LA MAMA MUSICA
LA MAMA MUSICA
La Mama Musica is one of Melbourne’s longest running music nights, in operation since 1969. These days it is a curated monthly concert series showcasing creative music, improvising musicians and sound-artists at La Mama’s Theatre and Courthouse venues. The intimate settings and fabulous acoustics of La Mama’s two historic theatres allows fine musicians to perform in a very special environment, amidst the set of the current theatre production – so improvisation and flexibility of presentation is also part of our process.
The series has been organised by the curatorial team of Annabel Warmington and Adrian Sherriff for more than a dozen years, who like to encourage unusual collaborations and value the history of the Musica and are thrilled to offer participating artists opportunities often unavailable in conventional music venues: for musical artists of all genres (and ages) to explore and develop new work and production values with an audience appreciative of these aspects.
Contact Annabel Warmington on firstname.lastname@example.org with expressions of interest
LA MAMA MUSICA, La Mama Theatre, 205 Faraday Street, Carlton
Monday 24 July 7.30pm
Jeremy Dullard – Solo gamelan, assorted Indonesian percussion
Michiko Morita – Solo piano keyboard
Pianist Michiko Morita and percussionist/Gamelan specialist Jeremy Dullard studied music at VCA together many years ago. For this concert they perform solo sets. Jeremy has long studied and played Balinese Gamelan. He runs the Melbourne Gamelan DanAnda (school) and Orchestra: “I was going to include a pun (of course!): “Gam-Alone”. Talking about how it’s usually a group effort but my challenge will be to solo the ensemble, and see what can and can’t be done. The plan is to use a mix of acoustic Balinese Gamelan instruments from different ensembles, because I own and play so many varieties. Because of this the sound will be unlike a regular gamelan, limited scales combined become less limited. But still weird. And because Gamelan sets are uniquely tuned from one to the next, a similar project to this would sound completely different anyway. So it’s really going to be ‘here’ and now. And me. If that makes sense. I will have lots of gongs, and “Gangsa” type instruments from ensembles styles called “Kebyar” , “Wayang” (the puppet show – but no, I won’t have puppets), “Selunding”, and made of bronze and iron. And I’ll drag along some bamboo stuff too. Not attempting traditional music at all, but making my own atmospheric loops – without a pedal or any electricity.”
LA MAMA MUSICA Monday 28 August, 7.30pm
- James Rushford’s Untitled (2012)**
- Cat Hope’s The Sinister Glamour of Modernity (after Ross Gibson) (2013) with Peter Neville, vibraphone
- Liza Lim Amulet (1992)
- Lisa Illean Cranes (2016 rev.2017)*
Tony Hicks soprano saxophone, bass clarinet, flute, penny whistles
Dan Sheehan Fender Rhodes
Improvisations for extended woodwinds and deconstructed Rhodes.
Yackamurru Song for 9 bass and contrabass clarinets
Composer: Tony Hicks
Bass Clarinets: Tony Hicks, Gillian Howell, Martin Corcoran, Lisa Jennings, Brendan Toohey, Brigid Burke, Vicki Hallett.
Contra Bass Clarinets: Adam Simmons, Stuart Byrne
Tony Hicks and Dan Sheehan believe in the creative power generated by long-term collaboration. At the core of their work is an on-going five year investigation of improvisation strategies using 12 tone materials, and a shared passion for deconstructed sound worlds.
Their collaboration extends to Dan’s experimental jazz project “Infinite Ape” that has released two recordings, and “Inside Outside 123”, a series of intermedia performance experiments seeking to expand creative and performative conceptions through improvised collaborations with artists from diverse backgrounds and practices. Regular collaborators include Iranian contemporary theatre-maker Elnaz Sheshgelani, lighting designer Simon Fisher, Italian drummer Carlo Canevali, sound and video artist Roger Alsop, cross-media composer and clarinettist Brigid Burke and film-maker and indigenous researcher Sharon Huebner.
Tony and Dan will begin with a series of improvisations for woodwind and deconstructed Fender Rhodes, and conclude with a performance of Yackamurru Song, a new composition by Tony for 9 bass and contrabass clarinets that reflects his immersion over the past 13 years in the music and culture of the Wagilak songmen from Ngukurr in remote South-east Arnhem Land as a member of the Australian Art Orchestra’s award-winning Crossing Roper Bar project.
LA MAMA MUSICA Monday 25th September, 7.30pm
SET 1: Michael McNab (solo drums, objects/materials & microphones/feedback)
Listening with an unfixed body and open eyes, or sometimes watching with closed eyes, Michael’s kinetic interactions with collaborators, objects and site form the material of his improvisations. He is interested in human and non-human presence as impetuses for sound making, and in spatiality and anti-virtuosity (walking around and dropping things), as well as participatory performances, as ways to shake up audience-performer relationships. As well as solo work, current projects/collaborations include Wumpy, Tchake, the Phonetic Orchestra, Adore and THIS ensemble.
SET 2: Nick Tsiavos (solo acoustic contrabass) plays “One hundred months, Third of East”
‘Melbourne contrabassist Nick Tsiavos continues his prolific output with the studied and beautifully intimate One Hundred Months, Third Of East.’ Robbie Buck, The Inner Sleeve, ABC RN
Before returning to Greece for a concert tour of this work, Nick Tsiavos returns to MUSICA to take the listener on a wild ride oscillating between a visceral brutalism to a restless stillness and a terrible beauty.
A sound world where the rich, sepulchral beauty of Byzantium collides with the anarchic energies of Modernism; its residue an intimate study of frayed memory and the loneliness of the psyche.