Tag Archives: Chris Cundy

May 2017 – upcoming London gigs – Muckle Mouth bring us Le Ton Mité plus Chris Cundy (May 25th), and The Family Élan plus Plague Dogs (May 27th); Papernut Cambridge’s Beehive Yourself gig-hosting series continues with The Great Electric, Deerful and Mat Flint (May 27th)

20 May

More on that second set of May gigs at the Dentist in Homerton, plus a continuing set of gigs over in Bow…

* * * * * * * *
Le Ton Mité, 26th May 2017

Muckle Mouth and The Dentist present:
Le Ton Mité + Chris Cundy
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Thursday 25th May 2017, 7.30pm
– information here and here

“This is the first ever London show of Le Ton Mité, a Belgian musical cooperative that revolves around the compositions of itinerant musician, instrument maker and fine artist McCloud Zicmuse, an American expatriate in permanent residence in Brussels.

“Having left the United States in the mid-noughties on a European sojourn that never ended, McCloud wound up in the Belgian capital in the fall of 2008. Half a decade on, a time in which he has embedded himself in European life via puppet shows, archery guilds, folkloric events, theatre projects and a catalogue of idiosyncratic solo and group works (perhaps most recognisably the 2011 Hoquets album on Crammed Discs called ‘Belgotronics’), McCloud returned to the States, to revisit places he had not seen, in some cases, for fifteen years. This informs his current musical set – an idiosyncratic blend of pop, folk, childrens music and jazz performed by a baroque-style quartet.


 
“To open the evening, there’s be a solo set by Chris Cundy performing his own works for bass clarinet. Chris is a musician, composer, and visual artist working on the fringes of experimental and popular music. He has long been interested with the material properties of acoustics and his music explores self-developed playing techniques such as multiphonics, circular breathing, micro-tonality and (generally speaking) a more tactile approach to the instrument.

“Chris performed with Mercury Award nominated indie-pop band Guillemots and continues to work with the bands frontman Fyfe Dangerfield. He has also collaborated with a variety of alt-pop artists both in Canada and the UK including Little Annie, Baby Dee, Timber Timbre, and Cold Specks.”


 
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The Family Élan + Chris Cundy, 27th May 2017

Muckle Mouth and The Dentist present:
The Family Élan & Plague Dogs
33 Chatsworth Road/The Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Saturday 27th May 2017, 7.30pm
– information here and here

“Muckle Mouth and The Dentist welcome Bradford psych-folk rockers The Family Élan (and their heady blend of party hits, Hindi film song and Turkish folk dances) back for a fling.

“The Family Élan generally performs as a trio, featuring Krzysztof Hładowski (of A Hawk and A Hacksaw, The One Ensemble, Nalle, Scatter fame) on Greek bouzouki, elektrosaz and vocals, Harry Wheeler on fancy bass, and Shakeeb Abu Hamdan (of Please, Ygrec, Cleckhuddersfax, The Wub) on Western drum kit. The scope of The Family Elan’s output ranges from self penned meditations in the key of Z minor and the odd party hit, to irreverent interpretations of everything from Hindi film songs to Turkish folk dances, delivered with the countenances of psychedelic rockers. Perhaps the unifying strand in all this is a deep interest in traditional music forms and their reinvention through group rock-outs.”


 
As with the Alex Rex gig earlier in the month, Plague Dogs will be in support… but now I know who they are. They’re an alliance of Trembling Bells/Alex Rex kingpin Alex Neilson with writer/curator/artist/cultural geographer Amy Cutler (at least, I’m assuming that it’s that Amy Cutler)… In which case, expect something textural, folk-tinged and audio-visual, probably provoking more questions than it answers..

