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November 2019 – Daylight Music 2019 autumn season continues – Bex Burch with Beanie Bhebhe and Tom Herbert, Çiğdem Aslan & Tahir Palalı, Maria Chiara Argirò & Jamie Leeming (2nd); New Music from Wales with Gareth Bonello, Toby Hay, Georgia Ruth, Accü and Richard James (9th); jazz strands with Nils Økland, Kaidi Akinnibi & Lorenz Okello-Osengor, Helena Kay & Sam Watts (16th) and with Jherek Bischoff, Robert Stillman & Anders Holst and Rosie Frater-Taylor (23rd); Matthew Bourne’s vocal showcase with Seaming To, Keeley Forsyth,Polly Gone Wrong, Andrew Plummer and Dorothy Lehane (30th)

27 Oct

Daylight Music 10, 2019

Moving into its final half, the Daylight Music autumn 2019 season reaches November with a selection of duo/trio encounters (both longstanding and spontaneous), October Daylight’s piano star Matthew Bourne returning to curate and direct his own positional/vocal-orientated event, and an afternoon of current Welsh music.

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Daylight Music 320, 2nd November 2019The first of the gigs, on 2nd November, involves a number of collaborations. The headlining ensemble is a trio put together by percussionist Bex Burch, a specialist in the gyil (or Ghanaian/Dagaare xylophone) and the bandleader for the Ghanaian minimalist/jazz/post-punk group Vula Viel. She’s picked “soulgaze” drummer Beanie Bhebhe (whose roster of colleagues and employers across dance, funk, indie and dream pop includes Rudimental, Bastille, Paloma Faith and Action Beat) and former Polar Bear bassist Tom Herbert.

Bex says “I wanted to curate a band to play together for the first time. Tom is a bassist I’ve known since watching Polar Bear as a teenager, and we will both be meeting Beanie for the first time on stage. I’m excited to play with two incredible voices in the U.K. scene. This will be a one-time performance: the music that comes through never to be heard again.”



 
Three Strings & Two Breaths is the duo of Çiğdem Aslan (voice and frame drums) and Tahir Palalı (Turkish kopuz and bağlama lutes). They focus on Alevi songs from Anatolia – mostly songs of love and mysticism from the fourteenth to the twentieth century.

“As a belief system, the Alevi path is based on love and respect for all people, attitudes, knowledge, sharing and science. Oral tradition is directly relevant… an important source of Alevi beliefs and thoughts are the mystical poems and musical ballads (deyisler, nefesler) that have been passed down from generation to generation, many of which have not been recorded in writing. Alevis believe that one must respect and have knowledge of nature, and the principles of love, tolerance and humanism are significant to Alevi philosophy.


 
“A meeting of kindred spirits, the music of pianist Maria Chiara Argirò and guitarist Jamie Leeming is a dialogue between two unique artists inspired by jazz, Latin, classical and folk music. At the heart of the duo is a vibrant sense of spontaneity, which embraces the myriad of colours, textures and sounds they create between them. Combined with free improvisation and an intuitive level of interplay, each performance is a one-off experience. They will be presenting music from the upcoming duo album entitled ‘Flow,’ which will be out in 2020.”


 
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The 9th November concert provides “a rare opportunity to hear new music inspired by the landscape and culture of Wales. Expect an afternoon of carefully crafted pieces that blur the boundaries between contemporary Wales and the otherworldly delights of Annwn.

“Based in Cardiff, Gareth Bonello is and has performed for over a decade under the stage name The Gentle Good. Known for his intricate guitar playing and captivating acoustic arrangements, Gareth was awarded the Welsh Music Prize in 2017 for his fourth album ‘Ruins/Adfeilion’. This concert sees him working in a new trio project with fingerstyle guitarist Toby Hay and singer/harpist Georgia Ruth.



 
“Toby writes beautifully evocative instrumentals that instantly transport the listener to the mountains and rivers of mid Wales. Twice nominated for the Welsh Music Prize, Toby has toured the UK and Ireland extensively over the last few years and has built a reputation as a captivating live performer. Georgia is a songwriter and musician from Aberystwyth in West Wales. A skilful harpist with a voice of silver, Georgia collaborated with the Manic Street Preachers on their ‘Futurology’ album and was awarded the Welsh Music Prize for her debut album ‘Week Of Pines’ in 2013.”



 

Also performing is “half-Dutch, half-Welsh singer-songwriter Angharad Van Rijswijk, a.k.a. Accü (who) has been involved in production since her teens and collaborated with writer and comedian Stewart Lee, Cornershop, and Richard James, as well as producing a collage radio series for the BBC. In her music, she brings together a love of production and a turbulent approach to song-writing – which earned her debut album ‘Echo The Red’ the title of ‘Welsh Album of The Year’ by Wales Arts Review. She will be joined at Union Chapel by long-time collaborator and exceptional Welsh songwriter Richard James (formerly of Gorky’s Zygotic Mynci).”


 
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The next two Daylights are being done in collaboration with the EFG London Jazz Festival and present various Daylight-friendly spins on jazz and improvisation.

Daylight Music 322, 16th November 2019On the first of these two shows, Norwegian Hardanger fiddle player Nils Økland will be playing “instrumental melodies (which) will react and resonate with the chapel’s nineteenth-century space, taking us on a hushed, deep journey far beyond our resting place in the pews.” From Tomorrow’s Warriors, improvisers Kaidi Akinnibi (saxophone) and Lorenz Okello-Osengor (piano, keyboards) “constantly search for new inspiration, as can be seen in their recent collaboration with the Urdang dance company. They will for the first time incorporate the chapel’s Henry Willis Organ.”




 
Opening the show, saxophonist Helena Kay and pianist Sam Watts “marry their wildly eclectic backgrounds and influences and give us an opportunity to eavesdrop on a conversation between their two instruments.”



 
On the second show, Jherek Bischoff will be headlining: “a Los Angeles-based composer, arranger, producer, and multi-instrumental performer whose numerous collaborators include the likes of Kronos Quartet, David Byrne, Neil Gaiman, and Robert Wilson. Bischoff is currently composing music for two new theatre productions and scoring for film and television. His most recent album Cistern, released on the Leaf Label, contains a suite of string-drenched instrumentals.”

Daylight Music 323, 23rd November 2019

One of the latter, from a previous Daylight Music visit, is showcased below.


 
Also on the bill, the performance of saxophonist Robert Stillman and 12-string guitarist Anders Holst “will draw upon the chapel’s resonant acoustics as a platform for their own works alongside those of Ornette Coleman, John Fahey, and Moondog”. Rosie Frater-Taylor (singer-songwiter, jazz guitarist and ukuleleist) will provide lapping, warm, skilful songcraft to warm everyone up.




 
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Daylight Music 324, 30th November 2019Much is made of the Union Chapel’s terrific acoustics: pianist and improviser Matthew Bourne (relatively fresh from his recent Daylight collaboration with Keith Tippett) is intending to make full use of them on the 30th November when he presents his “voix outré” project of handpicked collaborators, stationing them at different points throughout the building (to present a concert that’s as much about sound spacing as the notes produced) while acting as both audience guide and artist accompanist.


 
Seaming To is a composer, vocalist and multi-instrumentalist who has performed and recorded with Robert Wyatt, Jean Claude Vannier, Punchdrunk, Leila, Leon Michener, Larry Goves, Snack Family and Matthew Bourne. She has studied opera at the Royal Northern College of Music and began her career as part of Manchester supergroup Homelife and Graham Massey’s Toolshed.


 
Keeley Forsyth is a composer, singer and actor from Oldham. Built upon sparse arrangements, her music is centred around a singular, emotionally raw and magnetic vocal delivery, by turns devastating and uplifting. The characters who populate her songs tell stories of the high and low tides; of freedom and entrapment, of hard won triumphs and the darker corners of domestic life.

 
Polly Gone Wrong is an all-female vocal trio singing original songs baked with folk, blues, elements of playful obscurity, and close harmonies. Sometimes they are accompanied by a saw, a bass, a drum, or even beatboxing; sometimes they’re just three female voices in harmony and unison.


