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May 2019 – upcoming jazz gigs – Kalpadruma at the Guildhall School (23rd), Maisha visit the Village Underground (27th)

16 May

Quick notes/blurb repostings on a pair of upcoming London jazz events:

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Kalpadruma present 'Trigger', 23rd May 2019“Named after a wish-fulfilling and divine tree in Hindu mythology, Kalpadruma is an exciting 12-piece mixed ensemble that also functions as a jazz quintet. It was recently formed to explore connections between contemporary, jazz, Indian, Arabic, Turkish and flamenco musics. It’s a culturally and stylistically diverse band (jazz quintet, flute, bass clarinet, trumpet, saxophone feature alongside a string quartet with occasional bansuri flute).

“Kalpadruma comprises some of the finest emerging players from Guildhall, the Royal Academy of Music and the Royal College of Music. The core quintet features 2018 BBC Young Jazz Musician finalist Reuben Goldmark on piano, Joe Parks on cajon and percussion, Charlie Heywood on guitar, Harry Pearce on bass guitar and Asha Parkinson on alto, tenor and soprano saxophones, and has played at venues ranging from the 100 club to the Union Chapel. The unorthodox line-up goes with the group’s unusual sonic identity, offering what’s been described as “a fiery feast of additive rhythms and Messaienesque harmonies and “feel-good” melodies”. The ‘Kalpadruma Suite’ is a six-movement work bringing together all these influences.

“‘Triggers’ is the title of a new three-movement saxophone concerto for soprano and alto saxophone and chamber orchestra, conducted by Noah Max and written and performed by Asha, whose work regularly crosses the boundaries between traditions. Described as a “fiery tenor saxophonist”, she was twice semi-finalist in the BBC Young Jazz Musician competition and was shortlisted in 2016 BBC Inspire Composers Competition. Additionally she was one of twenty young people internationally to win the Diana Legacy Award for her initiative Voices Beyond Divisions. Currently in her third year at the Guildhall School of Music and Drama, Asha has studied with the likes of Mark Lockheart, Iain Ballamy, Trish Clowes, Matthew King, Gareth Lockrane and Christian Forshaw.

“The narrative of the piece reflects the all-too-human struggle to quell negative emotions and establish a very practical and and effective “inner” peace in order to improve our relationship with the world around us. The starting point for which is becoming aware of and then “breaking” the “triggers” of negative emotions. The saxophone undergoes a transformation that parallels this change in dialogue with the orchestra, incorporating both improvisation and prepared composition.”

 
OK, this is a little unclear even after being carefully sifted and welded together from two different sources. I’m not quite sure whether this is a two-work bonanza for the price of one – but as regards price, it’s free; and as regards content, it’s intriguing.

I’d also urge a closer look at the Voices Beyond Divisions project. Initiated by Asha while she was still in her mid-teens, it’s a cross-faith singing project bringing Christian, Jewish and Muslim children together to perform music stressing the shared values of peacefulness and responsibility which feature in parallel in all of said faiths, drawing on passages from the Q’uran, the Talmud and the Bible. The finished performances involve schoolchildren, rising teenaged singers and instrumentalists and professional oud and ney players (representing instrumental traditions from the Middle East) and are based on quotations on a theme of peace from the Q’uran, the Talmud and the Bible. A little obvious, perhaps; but at a time when militant differences and brutal wedges driven between communities are being stressed and fostered so much, we need our do-gooding and our worldwide conscience drives even more than ever.

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Maisha, 27th May 2019

Also available – the last tickets for the imminent Village Underground show by Maisha, drummer Jake Long’s sextet collective featuring anointed sax star Nubya Garcia on saxophone, her Tomorrow’s Warrior colleague Shirley Tetteh on guitar, double bassist Twm Dylan, Amané Suganami on piano/Wurlitzer, and doubled percussion provision care of Yahael Camara-Onono and Tim Doyle. As a band, they’re in the growing diasporan-sensitive vein that’s been characterising London jazz for a while now, “channeling the lineage of spiritual jazz, taking inspiration from Pharoah Sanders, Alice Coltrane and Idris Mohammad, (and) fus(ing) their jazz influences with West African and Afro-beat rhythms.”

In support (and pointing up the same scene’s cofraternity with dance music) is Tim Doyle’s electronic dance alter ego Chiminyo, for which his live drumming triggers synthetic cascades of percussive and harmonic exotica. Also around is Arabian/West African slanted double bassist Ben Hayes, this time plying his skills as a DJ.




 

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Dates:

Kalpadruma presents:
‘Triggers: The Music Of Change’
Guildhall School of Music & Drama, Silk Street, Barbican, London, EC2Y 8DT, England
Thursday 23rd May 2019, 7.00pm
– free event – information here and here

Maisha + Chiminyo + DJ Ben Hayes
Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England
Monday 27th May 2019, 7.30pm
– information here, here and here
 

April 2019 – upcoming experimental/jazz gigs in London and Cambridge – Rotten Bliss, Seven-Headed Raven, Alex McKenzie and Nnja Riot in ‘Classical Enemy in Noise Waters’ (26th); Ensemble Entropy with Loré Lixenberg (26th, 28th); and Rotten Bliss back for the Laura Cannell album launch (30th)

15 Apr


 
Baeutifully abrasive experimental noise cellist Jasmine Pender – better known as Rotten Bliss – is the linking factor between two London gigs towards the end of the month.

'Classical Enemy In Noise Waters', 26th April 2019For the first one, she joins a crew of classically-slanted avant-gardistes ensconced for an evening on board The Golden Hinde, the London-docked reconstruction of Francis Drake’s sixteenth-century global circumnavigating galleon. Also below decks for the occasion are experimental flautist Alex McKenzie, experimental violinist Nnja Riot and sacred-pagan-minded, multi-national experimental folk ensemble Seven-Headed Raven (led by Chrome Hoof-er Tim Bowen on cello and vocals and singing multi-instrumentalist Catherine Gerbrands of Valerie & Her Week of Wonders/An Infernal Contraption, incorporating bowed saw, Latvian dulcimer, choral vocals and whatever else performers have to hand).

