Tag Archives: Ruth Goller

November 2016 – upcoming gigs – the glorious 12th: some of many gigs scattered around England on my birthday tomorrow – Mother, North Sea Radio Orchestra, ILL, Nick Costley-White, India McKellar, Alice Zawadski, Merrick’s Tusk, Snowapple, Captives On The Carousel, Mark Lewandowski, Steve Strong, Shield Patterns, Jamie Safiruddin, The Yossarians, Boy & A Balloon, Bruxa | Cosa, Ed Dowie, Carl Woodford, Andy Or Jenny, Patrons…

11 Nov

Tomorrow I turn forty-six. About half of those years have been spent as an on-and-off writer, scrambling round the edges of music and music culture, attempting to understand this great amorphous art form with its thousands of doors and voices. I had a sombre, or at least a serious, preamble planned: one of those reflective commentator essays that you see on many of the more literate blogs. I threw it away.

Instead (and in keeping with what ‘Misfit City’ has been up to for most of the year), here’s a particularly long garland of gig notices. It’s not here to illustrate any particular school of thought, being the usual melange of tastes and forms – jazz, folk, art-punk, acoustic singer-songwriter, prog, performance art, drone, classical fusion and lush noise. It’s that particular kind of broad, inconsistent, credibility-trampling aural palette which (back when I started doing this in the mid-’90s), wasn’t suggested much outside of the pages of ‘Organ’ or the less austere corners of ‘The Wire’, or indeed ‘Misfit City’; but which now seems to be almost a mainstream stance.

Some other day – perhaps some other birthday – will be the right time for an essay or a grand declaration. If I’ve got a point to make right now (if only by implication and example), it’s that at a tired, fairly battered forty-six I’m still curious, still enthusiastic, still in the business of learning; at a time and place in life which might otherwise ossify my tastes and reduce music to just another commodity or flattened signifier. Spread out over this post are details on concerts, all of them in England, all of them scattered across my birthday. There’s no way I could attend all of them, even with an entirely free hand, but all of them attract me; and at any one of them you’d have found me leaning against a wall, pen and pad in hand, taking notes, looking for new thoughts.

I’ve already posted about the iamthemorning/Tim Bowness teamup for the iO Pages festival, but I can’t really squeeze in the flight to the Netherlands. (Besides, I’m catching them in London on Monday). I’ve also posted about the evening’s Hallkvist/Taylor/Goller/Hayward jazz-fusion show (plus a side order of Charlie Stacey) at the Lambeth art incubator of IKLECTIK, as part of an update on Charles Hayward’s burst of late-year shows. Since that one’s in London, it’s a more likely option for me; but also down at IKLECTIK, in the early afternoon, London jazz incubator Jazz Nursery will be joining in with the ongoing EFG London Jazz Festival in order to present a couple of young bandleaders with relatively accessible projects.

Well, why not start there – start mellow…

Guitarist Nick Costley-White has a trio featuring Conor Chaplin on double bass and David Ingamells on drums and offers fresh, swinging takes on Jerome Kern and Cole Porter (with the leader described by ‘Jazz News’ as “a classy player with an elegant and subtle way with a good tune”). Bassist Mark Lewandowski (“sonorous, fluent… an indispensable part of our scene” – ‘London Jazz’) sets aside his busy calendar as a sideman to compose for and lead a quartet of American drum legend Jeff Williams (Stan Getz, Lee Konitz, Joe Lovano etc) as well as tenor saxophonist Tom Challenger (Brass Mask, Wedding Music, Dice Factory, Ma) and pianist Liam Noble (Stan Sulzman, Bobby Wellins, many records as leader).

