Tag Archives: Simon Roth

May 2020 – single & track reviews – MultiTraction Orchestra’s ‘Emerge Entangled’; Stuart Wilding’s ‘Spaces’ and ‘Horns’

5 May

Conceived during coronavirus lockdown, MultiTraction Orchestra is the latest brainchild of cross-disciplinary Sefiroth/Blue-Eyed Hawk guitarist Alex Roth (currently pursuing new avenues and familial roots in Kraków). It’s his way of fighting the entropy, fear and disassociation of the times: part-corralling/part-embracing a cluster of diverse yet sympathetic musicians, recruited via friendship and open-source callups on the web. ‘Emerge Entangled’ is the first result: twenty-seven players working from Alex’s initial two-and-a-half minute pass of treated, multi-layered minimalist guitarwork. If the video accompaniment (a graceful come-and-go conference call featuring most of the players) is anything to go by, Alex played the part of benign/mostly absent god for this recording. There are no solos, no aggressive chord comping. In the few shots in which they feature, his guitars and pedals sit by themselves in a system loop creating the drone with no further intervention. Instead, Alex acts as the invisible mind on faders, reshuffling the instrumental echoes and response which came back from his loop broadcast.

MultiTraction Orchestra: 'Emerge Entangled'

MultiTraction Orchestra: ‘Emerge Entangled’

It’s an eight-city affair; although the majority of musicians hail from Alex’s other base, London (including his percussionist brother and Sefiroth bandmate Simon, trombonists Kieran Stickle McLeod and Raphael Clarkson, Rosanna Ter-Berg on flute, Madwort reedsman Tom Ward on clarinet, drummer Jon Scott and effects-laden double bassist Dave Manington), the MultiTraction net spreads wide. Finnish cellist Teemu Mastovaara, from Turku, is probably the most northerly contributor; Mexico City saxophonist Asaph Sánchez the most southerly; and Texas-based glockenspieler and touch guitarist Cedric Theys the most westerly. (Muscovian tuba player Paul Tkachenko and Lebanon-based iPad manipulator Stephanie Merchak can battle out as to who’s holding it down for the east).

Instrumentally, although there’s a definite slanting towards deep strings, brass and rolling-cloud drones, there’s plenty of variety: from the vintage Baroque flute of Gdańsk’s Maja Miró to the Juno 6 colourings of London soundtracker Jon Opstad and the homemade Coptic lute of Exeter-based Ian Summers. Alex’s other brother, saxophonist Nick, features in the Dublin contingent alongside the accordion work of Kenneth Whelan and cello from Mary Barnecutt. Most of the remaining string players are dotted around England (with double bassist Huw V. Williams and James Banner in St Albans and Leeds respectively, and violinist Alex Harker in Huddersfield). There’s a knot of contributory electronica coming out of Birmingham from Andrew Woodhead and John Callaghan (with virtual synthesist Emile Bojesen chipping in from Winchester), and some final London contributions from jazz pianist/singer Joy Ellis and sometime Anna Calvi collaborator Mally Harpaz bringing in harmonium, timpani and xylophone.

Alex’s past and present work includes jazz, experimental noise, soulfully mournful Sephardic folk music and dance theatre; and while his guitar basework for ‘Emerge Entangled’ seems to recall the harmonic stillness and rippling, near-static anticipatory qualities of 1970s German experimental music such as Cluster (as well as Terry Riley or Fripp and Eno), plenty of these other ingredients swim into the final mix. I suspect that the entanglement Alex intends to evoke is quantum rather than snarl-up: a mutuality unhindered by distance. From its blind beginnings (no-one hearing any other musicians apart from Alex) what’s emerged from the experiment is something which sounds pre-composed; or, at the very least, spun from mutual sympathy.


