TIGblogs - Group - UK Youth Delegates to the UNGA60

Barbacana / Troyka - Vortex, 5/3/10

Mon, 08 Mar 2010 02:03:00 EST

The bassless Anglo-French quartet Barbacana made strong impressions right from the start: James Allsop’s supple tenor sax led the way, as the others gradually joined in to create a compelling collective improvisation with tight melodic interludes.

This was the story of their set. A constantly shifting dynamic spectrum, ranging from full-volume, rowdy sax blasts and singeing electric guitar to near-silence and an organ that sounded like tootling computers, showed the players were really locked in together. Fresh from a couple of gigs on the other side of the English Channel, this was certainly a good time to catch the exciting new band.

Allsop and keysman Kit Downes were joined by Parisian duo Adrien Dennefeld (guitar) and Sylvain Darriffourcq (drums); all displayed an enjoyment equal to the audience as they attentively listened to each other, rising, falling and fidgeting as one. Perhaps tune structures did get a little predictable, but this did not detract from the pleasure of the moment.

Troyka, a talked-about London trio with a recent release on Edition Records, were next up. Downes was on keys again, joined this time by drummer Joshua Blackmore and guitarist Chris Montague.

They favour a jam band aesthetic – open, loosely structured, slightly wonky grooves have gained much attention. But something seemed to be missing on Friday night. It may have been that the new material Troyka were trying out is not yet fully absorbed; it just sounded a little flat after all the energy and flair of Barbacana.

Compositions seemed to meander, lacking the leadership role which Allsop’s pyrotechnic saxophone had played so effectively for the previous group. While Montague on guitar occasionally managed to unleash a pleasingly acidic Scofield vibe, these instances were all the more notable for their rarity.

With the crowd showing signs of disquiet, the trio sought to raise intensity levels. Only then did heads start to move. A lively, attractive potential is clearly there, but it felt like they had really got going a little too late in the day.

Published @ The London Jazz Blog, 8/3/10 – click here for original.

Brazilian culture at a high temperature in Russia

Thu, 04 Jun 2009 06:06:00 EDT

A close circle of people is singing and chanting under Pushkinsky Most early Sunday evening. In the centre, two at a time duck, dive, feint and sway in hypnotising fashion, while enchanting vocal drones, drums and bow-like berimbaus provide the perfect musical accompaniment. It’s a weekly gathering of Moscow’s capoeira enthusiasts, disciples of the Afro-Brazilian dance that has witnessed growing international popularity in recent years.

Russia is part of the trend. In 1995, two instructors from the INBI world culture organisation were travelling the globe on a quest for knowledge; it was in San Francisco that they first encountered capoeira. Absorbed by the vibrancy of the art, they conceived a plan to invite Brazilian gurus to Moscow and returned home with instruments, information and an iron will to make it happen.

Fast-forward three years and the Capoeira Federation of Russia was officially registered. The first All-Russian seminar on capoeira took place in Moscow: masters from Santos, Sao Paulo and Guarujá were joined by eager participants from all over Russia for the four-day event. They came from St Petersburg, Bryansk, Krasnodar, Ufa and even the Ukrainian cities of Kiev and Dnipropetrovsk.

Since then, interest has blossomed. All-Russian seminars are a yearly event every May, with talented students selected to train with leading teachers in Brazil. Schools have been established in several cities.

Moscow’s Grupo Axe Capoeira centre, located in an anonymous sports hall on a police compound in the heart of the capital, has expanded to include a wide cultural programme. Wandering in there any day of the week, one is equally likely to find Portuguese language lessons, percussion workshops or rehearsing bossa nova groups – in addition to ju-jitsu classes for all ages and abilities.

Yan Yurievich Shastitko, the school’s founder and chief coach, says it is his mission to help students become “excellent capoeiristas and, most of all, good people.”

“Capoeira is an instrument people can use for personal development and self-discovery. It is my personal responsibility to help people become free. And every person must decide for themselves what they want to do; it must be a free choice.”

“Capoeira is communication between two people through body language. People play in the circle and get acquainted with each other – in a hard, physical, beautiful way, with a lot of emotion. They express emotions through their bodies and movement.”

And he believes study of the martial art must be partnered with full cultural engagement. “I really love music. It is the universal language that can be understood by all people, all races. In Russia, for example, there are many people who engage in physical training without music – I think this is very bad. It’s capoeira castration!”

“Without music it doesn’t have energy; when you start learning capoeira your body becomes very tired. But after six months, for example, you will feel rhythm. And when your body feels rhythm, you don’t get tired as quickly – you want to carry on, to play. The songs in capoeira have information – about art, life, love, relationships, freedom, about everything! It’s a very important part of education. People must study the Portuguese language with the music and the dancing.”