Nick Costley-White, 2016Jazz Nursery/EFG London Jazz Festival presents:
Nick Costley-White Trio + Mark Lewandowski Quartet
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 12th November 2016, 2.30pm
information

It looks as if this particular Mark Lewandowski band is too new to have been recorded, but here’s a clip of the Costley-White Trio at work:


 
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'Liberate yourself from my vice like grip", 12th November 2016
Were I up in the north-west I’d be listening to something entirely different, tempted by ‘Liberate yourself from my vice like grip’, the R.D. Laing-inspired exhibition/concert/happening that’s playing at Islington Mill in Salford. Set up by contemporary art organisation Broken Grey Wires, it’s part of their scheme to create safe psychological spaces for people with various mental health issues; to use art as “a facilitator for recovery… to encourage people to make something special for themselves”, following Laing’s own suggestion that “madness need not be all breakdown. It may also be break-through.” 

(Yep – I know how to relax on my own special days.)

For the musical component, co-curators Fat Out have put together a typically eclectic and Mill-ready line-up of mostly local bands. Included are soundscaping folk-indie/jazz-shoegaze performance artists Mother, psychedelic folk-rock jam-jivers The Yossarians and colourful, blippy post-punk femme/art/pop troupe ILL (proudly strident champions of “disobedient noise” who believe in “creating music until something tingles, and performing dance noise until something bleeds”, and who were namechecked in ‘The Guardian’ today as one of the fifty new pop projects shaping the future). Also on the bill are ambient improvisers Andy Or Jenny, the “atavistic” Berlin-based Welsh looptronica singer Bruxa | Cosa, and landscape-ghosting Peak District ambient-pop duo Shield Patterns.

For the ongoing exhibition BGW have brought in various artists who explore mental health, gender, identity and subjective reality in their work (Lizz Brady, Robert Good, Amy Mizrahi, David Sheery, Kirsty Harris, Paul Kindersley, Jared Pappas-Kelley, Alexander Storey Gordon) all of whom raise so many questions, options and ways of seeing that I’d go on for ages trying to clumsily summarise them. Instead, I’d suggest that you follow them up on Facebook through the second info link below…

Broken Grey Wires & Fat Out present:
‘Liberate yourself from my vice like grip’
Islngton Mill Arts Centre, James Street, Salford, M3 5HW, England
Saturday 12th November 2016, 6.00pm
– information here and here





 
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Steve Strong + Patrons + Merrick's Tusk, 12th November 2016If I were in Durham, I could make up for missing one-man post/math/trip-hop band Steve Strong‘s set of simultaneous guitar-loops/drums/electronic-noise hybrids at Wakizashi last month, by catching up with him up at his Empty Shop show in Durham – alongside the trepidatious post-hardcore of Plymouth four-piece Patrons and the blitzing sentimental charge of Derby trio Merrick’s Tusk (currently touring their melodic, heart-on-sleeve half-emo rock around the country). While I was at it, I could feel as if I was contributing more to the community than just the usual couple of hours of head-nodding. (See more about the constructive, cohesion-building Empty Shop ethos here.)

Sapien Records Ltd/Empty Shop presents:
Steve Strong + Patrons + Merrick’s Tusk
Empty Shop HQ, 35c Framwellgate Bridge (above ‘Ciao Ciao’), Durham, DH1 4SJ, England
Saturday 12th November 2016, 8:00 pm
– information here and here




 

India McKellar, 2016

India McKellar

If in Sheffield, I’d probably be in a softer mood, heading over to the Regather co-op for one of their cosier gigs: the second of the recently-established acoustic evenings run by local cello/voice/guitar folk duo Captives On The Carousel.

This week (in addition to the Carouselers usual warm starting set), the night’s playing host to two other Sheffield-area singer-songwriters – India McKellar, whose previous adventures on piano, as a traditional Celtic harpist and as a onetime prog-rocker have set her up well for her matured, quietly captivating role as Laurel-Canyon-by-way-of-West Riding adult songwriter; and rootsier Drake-and-Jansch-inspired guitar-and-banjo picker Carl Woodford.

Captives on the Carousel present:
Captives Vol. 2: India McKellar + Carl Woodford + Captives On The Carousel
Regather Works, 57-59 Club Garden Road, Sheffield, S11 8BU, England
Saturday 12th November 2016, 7.30pm
information




 
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Alice Zawadski, 2016

Alice Zawadski

Back in London, I’d also be tempted (were it not already sold out) by Alice Zawadski’s Joni Mitchell evening down at Brasserie Zedel. I’m not keen on the institution of the average cover version, and embarrassingly average covers of Joni songs are the bane of many an acoustic evening: honeytraps for earnest women with guitars who cover them reverently, winsomely and really badly. Every time, I picture Joni seething in the audience, her notorious strongmindededness in full bullish effect: snarling at the women onstage, cursing them out for skipping her weird tunings, for ignoring the orchestral conception behind the compositions, or for just sugaring the fine vinegar.

This one might well be different, for several reasons. One is that Alice already comes with acclaim, experience and enough background to serve the songs – extensively trained in both jazz and classical skills, a violinist and arranger as well as a singer, she’ll be thinking on maybe as many levels as Joni herself. Another is that her gig partner and pianist Jamie Safiruddin has racked up time and plaudits accompanist and/or musical director with prime British jazz, ballad and folk interpreters Ian Shaw, Claire Martin and Barb Jungr and Ben Cox, as well as pop adventures with Will Young (plus he already has Joni-form, having “played Edith And The Kingpin with exquisite poise” according to ‘The Arts Desk’).

A third reason is that this is primarily a jazz gig; Jamie and Alice joined by Seafarers saxophonist Matthew Herd, bassist Conor Chaplin (strolling over from the earlier Costley-White trio show), drummer and Conor’s Fabled buddy and drummerWill Glaser. No matter how many copies of ‘Blue’ you pitch at my head, I’ll always maintain that Joni was at her original best when diving into jazz, interweaving with Wayne Shorter and Jaco Pastorius as her words kaleidoscoped, her notes ached and flexed and the potential in the arrangement spanned and fanned. Alice is promising Joni’s most well-worn hits and folky standards (‘Big Yellow Taxi’, ‘A Case of You’, ‘Woodstock’) but also “lesser-known gems from throughout her long and fruitful back-catalogue”, and it’s not always that you get the chance to hear someone dipping into the more challenging territories of ‘Hejira’, ‘The Hissing Of Summer Lawns’ or ‘Don Juan’s Reckless Daughter’.

Here are the details for anyone who’s a better ligger/doorstaff wheedler than I am; and below that’s a clip of Alice at work with saxophonist Joe Wright on a song which, even if it’s not quite Joni, shows what her mind and approach could be bringing to the Mitchell catalogue.

Jamie Safiruddin & Alice Zawadski
The Crazy Coqs @ Brasserie Zedel, 20 Sherwood Street, Soho, London, W1F 7ED, England
Saturday 12th November 2016, 9.00pm
information


 
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As for me, I can only guarantee that I’ll be in one particular place tomorrow. At noontime I’ll be in the Union Chapel, at one of the Daylight Music shows which I constantly plug here but all to often have to miss. Accompanied by family (and perhaps even a few unexpected friends), I’ll be down there listening to the soft, distracted keyboard songs of Ed Dowie; watching the charming and daffy Dutch folk-pop trio SnowApple delight and dazzle an audience in a fizz of swapped instruments, leapt genres, blended voices and eye-catching outfits; taking in the interstitial battered-pop moments from Boy And a Balloon‘s Alex Hall; and finally immersing myself in the ringing, humming chamber-ensemble arrangements of Craig Fortnam’s North Sea Radio Orchestra as they navigate (in a bright-toned weave of nylon-strung guitar, bassoon, strings, keyboards and voice) between the Britten-esque and the kosmische, between gurgling Vernon Elliott and sighing Robert Wyatt, between the hopping pulse of downtown minimalism and the Anglican warmth of a Wiltshire harvest festival.