 
Andrew Plummer is a vocalist, guitarist and composer-producer from Exeter, Devon. Plummer has been the creative force – composing, performing and touring nationally, producing nine albums under his own name, with his musical leviathan World Sanguine Report and with Snack Family (the avant-rock trio co-founded in 2011). He draws on a wealth of influences and pens music that reinterprets musical genre, loaded with visceral tales from the dark side of life, love and death.



 
“Poet Dorothy Lehane (the author of three poetry publications and a Lecturer in Creative Writing at the University of Kent) will read selected sonnets from her latest publication, ‘Bettbehandlung’.”

 
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All gigs are at Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England, with a suggested donation of five pounds. Dates below:

  • Daylight Music 320: Bex Burch/Beanie Bhebhe/Tom Herbert Trio + Three Strings & Two Breaths + Jamie Leeming & Maria Chiara Argirò – Saturday 2nd November 2019, 12.00pm – information here and here
  • Daylight Music 321: Atsain Priddin: New Music from Wales (featuring Toby Hay + Georgia Ruth + Gareth Bonello + Accü) – Saturday 9th November 2019, 12.00pm – information here and here
  • Daylight Music 322: EFG London Jazz Festival (featuring Nils Økland + Kaidi Akinnibi & Lorenz Okello-Osengor + Helena Kay & Sam Watts) – Saturday 16th November 2019, 12.00pm – information here and here
  • Daylight Music 323: EFG London Jazz Festival (featuring Jherek Bischoff + Robert Stillman & Anders Holst + Rosie Frater-Taylor) – Saturday 23rd November 2019, 12.00pm – information here and here
  • Daylight Music 324: Matthew Bourne presents ‘voix outré’ (featuring Dorothy Lehane + Seaming To + Keeley Forsyth + Polly Gone Wrong + Andrew Plummer) – Saturday 30th November 2019, 12.00pm – information here and here

More on the last two DM gigs of the year will be posted up closer to December…
 

October/November 2019 – upcoming London classical gigs – ‘Venus, Women And The Guitar’ (27th October); Emily Howard curates ‘Ada Lovelace: Imagining The Analytical Engine’ (2nd November); Echo Collective present Jóhann Jóhannsson’s ’12 Conversations with Thilo Heinzmann’ plus Félicia Atkinson (3rd November)

21 Oct

‘Venus, Women and the Guitar’, 27th October 2019As part of London Guitar Festival 2019, the International Guitar Foundation presents ‘Venus, Women and the Guitar’ towards the end of October. A concert celebrating women’s relationship with the guitar, and featuring a wide roster of performers including many significant current female classical guitar players, it also showcases an entire programme of guitar compositions by women.

Of the two main composer contributors, Errollyn Wallen has written plenty of works for guitar over the past two decades as part of a career which includes seventeen operas, music for television and assorted works for chamber instrumentation and large-scale ensembles (as well as a musical willingness to explore both standard classical settings and experiments with tape, placement and other media, plus continual rearrangements of the ideas of how we think about music and its intersections with a broader, more diverse culture).

In addition to the IGF-repertoire Wallen pieces which are being played, she’s contributed two new commissions/premieres. The Housden-Tarlton Duo will be performing ‘Two Guitars’, while Tom KerstensG Plus Ensemble (a two-guitar, string quartet and percussion group, eschewing piano parts in favour of “the unique combination of the guitars’ quickly decaying plucked sounds, the sustained bowed string sound (and) a wide range of vibraphone, marimba and other percussion sounds”) will be performing ‘Road to Strathy Point’. As regards the repertoire pieces, Tom Kerstens returns later in the program to perform the solo Wallen piece ‘Canciones’ while up-and-coming classical guitarist Shannon Latoya Simon will perform a triptych of ‘Three Ships’, ‘Walking Me To Work’ and Night Passage’ (meanwhile, here are the Kerstens versions of a couple of these).



 
The other dominant composer of the evening, Laura Snowden, hasn’t been working for nearly as long but her career’s already moving from strength to strength. Also reknowned as an exceptional and versatile performer on guitar, she’s been described by ‘Classical Guitar Magazine’ as “linking guitar’s past, present and future” and will be performing her own solo piece ‘Anpao; L’étoile et la Rose’.


 
As regards her other pieces, the Mēla Guitar Quartet (Matthew Robinson, George Tarlton, Daniel Bovey, Jiva Housden) will play ‘My Clock Is Broken’ (which they premiered at the Purcell Room earlier in the year); VIDA Guitar Quartet (Mark Eden, Mark Ashford, Amanda Cook, Christopher Stell) will be joining up with concert saxophonist Amy Green to perform ‘Light Perpetuum’; and two VIDA members will be returning in their other configuration as the Eden Stell Guitar Duo to play ‘Damn everything but the circus!; The Snow Globe’.


 
The work of five other female composers will be performed as part of the concert. VIDA’s Amanda Cook will team with violinist Liz Cooney for Effy Efthymiou’s ‘Two Reflections’ of which “(the) elliptical movement and improvisatory feel are designed to create a seductive ambience – almost like being in a dream. The lilting phrases move easily from one time signature to the next, producing a free flow of sound and a subtle feeling of repose. Light interweaving melodies rotate with rough, percussive sonorities to evoke the whole spectrum of feelings that one might experience through reflection.”

Rather magically, Effy is half of a mutually supportive duo of composing twin sisters, along with Litha Efthymiou, and the two compose both together and apart. Litha, too, is represented in this concert. Her piece ‘States Of Ice: Diamond Dust’ (like ‘Two Reflections’, originally a 2012 IGF commission) will be performed by Johan Löfving. It’s “a poetic representation of the ice phenomenon “diamond dust”… its light, ponderous beginning exploits the guitar’s delicate timbral qualities, while the second, more aggressive section is quite percussive in texture, depicting the full gamut of elements that constitute this elusive state of ice.”

Johan will return with his Flauguissimo Duo partner, flautist Yu-Wei Hu, to play another previous IGF commission, Charlotte Bray’s ‘Here everything shines’ (apparently “largely inspired by Cesaria Evora’s ‘Petit Pays’, sung in Cape Verdean Portuguese. The title comes from the translation of the line ‘ki ca ta brilha’, an idea which resonates throughout. A gritty and impassioned fast section opens the piece, the non-stop flute/violin line dashing around being punctuated by stabbing chords on the guitar/piano. The intensity grows until a lush slow section takes over, the melody singing vibrantly over an arpeggiated figure. Similar material to the opening then returns in an extended version, with the piano taking on the fast energetic figure and violin interrupting. Expressive and very free, a quiet section follows. The pace slows and lines glimmer as if caught by rays of sun bouncing off the ocean. Abruptly, the opening material intervenes one final time, with the lively melodic line heard once again in the flute/violin part, the guitar/piano seemingly edging it on.”)

Opening the concert, G Plus Ensemble will be playing Anna Meredith’s ‘Spook (for string quartet, guitar and marimba); and finally, there’ll be another premiere. Kevin Daniel Cahill (G Plus Ensemble’s other guitarist, and a passionate musical emissary and fosterer in his own right) has commissioned and will be performing a Ninfea Cruttwell-Reade piece called ‘Wallflower’. Unlike the evening’s other pieces – resolutely acoustic – this one will feature electric guitar and electronic looping (perhaps capturing in its sonics Ninfea’s love for composing for “old, new, and damaged musical instruments.”)


 
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At Milton Court on 2nd November, as part of the Barbican’s ongoing Life Rewired season, composer Emily Howard will curate ‘Ada Lovelace: Imagining the Analytical Engine’, an afternoon which she devised as “an uncompromising musical tribute to a woman who united the worlds of 19th-century romanticism and cutting-edge science… thinker, computer pioneer and enchantress of numbers…”

The concert will combine words and music to offer a post-millennial perspective on the legacy and achievement of the woman often considered to be one of the world’s first computer programmers and a considerable Victorian mathematician, as well as someone who enthusiastically united the concepts of maths, music and poetry. The Britten Sinfonia and mezzo-soprano Marta Fontanals-Simmons will be performing various specially commissioned works of “scientifically inspired music by Howard and her contemporaries plus music created by artificial intelligence written in tribute to Lovelace.”

