Tag Archives: music for duos

April 2017 – even more jazz & jazz-ish gigs – Theo Travis in Rochester (23rd April); Spaceheads and Howie Reeve in London (21st April); Carl Hudson’s Moon Unit in London (27th April)

10 Apr

A quick addition to the previous jazz update featuring Theo Travis – as well as his imminent Essex date with Double Talk, he’ll be playing a free Sunday lunchtime show with his regular quartet Marc Parnell (drums), Alex Keen (bass) and Mike Gorman (piano). They’ll be “playing tracks from Theo’s solo catalogue including from albums such as ‘Live at Ronnies’, ‘Secret Island’ ‘Heart of the Sun’ and ‘Earth to Ether’.” It’s a low key event, but a high quality one; the kind that strangers walk into expecting some plodding duffer and coming out massively enthused instead.

Theo Travis Quartet
The Eagle Tavern, 124 High Street, Rochester, Kent, ME1 1JT, England
Sunday 23rd April 2017, 1.00pm


 
Meanwhile, here are a few more London dates:

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Club Integral presents:
Spaceheads (with Rucksack Cinema) + Howie Reeve
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Friday 21st April 2017, 8.00pm
information

Spaceheads are a duo. Andy Diagram’s hotwired trumpet produces live harmonised loops and breathy samples which he controls via a mobile phone attached to the top of his horn with a fish slice. The thick brass layers created are propelled by Richard Harrison’s drums, percussion and bent metal sheets. Over twenty-five years, Andy and Richard have achieved an intuition of what each is about to do next, which makes their semi-improvised gigs a joy to behold.

“Spaceheads formed in 1990 in Manchester and have toured the world and released eleven albums to date. Their latest album ‘Laughing Water’ was released in November 2016 and followed last years successful album ‘A Short Ride On The Arrow Of Time”. Both were released on their own label, Electric Brass Records.


 
Rucksack Cinema a.k.a. Jaime Rory Lucy – has been supplying delirious, innovative live video imagery since 2007. His astonishing and almost preternatural ability to mix imagery with what is happening on stage as well as creating strange and wonderful atmospheres throughout a room has made him an intrinsic part of any Spaceheads gig.

Howie Reeve plays solo bass and sings. He has released three albums, and a single (with Mike Watt of The Minutemen/fIREHOSE/The Stooges), and is about to release a new album titled ‘Not So Secret Garden’. Reeve previously found fame with experimental indie-pop band Tattie Toes and has been striding out on his own for several years, acoustic bass in hand, walking boot on footstool. His music is deeply introspective, considered and full of glorious dynamic range.”

(I’ve just had a listen to Howie’s stuff. Not the jazzy noodling or string squeak one might expect from an experimental-end gig: more of a richly harmonic multi-stopped bass guitar approach allied to nervy vocalising and alarming lyrics> He should be playing on one of Steve Lawson’s multi-bass nights. If you’re looking for an easy song-style tag to fix on Howie, though, the best thing to do is to tack away from jazz and head towards the eerie, distressingly beautiful DIY nightmare-folk of Lupin Crook, who’s been quiet for too long…)



 
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Splash Music Productions present:
Carl Hudson’s Moon Unit
Zigfrid von Underbelly, 11 Hoxton Square, Hoxton, London, N1 6NU, England
Thursday 27th April 2017, 7.00pm
information http://app.etickets.to/buy/?e=14818

“Splash Music Productions are proud to introduce the launch night of ‘Pixel Planet’ – the spectacular Album from Carl Hudson. Eclectic, futuristic, soulful, and danceable, Carl Hudson’s follow-up album to the critically acclaimed ‘Zoology For Martians’ doesn’t disappoint. ‘Pixel Planet’ oozes class from start to finish. His wizardry on the keyboard and his willingness to experiment with sound and melody, combine to create an aural extravagance that propels the listener to another world and compels their feet to dance.”

I’m not quite sure what’s going on here, since this “launch event” seems to be covering an album allegedly released over a year ago in February 2016… but if you like cosmic-tinged soul jazz in a Lonnie Liston Smith vein, or if you like warm music to Hubble to, this could be your thing. See below.


 

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.

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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.


 

April 2017 – upcoming ambient/textural gigs in London, Stroud and Berlin – two ‘A Gift for the Ephemerist’ shows with Andrew Heath, Anne Chris Bakker, Romke Kleefstra and Jan Kleefstra (14th & 15th); Luke Howard in London and Berlin (19th, 20th) plus Charlie Coxedge. Plus a nod to the Fat Out Festival in Salford (14th-16th)

6 Apr

Four upcoming shows from the more elegant, pianistic end of ambient (although guitar noise is never far away)…

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'A Gift For The Ephemerist', 14th & 15th April 2017

‘A Gift for the Ephemerist’: Andrew Heath & Anne Chris Bakker + Kleefstra|Bakker|Kleefstra

  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Friday 14th April 2017, 8:00information
  • Secret Garden @ The Museum in the Park, Stratford Park, Stratford Road, Stroud, Gloucestershire, GL5 4AF, England, Saturday 15th April 2017, 12.00-3.00pm – free event – information here and here

“In 2015, an invitation from Aqueous synthesist Andrew Heath to Anne Chris Bakker (to play in the UK as part of a Resound performance) cemented a friendship and mutual admiration of each other’s music. Early the following year, Andrew visited Chris in the north of the Netherlands for a week of inspired improvisation – spending their time gathering field recordings, composing and of course, cycling. Combining Bakker’s beautiful bowed guitar and Heath’s quiet and minimal piano and textures, the collaboration has produced no less than two exquisite albums – ‘The Ephemerist’s Collection’ and ‘Lichtzen’. Pause and contemplate, for here are immersive driftscapes which shimmer and pulse with fragile, half-glimpsed melodies.

“Combining improvised dark-ambient with spoken word, Kleefstra|Bakker|Kleefstra is the work of Anne Chris Bakker with fellow experimental guitarist Romke Kleefstra plus poet Jan Kleefstra. The trio have worked together for several years – following their debut album ‘Wink’ in 2009, they played throughout Europe and Japan. ‘The Wire’ wrote about the trio: “two guitarists construct an icy enclave out of frozen drones and amplifier crackle, a veritable Fortress Of Solitude whose isolation is further emphasised by the poet’s intimately close-miked tones and distant echoes, giving an acute impression of expanses and depths both internal and external.” K|B|K have also collaborated with Peter Broderick, Nils Frahm, Greg Haines and Machinefabriek.”




 

Note also that Kleefstra|Bakker|Kleefstra will be playing on the 16th April at the Fat Out Festival in Salford – a pretty stunning array of musical experimentalists, noiseniks, avant-jazzers and more, running between the 14th and the 16th, and featuring far more contributors and collaborators than I can hope to pin down in a single blogpost anymore, let alone a shared one. If you’re in the area and sufficiently clued up, you’ll know about this avant-art ferment already. If not, it’s not too late to jump in – all details are here.

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Luke Howard, 19th April 2017“Melbourne-born composer and pianist Luke Howard (joined by Australian jazz drummer Daniel Farrugia) presents a selection of solo piano and ambient works from his records ‘Sun, Cloud’ and ‘Two Places’.

“Luke studied classical piano as a child before graduating with honours from the Victorian College of the Arts. He was twice a finalist in the Montreux Jazz Festival Solo Piano Competition and has written music for both film and theatre. In 2013 he released the Australian Music Prize long-listed record ‘Sun, Cloud’. Luke’s score to ‘ Where Do Lilacs Come From ‘ won Best Music for a Short Film at the 2014 APRA/AMCOS Screen Music Awards. His second solo album, ‘Two Places’, was released in April 2016.

“Dividing his time between Europe and Australia, in recent years Luke has opened for Benjamin Clementine and Ben Frost, and performed with artists as diverse as Lior and Jeff Mills. His music has been described as “totally sublime” (‘Headphone Commute‘, February 2014), “absolutely heavenly” (Mary Anne Hobbs of BBC Radio 6, July 2013), and “cinematic in its approach” (‘The Age‘, October 2009).”



 
The month’s pair of dates:

  • Bush Hall, 310 Uxbridge Road, Shepherds Bush, London, W12 7LJ, England, Wednesday 19th April 2017, 7.30pm (with Charlie Coxedge) – information here and here
  • Lido Berlin, Cuvrystraße 7, 10997 Berlin, Germany, Thursday 19th April 2017, 8.00pm – information here and here

In London, support comes from Charlie Coxedge (a.ka Charlie Cocksedge of Money), who’ll be performing solo sets of looped guitar music.



 
The London Howard/Coxedge show is another of the gigs repositioned following the sad and sudden closure of the Forge in Camden (see also the BC Camplight show at St Pancras Old Church the following day). It’s comforting to see that the artists can be accommodated so quickly rather than just having holes blown in their schedules; although it doesn’t entirely make up for the loss of a great venue and the closure of all of the work that went into building it up.
 

April/May 2017 – upcoming London gigs – across-the-board instrumental progressive – Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain (7th); Piko Cloud Booker + Mein Haus + Matt Baber of Sanguine Hum (April 20th); Mouse On The Keys + Mutiny On The Bounty + Strobes (May 1st)

30 Mar

Three upcoming London gigs across April and leading into the start of May: all of them batting around ideas in the progressive field, whichever particular road they took into it. In early April – a Chaos Theory post-rock show with three bands offering successive palettes of solitary guitar sketches, sombre filmic post-Godspeed tonescapes, and bright-toned romantic futurism. In mid-April – the debut of a brand new progtronic trio alongside an experimental string duo and a humble keyboard star. On May Day, an international rhythmatic threesome at Rich Mix mixing up post-Squarepusher tech-fusion, bursting guitar instrumentals and twenty-first century dual-keyboard/drumkit jazz-rock barrage.

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Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain, 7th April 2017

Chaos Theory Promotions presents:
The Facemelter: Flies Are Spies From Hell + A-Sun Amissa + Only Echoes Remain
The Black Heart, 2-3 Greenland Place, Camden Town, London, NW1 0AP, England
Friday 7th April 7.30pm
information and here

“This month The Facemelter features a glorious night with some truly brilliant veterans of post-rock, drone and ambient sounds, with new and seasoned projects alike.

“Formed thirteen years ago, Flies are Spies from Hell have climbed up from humble beginnings to international fame. The years have seen them move on from small local gigs, to sharing the stage with behemoths such as Russian Circles, And So I Watch You From Afar, *shels, Latitudes and Vessels, to a couple of European tours, and appearances at ArcTanGent and Dunk!festival. Two years after the release of their second album ‘Underdog Underfoot’, they’ll finally grace the stage at The Facemelter.


 
A-Sun Amissa are a powerful (mostly) instrumental collective possessed of “a rusted industrial aesthetic that lurks in the periphery of perception” (‘Rock-A-Rolla’), founded and led by Richard Knox (Shield Patterns, Glissando, The Rustle of the Stars) and Angela Chan (Tomorrow We Sail, Lanterns On The Lake, The Rustle of the Stars) that has featured an array of members and collaborators since its formation in 2011, as well as two albums out on Gizeh Records.

“Producing dense, drone-like atmospheres with evocative, melodic string and woodwind sections, intertwining guitars and field recordings, their live performance is a mixture of recorded output combined with improvisation to explore progressions in the music every time. Their ever-flowing lineup of collaborators have included members of Amenra, Nadja, Gnod, Oiseaux-Tempête and Hundred Year Old Man.


 
Only Echoes Remain serve up incredibly cinematic post-rock, without becoming too cliched thanks to generous smatterings of math, ambient and classic prog influences. They have already played with the likes of Her name Is Calla, TOTORRO, VASA, Poly-Math and Waking Aida, and will be releasing their debut LP early this year.”


 
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Piko Cloud Booker + Mein Haus + Matt Baber, 20th April 2017

Piko Cloud Booker present:
Piko Cloud Booker + Mein Haus + Matt Baber
Paper Dress Vintage Bar & Boutique, 352a Mare Street, Hackney, London, E8 1HR, England
Thursday 20 April 2017, 7.00pm
information

Piko Cloud Booker are a modern-day progressive rock trio combining King Crimson-esque cyclical guitar patterns in a mix-up of wacky time signatures with the expansive sequencer-driven explorations of early Tangerine Dream. PCB are guitarist Cameron Piko (mastermind of Australian prog-metal unit Montresor), bassist/violinist Gaz Cloud (one half of dream-technoists Cloud & Owl) and drummer Andrew Booker (no-man, Tim Bowness, Sanguine Hum).”

(This project’s so new that’s there’s no music available to present for it – instead, I’ve had to give you a few ideas via these clips from the member’s other projects, including Andrew’s ten years of undersung work with jamming collective Improvizone:)




 
“Supporting them will be string duo Mein Haus, consisting of Patricia Stepien (violin) and Elliot Murphy (cello, guitar). Their music is by turns creepy and sparse, then intense and dramatic. But whether it’s complex rhythmic interplay, or crunching cello and soaring violin, you feel the humour is never far away. From gigsite ‘Go Out Of Tune‘ – “based in East London but hailing from Poland and Ireland originally, they’ve been making music together since they met on a train in Deptford over a year ago. Their performances are high in energy and musically unpredictable. Their music has been described as: ‘Shostakovich and Arvo Part being kicked down a flight of stairs in an oil barrel’, with influences ranging from the Sex Pistols through Penderecki, Battles and Kraftwerk.”


 
Matt Baber is a co-founding half of the continuing Oxford-based musical journey that is currently Sanguine Hum, having made its way through various earlier incarnations. He has played keyboards throughout, both crafting his unique synth atmospheres plus stamping down complex piano riffs on his Fender Rhodes. Expect more of the latter this time, as he delves into his Jarrett/Emerson-flavoured solo material for his first ever solo keyboard show.”


 
Note that Gaz Cloud – as half of Cloud & Owl – will also be playing this Askarabaskara techno/house gig five days earlier, demonstrating part of the elements-puzzle which makes up his new band.

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Mouse On The Keys + Mutiny On The Bounty + Strobes, 1st May 2017Chaos Theory Promotions presents:
Mouse On The Keys + Mutiny On The Bounty + Strobes
Rich Mix, 35-47 Bethnal Green Road, Shoreditch, London, E1 6LA, England
Monday 1st May 2017, 7.30pm
-information here, here and here

“An ultrasonic mammoth of a lineup, packed with dreamlike jazz, vast math rock, ambient precision and mesmerising polyrhythmic beats!

“The extraordinary Mouse On The Keys trio are back from Japan, armed with fresh material from their new album ‘Out Of Body’, out last January via Topshelf Records. This is a pristine example of blending minimal-phrased piano and dynamic drumming, while creating a live experience composed of visual and audio elements. Formed in 2006, with elements of jazz, funk, post‐rock and electronic music, Mouse On The Keys fits into a genre of their own.

“The trio consists of two former members of the influential Japanese underground band Nine Days Wonder – Akira Kawasaki and Atsushi Kiyota – who teamed up with Daisuke Niitome (who has played drums as well as composed music for countless jazz‐funk and hip hop bands). Their unique sound, comprising two pianos, two keyboards and drums, continues to stand at the forefront of the Japanese music scene.


 
“Luxembourg quartet Mutiny On The Bounty bring a torrent of groovy rhythms, guitar acrobatics and joyous melodies our way. These guys have been showcasing their unique brand of math-rock and instrumental music throughout Europe and have played close to five hundred shows supporting bands such as Biffy Clyro, And So I Watch You From Afar, TTNG and Maps & Atlases as well as playing some of the biggest festivals like Roskilde, Primavera and Fusion festival.

“Following on from their album ‘Trials’, released in 2012 and recorded by producer Matt Bayles, Mutiny On The Bounty released their latest album ‘Digital Tropics’ via Small Pond, which encompasses facets of their personalities ranging from rock, to electro, 80’s pop and even hip-hop. A reverb-infused, pop groove-laden feast of staccato guitar melodies, loops and math rock beats.


 
Strobes‘ triangle of electrified polyrhythms, spaced-out synth jams and off-kilter beats will open the evening. Featuring guitar and synth-work by Matt Calvert (Three Trapped Tigers), drums by Joshua Backmore (Troyka) and keys by Dan Nicholls (who has collaborated with Squarepusher and Matthew Herbert), the trio flickers effortlessly between the worlds of electro-improv, minimalist polyrhythm and distinctively original hooks.

“Like a twisted love child of Aphex Twin, Brainfeeder and Battles, Strobes have been heard individually with the likes of Squarepusher, Matthew Herbert and Three Trapped Tigers. Built from collective composition, studio production, live sampling and improv jams, the band smashes out exhilarating odd-tempo loops, polyphonic synth soundscapes and big headnodding beats. Their new album ‘Brokespeak’, out via Blood And Biscuits, is a true work of genius.