Maybe Daylight shows are at the cuddlier end of what interests me within this blog; but it’s also fair to say that, out of everything covered here, perhaps the rambling, all-points Daylight positivity reflects ‘Misfit City’s own attitude best of all. And in a similar spirit… say hello if you see me there.

Daylight Music 238, 12th November 2016

Arctic Circle presents:
Daylight Music 238: North Sea Radio Orchestra + Snowapple + Ed Dowie + Boy & A Balloon
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 12th November 2016, 12.00pm
– free event (suggested donation: £5.00) – information here and here





 

November/December 2016 – a plague of Charles Haywards in Britain and Ireland – with Samuel Hällkvist and Charlie Stacey in London (Nov 12th); with Phosphene at Xposed Club in Cheltenham (Nov 18th); at Daylight Music in London for Laura Cannell’s ‘Memory Mapping’ (with Mythos of Violins, Hoofus and Jennifer Lucy Allan, Nov 26th); in Dublin with The Jimmy Cake and Percolator (Dec 10th)

7 Nov

“Man with drumkit and nerve available. Works well on his own, but can work with anyone from virtuoso level to raw newbie. Will also travel, though being in the right place is essential.”

Charles Hayward – drummer, songwriter, improviser; patron saint of South London spontaneity. Creator, humble communitarian and sharer. Kit-and-tapes driver for avant-rockers This Heat and Camberwell Now! during the ‘70s and ‘80s; more recently, the curator-enabler of experimental multi-media events such as Accidents & Emergencies. Internationally reknowned but publically anonymous go-to bloke for musical support and thrilling upset. A musician who goes out and does.

Here are four separate upcoming instances of Charles Hayward in the act of doing: all taking place this month or next month. As good a hook as any to hang a ‘Misfit City’ post off.


 
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London EFG Jazz Festival presents:
Hallkvist/Taylor/Goller/Hayward + Charlie Stacey
IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England
Saturday 12th November 2016, 8.00pm
– information here and here

“The Swedish musician Samuel Hällkvist was given the ‘Jazz in Sweden’ award in 2010. It caused some controversy at the time because Samuel is a guitarist who doesn’t fit comfortably into the template of Scandinavian jazz. Nordic brooding is not his style at all. Instead Samuel brings unsurpassed wizardry to the use of effects pedals, which he deploys with great discretion and aplomb. He has toured extensively in Scandinavia, other parts of Europe and Japan, as well as touring the UK in 2012, where he performed with Yazz Ahmed, Denys Baptiste and Gary Crosby.


 
“Samuel is joined on this occasion by a carefully selected cast, featuring Ruth Goller (the bass guitarist of Acoustic Ladyland), the wonderful Charles Hayward on drums (This Heat etc.) and free improviser Noel Taylor on bass clarinet. The ensemble is a combustible blend of elements which promises high-energy rhythmic patterns awash with thunderous beats of drum and bass, and surmounted with the languorous, rich tones of bass clarinet.

Charlie Stacey first popped into the jazz scene when he was featured on UK television as a child prodigy. In 2012, still a teenager, he reached the semi-finals of the Montreux Jazz Piano Competition. Since then he has performed at festivals around the world. Stacey’s tastes range from Keith Jarrett to Sun Ra and Albert Ayler – stir these ingredients together into a swirl of mood and pianistic virtuosity: that’s the unique sound of Charlie Stacey.”


 
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Charles Hayward + Phosphere, 18th November 2016The Xposed Club presents:
Charles Hayward + Phosphene
The Xposed Club @ Francis Close Hall, University of Gloucestershire, Swindon Road, Cheltenham, GL50 4AZ, England
Friday 18th November 2016, 8.00pm
– information here and here

Charles Hayward‘s ‘(begin anywhere)’ is a new project centred around songs performed at the piano, a sequence of betrayal, paranoia, subterfuge, opening out into resistance, hope and humanity, interweaved with sound events, drums, spoken word, performance. Stark, minimal arrangements; an unexpected departure.

Phosphene is the name Glasgow-based artist John Cavanagh has worked under for his solo music-making since 2000. In that time, there have been three full-length Phosphene albums, featuring collaborations with Lol Coxhill, Bridget St. John, Raymond McDonald, John McKeown (1990s/Yummy Fur), Isobel Campbell, Bill Wells and others. John is also a a member of the duo Electroscope, along with Gayle Brogan (Pefkin) and the more recently formed Sonically Depicting, with Ceylan Hay & friends. He is also known as a radio presenter & contributor, voice-over artist, author of a book on the Pink Floyd album ‘The Piper At The Gates Of Dawn’, producer of records/occasional record label operator and organiser of music nights at Glasgow’s Sharmanka Kinetic Gallery.”

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Daylight Music 240, 26th November 2016

Arctic Circle presents:
Daylight Music 240: Laura Cannell presents “Memory Mapping”: Charles Hayward + Mythos Of Violins + Hoofus + Jennifer Lucy Allan
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 26th November 2016, 12.00pm
– free event (suggested donation: £5.00) – information

“The Arctic Circle At Ten celebrations continue courtesy of experimental fiddle and recorder player Laura Cannell, bringing together musicians whose work is both spontaneous and deeply inspired by their surroundings. Using real and imagined memory, ideas are mapped internally and externally and turned into atmospheric, moving and unexpected performances.

“Charles Hayward gives a solo performance of his piano piece (begin anywhere)…” – see the Xposed Club bit for more on that. Also note that Charles and Laura play together in the Oscilanz trio (with Ralph Cumbers of Bass Clef/Some Truths), creating new music by exploding, recombining and reinterpreting the music of twelfth-century composer and polymath Hildegard Von Bingen, in a web of drums, trombone, violin, recorders, singing and electronics. (There’s a clip of them below, for context.)


 
Mythos Of Violins is the experimental violin work of Laura Cannell and Angharad Davies, creating new works inspired by location and memory and “puzzling over the unsconcious or conscious effect of place on the creative development of an artist.” ‘The Scotsman’ reviewed their performance at Glasgow University Chapel earlier in April this year as “hypnotic… they made judicious use of the venue as they circled the pew-bound audience, unfurling a tapestry of intense scratches and squeals – as if the cloisters had been infested by an attack of rabid rats – fused with discordant prettiness and yearning hints of Celtic folk.” Laura and Angharad will be performing a special piece inspired by the Union Chapel. Laura will also be performing a solo set of her own.



 
Jennifer Lucy Allan – former online editor of ‘The Wire’ (and still running their Resonance FM radio show), as well as being the co-runner of experimental record label Arc Light Editions – will be weaving rural and industrial soundscapes through this very special event (possibly including evidence of her ongoing research project on fog horns).”
Also to have played was Hoofus, a.k.a. Andre Bosman, an electronic musician based in coastal Suffolk. Focused on live performance, emergence and improvisation, Hoofus uses drifting oscillators, overlapping frequency modulation, ragged percussion and a sense of tactile interaction between performer and machines to create music of wayward eerie wonder. Drawing on ideas of edgelands and peripheries and the intersecting of wilderness with urban/industrial spaces, Hoofus explores the uncanny beauty of the intangible, the occult and the arcane seeping through into the post-industrial 21st century world of reason and corporate compliance. Unfortunately he won’t be performing them here this time around – maybe next time?


 
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Charles Hayward + The Jimmy Cake + Percolator, 10th December 2016The Jimmy Cake present:
Charles Hayward + The Jimmy Cake + Percolator
Bello Bar, Portobello Harbour, Saint Kevin’s, Dublin 6, Ireland
Saturday 10th December 2016, 8.00pm
information

For this December show, Charles heads up an evening of “loud instrumental space-prog-post-apocalypse rock”. There’s no word on what he’s specifically doing, but I’m guessing it’s a return to the furious drums, the disruptive tapes and the man-in-the-moment vocals of his main improvisation style.


