Archive | gospel RSS feed for this section

February 2018 – upcoming London gigs (folk, jazz, soul, and eclectic acoustica) – Ian Beetlestone & the Drowning Rats (10th February); Matsudisho and Alice Phelps (18th February); plus Tell Tale Tusk (12th February), Alice Zawadski’s cello-heavy Valentine Show (14th February) and Kabantu’s album launch (8th February)

5 Feb

Even more than the Magic Garden (as covered a few posts back), Camden’s Green Note serves as a London folk-boutique par excellence. Most evenings, its small café space wedges in the cream of roots acts, the care they take over choice, presentation and atmosphere often justifying the priceyness of an evening out. You get what you pay for.

Here are a few things on offer there during early February:

* * * * * * * *

Ian Beetlestone & The Drowning Rats, 10th February 2018

Ian Beetlestone & The Drowning Rats
The Basement Bar @ The Green Note, 106 Parkway, Camden Town, London, NW1 7AN, England ·
Saturday 10th February 2018, 8:00pm
– information here, here and here

Plenty of charming elements and conversational topics converge in Ian Beetlestone. He’s a Yorkshireman-turned-Londoner, a pop and chanson connoisseur, a gay man and a cabbie. Several of these come together in his lively, engaging cabbie’s blog; even more of them combine in the fact that for the last couple of years Ian’s driven the capital’s first (and, to date, only) rainbow-coloured taxi (for what it’s worth, it’s becoming a much-loved city ornament both inside and outside of Pride, and he gets more stick from fellow cabbies over the Transport for London logo than he does for the LGBT+ associations).

As for the musicality, that flourishes in his all-singing acoustic trio The Drowning Rats, who offer “(a) unique combination of ratty jazz, drowned pop, magic, mystery, darkness and light to the capricious twin deities of love and song with ever pleading, hopeful eyes.” Having started up in Leeds about a decade and a half ago (and survived a subsequent re-potting in London), they’ve been the players of regular gigs in Soho (until recently, at the Blue Posts) and their home turf of Kings Cross (at the Star of Kings) as well as the Green Note.


 
With Ian’s florid piano backed by Dom Coles’ drumkit and Tom Fry’s double bass (and with occasional visitations from beery horns and assorted vocal foils), they deliver songs bursting with melody, harmony and joie de vivre; nodding to Brel and barrelhouse, Tom Waits and Paul Weller, Nina Simone and the Shangri-Las; suffused with wry reflection, wit and camaraderie. Ian rolls them out in a joyful soul growl – honey, gravel, fur and phlegm, with the hint of a romantic tenor under the wear and tear. It’s a little Tom Waits, but it’s rather more Dr John (if instead of immersing himself in the Big Easy, he’d taken a ship up the Thames estuary to found a bayoux in a London canal basin).

If you’re specifically after queerness, you’ll find it in the subtle and rosy sexual glow which illuminates many of the songs like fireside warmth, and also in the elastic inclusive community etched out in hints and amongst the broader scope of Ian’s songwriting. Inclusivity’s the word, in fact: there’s little details and easter eggs sown throughout the songs if you want to pick them up and decode them, but in general it’s all woven together with subtlety and open-heartedness. You can walk through their door and enjoy epic magic-realist power ballads about the A40, jaunts around the concerns, compromises and evasions of friendships, sly ballads which put the boot into Soho gentrification, and cheerfully apocalyptic accounts of mornings-after… all without worrying that you need to belong to any particular club. Although, in the extremely cosy confines of the Green Note’s basement bar, you’ll soon feel as if you do belong to one.



 
* * * * * * * *

Matshidiso + Alice Phelps
The Green Note, 106 Parkway, Camden Town, London, NW1 7AN, England
Sunday 18th February 2018, 8:30pm
– information here, here and here

Matshidiso, 2017
I’m not sure just how hard you have to work, just how much you have to do, blossom and branch out before you burst the “secret” side of “well-kept secret” wide open. I would have thought that Matshidiso would have reached that point a long time ago.