‘Ada Lovelace: Imagining the Analytical Engine’, 2nd November 2019

As well as a brand-new Howard world premiere (which I can’t find anything on, but which, under the circumstances, you can expect to be replete with involved and enthusiastic scientific or mathematical references, as much of her other work is), there’ll be a performance of her 2011 speech-song work ‘Ada Sketches’ (for mezzo, flute, clarinet and percussion, with a libretto by Laura Tunbridge in which Lovelace dreams of Babbage’s Difference Engine producing notes instead of numbers).

 
There will also be world premieres of new works by sound artist/composer Patricia Alessandrini, by composer and turntablist Shiva Feshareki, and by Royal Northern College’s PRiSM Team directed by Emily Howard and on this occasion led by Robert Laidlow. There’s not much news or commentary on these either, yet; but you can expect further intersections of orchestral playing with contemporary technology, and with scientific motifs and themes.

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On 3rd November – also at Milton Court – Belgian ensemble Echo Collective will perform the late Icelandic composer Jóhann Jóhannsson’s ‘12 Conversations with Thilo Heinzmann’.

Unfinished at the time of Jóhannsson’s death last year (although an earler or work-in-progress version does seem to have been performed at Conway Hall three years ago), and exploring “arts, politics and unity” and “the communal transfer of artistic ideas beyond borders”, this string quartet piece was inspired by four years of dialogue with Jóhannsson’s friend and German painter Thilo Heinzmann (a sensual minimalist who works with more reluctant materials than most such artists – including unbound pigment, absorbent cotton, styrofoam, fur and porcelain as well as bursts of feather, fossil or other found and planned-in objects – with the aim of expanding technique and of raising the textured work off the flat plane of the canvas to present its details in a more three-dimensional manner). Unusually for a Jóhannsson piece, it doesn’t incorporate electronics, drones or treated instruments; instead relying on the unadorned strings alone.

The work was finished by the Echo Collective under leaders Neil Leiter and Margaret Hermant. Reviewing their studio recording in ‘The Guardian’ last month, John Lewis noted that “the spartan setting often enhances the grave, stately beauty, particularly when Jóhannsson starts to invokes early music. ‘Shell’ resembles a Bach partita played in ultra-slow-motion; ‘Low’ sounds like a Gregorian chant transcribed for strings; ‘Lacrimoso’ is a heartbreaking, Vivaldi-like canon. There are a few moments where Jóhannsson hints at complexity – the baroque waltz ‘Danse’ sees him shifting time signatures to disconcerting effect – and it’s tempting, if a little depressing, to imagine how he might have developed and matured in this setting.”




 
Opening the concert will be French electro-acoustic musician Félicia Atkinson. Previously known as Je suis le petit chevalier, her own compositional voyage was originally rooted in sculpture and visual arts: it has built up from her quiet near-ambient early albums based around guitar and Rhodes electric piano to more detailed and demanding works involving (according to lastmusic.fm) “concrete music, ASMR voices, minimal electronics, field recordings, improvisation with guitar and piano, abstract distortions and infra basses, always held by a strong sense of musical harmony… The problematics of sound installation, multichannel diffusion, and performance are starting to play a key role in her musical practice.”

 
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Dates:

International Guitar Foundation & Kings Place present:
Errollyn Wallen & Laura Snowden (Venus, Women and the Guitar)
Hall Two @ Kings Place, 90 York Way, Kings Cross, London, N1 9AG, England
Sunday 27th October 2019, 3.00pm
– information here and here

Ada Lovelace: Imagining the Analytical Engine
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England
Saturday 2nd November 2019, 6.30pm
– information here and here

Echo Collective: 12 Conversations with Thilo Heinzmann
Milton Court Concert Hall @ Guildhall School of Music & Drama, 1 Milton Street, Barbican, London, EC2Y 9BH, England
Sunday 3rd November 2019, 7.30pm
– information here and here
 

October 2019 – upcoming London rock, pop, noise, dancetronic gigs – Hurtling, Stephen Evens and Junodef (17th October); Gum Takes Tooth and Hyperstition Duo (18th October); Bunny Hoova, Gribs, J.B. Glaser and Halfs (18th October)

8 Oct

Hurtling + Stephen Evens + Junodef, 17th October 2019

Alt-rock trio Hurtling (fronted by My Bloody Valentine tour noisemaker Jen Macro) have a debut record to offer you – ‘Future From Here’, on Onomatopeia Records – and are launching it at north London’s The Islington in the middle of October. Their sound’s relatively easy to peg – post-Pixies, post-grunge, post-dreampop – but difficult to dismiss. There’s a full cupboardful of familiar indie rock ingredients to hand, but all reshuffled and re-examined via Jen’s particular perspective and inspired by the disorientations of touring, the displacement of emotions, the waywardness of health: the bumps and setbacks of a bright, questioning human organism pushed into too much motion. Sometimes, despite the noisy ethic, it’s surprisingly gentle; sometimes sludgy guitar parts pile up like rainbow cement ooze; sometimes it’s all about the vocal harmonies.



 
Once upon a time, most of Hurtling were part of cunningly witty indie/artpop sloggers stuffy/the fuses, and their glowering former employer (and current Onomatopeia labelmate) Stephen Evens is also on hand for the evening: ostensibly in a support slot, but probably to keep a dyspeptic jaded eye on them and to crush their remaining youthful dreams beneath his tapping boot. He’s playing solo – probably with guitar, microsynth and anything else portable which he fancies and which comes to hand – and is still working his own 2017 debut album, ‘Bonjour Poulet’. Which is fine, since it was excellent: a mordant larderful of creaky treats which revealed themselves to be gappy armour-plate wrapped around a surprisingly tender heart. He’ll probably give you all that sardonic, seen-it-all expression: actually, he’ll be pleased to see you.



 
London-based Swedish “post-death music” quartet Junodef fill the other support slot. Their debut single, a soft-strummed slice of spectral folk with additional Gothic guitar boom and the bleakness of a death metal song, was called Make You Die. Subsequent work hasn’t travelled too far from those initial emotional roots, although they’ve toyed with spooky progressive rock keyboards, acid rock shadings and lingering dark-country embellishments (the latter suiting both the paired vocals of Tyra Örnberg and Karin Grönkvist and their admiration for Emma Ruth Rundle and Chelsea Wolfe).

More recently Junodef have been feeding in noirish elements from trip-hop and droning electronica, citing inspiration by Portishead and Young Fathers. At the same time, they’ve upped their Bad Seeds clang and their clarity and put greater emphasis on their visual work, resulting in their most vividly fleshed-out songs and atmospheres yet. Don’t expect floppy Goth ragdolls: this band has a tough core, and a storytelling streak that’s just beginning to come into its own.



 

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Gum Takes Tooth + Hyperstition Duo, 18th October 2019In the same week, on the following day, relentless psychedelic noise-fosterers Baba Yaga’s Hut are putting on a Bethnal Green gig for block-party-inspired thunder-twosome Gum Takes Tooth. Singer/electronic bombardier Jussi Brightmore and wired-up drummer Thomas Fuglesang have been at this for a decade now, producing a music that’s
grinding and urgent, slow yet filled with unnerving impetus.

As with plenty of British acts on the weird/occult cusp, Gum Takes Tooth are fascinated by ritual (attempting to initiate it in both their recorded output and, more significantly, in their live performances) and with the jarring subconscious impact on the human animal from the mechanisms of technology, hierarchy and blunt cultural forces which surround us. Their last record, ‘Arrow‘, focussed on London gentrification from the perspective of those squashed under or flicked aside by its well-heeled, well-polished bespoke shoes; and on the savage simultaneous pressures from above to indulge the inner beast in competition, in nationalism, in a fracturing of common responsibility and empathy. While writing ‘Arrow’, Jussi saw all of this as a kind of cultural intoxication with the emphasis on toxic: it gave the duo a musical and moral focus which they’ve pursued ever since.



 
A couple of years ago, open-minded Sheffield Afrobeat/noise/dance-pop combiners Blood Sport called it a day. Two-thirds of them – drummer Sam Parkin and guitarist/Octatracker Alex Keegan – have since resurfaced as Hyperstition Duo, a blistering stew of kit-rattles and synth noise smudging and battering the line between live gig and avant-garde DJ electronica. They’ll be supporting Gum Takes Tooth on this occasion: but where the headliners favour slower pace and a ritual weight, the Hyperstitioneers prefer a break-neck-speed informational barrage.

