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Black Flower at Moriska Paviliongen
Black Flower
Moriska Paviljongen
Malmo, Sweden
February 16, 2018
Black Flower opened their concert at Moriska Paviljongen with a trance-like song redolent of early Pink Floyd, but soon enough the bpm picked up and seismic bass notes started resonating. We've all heard of EDM, but is IPM (instrumental party music) a recognized genre yet? Black Flower's tunes are built on one or two chords, typically with a middle-eastern modality. The front line of Nathan Daems (saxophones and flute) and Jon Birdsong (cornet) riff as much as they improvise. When the gloves come off, Daems elaborates the scale of the moment while Birdsong offers more melodic and textural content. But the focus is more on hip-shaking than beard-stroking, and the solid rhythm team of Simor Segers (drums) and Filip Vandebril (very electric bass) keep things percolating. (Wouter Haest, on keyboards, limits himself to playing textures and simple riffs but gives face as good as Keith Jarrett, so there's that, I suppose.) The group detours into space on occasion but mostly it's about the joy of compound meters at slamming volume and riffage. The attendees weren't the usual sixty-up crowd—always a good sign—and the band is good at what it does. But if the thought of a bass-drum with a contact mike taped to it gives you shivers, keep a wide berth.
Moriska Paviljongen
Malmo, Sweden
February 16, 2018
Black Flower opened their concert at Moriska Paviljongen with a trance-like song redolent of early Pink Floyd, but soon enough the bpm picked up and seismic bass notes started resonating. We've all heard of EDM, but is IPM (instrumental party music) a recognized genre yet? Black Flower's tunes are built on one or two chords, typically with a middle-eastern modality. The front line of Nathan Daems (saxophones and flute) and Jon Birdsong (cornet) riff as much as they improvise. When the gloves come off, Daems elaborates the scale of the moment while Birdsong offers more melodic and textural content. But the focus is more on hip-shaking than beard-stroking, and the solid rhythm team of Simor Segers (drums) and Filip Vandebril (very electric bass) keep things percolating. (Wouter Haest, on keyboards, limits himself to playing textures and simple riffs but gives face as good as Keith Jarrett, so there's that, I suppose.) The group detours into space on occasion but mostly it's about the joy of compound meters at slamming volume and riffage. The attendees weren't the usual sixty-up crowd—always a good sign—and the band is good at what it does. But if the thought of a bass-drum with a contact mike taped to it gives you shivers, keep a wide berth.
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Jazz combines creativity from the mind, heart, and the gut. It flourishes through structure and uses melody and rhythm to bridge the musician's creativity and the listener's imagination. I try to appreciate all forms of music and styles of jazz but find myself drawn to the “hot music” of the twenties through the early thirties, including its many contemporary incarnations
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