Music flows through pretty much everything she lives and does, stemming from the cosmopolitan stew of her upbringing (a native Londoner with Jamaican and Sotho heritage, a classical piano trainee with a parallel love of soul, hip-hop and the cream of 1970s singer-songwriters) and blossoming into her realisation of herself as do-it-all artist – on-call pianist and singer, producer/writer/arranger for herself and for others. Sometimes a band leader, always a constant communicator, Matshidiso has led creative workshops; run song sessions across the internet from her own front room and played venues from the Southbank Centre to South Africa. All this and she’s also a qualified and multilingual international human rights barrister (with experience fighting sex trafficking rings in Ethiopia); a spokesperson for activism around positive African and female identity; a visiting music therapist at the Royal Marsden; a rehabilitating coach and encourager for young male offenders at various prisons; and a onetime relief worker in Haiti.

All of which would be gems on anyone’s resume (and which suggests someone who’s already learned and given back more than most of us will in an entire lifetime) but as a musician, the final proof has to be in the songs Matshidiso sings. Traditional they might be, but she’s learnt well from the craft of forebears such as Roberta Flack, Laura Nyro and Lauryn Hill, creating harmonically rich keyboard-driven work drawing from songwriter soul, gospel and pop through which she roams with self-awareness and generous interest in other people’s efforts and struggles.


 
Maybe Matshidiso’s relatively low profile is because of the fact that, despite being the best part of a decade into her career, she’s yet to record a debut album, or even that many releases. There’s been a smattering of very occasional singles; there’s been a 2012 EP of nursery rhymes reconfigured for adults (an idea that fits neatly into of what ‘The Guardian’s called her whimsical yet solicitous approach, and one that’s far more successful than its spec would suggest). In many artists this would seem to be a flaw – a shortage of the hunger, the self-assertion, the pushy pride which is needed to succeed.

I’d suggest the opposite – that Matshidiso’s artistic presence is one that’s absolutely caught up in the moment, too much so to have prioritised lumping her output down into artefacts or commodities. Her work is live, whether it’s in the concerts in which she improvises made-up-on-the-spot stories from the personal accounts of audience members, or the connection she makes with prisoners, the lost, the under-represented as part of work which goes beyond being an entertainer and engages itself with re-weaving music (with all of its connecting and healing qualities) back into the fabric of everyday life.



 

Opening the show is Leeds-based singer-songwriter and multi-instrumentalist Alice Phelps (who, with her full band, was delighting Daylight Music earlier in the weekend). Harpist, guitarist, pianist, violinist and rich grainy singer, Alice spins blues into folk, Irish, Chinese and otherworldly elements to create original songs and a full-bodied chamber pop. On this occasion, she’s on her own; but she’ll be back at the Green Note next month with a full ensemble of strings, harp and choir. For now, enjoy her songs in their simpler format.



 

* * * * * * * *

A few more familiar faces are showing up at the Green Note at around the same time. On 12th February, contemporary female folk ensemble Tell Tale Tusk, who work “spellbinding (and award-winning) vocal harmonies…around melodious instrumentals to reimagine folktales old and give light to folktales new” bring their harmonies and humour back to Camden Town for an evening of old and new songs. On 14th February, Alice Zawadzki – whose name has been scattered around these pages for her voice and/or violin work alone or with Sefiroth, Jamie Safir and others – presents a Valentine’s Day Special of known and unknown songs, covers and originals (assisted by dual cello improvisers Alice Purton and Shirley Smart). Or – if you fancy a different venue and a different blend of polycultural acoustica – then on 8th February Manchester world quintet Kabantu are launching their debut album down at Rich Mix in Shoreditch. Plentiful…




 

February 2018 – upcoming London folk etc. gigs at the Magic Garden – Emma Lohan and Lánre (4th February); Echo Trails and Alba&Leo’s Elsewhere Quartet (8th February)

27 Jan

Riffling through the music schedules at Battersea’s Magic Garden pub reminds me of my incurable habits and hopes as regards raiding the CD racks in charity shops. Though it’s not the place for tribute bands, per se, there’s a lot of cover and tribute music being played there – straight evocations of New Orleans funk, Latin jazz, folk-blues or Celtic sessions – but picking out something I really personally want, something a little more original or eclectically fused, is more hit-and-miss.

Thankfully, the Magic Garden’s a place I keep checking back on, since a few of those more original gems tend to show up and flourish there.

