Tag Archives: Chris Montague

November 2017 – London and Birmingham instrumental giggery – Kabantu at 1901 Club (16th); Alex Roth double bill playing with Future Current and scoring Kasia Witek’s ‘One Wall of Me’ for Olie Brice & Ruth Goller (17th); Steve Lawson with Bryan Corbett at Tower of Song (19th)

9 Nov

A quick sweep through three diverse mid-month gigs in London and Birmingham, covering duets of loop-bass and trumpet, some global acoustic fusion, and a double-bill of experimental guitar trio plus double-bass-accompanied dance piece…

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Kabantu, 16th November 2017

Hattori Foundation presents:
Hattori Foundation Rush-Hour Recital: Kabantu
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 16th November 2017, 7.00pm
– information here and here

“Reinventing global sounds, rewriting the rulebook – winners of the Royal Over-Seas League Competition 2017, Kabantu (meaning “of the people”), is a five-piece hailing from Manchester who unravel new marriages of music from around the globe to celebrate the space where different cultures meet. Formed in 2014 at the Royal Northern College of Music and combining the virtuosity of classical training with the opportunity to explore music from around the world, Kabantu musically reflect their interest in global cultures, arrangement and improvisation.

“The instrumentation comprises violin (Katie Foster), cello (Abel Selaocoe), guitar (Ben Sayah), double bass (Ali McMath) and percussion (Delia Stevens). Vocal harmonies from South Africa coalesce with everything from Celtic reels and Brazilian samba to Balkan folk music and beyond. Kabantu use music to bridge countries and cultures, creating an exuberant and joyful sound. They have just recorded their debut album with Mercury-nominated producer Gerry Diver and very much look forward to releasing it alongside a UK-wide launch tour in February 2018.

“The programme will include Scotland/Good Call (a set of two tunes, one penned by the group’s Edinburgh-born violinist Katie Foster and one traditional, fused with Kabantu’s take on Scottish music, including bowed banjo woven with intricate rhythmic decoration) and Ulidzele (a traditional song brought to Kabantu by their South African cellist Abel Selaocoe, using a blend of African vocal harmonies preceded by vibrant chanting and percussion to tell the story of a funeral celebrating a life, rather than mourning it.”



 
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London Jazz Festival presents:
Kasia Witek’s ‘One Wall of Me’ (featuring Olie Brice & Ruth Goller playing music by Alex Roth) + Future Currents
Jazz Cafe POSK @ POSK (Polish Social & Cultural Association), 238-246 King Street, Hammersmith, London, W6 0RF, England
Friday 17th November 2017, 7.30pm
information

Kasia Witek/Future Currents, 17th November 2017“Conceived specifically for a new company of three dancers and two musicians, Kasia Witek‘s new performance piece ‘One Wall of Me’ investigates and celebrates the intelligence of the body. Through the practice of embodied awareness, the performers awaken a sense of belonging, togetherness, and joy. Watch and listen as the meditation on endless interconnectivity unfolds before you.

“An original score by award-winning composer/improviser Alex Roth, drawing on the deep sonorities and physicality of double bass (played live by renowned improvisers and “double double bass team” Olie Brice and Ruth Goller), provides an integral counterpoint to Kasia’s highly physical choreography, danced by Elisa Vassena, Stella Papi and Tora Hed.

Future Currents is an electric guitar ensemble formed by Alex Roth to explore the full range of the instrument’s sonic potential. Bringing together three of the UK’s most acclaimed improvising guitarists, (Alex, Chris Montague and Chris Sharkey, who between them are members of Troyka, Sephiroth, trioVD, Otriad and Blue-Eyed Hawk), the group creates new music of extremes, informed as much by composers like Morton Feldman, Frank Zappa, Olivier Messiaen and Richard D James as by pioneering guitarists such as Fred Frith, Robert Fripp, Marc Ducret and Bill Frisell.”


 

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Steve Lawson & Brian Corbett, 19th November 2017

Steve Lawson with Bryan Corbett
Tower of Song, 107 Pershore Road South, Kings Norton, Birmingham B30 3EL, England
Sunday 19th November 2017, 7.00pm
– information here, here and here

Back at Tower Of Song in Birmingham, bass guitarist, loop musician and ToS/’Misfit City’ regular Steve Lawson embarks on a launch gig for his latest album ‘PS, You Are Brilliant’.

The sunny title may seem to counterpoint Steve’s recent set of more sombre-toned releases such as ‘If They Had Won’ and ‘Referendum’, mourning the enmity, deprival and confusion of Brexit and the austerity age (as well as providing a restful break before he reimmerses himself in the polemical communitarian thrash/protest metal of Torycore later in the month). However, it seems that the music is more of an extension of the work on his last full album ‘The Surrender Of Time’ (“dark, dissonant layers of sound coupled with glitchy, wonky hip-hop beats and odd time-signature chance-based loops that bring an even more complex set of relationships between the various layers at work”).

The title itself is a quote from and tribute to the late arts producer Roanne Dods (of the Jerwood Foundation and Small Is Beautiful) whom Steve describes as “one of the most relentlessly encouraging people I’ve ever come across… she brought a sense of possibility to every conversation, and alongside that was so, so good at actually making things happen, at organising and pulling together teams to make sure that those ideas, that impetus and all that amazing encouragement came to fruition. I think about her pretty much every day, as I do things that she encouraged me to do, as I reach to be the best that I can be in every area of my life, and pass on that encouragement to others.”

Joining Steve at Tower of Song is “one of my most favourite collaborators ever as special guest – Bryan Corbett on trumpet. Bryan is one of the most brilliant improvisors I’ve ever worked with – he has an otherworldly ability to arrange and orchestrate his sounds on the fly, using subtle effects and exemplary technique to lift everything he plays on to a higher level. It’s been way too long since we last played together, and this will be our first ever duo gig.”

The eticket deal includes a free download of If They Had Won (one of the tracks from ‘PS, You Are Brilliant’). Have an advance listen to it here…


 

November 2016 – upcoming London gigs – Future Currents at IKLECTIK (15th), Rothko & Ghost Mind at Servant Jazz Quarters (17th)

14 Nov

A couple of instrumental or near-instrumental shows in London this week – intent and textural, electric and hidden, bubbling underground.

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EFG London Jazz Festival presents:
Future Currents
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Tuesday 15th November 2016, 8.00pm
information

IKLECTIK/band press release below (tweaked and interfered with, as usual):

“Future Currents is the electric guitar ensemble formed by composer/improviser Alex Roth with the aim of exploring the full range of the guitar’s sonic potential and contributing to a redefinition of the instrument’s role in twenty-first century experimental music.

Future Currents: 'Future Currents' EP

Future Currents: ‘Future Currents’ EP

“Bringing together three of the UK's most acclaimed improvising guitarists – Alex himself, Chris Montague ( of
“Motorhead meets Mingus” jazz-rock trio Troyka) and Chris Sharkey (formerly part of both trioVD and Acoustic Ladyland, currently working solo as Survival Skills and as part of the Shiver trio) -the ensemble creates new music of extremes: expansive soundscapes informed as much by composers like Morton Feldman, Frank Zappa, Olivier Messiaen and Richard D. James as by pioneering guitarists such as Fred Frith, Robert Fripp, Ben Monder, Marc Ducret and Bill Frisell.

“As its name suggests, Future Currents’ self-titled debut EP (featuring post-production by fellow guitarist Matt Calvert of Three Trapped Tigers), encapsulates a sense of existing in multiple tenses simultaneously (the “now” and a projected “then”); but ‘Future Currents’ also connotes electricity – one of the defining elements of the ensemble’s sound. Further extending this theme, the track titles reference scientists and mathematicians who have made significant contributions to our understanding in this (or a related) field.”

This concert is a launch gig for the EP, which will also include screenings of short films by Morgan Beringer, including his illuminated sine wave video for the track ‘Fourier’.


 
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On Thursday, there’s a repeat London date for the loomingly beautiful music of Rothko and the spellbindingly expansive improv trio Ghost Mind…

Trace Recordings presents:
Rothko + Ghost Mind
Servant Jazz Quarters, 10a Bradbury Street, Dalston, London, N16 8JN, England
Thursday 17th November 2016, 7.30pm
information

Rothko + Ghost Mind, 17th November 2016

Though anchored in every sense – musical, textural, timbral, compositional and organisational – by Mark Beazley’s strata-laying post-punk bass guitar tones, the lineup of Rothko has shifted and reshaped over the years; like a restless colony creature (or, indeed, a restless artist’s colony). Sometimes it’s just Mark, painting bleak but beautiful low-frequency soundpaintings in a hundred hues of grey and grit; sometimes it’s Mark and another bassist, or a small wall of bassists; sometimes it’s Mark plus appended art-rock or post-rock band, adding flute, guitar, violin, drumkit, glockenspiel or whatever.

Currently and confusingly, Rothko are managing to be two, but in three senses. There’s the project’s ongoing two-man lineup; then there’s the fact that there are two simultaneous and different versions of the lineup, operating in an amicable parallel. One of these is Mark plus recurring other-bass foil Michael D. Donnelly, instrumental and enmeshed; the other is Mark plus Band Of Holy Joy frontman Johnny Brown, who are releasing the first collection of their work next Monday as the album ‘A Young Fist Curled Around A Cinder For A Wager’.

It’s the Beazley/Brown lineup that’s playing at Servant Jazz Quarters, launching the record. From what I can gather, they’re a performative duo of Mark’s assertive, layered bass-scapes and Johnny’s spoken-word poetry; vivid, brutally honest evocations of childhood in a harsh, post-industrial rural community. Live, they’re augmented by the projected imagery of longtime Band of Holy Joy collaborator Inga Tillere, whose work taps into feelings of loss and dislocation, and whose photos of battered shacks and sheds (like ghosts of habitation) makes up the bones of the new album’s artwork. More is evolving at the current ‘…Young Fist…’ microsite.

(UPDATE – since I originally posted this, the album’s title track has surfaced on both Bandcamp and Soundcloud, so here it is…)


 
As for Ghost Mind, they’re a Cheltenham-based metaphysical quartet, a spin-off from long-running experimental group Cheltenham Improvisers Orchestra. Three playing members – Jon Andriessen on guitar and effects, Pete Robson on assorted trumpets and horns and Stuart Wilding on allsorts percussion – join forces with a fourth, conceptual member collated from found sounds and field recording atmospheres (gathered from around the planet, many of them from centres of human habitation) and characterised, for purposes of both performance and communion, as a kind of world consciousness.

It’s a high-faluting idea, which would drift into worthy pomposity in the wrong hands. When explored by a trio of such particular sensitivity and skill in interacting both with each other and with the tapes, it’s revelatory: simultaneously bringing the world in through the window while summoning up three other ones from within via the gateways of unfettered musical exploration, and somehow managing to blend all four into the same flowing movement.

For a fuller exploration and expansive dip into the soundworld of Ghost Mind (plus sundry bits of Rothko background, music and history), have a read of my preview for their shared gig at IKLECTIK back in June of this year. Alternatively, immerse yourself in the Ghost Mind concert recording below.

 

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