 
Event organisers The Jimmy Cake are sixteen-year instrumental veterans of Irish instrumental rock. Over five albums under the leadership of keyboard-playing main-brain Paul G. Smyth they’ve employed banjos, clarinets, strings and brass – mixing Chicagoan post-rock, European space rock and Canterbury prog with the happysad fiddle-and-whistle uplift of Irish music sessions – or lurked behind gonging walls of noise and synth. Fast friends with Charles already (he guested at their previous annual show, prompting his invite back for this one), they’ve also backed Damo Suzuki – a set of influences and associations which should make their intentions, impulses and credibility clear.



 
When they’re clicked into “simple” mode, Waterfordian trio Percolator bounce and sing-song like an appealing, easily-approved indie-pop mix of The Stooges, Television, and Pavement influences, with additional craic courtesy of the chatty vocal rapport between drummer Eleanor and fuzz-sliding, odd-angles guitarist Ian. When they pull out the remaining stops on their organism and get more complicated, they transform into something much more remarkable – one of the few bands who can appropriate that lazy “sounds like My Bloody Valentine” tag – or have it foisted on them – and not disgrace it. The wilder tracks on their last EP, ‘Little Demon’ are whirlwinds of biplane-crash guitar drones, road-hammering motorik drums and bass surges. They sound like so much more than a rock trio – virtual unknowns already able to capture the wheeling cosmic dizziness of a full-on King Crimson soundscape or the pre-apocalyptic glower of a Gnod blur-mood as well as the microtonal shear of Kevin Shields.



 

February 2016 – upcoming gigs – from electro-salsa sizzle to cinema cello to sorry sighs with Daylight Music (Arcadio, Michael Price & Peter Gregson, Dakota Suite & Quentin Sirjacq); Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Luminous Bodies, Casual Sect and Girl Sweat glisten in Hackney; LUME give us improvising strings, Fauré jazz and a female bandleader summit (Njanas, Percy Pursglove’s Far Reaching Dreams Trio, En Bas Quartet)

4 Feb

More assorted crossovers and team-ups via Daylight Music…

Daylight Music 214

Daylight Music 214: Arcadio + Michael Price & Peter Gregson + Dakota Suite & Quentin Sirjacq
Union Chapel, Compton Terrace, Islington, London, N1 2UN, England
Saturday 6th February 2016, 12.00pm
– free/pay-what-you-like event – more information

Arcadio brings together London’s finest improvisers and percussionists to create a nomadic exploration of rhythm and movement. Led by composer Andrew Hall (also known as trumpeter for the vLookup Trio and Mak Murtic’s Balkan folk-futurist ensemble Mimika), Arcadio also features double bass player J.J. Stillwell, soundmangler Phil Maguire, woodwinder Rob Milne, multi-instrumentalist Ben Zucker, vLookup drummer Tom Atherton and several Mimika members (saxophonists Mak Murtic, Seb Silas and John Macnaughton; percussionist Paul Love). The band defines itself as the point where “electro-salsa meets free improvisation.” This will be their debut gig.

Michael Price is one of the UK’s most sought after composers and arrangers. His work for film and television includes ‘Sherlock’ and ‘Jekyll & Hyde’ (both of which he co-scores with David Arnold), ‘Unforgotten’, ‘Hot Fuzz’, ‘Tinker, Tailor, Soldier, Spy’, ‘Casino Royale’ and ‘Quantum of Solace’. Michael’s first film experience was as musical assistant, co-producer and arranger to the late Michael Kamen, with whom he collaborated for five years, working on a number of exciting projects including ‘X-Men’, ‘Band of Brothers’, ”The Iron Giant’, and ‘Metallica – S&M’. Having begun his career as a pianist and composer for contemporary dance, he has now established the Michael Price Trio and Ensemble to perform his own work in diverse venues across the world. His critically acclaimed debut album ‘Entanglement’ (on Erased Tapes Records, released in April 2015) was described as “gorgeous” by Rolling Stone.