“While on board The Golden Hinde, artists will collectively interbreed two species: noise music and classical music. How can a classical instrument be noise? Find out by watching three different noise classical crossover projects within the heart of a ship drenched in history and mystery. For those of you already familiar with noise we will add to your already well developed misconceptions, and for those of you who are less familiar with noise we may surprise you with where the music travels.

“With experimentation at the heart of the music, the artists performs music as a gesture, the essence of live performance. The ship itself is seeping with memory, making it the noise-perfect host for this cross over to take place. Artists will bring together the cello, violin, flute and a choir in one evening. We will welcome sound waves resonating creatures of the sea, wood spirits and nautical murder ballads on this very special evening on board The Golden Hinde.

“’Fair Isle’ is a special collaboration between noise cellist Rotten Bliss and international folk choir Seven-Headed Raven. Created especially to haunt The Golden Hinde, ‘Fair Isle’ is inspired by our enduring fascination with the sea in art and folklore and draws from 16th century poetry, nautical murder ballads, and ship diaries, told through fragile and beautiful vocal harmonies, panoramic cello drones, and electronics.


 
“Alex McKenzie’s work evokes a landscape of sound using the flute and electronics. The flute will echo the wooden quality of the ship in a concoction of resonating wood spirits and electronic sound waves. Alex’s performances are semi-improvised using a mix of analog and digital electronics alongside the flute.”


 
“Event curator Lisa McKendrick (a.k.a. Nnja Riot) will deliver a violin noise piece which is improvised using the violin and a series of effects, loops and vocals. The performance evokes an interaction between noise elements in the live electronic set up, vocals and violin sounds. By listening to the sounds of the instrument interacting with live effects this noise becomes the second instrument. Utilising this interaction she will build textured layers of sound and deep echoing violin; conjuring mythical creatures of the sea. Expect elements of a witch-craftian and song-craftian nature.”



 
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Laura Cannell + Rotten Bliss, 30th April 2019Four days later, Jasmine returns as Rotten Bliss to join the bill at IKLECTIK which launches ‘The Sky Untuned‘, the new album by Laura Cannell.

“‘The Sky Untuned’ takes as its starting point the theory of ‘the music of the spheres’, in which the universe is constantly making sound that humans cannot hear. The music is teased out of the land and sky and performed using Cannell’s signature minimalist chamber sounds, utilising extended instrumental techniques of overbowed violin (with deconstructed bass viol bow wrapped around the violin to produce drone and melody), scordatura violin tunings and double recorders (inspired by medieval stone carvings).

“She comments “it is not the result of one commission but a performance drawn from the ideas that have travelled in my thoughts wherever I’ve been over the past 18 months. The ones which wouldn’t leave my… heart and head, the ones which demanded to be played over and over through internal speakers, the ones which need to be explored and performed as if it’s the first time every time.”

“The album was recorded in one take at St Andrew’s Church, Raveningham, Norfolk, UK on 10th December 2018; while the seven tracks were composed and developed during a hectic period of commissions, tours and musical adventures including: York Mediale Festival & The National Centre for Early Music, Laura Cannell’s ‘Modern Ritual’ UK tour, Huddersfield Contemporary Music Festival, Bergen Kunsthall in Norway and The Cut Arts Centre in Suffolk.”




 
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For a couple of dates in Cambridge and London, adventurous mezzo-soprano Loré Lixenberg collaborates with Ensemble Entropy, presenting “imaginative music by established and emerging living composers, exploring the space between contemporary composed music and free mprovisation.”

Ensemble Entropy with Loré Lixenberg, 26th & 28th April 2019

Led by composer saxophonist Matt London (a 2018 British Composers’ Award nominee), Ensemble Entropy blends music from composed contemporary music and free improvisation. With the core lineup completed by Georgia Cooke (flute), Rebecca Raimondi (violin), Seth Bennett (double bass) and Mark Sanders (drums), they are accustomed to working with prominent, showcased guests (previous examples have included assertive polygenre pianist Matthew Bourne and electrophonic inventor/composer Jenn Kirby). In February 2018 an expanded ten-piece Orchestra Entropy playing at IKLECTIK incorporated improvisers Sarah Gail Brand, Seb Silas, Benedict Taylor, Tom Ward and Joel Bell.


 
A former Theatre de Complicite performer (and a voice student to many vocal stars including Galina Vishnevskaya) with a startling presence, Loré Lixenberg made her mark as the obscenity-spewing heckler-killing act ‘Tourettes Soprano’ (in association with Richard Thomas, for whom she also performed in ‘Jerry Springer: The Opera’). In formal opera circles she’s sung work by a host of contemporary composers (Georges Aperghis, Bent Sørensen, Helmut Oehring, Mark-Anthony Turnage, György Ligeti, Karlheinz Stockhausen, Beat Furrer, Harrison Birtwistle, Peter Maxwell Davies, Earle Brown, Luc Ferrari, Frederic Acquaviva and Gerald Barry), often working closely with the composers themselves. She has also performed audio-visual and installation work with Stelarc, Bruce Mclean and David Toop.

An accomplished composer in her own right, Loré makes her long-term base in Berlin in order to pursue more of her own projects, including her album ‘The Afternoon Of A Phone’, her +raum projects series with Frederic Acquaviva and her artist book ‘Memory Maps’. Since the start of 2018, she’s declared her body of work to be “an extension of her voice and singing practice… therefore to be considered an extended vocal.”


 
In addition to original music by Matt, Loré and Seth, the ensemble will be playing material by Barry Guy, Lola de la Mata, Joanna Ward and sometime Entropy trumpeter James B. Wilson.

