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Jazzwise, June 2005, three stars.
From its opening, spacey chords drifting over Sirkis' shimmering cymbal work, this is a mystically mysterious collection of musics with a range of well signposted influences, Messaien, Sun Ra, ahem, Keith Emerson, yet they've all been galvanised into something strangely strange yet oddly and most enjoyably accessible.
Sirkis' vividly articulate drums drive on all the pieces, but this is very much a band album - Lodder in particular, while creating a church organ effect (yet spookily skewing into something other) revels in the space, but perhaps under the influence of Sirkis' ferociously earnest compositions, he refrains from the quirky japes that can be irksome in his playing. Outram likewise is all discipline while exploring the nooks and crannies of Sirkis' dark materials: he summons the spirit of early Mccloughlin, notably on 'Life Itself' and the acoustic intro to 'Spirit', although this soon morphs into some bastard mutant The Nice-like rock climax where you can almost see Lodder leering from his key-board like some post-modern Phantom Of The Opera.
Of course, if the likes of Holdsworth floating worlds are not your cup of Tetley and Messiaen sounds to you like a three-years-old playing the melodica with a lolly stick, you may find We Are falling otiose rock opera of the dreariest and you may wish to avoid this shadowy part of the cosmos. Your loss, mind.
Andy Robson, Jazzwise, June 2005
Time Out Review, 'Short Cuts' section, june 2005
Powerhouse Israeli drummer Asaf Sirkis is best known for his work with Gilad Atzmon, but his trio charts a completely different path. While Atzmon is all post-Coltrane and Middle-Eastern bluster, Sirkis draws on Messiaen, Sun Ra and Allan Holdsworth to create an intense, spacey internalised take on the legacy of Tony Williams' seminal power trio, Lifetime. With Steve Lodder on organ and guitarist Mike Outram, they create powerful, dark soundwashes and charning prog-jazz grooves that take the listener on a journey to outer and inner space.
Kerstan Mackness, Time-Out cd review ('Short cuts'), June 2005
Jazz Views Review, Issue 038 - July 2005
This is the second outing on disc for Asaf Sirkis trio The Inner Noise, although this time around dispensing with the massive church organ in favour of Lodder's set up of keyboards. The practicality of the number of available venues with the a suitable organ may have had a hand in making this decision, although this does also have an impact how the trio have changed (albeit it in a subtle way) their approach to the music. Gone is the overall impact of the impressive church organ that dominated the first album to be replaced with more of an even group dynamic. This in turn has allowed Sirkis to take a different view of how to compose for the band, and develop his not inconsiderable writing skills further.
As the title would suggest, We Are Falling has an other worldy-ness theme to it, from the pictures of asteroids Ida and Dactyl on the CD cover, and also in titles such as 'Galactic Citizen' and 'Another Being'; but make no mistake, the music on this hugely enjoyable able is far from an essay in spacey chords and electronic noodling that others have tried to pass off under such an all embracing concept. The compositions on the album show a wide variety of timbral variation and demonstrate the individual talents of all concerned in a way that firmly places the music above all else, that manifest itself in a true group performance.
Although the church organ is not in use on this outing, Steve Lodder's keyboard set-up utilises a bass pedal similar to that used on the large instrument that allowed the penetrating bass lines that powered along the first album to such effect, and he uses this to create the recurring bass riff throughout 'Life Itself', and is also able to generate the full organ sound for the sweeping title track, 'We Are Falling'. It is Lodder's intuitive and creative use of the electronic keyboards (that he has demontrated in other contexts such as with his work with saxophonist, Andy Sheppard) that give the band a new found release and sonic palette to work with.
The albums with a gentle and lyrical piece with 'Another Being' with Outram's melodic and simply stated guitar is fleshed out by Lodder's keyboards and an increasingly complex commentary from the leader's drums. This is controlled and passionate music that gets the CD off to a fine start that is maintained throughout. The bass pedals that are added to the keyboard set up are then used to maximum effect in 'Life Itself', which is again powered along by some creative stick work from Sirkis,and Mike Outram's guitar gets a thorough outing utilising a more rock influenced sound that sits comfortably with Asaf's probing accompaniment.