 
“With DJ sets from Bojan Nikolic (The Brain Center At Whipple’s, Battleship Grey), this will be an intensely satisfying feast of jawdropping talent and headnodding beats.”

 

March 2017 – upcoming London classical/classical-experimental gigs, (7th, 16th, 17th) – Kammer Klang (with Klara Lewis/Nik Colk Void, Christopher Redgate, Phaedra Ensemble performing Leo Chadburn and John Uren); Tomos Xerri & Claire Wickes’ rush-hour duets (with a new Liam Mattison piece); Elisabeth Turmo & Elena Toponogova’s Norwegian/Russian celebration

1 Mar

As well as composers ranging from Grieg to Takemitsu, these three upcoming London gigs take in trolls, moths, David Bowie, extended fiddles and oboes, and just a tiny hint of saw abuse. Let’s have a look and listen.

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Kammer Klang, 7th March 2017Kammer Klang presents:
Klara Lewis + Phaedra Ensemble (performing Leo Chadburn) + Christopher Redgate + John Uren + Holodisc DJs
Café Oto, 18-22 Ashwin Street, Dalston, London, E8 3DL, England
Tuesday 7th March 2017, 7.30pm
– information here and here

From the Kammerers (supplemented by a few text raids from here and there)…

“In our second show of 2017 we are joined by Klara Lewis, the critically acclaimed sound sculptress who has performed in clubs and art galleries around the world. Lewis builds her work from heavily manipulated samples and field recordings, creating a unique combination of the organic and the digital. Klara’s second album ‘Too’ was released in 2016 on Editions Mego to great acclaim. She will be performing with Nik Colk Void, an experimental electronic recording artist who is one part of Factory Floor (an alliance with Gabriel Gurnsey) and one-third of Carter Tutti Void (with former Throbbing Gristle members Cosey Fanny Tutti and Chris Carter). Coming from an English art school background, and an education that was decidedly non-musical in nature, Nik’s work is as conceptual as it is visceral – exploring the out-regions of pushing and manipulating sound (via modular synthesis, extended guitar techniques and vocal processing), and collaborating with contemporary visual artists such as Haroon Mirza and Philippe Parreno.



 
“We are also joined by Phaedra Ensemble, whose performances explore the spaces between classical, experimental and contemporary music. Phaedra brings together some of London’s most exciting musicians to curate programmes with new collaborations, reinterpretations of well-known modern works and forgotten classics. Its members have a strong intuition for genre-crossing and interdisciplinary work, often in collaboration with artists from other disciplines. This month Phaedra will perform ‘The Indistinguishables’, a 2014 string-quartet-and-electronics work by Leo Chadburn. Leo is a composer and performer of experimental and electronic music, gallery music and (as Simon Bookish) avant-pop. ‘The Indistinguishables’ works through a cycle of seventy names of UK moth species, each accompanied by a chord or phrase, like a fleeting soundtrack to these evocative words. The recordings are triggered by the quartet, so the pacing of the pauses and resonances is under their control, part of their ensemble dynamic.


 
“Phaedra will also be performing this month’s “Fresh Klang” work, which is from British composer John Uren. ‘A few weeks after David Bowie’s death in January 2016, Dr Mark Taubert, a palliative care doctor based in Cardiff, wrote an open letter to Bowie, posthumously thanking him for the soundtrack he had provided to his life, his dedication to his art, and the inspiration he was, and continues to be, for others also facing end-of-life illnesses. Retweeted by Bowie’s son, Duncan Jones, Mark’s letter has gone on to have a huge impact, and has been recited at several Letters Live events by Jarvis Cocker and Benedict Cumberbatch. John collaborated with Mark for this composition, combining a recording of Mark reading his own beautiful letter with fragile strings and electronic timbres; acting as a cushion for Mark’s words to drift across.


 
“The distinguished oboeist Christopher Redgate will perform his own work ‘Multiphonia’. Since his time as a student at the Royal Academy of Music, he has specialised in the performance of contemporary oboe music. Now the Evelyn Barbirolli Research Fellow at the Royal Academy of Music and a Fellow of the Royal Academy of Music, Christopher (in collaboration with Howarth of London) has redesigned the instrument. He performs exclusively on his creation, the Howarth-Redgate 21st Century Oboe, which offers extended capability for twenty-first-century music including microtones, multiphonics, extended range and electronics.