(UPDATE, 26th May 2017 – this show’s been cancelled, with the hope that it can be rescheduled later in the summer…)
 

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I’ve been slow on picking up on renewed gig activity at the Dentist. Likewise with this set of shows over at the Beehive in Bow (the latest of which clashes with the Family Élan show, but there you go…)

Beehive Yourself 2 (Papernut Cambridge + The Great Electric + Deerful), 27th May 2017

Sound Event Solutions & Papernut Cambridge present:
Beehive Yourself #2: Papernut Cambridge + The Great Electric + Deerful + Mat Flint DJ set
The Beehive, 104-106 Empson Street, Bromley-by-Bow, London, E3 3LT, England
Saturday 27th May 2017, 7.00pm
information

“The second of three Saturday night shows for spring and early summer featuring Papernut Cambridge and a hand-picked selection of friends’ bands and DJs.

Papernut Cambridge is led by former Death In Vegas and Thrashing Doves guitarist (and now prolific underground producer/engineer) Ian Button, who has a list of current projects and collaborations that include Go Kart Mozart, David Cronenberg’s Wife, Deep Cut, Darren Hayman, Pete Astor, Rotifer, Paul Hawkins etc. The band is based on an imaginary band from a dream Ian had in 1990 and brought to life in 2013 by assembling a group of friends and collaborators. Papernut Cambridge have now released two albums (‘Cambridge Nutflake’ in 2013, ‘There’s No Underground’ in 2014) and a covers album (2015’s ‘Nutlets 1967-80’), all on Gare Du Nord Records. The next album release is ‘Love The Things Your Lover Loves’ in May 2016.


 
“As ever with this gig series, Papernut Cambridge will be playing the opening set. The very special guests to follow on May 27th are:

The Great Electric – electronic/motorik supergroup featuring Malcolm Doherty (guitars, effects), Rob Hyde (drums), Darren Hayman (synth), Duncan Hemphill (tones, drones and effects) and Pete Gofton (bass). With a band members’ past pedigree that includes Hefner, Kenickie, Go-Kart Mozart and Mum & Dad, expect a determined, nuanced yet mind-melting set inspired by German electronic and prog via Stereolab, music made in space, and radical hypnosis techniques.


 
“Following on from her past work backing or contributing to the work of Darren Hayman, Pete Astor, Owl & Mouse and Enderby’s Room, Emma Winston’s solo electronic project Deerful takes bright melodic indie pop and fuses it with crisp chiptune and electro shimmers, Gameboy beats, and emotive thought-provoking lyrics. Her live shows using an array of TFL-portable synths and devices are always a delight. Deerful’s first full length album ‘Peach’ is released this year on June 2nd.


 
“Former Revolver frontman, Death In Vegas bassist, and now leader of bravado dreampop project Deep Cut, Mat Flint is also a frequent record spinner at The Social, playing sets that range from Northern Soul and hip hop to dub and garage rock. We’re chuffed he’s coming along to pilot the wheel of steel for this show!”

 

April 2017 – upcoming jazz & improv instrumental gigs, Midlands, West and East – Theo Travis’ Double Talk in Essex (21st); Birmingham Bass Night with Steve Lawson, Dave Clarke, Russ Sargeant and Kevin Buckland (24th); improv in Cheltenham with Trevor Watts/Veryan Weston/Hannah Marshall Improvising Trio, Han Bennink & Pat Thomas, plus Chris Cundy (28th)

9 Apr

I focus too much on London with these news posts, so it’s refreshing to get a chance to look further afield now and again. Two of the regular gig-engines that I keep an eye on are Cheltenham’s friendly and broadminded improve evening Xposed Club, and Birmingham’s self-propelled compulsive bass collaborator Steve Lawson – so it’s good to be able to feature a gig by each of them here, plus news on the only 2017 gig planned (so far) for Theo Travis’s Double Talk quartet.