* * * * * * * *

Emma Lohan, 4th February 2018

Sunday Folk: Emma Lohan + Lánre
The Magic Garden, 231 Battersea Park Road, Battersea, London, SW11 4LG, England
Sunday 4th February 2018, 9.00pm
– free event – information here and here

February’s first Sunday sees the Magic Garden hosting the lovely bubbling folk-pop of Galway globetrotter Emma Lohan – her debut appearance at the venue, but one of an increasing number of recent wanders across the Irish Sea. Though she’s been billed variously as “Atlantic-folk meets ethno-pop” or “folk fusion that lies somewhere between sean nós and surf pop”, neither description quite does justice to what she creates: beautifully-constructed cloud-tossed songs imbued with the flicker of constant motion, which effortlessly blend together jigs, jazz, acoustic dreampop and palm-patter drawing on a palette of petal-skittering guitar, strings, kalimba, gently glowing hornwork and glockenspiel.

As to where it all comes from… well, there’s Irishness in the curve of her accent (and in some of the sessional lightness and fluidity to how everything fits together on the records), but in its wholeness her music embraces world funk, beach pop, psychedelic Balearic haze and uncoiling rhythms from South America, West Africa and Asia. Emma’s clearly the rolling stone which softly gathers everything.




 

In support is London-Afropean singer-songwriter Lánre, presenting an unplugged take on material from last year’s ‘Human’ EP and from nearly a decade of music making (including the band GK Real and songs which have seen her invited to perform in Paris). In the studio, she layers her simple, direct spiritual songs (many of them touching on the healing of black-girl wounds – beauty and worth, the straining for a sense of home) with rich blankets of ambient, post-gospel and choral-soul arrangement, sometimes stirring in a little country guitar or traditional Yoruba walking song. Live, whether playing solo or working with a band, African-American rootings show more clearly, seeming to touch on similar turf to Odetta or Erykah Badu, but also Toni Morrison and Arthur Lee.





 
* * * * * * * *

Echo Trails + Alba&Leo Elsewhere Quartet, 8th February 2018
Echo Trails + Alba&Leo’s Elsewhere Quartet
The Magic Garden, 231 Battersea Park Road, Battersea, London, SW11 4LG, England
Thursday 8th February 2018, 9.00pm
– free event – information here and here

Selling Echo Trails as being some kind of hopeful mashup of “epic groove and post-rock” is a massive undersell. Just because they’ve got a little Godspeed string thunder in them on occasion (and know a thing or two about old-school jazz’n’R&B propulsion) doesn’t mean that they’re one of those bands that milk the juice out of other genres and feed it into papery approximations.

A well-honed acoustic band is like a set of unhindered precision muscles, able to flex rhythms on the fly and dance in unexpected curves, and this is just such a band. Fronted by Dimitra Tzanakaki (a ballsy, smouldering Greek blend of Beth Gibbons, Tori Amos and Bette Midler) they’re a supple alliance of guitar, voluble double bass, viola and drumkit, the song undercarriage slipping easily from Mediterranean folk to psychobilly to a salsa set-to or to shedbashing Led Zeppelin thrills. Since their arrival in 2014 they’ve phased out keyboard and phased in pedalwork, enriching texture even as the instrumentation shrank: hence the post-rock tag, but there’s Schönberg, Piaf, Korn, Temper Trap, bebop and Hidden Orchestra tucked into their bag of influences along with Godspeed.




 
Back in their home country of Croatia, Alba Nacinovich and Leo Škec – trading as Alba&Leo – are already reknowned for being one of the best jazz-folk duos in the country. Having relocating to London last year from their hometown of Rijeka, they’re in with a good chance of getting the same reputation over here. Initially and deceptively a childlike presence, Alba turns out to have fiery focus, flexible tone, eclectic tastes and a laser-guided skill at everything from vocalise to pure pop; Leo is a dizzyingly skilled, mostly-acoustic-and-pedals guitarist with a mastery of percussive fingerstyle, quicksilver jazz runs and subtle electronic soundshaping. Tossing around terms like “augmented reality” like magicians’ scarves, they dip with equal verve into cover reinventions and original songs in both Croatian and English; while they’re still finding their feet with the latter, the music and the pattering, driving skills are already there. The quickest, laziest comparison is a junior, Slavic Tuck & Patti, minus the cheesecloth and cuddliness… but Alba&Leo won’t be junior for long.