Steve Lodder's keyboards again come into their own on the broad sweeping sound that is 'We Are Falling', with the church organ sound from the first album recreated; and Steve also gets to demontrate his remarkable touch at the piano on the 'Ida & Dactyl (& Ghost Of Dactyl)' that gives ample notice of the scope of the trio and sounds that are open to further investigation both live and on future albums with a seamless blend of electronic and acoustic instruments. This point is also reaffirmed on 'Spirit' that has some fine acoustic guitar from Outram.
All in all another fine album from Asaf Sirkis that places him firmly amongst the UK's hottest properties not just just as one of the musical drummers, but also a composer and bandleader of some. It is therefore with eager anticipation, that I look forward to continue following the career of this most enterprising and imaginative of musicians.
Nick Lea, Jazz Views web-site, July 2005
Guardian review, John Fordham
... ''an attractive luxuriousness of texture, some sensational drumming and inventive soloing... Great playing from three contemporary performers at the upper-edge of the game''...
John Fordham, The Guardian Friday CD Review, June 2005
BBC Magazine Review
... ''fuelled fusion fun of the best kind, delivered without pretension and bursting with energy''.
Peter Marsh, BBC Magazine, June 2005
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Andy Robson interviews Asaf Sirkis (Jazzwise, June 2005) - Taking Off
The fall guy
Best known as a member of Gilad Atzmon’s Orient House Ensemble, drummer Asaf Sirkis is breaking out as a leader with a second solo outing this month. Interview: Andy Robson
“Not a lot of jazz clubs have a church organ,” says Asaf Sirkis about the change of direction on his new trio album We Are Falling. “I really liked the music on our first album, Inner Noise [also the trio’s name] but as we recorded it on the organ at Highgate church it was kind of hard to play live.” No such problems second time around for the drummer who was born in Israel but lives in the UK.
“Steve Lodder used a special midi keyboard and the sound is very different, although it still has that organ feel. But perhaps the biggest difference for us when we play is that we can see each other now! That opens up routes of communication, which is kind of important to what this music is all about”
But what is Sirkis’ composing all about as represented by the trio of himself on often pile driving drums, Steve Lodder on keyboards and Mike Outram on guitar? It’s big, often loud, spacious and spacy music, gossamer light one moment, sweatily visceral the next. Critics have drawn comparisons with Tony Williams’ Lifetime but somehow it’s more Sun Ra-meets-The Nice-meets-Messaien-meets-Allan Holdsworth.
It has also bought Sirkis the backhanded compliment from one jazz journalist that he has “the ear of a composer, not a drummer,” as though somehow drummers can’t be composers. Sirkis laughs quietly at the absurdity, but recognises that the stereotype of drummers slogging away in the engine room while suffering the band’s worst jokes still runs deep.
But then Sirkis isn’t keen on stereotypes in general. Indeed, he reacts gently but firmly against the whole notion of identity, the naming process that he feels limits imagination and spirit, whether the subject is music or people or politics. Even to use the J word is dangerous.
“Jazz is a dangerous word, music cannot be defined. The people who make timeless music – Miles, Monk – did not think in those terms. Only later did people call it jazz. To give it a name made it comfortable meant it could be put safely in a drawer. But those definitions were not made by musicians. Those terms bounce back on the musicians who feel they must be a ‘jazz’ drummer or a ‘rock’ drummer. And of course when you say you are one thing, you cannot be the other”
For Sirkis, who grew up in Israel and only left to settle in the UK six years ago, the question of identity is not just an intellectual conundrum. It can be a matter of life or death.
“The idea of identity is rising here [Sirkis is referring to the immigration debate during the recent general election campaign] because it is a tool of people with power. They need an enemy. So if I am identified as an Israeli, by definition it is easy to identify a Palestinian. But take away the identity, where is the enemy? I did my national service for three years, and they wanted to put me in a combat unit. I didn’t have the guts to do what many musicians did, and get a piece of paper from a psychiatrist saying I was mad. You have to prove you’re mad to get out of doing something that is totally crazy!”
Luckily Sirkis was only forced into clerical duties, but national service was still “a complete waste of three years”. Afterward he spent the best part of eight years trying to find outlets for his creativity “but it often meant playing Jewish weddings five nights a week.” So the West beckoned as it did for many of his contemporaries.