* * * * * * * *

With Double Talk, saxophonist Theo Travis pulls together his diverse influences and drives – his lyrical Stan Getz-ish jazz approach, his taste for ambient experimentalism, and the push-pull strands of his beloved English art rock and prog strands (spanning the likes of King Crimson, Gong and Porcupine Tree through to the influence of Theo’s other main gig as a member of Soft Machine) – more successfully than with any of his other projects. Allying Theo with drummer Nic France, Hammond organist Pete Whitaker and the extraordinarily malleable guitar of Mike Outram, Double Talk produce a warm, thoughtful, textured and propulsive jazz – managing their fusion leanings without falling into the trap of electric sterility, expressing their irreverent Englishness without drowning in soapy tweeness; an exhibition of subtle, graceful and reflective muscle.

At this Fleece Jazz gig, they’ll be mainly (though not exclusively) concentrating on music from their 2015 album ‘Transgression’.

Fleece Jazz presents:
Theo Travis’ Double Talk
Stoke by Nayland Hotel, Keepers Lane, Leavenheath, Colchester, Essex, CO6 4PZ, England
Friday 21 April 2017, 7.30pm
– information here and here


 
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Birmingham Bass Night, 23rd April 2017

Birmingham Bass Night: Local Heroes! (featuring Steve Lawson, Dave Clarke, Russ Sargeant & Kevin Buckland)
Tower of Song, 107 Pershore Road South, Kings Norton, Birmingham B30 3EL, England
Sunday 23rd April 2017, 6.30pm
information

Another of Steve Lawson’s hometown low-end gigs-with-pals is coming up in the shape of this “all-West Midlands solo bass extravaganza” – more details below.

Steve Lawson is the UK leading solo bassist – a former Bass Guitar Magazine cover star, Steve has been playing solo for 20 years, everywhere from The Royal Albert Hall to the Knitting Factory in LA. His solo work has also lead to numerous collaborations, most recently with Divinity Roxx, Reeves Gabrels, Tanya Donelly and Beardyman amongst many others. He’s released somewhere in the region of 45 solo and collaborative albums, but lost count some time in 2012…


 
“Midlands bass legend Dave Clarke has been a regular on the scene for twenty-five years, touring with Surinder Sandhu, Alvin Stardust, The Contours and Chairman Of The Board, and gigging in pretty much every pop style imaginable. Dave returns to Birmingham Bass Night with his much-loved looping piano/bass experimental duo, the Rowberry/Clarke Project.

 
“UK bassist Russ Sargeant uses his instruments, along with technology and effects, to create beautiful, layered music. His work has been described as “wonderfully immersive” and “subtle layers of sound that emerge gracefully like cinematic soundtracks”.


 
“Solo bassist and soundscapist Kevin Buckland – a.k.a. An Ending Ascend – brings his beautiful laptop-powered, eBow-laden ambient textures to Birmingham Bass Night. Currently studying for a Masters in experimental composition and sound art, Kevin’s musical journey takes the listener on a rich and rewarding ride through a world of mellow organic electronica.”


 
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A rather longer entry now for the latest Xposed Club show, featuring as it does a stack of coalescing musicians with long solo pedigrees…

Xposed Club, 24th April 2017

Xposed Club presents:
Trevor Watts/Veryan Weston/Hannah Marshall Improvising Trio + Han Bennink & Pat Thomas + Chris Cundy (bass clarinet solo)
The Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Friday 28th April 2017, 8.00pm
– information here and here

Friends and collaborators for more than forty years (since meeting in Trevor’s Moiré Music Group, which pursued a unique combination of African rhythmic structures with the European musical tradition) saxophonist Trevor Watts and pianist Veryan Weston have been at the forefront of many innovations and developments within the jazz/world and improvisational areas of music.

