There's nothing tattered or worn about The Crusty Suitcase Band. Sure, there's some things old, some things new. Some things borrowed and some things blues. They even describe themselves as 'old school'. Yet a single evening spent with them is a primary education in the breadth, depth & vitality of the Sydney contemporary music scene, which draws heavily on prodigious, young jazz players, but which can't be confined by that label, wide-ranging though it may be.They open up their kitbag of blues, afrofunk, reggae, klezmer, hip-hop and God-only-knows what else (Indian, Arabic & other influences are in the mix) and, under the considerable, irrepressible influence of founder and leader, Ben Walsh, they're up-and-running; inexhaustibly, like some coked-to-the eyeballs Duracell bunny.
Walsh is a veritable drum-machine, in the best possible sense: he is as much a precision instrument as the kit he sits behind. Of course, he's not known for sitting still. He's the hyper-enthusiastic driving force of The Bird, Pablo Percusso, Circle of Rhythm, Taikoz & Tom Tom Club. Which isn't to say his adventures end there.
And his cohorts are as tight as his drumheads, too. So much so, it's hard to believe they've been kicking around shy of 2 years; sounds like 20.
In a sense, they're founded on a philosophy, that which believes in the 'purity & power' of horns and drums, a combo, as BW rightly points out, to be found in practically every musical tradition, from Mexico, Cuba, and Jamaica, to Africa, India, and Europe. It rocks. And, yes, you can dance to it. In fact, it'll take all your strength not to. This is music that'll see your mojo rising, even on a Wednesday night. And without the aid of Viagra.
Interpolating a mutiplicity of influences and underpinning it with a hip-hop sensibility makes for a veritably new genre. It's been called gyp-hop, which is cute, but who needs another box? What is this, Ikea? Besides, only a few pieces really made that moniker in any way apt.
Allegedly, they're known for playing big band arrangements of DJ Shadow, Cyprus Hill, James Brown, and Grand Master Flash. I know nothing of this; though, certainly, the leanings are credibly there. Otherwise, harmonies, rhythms resonate from Basin Street to Morocco; Jerusalem to Jaipur.
On this occasion, at least, it was originals that were front-'n'-centre; several from their current EP, Old Hat, which features a half-dozen fun outings, including a readymade, dirty cop-show theme, in Matched Luggage. Walsh colours your imagination even more, with a mischievous narrative about septagenarian drug & arms couriers sneaking through airport security, thanks to their minimally suspicious appearances.
If you can take your eyes off the jittering, percussive spectacle that is Walsh, you'll spot the hideously talented, Matt Ottignon. (Ottignons are as pervasive & precious as Grigoryans, as exemplars of instrumental mastery.) MO leads the horn section, sporting clarinet, flute, tenor and soprano. Bloody show-pony.
Sam Golding can hardly be missed, looking like a Martian snail, wrapped, as he is, in the enormity of his sousaphone. A sousaphone, for the record, isn't quite a tuba, but you get the picture. The sousaphone is the new electric bass, in the same way Obama is the new black. On it, Golding is the man. Tim Stocker plays baritone with a subtlety I've never associated with that particular tool of the trade. Lucian McGuiness makes blowin fine 'bone look like a cakewalk. Kim Lawson talks tenor like a native speaker. Together, they're a force to be reckoned with.
The gig itself was the latest (& last, for '08, anyway) in a long line of Places & Spaces performance, an innovative, diverse, yet incredibly cohesive & well-conceived series of programmes, purveyed by the progressive & perspicacious Joanne Kee. And, again, The Factory Theatre, classy, suburban sister of The Enmore & Metro, is the unsung jewel in the crown of slick, comfortable and acoustically A1 Sydney venues. Hell, it might even be the only one that makes that adjectival grade.
Only Barack Hussein's fanbase rivalled the reception from the small, but sassy midweek punterhood, for this genuinely exciting, exuberant outfit.
More lusty, than crusty.
The CRUSTY SUITCASE BAND
Venue: The Factory Theatre 105 Victoria Road, Enmore
Date/Time: Wed 5 November from 8pm
Tickets: $25 adult, $15 conc for students, Jazzgroove Association members & pensioners
Bookings: (02) 9550 3666 or www.thefactory.com.au