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Dates:

Classical Enemy in Noise Waters: Rotten Bliss with 7 Headed Raven + Alex McKenzie + Nnja Riot
The Golden Hinde, St Mary Overie Dock, Bankside, London, SE1 9DE, England
Friday 26th April 2019, 7.00pm
– information here and here

Ensemble Entropy featuring Loré Lixenberg:

  • Memorial Unitarian Church, 5 Emmanuel Road, Cambridge, CB1 1JW, England – Friday 26th April 2019, 7.30pm – information here, here and here
  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England – Sunday 28th April 2019, 7.30pm – information here and here

Baba Yaga’s Hut presents:
Laura Cannell + Rotten Bliss
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 30th April 2019, 8.00pm
– information here, here and here
 

April/May 2019 – upcoming jazz gigs – a massive Barbican celebration of London jazz from the Total Refreshment Centre (13th April); the Steam Down collective hit Shoreditch (24th April); Warmer Than Blood in London and Cardiff (22nd April, 21st May)

10 Apr

When landlords and developers mark a city building for extra, blander profit – and when they put the squeeze on an existing tenant – they don’t only change and narrow the future, they can also asphyxiate the past. I don’t mean that they somehow delete what’s come before, it’s more that they pinch it off and remove its potential for continuance. The meaning that’s associated with a building and what goes on inside it, its history, becomes obscured to people who’ve not had the chance to discover it yet; or to people who might, in the future, grow up nearby never knowing what used to take place there.

For myself, I feel pretty damn ignorant for not having known about Hackney music space Total Refreshment Centre until, ooh, last year. It seems that, in various forms, it harboured and encouraged music for at least half of my lifetime, curating the historical while encouraging the current and never losing touch of the ethos that music should be inherent to and conversant with its community rather than being a little rarified enclave. The fact that sometime, quietly, last summer, the TRC was forced to shut down (presumably to make way for luxury flats or something which can generate a greater ground rent) makes me angry. Fortunately, the place is resilient enough as an idea – effectively, as a movement – not to rely entirely on bricks and mortar. Scheduled gigs have continued (still run by the existing team but moved to other venues), the programs still run; the concept of the place still has legs.

In some respects the people involved with the TRC are making a virtue of their new and more itinerant existence, using it to spread the word a little wider; extending their ongoing work in what ‘Clash Music’ has called “a means of pursing social engineering, a way to build communities up at a time when the political establishment seem content to break communities apart… Music can be used to re-imagine your surroundings, to transform concrete, glass, and brick into something magical.” Still, it must make life a little tougher, a little more challenging, that much more of a forced hack at a time when it’s already pretty exhausting.

With that in mind, it’s good to see that the TRC gets its own jazz tribute – more accurately, its own self-propelled celebratory showcase – this coming weekend at one of London’s more inviolable culture fortresses, the Barbican. There’s an opportunity here to carp about centralization, or about how certain establishments are protected while others are not (and for distasteful reasons – race and class also have a role to play here), but let’s just sound the obvious note here and move on. Better to bounce back and roll on as the TRC are doing; better to celebrate the recognition and cooperation which such a show also represents.

There are still a few tickets available for what’s promising to be one of the events of the London jazz year. Blurb follows:

“Total Refreshment Centre is part and parcel of east London’s recent music history. The building’s musical journey started as a Caribbean social club and studio and evolved into the musical hub that it is today. On April 13th, the Barbican Centre will host Dreaming The City, celebrating a previously untold story in east London’s music history. To mark nearly thirty years of influential music in the building, TRC has teamed up with Boiler Room – the revered global music broadcasting platform – who will broadcast the gig live.

“The concept of the show is a live mixtape exploring three decades of musical excellence that took place inside an Edwardian warehouse in Hackney. The building began life as a confectionary factory and by the 1990s had become Mellow Mix, a Caribbean social club and rehearsal space. In 2012 it began running as Total Refreshment Centre, an influential studio and venue that has played an integral role in the upsurge of new London jazz, which is now gathering worldwide attention. The narrative of ‘Dreaming The City’ is inspired by the history of this building, made special by the communities that inhabited it over the years. This story, researched by writer Emma Warren, is explored fully in her new book, ‘Make Some Space: Tuning Into Total Refreshment Centre (And All Places Like It)‘.

“Over thirty musicians from the thriving jazz scene (including Cassie Kinoshi and her Seed Ensemble, drummer-producer Kwake Bass, Jazz Warrior Orphy Robinson, Tom Skinner’s Wildflower, folk-crossover artists Rozi Plain, Alabaster DePlume and Joshua Idehen) will team up to perform. Also on the bill – Chelsea Carmichael, Cherise Adams-Burnett, Crispin Spry Robinson, Deschanel Gordon, Donna Thompson, Dylema Amadie, Emma-Jean Thackray, Idris Rahman, James Howard, Joe Bristow, Leon Brichard, Maria Osuchowska, Miguel Gorodi, Mutale Chashi, Noriko Okaku, Oscar Jerome, Patrick Boyle, Rai Wong, Rio Kai, Sheila Maurice-Grey, Shirley Tetteh, Tyrone Isaac-Stuart, Yael Camara Onono, Yohan Kebede and more special secret guests to come. This milestone event will unfold over five chapters, blurring the lines of what jazz is and creating new, exclusive and unexpected collaborations.

“There’s a strong link between club culture and live music in today’s vibrant music scene – what some have called ‘jazz-rave’ – and Dreaming The City will offer an energetic journey through time, space and London’s rich culture. The evening will start with a celebration of Caribbean sounds, recognising the community that first established the space as a musical hub. Following this, we trace the contemporary lineage of jazz music between inner-city London, West Africa, the Caribbean and continental Europe. Expect a session showcasing household names premiering new outfits, dropping old classics and brand new tunes. The music will reflect the diversity of sounds that have been danced to at TRC, from reggae and dub, to Krautrock via jazz and West African grooves.”

Some glimpses…

 
…and here’s a short film about the state of London jazz (with plenty of TRC-ing) which was released into the wild a few months ago in January…


 
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Back in January I did some praise singing for Steam Down, the south London jazz collective who bring regular African-inspired but London-cooked communal music events to Deptford. For the benefit of those north and east Londoners who for some reason never cross the river, they’re playing Shoreditch’s Village Underground towards the end of the month.

