LIVE

Rip It Up, Issue 57, 1 April 1982, Page 20

LIVE

Tall Dwarfs Star & Garter, Christchurch

The Tall Dwarfs live are a curious proposition, one that sways wildly and unpredictably from invigorating through interesting to irritating.

While a two-piece may suit Alec Bathgate and Chris Knox it can be gratifying as it is trying to an audience. At times, their sound is too thin and unbalanced. At their best, on songs from the single or where keyboards and backing tracks are used, they are a delight. At other times, songs are only half thought out. Even though some holdups were necessary, there was too much gratuitous time-wasting. Chris Knox would also do well to consider the audience that he continually abuses, for what he sees as predictability and fawning acceptance. A more critical audience

might just demand more than the Tall Dwarfs seemed organised to deliver. The Tall Dwarfs shouldn't be missed, but an open and tolerant mind would seem to be a prerequisite. Michael Higgins The Angels Auckland Town. Hall, March 17 The Angels kicked off their illfated NZ tour with a triumphant set of non-stop,' high-energy rock, confirming their place as Australia's top boogie band^HHHBHH Visually they were great. From the outset, the capacity crowd was on its feet, responding -to Doc Neeson's antics. Rick Brewster stands unmoving to the. Doc's right, while John Brewster seems to be developing a foot-stomping, head-shaking stage- persona. Special mention must go to the rhythm section of Chris Bailey on bass and local boy Brent Eccles, who gave a stunning display of precision, powerhouse drumming. Following their slick set at Sweetwaters, the Angels have revamped their show to focus more on material from the Night Attack album, so it was six or seven songs in before we heard anything from their earlier (and superior) albums. But it's a minor criticism, as the crowd responded in ecstatic fashion to all the songs. . Here's hoping the rest of the ; country gets a chance to see the Angels -in the not-too-distant future. ; Chris Caddick Keith Jarrett Auckland Town Hall, March 22^H0bBW“SBH| Keith Jarrett is essentially a solo performer for those private moments. He works on a one-to-one relationship with his listener, or he doesn't work at all. That he does succeed in a live concert setting is a tribute to his ability to induce that. sense of intimacy. Even when surrounded by people,. the individual listener feels alone with Jarrett and his music; lost to everything and everyone else. Jarrett's music has been referred to by some as.'chamber jazz'; arather sombre misnomer for something so full of, puissance and humour. Jarrett is a body musician, feeling not in the least confined to the piano stool. At his most vigorous, he's half on his feet, straining as though he wants to take of His body . seems to stretch every sinew to contain the energy inside. His hands, obviously aren't large enough to expel all that he wants to say. Thus he emits what remains in the. form of gutteral grunts and cries j which . have become his trademark, punctuating the piano lines, slamming his feet to the floor in syncopation, his own rhythm machine. Jarrett's music swirls, soars, colours and . captivates. -In his serene moments he is delicate and exquisite, pulling themes out of thin air, building on them, introducing new ideas as he goes. Even. the lid of the piano, usually mute,' has its own sound to contribute. He plucks the strings . with • his fingers, more sounds to add and intrigue. For his final encore, he surprises everyone with an almost tradition; al boogie-woogie, then forestalls demands for more with his only comment: "There is such a thing as over-eating." Keith Jarrett: music you'd otherwise hear only in your, dreams)

Duncan Campbell