At the end of this past summer, Hyperstition Duo released their debut EP ‘Virotechnics‘. There’s the usual jargonated hype to go with it – “summoning egregors of the Anthropocene, (they) plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement… templexing, möbius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.” For once, the texture of the press release – a plunge into lathering, urgent verbalisation – actually fits the texture of the music.



 
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Overlapping the Gum Takes Tooth/Hyperstition Duo concert, Ben Vince’s south-east London clubnight Ellipsis (blending strands and clumps of experimental dance and experimental pop) ventures up north to Dalston on the same night for an evening of seamless switching between stage and DJ deck. I’ve not encountered Ellipsis before, but I’m impressed with what I’m finding out now.

Bunny Hoova + Gribs + J.B. Glaser + Halfs, 18th October 2019

To headline this time, Ben’s enticed the perplexing Dutch-born Mancunian Bunny Hoova down for her full-band London debut. Her work is simultaneously delightful and frustrating. At its simplest, it’s a kind of fall-apart dream pop – intermittent rhythms, addled guitar chording and bass thumbing, a cloudwork of woven-in samples, and a constant tripping over unvoiced questions, obscured conclusions and the track-loops of the thought-train. But while most dream-pop sinks into a narcotized structural conservatism (strumming away in the same key while admiring the whorls of sound coming through the pedalboard), Bunny’s material seems constantly uncomfortable, actively intelligent, and hovering at the midpoint between insight and misdirection. She’s been yoked in with experimental pop deconstructors/faux-idiot savants like Tirzah and Micachu, and I can see why. There’s that classical conservatoire training: coyly hinted at in the PR, for extra credit, but in practise forced off into the distance like a spurned aunt (even as it’s being used as the counterweight to punkish anti-technique). There’s the idea that the usual rules of pop song and riff culture are being scorned in a meticulous matter-of-fact way via an admixture of free play and cerebral manifesto.

Plenty of the songs on Bunny’s debut album, ‘Longing’, have the sensual drag-and-tug rhythm of slow jams; but rather than focussing a mood or a regular pace, they wander off at instinctive mental tangents or hiccup into a different arrangement; the instruments and samples entwining in a scratchy, bewildered, irregular intimacy. At times she seems to be taking up an erratic desert map scrawled by Captain Beefheart and attempting to apply it to close urban living. At other times, she seems to be spontaneously transposing into song experimental short stories about offbeat relationships, jolting encounters or small moments which change the course of a life; rich in detail and significance, short on conclusion. Plot and flavour are stretched out and split into gobbets, like odd-shaped beads necklaced on a guitar string. Her most-talked-about song, Lazy_Easy, is a scrubbing, slurred, pointed dissection-tract covering both the implicit and explicit links between consumerist culture and animal cruelty: more of a wall-collage with blended-in musical notes than an actual song. The world she flits through feels as rickety as a condemned flat; one that she’s too good for and shouldn’t have to live with, but which she has to accommodate and fit her voice to.




 
Also playing are a mixed bag of London and Manchester electronic experimentalists with bedroom studios. Gribs is a creative DJ and electronic musician, a label co-boss (Tobago Tracks) who in her own music weaving connections between straight-up dance music (trap, jungle, bass culture) and lo-fi DIY sound-and-voice experiments. There’s a distinct edge of discomfort to her work: not so much or so often that it repels, but her found vocals and implied song characters seem uneasy, morbidly eccentric or disassociated from the music’s rhythmic propulsion or sensual salve.

More DJ-ing and deckmixing comes from J.B. Glazer, another London-based creator of peculiar counter-intuitive dance music: for him, a kind of relentlessly alienated mirror-image R&B, all of its comfort and slickness rusted away into disassociative ennui. In the work of both Glazer and Gribs, there’s an echo of chopped-and-screwed culture: the slowing, the altered-state disconnections and new connections, the sense that they’re using alienation as a kind of gatekeeper (if you like dance but are prepared to discard much of its qualities of release or of socializing, then perhaps you can squeeze through this door).

Rounding things out (or upsetting any remaining unspilled applecarts) there’s the mysterious and performative Halfs – from what I can work out, a try-anything beat-making romper on Manchester’s queer arts scene. I’ve found a very fruity synthdance EP of his/theirs from 2017, so there are a few slurps of its whooping dayglo industrial tones below. There have also been percussion-favouring mixtapes and albums which have been whipped capriciously on and off Soundcloud, but are gone now: other than that, there seems to be involvement with scratch theatre, video and so on. In order to properly keep up with Halfs, you need to subscribe (both literally, and in terms of consistent loyalty) so just consider this vague, semi-accurate plug of mine to be a jumping-on point and take it from there.


 
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Dates:

Onomatopoeia Records presents:
Hurtling + Stephen Evens + Junodef
The Islington, 1 Tolpuddle Street, Islington, London, N1 0XT, England
Thursday 17th October 2019, 7.30pm
– information here, here and here

Baba Yaga’s Hut presents:
Gum Takes Tooth + Hyperstition Duo
The Sebright Arms, 33-35 Coate Street, Bethnal Green, London, E2 9AG, England
Friday 18th October 2019, 8.00pm
– information here, here and here

Ellipsis presents:
Bunny Hoova + Gribs + J.B. Glaser + Halfs
SET (Dalston Lane), 27a Dalston Lane, Dalston, London, E8 3DF, England
Friday 18th October 2019, 9.00pm
– information here and here
 

October/November 2019 – Moor Mother’s ‘The Great Bailout’ with the London Contemporary Orchestra in Kraków, Gateshead, Ghent and London (6th, 12th, 16th, 23rd October), with Galya Bisengalieva and Klein joining in London. Plus further Moor Mother dates in Utrecht, Helsinki and Madrid with Zonal, Eartheater and Cruhda (7th, 11th, 15th November)

1 Oct

The unnerving, brilliant Afrofuturist beat-poet and sonic manipulator Camae Ayewa – a.k.a. Moor Mother – swings back to Europe for a brace of concerts during October and November, during which she’ll showcase her latest project, ‘The Great Bailout’. This is a collaboration with the London Contemporary Orchestra (arguably the capital’s most committed ensemble to both new classical concert music and its intersection with other musical forms and disciplines). It follows Moor Mother’s earlier work this year as part of liberation-jazz group Irreversible Entanglements and her recent contributions to the Art Ensemble of Chicago’s fiftieth anniversary album ‘We Are All On The Edge’ (in which she layered her poetry over the exuberant live improvisations of the surviving members of the original resistance jazz band.) For a more in-depth summary of her explosive protest-griot work, click here.

Moor Mother v London Contemporary Orchestra: 'The Great Bailout' tour, October 2019

There’s not much advance publicity regarding ‘The Great Bailout’. What there is lays the ground for performances of “a free-verse poem that acts as a non-linear word map about colonialism, slavery and commerce in Great Britain and the Commonwealth.” Given that Moor Mother’s previous work has consistently exploded conceptual/emotional bombs underneath the economic, social and psychic legacy of slavery and racism in America, you can expect her to have come up with something ferociously critical of the cherished white-British myths and veilings around the history and repercussions of Empire. As the organisers put it, “we can’t help but expect the first few rows… to leave this performance with singed eyebrows and melted glasses at the very least.”

I’m guessing that the project title refers to one of the most miserable semi-secrets of the eventual abolition of British slavery – this being the handsome payoffs eventually delivered (post-emancipation) not to the freed slaves themselves as backpay, apology or recompense, but to their indignant and haughtily entitled British former owners as property compensation. This kind of withering, righteous black interrogation invading white concert halls (in fact, being invited in) is in keeping with the necessary re-examinations of the roots of modern Western culture. I’m reminded of Doris Salcedo’s colossal ‘Shibboleth’ installation at the Tate Modern, in which she slashed the gallery floor with an ever-widening crack standing for the original Tate sugar money, its dirty roots in plantation slavery, and the consequent ethical undermining of the gallery and its history – a microcosm of white Western culture and wealth and the exploitation underneath.