 
There are definite sections. An overture in which increasingly wild and concerned trombone leads over building, hovering strings and accordion (gradually joined by burgeoning harmonium, filtered-in glockenspiel and percussion, dusk-flickers of bass clarinet, cello and synth) sounds like New Orleans funeral music hijacked by Godspeed! You Black Emperor; the first seepage of flood water through the wall. With a change in beat and emphasis, and the push of drums, the second section breaks free into something more ragged and complicated – a muted metal-fatigue trombone part protesting over synth drone and subterranean tuba growl, which in turn morphs into a double bass line. Various other parts make fleeting appearances (a transverse flute trill, Alex’s guitar loops bumped up against jazz drumkit rolls; a repeating, rising, scalar/microtonal passage on lute, like a Holy Land lament). Throughout, there’s a sense of apprehension, with something ominous lurking outside in the sky and the air and elements; the more melodic or prominent instruments an array of voices trying to make sense of it, their dialects, personalities, arguments and experiences different, but their querulous humanity following a common flow.

Via touches of piano, theme alternations come faster and faster. A third section foregrounds the tuba, moving in and out in deep largo passages while assorted electronics build up a bed of electrostutter underneath. During the latter, watch out in the video for benign eccentronica-cabaret jester John Callaghan, quietly drinking a mugful of tea as his laptop pulses and trembles out a gentle staccato blur. It’s not the most dramatic of contributions, but it feels like a significant one: the mundaneity and transcendent patience which must be accepted as part of lockdown life, an acknowledgement of “this too will pass”. For the fourth section, a tuba line passes seamlessly into a bass clarinet undulation with touches of silver flute; accelerations and rallentandos up and down. Initially some spacier free-jazz flotsam makes its presence felt – electronics and cosmic synth zaps, saxophonic key rattles, buzzes and puffs, fly-ins of cello and double bass. The later part, though, is more of a classical meditation: beatless and with most instruments at rest, predominantly given over to the dark romance of Teemu Mastovaara’s lengthy cello solo (apprehensive, heavy on the vibrato and harmonic string noise, part chamber meditation and part camel call). The finale takes the underlying tensions, squeezes them in one hand and disperses them. An open duet between Jo Ellis’ piano icicles and Asaph Sánchez’s classic tenor ballad saxophone, it becomes a trio with Jo’s glorious, wordless vocal part: hanging in the air somewhere between grief and peace. A moving, thrilling picture of the simultaneously confined and stretched worldspace we’re currently living in, and a small triumph of collaboration against the lockdown odds.

* * * * * * * *

Although ‘Emerge Entangled’ has a number of masterfully responsive drummers and percussionists in place already, it’s a shame that Cheltenham/Xposed Club improv mainstay Stuart Wilding isn’t one of them. His Ghost Mind quartet (three players plus a wide world picture woven in through field recording) have proved themselves to be one of the most interesting listen-and-incorporate bands of recent years. However, he’s continued to be busy with his own lockdown music. ‘Spaces’ and “Horns” are personal solo-duets – possibly single-take, in-situ recordings. Both created in the usual Xposed Club home of Francis Close Hall Chapel, they’re direct and in-the-moment enough that you can hear the click of the stop button. Stuart’s apparently playing piano mostly with one hand while rustling, tapping and upsetting percussion with the other. By the sound of it the main percussion element is probably his lap harp or a zither, being attacked for string noise and resonance.

Assuming that that’s the case, ‘Spaces’ pits grating, dragging stringflutter racket against the broken-up, mostly rhythmic midrange exploration of an unfailingly cheerful piano. Sometimes a struck or skidded note on the percussion prompts a direct echo on the piano. As the former becomes more of a frantic, swarming whirligig of tortured instrumentation (as so frequently with Stuart, recalling the frenetic and cheeky allsorts swirl of Jamie Muir with Derek Bailey and King Crimson), picking out these moments of congruence becomes ever more of a game: while in the latter half, the piano cuts free on whimsical, delighted little leaps of its own. About half the length of ‘Spaces’, ‘Horns’ begins with the percussion apparently chain-sawing the piano in half while the latter embarks on a rollicking one-handed attempt at a hunting tune. The piano wins out. I’m not sure what became of the fox.



