In its eight-year history, the 16-piece Industrial Jazz Group has developed a reputation for fun, high-energy, quirky, genre-bending shows, featuring what it calls “avant garde party music.” Frustrated by the limitations of “Jazz, the Institution,” but equally resistant to the confines of modern pop, the IJG has slowly pioneered a hybrid sound: an idiosyncratic blend of rock, bebop, cartoon soundtracks, trad jazz, blues, funk, Balkan music, doo wop, and, well, a lot of other stuff. (In the end, it’s neither “industrial” nor “jazz,” so don't let the name fool you.)
Critics consistently cite both the sophistication and the accessibility of the IJG's music. The group’s quirky sonic stew was once summed up by Brandt Reiter of the LA Weekly as both “cerebral and swinging, ambitious and accessible, challengingly complex and unabashedly fun.” Scott Yanow of LA Jazz Scene, who compares the IJG to Holland’s Willem Breuker Kollektief, enthusiastically calls the group “both a crack up and a memorable musical experience." And Tom Bowden of Educational Digest once wrote that “[IJG composer Andrew] Durkin writes music that people who think they hate jazz would like.” (A fact that explains why IJG has been invited to perform at popular music festivals like SXSW and Midpoint.)
The group's most recent CD, LEEF, released in 2008, was recorded live at the world-famous Bimhuis in Amsterdam. In addition to performing overseas, the IJG has toured the US, playing many shows in California, Nevada, Oregon, Washington, Texas, Massachusetts, New York, New Jersey, Ohio, Pennsylvania, and Delaware. It has received numerous grants from the American Composers Forum, has been supported by the NEA and the McKnight Foundation, and has been heard on NPR and hundreds of radio stations around the world. Write-ups on the IJG have appeared in LA Weekly, SF Weekly, The Wire, The North Bay Bohemian, The San Diego Union-Tribune, The Boston Herald, The New York Times, The Village Voice, Willamette Week, and numerous other publications.
The Job Song
Written By: Andrew Durkin
This guy with horns said, "There's a cure for your financial state: don't do the thing you love, cause good things come to those who hate. I'm a powerful man, and though I think you're a slob, if you will flatter me, I'll get you a real job."
"Give up your dreams," he said, "Yes, that's the way to have it all. Look at your cousin Neil: he's young, he's rich (he's going bald). He may be dead in a decade or two, but he drives a porsche, and yes, you can drive one, too. Why don't you get a real job?"
Having just finished school, I'd never met his type before. "You're very kind," I said, "And yes, you're right, I'm very poor. But I don't see how your scheme could help me, And so I wonder if you might not tell me more. Why should I get a real job?"
"Well, don't you want to be like the people on TV? So bored and jaded and doing something that you have always hated? Just give in! How could it be a sin? The big machine must keep on rolling on... Why don't you get a real job? For I have here in store each numbered casket for your generation: I've been waiting with anticipation! Truth, you'll find, is on the dotted line, so be a good sport. That's what life is for!"
Bongo Non Troppo
Written By: Andrew Durkin
Bongo Non Troppo
is the name of the next song
roughly translated, it means
"not too many bongos"
I ask you:
can one ever have too many bongos?
Hardcore (Uglyrug, 2001)
City of Angles (Innova, 2002)
The Star Chamber (Innova, 2004)
Industrialjazzwerke, vol. 1 (Uglyrug, 2004)
Industrial Jazz a Go-Go! (Evander, 2006)
LEEF (Evander, 2008)
We typically do a single one-hour set. But we can also do two-set shows in which each set comes in at just under an hour.
Our repertoire changes rapidly, but here is the master-set-list-du-jour:
"PDX LIX LAX"
"A Song for Bees"
"Bongo Non Troppo"
"Il Ponderoso / Apropos of Nothing"
"Don't Let 'Em Getcha"
"Hang Ten Through Hell"
"The Job Song"
"What's in Anne's Icebox?"
"Big Ass Truck"
"You're in Love With My Mother"
"Fuck the Muck"
A set will usually consist of eight or so of these tunes (most of which are over five minutes in length).
Our performances and recordings consist entirely of original compositions by Andrew Durkin.