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 →

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, recording The Marion Flow (1999)

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

Dave Edwards, at Bar Bodega, Wellington NZ, 1999

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

[send us your review]

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)

[send us your review]

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

Continue reading “1999” →

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.

This slideshow requires JavaScript.

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

Continue reading “The Marion Flow (part 1, Taranaki 1999)” →

Cafes in Conversation

4th May 2019 at Wairarapa TV May Music Marathon

I wrote this in 1999, after moving to Wellington. I was at an open mic night, at an upstairs bar in Cuba Mall that no longer exists, waiting for my turn to play. I had to wait a while – hence a lot of lyrics.

It was my attempt at a beat poet vibe, reflecting my move to the capital city and discovery of a local jazz scene. Continue reading “Cafes in Conversation” →

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.

It was recorded in Wellington in two halves, in 1999

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

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

dAdApApA: Waiting for the Drummer

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

Dadapapa

Mt Taranaki, NZ

Dadapapa

Dadapapa, 1999

Dadapapa

Gleefully Unknown: 1997-2005

“Whilst shopping from fiffdimension make sure to get hold of ‘Gleefully Unknown’, a best-of compilation of Dave Edwards’ music from 1997 to 2005. Rough outsider folk-blues mysteries, dissonant rock textures, electric and acoustic improvisations…

“Edwards strikes me as one of the most overlooked musicians from the fertile lands of New Zealand and if you need a fresh start this might very well be the place.” – Mats Gustafsson, The Broken Face

Now available from Spotify, Bandcamp etc

A compilation of songs, spoken word and instrumentals from the first half of my gloriously unsuccessful career to date: