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September 2018 – women singing (in London, mostly, and Cambridge) – Ana Silvera (15th), Susanna Wallumrød (27th), Hear Her Sounds evening with The Butterfly Wheel, Mary-Grace Dineen and Imogen Bliss (19th)

4 Sep

In Cambridge on, the 15th, there’s a repeat performance for Ana Silvera’s ‘Oracles’ song cycle, following its appearance at the South Bank Centre back in July, where Ana was bolstered by a Kate Church/Alice Williamsondance film, a folk-jazz string trio, piano, percussion and the multi-instrumental/singing skills of Listenpony’s Josephine Stephenson. The Cambridge show’s stripped down (just Ana and Josephine this time, and perhaps the dance film) but should still deliver. Beautifully crafted and sung, it’s an Anglo-Portuguese meditation and discussion of familial bereavement (Ana’s mother and brother) and of the shifting landscapes of migration. Originally conceived to have a choral sound and scape, it draws “on folk tales and myths to chart a transformative journey from profound grief to tentative acceptance.”

The last time around, I suggested that it was “a wide-spectrum take on adult pop without a trace of that genre’s unnecessary blandening: an as-it-happens assessment of the dramatic personal shifts in position following the loss of both loved ones and of the relationship one has with them while they’re alive. What I’ve heard of it so far suggests a similar vivacity as her songs elsewhere on album or in her theatrical work – vividly characterized narratives of internal reflection and of landscapes both physical and emotional, mingling detailed, nakedly honest personal verbal imagery and an influx of Portuguese folk feel in a way which makes (Ana) sound a little like an Iberian Jane Siberry.”




 

In London on the 27th, Norwegian singer Susanna Wallumrød plays her only British show of 2018. Originally – during the mid-Noughties – her ghostly, questioning, sighing vocal originally fronted The Magical Orchestra’s Nordic-jazz/ambient-pop reinventions of assorted pop, country and rock standards. Since then she’s moved on to other collaborations – with holy-meditative jazz pianist Tord Gustavsen; with boundary-running song experimentalist Jenny Hval; and in particular with baroque harpist Giovanna Pessi (who’s contributed to three of her seven solo albums). Along with violinist Sarah-Jane Summers and accordionist Frode Haltli, Giovanna will be performing at this London concert, which showcases Susanna’s newest album ‘Go Dig My Grave’.

Post-Magical Orchestra, Susanna’s kept up her role as re-interpreter. While the majority of her solo albums (up to and including 2016’s consummate ‘Triangle’), have featured her own songs, her ongoing work is littered with cool-toned covers, reworkings, reframings. Songs by Sandy Denny, Thin Lizzy, ABBA, Prince, Nico, Will Oldham and others were cultivated on 2008’s ‘Flower Of Evil’; while her 2011 collaboration with Giovanna and fellow baroque/Early Music musicians Marco Ambrosini and Jane Achtman provided parallel takes on Nick Drake, Henry Purcell and Leonard Cohen.

‘Go Dig My Grave’ builds on this inquisitive, restaging impetus, with Susanna’s original pieces cheek-by-jowl with her takes on “Charles Baudelaire to Joy Division, English folk to American blues, a seventeenth-century lament by Purcell to Lou Reed’s Perfect Day” , all blended with “echoes of traditional music, baroque classics and dark ambient sounds.” It’s a project of timeshifts: or, more accurately, of superimposed time, in which songs and stylings of different eras interpenetrate and merge in spellbinding manner.



 
Dates:

  • Ana Silvera: ‘Oracles’ – The Junction, Clifton Way, Cambridge CB1 7GX, England, Saturday 15th September 2018, 7.00pm – information here and here
  • Susanna Wallumrød: ‘Go Dig My Grave’ – Rich Mix, 35- 47 Bethnal Green Road, Shoreditch, London, E1 6LA, England, Thursday 27th September 2018, 7.00pm – information here and here

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In between – on 19th September, in London – there’s the second in Hoxton’s ongoing ‘Hear Her Sounds’ evenings; a semi-acoustic live event in a small space, with cocktails, vegan snacks, all-female lineups and organisers/initiators The Butterfly Wheel as regulars, aimed at supporting emerging female musicans. (The first one slipped my attention back in July. That was a shame, featuring as it did Margot Weidemann’s desert-sparse psych-folk project Daisy Oracle and the “twist(ing) song structure(s), striking hallucinatory lyrics, and unexpected radiophonic sounds” of former Joanna And The Wolf frontwoman Johanna Glaza.)

