Tag Archives: Clare Salaman

June/October/November 2018 – upcoming gigs in Bristol, Brecon and Nottingham for The Society Of Strange & Ancient Instruments (15th June, 21st October, 8th November)

13 Jun

Since 2010, performance ensemble The Society Of Strange & Ancient Instruments – led by Clare Salaman – have “explore(d) a repertoire that ranges from folk songs and earthy dances to high art music from the eighteenth century and before, as well as newly composed pieces.”

Initially a violinist, Clare’s also mastered diverse related instruments including nyckelharpa, hardanger fiddle, medieval vielle and hurdy gurdy, and has also attracted other multi-instrumentalists into the group – mediaeval winds player Ian Harrison (on pipe and cornett, whistle, pipes, shawm, tabor and tambourine as well as singing), Jon Banks on harp, gittern, Baroque guitar and percussion (shading eastwards into santur, qanun and santouri) and Arngeir Hauksson (theorbo, cittern and gittern, Renaissance guitar, lute, saz, hurdy gurdy, percussion). Also on board are Liz Kenny (lutes and guitars), Alison McGillivray and Liam Byrne (viols and lirone); and the ostensibly more narrowly specialised players in the ensemble (harpist Jean Kelly, guitarist Clara Sanabras, harpsichordist Terence Charlston, singing citternist Jeremy Avis and bassist Peter McCarthy) all have extended interests, be they “unusual large string bass instruments”, electric harps, ouds, neglected antique keyboards or just raising a tambourine or voice. Even the ensemble’s dancer Steven Player is an occasional lutenist.

Acting in part as a meeting point for people interested in these out-of-the-mainstream instruments, the Society also puts on themed shows in which to showcase them: revivals of three of the latter have been recently announced.

Conceived by Clare, ‘Sound House’ is “inspired by Francis Bacon’s investigations into the magical properties of sound,” and “presents music of the seventeenth century played on extraordinary instruments within an intriguing modern context. Although Francis Bacon, 17th century philosopher, statesman and visionary, is widely regarded as the father of modern science, his investigations into the nature of sound are little known. He was intrigued by seemingly magical effects like echoes and sympathetic vibration and sought to explain them through a series of experiments in, and observations of, sound.

“Combining modern sound technology with ancient instruments, The Society of Strange and Ancient Instruments explore the aural illusions that so intrigued Francis Bacon and our 17th century forbears with fresh interpretations of 17th century music linked to each other by newly composed pieces.”

A five piece lineup of Clare, both Jons, Alison and Jean (bolstered by narrator Terence Wilton) play unusual and historically appropriate instruments including Jon on Gothic harp, Jean on “the jangling bray harp”, Alison on “the mysterious violone and the little known viola bastarda”, and Clare on a strange conical cello/wooden-horn hybrid, the tromba marina or “nun’s trumpet” (common between the 1500s and 1800s but fallen since then into the memory hole of outmoded instruments).

The Society has this to say about their other current show, ‘The Ministry Of Angels’ – “Angels have played a part in human consciousness for as long as we can remember. Their roles in the life of mankind are various; they appear as guardians, counsellors, guides, judges, and interpreters and cross barriers of culture, language, religion and geography. Many are a force for good but there are also fallen angels, angels of death and others who are spirits of wrath, destruction, confusion and vengeance.

“In this programme we explore music associated with angels, the maverick and fallen as well as the divine and perfect. Playing some of the instruments that appear in descriptions and depictions of angels through the ages, as well as other strange and ethereal sounding instruments, we present traditional tunes, dances, songs and carols in a celebration of these heavenly and occasionally diabolical beings.”

It sounds like a mixture of the occult, the New Age crystal shop and the Hallmark card: although probably much more rewarding than any of them.

 
Dates:

 

December 2017 – upcoming London folk gigs – Gaelynn Lea at The Old Church (6th December); Tartine de Clous, Alasdair Roberts & Neil McDermott with guests Ivor Kallin & Sholto Dobie and The London Hardingfelelag (11th, 12th December); Gitta de Ridder and The Balkanoes at Collage Nights (13th December)

2 Dec

I keep missing Gaelynn Lea’s shows… and missing the opportunity to post about them. With her return to London for another gig this season, I’ve got a chance to catch up.

Blow the Fuse presents:
Gaelynn Lea
The Old Church, Stoke Newington Church Street, Stoke Newington, London, N16 9ES, England
Wednesday 6th December, 2017, 8.30pm
– information here and here

Gaelynn Lea, 6th December 2017A classically-trained twenty-year veteran of violin playing whose limbs have been shortened from birth by osteogenesis imperfecta, Gaelynn plays her fiddle like a cello and sings original songs drawing from the well of traditional American, Irish, Scottish and English folk sources and blending them with her own ideas and experience. Her wistful honey-gravelled singing, her songwriting artistry and her textured playing (supplemented by improvisation and loop-pedal) is powerful and universal enough to have won NPR Music’s 2016 Tiny Desk Contest, seeing off competition from around six thousand other American songwriters and performers.


 
Meanwhile, her performance presence and physical courage have moved audiences to tears and applause in her native Minnesota and across American and Europe (and have won her both admiration and a shared stage from Low’s Alan Sparhawk, country bluesman Charlie Parr, and New Acoustic touchstyle guitar star Billy McLaughlin). In addition to her musicality, Gaelynn is a powerful disability community advocate – speaking and blogging forthrightly and fearlessly about iniquities and the need for social change to accommodate and support disabled people, and covering subjects from everyday practical challenges to the expression and enjoyment of sexuality. Come for the music, stay for the strength; maybe leave with the encouragement to help make things better.

* * * * * * * *

Over in Homerton, the brilliantly ramshackle Old Dentist venue continues its rewarding partnership with Muckle Mouth, hosting yet another enthralling fringe-folk gig (although this one’s of a more traditional bent)…

Muckle Mouth, 11th December 2017

Muckle Mouth and The Old Dentist present:
Tartine de Clous, Alasdair Roberts & Neil McDermott, plus Ivor Kallin & Sholto Dobie (11th)/The London Hardingfelelag (12th)
The Old Dentist, 33 Chatsworth Road, Homerton, London, E5 0LH, England
Monday 11th December 2017, 7.30pm
– information here, here and here
Tuesday 12th December 2017, 7.30pm – information here, here and here

“We are honoured to host a very special collaboration between French harmony-singing trio Tartine de Clous, legendary Scottish guitarist and folk singer Alasdair Roberts and fellow Glasgwegian fiddler Neil McDermott over two nights at The Old Dentist following their residency at Cube Microplex in Bristol.

“Tartine de Clous (Geoffroy Dudouit, Thomas Georget and Guillaume Maupin) are a singing trio originally from the department of Charente in western France. Following in the footsteps of some of the great French groups of the late twentieth century folk revival (such as Mélusine and La Bamboche), they sing largely unaccompanied three-part harmony arrangements of the traditional songs of their native land.


 
“In an echo of The Auld Alliance, Tartine de Clous will perform in collaboration with the Scottish songwriter, guitarist and folk singer Alasdair Roberts and his fellow Glaswegian, fiddler Neil McDermott over two nights at The Old Dentist. Alasdair has worked with Drag City Records for some twenty years, releasing records featuring both interpretations of traditional songs and those featuring his own songwriting. In addition to being a fine fiddler in the Scottish traditional style, Neil McDermott is currently researching the musical and political engagement of the 1960s Scottish folk scene with the anti-nuclear movement.

 
“They are joined on the 11th by veteran improviser Ivor Kallin (onetime co-curator of the 2:13 improvisation club, once rather unpleasantly described by The Times as “a bearded Scotsman given to stream-of-consciousness spew”) and Muckle Mouth curator Sholto Dobie (on viola and diatonic symphony hurdy gurdy respectively), and on the 12th by The London Hardingfelelag playing Norwegian tunes for Hardanger fiddle.”

There’s not much out there on the London Hardingfelelag (though I did find out that their ranks include Sylvia Hallett, Catherine Martin of the Gabrieli Players, Clare Salaman, Tania Simon, Clifford Rowe and until a few years ago, the late Wilf Gibson of ELO/’Spirit of Eden’ fame), but I did turn up a couple of videos of Ivor and Sholto, supplemented by one of the Hardanger fiddle in action…




 
* * * * * * * *
I caught up with the Collage Nights shows in Wood Green last month, just in time to learn about the final two gigs in their season. The last one rolls around mid-month, featuring Dutch-English singer-songwriter Gitta de Ridder and Balkan-styled party band The Balkanoes.

Collage Nights, 13th December 2017

Collage Nights presents:
Gitta de Ridder + The Balkanoes
Kabaret @ Karamel Restaurant, The Chocolate Factory 2, 4 Coburg Road, Wood Green, London, N22 6UJ, England
Wednesday 13th December 2017, 7.00pm
– information here and here

Gitta’s debut album ‘Feathers’ came out last year. With its songs of family, friends and lovers (as opposed to hill gods, surreal landscapes or twisted urban short stories) it has a conventional tinge for the current time, but the delight is in the detail and the musicality. She’s a Joni Mitchell disciple less in the sense of pursuing the confessional or the coffee-table mope, more in the delightful flowering of orchestral chords and cats-cradle harmonies (as well as in her domestic wit).

As for the Balkanoes, they provide the standard pellmell Eastern European spaghetti-junction of Greek, Ottoman, Slavic and Romani musical threads, but have been known to career off into ‘Star Wars’ covers as well.

There’s also a special guest, but they’re keeping quiet about who that might be.




 

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