Steam Down, 24th April 2019“Join Steam Down as they take over Village Underground, with members on the decks and some very special guests joining them on stage. Jumping off from the sonic springboard of Afrofuturism, grime and future soul, all fused together with the fearless spontaneity of jazz, Steam Down is an arts collective comprised of Ahnanse, Alex Rita, Brother Portrait, Sawa-Manga, Theon Cross, Nadeem Din-Gabisi, Benjamin Appiah, Dominic Canning and “Nache. The collective congregates mid-weekly for a live performance where healing vibes and compulsive dancing are just as important as the music. Previous sessions have included guest appearances from Kamasi Washington, Sampa The Great, Nubya Garcia, members of Ezra Collective, SEED Ensemble and Sons of Kemet. Every week proves to be a co-creative piece of magic where everyone’s participation matters.”


 
There’s a new Village Underground interview with Steam Down here, but below is part of what I wrote about them three months ago:

“(An) African-inspired collective ethos… a diverse, voluntary hive mind, their individualities fused and encouraged by common purpose… a simmering pot of phuture soul, West African rhythms and cheerful Afrofuturism, the rapid offset breakbeat-splash and electrophonic edge of grime and broken-beat, and (in particular) spiritual jazz. That said, they’re well aware that they should steer clear of romantic oversimplifications about roots. As Ahnanse remarked in an interview with ‘The Vinyl Factory’ last year, “the roots of what we are creating starts outside of that context, jazz is not the only source of improvised music in the world. It happens in many forms and many cultures, we all come from different spaces and cultures, and it isn’t black American culture, none of us were born there, so actually we are bringing all of those other experiences into this… In a society that is so hegemonic and monotonous it’s nice to surprise yourself and be surprised, by people that you know well.” More than anything else, Steam Down work is inspired by the interlocking of Afro-diasporan culture with week-by-week London life – the information-rich bustle and challenges of a world city made up of people from everywhere, many of them sometimes pushing (or knocking heads) against half-invisible restrictions and oppressions as well as providing broad-mindedness and opportunity.”


 
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Also this spring, guitarist/composer Chris Montague revs up his jazz trio Warmer Than Blood (with bass guitarist Ruth Goller and pianist Kit Downes) for a couple of month-apart gigs in London and Cardiff. As I noted when I wrote about them in February, between them they can draw on a massive range of potential influences (including Sephardic music, manouche, punk jazz, Latin folk and Maghrebian sounds, the bouncing imagined world-jazz of the F-IRE Collective, Chris’ six-string avant-mapping in Future Currents) but in practise tend to go somewhere else – somewhere more uprooted and peril-flecked. Compared to the broad communality of Steam Down or the TRC community, they’re coming from a different place – tenser, more abstract and (if we’re being honest) whiter – but it’s still a collective communal effort, just shrunk down to a smaller chamber and a slender triangular format.

Warmer Than Blood, 22nd April/21st May 2019

As I wrote last time, “all three are longtime friends and collaborators, seeking yet another new approach. They seem to have found it with Chris’ newest batch of compositions and improvisation-seeding situations, which he suggests consist of “intricate textures, dark pools of harmony, layered melodies, kinetic group improvisation and percussive prepared piano… fractious composed passages can inhabit the same sonic space as spare, ambient melodies, often described as melancholic and uplifting at the same time…” Introverted and ominous, their name-track’s a quiet etiolated piano exploration over a minimal pulsing guitar-chord cycle and locked-in bass rumble. The excerpt from a longer piece, FTM, is a gradual evolver in which Chris hovers in menacing sustain/volume-swell textural clouds and momentary dust-devils over ghost-Latin clicks and bass piano thuds (Kit muting the piano at both ends) before the trio expand into what’s partly a kind of haunted country music (like a Bill Frisell ensemble scoured to the bone by plains wind), and partly like a salsa band coming to terminal grief in a badlands dustbowl.”

Here’s a rare recent live recording and an album taster for their imminent debut…

 
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Dates:

Boiler Room and Total Refreshment Centre present:
BR x Total Refreshment Centre: ‘Dreaming The City’
Barbican Hall @ Barbican Arts Centre, Silk Street, City of London, London, EC2Y 8DS, England
Saturday 13th April 2019, 8.00pm
– information here and here

Warmer Than Blood:

Steam Down
Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England
Wednesday 24th April 2019, 7.30pm
– information here, here and here
 

January 2019 – upcoming jazz gigs – Alex Roth/Wacław Zimpel/Hubert Zemler in Kraków and London (19th and 26th January); Ruby Rushton and Emma-Jean Thackray at the Supreme Standards launch in London (31st January)

15 Jan

Since relocating to his ancestral Warsaw last summer, in search of greater connection with his Polish-Jewish roots, English jazz-plus guitarist Alex Roth has been busying himself with musical conceptual work around the concepts of “migration, identity and connection”. As you’d expect, it’s implicitly connected with his own personal mindset, as he lays out in his latest news update. “My great-great-grandfather Herschel Roth came to the UK around 1890 from Kalisz, an ancient town now in central Poland but then under Russian rule. Fleeing the pogroms against Jews that were sweeping across the region, Herschel ended up in London’s East End, adopting the Anglicised name Harris. Over a century later, I’m retracing a migratory path that he and many other Jewish families took; the difference (other than the direction of travel) is that they made the journey out of desperation and fear, whereas I came to Poland filled with curiosity and hope.”

Back home (if “home” really is England anymore) Alex is known for multiple projects. Perhaps the primary one is Blue-Eyed Hawk (the latterday Mancunian jazz quartet in which he rubs shoulders with Corrie Dick, Lauren Kinsella and Dinosaur leader Laura Jurd), but there’s also been his Future Currents avant-electric guitar trio (with Chris-es Montague and Sharkey) and the twenty-piece Chaos Orchestra supergroup (a kiln-and-delivery method for large-ensemble compositions from rising young British jazz composers). As a guitarist, he leans a little towards the methodology of Bill Frisell or David Torn, with a hint of John Scofield: he might be a master of general jazz technique and knowledge, but his personal musical voice pushes determinedly and painterly towards an urgent, individual electric sound (telling sustain-bolstered swellchime phrases, tearing minimal interjections or focussings on the single note or note-cluster considered, stretched and transformed by non-Western/non-Gentile perceptions of pitch and of meaning).