Alongside the Wheel-ers, mandolinist/singer/loop-stationeer Imogen Bliss played support at The Mantis Opera’s August gig last month at Paper Dress. Now, as then, you can expect to hear her weaving together songs from the East and the West: delivering slender, sparkling arrangements of old pop hits from hither and yon, plus original songs and layered one-woman folk chorales with Romani, Armenian and Balkan origins.

A few examples are below, along with a couple from by billmate Mary-Grace Dineen. A south-east Londoner, Goldsmiths graduate and sometimes session multi-instrumentalist, Mary’s output as singer-songwriter seems to vary between zippy, polyrhythmic jazz-coustica reminiscent of Eva Abraham, Roberta Flack (or, more recently, Gabriela Eva) and sour-sweet Lauryn Hill-esque pop-reggae. Her lyrics betray restlessness, compassion and a conversational impatience with the unresponsive and the inert. It seems she’s been quiet for a few years; now she’s coming out to play again.


 

As for The Butterfly Wheel, they’ll be bringing their Gothic romance, their ritual chant and their vocal flair. Previously I’ve sniped a bit about the duo’s showy, overtly flowery mysticism; their self-hype, their claims of originality and experimentalism despite a transparent debt to Early Music-toting Goth-tinged forebears like Dead Can Dance or Miranda Sex Garden. But when the hype is done, and they get down to business, they do bring a new flavour to that ripe old stew.

Reading beneath the lush electrophonic drones and the climbing priestess incantations, you can draw that personal touch out of their songs like long strands of myth-soaked twine – those places where they’ve taken old bronze-age stories, boiled them down to their most archetypal juices and then infused a latterday consciousness, an active female note of resistance, a little #TimesUp and sky-father toppling amidst the bones and sinews. When I hear that peeping through, I’m sorry that I bitched…



 
The Butterfly Wheel and MOVI present:
Hear Her Sounds: An Evening of Live Female-Led Music featuring The Butterfly Wheel + Mary-Grace Dineen + Imogen Bliss
Matters of Vinyl Importance, 163 Hoxton Street, Hoxton, London, N1 6pJ, England
Wednesday 19th September 2018, 6.30pm
– information here and here
 

July 2018 – upcoming London gigs – Léscines, Oscar Mic, Crooked Weather and Rivers Johansson & The Deemed Unrighteous at Paper Dress Vintage Takeover (26th July); Alexia Chambi, Charlie Draper, Jared Rood, Johnny Crooks, Tom Bright and William. at BOX Live (27th July)

22 Jul

A couple more London gigs in small places…

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Paper Dress Vintage Takeover: Léscines + Oscar Mic + Crooked Weather + Rivers Johansson & The Deemed Unrighteous, 26th July 2018

A distorted rootsy evening, first, at Paper Dress in east London. Léscines have been stirring up and churning out mongrel reggae-rock, cartoon Americana and scrawny blues licks for about five years now, throwing in a touch of psychobilly noir and webbed folk. Jay Fraser’s joyously unhinged songwriting pulls in a palette of people and extra instrumentation from banjo to brass, Wurlitzer organ to djembe, and songs about wolves, crows, border country, assorted dooms. If Ted Hughes and Nick Cave had run away to be cowboys, shared a bottle of toxic mescal together and then co-written a stark children’s book a couple of days later, it might have ended up a little like this. With a new album in the can and expected soon, they’re headlining with gusto.


 
Expansive rock-tinged folk group Crooked Weather hail from east Yorkshire. Their multi-instrumentalism, and their willingness to take a song idea for an introspective yet expansive run, has seen them compared to The Incredible String Band; but perhaps that’s a bit of a stretch in the wrong direction. For better or for worse, Crooked Weather conspicuously lack several of the ISB’s more outrageous qualities, both good and bad (the saucer-eyed eclectic musical grabbing, the eccentric psychedelic perspective, the baffling sectional song-mozaics… the poisonous family antagonism).

Instead, they’re a soberer breed of folk mystics – content not to burn out their inspirations, and to be diverse while being careful with their craft. It’s difficult to imagine them vanishing down the Scientology manhole, or losing shedloads on money on theatre dance projects. Searchers they may be, but they keep their vision handy and controlled; like a lens tucked away into a pocket, always available to focus in on a subject.Though they’re prepared to pursue a history or a batch of intimations to the horizon, Crooked Weather are less inclined to drop over the edge into another country.