For this gig, Alba&Leo are appearing in expanded and augmented form as The Elsewhere, a new quartet in which they’re bolstered by broad-based percussionist Sass Hoory (a specialist in Middle Eastern sounds) and polydisciplinary cellist Natalie Rozario (who’s drawing on a skillset that crosses theatre, jazz and opera). The show is part of an explosion of early-2018 Alba&Leo activity which includes a free evening with slow-jamming folk/R&B singer Breantonia and “love child of Sting and Edith Piaf” Miri at Borough’s Gladstone Arms on 3rd February, a duo gig upstairs at Ronnie Scott‘s on 30th January, and the actual debut of The Elsewhere at Harringay’s Jam In A Jar the following day on the 31st. I’ve got no Elsewhere clips, but here are some of Alba&Leo in assorted action…




 

May 2016 – upcoming London gigs – Naïm Amor and Keith John Adams up close in Fitzrovia (May 12th); Howe Gelb’s Piano Trio and Naïm Amor at Café Oto (May 13th)

6 May

Quick news of a snug gig piggybacked onto a larger tour…

* * * * * * * *

Shaun Hendry, Naïm Amor & Cyril Moya present:
“From Paris, Tucson”: Naïm Amor + Keith John Adams
The King & Queen, 1 Foley Street, Fitzrovia, London, W1W 6DL, England
Friday 12th May 2017, 7.30pm
– information here and here

Naïm Amor + Keith John Adams, 12th May 2017“Ahead of his performance the following night at Cafe Oto with Howe Gelb, Naïm Amor plays his first London show in nine years; and we’re delighted that he’s joined by a rejuvenated Keith John Adams.

“Naïm first started out on the Parisian underground punk scene before his (recently revived) Amor Belhom Duo act found their way out to Tucson, Arizona. Collaborations with Calexico followed, resulting in the ‘A.B.B.C. ‘ album and a Shane Meadows soundtrack appearance before Naïm went solo, working with John Parish (and pretty much the full Tucson A-Z of musicians) across a number of song based albums and his series of ‘Soundtracks’ collections.

“Last year’s collaboration with Calexico drummer John Convertino on the album ‘The Western Suite And Siesta Songs’ further enhanced his reputation; and 2017 finds him on tour both supporting and playing alongside Howe Gelb and his Piano Trio (with whom Naim guested on the album ‘Future Standards’, adding his delicate Django-esque guitar motifs).


 

“Keith is in that great tradition of artists (think Robyn Hitchcock) adept at coupling pop nous with sometimes seemingly off-centre lyrics that do not belie their astute insight on the human condition. Adored in the suburbs of Paris, where his music is the preferred soundtrack to a Sunday night session of anarcho-bingo; cherished by the good people of London and its radio station de choix… BBC 6Music, finding favour with the likes of Gideon Coe, Steve Lamacq and Stuart Maconie; and supported label-wise in the USA from Athens to Washington by way of Tucson, we are delighted to welcome him back for his first show on home turf in many a moon.”


 

Not that it was mentioned above, but some of you may remember Keith as the frontman and principal songwriter from art pop/prog/skiffle band Zuno Men, who had a delightful run of near-notoriety during the late 1990s…


 
* * * * * * * *

Meanwhile there are still tickets available for that aforementioned Howe Gelb show at Oto – so for anyone interested but still unbriefed, here’s the info…

Howe Gelb Piano Trio, 13th May 2017

Bird on the Wire presents:
Howe Gelb Piano Trio + Naïm Amor
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Saturday 13 May 2017, 7.30pm
– information here

“Let me set the scene – irresponsible lovers are canoodling in semi-lit booths, the jukebox is playing some old tunes by Frank and there’s some people over there who never want to fall in love again. It’s the last bar still open and the piano player mooches over to the battered grand. This guy, we know, is great. He expertly and succinctly slides in words like “iconoclast”, “apropos”, “tumult” and “ludicrous”, he even name checks Constantinople – that’s proper old school.

“For those celebrated guys who hit on the standards – Monk, Cohen, Bacharach, even Merle Haggard – Howe Gelb is creating new tunes with cathartic one-liners and malleable melodies that suggest any singer could interpret these dozen American piano ballads and take his offbeat worldview and make it their own. Who wouldn’t want to begin the beguine with the line “World peace declared, no problem spared…”?

“These are ‘Future Standards’ by The Howe Gelb Piano Trio, taking an outsider view of early gospel and rhythm-and-blues: both part of the American musical socialization that he touched on with 2006’s ‘Sno Angel’. Now he’s on a jazz-tinged trip, bending the genre, taking it back to his shack, giving an innovative fine tune in the lean-to garage.”