Roth/Zimpel/Zemler, 19th & 26th January 2019Having been steeping himself in Polish-Jewish life – both remembered and current – via personal research and a residency at Kraków’s Żydowskie Muzeum Galicja, Alex is about to reveal the fruits of his first efforts via imminent Kraków and London gigs for his new trio with two Polish avant-garde/experimental jazzers – clarinettist Wacław Zimpel and percussionist Hubert Zemler (both of whom have previously worked together in Wacław’s long-form improvising trio LAM, which covers broad terrain between drifting, ever-so-slightly apprehensive cloudwork to triumphal, pumping, upbeat locomotion).

In terms of musical breadth, Alex is more than matched by Wacław, a musician of lambent yet sturdily angelic tone who’s recently made a debut splash or two on the London experimental scene (via visits for gigs at the Rocket Recordings Twenty concert and at Café Oto) as half of Zimpel/Ziołek, in which he and singing guitarist Kuba Ziołek explore electronically-augmented folk-jazz and psychedelia. Folding American minimalism, jazz, contemporary classical and Indian music plus loop-pedal playing into his sheaf of influences, Wacław also has a Hildegard of Bingen project running, has worked as a fifth of Euro-Carnatic quintet Saagara, and has mastered a cross-continental array of reed instruments drawn from Laos and Latvia to Turkey and northern India. As for Hubert, beside the delicacy of his LAM work he’s drummed for prankish Polish alt/jazz/country rockers Mitch & Mitch (and their merry psychedelic/country/Krautrock spinoff Slalom). He’s established himself as one of Poland’s finest improvising percussionists, coming up with anything from precise avant-rock kit-hitting to shifting, galactic free playing with vibraphonists, harpsichordists and more.

Going on past work, this new trio should bundle together a promising mixture of ideas. It’s impossible to predict exactly what they’ll be doing, but it’s tempting to try anyway; evanescence and strength, diasporan motifs, attenuated notes and incidental discoveries along the way, a pick-up-and-make-work method reflecting the wanderings and resilence of Europe’s Jews. It’s not the first time Alex has worked with Jewish themes – they’ve always permeated his work, from the magical Sephardic folk-jazz ensemble Sefiroth (one of multiple Roth collaborations with Alice Zawadzski) to the Otriad project, which is in some ways a direct precursor to Alex’s current work (inspired, as it is, by three Jewish partisan brothers in World War 2 Poland). This is, however, perhaps the first time he’s gone so evidently to geographical source; to places of vivid historical memory.

There’s a scatter of previous, separate work’s below to provide pointers, or perhaps mistaken clues. Also attached is one of Alex’s “słucham” field recordings of Warsaw sounds: not in itself Jewish, but an indication of other possible shapers of the project.



 
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Slicker and groovier – though no less impressive – music is to be heard in London the following week at the Supreme Standards debut evening at Ghost Notes in Peckham (the first in a monthly small-venue extension of the Love Supreme concert initiative).

Ruby Rushton + Emma-Jean Thackray, 31st January 2019

Led by saxophonist and flautist Edward “Tenderlonious” Cawthorne (the king in an already-winning pack containing keyboard player Aidan Shepherd, trumpeter Nick Walters, slinky bassist Fergus Ireland and the percussion duo of Eddie Hick and Joseph Deenmamode), Ruby Rushton are quiet-storming exemplars of taut but low-key jazz-funk grooves and spacious wind playing. Underneath the flowing, airy melodies, the sextet flick and phase between rhythms and style as if jumping between cousins. You’ll be looking for the gaps and joins, and finding none – Tenderlonious and co. not only make it sound natural, they make their grand plans simultaneously obvious and invisible.


 
As a group leader and composer, trumpeter and multi-instrumentalist Emma-Jean Thackray has specialised in cheeky, rollicking, lightly disruptive band-writing which doesn’t interfere with her knack for grooves, which seem mostly to be inspired by galumphing aquatic mammals. Her music’s wonky club-music feel – that shimmying, slightly drunken marching-band wobble – disguises the sly precision of the mapping mind behind it. She couldn’t cover it up forever, though. More recently she’s been working solo, with last year’s ‘Ley Lines’ EP revealed as a full solo effort – every composition or bit of production, every instrument, every vocal track, indeed every note handled by Emma herself. (It helps when you’re literally ambidextrous, although possessing huge strategic talent is clearly another bonus).

For her next trick, she’s going to deliver the thing live and alone: presumably a high-wire loop and tape act supplemented by her own remarkable skills. Hints below:


 
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Dates:

  • Alex Roth/Wacław Zimpel/Hubert Zemler – Żydowskie Muzeum Galicja, ul. Dajwór 18, 31-052 Kraków, Poland, Saturday 19th January 2019, 9.00pm – information here and here
  • Alex Roth/Wacław Zimpel/Hubert Zemler – Jazz Café POSK, 238-246 King Street, Hammersmith, London, W6 0RF, England, Saturday 26th January 2019, 7.30pm – information here and here
  • Supreme Standards: Ruby Rushton + Emma-Jean Thackray – Ghost Notes, 95a Rye Lane, Peckham, London, SE15 4ST, England, Thursday 31st January 2019, 7.30pm – information here, here and here

 

July/October/November 2018 – upcoming jazz gigs – Eddie Parker’s Debussy Mirrored Ensemble make their live debut in Cheltenham (13th July) and play York, Bristol and London in the autumn (24th & 26th October, 20th November); Algerian-influenced world shapes from the Seddik Zebiri Trio in London (13th July); Tori Handsley’s ‘Afro-Harping with Dorothy Ashby & Alice Coltrane’ in London (28th July)

5 Jul

Quick news on three upcoming jazz gigs… well, three gigs and a tour. An impressionist jazz ensemble takes its first assured steps around the country, an Algerian/Parisian veteran brings his trio to the deep East End, and there’s a jazz tribute gig that’s unusual enough for me to drop my usual reluctance to cover such things.

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“Former Loose Tubes flautist and composer Eddie Parker and his Debussy Mirrored Ensemble take cues from the important French composer Claude Debussy in a new show.