 
Crooked Weather’s fellow east Yorkshire band, “deathblues collective” Rivers Johansson & The Deemed Unrighteous (at one time “compiled of a villain, a heathen, and a velvet doll” and apparently still “God-fearin’ nectophiles”), are coming down from Hull, bringing their gutter slide, buzzsaw punk bass and preacher warnings of imminent doom. Also racing into place is Seamus Hayes, a.k.a Oscar Mic dubbed “the freakish love-child of The Beastie Boys and Little Richard, birthed at a grunge orgy” and bringing assorted busker-hip-hop ideas to the stage with his verbal flow, his cartoon-spattered guitar, his pedal-board and his beatboxing.


https://www.youtube.com/channel/UCtNU4ZhhsiunEN711FHY2ow

 
Roundtable Collective presents:
Paper Dress Vintage Takeover: Léscines + Oscar Mic + Crooked Weather + Rivers Johansson & The Deemed Unrighteous
Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England
Thursday 26th July 2018, 7.45pm
– information here and here

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BOX Live: Alexia Chambi + Charlie Draper + Jared Rood + Johnny Crooks + Tom Bright + William., 27th July 2018About twenty minutes walk from ‘Misfit City’, Crouch End-based recorders and artist developers BOX Recording Studios are coaxing their clients out into the nearby, freshly-refurbished pub for performances this coming Friday.

London-based Danish-Cypriot singer-songwriter Alexia Chambi is just twenty years old, but has already fitted in six years of round-the-world travel, This in turn inspires her footloose songs, with their tussles between fluid freedom and rooting oneself, and her dark-toned jazz guitar. Following previous collaborations with Ralph Taylor and Hotel Avra, Alexia will be releasing her debut solo EP, ‘Bolivia’ in the autumn. Juice You (below) may well be on it. Meanwhile, Tommy Hill (a.k.a. William.) floats in the space between singer-songwriter guitar rock and contemporary R&B, his beat-slink punctuated by bursts of flammable fretboard. He, too, has an EP due for release later this year.



 

Two members of London urban rockers Tom Bright & The Dynamite – lead singer/songwriter Tom Bright and lead guitarist Jared Rood are also playing. It’s unclear whether they’re going to be working separately or whether this is going to be a two-piece Dynamite: meanwhile here’s the parent band playing a couple of their pieces, demonstrating their upfront protest songs and their growling skimming of the edge of folk punk. A grain of Rory McLeod, a dash of Richard Thompson or Tom Robinson; perhaps a twist of Jason Feddy.



 
A key member of Bruce Wooley and Andy Visser’s “modular space-age pop ensemble” Radio Science Orchestra, Charlie Draper is a British specialist in the gestures and techniques needed to control the antique electronic whoops of theremin and ondes Martenot. He’s played with just about every theremin/ondes-requiring orchestra and ensemble in the country. Come and hear him extract various classical and pop tones from each of the instruments. German-based beatmaker Johnny Crooks is also going to be playing a separate set of his own aural confections.

 
BOX Recording Studios presents
BOX Live: Alexia Chambi + Charlie Draper + Jared Rood + Johnny Crooks + Tom Bright + William.
The Harringay Arms, 153 Crouch Hill, Crouch End, London, N8 9QH, England,
Friday 27th July 2018, 7.30pm
– information here and here
 

July/August 2018 – upcoming London opera – the rest of Grimeborn 2018 including a baroque ‘Xerse’, a reconfigured ‘Membra Jesu Nostri’, a reclaimed ‘Carmen The Gypsy’, repertoire hits, kids’ shows and jazz-dance (24th July to 26th August)

20 Jul

Grimeborn 2018, 24th July to 26th August 2018

While my previous post on London alt.opera festival Grimeborn 2018 dealt with many of its obvious heavy-hitters (including the revivals of Turnage’s ‘Greek’, Britten’s ‘Rape of Lucretia’ and Ethel Smyth’s ‘The Boatswain’s Mate’, plus its premieres of Keith Burstein’s ‘The Prometheus Revolution’ and a slew of BAME/female-originated one-acters), there’s plenty more to the season. First of all, let’s take a quick look at the reconfigurations.

