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Review of a performance by Grunt Productions (.pdf)

22nd November 2002.
Wolf Harth.

I don’t know what I expected prior to this performance but it wasn’t the thrilling experience it turned out to be. Here were several young musicians who evidently are aware of the difference between sound and noise and they showed how much they preferred the former. It’s the first thing one noticed. They listened carefully, which made me listen carefully.

It was delightful to be present during the actual creation, the improvisation, of acoustic music. During two of their ‘musical events’, as I would call them, performers would select one of about fifty instruments and blend into the polyphony. There was Piano, saxophone, bass, clarinet, Tabla, Tibetan bowels, didgeridoo, gongs and bells, balafon, instruments from cultures all over the world to choose from were made judiciously, not from a desire to show off but rather from a wish to give pleasure to the audience. “Look, doesn’t this sound lovely,” they seemed to say, “now what about these two together. Isn’t that beautiful?” Then all would be submerged for a while in joyous celebration.

The intelligent sympathy among the players was palpable. Again, not the amplified egotism of noise but the community of sound prevailed. This, I felt, is where live music has to begin from again when the manufactured, commercialised racket of the pop scene has played itself out.

An accompanied solo improvisation by Mark Buckingham on the contra alto clarinet was impressive. Then three Djembe come on and raised the roof, to be followed by another ensemble number which, very gradually and controlled, swelled into a climax, sustained this and just when you felt you could listen to this forever it was allowed quietly to subside. Mark Buckingham on tenor saxophone presided unobtrusively. How beneficial it would be for young children to be allowed to share in such experience, especially before their sense of hearing has been spoiled and their ability to listen has been destroyed by the noise machines of the mass media music market! Children of any age would feel encouraged to make music themselves, for the fun of it, rather than turning into the indifferent consumption addicts.

Harry Whalley on the piano gave us his spirited rendition of Blue Monk. I would have enjoyed hearing more from him. Theo Buckingham supported very capably throughout on drum kit, as did his brother Max on bass. Paul Marshall, who is Powerhaus, played Latin percussion and demonstrated a great variety of percussion instruments. We had Phil Smith on Tabla and Niko Thomas on didgeridoo and Djembe. Paddy Craig played anything he could lay his hands on.

The Visual appeal of the performance was appreciable. The instruments were on display and were handled with care, with reverence. Some of the instruments have a spiritual significance within the culture of origin and for a western performer to be aware of this and to come up with a degree of sympathy and fidelity is a challenge which was met by these musicians.
This music is contemporary in the true sense of the word. It springs out of the present moment. The tradition of folk and jazz is not avoided but what comes to the fore is that sense of wonder in the presence of the birth of music that we have with all true improvisation on musical instruments