Bree again for a ‘Superclusters’ live performance

Bree van Reyk. Photograph: Xanthe Roxburgh.

PERCUSSIONIST Bree van Reyk, one in every of Canberra music’s huge success tales, is again to city this week as a part of Ainslie Arts Centre’s Ainslie Salon Collection.

The collection, put collectively by 2022 APRA-AMCOS award-winner Sia Ahmad focuses on digital and improvised music, and you’ll’t get rather more up-to-date than Van Reyk.

Final yr, she and Mick Turner, finest referred to as guitarist within the group Soiled Three, had been featured artists on her album, “Superclusters”, and that offers the title and them to their upcoming duo live performance.

With a hardcopy vinyl launch by Hobbledehoy restricted to 500 copies, they’re being snaffled up quick, and no marvel, for in addition to van Reyk on vibraphone, drums and crotales (cymbals) and Turner on electrical guitar, there’s a line-up of extraordinary Australian jazz and classical luminaries, together with Véronique Serret on violin, Zoe Hauptmann on upright bass, Nick Wales on viola and Sandy Evans on sax.

Van Reyk is not any stranger to the broader Australian music scene, having labored in classical, jazz, rock, and experimental music with the Australian Chamber Orchestra, Sydney Symphony Orchestra, Paul Kelly, Holly Throsby, Gurrumul and Lior, to call a number of.

However she is as well-known within the city of her upbringing, the place she began studying piano at age 10 earlier than switching to drums and happening to the ANU College of Music.

Once I meet up with her by cellphone to Sydney, she says it’s 22 years since she completed up on the ANU in 2000. There she had studied with Michael Askill and Gary France, however she had already performed jazz and classical lessons in a prep course when she was at Canberra Excessive and Hawker Faculty.

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Nowadays, she spends most of her time in Sydney and is doing a doctorate in musical arts beneath Liza Lim at Sydney Conservatorium, specializing in composition.

She’s had an enormous output, together with a fanfare for the Sydney Symphony Orchestra, however one of many issues she’s proudest of is a piece for the Sydney chamber opera referred to as “The Invisible Hen”, constructed across the story of a uncommon Australian parrot. That was for an ensemble of combined violins, double bass, flute and percussion. When composing for opera, she runs the gamut.

“Superclusters” is her first solo launch and there have been about 32 folks concerned within the recording, not least Turner, an enormous coup in her view.

“Mick is one in every of my favorite guitarists… I’ve plenty of guitarist buddies, however he’s a very distinctive participant,” she says.

Oddly, when she performs on the Ainslie Salon it is going to be the primary time they’ve performed collectively dwell, as a result of his half on the album was recorded remotely.

“It’s actually like a dream to be, my teenage self can be beside myself, it’s actually an important honour,” van Reyk says.

A really common guitarist who can “strum round a bit,” she appreciates Turner’s mastery.

Her focus is on one other instrument.

“I like enjoying vibraphone,” she says. “You may management the instrument greater than some other… a drum is difficult to manage as a result of it lasts so long as it lasts. I additionally love organs and accordions as a result of you’ll be able to maintain a tone for a very long time.”

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When she and Turner seem within the Ainslie Salon Collection, their model of “Superclusters” can be “very improvised, very spacious, very surreal… we can be doing ‘Superclusters’ and a few new issues and a few of my previous repertoire.”

“Superclusters”, Ainslie Arts Centre, February 3.


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Ian Meikle, editor