Wellington
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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Summer Skin 06:20
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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
After the filmshoot (2002)
Dave Edwards solo cassette tracks, in Wellington NZ, 2002.
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Hey so the new (2020) album Ruasagavulu is out!
(go there, like, share etc)…
& in the meantime, until the next new project, here’s one from the vault:
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Sleep/Grease 02:57
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WLAF reprise 03:32
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In 2002, a year whose digits are an anagram of this one’s, I was living in Wellington (New Zealand’s capital, and my birthplace), looking for a way to follow up the almost-success of The Marion Flow (part 2).
But I was moving further away from conventional 3min song formats into the avant-garde.
This is the second largely solo album I made in 2002.
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 »
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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- Chris Palmer, recording The Marion Flow (2001)
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- Paul Winstanley
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- Chris O’Connor
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- Dave Edwards, 2004
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- Simon O’Rorke
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
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
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. Read the rest of this entry »
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.