 

August 2016 – upcoming gigs – three-date British tour of saz balladry by Aşıq Nargile (plus choral fizz, oddrock and pedal steel strangeness from Tut Vu Vu, Muldoon’s Picnic and Heather Leigh – 2nd-4th); Hackney Colliery Band & Bring Your Own Brass kick off Borderless in London (2nd)

30 Jul

In between appearances at the WOMAD and Supernormal festivals, Georgian saz player and singer Aşıq Nargile is embarking on a three-date British microtour in August, calling in at points in Scotland, Yorkshire and London.

Aşıq Nargile

In case you’re looking at the picture and thinking (lazily) “another girl folk singer”, it’s worth noting that “Aşıq” is an honorific, not a forename. It denotes a particular type of traditional Georgian bard, multilingual and mobile, who travels through the country’s diverse regions as vessels for music, news, concepts and culture both old and new. (A little like a Caucasian version of a West African griot, although perhaps without the satirical upsetter elements).

Originally from the Georgian capital of Tbilisi, Nargile Mehtiyeva has carried the cosmopolitan traditions of her home town with her, but has chosen to base herself in the southern Borcali region. For the moment, she’s the only female aşıq at work there. A trilingual singer and player of the saz lute since her mid-teens, she’s now both a teacher of the traditional forms and (via the Sayat Nova initiative) an ambassador for Georgian culture. Her concerts involve interlocking musicality and literacy – a “vocal recital of epic folk poetry (in) Azerbaijani, Georgian, and Russian… by turns ecstatic and deeply expressive… interspersed with bursts of virtuosic, highly ornamented saz.” in the shape of “moving laments or upbeat folk dances.” For those who don’t speak any of those languages, the shows are still musically sensual experiences – propulsive and silvery cascades of wiry stringwork, accompanied by a vocal like an elastic lassoo and the stately assurance of someone backed up by a couple of thousand years of heritage.


 
Tour dates are as follows:

  • The Old Hairdressers, 23 Renfield Lane, Glasgow G2 6PH, Scotland, Tuesday 2nd August 2016, 7.30pm (supported by Tut Vu Vu + Muldoon’s Picnic) – information
  • Delius Arts & Cultural Centre, 29 Great Horton Road, Bradford, BD7 1AA, England, Wednesday 3rd August 2016…. (+ support act t.b.c.) – information here and here
  • The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England, Thursday 4th August 2016, 7.30pm (with Heather Leigh) – information

While the Bradford gig is solo, the Glasgow show sees Nargile playing as part of a splendidly adventurous and diverse triple bill alongside two very different Glaswegian groups who have next to nothing in common bar their musicality.

Despite their cosy and informal appearance, a name that comes from drunken Irish misadventure, a repertoire reaching from “the sublime to the ridiculous” and their emphasis on fun and friendship in singing, acapella group Muldoon’s Picnic unites a number of very dedicated and talented Glasgow-based singer and scholars. Its six or seven regular members (not least in-house arranger Katy L. Cooper) have already made their mark in a brace of other vocal ensembles – Trembling Bells spin-off Crying Lion, Glasgow Madrigirls, The Four Hoarse Men, Voicebeat, Voicemale, Sang Scule, and “barbershop-prog” group Honey & The Herbs – plus more church, chapel, cathedral, workplace and community choirs than you could shake a stave at. As for that repertoire, it embraces gospel, shanties, Scots ballads, English carols, Afro-American spirituals, sacred harp songs, Victorian parlour music and music hall songs and assorted pieces cast up and circulated by the world music movement. Where other choral groups dabble, this one delves. The songs are sung not just in English but in other tongues of the British Isles (Scots Gaelic, Cornish, Manx and Welsh) and further afield: Breton, southern African Sotho, Ugandan Luganda and eastern European languages (Bulgarian, Croatian and Georgian – in the latter’s polyphonic music, they touch base with Nargile.)


 

The third act on the Glasgow bill, Tut Vu Vu, play their dark-browed and looming electrophonic instrumentals in a cloud of disinformation. When someone compares them to Anaïs Nin and David Lynch and they claim that it’s all a misunderstanding; someone else mentions musique concrète and they respond with askance, amused looks. When given the chances to set things straight, they deliver misleading mission statements filled with science fiction technogabble about phased plasma and hydrogen sulphide. What’s demonstrably true is that they’re an alliance of Glasgow art-punks who’ve already been around a decade’s cycle of experimental groups – Iban Perez in The Sparkling Shadazz, Rags & Feathers and A Rhythmtic) Raydale Dower, Matthew Black and Jamie Bolland in rattling theatricalists Uncle John & Whitelock.