“There will also be DJ sets from the people behind British experimental music label Holodisc.”

Programme:

Fresh Klang: John Uren – Her Own Dying Moments (performed by Phaedra Ensemble)
Leo Chadburn – The Indistinguishables (performed by Phaedra Ensemble)
Christopher Redgate – Multiphonia (for solo oboe)
Klara Lewis + Nik Colk Void – improvised set

* * * * * * * *

South and slightly west, here are a couple of interesting-looking duo shows at the 1901 Club in Waterloo – picked out from the rest of the venue’s busy schedule by dint of having interesting instrumentation, interesting juxtapositions, or the promise of new pieces being premiered.

* * * * * * * *

Tomos Xerri, 2017Hattori Foundation presents:
Hattori Foundation Rush-Hour Recital: Tomos Xerri & Claire Wickes
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Thursday 16th March 2017, 6.00pm
information

Outstanding contemporary harpist and Riot Ensemble member Tomos Xerri performs regular duet concerts with English National Opera’s principal flautist Claire Wickes (who also plays as guest principal with most of the big London orchestras, as well as the São Paulo Symphony). Here’s one of those shows – one of the Hattori Foundation’s showcase concerts, nicely timed for the Waterloo homeward-bounders.

Claire Wickes, 2017

While Claire and Tomos will be playing a set of established pieces by Takemitsu, Debussy, Piazzolla and American tonal hero Lowell Liebermann (as well as a sonata by the distinguished twentieth-century British polymath William Alwyn), they are both strong enthusiasts for contemporary music, and are premiering a new composition by Trinity Laban alumnus Liam Mattison (a recent partipant in the LSO’s Panufnik Composers Scheme).

Look out, too, for any mention of Tomas’ upcoming musical-saw-and-electronics project… which at the moment seems to be more of a tingling promise than anything concrete. If any more evidence shows up, I’ll blog it myself.

Programme:

Astor Piazzolla – Bordel 1900 (from Histoire du Tango)
Lowell Liebermann – Sonata for Flute & Harp
Claude Debussy – La Chevelure (from Trois Chansons de Bilitis), Nuit D’Étoiles
Tōru Takemitsu – Toward the Sea III
Liam Mattison – new commission
William Alwyn – Naiades (Fantasy-Sonata)

* * * * * * * *

Elisabeth Turmo, 20171901 Club presents:
Elisabeth Turmo & Elena Toponogova: “Two Journeys”
1901 Club, 7 Exton Street, Waterloo, London, SE1 8UE, England
Friday 17th March 2017, 6.30pm
information

This is a musical celebration of two cultures, Norwegian and Russian, performed by Norwegian violinist Elisabeth Turmo and Siberian pianist Elena Toponogova. Both are recent or imminent Masters graduates from the Royal College of Music, with growing international reputations. Elizabeth has performed as a soloist with the Arctic Philharmonic, the Oslo Chamber Orchestra, the Toppen International Festival Orchestra and the Barratt Due Symphony Orchestra; while Elena has performed as a chamber musician and soloist across the United Kingdom, Russia and Germany.

Elena Tonogova, 2017Already tagged as “conveying the stormful temperament of a northern Norwegian” in her concert performances, Elisabeth is also an up-and-coming exponent of the hardingfele, or “Hardanger fiddle” – the thin-wooded Norwegian violin with additional sympathetic strings which is traditionally used for folk dances and church processionals, and which bridges the gap between Norway’s ecclesiastical life and its supernatural mythology (by way of “troll-tunings” and Robert Johnson-esque myths about music lessons from the Devil).

Several hardingfele pieces will be performed as part of the concert set. I doubt that these will include a solo arrangement of Michael Grolid’s recent ‘Ouverture’ (as played here two years ago by Elizabeth and Barratt Due’s Symphony Orchestra) but I’ve included it in lieu of her having posted up any other recordings with the instrument.