Most boldly, Opera Louise’s ‘Teenage Bodies’ takes on ‘Membra Jesu Nostri’ – Baroque composer Dietrich Buxtehude’s seven-song five-voice cantata on the body of Christ. In a corkscrew dive from the sacred to the secular, director/lyricist Julien Chavaz, choreographer Oliver Dähler and music director Jérôme Kuhn rework it as a meditation on puberty and development, mixing live music, physical movement and new text. I’m assuming that the original Biblical listing of “feet, knees, hands, sides, breast, heart, and face” have either been replaced or restored to the carnal. Equally, perhaps they’ve turned into a politicized view of the relationship and power dynamics between young and old bodies. The publicity photos and videos show what seems to be a Theatre of Cruelty classroom with an elderly man and several younger figures cavorting around each other. It could signify anything. At any rate, it’s one of the best-equipped operas in the festival, complete with small orchestra.

 
For ‘A Fantastic Bohemian: The Tales of Hoffman Revisited’, Opera MIO & Co-Productions take Jacques Offenbach’s rollicking Victorian fantasy opera ‘The Tales of Hoffman’ and turn it into an Anglo-Spanish immersive theatre piece spread across three spaces, kitting out the Arcola as Mexico City during the 1940s (during its Golden Cinema Age). The original score will be interspersed with bursts of Mexican danzón, all of the music being played by a four-piece band of piano, cello, clarinet, and violin.

Grimeborn 2018: 'Carmen The Gypsy' - 22nd to 25th August 2018In turn, Romani polymath and Romany Theatre Company head Dan Allum has rewritten Bizet’s ‘Carmen’ as ‘Carmen The Gypsy’, setting it within the contemporary British traveller community and highlighting both anti-Romani racism (“when the outside world thinks you’re scum, can you ever be free?”) and Carmen’s own struggle to liberate herself from “a brutal husband and the shackles of tradition.” This reworking features original Gypsy songs played live on guitar, drum, violin and accordion, plus staged cage fighting (presumably replacing Bizet’s bullfighting) and, as with many RTC productions, a combined English and Romani libretto.

Baroque tradition meets contemporary minimalist theatre in Ensemble OrQuesta’s straighter revival of Francesco Cavalli’s ‘Xerse’, directed by Marcio da Silva. The company triumphed last year with their production of Armide, and return with this dramatic comedy of “jealousy and unfulfilled love” set in the royal court of Persia (with a company of eleven singers, baroque violins, cello, lute and harpsichord).

Milly Forrest

Milly Forrest

For repertoire shows, The Opera Box’s compilation piece ‘Recitals’ (performed by soprano Milly Forrest and pianist Alastair Chilvers) features “new spins” on pieces by Richard Strauss, Hugo Wolf, Vincenzo Bellini, Franz Liszt, Francis Poulenc, and Joseph Haydn. In ‘Onegin & Tatiana’, Opera Company director Guido Martin-Brandis presents “an award-winning cast explor(ing) the dramas and psychologies of Alexander Pushkin’s immortal characters”. Centred on the character of Tatiana Onegin (and focussing on female desire, fantasy and personal upheavale) it features music from Tchaikovsky’s Eugene Onegin, plus additional songs by Strauss, Fauré, Massenet, Barber and Schubert.

The remaining pieces might be heading away from the opera template, but seem to be aimed at pulling in both children and the classical-averse, providing entry points to musical drama. Children are catered for via a return appearance by Melanie Gall, with her acclaimed anthropomorphic kids theatre shows about musical animals winning through against the odds (‘Opera Mouse’ quotes Puccini and Mozart, while the scat-happy ‘Jazz Cat’ is built around the music of Harry Woods, Louis Armstrong and Robert Johnson.)

Melanie Gall: 'Opera Mouse'

A more adult-orientated jazz evening arrives with Nancy Hitzig and Cat Foley’s ‘Swing Sister Swing’ “a cabaret-inspired show celebrating female choreographers, kick ass musicians and pieces created and inspired by jazz-greats” (a trinity of Ella Fitzgerald, Nina Simone and Billie Holiday). It’ll be performed by Nancy and Cat themselves with fellow dancers Christine “Tine Machine” Gatchalian, Katie Stotter, Benjamin Cook and Stephen Atemie and European champion chorus-line The Dixie Dinahs, and with recorded and live music by Katie. “Through lindy hop, swing dance, vintage burlesque, song and comedy, performers will explore what it means to be a in a partnership and alone.”


 
All performances at Arcola Theatre, 24 Ashwin Street, Dalston, London, E8 2DJ, England.