Ekaterina Beresneva, a journalist and art gallery assistant, takes capoeira classes at her local fitness club. “The sports centre offers a few different things, but I wanted to try capoeira because it sounded exotic. I think it’s popular because it’s a very dynamic dance, with the sounds of great Brazilian music. It’s a mix of movements from nature – you move like some kind of animal, like a monkey perhaps, it’s really fun. And I think it’s very good exercise.”

“In Russia we have such a culture that all others can become part of it,” she continues. “Everybody loves everything. Capoeira is popular because Russians are very open to all cultures. It’s very easy to fall in love with.” Part of the boom in popularity is attributed by Yan Yurievich to the film Only The Strong, first shown on TV around ten years ago.

Yurievich, who been to Brazil five times, says another main aspect of his mission is to cheer people up: “There is not much sun in Russia – it is very cold. I wanted to bring some warm Brazilian life to the country.”

Published in Russia Now (Brazilian edition), June 2009.

In Conversation with Chris Potter

Mon, 23 Mar 2009 11:03:00 EDT

Chris Potter may once have been a favorite among jazz insiders rather than the general public. But high-profile gigs with Herbie Hancock and others, as well as more than a dozen leader dates, have brought him center stage in the jazz world. He talks with Frederick Bernas.

“Music definitely gets to a different place when you’re playing live,” states Chris Potter. The saxophonist sits nonchalantly in the lobby of a London hotel, as conventional Muzak drones ironically in the background. He is due at Ronnie Scott’s club for a gig with Underground, his bass-less quartet that integrates the funkier side of jazz with a strong progressive aesthetic. “This energy thing builds up with the audience and it’s very exciting,” Potter continues, referring to Underground’s Follow The Red Line: Live at the Village Vanguard (Sunnyside, 2007), the third live CD he has released.

“When I established this band I was thinking about trying to use some of the influences I hadn’t expressed so explicitly before—like how much time I’ve spent with James Brown and Stevie Wonder, later Miles and the whole funk thing. It also feels like sometimes we get into this real kind of harmolodic Ornette-funk thing. There are a lot of influences that come and go, but I think we’re figuring out how to put them together in our own way, through our own four personalities.”

The project sees Potter joined by Craig Taborn on Fender Rhodes, guitarist Adam Rogers and drummer Nate Smith—a combination he feels is starting to develop very fruitfully. “They’re all really strong musicians; I don’t have to think about whether they’ll be able to play something I’ve written or not, I know they’ll come up with something unique. They all have such interesting backgrounds. Craig’s frame of reference is huge: he’s way into a lot of stuff I don’t know anything about, punk bands and this and that—a completely different world. And I hear that in things he goes for sometimes, he’s able to somehow bring it in. Nate originally started to play in church—you know, gospel—and he’s got this thing when it’s funk, but it’s really warm and easy to play with. It’s not that mechanical machine thing at all, it’s really soulful and pretty mad to mix with Craig. And Adam has so many different ways he can go and so many beautiful sonic things he does with the guitar. He’s amazing at finding some part within the whole matrix of the thing that really makes it come alive, besides playing great solos. And then I try and just not get in the way!”

This faithfully minimalist, open attitude fosters a creative chemistry that manifests itself in all kinds of ways: sparks fly at live shows. For Potter, the group represents an open book of possibilities that help him to “grow” and “figure out” how he can pull together all his strands of thought into a coherent musical statement. “For a while, I made a rule for myself that I wasn’t going to write anything longer than a page for Underground,” he explains. “I’ve since broken that rule, but it’s still that kind of bare minimum of material: just a mood and some ideas to work with, but not too much. I want to hear what they bring into it. If there’s some specific idea I have for a tune and it’s not going in that direction, maybe I’ll say something, but I prefer to say as little as possible. It’s an organic approach, as much as I can do—I don’t want to stifle it.”

Despite heavy demand for Underground (this interview took place at the start of a significant European tour), Potter always finds time to work with a wide variety of other leaders, from Herbie Hancock to Ari Hoenig. With 14 albums under his own name, the saxophonist would be perfectly entitled to follow many of his peers by focusing on personal projects. It’s a complicated situation, a “funny balance,” according to Potter. “I get a lot out of playing with a lot of different people, but it’s a question I ask myself: am I shooting myself in the foot, in a way, by doing too much other stuff? I don’t know exactly what the right answer is, but I can imagine just wanting to be on the road a little less than I have been, because it’s been a lot. But, on the other hand, if somebody calls you for a really good gig, it seems a very strange thing to say no. You know how musicians are, dying for a good gig, wondering if anyone’s ever going to call you—you’ve always got to have that in the back of your mind,” he states modestly.