 
Programme:

Ole Bull – A Mountain Vision
Selected pieces for hardingfele
Bjarne Brustad – Fairy-tail for violin (solo)
Edvard Grieg – Solveig’s Song (from the ‘Peer Gynt’ suite)
Pyotr Ilyich Tchaikovsky – Melody for violin and piano Op.42 No.3
Nikolai Medtner – Sonata Reminiscenza Op.38 (from ‘Forgotten Melodies’
Pyotr Ilyich Tchaikovsky – (arr. Mikhail Pletnev ) – Intermezzo (from ‘The Nutcracker Suite’)
Igor Frolov (from George Gershwin) – Concert Fantasy on Themes from ‘Porgy and Bess’
 

November 2016 – upcoming London classical gigs – The Riot Ensemble play Mark Simpson/Jack Sheen/Tigran Mansurian premieres plus Morton Feldman, Mark Bowden and Anna Meredith for ‘The Viola in my Life’ (21st); Clara Rodríguez & TangOpera Duo’s ‘Great Latin American Composers’ featuring Antonio Estévez and Alberto Ginastera, plus Villa-Lobos, Cervantes and Ruiz (24th)

20 Nov

A very quick note on two upcoming shows:

* * * * * * * *

The Riot Ensemble presents:
The Riot Ensemble: ‘The Viola in my Life’
The Forge, 3-7 Delancey Street, Camden Town, London, NW1 7NL, England
Monday 21st November 2016, 7.00pm
information

The Riot Ensemble's 'The Viola In My Life', 21st November 2016“Led by a core group of seven musicians, The Riot Ensemble programme a wide array of the new music from across the globe, connecting people to great contemporary music and collaborating with a prestigious roster of guest artists in musician-led and organised performances. One of the few emerging ensembles in the UK to regularly commission and perform music by international emerging composers, they present the young composers they commission alongside exciting and established music from Bach to Birtwistle.

“This performance – The Viola in my Life’ – features Riot’s new Artistic Board Member Stephen Upshaw, who programmed this concert alongside fellow rioters Sarah Mason & Claudia Maria Racovicean.”

Programme:

Mark Simpson – New Work for Solo Viola (world premiere)
Morton Feldman – The Viola in My Life 3 (for viola and piano)
Mark Bowden – Hoist (for solo percussion)
Jack Sheen – Each One Cancels Out the Last (for viola, piano and tape) (world premiere)
Anna Meredith – Flex (for solo percussion)
Tigran Mansurian – Duet (for viola and percussion) (UK premiere)

Performers:

Stephen Upshaw – viola
Sarah Mason – percussion
Claudia Maria Racovicean – piano

* * * * * * * *

Clara Rodriguez' 'Great Latin American Composers', 24th November 2016Iberian & Latin American Music Society presents:
Echoes Festival: Clara Rodríguez & Friends – ‘Great Latin American Composers’
Bolívar Hall, 54 Grafton Way, Fitzrovia, London, W1T 5DL, England
Thursday 24th November 2016, 7.30pm
information

“Venezuelan virtuoso pianist Clara Rodríguez joins forces with TangOpera Duo to mark the centenary of her compatriot, composer Antonio Estévez (1916-1988) with a concert showcasing his works for piano and voice as part of a vibrant programme of piano pieces by some of the giants of Latin American classical music, including the seminal Argentine composer Alberto Ginastera (Argentina) (1916-1983), who also celebrates his centenary this year.

“Antonio Estévez is one of the most important Venezuelan composers of the 20th century, known especially for his ‘Cantata criolla’ and ‘Mediodía en el llan’o, recorded by the Simón Bolívar Youth Orchestra in 2008. A leading light of the Parisian-Venezuelan avant garde, Estévez’s music stands out for its rare beauty and profound originality. In Clara Rodríguez, Estévez has a longstanding ambassador for his legacy – her successful campaign to establish his output on the ABRSM 2015-2016 exam syllabus saw his music performed by thousands of pianists in the UK.

Heard here alongside some of Latin America’s most famous composers, such as Villa-Lobos (Brazil) and Cervantes (Cuba), this event places Estévez firmly amongst the panoply of Latin America’s ‘great’ composers. If you are unfamiliar with his music, this programme will be a revelation.”