Dates:

  • The Opera Box presents ‘Recitals’ – Thursday 26th July 2018, 7.30pm – information here and here
  • Nancy Hitzig & Cat Foley present ‘Swing Sister Swing’ – Sunday 29th July 2018, 4.00pm & 8.00pm – information here and here
  • Melanie Gall presents ‘Opera Mouse’ – Wednesday 1st August 2018, 11.00am – information here and here
  • Melanie Gall presents ‘Jazz Cat’, Wednesday 1st August 2018, 2.00pm – information here and here
  • Opera Louise presents ‘Teenage Bodies’ – Thursday 2nd August 2018, 7.30pm – information here and here
  • Opera MIO & Co-Productions present ‘A Fantastic Bohemian: The Tales of Hoffman Revisited’ – Saturday 4th & Saturday 11th August 2018, 2.30pm / Sunday 5th & Sunday 12th August 2018, 4.00pm – information here and here
  • Guido Martin-Brandis presents ‘Onegin & Tatiana’ – Monday 13th & Tuesday 14th August 2018, 8.00pm – information here and here
  • Romany Theatre Company presents ‘Carmen the Gypsy’ – Wednesday 22nd to Saturday 25 August 2018, 8.00pm / Saturday 25 August 2018, 3.00pm – information here and here
  • Ensemble OrQuesta presents ‘Xerse’ – Friday 24th to Sunday 26th August 2018, 7.30pm – information here and here

 

June/July 2018 – upcoming London classical gigs – ‘The Women Musicians of Conway Hall’s Past’ (24th June); Gabriella Swallow’s SOLO 05 performance (12th July)

16 Jun

Small, dignified assertions – often backed by blazing indignation. Discreet steps and consolidations, keeping one’s powder dry and one’s skills honed. A land claimed by determination and inches. During the period covering the Victorian era up until the First World War, the fight for women to get their concert music taken seriously was one of stamina rather than spectacle; of battles fought mostly against fathers and propriety and a condescending musical establishment, and mostly behind closed doors. The struggle for space for women to compose in and to be considered ran alongside – and in some cases intermeshed with – struggles for other suffrages.

Today, with the work of women like Judith Weir and Tansy Davies now respected and filling concert halls – Conway Hall looks back at some of their British forebears during leaner and stonier years for female composers, in a concert celebrating those women’s work and Conway Hall’s own part in encouraging it, perhaps retrospectively mining some commonality of purpose from the assorted voices and perspectives (carried in pieces that range from the parlour music which most composing women were restricted to, up to a string quartet by the redoubtable Ethel Smyth, Suffragette and prolific composer of assorted works from solo pieces to full-blown choral works and operas).

'The Woman Musicians of Conway Hall's Past', 24th June 2018

“The Sunday Concerts at Conway Hall have been running since 1887, previously under the name of the South Place Sunday Popular Concerts, making it the longest running series of its kind. This concert will celebrate the special platform that South Place offered to women musicians during the first thousand concerts between 1887 and 1927.

“Victorian London was a difficult place for women to carve a successful career as musicians, particularly composers. However, during this forty-year period a wealth of opportunities emerged. South Place made an important contribution to these improvements by programming a still-small, but significant, number of women composers – many more than appeared at similar concerts in the capital. Their works were programmed alongside famous international composers as well as other lesser-known contemporary British composers, thus offering audiences of the day a unique and diverse breadth of repertoire for their Sunday evening entertainment.

“All of the works in this one-off concert were written by British women and were performed in the early years of the chamber music concerts. Most of the music has been rarely performed since, despite being popular in its day and still offering compelling sounds to a modern audience. For further insights into the history of the concerts, the women and their music, Jessica Beck (a Ph.D student at the Royal Northern College of Music, who’s been researching and blogging about the women in the concert, from the records at Conway Hall) will be giving a free pre-concert talk at 5.30pm.”

The performers for the evening are baritone Simon Wallfisch, violinist Eulalie Charland and Emanuela Buta, viola player Judith Busbridge, cellist Gabriella Swallow, and pianist Maiko Mori.

The works being performed are Alice Verne-Bredt‘s ‘Phantasie Trio’, Maude Valérie White‘s ‘To Mary’, Liza Lehmann‘s ‘Myself When Young’ (from ‘In a Persian Garden’), Amy Grimson‘s ‘Canzona’, Josephine Troup‘s ‘Kleines Wiegenlied’, Edith Swepstone‘s ‘Spectral Hunt’ and Ethel Smyth‘s ‘String Quartet in E minor’.

