
Where it marked a return to my solo acoustic approach of early years.
lyrics
Other Islands: 2012-2018
fiffdimension vol3
(see also Gleefully Unknown: 1997-2005 and Fame & Oblivion: 2005-2012)
brings us into the current decade – with further wide-ranging experimentation and exploration sonically, temporally and geographically, in New Zealand, Western Australia, Indonesia, Okinawa (Japan), and Fiji.
by Dave Black (acoustic & electric guitars, banjo, harmonica, laptop, bass, tenor saxophone, field recordings, piano, ukulele, sanshin, saron, jublag, demung, vocal), with
Mike Kingston (charango, acoustic guitar),
Simon Sweetman (percussion),
Nat da Hatt (electric guitar, keyboards, banjo),
Emit Snake-Beings (banjo, vocal, percussion, flute, electronics),
the Digitator (electric drums, keyboards & loops),
Campbell Kneale (electric guitar, analogue synthesiser),
Cylvi M (vocal, field recordings, percussion, shakuhachi),
Blair Latham (bass clarinet),
Simon O’Rorke (keyboards),
Chris Prosser (violin),
Julie Bevan (acoustic guitar),
plus Indonesian gamelan ensembles led by Sofari Hidayat, Budi Putra, and Gareth Farr,
a song by my great-great-grandfather John Collie (1856),
and field recordings from Western Australia, Indonesia, Okinawa (Japan), and Fiji.
Featuring tracks from the albums
The Winter: Flying Visit (2012)
in the non-idiomatic idiom in Norway (1999/2014)
ネオン列車の風景 Neon Train Landscapes (2010-15)
Ngumbang (2014-15)
The Winter: Exit Points (2015)
The Electricka Zoo (2017)
and previously unheard tracks.
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- The Winter: Flying Visit (2012)
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- 安里屋ユンタオーバードライブ Asadoya Yunta Overdrive (Okinawa), 2015
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- in the non-idiomatic idiom in Norway (1999/2014)
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- Ngumbang (2015)
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- The Winter: Exit Points (2015)
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- The Electricka Zoo (2017)
And hear the previous compilations