It’s also in keeping with the ongoing rumblings and debate regarding the slave-trading roots of Bristol, the strategic heartland of the Middle Passage’s triangular trade – with the slave trader imprints on the names of its great buildings and statuary (some of which were recently and pointedly encircled with diagrammatics of slave ships and their suffering human cargo). You can’t help thinking that the organisers of ‘The Great Bailout’ really missed a trick by not scheduling a Bristol date, and perhaps a Liverpool one, alongside the London one. Gateshead – which does get a ‘Bailout’ date – has less of a stained history in this matter, along with its sister city Newcastle: distanced from the heart of the trade, and with the Tyneside anti-slavery movement being an early starter. London, though, grew fat on the profits, with its own triangular trade bigger than anywhere else in Britain.

There may be different resonances associated with the two continental European venues on the tour. Kraków is a little detached from diasporan agony, its own kind of historic slavery having been in the form of homegrown serfdom (Poland’s class savagery was traditionally applied to its own peasants, and its colonialist oppressions visited on the nearby Ukraine rather than on Africa). Ghent, on the other hand, hosted and shaped the 1814 treaty in which, in part, Britain and Belgium applied themselves to ending African slavery and the Middle Passage trade (albeit on their own terms, part of the strategic power-plays of the age as much as it was through any humane impulses).

It’ll be interesting to see if Moor Mother will have taken note of these things, dredged up these uncomfortable stains and compromised atonements and woven them in too. Whether each city on the tour route is given its own case to answer – hidden bones coming to light after two-and-a-half centuries of obscuring and snowjobbing.


 
There will be extras at the London show. Experimental violinist and London Contemporary Orchestra member Galya Bisengalieva will be performing an opening set of her own electroacoustic chamber music, duetting live violin with cunningly sculpted electronic sound-shaping. What I’ve heard so far is elegant and highly dramatic: sonic booms, string drones, eerie hard-eyed processional melodies against harshly majestic electronic architecture and steppe-scapes reflecting Galya’s own Kazakh background.

 
A second opening set is being provided by British-Nigerian south London glitch artiste Klein. An abstractioneer for three years, she started out being hailed as a kind of reinventor of gospel. Certainly her early recordings dipped into the form and she’s admitted that for many years it was her only reference point. It didn’t take her long, however, to move far beyond it. Other early tracks came across as a collagist log of the sounds of her community: not straightforward field recordings, but crafted patchworks of impressions and implicit meaning, finding vocal and musical fragments as important, in themselves, as actual complete sentences and phrases. Her ‘Tommy’ album, in 2017, was a kind of vaporously dissolved Afro-London laptop opera.

These days, memories of black church music continue to drift and prowl through Klein’s increasingly adventurous recordings, but they’re only part of her palette. While she keeps a toehold on more mainstream black musical ideas (a track like Changes sidles up to drill music, a shuffling slide of plate over plate, of violent masculine monologue recounted), most latterday Kleinwork is miasmic re-sortings of black vocal fragments over dark ambient dreamquakes and feathertwig beats: sometimes sobs or dramatic breaths, or slivers of story (somehow bigger than they appear, the way that individual black stories so often seem to trail implication entire cultural histories). Either that or they’re ribbons of dirty noise, swirls of demonstration with strange vocal glitches playing across them – gasps, lip noises, inchoate expressiveness.





 
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Moor Mother’s own roots are in gospel too, although she’s previously qualified that “my family used to listen to scary gospel—Mahalia Jackson, people who were not just waiting for Jesus to come, but being like, “This is what we’re living with, we’re going to push through. I’m climbing up the rough side of the mountain, and we’re going to get into this chariot and go to a better place”…” There’ll be more evidence of “negro spirituals flipped, remixed, and recaptured” on the second full Moor Mother album, ‘Analog Fluids Of Sonic Black Holes’, which is emerging on 8th November. In keeping with her work so far, the record will cover the themes of “myth, black mothers, vodun, quantum futurism and post-colonial street narratives.”


 
I’m guessing that this material, or spins on it, will be in strong evidence in the three further European dates Moor Mother will be playing in November following the ‘Great Bailout’ events. The first of these will be in Utrecht, as part of the Le Guess Who? Festival. Here, she’ll be rejoining Kevin Martin and Justin Broadrick‘s “smacked-out hip hop” project Zonal (as one of two featured vocalists, alongside “fire-and-brimstone dub poet” Nazamba).



 
The second event is her headlining show in Helsinki. There, she’ll be supported by Alex Drewchin – a.k.a. non-binary multi-media art’n’music hopper Eartheater: who, over a five-year span in New York, has graduated from straightforward, deliquescing dreampop covers of Kate Bush songs to flittering unorthodox trance pop and sprawling, deconstructed anti-manifestos of collaged noise and brain-jumps. Beyond the electronics, current Eartheater work reflects the idea of body as instrument, psyche as testbed, ears and memory as record-and-playback devices.

The most recent Eartheater album, ‘IRISIRI‘, is a simultaneous explosion and dismantling of sonic and conceptual ideas across the spectrum. Plunderphonic chamber music samples, scraping noise effects, dance beats and thoroughly masticated chunks of ruined pop spat out and left on New York lamp posts, in apartment stairwells and practise spaces, leaving a scattering of recombinable fragments for other people to get stuck on and to mull over; flitting word associations and deconstructions of gender, of memories, of momentary definitions. There’s even the occasional joke (“I have no metaphor for you today – I’m off work…”). It’s both impersonal and entirely personal in its blink-and-you’ll-miss-‘em running of personal insights and questions through a mill of big city information overload. Yes, it raises more questions than it provides coherent answers, but at least it’s intent on chopping out a space of possibilities in the first place.




 
Moor Mother’s other headliner is in Madrid, where she’ll be supported by emerging Spanish eclectician Cruhda. The latter’s work is softer and in some ways more accessible than that of most of the other people covered in this post, but that’s selling it short. It’s disruptive, just in a subtler way.

Crudha’s debut EP ‘Íbera Morte‘ is founded on selections and deliberate echoes of Spanish folk music, refracted through any number of home-studio cut-up-and-stick-in methods and stylings – musical box clinkings, Dead Can Dance Gothicity; Autotune and didgeridoo buzzes; structural interruptions and glitchtronics. Sylvan organ-drone folk gets carved into by straying intrusive beats like a prowling beast on a campside sortie; by warping bass synth growls; and by vocal cut-ups and lead lines from raw railing roars to dovelike sighs and monastic harmonies. It’d be crass simply to call Crudha a Spanish Björk, but there’s a similar breadth of imagination and reconstructive willpower here, as well as a similar reluctance to abandon melody.



 
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Dates:

Moor Mother v London Contemporary Orchestra: ‘The Great Bailout’

Zonal feat. Moor Mother & Nazamba;
Le Guess Who? 2019 @ TivoliVredenburg, Vredenburgkade 11, 3511 WC, Utrecht, Netherlands – Thursday 7th November 2019, time t.b.c.
– information here, here and here

Moor Mother + Eartheater
Tavastia Klubi, Urho Kekkosen katu, 6 Helsinki, Finland – Monday 11th November 2019, 7.00pm
– information here, here and here

Moor Mother + Cruhda
Siroco, Calle de San Dimas 3, 28015 Madrid, Spain – Friday 15th November 2019, 9.30pm
– information here and here
 

October 2019 (and onwards) – various upcoming jazz gigs – Yazz Ahmed’s Electric Dreams, Rosie Turton Quintet, Alina Bzhezhinska in London (3rd October); Electric Dreams in Newcastle (4th October); Forq and SEN3 in London (30th October); SEN3 in London and Brighton (1st & 8th October); Jim Rattigan’s October-to-January Pavillon tour of England (6th October onwards)

29 Sep

At the start of the month, a Women In Jazz summit in London brings Yazz Ahmed’s Electric Dreams, the Rosie Turton Quintet and Alina Bzhezhinska to the Jazz Café.

Trumpeter/flugelhorn player Yazz Ahmed has been covered in here before (thanks to Polar Union’s Jazz Herstory series) – a young British-Bahraini already being dubbed “the high priestess of psychedelic Arabic jazz” thanks to her exploration (across two previous albums) of her mixed cultural heritage, and via the use of a custom quarter-tone flugelhorn which enables her to explore the microtonal pitching within Arabic music. Electric Dreams is her electrophonic/acoustic multi-textural tie-up with drummer Rod Youngs, guitarist Samuel Hällkvist and “vocal sculptor” Jason Singh. Emerging from Yazz’ interest in spontaneous composition, “these free-flowing and conversational improvisations make use of electronic effects, sound design, live looping and sampling, in an exploration of contemporary jazz from a different angle.”