A few preview versions of pieces in the programme, plucked from various times:




 
Conway Hall Sunday Concerts presents:
‘The Women Musicians of Conway Hall’s Past’
Conway Hall, 25 Red Lion Square, Bloomsbury, London, WC1R 4RL, London
Sunday 24th June 2018, 6:30 pm
– information here and here
 
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The evening’s cellist, Gabriella Swallow has her own one-woman concert coming up in early mid-July, when she teams up with Alex Groves‘ ‘SOLO’ concert series.

SOLO 05: Gabriella Swallow, 12th July 2018

Performing in Handel’s music room at Handel & Hendrix In London (formerly the Handel House Museum) she’ll be playing contemporary works by Kaija Saariaho and Helmut Lachenmann, improvisations on baroque works, and delivering the world première of a new Alex Groves piece.

 
SOLO presents:
SOLO 05: Gabriella Swallow
Handel & Hendrix In London, 25 Brook Street, Mayfair, London, W1K 4HB, England
Thursday 12th July 2018, two concerts (6:30pm & 8:30pm)
– information here, here and here
 

June/October/November 2018 – upcoming gigs in Bristol, Brecon and Nottingham for The Society Of Strange & Ancient Instruments (15th June, 21st October, 8th November)

13 Jun

Since 2010, performance ensemble The Society Of Strange & Ancient Instruments – led by Clare Salaman – have “explore(d) a repertoire that ranges from folk songs and earthy dances to high art music from the eighteenth century and before, as well as newly composed pieces.”

Initially a violinist, Clare’s also mastered diverse related instruments including nyckelharpa, hardanger fiddle, medieval vielle and hurdy gurdy, and has also attracted other multi-instrumentalists into the group – mediaeval winds player Ian Harrison (on pipe and cornett, whistle, pipes, shawm, tabor and tambourine as well as singing), Jon Banks on harp, gittern, Baroque guitar and percussion (shading eastwards into santur, qanun and santouri) and Arngeir Hauksson (theorbo, cittern and gittern, Renaissance guitar, lute, saz, hurdy gurdy, percussion). Also on board are Liz Kenny (lutes and guitars), Alison McGillivray and Liam Byrne (viols and lirone); and the ostensibly more narrowly specialised players in the ensemble (harpist Jean Kelly, guitarist Clara Sanabras, harpsichordist Terence Charlston, singing citternist Jeremy Avis and bassist Peter McCarthy) all have extended interests, be they “unusual large string bass instruments”, electric harps, ouds, neglected antique keyboards or just raising a tambourine or voice. Even the ensemble’s dancer Steven Player is an occasional lutenist.

Acting in part as a meeting point for people interested in these out-of-the-mainstream instruments, the Society also puts on themed shows in which to showcase them: revivals of three of the latter have been recently announced.

Conceived by Clare, ‘Sound House’ is “inspired by Francis Bacon’s investigations into the magical properties of sound,” and “presents music of the seventeenth century played on extraordinary instruments within an intriguing modern context. Although Francis Bacon, 17th century philosopher, statesman and visionary, is widely regarded as the father of modern science, his investigations into the nature of sound are little known. He was intrigued by seemingly magical effects like echoes and sympathetic vibration and sought to explain them through a series of experiments in, and observations of, sound.

“Combining modern sound technology with ancient instruments, The Society of Strange and Ancient Instruments explore the aural illusions that so intrigued Francis Bacon and our 17th century forbears with fresh interpretations of 17th century music linked to each other by newly composed pieces.”

A five piece lineup of Clare, both Jons, Alison and Jean (bolstered by narrator Terence Wilton) play unusual and historically appropriate instruments including Jon on Gothic harp, Jean on “the jangling bray harp”, Alison on “the mysterious violone and the little known viola bastarda”, and Clare on a strange conical cello/wooden-horn hybrid, the tromba marina or “nun’s trumpet” (common between the 1500s and 1800s but fallen since then into the memory hole of outmoded instruments).

The Society has this to say about their other current show, ‘The Ministry Of Angels’ – “Angels have played a part in human consciousness for as long as we can remember. Their roles in the life of mankind are various; they appear as guardians, counsellors, guides, judges, and interpreters and cross barriers of culture, language, religion and geography. Many are a force for good but there are also fallen angels, angels of death and others who are spirits of wrath, destruction, confusion and vengeance.

“In this programme we explore music associated with angels, the maverick and fallen as well as the divine and perfect. Playing some of the instruments that appear in descriptions and depictions of angels through the ages, as well as other strange and ethereal sounding instruments, we present traditional tunes, dances, songs and carols in a celebration of these heavenly and occasionally diabolical beings.”