Expect something of an oblique and inscrutable wall between the quartet’s current work and their previous brainy trash-lungings. A band apparently in search of a new dialect (while drawing on assorted shredded utterances from Krautrock, Beefheart, ‘90s rave or ‘80s arsequake) a typical TVV track can be a bizarre collage of muffled falsetto wails and feedback drones, of layered tribal toms and analogue-synth bass-farts, of approaching-horns guitar shapes; all of which is cunningly and immediately sculpted for maximum enigmatic impact, rather than being tossed out of the speakers for someone else to sweep up.




 

In London, Nargile is playing a double header gig with Heather Leigh. One of the most unconventional pedal steel guitarists in contemporary music, Heather belies her traditional country music heritage (a West Virginia birth, a descent from coal miners) and instead reinvents both her instrument and her voice as a conduit for strange and ghostly improvisations. Aided by cruel amplifier tones and strange, skittering, instinctive hand techniques, her compositions emerge like spectral possessions of strings, pedals, larynx and language. Often touching on themes of trauma, abuse and hidden, subjective experience, Heather’s eerie and disturbing work has already led her to collaborations with Peter Brötzmann, Jandek, Thurston Moore and plenty of others since her emergence in the 1990s.




 
* * * * * * * *

August also sees the start of Borderless, a delightfully rambling live music series at Battersea Arts Centre running roughly parallel to the Olympic Games in Rio. Run in collaboration with GOAT Music (set up last year by former Roundhouse music bosses David Gaydon and Lou Birkett) it aim to showcase “the UK’s best homegrown talent and unique artists from around the globe, in the intimate and beautiful setting of the Council Chamber… Borderless will provide an alternative cross-cultural celebration. Samba to tropical beats, dance to Afrobeat legends, skank to reggae and let the new generation of jazz take you to another place. Break down the borders and shuffle your feet to global rhythms to hear the biggest tunes from all over the planet. We’ll also provide a platform for the freshest artists and exciting talent currently taking the UK by storm. Hear the artists sound tracking the underground scene, dominating the airwaves and paving the way for the alternative UK music scene.”

Glad to hear it. Bring it on. What do you have?

GOAT Music and Battersea Arts Centre present:
Borderless: Hackney Colliery Band + Bring Your Own Brass
Battersea Arts Centre, Lavender Hill, Battersea, London, SW11 5TN, England
Tuesday 2nd August 2016, 8.00pm
information

Hearing about Hackney Colliery Band initially caught me between hackles and chuckles. For a moment, I thought it was about taking the piss out of a great and still-living industrial British art form while cynically attempting to replace it. After all, when there are still genuine colliery bands maintaining the tradition across old mining heartlands from Tyneside to Derbyshire, Shropshire to Leicestershire and the Rhondda Valley (and dotted across the Yorkshire pitscape from Grimethorpe to Dinnington, Frickley to Queensbury) why would you want to substitute them with a slick London parody? On the other hand, my sense of the absurd soon kicked in – since Hackney’s been sprouting all kinds of cartoonish artisan features for the past decade (from craft beer to boutique muffins and shoes), why not an ersatz coal mine?

As it happens, HCB have got little to do with any of this. The name’s a little dab of post-modern British showbiz and the band (excellent, by the way) don’t stick to the grand dignity and mournfulness of colliery music, being more of an omnivorous brass beast immersed in and rejigging a variety of horn-party traditions from jazz, r&b, funk and others, including New Orleans tunes from both fun and funerals. Much the same can be said of the support act, Bring Your Own Brass – a band who, as “up-and-coming brass hip-hop ripsnorters”, have been known to parp out a Rakim cover or two. If this makes them sounds like a novelty act, they aren’t. Sound and vision reveal them to be well-scrubbed, well-studied white disciples of a wide span of styles, clambering over Afrobeat, rap, funk and marching-band ideas with head-bopping panache.