Trombonist Rosie Turton is usually to be found as part of all-female Tomorrow’s Warriors-linked octet Nérija alongside other expanding-profile bandmates including Nubya Garcia, Cassie Kinoshi, Zoe Rahman and Shirley Tetteh (the latter of whom, not content with being a jazz guitar name to watch, also operates as one-woman pop project Nardeydey). As I’ve noted before, Rosie’s own leanings are towards Alice Coltrane and Pharoah Sanders, with digressions via hip hop and Himalayan ragas; and her quintet (sometimes known as 5ive) “works around a sensually airy intertwining of Indian violin (played by Johanna Burnheart), trombone and electric piano (from Maria Chiara Argirò), in which adventurous tunes effloresce and sway around light-on-their-feet rhythm grooves: a clever, flowing, flowery architecture.” The quintet’s completed by drummer Jake Long and bassist Twm Dylan.


 
The orchestral harp is always a potentially explosive instrument. Particularly so when it’s under the fingers of Alina Bzhezhinska – a soulful beast of a player who steps easily between classical demands and jazz immediacy. She’ll be playing a solo jazz set to open the evening.

 
Yazz and Electric Dreams will also be playing – on their own, this time – up in Newcastle the day after the London gig.

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At the end of the month, New York new-school jazz rock quartet Forq also play the Jazz Café. Fluid, grooving and highly accessible improvisers, they’re strongly Snarky Puppy-affiliated. Two of the current Forq-ers, plus the band’s departed co-leader Michael League, also play in the celebrated Brooklyn jam family, while keyboard-playing Forq leader Henry Hey is even something of a Big Apple mentor to League, having first convinced the Snarky Puppy leader to move and set up shop there.

As originally conceived by Hey and League, Forq’s music doesn’t stray too far from the Snarky blueprint (dextrous young super-sidemen put together a fizzy stew of everything they’ve learned from playing jazz, blues, rock, funk, etc), but according to League “we had the idea to start a band that was bi-i-i-i-i-ig on groove and sonic exploration, without getting caught in the snags of the modern jazz world. We want to play shit with personality, character, and not nerdy, brainy stuff. Also, we want people to shake their asses. I think the band has a very hard, NYC-style sound that is industrial but also innovative, but also has some serious Texas flavour…” League moved on a couple of years ago, replaced on bass by Kevin Scott, but the band, currently completed by Snarky guitarist Chris McQueen and drummer JT Thomas, continue the initial work.


 
In support is London trio SEN3: in some respects, a transatlantic Forq mirror image. They’re another grouping of top-notch overtrained pop and rock sidemen who fancied doing something fun, immersive and different. Citing “Pink Floyd’s ethereal epic-ness, Thundercat’s psychedelic soul-funk, a touch of J-Dilla/Madlib beat conducting with a twist of Led Zeppelin riffs” as inspiration and aims. Max O’Donnell (on guitars, synths and assorted tuned percussives), Dan Gulino (on bass guitar and synths) and Saleem Raman (on drums) put together something jazzy, dubby, reverb-y and floaty: very much a product of the London melting pot they’re proud of.


 
SEN3 are also playing two dates of their own earlier in the month – at Kansas Smitty’s in London on 1st October, and at The Mesmerist in Brighton on 8th October.

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French horn virtuoso and bandleader Jim Rattigan continues to step up activity with his Pavillon twelvetet, currently featuring Martin Speake, Andy Panayi and Mick Foster on saxophones, Percy Pursglove, Steve Fishwick and Robbie Robson on trumpets, Mark Nightingale and Sarah Williams on trombones, and a rhythm section of Hans Koller (piano), Dave Whitford (double bass) and Martin France (drums).

Pavillon’s new album ‘The Freedom Of Movement’ comes out in mid-October, featuring more of Jim’s original tunes (which have been compared to Charles Mingus, Gil Evans and Duke Ellington). To help it on its way, he’s taking Pavillon out extensively (around southern England and the Midlands) on assorted dates over the next four months, between early October and mid-January.

Previous Pavillon commentary from me – “confident, breezy, swing-happy music seamlessly blending inspirations from different times and places; beery, wise and cosmopolitan but also very English. It’s the sort of sound you’d expect to hear currently curving its way around London’s seawall, if such a thing existed.”



 
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Dates:

Women In Jazz presents:
Yazz Ahmed’s Electric Dream + Rosie Turton Quintet + Alina Bzhezhinska
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Thursday 3rd October 2019, 7.00pm
– information here, here and here

Jazz North East presents:
Yazz Ahmed’s Electric Dreams
Gosforth Civic Theatre, 125 Regent Farm Road, Newcastle-upon-Tyne, NE3 3HD, England
Friday 4th October 2019, 7.30pm
– information here, here and here

SEN3:

  • Kansas Smitty’s, 63-65 Broadway Market, Dalston, London, E8 4PH, England – Monday 1st October 2019, 7.00pm – information here
  • The Mesmerist, 1-3 Prince Albert Street, Brighton, West Sussex, BN1 1HE, England – Monday 8th October 2019, 8.00pm – information here and here

Forq + SEN3
The Jazz Café, 5 Parkway, Camden Town, London, NW1 7PG, England
Wednesday 30th October 2019, 7.00pm
– information here, here and here

Jim Rattigan’s Pavillon:

 

June to November 2019 – upcoming London jazz gigs – Greg Foat Band and Neue Grafik Ensemble at Church of Sound (20th June); Niechęć, High Definition Quartet, EABS and trios with Marcin Masecki and Kuba Więcek for the Polish Jazz London Series (4th July, 16th August, 19th September, 18th October, 21st November)

16 Jun

An imminent show at the Church of Sound in Clapton showcases British and French artists – the Greg Foat Band and the Neue Grafik Ensemble. Both play a contemporary take on ’70s soul jazz as it moved on a mystically airy arc away from earthiness and into the more fantastical zones of funk and psychedelia: in Greg’s case laced with tidal Radiophonic electronica via antique suitcase synth, and in NGE’s case celestial Rhodes keying.

Greg Foat Group + Neue Grafik Ensemble, 21st June 2019

More from the Church:

Greg Foat’s latest album ‘The Mage’ threads lineage between the past and future of British jazz, enlisting the talents of jazz/library/soundtrack legends Duncan Lamont, Art Themen, Ray Russell and Clark Tracey to collaborate with their modern contemporaries, Greg Foat, Moses Boyd and Heliocentric’s drummer Malcolm Catto. Something undeniably British but outward-looking and global has been created. Greg’s compositions and arrangements showcase the old and new, downtempo folkscapes, free jazz with notes of hip-hop and soul from the young team flavouring the mix. The album is a testament to the versatility and pure musicality of all those involved and Greg Foat’s ability to bring artists together to record beautiful, timeless music.

“Personnel on the night: Greg Foat (piano, EMS Synthi AKS), Clark Tracey (drums), Eric Young (congas), Phil Achille (bass), Trevor Walker (trumpet), Rob Mach (saxophones), Hugh Harris (guitar) with special guest Duncan Lamont (tenor saxophone).


 
“Parisian-born producer Fred “Neue Grafik” N’Thepe formed his Ensemble last year, consisting of trumpet player Emma-Jean Thackray, Vels Trio’s drummer Dougal Taylor, bassist Matt Gedrych and of course Fred himself on keyboards. Grafik’s sound is a hybrid of jazz, house and hip hop, all with his unique geographical tones of African ethnicity, Parisian roots and a love for London sounds (like broken beat and grime) thrown into the mix. For this session, they will be joined by rapper and poet Brother Portrait who is omnipresent on NGE’s forthcoming EP.”


 
Representing the Church of Sound DJ resources, half of the CoS diumvirate (and Total Refreshment Centre founder) Lex Blondin will be manning the decks, and there’ll be an aftershow party over at Tottenham’s Five Mile club.

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Polish Jazz London Series, July-November 2019

Further north-east, the Polish Jazz London Series is opening up in Waltham Forest. It’s a handshake between a borough celebrating its current status as London Borough of Culture (and pushing hard not to be overshadowed by the existing momentum of Hackney and Tottenham), the Polish Cultural Institute, B Side Events and the Music Halls Project which is opening up church spaces in Walthamstow and Leytonstone as high-quality music performance venues.