But after relatively unhappy times in mainland Europe, Sirkis followed his wife to London and was amazed by the welcome he received from the capital’s music community. In his first week he met saxophonist Gilad Atzmon, but he rapidly found work in a range of different musics, collaborating with the likes of Julian Siegel, Gary Husband and Tim Garland. Although the first couple of years were not ‘easy’ for Sirkis, “lots of taking my drum kit home on the night bus”, he revelled in a scene that was open, energetic and refreshingly without prejudice.
For those who are quick to trash the British scene as parochial or newcomers as unwanted, then the words of a man who has travelled far in miles and spirit need to be heeded. “I was blown away when I came to London. Even in places like Holland and Paris, their kind of small, closed scene is not accepting to foreigners. You had to have time and money to make it. Sure, London is expensive but if you are good, and can communicate, it is all there and it will come to you eventually.”
Ironically, the work which has made Sirkis one of the most wanted of drummers has meant that his “vision is remote from the music I often do. Most musicians have an agenda, something to say but I try to compose music with the minimal ideas possible. I like this record because it has 60 per cent less ideas than the last one!”
The less generous may suggest few musicians have any idea about what they’re playing, but there is a serious underpinning to Sirkis’ quest for music that is free of thought and intellectual intention.
He openly recognises the influences behind the trio’s music
“Messiaen and Allan Holdsworth may seem different but aren’t really in spirit,” he says, only half joking
“If I must ‘stand for’ something, then the core of what I do is idea-less music: where the ideas end that is where the music begins. That is why Sun Ra is so important to me, his poetry as well as his music. He says that music is all about that bottomless pit; it’s like, ‘Oh, my God, there is nothing here, we’re just falling’”
Andy Robson, Jazzwise, June 2005
Keeping The Spirit Moving, Interview with Nick Lea, Jazz Views web-site, July 2005
Drummer, bandleader and composer, Asaf Sirkis, has some strong opinions on how jazz is defined, and the limitations that this can potentially inflict on musicians and listeners alike. He explains all to NickLea.
Over the last five years, drummer, Asaf Sirkis has steadily built a reputation not simply as one of the finest on the UK scene but also has one of the most versatile and adventurous. Whether playing in a straight ahead combo, steering Gilad Atzmon’s Orient House Ensemble, or driving his own trio Inner Noise he brings a commitment and musicality to his playing that transcends simple categorisation. Sirkis has strong views on the music that he plays, and when interviewed was always willing to most eloquently and intelligently to share his opinions in a manner that is as compelling to listen to as his playing. So how did the story begin?
“There was always music at home“ explained Asaf. “My father would put on lots of classical music, and my brother was playing the piano and later he became an Opera singer. When I was ten I really wanted to play bass guitar but some guy in the music conservatory told me that I’ll have to study classical guitar for 4 years before I can get my hands on a bass…weird isn’t it? That wasn’t good because I was in a hurry!! Then gradually I started hitting things around the house as if they were drums. A year later my dad bought me a drum kit and I started taking drum lessons and 2 months later I was playing in school bands.” Even at this early stage Asaf was committed to playing music wherever and whenever possible, as he recalls “It was a great time! I was in a few bands and we used to hang out all weekends, play and record each others music on cassettes… that’s how I got into what you can call jazz.”
However, as well as jazz, Sirkis had a healthy interest in many other types of music which remains intact to this day. “Oh definitely, as a kid I really liked the Mussorgsky, Beatles, Police, then I got in to Yes, Genesis, Weather Report, Allan Holdsworth, Mahavishnu Orchestra, Olivier Messiaen, John Coltrane“ he says enthusiastically. “And as time has elapsed you can add guitarists John Scofield, John McLaughlin and Terje Rypdal, along with Sun Ra, Maurisce Durufle and Bach who have all influenced my playing.” What, no drummers, I enquire? “Of course” laughs Asaf “where do I start? Well there’s Jack DeJohnette, Tony Williams and in this country Gary Husband.”
