Music

Other Worldly Sounds – Adelaide International Guitar Festival 2010

Presented by Adelaide Festival Centre
Reviewed Friday 26th November 2010

http://www.adelaideguitarfestival.com.au
http://www.adelaidefestivalcentre.com.au

Venue: Festival Theatre, Adelaide Festival Centre
Season: one performance only
Duration: 3hrs (incl interval)
Festival Bookings: BASS 131 241 or http://www.bass.net.au

Wolfgang Muthspiel and Dhafer Youssef opened the concert, the connection between an Austrian and a Tunisian musician being explained by Youssef, who told us that he now lives in Austria. Muthspiel studied both classical and jazz guitar, won many awards for his playing, later studied at Berklee and was invited to play with the Gary Burton Quintet. This combined background could not fail to result in an excellent technique and a huge imagination and improvisatory capability. Youssef, on the other hand, made his own oud from whatever materials he could get together and taught himself to play. He sang at weddings whenever possible to raise enough money to buy an oud. It was when he moved to Austria that he became interested in Jazz and Indian music and incorporated many different sounds into his music along, with those of his youth.

The two performers drew the music for their concert from their highly acclaimed album, Glow, an absorbing collection of songs and instrumentals that were, at times, almost minimalist, reminiscent of sections of Philip Glass, or parts of Keith Jarrett’s 1975 album, The Köln Concert, one that I heard only once and just had to rush out and buy. Here, as in Jarrett’s recording, there are small repeated motifs, sudden introduction of new ideas, resurrection of an earlier idea, now transfigured, and imaginative vocals, sung with that very warm and versatile voice that Youssef possesses. The combination of oud and guitar works amazingly well and the audience were clearly appreciative of their music.

The Richard Bona Group then took to the stage for the second half, with his own, inimitable style of bass playing and singing. His bass playing was inspired by the incredible Jaco Pastorius, bassist and composer with Joe Zawinul’s band Weather Report, and some of his music was included in the concert, including passages from his biggest hit, Birdland. Like Pastorius, Bona plays a fretless electric bass, except on this occasion. Qantas, he told me, damaged his fretless bass and it was unplayable. On this occasion, therefore, he played a fretted five string bass.

Trying to categorise his music is a pointless exercise as it does not conveniently fall into and stay within any one genre. He crosses all boundaries and gives anything and everything his own special treatment, making it his own.

As far as technique goes, Bona is a world leader in bass playing, and a list of the many big names with whom he has worked will confirm that this is not only my opinion. Technique alone, though, is not enough, and it is Bona’s imaginative and melodic bass lines that lift him to the level of master, or perhaps grand-master would be more accurate, of the instrument. As if that were not enough, he is also a superb singer, capable of the handling gentlest ballads through to high powered, driving numbers with the same ease of delivery. He has a rich, warm tone and a very expressive way of using his voice to convey the inner meaning, not just the words.

He also possesses a flair for showmanship and a fine sense of humour, qualities that were well in use throughout the concert. He had the audience in the palm of his hand with his quips and comments and happily interacted with anybody who called out. He was not, however, on stage alone but was aided by some very fine musicians, with John Christopher Maillard on guitar, Etienne Stadwijk on keyboards, Ernesto Simpson on drums and Tatum Greenblatt on trumpet. All four had chances to solo, and we saw what superb musicians they all were individually as well as in an ensemble.

One number followed hot on the heels of another and the variation was immense, from driving blues to a quiet a capella piece, with sampling and looping applied to create a Richard Bona choir. There was never a dull moment in this concert and the audience cheered, applauded and sang and clapped along rhythmically when requested. This was what one would describe as a ‘feel good’ concert, uplifting and energising.

Much to the delight of the audience, Bona gave an extra 30 minutes of concert, finishing at 11pm after much applause and cries for more music.

Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.

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