“2018 is the centenary of the death of Debussy. Eddie Parker’s Debussy Mirrored Ensemble is both a celebration of and a creative response to the composer. Famously, Debussy never wanted followers or imitators, and yet his music is enormously influential and has gone deep into our sensibilities.

“Eddie Parker has spent his life immersed in music – absorbing, creating , teaching, inspiring, and building trust and respect in a wide range of musical genres as a musician and composer. He also has a life-long passion for Debussy’s music. Building on previous Debussy transformations(2013’s ‘Windgames’ for solo piano and 2015’s ‘Snowsteps’, written for the Will Gregory Moog Ensemble, Eddie has now handpicked a unique new twelve-piece ensemble to turn his creative vision into reality.

“These musicians, from classical, jazz and improvisation disciplines, collaborate to transform a dozen of Debussy’s pieces into something incredibly unique, powerful and contemporary whilst capturing the composer’s revolutionary spirit – leading our ears on a fascinating journey while showing how important this influence is, not only for composers but for improvisers too.

“The high-order ensemble features Rowland Sutherland, Gareth Lockrane and Eddie himself on flutes, Jan Hendrickse on vocals and Turkish ney flute, James Allsopp on clarinet and bass clarinet, Alcyona Mick on piano
Imogen Ridge on harp, percussionist/vibraphonist Simon Limbrick and Loose Tubes drum-and-bass team Steve Watts and Martin France, with vocals by classical tenor James Gilchrist and jazz singer Brigitte Beraha.”


 
When presenting ‘Windgames’ four years ago, Eddie reflected as follows:

“My dad, Frank Parker, concert pianist manqué – whose professional career consisted of performing music for variety theatre, musicals and ice skating shows – used to play Debussy on the piano to me when I was a child… then as a teenager my school music teacher Len Sartin would hold one spellbound not only with his prodigious pianistic abilities (he performed ‘Feux D’Artifice’, the notoriously difficult final Prelude of Book 2, in a school speech night, to the utter bewilderment of assembled parents), but his comprehensive knowledge of the art, poetry and literature that each Prelude was alluding to: Baudelaire, Mallarme, chinoiserie, Arthur Rackham, etc. This in a comprehensive school for boys in Liverpool.

“Debussy’s music for piano, especially from the two books of Preludes, went in deep for me and stayed there. The feeling of a kind of kinetic sculpture in sound, involving a synthesis of harmony and sonority, a precise choreography of pianistic gesture, all bound together by an amniotic envelope created by the subtle use of the pedals – “like a kind of breathing”, as Debussy himself described it – these are the alchemical elements that have been infusing in my mind over the decades… One could foresee a series of Debussy transformations (or ‘Busygames’!): ‘Snowgames’, based on ‘The Snow Is Dancing’ from ‘Children’s Corner’; ‘Raingames’, based on ‘Jardins Sous La Pluie’; ‘Soundgames’, based on ‘Les Sons Et Les Parfumes…’ from ‘Preludes Book 1’; ‘Chordgames’, based on ‘Pour Les Chordes’ from ‘Pour Le Piano’… It may take me a while.”

Sounds as if he’s got there.

The Debussy Mirrored Ensemble project debuts at the Cheltenham Festival next week, with further dates in York, Bristol and London in the autumn. Details below:

* * * * * * * *

This in from Poplar Union in the east of London…

“You’re in for a treat this month! We have the brilliant Seddik Zebiri Trio with us for Live in the Library – Seddik Zebiri on vocals and Algerian mandole, Oli Arlotto on saxophone and Paolo Forcellati on percussion.

“Seddik Zebiri defines himself as a “music activist.” He’s a seasoned and experienced musician – a pioneer and a trailblazer. Since beginning his musical journey in the Parisian scene of the ‘60s, the cultural scenario has deeply changed. But, as he likes to affirm, he is “always the same: for me music is always the same thing, there is no difference between the one which I played during the ‘70s, the ‘80s or the one I’m playing today”.


 
“His sound is closely related to his Algerian roots, fused with modern influences. Seddik continues, “When you listen to my music you can initially define it as traditional, Algerian or Berber, but is has also some classic Middle Eastern elements. Then, when you listen further you can also identify other ingredients coming from rock, reggae, Latin or funk.” The trio will offer a distinctive take on jazz, drawing on Arabic and Afro-blues influences, and creating an absorbing, compulsively danceable sound: a fusion of traditional North African combined with funk, reggae and beyond.”…”

Poplar Union presents:
Live In The Library: Seddik Zebiri Trio
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Friday 13 July 2018, 7.30pm
– information here and here

* * * * * * * *

“The sound of the harp has always held a special place in the world of jazz, and that’s down to the work of two artists alone; Dorothy Ashby and Alice Coltrane. Despite both using the same instrument, their music could have hardly been more different. Ashby’s sound ranged from the trad to the plaintive, with standout albums ‘Hip Harp’, ‘Afro Harping’ (celebrating its fiftieth anniversary this year) and ‘Django/Misty’ across her oeuvre showcasing the harp’s versatility. By contrast, the harp for Coltrane worked as an extension of her profound spirituality whilst also indulging her avant-garde tendencies (as heard on her magnum opus, ‘Journey In Satchidananda’).



 
“Putting together the bespoke show will be London based harpist Tori Handsley, who has played with everyone from Nigel Kennedy and Orphy Robinson to Shabaka Hutchings and Moses Boyd and who’s been called “an essential music force that needs to be experienced by as many thinking musicians and audiences as possible” by Orphy Robinson, who’s also noted that she is “without doubt steadily becoming one of the most exciting and original musicians on the UK scene.”

Tori Handsley: Afro-Harping with Dorothy Ashby & Alice Coltrane
The Jazz Cafe, 5 Parkway, Camden, NW1 7PG London, United Kingdom
Saturday 28th July 2018, 7.00pm
– information here, here and here


 

June 2018 – upcoming London folk, world and storytelling gigs – Nest Collective’s Campfire Club shows – Seckou Keita (1st June); Gwyneth Herbert and Noemie Ducimetiere (15th June); The Embers Collective and Dizraeli/James Riley double event (21st June); London Contemporary Voices (22nd June); Jimmy Aldridge & Sid Goldsmith with Sophie Janna (29th June)

23 May

Last month, I said that June would see “a couple more” of Nest Collective’s unamplified outdoor folk gigs. Instead, there’s going to be a cavalcade – six in the space of four weeks, including one double event on the 21st, itself part of a cluster of three later in the month.