Poland isn’t the first place that springs to mind when jazz is mentioned. Cognoscenti, however, are aware of it as an incubator of high-end music with typical Polish determination. Five monthly concerts starting in the summer and leading into the autumn – each featuring some outstanding talent – demonstrate how productive this can be.

The first, on 4th July, features Warsaw avant-fusioneers Niechęć – saxophonist Maciej Zwierzchowski, drummer Michał Kaczorek, guitarist Rafal Błaszczak, keyboard player Michał Załęski and double bassist Maciej Szczepański stir ominous misty shifts of chord-tones and atmospherics into spinning jagged cyclones. Theirs is a frictional engagement with the air, although one which embraces a tight mothership of form rather than a straight free-jazz explosion.

Szczepański’s fondness for arco bowing, Zwierzchowski’s for caustic, cryptic Shorterish sax commentary and the band’s readiness to pursue whistling psychedelic rockscapes close to that of ‘Saucerful’-era Pink Floyd (as well as touching on the tweaked, ring-modulated open-ended fierceness of early electric Miles and the initially freeforming argumentation of Weather Report) pin them as spirit brothers to the permeable explorers of the ’70s cusp. Translated from the Polish, their name means “dislike”; and sometimes their music’s a growling frown, a diet of harsh and undying embers. Despite that, it’s never withdrawn or surly, never dull – it constantly takes you along with its dark and challenging moods.


 
The August concert features a new trio led by pre-eminent young Polish polymath Marcin Masecki. Not new in that his keyboard playing is augmented by his regular project cohorts (Jerzy Rogiewicz on drums and Piotr Domagalski on double bass) but new in that he’s apparently not looked into the possibilities of a classic trio since his schooldays. Since then, he’s been busy mastering and promoting a dizzying variety of projects and musical applications (the program lists it all as “big bands, brass orchestras, classical symphony orchestras, choirs, alternative pop bands, electric quintets, acoustic duets, sextets and nonets, composing for film and theatre, giving masterclasses, classical chamber musicking, and a vast body of solo work”).

It took an extended moment alone to trigger this new project – a jogging session during which Marcin became fascinated by both the bodily mechanics of respiration, extension, heart-rate (and so forth) and the mental changes and separation of mind which occur during the strictures of exercise. He opted to translate this across into music. In this clip, you can see how the post-bop pulse motors away while Marcin plays a succession of complex, diversifying ideas on top of it, maintaining both independence and integration while also sustaining perfect stability and authority.


 
The September gig features the bony, peppery rhythmic work of the Kuba Więcek Trio, whose paradoxical music (authoratively skittish; cerebrally frenzied; making overpowering gestures within a small and disciplined space) has been noted by uber-critic and fellow countryman Piotr Metz for combining the Polish post-bop of the late ‘50s and early ‘60s with knowingly neurotic Manhattanisms. More specifically, “the melody, which seems straight from Komeda songs, also has the noise of the New York traffic.” Each member doubles, musically – bass player Michał Barański spits and mutters konnakol (Carnatic drum-talk vocals), drummer Łukasz Żyta rattles out additional melodies on glockenspiel, and Kuba himself swaps between saxophone and dropped-in synth or electronics.

Packed into the music are funk and marches, transposed tabla burrs, Birdland boptalk and strains of eastern European folk dance. The trio’s also capable of periods of delicate sweetness, but always with a febrile watchfulness and staccato undercurrent; as if they’re tiptoeing precisely over a tough streetscape of broken glass and stray syringes even as they chat or serenade.


 
The October gig features High Definition Quartet, who come with sky-high praise from Randy Brecker: but if, from that, you’re expecting them to fit into his American fusion tradition, you’d be surprised. While this collectively-run quartet are second-to-no-one in hoarding and firing out classic chops, they’re also continual polyreferential box-busters, moving through multiple styles . It’s not just a case of tricksy polystylism, though: not something carried out as a joke. Instead, Piotr Orzechowski (who also rejoices in the nickname of “Pianohooligan”) and his allies (double bassist Alan Wykpisz, saxophonist Mateusz Śliwa and drummer Grzegorz Pałka) come across more as people whose brains process at double-speed: simultaneously and voraciously riffing and developing from anything which flits across their attention or their synapses.

For their current project, Piotr and the quartet have created jazz rearrangements of ‘Bukoliki’, a set of short piano pieces (originally string duets) by Witold Lutosławski – which he, in turn, derived by old Polish folk songs from the distinct Kurpie forest culture of north-east Poland (whose music also inspired Górecki). A second-generation mutation, then; and one which the HDQ deliver with breathtaking speed, precision and invention, respecting the source material by stepping deeply into it and refusing to do anything less than give it and gift it every scrap of their own intuition.


 
The last show (as far as I know) is in November, in the grand Art Nouveau surroundings of Leyton’s Great Hall, sponsored by LVE Foundation. Signing us out is Wrocław septet Electro-Acoustic Beat Sessions, or EABS – a Polish answer to the current club-culture reinvigorations of jazz forms as demonstrated by Shabaka Hutchings, Kamasi Washington and others. Via their technological wildcard Spisek Jednego, EABS merge sampling and looping into their instrumentation in a “reconstruction from deconstruction” approach. The rest of the band consists of Marek Pędziwiatr (on piano, synths and voice), guitarist Vojto Monteur, drummer Marcin Rak, bass player Paweł Stachowiak and a doubled brass line of Jakub Kurek (trumpet) and Olaf Węgier (tenor sax); merging a profoundly lyrical sensibility and a taste for European conceptual landscapery, while pulling in and transforming strong strands of hip hop, jungle, funk, gospel and electronic music.

As with many jazz acts, EABS build into a developing future while looking deeply into a specific cultural past. Among their preoccupations are the ideas of “Slavic melancholy” and the culture’s tendency to have favoured oral transmission over literacy: something reflected in the examination of Polish demonology and general Slavic mythology in their most recent recording, ‘Slavic Spirits’, drawing on accounts from “musicians, historians, journalists, writers and even psychotherapists.”


 
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Dates:

Church of Sound presents:
Greg Foat Group + Neue Grafik Ensemble + Church of Sound DJ set
St James the Great, 188 Lower Clapton Road, Clapton, London, E5 8EG, England
Friday 21st Jun 2019, 7.30pm
– information here and here

Polish Jazz London Series:

  • Niechęć – St Mary’s Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 4th July 2019, 6.30pm – information here and here
  • Marcin Masecki’s Jazz Trio – St John’s Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 16th August 2019, 6.30pm – information here
  • Kuba Więcek Trio – St Mary’s Music Hall, 8 Church End, Walthamstow, London, E17 9RL, England – Thursday 19th September 2019, 6.30pm – information here and here
  • High Definition Quartet – St John’s Music Hall, High Road, Leytonstone, London, E11 1HH, England – Friday 18th October 2018, 6.30pm – information here
  • EABS – Leyton Great Hall, 1 Adelaide Road, Leyton, London, E10 5NN – Thursday 21st November 2019, 6.30pm – information here

 

June 2019 – more Woodburner soul, jazz, folk, hip hop, acoustica sessions at Dalston Eastern Curve Gardens – The Dylema Collective, Alxndr London, Boadi and Lex Amor (4th June); Dizraeli, Intaya and Charlotte Algar (11th June); PYJÆN, Brothers Testament, Jelly Cleaver and DJ Stephen Vitkovitch (18th June); The Breath, Alice Zawadzki and Lunatraktors (25th June)

1 Jun

Outdoor summer gigs from Woodburner are resuming at Dalston Eastern Curve Garden – as usual, I’m passing on the message…

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The 4th June launch event features Dylema Amadi’s Dylema Collective, Alxndr London, Boadi and Lex Amor.

The Dylema Collective is a poetry-music project with sounds combining neo-soul, contemporary jazz and floaty R&B carefully blended with a cross-over of funk, latin and poly-rhythmic grooves and spoken-word poetry. Thematically, Dylema’s feminist poetry addresses head on matters of race, gender and individuality, values reiterated by the hidden message within their lead vocalist’s name’s acronym: “Do You. Let Every Man Adapt”. In short, they love sharing music and poetry that shakes the mind, soul and body.


