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Redaction LP

Redaction LP

Mark Lockett | Richard Nunns

 
 
Ltd Edition LP  $40
 

description

 

Richard Nunns (taong puoro)
Mark Lockett (drums, percussion, cymbals)
Jeff Henderson (all other sounds)

Redaction, featuring renowned taonga pūoro exponent Richard Nunns, one of our longest serving and most consistently adventurous artists, was conceived first and foremost as an art-project. In that spirit, it was decided to release the album as a collectible limited edition 12” vinyl LP (Rattle's first ever!), and as an equally collectible ‘made-to-order’ CD. The album is also available as MP3 or FLAC (16 or 24 bit) downloads.

The inspiration for the recording project that led to the production of Redaction came from a documentary called Intangible Asset 82, which told the story of Australian jazz drummer Simon Barker and his journey to find the Korean shaman, Kim Seok-Chul. Barker’s journey led to the recording of a series of improvisations featuring him on drums, Scott Tinkler on trumpet, and Bae ll Dong on voice.

Artistic photographer Veronica Hodgkinson envisaged an artistic collaboration between sound and image that would eventually become the audio/visual exhibition Finding Time, which ran at Melbourne’s Brunswick St Gallery in March 2013. Her idea was to team her partner, jazz drummer Mark Lockett, with Richard Nunns to record a series of wholly spontaneous improvisations that would serve as aural soundscapes to which Veronica would respond by creating equally improvised images using light and photographic chemistry.

Both Veronica’s images and the music created for them by Richard and Mark (and later, Jeff) seek connections and commonalities through the non-verbalized, purely intuitive creative responses of each artist. The sound palette was deliberately limited, and the musicians sought an entirely unguarded musical directness, a creative honesty born of the moment and unmediated artistsic impulses.

“I’ve been a huge fan of Richard’s work since the first time I heard him in the early 90s”, says Mark. “The opportunity to work with both Richard and Steve was one I couldn’t resist. When Steve later suggested that we invite Jeff Henderson to produce an album using the recordings for the exhibition as a starting point, I was intrigued and excited. I have huge respect for Jeff, having collaborated with him at various times over the last two decades, and could see the potential for a unique new edition of music. This is how Redaction came to be, and I’m very proud of it.“

“Music and photography have strong links to memory”, says Veronica. “Having lived in Australia for many years, the longer I’m away from NZ the more importance I place on the notion of Home. The opportunity to collaborate with Richard Nunns was an extraordinary privilege, one that continues to influence my image-making here in New York.”

 

credits

 

RAT-D060 (July, 2015)

This release was made possible with support from Victoria University of Wellington

Produced by Jeff Henderson
Recorded by Steve Garden at Garden Shed Music Studio
Mixed by Jeff Hendrson, Steve Garden, Mark Lockett
Original artwork by Veronica Hodgkinson
Design by UnkleFranc


  Redaction

    01 Redaction (2:06)
    02 Routine Inspection (4:36)
    03 Extinct Species (2:50)
    04 Two Minds (1:48)
    05 Tripped It (3:30)
    06 Sleeping Giant (3:22)
    07 Material Instinct (2:32)
    08 Revival (4:14)
    09 La Morte 16:16)

All compositions © Nunns, Lockett, Henderson (APRA, 2014), except Two Minds by Nunns, Lockett   

 

 

reviews

 

The background to this recording -- conceived as spontaneous improvisations between taonga puoro master Richard Nunns and percussionist Mark Lockett in conjunction with an audio-visual installation by photographer Veronica Hodgkinson -- is outlined in the booklet for this cutting edge album, which could perhaps find no other home in New Zealand than on the increasingly daring Rattle label.
 
In the past decade or so, Nunns has pushed well beyond the often austere and spiritual sound of the various flutes he plays, and here in a piece like the abrasive Revival with Lockett driving relentlessly, we are more in the territory of an avant-garde innovator like percussionist Roger Turner jamming with Russia's free jazz practitioners of the Eighties, the Ganelan Trio.
 
In other places however there is nuance (the skeletally spare Routine Inspection), sonic landscapes (the busy Extinct Species), some left-field funkiness from Lockett (the too-brief Two Minds) and quizzical little pieces (Tripped It is just kinda fun).
 
And the whole thing opens with the joyously boisterous title track where Lockett lays out a lively pattern and Nunns' voicings call out across the ages in a yearning manner, and closes with the 16-plus minutes of La Morte which has a foreground of what sounds like gently but incessantly brushed cymbals then distant, emerging taonga puoro and . . .
 
Produced by Jeff Henderson -- who gets co-writing credit on all but one track and sparingly lays in other discreet sounds, notably on that closer -- this is art music created for a specific purpose, but for the open-minded this will be a challenge and discovery.
 