See below for a quick roundup of their early summer recipe – including Senegalese griot, storytelling, chamber jazz (well, presumably not “chamber” anymore), folk-rap, country, Gothic blues and pop chorale in addition to folk flavours from the British Isles, continental Europe and the United States. They’re taking place in London’s children’s playgrounds, open spaces and artist’s studio yards: as with many of the Nest Collective gigs, some of the locations are hidden and secret with the locations only given to ticketholders, so plan ahead.

* * * * * * * *

Campfire Club: Seckou Keita
(secret location), Bow, London, England
Friday 1st June 2018, 7.00pm
– information here, here and here

“How to describe Seckou Keita? Griot, praise singer, composer, djembe master, virtuoso, Kora player, pioneer? The answer is ‘yes’ to all of those. Seckou Keita is a true master of his instrument, a childhood prodigy, born of a line of griots and kings (Keita is the royal lineage, and not traditionally a griot name). Cissokho, his mother’s family name, gave life to his talent. His family includes Solo Cissokho, Seckou’s uncle, who introduced him to the International stage in 1996.

“The intense rhythm of Seckou’s working life has been driven by the desirability of his musical talents and his ability to get along with all kinds of different people. He toured with the Sierra Leonean musician, Francis Fuster, one time sidekick to Paul Simon, Miriam Makeba and Manu Dibango, and with Baka Beyond, whose founders Martin Cradick and Su Hart had befriended Seckou in Ziguinchor a few years before. The pair helped to produce his first solo kora album, ‘Baiyo’ (Orphan), which was released in 2000 (and subsequently renamed ‘Mali’ by the record label Arc Music).”


 
* * * * * * * *

Campfire Club: Gwyneth Herbert + Noemie Ducimetiere
Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England
Friday 15th June 2018, 7.00pm
– information here, here and here

Gwyneth Herbert is a strikingly original performer, award-winning composer and lyricist and versatile musical adventurer who continues to redefine and challenge expectations. Drawing on influences from the worlds of jazz, folk, contemporary classical music and storytelling, she has worked in collaboration with writers, musicians, directors, choreographers, visual artists, academics, clowns and young people to create a huge canon of genre- defying interdisciplinary work, as well as touring nationally and internationally with her band and releasing six critically albums to date on major, independent and self-owned labels.

“2018 sees the launch of Gwyneth’s ambitious and hugely anticipated seventh album and live show, ‘Letters I Haven’t Written’, songs from which she recently previewed in session for BBC Radio 2 and live from the Edinburgh Festival on BBC Radio 3. Gwyneth describes the project as “a musical, narrative and visual journey exploring the lost art of letter writing. Through blots of heartbreak, strokes of curiosity and scribbles of whimsy, ‘Letters…’ unearths the emotional complexities of putting pen to paper, and, in a climate of status updates and limited characters, seeks to find a more meaningful dialogue with the world”.

“A singer, composer and instrumentalist currently based in London UK, Noemie Ducimetiere is best known for her wide range of musical styles and her work with nine-piece band Gentle Mystics. With the Mystics currently on a recording hiatus, she is taking to the stage with her solo explorations of folk, rock and what some have called gothic blues. Noemie is a self-taught musician with an experimental approach, who found her mentors in her diverse influences: mid-century French cabaret, American blues, traditional Eastern folk and desert rock… today her live set-up comprises of an electric guitar and an expanse of blinking effects pedals.”



 
* * * * * * * *

Campfire Club: The Embers Collective
(secret location), Brockley, London, SE4, England
Thursday 21st June 2018, 7:00pm
– information here, here and here

The Embers Collective is a London based storytelling and live music collective formed by three friends; a writer, an actor and a musician who wanted to put on events with a focus on community, and driven by a passion for the art of sharing stories. Their events bring audiences together through the exploration of myths and folklore from all over the world. Each of their stories is accompanied by a live, professional multi-instrumentalist whose soundscapes take listeners on a journey. They welcome you to their warm embrace.”



 
* * * * * * * *

Campfire Club: Dizraeli + James Riley
Kindred Studios, 18 Saltram Crescent, West Kilburn, London, W9 3HW, England
Thursday 21st June 2018, 7:00pm
– information here, here and here

Dizraeli is a rapper, multi-instrumentalist and sometime singer taking hiphop to new terrains. His exploration has taken him to unexpected places: he composed the soundtrack for a new parallel-worlds comedy on E4 (Tripped); he toured France with producer and turntablist DJ DownLow; he spent a week in the refugee camp at Calais, giving workshops and listening to the migrants there. At the start of 2016, he travelled to Senegal to study West African music with an albino master, and in a remote fishing village covered in dust and music, he finished six new songs. Carrying these pieces home to London in his head, he decided to record them in a completely new way. Instead of shutting himself in a vibeless, carpeted studio where the impulse of the songs would be lost, he would invite an audience of close friends to the basement of a cafe, play live for those friends and record what he played – no editing; no studio tricks: in the words of one of the tracks: “Through the lens to the substance”.

“Born of a transatlantic relationship, James Riley grew up in South East London listening to the folk and soul sound of 70s America and wrote his first melody at the age of four. His first guitar, acquired at the age of nine, became the tool for surviving the tumult of a nowhere place, and helped James find somewhere he felt he belonged. In his early twenties, he took off, alone once again, hitchhiking and busking through Europe from Amsterdam to Istanbul, writing songs along the way. Back in the UK, these songs became a band, but eventually James had to shed another skin, and disembarked in Nashville, Tennessee. Here he found his producer and they set about making the album which had travelled with him to his maternal homeland, where it could finally get free.”



