The Necks Have this sense of touch and repetitive nurturing that makes them a
special trio of musicians. Standing still for a moment, silent, the band collect
themselves like they normally do. It’s then a case of ‘go with the flow, man’ when the
twinkle of the pianos start sparkling away. This is what this trio normally does –
improvise away into a trancey melding of sound for up to 50-60 minutes. Each time
coming up with something different and unique, but also synonymous with what we
are used to on their recorded material. Tonight The Necks provide us with two sets
of such material, and well, what a trip.
Chris Abrahams gets lost amongst it all, and it isn’t too long before bassist Lloyd
Swnton follows with a constant, pulsating bassline that shifts and moves with the
most subtle touch attires, and at times with a jarring twist. This latter suddenness-in-
mood method from Swanton makes for an interesting technique and turns the whole
band to another fork in the road, going down a path in it’s improvisation.
All the while Tony Buck sits back and lets his hands drive him. He has his snare in
front of him – but he doesn’t use it conventionally, instead, he lifts wooden blocks and
creates his own noises that aren’t even drummer-like. What he does do is provide
the ‘water’ of both pieces. While Swanton provides the rhythm (if you want call it
that)and Abrahams gives a somewhat melody (again, if you want to call it that), Buck
provides the flow of the continuous tune. He paints the picture of what we are
listening to, and in one sense is the focal point of this group tonight.
In both pieces, he restrains himself so much that’s engrossing to watch. Buck’s
precise decision making is something to witness. Sure this is something that all
members are probably doing at some point through the pieces, but more
emphasised with Buck’s playing of the drum set, just willing us into getting a snare
drum in and providing us with some sort of time signature, but no, it never does.
Such is the way of experimentation. The Necks define this genre in the most organic
way possible using acoustic instruments, and while there is always the debate about
whether this trio is even can be referred to as jazz, their creativity is such that
labelling them anything at all is probably too much of an effort.
The reviewer attended the show on Jun 6th. For more information about the
Melbourne International Jazz Festival, head here.
Photo: Creative Commons
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