 

“Effortlessly blending lyrical soul, R&B and electronic music whilst subverting it into something completely his own, the enigmatic and intriguing “Afro-Ronin” Alxndr London has returned with his new EP ‘2023’. Inspired by the sounds of UK Funky, London’s Garage sound, Yoruba spirituals and electronic soul, it’s an experimental project rooted in a genre-less space that balances spiritual conflict and Afrocentric themes, with unconstrained fantasy and spectacular science-fiction.


 

Boadi is a twenty-three-year old soul/R&B singer-songwriter and multi-instrumentalist originating from South London, with a jazz-influenced sound combined with a dash of hip-hop for authenticity. Growing up his musical influences were legendary artists such as Erykah Badu, Lauryn Hill and Marvin Gaye. His mother migrated from Ghana and he spent a year living there when he was a child: when he was younger, he listened to a lot of traditional Ghanaian music which taught him about different rhythms and harmonies. Coming from a family of instrumentalists and singers, Boadi was instantly surrounded by music and developed his musical talents further when attending church, and perhaps this is where his heavy use of gospel-inspired backing vocals and harmonies stemmed from.


 

“London-based lyricist Lex Amor’s monthly dip into musical spices for Reprezent Radio’s addictive Mellowdic Show champions vibes upon vibes, from artists near and far. Consistently a treat for the soul; and the same can be said for the blissed-out hip hop of Lex’s own musical output. Such is the ease and natural cadence of her delivery, you find yourself hanging off her every word. Lex has the effortless ability to translate her full self in her music, with beats and rhymes you won’t be able to keep off repeat.”

 

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The 11th June gig features resurgent rapper Dizraeli, Latin psychedelic group Intaya and jazz-soul singer Charlotte Algar.

“Poet, producer, MC and multi-instrumentalist Dizraeli is a genre all of his own, building himself a cult following around Europe and playing to audiences of thousands around the world. Now, after three years studying percussion in Senegal, immersing himself in the world of London grime and bass music, working with refugees in Calais and finally, living through a mental breakdown, he’s back with ‘The Unmaster’, his first self-produced album and an electrifying new sound. ‘The Unmaster’ speaks of madness and collapse, struggle and redemption with searing honesty, surreal humour and a soundtrack unlike anything you’ve heard. A dark, fierce hybrid of hip hop, grime and West African percussion, it is music to make sense of an insane world.


 
Intaya‘s sound is a combination of electronic music, jazz, hip-hop, future soul, Afro-Latin influences and psychedelic elements – electronic ethereal groove music. Formed by singer/producer Pao Pestana and multi-instrumentalist/producer Dom Martin, the band is half Venezuelan (singer and drummer) and half Londoner (guitarist and keyboardist) and the music reflects this combination. Expect Latin roots, electronic groove and space-age sonic lushness.

 
Charlotte Algar is a twenty-three-year-old singer-songwriter from north-east London (and the assistant editor of ‘Songlines’). Charlotte draws on her classical training to create undulating, delicate guitar accompaniments. Paired with soulful vocals and pensive, poetic lyrics, this makes for a unique and compelling style.”


 
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The 18th June event mines the fervent south London jazz scene with sets from PYJÆN, Brothers Testament and Jelly Cleaver, and DJ work from Stephen Vitkovitch.

“Described by ‘Jazz Wise Review’ as having “a groove propelled with dynamism and formidable technique”, the PYJÆN quintet seamlessly melds funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music. Having met at Trinity Laban, they aspire to create a culture that others can relate to and feel represented, and to help other young musicians carve out their own space. Self- motivated and driven by a DIY ethos and interdisciplinary approach, PYJÆN believe in building connections, supporting and collaborating with other artists to build communities and create culture in which everyone feels represented. Coming from diverse backgrounds, but united over a shared aim to connect with each other and their audiences, PYJÆN are burgeoning onto the London jazz scene.

 
Brother’s Testament are a groove-based jazz fusion band from London. Consisting of Munashe-Caleb Manyumbu, Mark Mollison, Hugo Piper and Jack Robson, their sound amalgamates powerful grooves and stirring melodies whilst also rooted in the jazz tradition. Brother’s Testament perform from the heart and emphasise and embrace improvisation so that the set manifests organically on stage, differently each time. Last year saw the release of ‘Ascent’, their debut EP, which slowly gained traction and garnered acclaim from the wider jazz community in London.


 
Jelly Cleaver is a guitarist, singer-songwriter and producer based in South London. With an eclectic taste in music, Jelly is heavily involved in both the jazz and DIY scenes in London. She’s also an activist, and a strain of political dissent runs through her music.

 
Byrd Out label head Stephen Vitkovitch (who’s supervised releases from Andrew Weatherall, Evan Parker, Philou Louzolo and more, and is the brains behind the Walthamstow Jazz Festival) will play some tracks between the acts. Check one of his Netil shows here:”


 
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The final June show, on the 25th, takes a folkier turn with The Breath, Alice Zawadzki and Lunatraktors.

The Breath is guitarist Stuart McCallum and singer Ríoghnach Connolly. Based in Manchester, their unique take on alt-folk journeys from lush, beguiling storytelling to uplifting punch-the-air anthems. For The Breath, it’s all about the song. Connolly writes the only way she knows how; a stream of poetic consciousness giving rise to honest, personal, heartfelt songs as likely to touch on childhood summers and first love as cultural dislocation, post-colonial injustices and grief. But it’s her deeply soulful, utterly engaging, stop-you-in-your-tracks voice – whether delicate and hushed or powerful and gutsy – coupled with Stuart’s understated brilliance and their exquisitely crafted, personal songs, that give The Breath such emotional depth. The duo share a remarkable connection on stage which make The Breath’s live performances utterly compelling.


 
“Vocalist, violinist, and composer Alice Zawadzki is a distinctive presence on the European creative scene. Her rich musical background and “whimsical hyper-creativity” (‘MOJO’) draw upon her early exposure to New Orleans jazz and gospel after years on the road as a teenager with the legendary Lillian Boutte, an extensive classical training as a violinist, and a continuous exploration of improvisation, poetry, and folk music from diverse traditions, “all propelled in a voice of velvet suppleness and gutsy emotional power” (‘The Arts Desk’). As an interpreter of new and unusual works, she has premiered several large-scale works both in the UK and abroad. Alice brings a stripped back and intimate performance to Woodburner, weaving ancient, modern, and invented folklore into a set of delicious pieces to share.


 
“What’s left when everything is taken away from us – our tools, technology and libraries, even our homes, communities and citizenship? What’s left is what we have learned by heart and we can do with our bodies: our voices, hands and feet. Using techniques from body percussion, tap dance, overtone singing and physical theatre, performance duo Lunatraktors explore a set of British, Irish and Australian ballads to rediscover folk music as a queer space of personal and political transformation. Weaving the tragedy and comedy of these traditional tales with hypnotic acoustic percussion and harmonies, Lunatraktors create a genre-defying, “spellbinding” performance on the borders of music, theatre and live art.

“Combining the percussive and choreographic talents of ex-Stomp member Carli Jefferson with the four-octave range and haunting overtones of trans folk singer Clair Le Couteur, Lunatraktors use the basic ingredients of body and voice to conjure up expansive, unexpected spaces. The duo are equally at home improvising with hands, feet and voices on a station platform, or electrifying a festival stage with custom drum kit, live loops and analogue synth. Lunatraktors strip folk down and rebuild it with influences from clowning, cabaret, art punk, flamenco and trip-hop. The tales they unearth of bravery in the face of forced migration, political unrest, and abuse of authority find particular resonances today.”


 

* * * * * * * *

All events are at Dalston Eastern Curve Garden, 13 Dalston Lane, Dalston, London, E8 3DF, England on Tuesday evenings. Dates below:

  • The Dylema Collective + Alxndr London + Boadi + Lex Amor – Tuesday 4th June 2019, 7.00pm – information here
  • Dizraeli + Intaya + Charlotte Algar – Tuesday 11th June 2019, 7.00pm – information here
  • PYJÆN + Brothers Testament + Jelly Cleaver + Stephen Vitkovitch – Tuesday 18th June 2019, 7.00pm – information here and here
  • The Breath + Alice Zawadzki + Lunatraktors – Tuesday 25th June 2019, 7.00pm -information here and here

 

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