New Old Improvisation Now Available For Listening

Hello all, A quick announcement that an improvisation for solo violin I performed live on the brilliant Ears Have Ears programme on Sydney's FBi radio in January of this year is now available in recorded form for your listening pleasure on the programme's SOUNDCLOUD PAGE and for your ease here it is embedded like a tick into this here blog. And last but not least please remember those of you in the vicinity that myself and guitarist Ryan Potter as THE SCRAPES are performing this Sunday the 13th of July at The Bearded Lady in West End, Brisbane. First set at 4pm second one at 6:30pm but come for all...if we get the chance we'll DJ some strange and wonderful sounds between the sets and will generally be making trouble around the bar area in our own slow, deliberate way. Come and greet. This same event will be occurring every Sunday for the rest of the month so don't miss a beat...or lack thereof. Adam

Collaboration with Tony Irving OUT NOW!

Out NOW on Duskdarter records the aforementioned collaboration with legendary non-linear drummer Tony Irving (known for his work with Stefan Jaworzyn in Ascension/Descension, and for other ensembles such as Unity Gain, Cyclone Trio, The Impossible, not to mention his own excellent solo works). All the details about the release can be found at the DUSKDARTER site. Best of all it's a free/pay as you like release! The launch for the album will be held this Saturday 5 July at the Waiting Room, Browning St, West End, Brisbane. 8pmish. $10. Come along and see Brisbane's cutting-edge underground new music community at its best with a co-launch of Kahl Monitcone's brilliant new recording, also on Duskdarter and an appearance from Built From Sticks, the solo project of Jamie Curran of Ghost Notes and Secret Black (another ensemble in which I also play). Definitely not to be missed!

Amplifiers for 'No Names'

Just recently discovered THIS very interesting article about Gondze/Gonje musicians in Northern Ghana and their desire for better amplification etc. What really makes it interesting is firstly the musical samples he has implanted in the article and secondly the fact that the article does not focus on Gonje/Gondze players associated with the chieftancy and other traditional stations, but rather with players working in the field of free lancing, or even just working in the field and playing some "reggae" on the Gondze with mates after work. This is a world of Gondze music I suspected existed while I was in Ghana but never came across it, my teacher being one of a long lineage of players associated with the chiefs of Savilugu and surrounding areas, and my southern location keeping me largely far away from the epicentre of these innovations. This ARTICLE is well worth a read and listen.