Trevor is the only surving founder member of The Spontaneous Music Ensemble, began the Amalgam group in 1967 (with bassist Barry Guy and trombonist Paul Rutherford), and was a founder member of Barry Guy’s London Jazz Composers Orchestra. He also founded The Drum Orchestra which, over a seventeen-year span from 1980, combined the talents of musicians from North and South Africa and Latin America. Initially a collaborator with Lol Coxhill and Eddie Prévost in the early ‘80s, Veryan reveals new aspects of an ever-changing improvised music identity depending on who he is playing with: he spent much of the ’90 working with vocalist extraordinaire Phil Minton, and other collaborations have included Carla Bley’s Escalator Over The Hill, John Zorn’s Cobra and (more recently) Sol6 and the 2014 Lindsay Cooper memorial project. His work with Jon Rose on the ‘Temperament Project’ uses assorted acoustic keyboards and violins with “selected tunings derived from science, history and the imagination”, and his formal composition work with the ‘Tessellations’ project produces pentatonic pieces for choir, piano, string quartet and other formats.

Sharing musical interests (particularly in rhythmic ideas), the two have maintained a long standing improvisation-focussed duo, highly acclaimed for their recordings and worldwide live appearances. Having previously joined forces with drummer Terry Day and bassist Dominic Lash, they’re currently operating as a trio with the involvement of free improvising cellist Hannah Marshall – a force on the UK scene and beyond who continues to “extract and invent as many sounds and emotional qualities from her instrument as she can… influenced by environmental sounds, western classical music, jazz, noise, traditional songs and blues amongst many things…” As well as work with Veryan on the Tuning Out Tour, the Trio of Uncertainty and Haste (and with others including Rachel Musson, Julie Kjaer, and Tim Hodgkinson), Hannah collaborates on and scores many other performing-arts works within theatre, dance, storytelling, film and live art.


 

Last time he played at Xposed Club (nine years ago) Han Bennink packed the place out. At the age of seventy-five, the onetime hard-swing drummer retains the lifelong energy that’s made him a linchpin of the Dutch improvisational scene. From backing various American stars on their visits to Holland in the 1960s, Han went on to co-found the musicians collective Instant Composers Pool in 1967 with pianist Misha Mengelberg and saxophonist Willem Breuker. With additional skills on clarinet, violin, trombone, piano, soprano saxophone and banjo (and a parallel career as a visual artist) he’s one of Europe’s most diverse improvisers, working with Derek Bailey, Misha Mengelberg and John Tchicai, amongst others.

Han’s also been in a number of trios, including the sax-cello-drums Clusone 3 (with Michael Moore and Ernst Reijseger, creating a “free-wheeling mix of swinging jazz standards, wide-open improvising, and tender ballads”) and a sax-piano-drums arrangement with Peter Brötzmann and Fred van Hove. His current main trios are his own Han Bennink Trio (with Joachim Badenhorst on clarinet and Simon Toldam on piano) and a piano-bass-drums alliance with Cor Fuhler and Wilbert de Joode. He remains a member of Mengelberg’s ICP Orchestra and the Tobias Delius Quartet. Throughout all of this, he’s also kept up his interest in non-standard/found object percussion, something which dates back to his first experiments with a kitchen chair at the start of his playing career (he still plays one whenever he had the opportunity).


 
Han also retains an active fondness for the spontaneous duo gig, and for this Xposed appearance he’s joined by pianist Pat Thomas. An improv festival veteran, Pat’s own history is one of mingling organic musical influences (jazz, reggae, classical) with electro-acoustic experimentation – when not playing piano, he’s working with programmable keyboards and with found-sound created by taping and editing random soundtracks from TV broadcasts. In the mid-’80s he played in Ghosts with percussionist Matt Lewis and wind/EWI player Pete McPhail, the latter of whom would also be a member of Pat’s experimental tentet Monads (which specialised in running a gamut of improvisational possibilities from saxophone-led pieces to others which foregrounded turntables, drum machines and computers). During the ‘90s Pat was a member of the intermittent quartet Scatter (with Phil Minton, Roger Turner and Dave Tucker). He’s also played extensively with Tony Oxley, Mike Cooper. Derek Bailey and Lol Coxhill, has a keyboard-and-percussion duo with Mark Sanders, and a trio with Steve Beresford and Francine Luce.


 

The opening act on the bill is extended-technique reedsman Chris Cundy: an Xposed Club regular and favourite with roots in Medway busking, a roving Cheltenham/Canada base, and a history that includes work with Fyfe Dangerfield (exploring both art pop with Guillemots and more avant-garde improvising terrain with Gannets), freak-folkers Timbre Timbre, doom-soul singer Cold Specks, florid transgender romantic Baby Dee, acclaimed indie/jazz/folk artist Devon Sproule and others. The master of a range of approaches (multi-phonics, circular breathing and microtonality) and of assorted standard and unusual woodwind and reed instruments, Chris dips into everything from the philosophical experiments of Cornelius Cardew and John Cage to out-and-out improv to theatre work. For this particular gig, he’ll be concentrating on his bass clarinet work.


 

December 2016 – upcoming gigs – ‘Staggerlee Wonders’ with Robert Mitchell, Debbie Sanders, Corey Mwamba, John Edwards, Elaine Michener, Mark Sanders and others (London, 8th); Trio Generations with Maggie Nichols/Lisa Ullén/Matilda Rolfsson (Cheltenham and London, 9th & 11th)

5 Dec

StaggerLee Wonders
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Thursday 8th December 2016, 8.00pm
– information here and here

'Staggerlee Wonders', 8th December 2016Billed as “an evening of radical poetry and prose fused with free improvised music”, this event’s title is taken from James Baldwin’s blazingly scornful, almost conversational poem – itself named for the black outlaw/hoodlum who flits and thunders through a set of conflicting American tales and songs, taking on the roles of murderer, proud badass, pimp and more.

In all cases, Stagger Lee’s become a byword and signifier for transgressive black resistance to cultural pressure and norms. A lengthy lope in a thickly jazzy, declamatory style, Baldwin’s version takes up the final, revolutionary Stagger Lee position, setting aside the thuggery, choosing instead to weigh up the protests, delusions and not-so-secret wickednesses of white hegemony in one Afro-American palm (seamed with exile, scepticism and righteous ire) before firing up his sardonic, acidic tongue to flay and spit the flesh right off their bones. It’s not clear whether Baldwin’s take will be performed as the evening’s centrepiece, or whether it simply serves as an inspiration; but it certainly sets the bar high, both artistically and politically.

Various performers, both black and white, are confirmed to attend. Hopefully, they’ll all rise to the explicit challenge. Reknowned for his weighty slowhand approach, jazz pianist Robert Mitchell has worked with Epiphany3, F-ire Collective and Panacea. Jazz/folktronicist Corey Mwamba plays small instruments, dulcimer and electronics across assorted projects but is best known for his highly dynamic, hammers-to-humming vibraphone playing and for the ongoing questioning spirit which he explores in both live music and academia (and any intersections he can make between the two). Voices come from restless, movement performer and polygenre singer Elaine Michener (recently seen at the Cockpit Theatre in a quartet with Alexander Hawkins) and from storytelling singer/composer Debbie Sanders (currently heading up Mina Minou Productions, previously embedded in proto-acid-jazz, trip-hop and British R&B via work with Skylab and Chapter & The Verse).

Bass and drums are provided by two stunning soloists who also happen to make up one of London music’s most formidable rhythm partnerships. Both double bass player John Edwards and drummer Mark Sanders are capable of a breadth of sound and attack on their respective instruments, running across an orchestral breadth from whisper to hailstone attack (via conversation or monologue, from growling belligerence to kidding conversation or querying patter).

More people may be showing up to play, but that’s already a pretty thrilling loose sextet to work with and to choose from.

* * * * * *

Trio Generations is an intermittent name for a convocation of three top European improvisers, Maggie Nichols, Lisa Ullén and Matilda Rolfsson. Formed last year, they’re playing a couple of English shows to bookend the upcoming weekend. Outlines below, mostly from the Café Oto pages:

Trio Generations, 2016

Trio Generations, 2016

Maggie Nicols joined London’s legendary Spontaneous Music Ensemble in 1968 as a free improvisation vocalist. She then became active running voice workshops with an involvement in local experimental theatre. She later joined the group Centipede, led by Keith and Julie Tippets and in 1977, with musician/composer Lindsay Cooper, formed the remarkable Feminist Improvising Group. She lives in Wales and continues performing and recording challenging and beautiful work, in music and theatre, either in collaborations with a range of artists (Irene Schweitzer, Joelle Leandre, Ken Hyder, Caroline Kraabel) as well as solo.

Matilda Rolfsson is a Swedish percussionist and free improviser, based in Trondheim, Norway. During the spring of 2015 she was temporarily based in London where she finished her masters in free improvisation and the relationship between improvised music and dance at Trinity Laban Conservatoire of Music and Dance. During her London stay Matilda got the chance to meet and play with some of Londons most efficient improvisers: Phil Minton, Sylvia Hallett and London Improvisers Orchestra with Maggie Nichols. With her 20” vintage Gretsch bass drum, Tibetan bowls, gongs, bells and plastic isolations, sticks, fingers and brushes, Matilda explores the free improvisation and the instant compositions shaped in the moment: dynamics, orchestrations – structure and chaos. To make rules and break rules, always with the question: where’s the music going, and where’s the freedom?

“Pianist Lisa Ullén grew up in the northern part of Sweden, and is based in Stockholm. A versatile player with a singular musical vision, Lisa has repeatedly proven her ability to imprint her absolute sense for tonal texture on whatever musical context she appears in. Besides working as a soloist and leader of her own groups, Lisa has collaborated extensively with many well-known Swedish artists and dancers, and has also scored several dramatic productions. She’s also performed and recorded music by contemporary composers.”
 
To provide a sense of what might be coming, here’s the full half-hour set from their debut performance at IKLECTIK in 2015: a fractured, prolonged collective improvisation which swaps mood, pace and suggestions like a game of speed poker, with passing shreds of blues. Although Lisa and Matilda match her with lethally-aimed flinders of explosive, challenging percussion and piano, Maggie remains the centre of attention via a performance that’s as much stand-up comedy or theatre piece as it is free jazz. She produces not only the clucks, hisses, pants and operatics of free-voice improv but a bewildering spiky cavalcade of female voices and archetypes (hopeful chitterer, wise sly crone, mother in labour, put-upon wailer, deft gossiper) while including fleeting lyrics from jazz, blues or music hall and assorted Dada twists (including a phase which sounds like a demonic toothbrushing session).


 

This month’s Trio Generations dates:

  • Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England, Friday 9th December 2016, 8.00pm (with Chris Cundy) – information
  • Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England, Monday 11th December 2016, 8.00pminformation

At the Café Oto show, John Edwards will be joining in to make the group a quartet. While there’s no support act at Oto, at the Xposed Club Cheltenham reedsman/multi-instrumentalist Chris Cundy will be providing a solo slot on bass clarinet and saxophone. A tactile extended-technique player, Chris began as a self-taught Medway busker coming into his own under the combined influence of Eric Dolphy (on record) and Billy Childish (in the flesh and in the kitchen). Following a relocation to Cheltenham to pursue fine art, Chris has broadened his scope into a world of other collaborations in film, electronica, free improvisation and pop. He’s worked extensively with Fyfe Dangerfield (as part of the Guillemots horn section and as an integral member of Gannets), with Canadian freak-folkers Timbre Timbre and a succession of left-field singer-songwriters. His extended techniques (including multi-phonics, circular breathing and microtonality) have also led him into exploring the works of Cage and Cardew and those of contemporary avant-garde composers such as Thanos Chrysakis and Pete M Wyer, as well as producing a growing number of albums of his own work.


 

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