 

MultiTraction Orchestra: ‘Emerge Entangled’
self-released, no catalogue number or barcode
Download/streaming track
Released: 1st May 2020
Get it from:
download from Bandcamp, Apple Music or Amazon; stream from Soundcloud, YouTube, Deezer, Google Play, Spotify and Apple Music.
MultiTraction Orchestra/Alex Roth online:
Homepage Facebook Twitter Soundcloud Bandcamp Apple Music YouTube Deezer Google Play Pandora Spotify Amazon Music

Stuart Wilding: ‘Spaces’ & ‘Horns’
self-released, no catalogue number or barcode
Download/streaming tracks
Released: 5th May 2020
Get it from:
Bandcamp – ‘Spaces‘ and ‘Horns
Stuart Wilding online:
Facebook Bandcamp
 

June/July 2019 – upcoming London gigs – Jewdas’ summer shindig with Geoff Berner, Fran & Flora and Rokhl Merlot at Balabam (20th June); Sefiroth at JW3 (4th July)

17 Jun

A couple of vibrantly Jewish gigs coming up in London…

* * * * * * * *
I mostly know about Jewdas thanks to them apparently being among Jeremy Corbyn’s favourite Jewish organisations, and hence having been dragged in the wretched palaver over where and how much anti-semitism might be marring British politics. A determined “radical Jewish voice for the alternative diaspora”, they could probably have done without the blowback; or perhaps they take it as a badge of pride; but they’ll wear and weather it regardless.

In Britain and elsewhere, the internet’s rotting under the feculent, polluted weight of this particular debate, and I’m not going to wrangle the point here (I’ll leave that to the single-issue soapboxers who love it so much) but it would plainly be nonsense to suggest either that Jewdas might not be deeply rooted in Jewish culture, or that they’re not deeply proud of it. If you want to know more of what they’re about (and don’t mind Jonathan Sacks being twitted a bit) you can read about that here: alternatively, you could consider their summer party show at Balabam this week. It’s Jewish to the core – bright and lively, opinionated and warm; pugnacious in intellect and politics and personal engagement; sometimes superbly vulgar; and loaded with music that weaves itself into a shawl of pain, laughter, chatter and living.

They’re hoping to offer “the best in radical Yiddish music” (trigger warning for the humph-y: they tend to favour Yiddish over Hebrew) and it’s certainly going to be left-wing, and anarchic. Headliner Geoff Berner is a Jewish-Canadian punk-klezmernik; a singer, songwriter, accordionist and sometime novelist who prides himself on “dragging klezmer kicking and screaming back to the bars where it belongs. For the past fifteen years or so, he’s travelled the world, garnering a sizable, passionate following of odd, bookish people who like to drink. Clever and literate, Berner’s songs can make you want to weep, laugh, grind your teeth, or kick out a window – often all at the same time. His writing can be overtly political, overtly left wing, leaning towards anarchy, but free of easy slogans or cliches.“ I couldn’t talk him up any better than that, so here he is in action in concert and on video:




 

I’m better acquainted with one of the other acts on the bill – Fran & Flora – the once-seen, immediately-loved cello-and-violin duo of Francesca Ter-Berg and Flora Curzon, who’ve been bringing string duets from eastern European folk and improvisatory traditions to events like Marchland for a few years now, and who’ve now documented it on record with their debut album ‘Unfurl’. Presumably they’re providing the more serious and sober core to the evening, though I doubt that it’ll dominate if someone called Rokhl Merlot is also providing “Yiddish cabaret on an out-of-tune piano”. I suspect there’s a pseudonym involved and that it’s probably going to be riotously funny. As for DJs, there’s a “tuchas-shaking selection of klezmer, Jewish jazz, kosher blues and circumcised soul” from the Kosher Nostra DJs, who are presumably turning nasty gags about “Jewish mafias” on their heads before spitting them back. (Either that, or it’s a nod to the ghost of Bugsy Siegel.) I can’t track down anything on Mr or Ms. Merlot, but here’s a dose of the other two.

 
My own favourite Jewish joke? You didn’t ask for it, but it’s from within the community; and it’s about how if you leave a Jewish guy alone in a room for long enough, he’ll start arguing with himself. That’s how it ought to be, and I’m guessing that it’s something Jewdas are more than happy to embrace.

