Arts Fest Reviews at TFI:

The evening proved that percussion was more than rhythmic accompaniment - it transformed into a group of instruments that could stand tall and proud, especially in the loving hands of NEXUS - Bob Becker, William (Bill) Cahn, Robin Engleman, Russell Hartenberger and John Wyre. The group performed nine pieces with an unrelenting enthusiasm and vigorous precision.

The opening piece, Music for Pieces of Wood by Steve Reich, was modest in presentation - five guys in a row, each with claves in their hands - but exuberant in performance. The process of 'rhythmic construction' (in Reich's terms, substitution of beats for rests in a rhythmic pattern) was difficult to grasp if not for the programme note. But the beats came steadily, full of confidence and humour as others looked to the guy at the end of the row for the cues to start a new section or to stop altogether. The careful yet cheeky construction set the tone for more of Reich's deceptively similar repetitions.

But not before the second piece, Marubatoo by NEXUS member John Wyre. Bass marimba and crotales (tuned antique cymbals) held the melody while marimba for 4 hands and vibraphone supported them. Strands of jazz and ragtime weaved in and out of the piece. There were whimsical sections where the tinkles of marimbas and crotales turned magical. And there were those moody transitions where the combinations of instruments sounded like a well-controlled synthesizer.

After a complex manipulation of vibrations came Reich's Drumming Part 1. Reich's 'rhythmic construction' was now played out on 8 small tuned drums. Once again, Reich's musical intentions, this time of repetition and gradual 'going out of synch' would have been missed if not for the programme note. That aside, the players held their beats so steady for so long that you would run out of breath keeping them in your fullest attention.

The next three pieces explored non-Western music, namely rhythmic patterns from northern Ghana in Fra Fra, traditional Zimbabwean melody in Tonguesand recreational dance music from Ghana in Kobina. The musical ideas and textures were as interesting as the instruments used which lent an exotic stage presence. In some ways, these pieces inadvertently made Reich's music over intellectual hence alienating but that's another argument altogether.

The last three pieces were all original compositions or arrangements by NEXUS members. Turning Point by Bob Becker was at times exhilarating, at other times, contemplative; it is a piece of music that grows on you. To hear contemporary pieces is rare enough. To have one written for percussion instruments (marimba, vibraphone, songbells, glockenspiel, crotales and piano) was something to be treasured and I hope to hear it again - 'live' if possible.

The most innovative part of the programme was Kichari an improv piece played by NEXUS in top form. 'Kichari' is 'mixture' in Hindi and the instruments used were a real mixture of familiar percussion instruments and SFX-inducing oddities. The improv started with each musician doing their own thing. But soon it became clear that no one was satisfied playing his own solo concert. Soon it evolved a close interaction of musicians and their instruments. It was an experiment that produced a new and wonderful substance never to be formed the next time round. As transient as "Kichari" was, there lay its beauty.

The last item was an arrangement of George Hamilton Green's Waltz in G or "Valse Brilliante" (info as accurate as whatever the reviewer could catch). The piece was a showcase for the xylophone and Bob Becker on xylophone was the man of the moment, bringing back the spunky rhythms and sounds of ragtime. It was a great waltz to dance to and it certainly was brilliant.

The encore (of course!) was a medley of ragtime selections, ragtime the obvious crowd pleaser, being both technically and aesthetically pleasing. The roaring 20s was in full force with NEXUS at the helm.

Not only did I have ice cream (the nine pieces) and the whipped cream (the encore), I also had the cherry on top (autograph session!). NEXUS was a memorable dessert - not the cheap red bean potong but a secret recipe that hooks you without realizing it.

SHERRIE LEE previously enjoyed an illustrious career babysitting the Inkpot's Theatre section.

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