On this occasion, Michael will be performing with New Music cellist and composer Peter Gregson, who has recently premiered works by composers including Daníel Bjarnason, Max Richter, Jóhann Jóhannsson and Steve Reich.

 

Now approaching its twentieth anniversary, Dakota Suite is not so much a band, more the brainchild of Chris Hooson. While holding down a full-time job as a social worker in Leeds, Chris produces affecting sadcore music under the Dakota Suite monicker, usually working in collaboration with multi-instrumentalist David Buxton, but sometimes with Italian ambient composer Emanuele Errante and American composer-cellist David Darling.

Since 2009, another regular Dakota Suite collaborator has been Parisian composer and pianist Quentin Sirjacq – improviser, New Music performer and composer of music for film, theater and radio. A musician who has performed as part of rock groups, big bands, symphony orchestras and avant-garde ensembles, Quentin has also worked Fred Frith, whose music he has performed (alongside that of James Tenney and Frederic Rzewski and José Maceda) as part of his continuing explorations of the avant-garde and its relationship with older traditions. Quentin’s other recent collaborations have included work with Akira Kosemura and Shin Kikuchi, leading to releases on the Japanese label Schole Records.

Current collective Dakota Suite/Sirjacq plans include an upcoming studio record featuring the Hooson/Buxton/Sirjacq trio and the release of a live album featuring the Hooson/Sirjacq duo, some of which may be touched on at this gig.”

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I’m not sure whether I’ll be covering as much garage rock this year as I did last year. I find that a little of it goes a long way without generating much to write about, unless you start reviewing the audience or pulling in some other contextual hobby-horses. That said, I do like what Baba Yaga’s Hut do, and part of what they do includes this noisy sweatbox of a show coming up at the weekend:

Pigs Pigs Pigs Pigs Pigs Pigs Pigs + Luminous Bodies + Casual Sect + Girl Sweat @ The Victoria, 6th February 2016

Baba Yaga’s Hut presents:
Pigs Pigs Pigs Pigs Pigs Pigs Pigs + Luminous Bodies + Casual Sect + Girl Sweat
The Victoria, 451 Queensbridge Road, Hackney, London, E8 3AS, England
Saturday February 6th 2016, 8.00pm
more information

Heavy-motorik Tynesiders Pigs Pigs Pigs Pigs Pigs Pigs Pigs are pretty brutal. That psychotic iteration-stutter of a name gives it all away before you even get to the music. I dropped a few chromosomes just by listening to them. Imagine the tangled ball-web of a lurking cellar spider: imagine Hawkwind being carjacked halfway down Ladbroke Grove, the steering wheel dragged out of Dave Brock’s hands. Expect a dystopian thrum of attenuated gutter grooves, early Ubu synth sousings and righteously pissed-off howls from singer Matt Baty, plus tossing, turning rhythm and cymbal work from the band’s drummer Ewan MacKenzie, who adds a powerful synaptic crackle to the whole business. Here’s twelve-and-a-half minutes of them…

 

Regarding the support bands… Luminous Bodies lurched up from the underground back in December, when they were seen supporting Rocket From The Tombs in London. For those of you who don’t remember that particular occasion, they’re a noise-rock supergroup, a gang of self-proclaimed knuckle-draggers pounded together like clumps of dirty wet clay, sharing players with bands including Ikara Colt, Part Chimp and Terminal Cheesecake. Casual Sect began knocking out their ratchety noisepunk (part conspiracy paranoia, part wink-to-camera) across a set of demos and gigs last year. Girl Sweat is less familiar to me: a one-man show of soiled electro-pop exotica and psychedelic fringe from Stockton-on-Tees, where the smog chews at the fake leather in the pub furnishings.