Postscript – I’ve just found out that Jewdas’ response to some wretched fascist pledging to take Stamford Hill (a strongly Jewish area of north-east London, and the place where my own mother worked in Jewish youth organisations on her first arrival in this country, fifty-odd years ago, as a concerned and wandering New Jersey Gentile) and to liberate it from “Jewification” was to stage a ‘Jewification’ party; and to then invite everyone, including Muslims and “everyone who has ever been threatened for being different, everyone who has ever been othered and made to feel like an outsider…. We did not let them pass before (at Cable Street), and we will stop them again – this time with furious dancing.” Now that’s just treasurable.

* * * * * * * *

If this all sounds a little raucous, there’s also an upcoming chance to catch the (frankly magical) contemporary British Sephardic ensemble Sefiroth out at JW3 at the start of July.

Built up from some of the best young British jazz and folk musicians from the Sephardic Jewish community (the rundown being the Roth brothers – Alex, Simon and Nick – plus Alice Zawadzki, Olesya Zdorovetska, Ruth Goller, Shirley Smart, Alex Bonney and Francesco Turrisi) the band rearranges and revives Jewish songs and melodies from fifteenth-century Iberia where Moorish, Balkan, North African and Mediterranean ideas merged with the music brought out of Israel. The repertoire’s a mingling of ancient love songs, children’s rhymes, dances, songstories and yearning airs; bringing to mind warm winds, scintillating desert nights, homesickness, melodies hummed and murmured in kitchens and tented marketplaces… the entire musical texture of a community.

Sefiroth play all of this beautifully. Over the last few years, I’ve spent several evenings sitting spellbound at their feet as they spun these tunes out of brass, percussion, shofars, Alice and Olesya’s vocals (capturing ache, nurture, memory and desire), Alex’s slips, swells and ebbs of gorgeously understated electric guitar, and barely-perceptible laptop sound mutations. You could, too.



 
* * * * * * * *

Dates:

Jewdas presents:
Geoff Berner + Fran & Flora + Rokhl Merlot + The Kosher Nostra DJs
Balabam, 58-60 High Road, Tottenham, London, N15 6JU, England
Saturday 22nd June 2019, 8.00pm
– information here, here and here

Sefiroth
JW3, 341-351 Finchley Road, West Hampstead, London, NW3 6ET, England
Thursday 4th July 2019, 7.30pm
– information here and here
 

July-September 2018 – upcoming London jazz gigs – part three of the Jazz Herstory series at Poplar Union with Shirley Smart (22nd July), Francesca Ter-Berg (16th August, with Poppy Edwards, Ashley Paul and Simon Roth) and Cassie Kinoshi’s SEED Ensemble 5tet (20th September)

16 Jul

More shows for jazzwomen as the third set of gigs for Jazz Herstory come up at east London’s Poplar Union (following the Nerija, Laura Jurd and Yazz Ahmed gigs at the start of the year, and the Ruth Goller, Cath Roberts and Alison Rayner shows during spring and early summer).

* * * * * * * *

“The July gig is provided by Shirley Smart, one of the UK’s most versatile and creative cellists, and a rare exponent of jazz cello. She draws on a unique background that incorporates classical music, jazz and world music from North Africa, the Middle East, Balkans, and South America. As well as original compositions, she presents a fresh, new approach to the cello. Originally trained in classical cello Shirley subsequently moved to Jerusalem, where she stayed for ten years, studying and performing a wide variety of world music from the Mediterranean and Middle East, as well as being highly involved with the jazz and improvised music scene. Since returning to the UK, she has quickly become known as one of the most creative cellists on the music scene and has worked with many leading jazz and world music groups, including Antonio Forcione, Gilad Atzmon, Neil Cowley, Julian Ferraretto, Robert Mitchell, Kosmos Ensemble, Shekoyokh, Maciek Pysz, Maurizio Minardi, and Alice Zawadski, as well as leading her own projects.

For this concert (a late afternoon performance), Shirley’s bringing her own trio with pianist John Crawford and Demi Garcia Sabat on drums and percussion.