In his formative years in Israel, Asaf continued his musical studies also finding time to play in as many bands as possible, and as is the case for musicians all over the world, trying to make a living. As has become his wont, he did not just confinie himself to any one musical genre although jazz did play a part in his musical activities at this time. “Jazz is in an odd word” explains the drummer, “I think that the way this word is understood here very differently than in Israel. I was always interested in any kind of creative music but yes, I guess I can say that I was playing some Jazz related musics.
But actually, most of the time in Israel I spent trying to make a living playing in weddings, klezmer or folk bands – there was no way I could survive playing only the music I wanted to play and it was only when I came to London that I started to play ‘Jazz’ as ‘we’ understand it, professionally.”
“There was a jazz scene happening in Israel” continues Asaf. Whether it was healthy or nor is another matter altogether. It was healthy in the sense that you had to be really determined and to work hard to get something going. Those people I use to play with in Israel like Harold Rubin and Albert Beger are my heroes; they never stopped, always created something else despite the intolerant environment. You could hear that extreme determination and faith in their music. I think that’s part of the reason why the emphasis in Israel is on the expressive/emotional factor rather than the language thing. There is a strong sense of urgency in everything.”
Despite the inherent difficulties in playing the music he loved in his native country, it was in Israel that he recorded his first album as leader, and also formed the first edition of the Inner Noise'.
“Yes, I recorded a piano trio album called One Step Closer. The strange thing was that immediately after we recorded the album I woke up the next morning and felt as if somebody else had woken up, a completely different person.…it was then that I started writing music for the church organ. I was hearing a lot of Messiaen’s Organ music at the time. Then I thought it would be good to have guitar and drums in it too – guitar is one of my favourite instruments! But where do you find a church organ in Israel? – I don’t know!! The first Inner Noise band in Israel was a quartet with bass, drums, guitar & keyboards. We did few gigs all of which where a complete disaster – we played one night in this arts centre, the room was well attended and after the first song has finished there was nobody there! On another occasion the police were trying to stop us from playing in the middle of a gig.”
asaf4This frustration in finding not just the opportunity to play, but to play the music he loved with such a negative reaction was one of the reasons that Asaf decided a move was necessary. As Asaf recalls “I left Israel mainly because I couldn’t find how to play my music or the music I liked to play and make a living… also because of the general atmosphere in Israel which I found not very tolerant. Serving in the Israeli army for 3 years didn’t get my music anywhere either.
In 1998 I left with Gabriela (my wife) and moved to Holland and stayed there for a bit, and then went to France (Paris) for a few months and finally to London (April 99). It was a time of many changes; it was great to start all over again – to be no one. I learned so much from that.”
“Upon moving to London the plan was to get a band of my own and start gigging with it at some stage. I was sure from the very start that London would be a good place for me. When I came here for a visit previously I was blown away by the amount of music and gigs going on! One day I was walking in Hyde Park when I saw these weird radical people shouting religious texts passionately. I thought – WOW!! That is it!! But the first two years or so in London where tough, I didn’t have a car so I had to carry the drums on tubes and busses but gigs started to come in, I bought a car and gradually I was able to live more comfortably.”
For the last five years Asaf has been seen across the UK and Europe touring with Gilad Atzmon’s Orient House Ensemble. An exciting band with which Atzmon has used to great personal effect in getting across his unique vision of jazz and 20th century music, Gilad has also done much to introduce UK audiences to a wide cross section of musical dialects and styles. I asked Asaf if this was very much the way that he approached his own music, utilising music from his own cultural heritage with jazz and western classical music? “The essence of music or the non-identity in it is the most interesting for me. Not the language or the style. Yes, I do have my influences and I did grow up in Israel but I never felt a need to introduce that to people as I never really felt as if I’m part of that. Really, I do not see myself as an ‘Israeli’, ‘Middle Eastern’, ‘jazz drummer’, etc… What I’d like to point out through music is utterly simple - I am a human being and it is only when Identity stops that music can begin.”