It sounds like a mixture of the occult, the New Age crystal shop and the Hallmark card: although probably much more rewarding than any of them.

 
Dates:

 

May 2018 – the start of the Daylight Music summer season in London – Green Seagull, respectfulchild and Twenty-Three Hanging Trees (12th May); Firestations, Seán Mac Erlaine and Hatchie (19th May); Vesperados, Guastalla Quartet and Marcus Corbett (26th May)

7 May

Although they were a ‘Misfit City’ mainstay for a number of years, it’s been a while since I’ve put up any previews for Daylight Music‘s free Saturday noontime concerts at the Union Chapel. Blame this on the slapdashery that passes for “method”, back here at ‘Misfit City’ HQ; blame concentration or distraction by other things, but for goodness’ sake don’t blame Daylight Music themselves.

I suppose that it might be possible for a regular attender to sometimes feel as if you’ve had enough of Daylight’s particular cosiness – that warm wooly-sweatered whimsicality, the cake stall, or the feeling that you might just crack if you see another community choir singing alt.pop cover versions. But ultimately it’s churlish to take swipes at them for the side trappings when what really counts is the musing intelligence and the well-honed curatorial instincts underneath the family-friendly fuzz. In the end, there are precious few regular gigs in London that can match Daylight for unassuming stealth education: few that will host a baroque quartet alongside rustling sampledelia, set guileless acoustica off against arch indie, season your ears with sudden rushes of Baltic sound or pipe organ interludes; introduce you to musicians and songwriters who leave you astonished and blinking about the fact that you’ve never heard of them before; and all the while balancing the kiddie-friendly with the uncompromising and actually pulling it off. There are few gigs that are just so plain generous.

So, without more ado, here’s a quick signal-boost for the first few gigs of their imminent summer season…

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Daylight Music 280: Green Seagull + respectfulchild + Twenty-Three Hanging Trees, 12th May 2018

“The 12th May show features Green Seagull, respectfulchild and Twenty Three Hanging Trees. Green Seagull are the latest band to burst out of London’s burgeoning neo-psych scene. Their harmony-laden baroque/freakbeat sound draws upon influences such as the Left Banke, the Kinks and the Association. respectfulchild is the solo instrumental project of Gan from Saskatoon on Treaty 6 Territory. Their music is electronic in nature while being acoustically created, building experimental ambient soundscapes through slow progressions of meticulous improvisation. Their sound has been likened to Brian Eno, Nils Frahm and Owen Pallett.



 
Twenty Three Hanging Trees is the meditative modular synth exploration project of Xavier Watkins (Fuzzy Lights/Violet Woods/Red Red Eyes.) The project’s progression from hazy guitar drones to electronic-based explorations with dusty, contemplative tonalities has been a transformative one. Learning to express himself with synthesis was like learning a new language, each step having to be carefully planned and executed so as to maintain the fragile equilibrium created. While 2016’s ‘Nocturne’, released on the Sacred Tapes label, had a contemplative, embryonic stillness, 2017’s ‘Prémonitions’ has a deeper, more emotional heart, tempered by subtle rhythmic buzzing, shimmering oceanic drones and solemn arcs of melody.

 
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Daylight Music 281: Firestations + Seán Mac Erlaine + Hatchie, 19th May 2018

“The 19th May show features Firestations, Seán Mac Erlaine and Hatchie. Firestations are an alt-pop band who write simple songs then paint over them with drones, vocal harmonies, electronica and unusual rhythms. Their second album ‘The Year Dot’ has recently released by Lost Map Records. Séan MacErlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognised as one of Ireland’s most forward-thinking creative musicians. His work intersects folk, free improvisation, jazz and traditional music.



 
Hatchie is the world of Harriette Pilbeam. To hear her music is to step inside her mind; a dreamy landscape where cascading synths, jangling guitars, propulsive rhythms and white noise undulate beneath undeniable and irresistible pop melodies. This will be a special acoustic set.


 
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Daylight Music 282: Vesperados + Guastalla Quartet + Marcus Corbett

“The 26th May show features Vesperados, Guastalla Quartet and Marcus Corbett. Award-winning composer and jazz musician James Brady first formed Vesperados in 2011, bringing together musicians to explore African, Caribbean and Latin American influences in jazz through original music. Formed in 2013, The Guastalla Quartet brings together musicians from the finest conservatoires in Europe to form a chamber music group dedicated to the exploration of the string quartet repertoire from its roots to as yet unwritten works. Between them, they have performed at world-famous venues including the Royal Albert Hall, Wigmore Hall, Konzerthaus Berlin, Katara Opera House and the National Concert Hall of Taiwan.