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There are two more upcoming jazz’n’improv gigs from the LUME organisation:

Njanas + Far Reaching Dreams Trio @ LUME, Vortex Jazz Bar, 8th February 2016

LUME presents:
Njanas + Far Reaching Dreams Trio
The Vortex Jazz Club, 11 Gillett Square, Dalston, London, N16 8AZ, England
Sunday 7th February 2016, 7.30pm
< – more information here and here

Njanas is a brand new project consisting of four female musician/composers – Laura Cole (piano), Filomena Campus (vocals), Tori Handsley (harp) and Ruth Goller (bass) – who are all band leaders in their own right. The ensemble, which celebrates women’s art and music, started more than a year ago.

Njanas state “we often feel under-represented as women in the worlds of jazz and art, and in this project all compositions are inspired by a female artist (such as Frida Kahlo, Niki de Saint Phalle, Gertrude Stein, Franca Rame and many more) or written by a female composer. The name Njanas is an encounter between the gigantic sculptures called ‘Nanas’, created by painter and sculptor Niki de Saint Phalle, and ‘Janas’, ancient legendary female figures and fairies/witches that relate to the myth of the Sardinian Goddess-Mother.”

Following the critically-acclaimed success of his ambitious nine-part jazz suite ‘Far Reaching Dreams Of Mortal Souls’, multi-instrumentalist and composer Percy Pursglove now debuts the music as re-interpreted by his fascinating new Far Reaching Dreams Trio, featuring himself on trumpet, Paul Clarvis on drums and Ivo Neame on piano and accordion.

Percy composed the original suite during 2013 and 2014, working with the support of a Jazzlines Fellowship. The multi-lingual piece (including sung texts referring to Anne Frank, Nelson Mandela, Aung San Suu Kyi, Malala Yousafzai, Charles Darwin, Leonardo da Vinci, Galileo Galilei, Benjamin Franklin and Joan of Arc) was originally arranged for a nine-piece ensemble, conductor and eight-piece choir for its October 2014 premiere. Percy describes ‘Far Reaching Dreams Of Mortal Souls’ as “a project that has been in the back of my mind for a few years now. I had some wonderful experiences singing in choirs at an early age and the sound of and purity of massed voices has always drawn my ear. I wanted to find a way to access that broad spectrum of possible textures that Gabriel Faure had introduced me to all those years ago, but within a chamber ensemble setting that has the scope to offer another layer of unforeseen spontaneity.”

En Bas Quartet @ LUME, London Review Bookshop, 18th February 2016

LUME presents:
En Bas Quartet
London Review Bookshop, 14 Bury Place, Bloomsbury, London, WC1A 2JL, England
Thursday 18th February 2016, 7.00pm
more information

En Bas Quartet are string-section improvisers. In order of rising pitch, they are Seth Bennett (double bass and group leader), Alice Eldridge (cello), Benedict Taylor (viola) and Aby Vulliamy (viola).

Seth comments “I’d long been interested in contemporary chamber music, and wanted to investigate that aesthetic in an improvised context. A ‘low’ quartet also allows me to join in – the bass part in a quartet is usually taken by the cello – and write music for a chamber ensemble, with all the interaction and rhythmic subtlety they use. I find the parallel between a small jazz ensemble and a string quartet very interesting; both groups will stretch time, allow the music to breathe and pause, and find a way to play as a single unit. I chose three of the best string improvisers in the country to form the rest of the ensemble, and was lucky enough that they all agreed to take part in the project.”

Here’s what they do:

According to LUME, at this gig the Quartet “will be playing Seth’s quartet for improvising low strings, based on the Northumberland folk song tune Sair Fyeld Hinny, and exploring various settings and provocations for group and solo improvisation. Inspired by the quartets of Shostakovich, Beethoven and Bartok, as well as more contemporary jazz ensembles like Arcado String Trio, the Masada string trio and contemporary British free improvisation, En Bas Quartet weave their disparate influences into a compelling whole.”

* * * * * * * *

More gig news shortly – Teeth Of The Sea, an evening of Bad Elephant Music, and much more (including plenty of folk-baroque guitar).

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