 
* * * * * * * *

Campfire Club: London Contemporary Voices
Glengall Wharf Garden, 64 Glengall Road, Peckham, London, SE15 6NF, England
Friday 22nd June 2018, 7:00pm
– information here, here and here

London Contemporary Voices specialises in work with established bands, including gigs, recordings and festivals. We also perform at private and corporate events, and host our own largescale concerts. They have worked with over fifty artists, including Sam Smith, James Bay, Marcus Mumford (Mumford & Sons), Joss Stone, Elbow, Alt-J, Basement Jaxx, Imogen Heap, Laura Mvula, Charlotte Church, Kate Nash, Alison Moyet, Kim Wilde, Nitin Sawhney, Ella Eyre, Little Mix, The Vamps, Public Service Broadcasting, Andreya Triana, Nicole Scherzinger, Andy Burrows and many more!”


 
* * * * * * * *

Campfire Club: Jimmy Aldridge & Sid Goldsmith + Sophie Janna
Spitalfields City Farm, Buxton Street, Shoreditch, London, E1 5AR, England
Friday 29th June 2018, 7.00pm
– information here, here and here

Jimmy Aldridge & Sid Goldsmith are one of the finest duos to have emerged onto the British folk and acoustic scene in recent years. Their combination of outstanding vocal work, sensitive instrumentation, and a powerful social conscience has brought them widespread critical acclaim. The songs themselves are always given centre stage but they are brought to life with stunning musical arrangements and vocals. There is an integrity that shines through their performances and a common thread of political struggle, resistance, and justice. Their critically acclaimed second album ‘Night Hours’ was released in December 2016 on Fellside Recordings. Described as “exhilaratingly diverse and full of impeccably crafted songs”, it has cemented the duo’s reputation as two of the most exciting musicians and social commentators on the scene.

Sophie Janna sings dark songs from eras past as if they were written yesterday. The person who guesses the correct number of deaths and broken hearts at the end of a gig will get a reward. Sophie accompanies herself on guitar, thumb piano, bodhrán or on nothing at all.”



 

April 2018 – The Ecstatic Music Festival in New York (part 3) with Margaret Leng Tan, ModernMedieval, Julianna Barwick, Patrick Zimmerli, Carla Kihlstedt and others, featuring premieres of new works by George Crumb, Suzanne Farrin, Kelly Moran, Jeremy Flower and Patrick Zimmerli (14th, 19th, 26th April)

1 Apr

During April, New York’s Ecstatic Music Festival comes to an end with its three final events. In the previous six concerts, we’ve seen (among other things) big band music, contemporary classical percussion, slam poetry, choirwork, experimental pop and progressive industrial metal. The closing three shows feature left-field jazz/classical/pop fusions, mix-and-match vocal ensemble music, and a finale of virtuoso contemporary classical piano (including toy piano).

* * * * * * * *

Jeremy Flower, John Hollenbeck, Ethan Iverson, Carla Kihlstedt, Christopher Tordini & Patrick Zimmerli: ‘Clockwork’ & ‘Songs of Mourning’
Saturday 14th April 2018, 7:30pm
– information here and here

“The evening begins with a celebration of the release of composer-saxophonist Patrick Zimmerli’s ‘Clockworks’, an hour-long jazz quartet suite and a musical meditation on time, in all its forms, performed by Zimmerli with former Bad Plus pianist Ethan Iverson, bassist Christopher Tordini and composer-jazz drummer John Hollenbeck.

“In the evening’s second half, pop/art song composer-violinist-vocalist Carla Kihlstedt (Sleepytime Gorilla Museum, Rabbit Rabbit, Charming Hostess, Tin Hat, The Book of Knots, Causing a Tiger and others) and composer Jeremy Flower joins Zimmerli, Tordini and Hollenbeck for the world premiere of ‘Songs Of Mourning’, an exploration of sorrow ranging from the political to the personal, and other works from their cumulative pasts.”



 
ModernMedieval & Julianna Barwick
Thursday 19th April 2018, 7:30pm
– information here and here

“Some of the greatest voices in contemporary music come together! Julianna Barwick’s ethereal, powerfully emotive voice (usually layered on top of itself to stunning effect) is paired with three-member super-group ModernMedieval (celebrated performers of early music, featuring former Anonymous 4 founder Jacqueline Horner-Kwiatek and Roomful of Teeth’s Martha Cluver and Eliza Bagg), ascending into a thrilling and truly ecstatic sonic world.

“Featuring premieres of new works by Barwick, Caleb Burhans (“New York’s mohawked Mozart” – ‘Time Out New York’), and Caroline Shaw (the youngest ever winner of the Pulitzer Prize for Music).”



 
Margaret Leng Tan premieres George Crumb, Suzanne Farrin, & Kelly Moran
Thursday 26th April 2018, 7:30 pm
– information here and here

Margaret Leng Tan — the formidable doyenne of the avant-garde piano — has built a career on upending tradition, pushing her instrument into fresh, no-holds-barred sonic worlds,” raves the Washington Post. Tan gives the New York premiere of ‘Metamorphoses’, a major new work written for her by the seminal twentieth century composer George Crumb, for amplified piano, toy piano, percussion and voice. Metamorphoses is performed with Monica Duncan’s video projections, in which atmospheric visual textures complement the music.

“Tan will also premiere two new EMF-commissioned pieces by young composers responding to Cage and Crumb’s influence: a work for prepared piano by Kelly Moran, and a haunting new piece by 2017 Rome Prize winner Suzanne Farrin that acknowledges not only Crumb’s important contribution to American music, but, in Farrin’s words, “also Margaret Leng Tan’s special role as the artist who has brought the piano’s insides to life on stage.” Works by Toby Twining and John Cage round out the program.”



 
As with all the other EMF concerts, these will take place at Merkin Concert Hall @ Kaufman Music Center, 129 W 67th Street, Upper West Side, Manhattan, New York, NY 10023, USA.

Both the ModernMedieval/Julianna Barwick and the Margaret Leng Tan concerts are co-presentations with New Sounds Live: hosted by John Schaefer, they’ll be streamed live via the New Sounds homepage.

Same again next year?

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