 
“For the August gig, cellist Francesca Ter-Berg (one half of Fran & Flora) takes influences from Eastern Europe (including Klezmer, Transylvanian and Romanian music) and blends them with experimentation in order to explore a world of sound, improvisation and live electronics. Her collaborative experience and diverse musical background has led Francesca to be one of the most versatile and in demand session and studio musicians in the UK. She has collaborated and performed with artists including Sam Lee, Talvin Singh, Floating Points, Portico, Sophie Solomon, Cosmo Sheldrake, Tanita Tikaram, Roger O’Donnell, Riz Ahmed, Hejira, Katy Carr, Lisa Knapp, Gerry Diver, The Unthanks, Kate Young, Bombay Dub Orchestra, Frank London, London Klezmer Quartet, Soumik Datta, Jyotsna Srikanth, Ahmed Mukhtar, Maverick Sabre and the BBC Symphony Orchestra.

“Francesca will be inviting some musical friends on to the stage to perform two sets for this Jazz Herstory special. For the first set, she’ll meld her cello, voice and electronics in an improvisation with London-based songwriter, sound designer and Poppy Edwards on electronics, voice and keyboard (Poppy’s own main project, CRØM/LUS, should be releasing its own debut EP ‘Altered States’ shortly). For the second set, Francesca will be joined by jazz drummer Simon Roth (Sephiroth, Land Of If) and by American émigré and free-form wildcard Ashley Paul on saxophone, guitar and vocals.


 
“For September’s Jazz Herstory performance, Cassie Kinoshi brings the quintet version of her SEED Ensemble to Polar Union. A London-based composer, arranger and alto saxophonist also known for her work with all-female jazz septet Nérija and Afrobeat band Kokoroko, Cassie uses SEED to combine jazz with inner-city London, West African and Caribbean-influenced groove, exploring a blend of genres through both original compositions and arrangements.

“Usually performing as a ten-piece, SEED Ensemble presents a stellar line-up featuring some of London’s most up-and-coming young jazz musicians and has been making waves in the contemporary British jazz scene. The quintet lineup is Cassie on alto saxophone, Sheila Maurice Grey on trumpet, Shirley Tetteh on guitar, Rio Kai on bass and Patrick Boyle on drums.”


 

All concerts are at Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England. Dates as follows:

  • Shirley Smart – Sunday 22nd July 2018, 4.30pm – information here and here
  • Francesca Ter-Berg – Thursday 16th August 2018, 7.00pm – information here and here
  • SEED Ensemble 5tet, Thursday 20th September 2018, 7.30pm – information here and here

 

November/December 2017 – upcoming London folk gigs – Tell Tale Tusk in Rotherhithe (29th November); Sefiroth in Poplar (3rd December)

22 Nov

One of the best things about running the gig notification side of ‘Misfit City’ is uncovering unknown venues – ones which were previously unknown to me, at least. The ongoing embittering saga of London’s shuttering venues (gobbled up by flats or zoning, squeezed out by skyrocketing rents or bullying neighbours) is at least offset by news of new ones, be they dedicated performance buildings or reclaimed/improvised spaces. From what I hear, half of Peckham seems to be sprouting pop-up performance opportunities: but on this occasion, I’m taking a look at a couple of spaces nearer the river.

I can’t think why I’ve not heard of Sands Films Studios before – as institution and location, they’ve been in place for forty-two years, nearly as long as me. Based in an 18th century granary in the same corner of Rotherhithe as The Mayflower pub, they’ve made most of their money from costumery (sumptuous hand-embroidery for Merchant Ivory, ‘Wolf Hall’, ‘Doctor Who’, the film version of the Lloyd Webber ‘Phantom of the Opera’ and many more) but over the years have expanded into sound and film staging, some of it contained in a small, sofa-filled, enchanted-looking theatre space like a pocket Georgian dream. Judging the latter to be “an inspiringly intimate place to hear fabulous music”, promoters Tunedin.London have swooped on it. Since this September alone, it’s hosted Chilean flamenco from Natalia Garcia Huidobro, polyglot West African songs from Jean Paul Samputu, Galician music from Uxía, and trans-Manche Celtic songcraft from both Siobhan Wilson and Mary Ann Kennedy, with upcoming baroque and rebetiko concerts to come.