Recently, both bands seem to have cornered the market in boutique festivals and showbiz event (between them they’ve got Olympic Games and Brit/Mercury award appearances under their belts, as well as shows at Ally Pally, with slots at Wilderness, Stow and Meatopia to come later in August for BYOB and a hefty European tour for HCB). HCB’s previous set at the MOBO awards suggests that they can impress at a formal roots level as well, unless it was a case of contacts trumping authenticity. Just as long as bands like these aren’t crowding out bands like Kokoroko; although BYOB’s teamup with Bristolian rapper and slam poet Solomon O.B (see below) suggests that, as far as fellow musicians are concerned, there aren’t any practical or philosophical problems.



 

March 2016 – upcoming gigs – Charles Hayward at The Harrison with Chadrak Masenga, Will Campos and LawrenceJCP

21 Mar

A quick reminder of a midweek London gig featuring an art-music legend in his mid-sixties (who’s currently in the midst of one of the biggest burst of creativity in his career) and a collection of unknowns nudging at the start of their twenties, if that…

Westking Music present:
Charles Hayward + support
The Harrison, 28 Harrison Street, Kings Cross, London, WC1H 8JF, England
Wednesday 23rd March 2016, 7.30pm
more information

Some background info follows (the usual mash-up of press release bolstered by web dredgings):

Charles Hayward, 2016“Westking Music welcome back the wonderful Charles Hayward to the intimate setting of the Harrison. Ever-evolving and hugely innovative, Charles never fails to delight at his shows. This will be a lovely opportunity to see him perform in the close confines of a little basement in Kings Cross.

Hailed by ‘The Wire’ for his “unwavering belief in the power of the groove and an uncanny facility for generating one riff after another” and by ‘The Sound Projector’ for his “telepathic magic”, Charles has been active since the early 1970s. First coming to notice as a member of Phil Manzanera’s pre-Roxy jazz-prog outfit Quiet Sun, he went on to spend the second half of the ‘70s as the drummer with pioneering experimental rockers This Heat and most of the 1980s in avant-prog quartet Camberwell Now (both of which, in their work with dissonant complicated riffs, tape techniques and deconstructions laid significant groundwork for a host of experimental musicians including Sonic Youth, Swans and Animal Collective. Charles and his onetime This Heat collaborator Charles Bullen finally returned to full collaboration this year via their This Is Not This Heat ensemble, in which they’ve been joined by Thurston Moore, Chris Cutler, Daniel O’Sullivan of Guapo/Ulver/Grumbling Fur etc., James Sedwards of Nøught, Hot Chip’s Alexis Taylor and a shifting cast of plug-in musicians. Having launched with a couple of concerts at Café Oto in February, they’re performing again in June at the Barbican with a ensemble of up to eighteen players.

“Other band work involving Charles (who sings and plays clarinet, keyboards and tapes as well as drums, sometimes in tandem) includes stints with Massacre alongside Bill Laswell and Fred Frith, with Blurt and – very briefly – with Crass, as well as key post-punk recording sessions with Lora Logic, The Raincoats and Everything but the Girl. As a free agent, he has been the progenitor of an ever-growing list of solo albums and concerts CDs plus a multitude of special collaborations. Throughout the ‘90s up until the present day he has initiated a bewildering array of events and performances, including the widely acclaimed series ‘Accidents + Emergencies’ at the Albany Theatre; Out of Body Orchestra; appearances at Yumi Hara’s Bonobo’s Ark evenings; music derived from the sound of the new Laban dance centre under construction which was then choreographed for the building’s official opening; music for a circus (part of the National Theatre’s ‘Art of Regeneration’ initiative); and the full-on installation/performance Anti-Clockwise (conceived with Ashleigh Marsh and David Aylward for multiple strobes, a maze structure of diverse textures, two drummers, synthesizers and the listener’s own nervous system).”

Support will be in the form of three up and coming young musicians: Chadrak Masenga (an accomplished “acrobat drummer”), rapper/songwriter Will Campos, and rapper/singer LawrenceJCP (who specializes in gospel and Afrobeat). All three musicians have church music backgrounds, and all three are finalists on the Westminster Kingsway College music course: their performance slots (in which they’re backed by their own bands) are counting as solo performance assessments towards their course marks.

Looking back at those details again, this does seem like one of the oddest gigs I’ve previewed on this blog. There’s nothing unusual in a concert bill full of complicated art-music upsets, or in graduation shows, and there’s nothing unusual in a bill of smoother music topped by a well-polished guest of honour. Mashing the three situations together, however, is not so predictable. I wonder what they’ll all be learning from each other?