 
“The Guastalla Quartet will also join Vesperados for an octet set during their performance: the use of strings will allow the full expression of rich jazz harmony alongside the rhythmic engine of Vesperados’ Latin-infused grooves.

“Completing the lineup, Marcus Corbett is a singer, acoustic guitarist and composer based between the UK and Pune, Maharashtra, India. He has been studying Indian classical music and working with musicians in India for over 10 years, skillfully combining the worlds of Indian classical and British folk music and producing a string of albums. He will perform with one of his key Indian collaborators, Tabla maestro Nitin Gaikwad.”


 
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As ever, all gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England and are free, though it’s good form to donate a fiver on the way in or out. Dates below:

  • Daylight Music 280: Green Seagull, respectfulchild + Twenty-Three Hanging Trees, Saturday 12th May 2018, 12:00pminformation
  • Daylight Music 281: Firestations, Seán Mac Erlaine + Hatchie, Saturday 19th May 2018, 12:00pminformation
  • Daylight Music 282: Vesperados, Guastalla Quartet + Marcus Corbett, Saturday 26th May 2018, 12:00pminformation

April 2018 – upcoming London jazz/world/folk/classical gigs – Fast Fusion pop-up session at Poplar Union (1st April); Erik Rydvall, Olav Mjelva and Max Baillie’s ‘Nordic Folk Meets Baroque’ (4th April)

24 Mar

News on an interesting jazz/world concert series kicking off at the ever-promising Poplar Union, plus a Scandinavian-tinged classical/folk/fusion event in Stoke Newington…

* * * * * * * *

Fast Fusion #02, 1st April 2018

Help Musicians UK Jazz Promoter Fellowship & Birikiti Pegram presents:
‘Fast Fusion’:Yaw Asumadu/Louisa Jones/Mulele Matondo/Shirley Smart
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Sunday 1st April 2018 – creating: 12pm-5pm / performance: 5.15pm
– information here and here

Fast Fusion is a live pop-up music installation bringing artists from jazz and world music genres together to write ten minutes of new work in just five hours. You get to witness the magic of art being made live in public before artists formally perform their final piece(s) at the end of the afternoon. The live audio is recorded to produce the Fast Fusion Takeaway Track(s), which you can then stream or download free. Sessions are also filmed and edited down to a short documentary-style video of the speed composition process.

“The second session (and first public session) brings together a dynamic group of musicians – singer/multi-instrumentalist Louisa Jones (who plays double bass, accordion and clarinet, and brings the swinging sounds of early jazz styles), Shirley Smart (a versatile, inventive cellist, and rare exponent of jazz cello), Mulele Matondo (a visionary bassist and guitarist from the Democratic Republic of Congo) and Yaw Asumadu (a master drummer, xylophone player and flautist from Ghana).”

The first session (a private jam in Studio Lumumba in East London to test the waters) featured Mulele Matondo plus London jazz trumpeter Mike Soper, Eliane Correa (a prolific Latin/jazz/fusion pianist, composer and arranger) and Lizy Exell (leader of the Old Hat Jazz Band and drummer for some of London’s other finest rising jazz groups, including Nerija). Here’s what they came up with:



 
Further sessions will follow – some of them at Poplar Union, although the idea is to bring the pop-up Fast Fusion format to many different performance spaces around London.

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Woodburner presents:
‘Nordic Folk Meets Baroque’: Erik Rydvall, Olav Mjelva & Max Baillie
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Wednesday 4th April 2018, 7.00pm
– information here and here

Nordic Folk Meets Baroque, 4th April 2018“Two award-winningstars of Scandinavian folk music – nyckelharpa player Erik Rydvall and Hardanger fiddle player Olav Mjelva – team up with violin and viola virtuoso Max Baillie for their debut concert here in London at the gorgeous Old Church in Stoke Newington.

“Having met in the snowy north of Norway in February, they posted some videos of their unique renditions of Bach; a few days and over sixty thousand views later they were quickly picked up by Classic FM online, Norwegian Radio, and were invited to perform live on BBC Radio 3’s In Tune program on April 2nd.

This is their special debut concert in London together. They will present a brand new concert of music including Bach, Merula, and Couperin played in a unique way that brings together string traditions from Norway, Sweden and the Baroque period alongside both traditional and original music from Scandinavia.”

 
(I’m sure I’ve come across something like this before… ah, yes, here it was…)
 

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