My not knowing about Poplar Union is more understandable. it really is brand new – a dedicated arts and community centre for this neglected London neighbourhood above the Isle of Dogs, adding light and colour to a tower block beside the Limehouse Cut, its name a wry nod to the area’s former Victorian workhouse. Much of what goes on there is community workshops, but they’re also getting up to speed as an interesting gig venue, having hosted a double showcase for polyfusional song outfits 1816 and Land of If, with a vibrant sets of new jazz concerts lined up for next year.

Here’s what they’re doing next…

* * * * * * * *

Tuned In London present:
Tell Tale Tusk Quartet
Sands Films Studios, 82 St Marychurch Street, Rotherhithe, SE16 4HZ, London, England
Wednesday 29th November 2017, 7.45pm
– information here and here

Tell Tale Tusk, 2017Hailed as “clever, witty and deep” by Resonance FM – and based around singing clarinettists/guitarists Fiona Fey and Laura Inskip, singing percussionist Reyhan Yusuf and fiddle player Anna Lowenstein – folk band Tell Tale Tusk Quartet have “grown and developed together over the years, emerging first as an a capella trio, before collecting a fiddle player and setting hands upon new instruments to explore and expand their palette. Their highly collaborative process informs the diverse styles and varied sounds that can be heard within their music. Spellbinding (and award-winning) vocal harmonies weave around melodious instrumentals to reimagine folktales old and give light to folktales new. Tell Tale Tusk’s take on folk is boundlessly creative: as well as being inventive interpreters of music from around the British Isles, the ensemble are prolific writers, adding their distinctive and astute voices to modern day folksong.”

This end-of-November gig celebrates the recent launch of ‘Through The Morning’, the band’s crowdfunded debut EP as a quartet, featuring “an anthropomorphized journey through the changing seasons, a pensive ode to the Moon and a bawdy tale of a (not so) lascivious sailor… just some of the characters that come vividly to life through Tell Tale Tusk’s dynamic storytelling.” In keeping with Rotherhithe’s ongoing celebrations of the three-hundred-and-ninety-seventh anniversary of the sailing of the Mayflower, expect a few sea shanties too. Meanwhile, see below for the quartet’s arrangement of an old English folk song performed earlier in the year at Sofar Sounds, plus a rip through Ungrateful Wench from one of the occasions when the band goes out as a rhythm-section-bolstered sextet.



 
* * * * * * * *

Sefiroth
Poplar Union, 2 Cotall Street, Poplar, London, E14 6TL, England
Sunday 3rd December 2017, 6.30pm
information

Via projects such as Otriad, Blue-Eyed Hawk, Future Currents and Yurodny and through collaborations with orchestras such as the London Sinfonietta, the work of multi-disciplinary guitarist Alex Roth covers jazz, improv, contemporary classical, alternative folk and electronic music; and crosses over into dance and theatre events such as the Katarzyna Witek dance project aired earlier this month.

Sephiroth, 2017One of the projects closest to his heart is chamber-folk ensemble Sefiroth, founded with his brothers (saxophonist and flautist Nick, drummer Simon) to “explore and reimagine traditional Sephardic (Judeo-Spanish) repertoire… Sung in Ladino, these ancient songs weave timeless stories of love, loss and yearning for home, evoking the lands in which the Sephardic diaspora settled: Iberia, the Mediterranean and the Middle East. The group’s arrangements are as porous and wide-ranging as the history of the Sephardim, combining acoustic and electric instruments, contemporary harmony, improvisation and trance-inducing rhythms.”

It’s been a long time since we’ve heard anything new from Sephiroth, although various combinations of the band, drawn from a pool of mostly Anglo-Sephardic musicians – percussionist Francesco Turrisi, trumpeter Alex Bonney, cellist Shirley Smart and bassist Ruth Goller, with the vocals handled by Olesya Zdorovetska and violinist Alice Zawadzki – have regularly interacted with each other since the ensemble’s last full concert circa 2013. It now seems as if they’re all collectively refreshed and up for more. This Poplar Union show promises to be the first in a new set of dates for the band.

Meanwhile, see below for some excerpts from Sefiroth’s previous multimedia show, ‘Arvoles Lloran por Lluvia (The Trees Weep For Rain)’, which you can also pick up as a Bandcamp EP.



 

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