And it is this overall concept that has driven Sirkis to reform the Inner Noise in the UK with keyboad player, Steve Lodder and guitarist Mike Outram. In full flow this band must generate some excitement live, and suggested to Asaf that probably raised a few eye brows in using the church organ in the way they did on the debut CD. Asaf laughs “Yes, eye brows where risen. I like that album (‘Inner Noise’); I still listen to it from time to time. It was difficult to find venues that had a church organ to play that music. We did one gig at St. Cypriot’s church in London which was great!! And perhaps we’ll do some more church gigs in the future but realistically what happens is that Steve is using a special keyboard set-up with bass pedals (church organ like). We ended up doing that on almost all the gigs.”
fallingThe use of the keyboards is also evident on the bands new album, We Are Falling which is released this month. “After playing like that for a while we kind of got a sound together and then I thought – this is it!” explains Asaf “This is how we approached the new album as well. I thought ‘Let’s do it as if we’re playing live!’, and I’m really happy we did that – it really captures our live sound.
“As far as the compositions go, the first album is a kind of scream; the music was composed in Israel. I was young and angry. Recording that music was like trying to build a big wall of sound and smashing it at the same time…I think that in the new CD there is a reduction of concepts and ideas, there is more peace in it and the result is more organic. It’s more of a band album.”
So with the release of We Are Falling is this a the beginning of a new stage in the drummers career, moving more into the limlight to take care of business and lead his own band on a permanent basis? “Yes - it’s always so great to play with Steve and Mike. They are such great and inspired musicians. Steve is one of the most unique and natural musician I ever played with, he is a true improviser! And Mike is such a powerful guitarist, his understanding of the music is so deep! This forthcoming tour to promote the CD is just wonderful for me! And I’d like to do that more and more. I’d like to bring this band to the centre of my work and to dedicate more time for getting it there. I’ve also started writing some new music now…lets see where that takes us…
Nick Lea, July 2005, Copyright © 2002-2005 Jazzviews
Interview, Jazz East Magazine
Asaf Sirkis is a great young Israeli drummer who, since his arrival in Britain in April 1999, has began to make major waves on British jazz scene. You may have seen him all ready in Cambridge with sax wizard, Gilad Atzmon – a fellow Israeli – and the latter's middle eastern - influenced Orient House Ensemble earlier this year. You may also have caught him further afield playing with Irish vocalist Christine Tobin. Brit – sax star Martin Speak and drummer and pianist Gary Husband, amongst many others, over the past two years. Asaf's now being here long enough to feel sufficiently confident to try out his own thing. Inner Noise, his trio, is the result. Intriguing prospect it is too.
Formed last year, the band comprises drums, keyboards and guitar, with the drums full on and centre staged. Steve Lodder's atmospheric church organ sound gives the music a highly atmospheric feel, toped off by Mike Outram's sweeping guitar. What's behind the music? '
'We're very much influenced by a lot of modern classical organ works,(Durufle, Messaien), and by some of the big progressive rock bands of the 1970's, such as Yes and Emerson Lake and Palmer', Asaf explains. Certainly the rock- classical influence is to the fore on the bands demos. So, is it jazz? 'It's certainly with jazz context', Asaf states. All three musicians are well- loved jazzers in their own right. Aside from Asaf, Lodder was last seen here with Monica Vasconcelos's Noise, last autumn; Outram is regular with Dave O'higgins's band, amongst others.
But there's even greater diversity in the melting pot. Asaf's own ethnic background has a strong bearing on the music. Growing up in a small town south of Tel Aviv, he was exposed to a whole host of classical Arabic sounds, influences which also affect the overall musical structure. This Arabic influence has cemented by working with top classical Palestinian musicians shortly before he left Israel. In other words expect jazz mixed with classical organ mixed with prog- rock mixed with Middle Eastern sounds. A real boundary pusher, musically.
Why did he come to England? The deteriorating political situation was certainly a factor. Asaf explains: 'One of the first things that suffers in that environment is art and most of all jazz'. Than there was a lack of work opportunities for modern jazz musicians in Israel,' I couldn't find places to play apart from the occasional Jewish weddings', he states. Finally there was the draw- factor of coming to play with many of the musicians he most admires. Bill Bruford, Alan Holdsworth, Gary Husband- all were major influences.
It's a tribute to the open mindedness of British jazz musicians that Asaf's received a very warm welcome. 'I've been really fortunate', he states. 'It's a good vibe here'.
Dan Somogyi, Jazz East Magazine, August 2001, UK
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