CONTEMPORARY MUSIC AT THE MUSEUM by Eric Myers ______[This article appeared in the weekly magazine called “MAGAZINE” on January 2, 1983]

he Phil Treloar concert at the Australian Museum next Sunday will be one of the most interesting and unique events in contemporary music in T this city for some time. Treloar is one of Australia's most distinguished jazz drummers. He has been appearing recently at Jenny's Wine Bar & Bistro with various groups including Roger Frampton's Intersection, Guy Strazullo's In Focus, and occasionally with the Bernie McGann Trio.

Phil Treloar: composing in an area which is jazz-related, but can more properly be described as avant-garde contemporary music… PHOTO CREDIT PETER SMETANA But Treloar is not only a sideman. Over the last few years he has branched out into composition. His works are not confined to orthodox jazz as we know it. He is composing in an area which is jazz-related, but can more properly be

1 described as avant-garde contemporary music. His compositions will interest contemporary classical music fans as much as they will appeal to those who like contemporary jazz. Treloar has had few opportunities to present his original music. But when he does, they are usually memorable events. In a season at The Basement in mid- 1982 I remember well an extraordinary performance of his work in three movements Primal Communication, a musical interpretation of the therapy process described by Arthur Janov in his book The Primal Scream.

Arthur Janov: he inspired Phil Treloar’s work “Primal Communication”…

In December, 1982, at St Stephen's Church in Newtown, Treloar and his colleagues produced another thrilling evening of original music, which included the first two movements of his four-movement work See IS, entitled Hymn To The Creator Of All and Children Of Creation. Those who have not heard Treloar's music can perhaps get an idea of the character of his music by considering what he calls his compositions. On Sunday at the Museum Treloar will present audio-visual compositions, electronic music and jazz in the company of Martin Wesley-Smith, Roger Frampton, Steve Elphick and Peter Boothman. The theme for the concert is Environmental Expansions. Included in the performance will be Treloar's

2 composition Double Drummer, which he first performed at the NSW Conservatorium last year. To create the work Treloar spent a day in Kangaroo Valley taping the percussive sounds of "the humble cicada", to use his own words. The performance of Double Drummer involves the playing of the cicada tape, accompanied by Treloar's spontaneous drum improvisations, plus various electronically processed sounds from tam-tam and circular saw blades. Simultaneously, colour transparencies of the cicada, provided by Densey Clyne, realise the visual aspect of the performance. Some original compositions by Martin Wesley-Smith will also be in the program. They include his piece called Kdadalak: A Piece For The Children Of Timor, a stunning audiovisual work which was also performed last year at the Conservatorium of Music.

Composer Martin Wesley-Smith: the program will include his audiovisual work “Kdadalak: A Piece For The Children Of Timor”… PHOTO CREDIT BRIDGET ELLIOT

Phil Treloar will be joined by his long-time friend and musical associate Roger Frampton for some spontaneous improvisations. Frampton will play piano and sopranino saxophone. In turn they will be joined by Peter Boothman (guitar) and Steve Elphick (bass). Treloar, who is now studying for his Bachelor of Music degree at the Conservatorium, majoring in composition, is basically concerned with spontaneous improvisation rather than with what he sees as the mechanical performance of music of today's music. "It is my hope", he wrote in

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1980, "that others will he encouraged to gravitate towards expressing the music they hear in their inner being."

Other musicians performing at this concert will be pianist Roger Frampton (above) and guitarist Peter Boothman (below)… PHOTOS COURTESY JAZZ DOWN UNDER

This performance at the Australian Museum is not just an afternoon of experimental music; the concert itself is an experiment. Proponents of exploratory, contemporary music argue that there is a large audience for such music in Sydney, and that therefore jazz clubs should present much more of this sort of music. The club owners reply that, if they present such music, audiences stay away in droves. Therefore, it will be up to proponents of contemporary, improvised music to show next Sunday afternoon whether they make up a large audience or not. If the Phil Treloar concert is well attended, then the club owners will be far more willing to present such music at their venues in the future.

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