Furthermore, he is quick to acknowledge lessons learned from sideman experience—starting right back at age 18, when he played hard bop with Charlie Parker’s long-time trumpet partner Red Rodney. “That was a real introduction to what it was like being on the international jazz scene. And it was great playing with someone who’s a master of the bebop language as a real first generation thing. It was really something special to be playing Bird lines with him, knowing he played them with Bird.”

In terms of band leadership, Potter talks about “how to approach music” as being a key facet of what he’s picked up. Major mentors include Paul Motian and Dave Holland: “Everyone has a different approach, like the way Dave Holland is. He has a very methodical way of working through ideas, which has been very influential to me. But on the other side, working a lot with Paul Motian has been useful as a completely opposite thing: as un-analytical as possible. Freedom. Just going with your aesthetic instinct and not at all thinking about whether you’re painting inside the lines or not. So, between those extremes, and a lot of other people too, I feel it’s been very useful for my overall approach to music and leading bands.”

Both these musical ideologies prevail in Potter’s recent work. As well as ongoing development of the freewheeling Underground, his 2007 release Song For Anyone (Sunnyside) features a series of compositions for “tentet”—a group including instruments not normally seen in a jazz context, such as strings. “That was something I’d been wanting to do for years and years,” he explains. “I never really studied that much composition in college, definitely not orchestration. It was a little bit like I didn’t really know what I was doing, but I just went for it anyway. It was so exciting for me to hear real people playing it and hear it actually come true, it makes me want to do more someday. I haven’t yet, but when I listen to that record I think ‘how did I manage to get all that work done?’ It was a way for me to explore a new compositional side.”

Making the album also planted the idea of ‘spontaneous composition’ in Potter’s mind. It entails a slightly refined, contextualised approach to traditional improvisation, as he was required to view solos as only one part of a broader written structure—rather than a separate entity existing of its own accord. “I think I improved as an improviser by thinking about the composition from start to finish, not just improvisation that goes somewhere on its own. I had to think about it beforehand, and have a chance to plan what’s going to go where, lead to what, and when. It helped me think more compositionally as an improviser.”

Another knock-on effect has been fresh interest in “spontaneous group composition,” an idea he has been exploring with Underground. “I’ve been thinking about my role in that kind of situation—how to add what’s necessary and get out of the way when it’s not necessary. It’s a tricky thing.” How free? “It doesn’t matter if it has a form or not, we’re still trying to be as free with it as we can—whatever that means. Even when it’s within a certain set of guidelines, the feeling that it’s creative and growing comes from the freedom. Maybe choosing to play the written material sometimes, and judiciously choosing when to go away from that, doesn’t make it seem any less free than completely free playing.”

Potter’s album Gratitude (Verve, 2001) saw the saxophonist pay eloquent tributes to his key inspirators on the instrument—Sonny Rollins, John Coltrane, Joe Henderson, Eddie Harris and Ornette Coleman included. When asked which of his own contemporaries Potter draws on, he spoke of a mutual cross-pollination they all use to raise the bar. “I really enjoy David Binney, the writing especially. Also Mark Turner, Chris Cheek, Seamus Blake, Josh Redman, whoever’s at a high level. But it’s funny, I think it’s just a different feeling we all tend to have about people who are from our same generation versus people who are older. We’re all looking up to Wayne [Shorter] and whoever and thinking ‘wow’—you know, he just doesn’t seem human! But I think it’s just a natural thing, a generational thing. In some way, I feel like with all the other saxophone players of my age it’s more like trading ideas back and forth a little bit. I think we all influence each other, or at least they influence me!”

This reflects the rich unity of New York’s contemporary scene, which is becoming increasingly vital amidst the music industry’s apparent impending doom. As major record labels are forced to downscale or completely abandon jazz-related activities, little collectives of like-minded artists are coming to the fore—think Dave Douglas’s Greenleaf Music or John Zorn’s flourishing Tsadik imprint. The trend has made its way overseas: budding independent operations are rising in London, with musicians eager to work together and spread a shared message. Potter asserts that, of course, “we just want to make music, not spend time on all that admin stuff,” but also understands that “most people are accepting they have to do a bit of both, especially when they’re starting off.”

His vision for the future (he’s still a thirty-something) sits on the principle of a perpetually open mind: “What any artist is ultimately trying to do is express their view of life and what it feels like to be alive. I definitely want to approach music in a way that, until the end of my life, it will be growing, and I’ll still be growing—I hope I’ll be open enough to react to what’s happening and smart enough to recognise something good when I see it or avoid something bad when I see it. That day-to-day search for inspiration isn’t even really a search, it’s just recognising it when it happens.”