Programme:

Antonio Estévez – 17 Piezas infantiles
Antonio Estévez – Songs (Selection)
Heitor Villa-Lobos – Bachianas brasileiras No. 4 (Selection)
Heitor Villa-Lobos – Ciclo brasileiro (Selection)
Alberto Ginastera – Three Argentinean Dances
Alberto Ginastera – Dos canciones Op. 3
Ignacio Cervantes – Three Cuban Dances
Federico Ruiz – Encuentro de Antonio y Florentino

Performers:

Clara Rodríguez – piano
TangOpera Duo – soprano & piano
William Roberts – actor
Timothy Adès – translator-poet
 

November 2016 – upcoming London jazz gigs – FuMar at Map Studio Café (17th); Laura Jurd’s Dinosaur + Daniel Herskedal Trio meet the BBC Concert Orchestra at the RFH (19th)

15 Nov

Two more London jazz gigs, from two very different generations of musician, in two very different venues…

* * * * * * * *

FuMar, 2016

FuMar
MAP Studio Café, 46 Grafton Road, Kentish Town, London, NW5 3DU, England
Thursday 17th November 2016, 8.00pm
information

FuMar is a saxophone and piano duo based in Paris. Phil Furneaux and Krys Markowski have been friends for over forty years (meeting on their first day at Manchester University) and started playing together in 2010, using Skype and Ohmstudio for remote collaborations. After performing their first concerts in 2012, the duo released their debut album ‘Lanercost Sessions’ in 2015, followed by a tour of France. The FuMar repertoire is rooted in jazz (and, more recently, classical) but stays bluesy, funky and mellow with a constant dialogue between piano and sax. The band has the philosophy that “music is a transmission of emotion” and attempts to develop pieces that journey between melancholic and happy, comforting and unexpected, allowing the audience to experience a range of emotions during their concerts.

“FuMar’s second album, ‘The Lanercost Sessions 2’ (recorded, like its predecessor, in the fourteenth-century Priory at Lanercost in Cumbria) was released a few months ago, back in September.  FuMar use this venue due to its acoustic qualities, which make the notes played “hang in the air.” Moving on from the first all-covers set of the first ‘Lanercost Sessions’, this album is a mixture of FuMar’s own compositions and some interpretations of emotive classical tunes – Satie’s ‘Gymnopédie No 1’, Gabriel Fauré’s ‘Après un rêve’ – and a couple of Latin-American Cuban classics (Antonio Jobim’s Bach Meets Bossa and Mongo Santamaría’s Afro Blue). It also features the duo’s own free adaptation of Beethoven’s final string quartet (Op. 131), based on a study and extrapolation of the first eight bars extended into floating chordal improvisations.”



 
* * * * * * * *

As I type this up, guitarist Alex Roth’s London gig at IKLECTIK (with his Future Currents avant-guitar trio) is taking place. His bandmate in Blue Eyed Hawk, trumpeter-composer Laura Jurd – herself in the middle of a tour with her electric quartet Dinosaur – plays a date at the end of the week. As with the Future Currents gig, it’s part of the ten-day EFG London Jazz Festival, but this particular gig – at the Royal Festival Hall – is on a much larger scale (certainly ensemble-wise)…

EFG London Jazz Festival presents:
BBC Concert Orchestra/Keith Lockhart + Laura Jurd + Daniel Herskedal Trio
Royal Festival Hall @ Southbank Centre, Belvedere Road, Waterloo, London, SE1 8XX, England
Saturday 19th November 2016, 4.30pm
– information here, here and here

“Formerly known as the Laura Jurd Quartet, a new band awakens from the jaws of extinction. They are Dinosaur and they join the BBC Concert Orchestra tonight to give you an evening of fiery sonic experimentation and abstraction.

Dinosaur, 2016

Dinosaur, 2016

“Trumpeter, composer, bandleader and BBC Radio 3 New Generation Artist Laura Jurd has a passion for “making things up” and today’s concert opens with her new “Work for orchestra & Dinosaur”, combining influences from both classical and jazz music.

“We also hear a new work by Norwegian Tuba player Daniel Herskedal who defies the conventions of his instrument. He pushes the boundaries both technically and sonically, creating spellbinding and mesmerising sounds. He’ll be performing with his trio (also featuring pianist Eyolf Dale and percussionist Gard Nilsen)

“Keith Lockhart conducts.”

Here’s footage of both acts, minus the orchestra…



 

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