* * * * * * * *

More gig news to follow as we move towards the end of March…
 

…and another (Arch Garrison & Lisa Doscher, October 3rd)

29 Sep

…and this would have been in the previous post about first-week-of-October gigs had I found out about it sooner. For a while now, I’ve been a fan of Tigmus‘ portable crowdfunding formula for making gigs happen, so it’s good to be spurred into plugging one such gig – especially since it features Arch Garrison (whose wonderful second album gained an extensive ‘Misfit City’ review last year) and takes place in such an unusual location…

Arch Garrison +Lisa Doscher, October 3rd 2015

Arch Garrison + Lisa Doscher (Tigmus @ Garrick’s Temple to Shakespeare, Hampton Court Road, Hampton, London, TW12 2EN, UK, Saturday 3rd October 2015, 7.00pm) – £10.00

Over to Tigmus:

The second concert in our autumn series at the Garrick Temple to Shakespeare features the beautiful sounds of Arch Garrison and Lisa Doscher.

Having garnered much critical acclaim for his larger-scale compositions and songs with North Sea Radio Orchestra, Craig Fortnam also writes and performs in singer-songwriter mode, alongside James Larcombe (NSRO/Stars in Battledress/William D. Drake) on keyboards as  Arch Garrison, who have released two albums; ‘King of the Down’ (2010) and the latest work ‘I Will Be A Pilgrim’ (2014).

‘…Pilgrim…’ details Fortnam’s attachment to the chalk downland of Southern England; a landscape criss-crossed with ancient trackways, droves and green lanes, and dotted with Neolithic mounds and barrows, evidence of the Great Stone Culture – all calling him to pull on his walking boots, whistle for the dogs and hit the road, to undertake a pilgrimage to nowhere. He walks the ancient paths as an act of connecting to something intangible but present in the marks left by man, be they burial mounds or pylons – it’s all the same really – all grist to the songwriting mill – walk walk hum sing walk…

Originally from New Hampshire, USA, but now settled in Oxfordshire, England, Lisa Doscher creates soulful vocals with lovely cosy harmonies. Indie-folk peppered with gospel, Americana and urban rhythms; uplifting songs from the heart and soul-powered rhythms for sharing around the campfire and joining in. In her first full-length album, aptly titled ‘Return Home’, she charts her last ten years of diverse musical experience with introspective songwriting and her atmospheric alt-folk sound. The songs each provide a landscape for some discovery that is essential for understanding one’s place in the world.

Garrick’s Temple to Shakespeare is a small garden folly erected in 1756 on  the north bank of the River Thames at Hampton, London. It was built by the actor David Garrick to honour the playwright William Shakespeare, whose plays Garrick performed to great acclaim throughout his career. After a campaign supported by distinguished actors and donations from the National Lottery’s “good causes” fund, it was restored in the late 1990s and reopened to the public as a museum and memorial to the life and career of Garrick. It is reputedly the world’s only shrine to Shakespeare.

Up-to-date info on the gig is here, and tickets are available here.

ATTN:Magazine

Not from concentrate.

Xposed Club

improvised/experimental/music

I Quite Like Gigs

Music Reviews, music thoughts and musical wonderings

Make Weird Music

Because 4 chords aren't enough

A jumped-up pantry boy

Same as it ever was

PROOF POSITIVE

A new semi-regular gig in London

We need no swords

Static and debris. Skronk and wail. This is music?

:::::::::::: Ekho :::::::::::: Women in Sonic Art

Celebrating the Work of Women within Sonic Art: an expanding archive promoting equality in the sonic field

Ned Raggett Ponders It All

Just another WordPress.com weblog

Headphone Commute

honest words on honest music

Yeah I Know It Sucks

an absurdist review blog

Pop Lifer

Waiting for the gift of sound and vision

Archived Music Press

Scans from the Melody Maker and N.M.E. circa 1987-1996

The Weirdest Band in the World

A search for the world's weirdest music, in handy blog form

OLD SCHOOL RECORD REVIEW

Where You Are Always Wrong

Fragile or Possibly Extinct

Life Outside the Womb

a closer listen

a home for instrumental and experimental music

Bird is the Worm

New Jazz: We Search. We Recommend. You Listen.

Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

eyesplinters

Just another WordPress.com site

FormerConformer

Striving for Difference

musicmusingsandsuch

The title says it all, I guess!

songs from so deep

Songs and sound. Guitars and stuff.

%d bloggers like this: