Tag Archives: Luke Crookes

June 2019 – assorted upcoming London gigs – Block4 and Lynda Beckett’s multi-media recorder concert (15th), Arch Garrison, Charles Bullen and Kavus Torabi play Clapham Library (15th); cellotronics-and-percussion improv with BirdWorld at Wigmore Hall (18th June); North Sea Radio Orchestra, John Greaves, Annie Barbazza and others reinvent Robert Wyatt in ‘Folly Bololey’ (27th)

11 Jun

Classical/experimental recorder quartet Block4 (featuring Emily Bannister, Lucy Carr, Katie Cowling and Rosie Land on a variety of instruments from bass to sopranino) are offering a mingled kids’ workshop and multi-media live concert – ‘The Art Of Sound’ – this coming Saturday down in Lewisham. Exploring links between music and visual art, the ‘Stargazing’ concert is a live collaboration with line artist Lynda Beckett, who’ll be creating spontaneous artwork (pursuing “sensual, the rhythmic and the non-binary” via line art in which “the glitch and the eternal return are welcome”) during the course of the show.

Block4 & Lynda Beckett: 'The Art of Sound' - 15th June 2019

While I’ve not got much info in terms of a programme, the music will be in keeping with Block4’s wide-spanning approach to genre, which in the past has mixed Renaissance and Baroque music with reinterpretations of Jimi Hendrix, “contemporary consort” ideas involving electronics, and more. It will include a new piece by Andrew Crossley, a composer whose inspirations include Zen Buddhism and a sheaf of hybrid forms of criticism (so expect something with plenty of silences and digressions, perhaps). Here’s an earlier electro-acoustic minimalist piece which Andrew wrote for sub-great bass recorder (travelling from borderline-subliminal low register to a resonant temple-horn call and back again), along with a couple of examples from Block4’s existing repertoire.

 

The workshop, taking place in the morning, ties in with the concept – allowing kids (from six-year-olds upwards) to “explore music performance, composition, drawing, and (to) creat(e) their own unique work of art to take home.” Best to book early for that one.

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Arch Garrison + Charles Bullen + Kavus Torabi, 15th June 2019The timing of the Block4 events also gives you time to slip across London (from the south-east to the south-west) on the same day, in order to take in one of the Lambeth Readers & Writers Festival gigs taking place in the atrium at Clapham Library. Back in April, they hosted the Peter Blegvad Quintet. This month, even as Craig Fortnam limbers up his North Sea Radio Orchestra for an upcoming Café Oto show, he and fellow NSRO-er James Larcombe slip on their guise as the Arch Garrison duo and head down Clapham-wards.

Arch Garrison take the implied baroque in folk baroque and draw it fully out into the light. Craig’s amplified gut-strung fingerstyle acoustic guitar playing has as much Spanish classical to it as it does bullish John Martyn counterpoint (though he’ll more readily cite African-Arabic inspirations like Ali Farka Touré), while James’ dextrous post-classical work on vintage-sounding monosynths makes joyously assured connections between chapel organ studies, progtronic flourishes and psychedelic sound webbings. The Garrison have sometimes been compared to Robyn Hitchcock and Nick Drake, and draw from Tim Smith’s eccentric, unlikely folk wellspring, but they don’t sound like anyone nearly as much as they sound like themselves. The songs, sung in Craig’s soft demotic Wyatt-esque sprawl, start with a lone walking man and travel downwards into conceptual strata of history, geography, familial relationships, art and ageing.



 
There will also be sidestepping solo support sets from Gong/Knifeworld expostulator Kavus Torabi (continuing to mine the unsettled psychedelic angst of his dark-sun guitar-and-harmonium solo EP ‘Solar Divination’ and a related upcoming solo album) and from Charles Bullen, one of the triumvirate behind Camberwell proto-punk experimentalists This Heat during the late ‘70s and early ‘80s (and, more recently, behind the band’s recently-retired latter-day reimagining This Is Not This Heat). I’ve no idea whether Charles will be singing; whether he’ll be playing along with guitar, viola, a mess of programmed samples or his clarinet: whether and how the music will connect to This Heat’s experimental jazz-prog collage polemics, the pocket-dub work he explored with Lifetones or the bright and mellow synth-rock sparkle of his Circadian Rhythms project; or even whether he’s going to be starting anew with a completely fresh slate. Anticipate anything.

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North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019

Returning to Craig Fortnam – and indeed, to Robert Wyatt – his North Sea Radio Orchestra concert is on 27th June. It’s the live British debut of the NSRO’s ‘Folly Bololey‘ project, which also incorporates Henry Cow bassist/art-rock chansonnier John Greaves and rising prog/art-ensemble singer Annie Barbazza.

North Sea Radio Orchestra/John Greaves/Annie Barbazza, 27th June 2019‘Folly Bololey’ has been around in one shape or form for half a decade, being played at arts concert and Rock In Opposition events in continental Europe, but has only just now crossed the Channel to be performed in Britain. Gently picking up, re-arranging and re-performing various Wyatt works (centring on a complete performance of the ‘Rock Bottom’ song cycle), it sets Wyatt’s flowing, unspooling songs of love, grief, plaintive nonsense and recovery against the pastoral raincloud tug of NSRO’s alt.crossover sensibilities. The results are an interesting blending of Wyatt’s mouth-music jazzing and his deliquescing, playfully vulnerable search for meaningfulness against NSRO’s own softly-yielding Anglo-pastoral formalism (which in turn echoes the open-to-all concert music of another Fortnam forebear, David Bedford).

With Craig acting as master of ceremonies on guitar and Farfisa organ, rounding out the ensemble are NSRO reed and cello regulars Nicky Baigent, Luke Crookes and Harry Escott plus Greaves band member Laurent Valero on strings and recorders and William D. Drake (the former Cardiacs keyboard wizard who turned into a touchingly surreal, avuncular chamber-folkster). Handling the tuned and untuned percussion are Gong drummer Cheb Nettles and vibraphonist Tommaso Franguelli (from Piacenza percussion group Tempus Fugit).


 
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On Tuesday 18th, cello/electronics/percussion duo BirdWorld are playing an informal set at the Wigmore Hall’s Bechstein Bar. (When I last touched on them here, they were playing the Frome Festival three years back – too long ago.)

BirdWorld, 18th June 2019

Migrating between twin home-bases of London and Oslo, BirdWorld are cellist/effects twiddler Gregor Riddell and drummer/percussionist Adam Teixeira. For a while, guitarist Alex Stuart was also in the picture; but it’s always been about the core duo, who met in Canada, discussed electronic/acoustic blendings and built from there. Aspects of improvisation, jazz, field recordings and cross-cultural music – plus experimental rock and classical and a battery of kalimbas – wing lightly in and out of their work, which has included film scoring and radio work; and (as of this year) their five-year-delayed debut EP ‘TING TAR TID’, released (in keeping with BirdWorld’s folkloric leanings) on the vernal equinox.


 
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All dates:

Block4 & Lynda Beckett: ‘The Art Of Sound’
St Mary the Virgin Parish Church, 346 Lewisham High Street, Lewisham, London, SE13 6LE, England
Saturday 15th June 2019 – children’s workshop 10.00am, concert 3.00pm
(concert free for under-18 year olds) – information here

Lambeth Readers & Writers Festival presents:
Arch Garrison + Charles Bullen + Kavus Torabi
Clapham Library, 91 Clapham High Street, Clapham, London, SW4 7DB, England
Saturday 15th June 2019, 7.00pm
– information here and here

BirdWorld
Bechstein Bar @ Wigmore Hall, 36 Wigmore Street, Marylebone, London, W1U 2BP, England
Tuesday 18th June 2019, 6.15pm
– information here and here

North Sea Radio Orchestra/John Greaves/Annie Barbazza play ‘Folly Bololey’ (Robert Wyatt’s ‘Rock Bottom’)
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Thursday 27th June 2019, 7.30pm
– information here and here
 

June 2016 – upcoming gigs – North Sea Radio Orchestra play London and Salisbury (12th, 26th) with Daisy Chute and William D. Drake (and maybe some other people…)

30 May

After a four-year hiatus (punctuated only by a brief 2014 showing at a Robert Wyatt tribute evening in France) North Sea Radio Orchestra – the pocket alt.chamber ensemble formed by husband-and-wife art-rock refugees Craig and Sharron Fortnam – are returning to action with a couple of warm, low-key English shows in London and Salisbury during June.

North Sea Radio Orchestra, 2016

North Sea Radio Orchestra, 2016

Based around Craig’s aerial compositions (propelled by a fine lattice of nylon-string guitar or gestural piano) and fronted by Sharron’s grand, pealing mezzo-soprano, NSRO emerged fifteen years ago via a series of church concerts in the City of London. A familial, twenty-strong English-gala-on-legs, sporting a rugged/ragged choral section, they blended the feel of a market-town classical festival with the more omnivorous preoccupations of world-city musicians flitting between concert halls, experimental rock clubs and eclectic podcasts.

Notoriously, Craig’s tune-sense drew on a romantic-futurist melding of Britten, Zappa, Vaughan Williams, Peter Warlock, traditional and psychedelic folk, Victorian poetry and the bassoon-laden locomotional soundtracks of Smallfilms’ Vernon Elliott: while the musician-and-singer pool drew not only on moonlighting classical and film-score people, but also on London art-rockers with broad skills and wide-open ears. In retrospect, there are some superficial similarities not just between the NSRO and one of their clearest equivalents – the Penguin Cafe Orchestra, who enjoyed a comparable tidy balance between cosmopolitan genres and methods – but also between the NSRO and that ongoing wave of enjoyable pop-up community choirs who roll around with Beach Boys, Bjork and Pulp songs stuffed in their pockets. Certainly both of the latter share a “get-up-and-do-it” communal warmth which endear them to audience, plus a pleasing lack of collegiate polish (the NSRO’s choral parts managed to be disciplined and soaring and loveably rough’n’baggy, while Sharon’s lead singing has muscled in on uncolonized areas between classical diva, ’60s coffee-house folk and Yorkshire punk).

Having said that, the NSRO have always been a more serious endeavour, treating their inspirations and ongoing creative paths with a discreet and earnest gravity; something typified by their third album’s pre-hiatus digression into a more compacted style, in which minimalist and Krautrock influences subsumed their initial romanticism (and in which self-penned lyrics of connection, loss and retreat replaced their earlier settings of Tennyson and Blake).

Today’s NSRO are a more streamlined affair than they once were: a compact mostly-instrumental nonet with Sharron’s voice still to the fore. Many members may have gently fallen away (if not too far away), but most of the original players remain in place alongside the Fortnams. Percussionist Hugh Wilkinson, organist/monosynther James Larcombe, string players Harry Escott and Brian Wright, and Luke Crooks and Nicola Baigent on reeds are still all on board, Despite being absent for these shows (he’ll be back in the autumn) the ensemble’s newest recruit, percussionist and viola player Stephen Gilchrist, fulfils the usual NSRO criteria of strolling or scrambling across genre lines: as “Stuffy” Gilchrist, he’s best known for thrashing the drums behind Graham Coxon or Art Brut, or for doling out his pop-eyed alt.rock as Stuffy/the fuses or Stephen Evens.)

These new shows should contain material from the NSRO’s upcoming fourth album ‘Dronne’, due out in early September. The first signs of the album came from a minute-and-a-half of dreamy domestic phase music uploaded to their Facebook page back in January (see above). Various other hints which have seeped out suggest a further change of course, perhaps influenced by the inspired psychedelic folk course which Craig and James Larcombe have been following with their parallel project Arch Garrison . In James’ words: “the new NSRO album’s amazing – in my opinion rather further down the psychedelic avenue, particularly the long instrumental title track. The song we’ve recently done a video for (‘Vishnu Schist’) is without a doubt my new favourite NSRO song… I’ve been listening to it loads. There’s a Robert Wyatt cover on it too, which is lovely.”

Regarding the gigs…

Tigmus presents
North Sea Radio Orchestra + Daisy Chute
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Sunday 12th June 2016, 1.30pm
– more information here and here

In support at the Forge is Daisy Chute. Though she’s undoubtedly best known as one-quarter of glossy-teen pop/classical fusion queens All Angels, Daisy vigorously and actively pursues a broad sweep of additional music including theatre, education and modern folk. In addition to her frontline work as a singer, she’s an accomplished composer, arranger, orchestrator and multi-instrumentalist (guitar, piano, ukelele, banjo and pixiphone), and a member of varied other bands including Camberwell folk-pop quartet threeandme. On this occasion she’s going out under her own name, singing a set of self-penned folk-and-jazz inspired songs and fronting a quartet of Tristan Horne (cello), Will Collier (double bass) and Zara Tobias (harmonium and backing vocals).


 

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Salisbury Arts Centre presents:
Transplant Music Night: North Sea Radio Orchestra + William D. Drake + special guests
Salisbury Arts Centre, Bedwin Street, Salisbury, SP1 3UT, England
Sunday 26th Jun 2016, 8.00pm
more information

This one’s billed as “a special night of music to accompany Salisbury Arts Centre’s ‘Transplant’ exhibition” (more on that in a moment…) For this show, the support act is onetime Cardiacs member William D. Drake, who forged his own belated solo career alongside NSRO’s (simultaneously putting in time in the latter as both choir singer and occasional composer/pianist). Building on from his interest in Early Music, his stint as the classically-inspired keyboard wildcard amongst Cardiacs’ polystylistic punk tumult and his subsequent immersion in rootsier work, Bill has developed his own idiosyncratic approach to songwriting: baroque, playful and soulful. It’s culminated in his latest – and greatest – album, ‘Revere Reach’, which lovingly threads folk, rock, classical and mythic elements together in a compelling and timeless act of musical bridging.

 

There are also additional “special guests” mentioned on the bill. This could mean anything; but it’s worth speculating on location, on confirmed attendees and on similar associations including the ‘Transplant’ exhibition itself:

promo-mattcuttssculpture2016“Celebrating the interconnectedness between art forms emerging from the festival scene and the joy of being outdoors in nature, ‘Transplant’ brings together sculpture, image, music, poetry and living plants. Forming the heart of the exhibition, Matt Cutts’ wooden sculptures sit in ‘fields’ of wild flowers and trees. Accompanying them are huge batik paintings by Sarah Jones reflecting the beauty of trees. A soundtrack for the exhibition has been created from new music and field recordings by Sarah Jones and William D. Drake. The exhibition opens on Midsummers Eve (Tuesday 21st June) for a 6-8pm viewing, prior to the exhibition proper running from the 22nd to the 25th.”

Citing the fond connections between the world of Cardiacs and that of Salisbury is a pretty easy game. Not only have many former Cardiacs members and affiliates (the Fortnams included) ended up living around Salisbury, but the band recorded their reknowned ‘All That Glitters Is A Mare’s Nest’ concert film in the Arts Centre itself seventeen years ago. Bill Drake’s contributions to both Transplant concert and exhibition further binds the worlds together, but a closer look reveals yet more links. A long time ago (before the batiks), Sarah Jones was Sarah Smith, blowing a puckish saxophone and frail silvery backing vocals in Cardiacs. Before that, she was Sarah Cutts; born into an artistic Forest of Dean family and sister to Matthew Cutts, who himself put in a long stint as a Cardiacs roadie before returning to his sculpting work.

Sarah Jones

Sarah Jones

Whatever the main intentions, it’s clear that a nodding, benevolent Cardiacs spectre looms over the whole event, sealed by the nature-saturated green-fuse inspirations which collectively permeate the artworks of Transplant, North Sea Radio Orchestra’s pastoral heart, and the undergrowth of Cardiacs songs (with their fascination with life and damp and greenery). It could, in fact, be part of one of the ever-more regular waves of Cardiacs-related activity which ripple through English crannies and corners each year in the band’s absence, keeping alive their loving and cheerfully prickly approach to music, friendship and existence (see also the upcoming ‘Whole World Window’ benefit gig in Preston next month, which I’ll flag up again later in the summer). It may give some clues as to who else might turn up; or it might not.

However, I’ll leave any speculation there. Moving back to certainties, here are a few video clips of NSRO in the past – from their choral triumphs to their airborne or churchbound meditations – to pave the way for whatever they’ve got ready for us now.





 

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