Graham Reid, Elsewhere
 

The Pyramid Club has been the host for Richard Nunns latest release on Rattle on Thursday last week. Joining forces with Mark Lockett (percussion) and Jeff Henderson (production), Redaction offers the improvised sounds of drums and taonga puoro, resulting in an unequivocally spontaneous and playful soundscape which invites us to travel within, while lifting our spirits into remote corners of the heart of Aotearoa. The music has been matched by photographer Veronica Hodgkinson, creating a consistent transition between sound and vision. Due to health complications, Richard Nunns could not be part of the party, but his presence was there via the tracks that were played straight from the CD, as well as from the energy offered by the live set that both Lockett and Henderson performed.
 
Diagnosed with Parkinson’s Disease in 2005, Nunns rarely appears on public these days, though he has been utilizing music as a healing therapy, and is keeping himself busy collaborating and playing as much as his body and energy allows him to. Redaction gives us a chance to hear him speak intimately.
 
Axel Shaw, Wellington Music
 

Australian jazz drummer Mark Lockett is a natural behind the kit but even he pushed his own boundaries for an improvised collaboration with renowned taonga pūoro exponent Richard Nunns.
 
I gather the genesis for Redaction actually came from a documentary about another Australian drummer Simon Barker?
 
Yes the movie Intangible Asset 82 was part of the inspiration for this project as artistic photographer Veronica Hodgkinson was checking it out at the time. That's when the idea to collaborate with Richard Nunns came about. At the time I was on tour with Tim Hopkins (renowned NZ saxophonist) playing music form his fantastic album Seven, which also featured Nunns. Veronica and I were listening to this album lots at that time. Veronica's inspiration to create the images came from a 1970s kids book.
 
Your wife and well-known artistic photographer Veronica Hodgkinson was also involved in what became an auido/visual collaboration?
 
Yes. This whole project was Veronica's idea. She asked me if I would consider collaborating with Richard Nunns to create a series of spontaneous improvisations then Veronica would create images in response to the music. The result was an audio/visual exhibition 'Finding Time' which took place in Melbourne at Brunswick St Gallery in 2013. Steve Garden at Rattle was excited by the concept and said 'hey why don't we make an album?'
 
Was Richard Nunns the first person you both thought of and why?
 
Yes, Richard was the first person we had thought of. It was a no brainer he was the only choice for us. I had never worked with or met him before but have been a huge fan of his work since first hearing and seeing him play in the early '90s.
 
How did you prepare for the recording session?
 
We didn't prepare. The idea was the music would be spontaneous. I did draw some graphs using different coloured crayons on the plane on the way to the session thinking I would give them to Richard to get us started but when I gave them to him he said 'stuff that shit, lets just play'.
 
Was it you and Richard improvising and feeding off each other or were Veronica's images also part of the process?
 
Richard and I created the music first then Veronica created images in response to the music.
 
When did producer Jeff Henderson add his touches?
 
Jeff played on the session. We bumped into him the night before down town and invited him along. Jeff and Richard working together in the studio blew my mind as they have been working together for some 25 years. I have collaborated on and off with Jeff over the past 24 years so I guess you could say this has been a long time coming.
 
With an album such as Redaction, at what stage do you come up with titles for the compositions?
 
This was kinda fun. We did this after the mastering had been done and the album was finished. Jeff and Steve came up with the titles, there was a bit of name changing then we had it.
 
Mike Alexander, Sunday Star Times
 
 

Ancient sounds meet jazz

Although a Pākehā (New Zealander of European descent), ethnomusicologist Richard Nunns is a leading authority on taonga pūoro, a diverse collection of traditional Māori wind and percussion instruments. Along with the late scholar Hirini Melbourne and master carver Brian Flintoff, the trio's research is credited with rediscovering the forgotten knowledge of these ancient instruments. Nunns has collaborated with a wide range of different musicians, most recently teaming up with several highly creative jazz artists.

 
On this outing, he's paired with inventive New York/Melbourne-based jazz drummer Mark Lockett. Conceived as a shared audio-visual art installation with photographer Veronica Hodgkinson and producer Jeff Henderson, the recording is a series of spontaneous improvisations between Nunns and Lockett. At times wild and experimental, as on the tracks 'Material Instinct' and 'Tripped It', there's generally more structure and Lockett presents his crisp rhythms against Nunns' breathy end-blown flutes, whirling poi (tethered weights) and other natural noises. Occasionally somewhat squeaky and harsh, but more often gently ambient, Nunns' arsenal of ethereal sounds is at once spiritual and challenging. The closing 16-minute 'La Morte' is a slowly evolving journey, full of gently brushed cymbals and atmospheric drone. Adventurous stuff.
 
Seth Jordan, Songlines Magazine