With an Underground studio album freshly recorded, a customarily busy gig schedule and a collaboration featuring Dave Holland, Gonzalo Rubalcaba and Eric Harland in the pipeline, 2009 looks like it will be another good one for Chris Potter. Speaking again of the Underground band, he is clearly enthused: “I feel that now it’s starting to find its own language, which is exciting for me to be part of. It keeps getting better and better.” Long may this continue.

Published @ jazz.com, 23/3/09 - click here for original.

Got couch?

Thu, 05 Mar 2009 05:03:00 EST

Moscow. Tuesday night. Tiki Bar. A large group of people talking and mingling: nomads, students, businessfolk and a few token randomers who don’t really know where they are. Nothing unusual about that – unless you remember many of them had never met in person, but convened online via www.couchsurfing.com.

What is it?

CouchSurfing was set up by a group of four friends in 2003. Their goal was to cultivate international dialogue by creating an open hospitality network in the name of cross-cultural understanding, with free accommodation an added bonus. Six years later, membership has swelled to nearly one million people, and you can find couches to surf the world over – from Baghdad to Birmingham, Caracas to Cape Town.

“I’d often find myself in some strange city, longing for cool people to hang out with,” writes founder Casey Fenton on the site. “I knew there were interesting people, all around me, with stories to tell. I’d wish there was a better way of making contact with these folks.” In January 2004, the project came to life with a global launch.

Local mix

Russia’s first CS members joined soon after, but the idea didn’t really take off for another couple of years. Now there are more than 8,500. The Moscow community, like many other city-based groups, is close-knit yet devoutly open-minded and welcoming. “Having come to Moscow by myself, and not having any family or friends here, CS has allowed me to learn about and explore my new home with a really versatile group of people,” says Diana Agazatian, 26, from the U.S.

“From what I can see, Moscow may be one of the best CS-represented cities in the world. It has one of the largest numbers of active members, who actually participate in the weekly activities available,” Diana continues. A quick glance at the CS Moscow group’s online forum will show you exactly what she means: new posts spring up on a daily basis, with myriad possibilities on offer.

In addition to the weekly gatherings at Tiki Bar, there are clubbing excursions, film nights, polyglot language meetings, dacha weekend getaways, visits to other cities and all kinds of other parties and social shindigs – including the now legendary Sunday sessions. And you never know who’s going to turn up: oily expat sugar daddies, the smooth-jazz-loving Russian chap who pretends to be British, or, if you’re lucky, an anarcho-hippie priest from the Brezhnev era.

Monastic madness

That’s right – no errors here. He doesn’t come to many meetings, but one of CS Moscow’s mythical figures is a fellow named Father Sergey. His Orthodox living community in the city centre became an unlikely hub for visiting travellers; in exchange for a small role in daily tasks, they received warm hospitality on a purely non-denominational basis. “It was a unique experience, an oasis of real life in the temple of materialism that is Moscow,” said Stefano Puccio, one of more than 60 people who stayed at the monastery.

Due to the church’s other activities, the project is currently on hold. But fear not: there is talk of a restoration for Moscow’s likely summer influx of curious CouchSurfers.

What next?

Closely affiliated with Hospitality Club, another online project of similar nature, CouchSurfing is a modern offshoot of the wanderlust travel ethos that began with the ancient art of hitchhiking – itself the focal point of a flourishing underground subculture across Russia. With a website relaunch lined up to celebrate the million-member milestone, a voluntary management team operating from San Francisco and a massive pool of willing participants, the CS cult looks destined to grow and grow.

“The next step is to develop Russian city-to-city connections, so travellers can build their agenda through a network, as well as more international gatherings,” says Dmitry Sivenkov, a Moscow CS Ambassador. “I think the project is going to keep expanding – in another couple of years, hopefully we will have another million!”

Essential elements
• First of all, hit www.couchsurfing.com and sign up to create a profile. Once you’re done with the membership formalities, get to work on filling out your page and adding some traditionally daft photos.
• After this initial stage, why not get a few mates to join too and leave references for each other? This is a simple, self-sustainable security process for CouchSurfers, which performs the obvious function of making sure people are who they say they are. A couple of solid references mean you’ll be far more likely to receive couch requests, or pick up accommodation when you need it.
• Check out the ‘Groups’ section of the site, where you can find forums dedicated to all the obvious topics and more. The Moscow community is always busy – feel free to introduce yourself, post threads with any questions or see what activities are going on.

Published in element, 5/3/09.

Not-So-Modest Mussorgsky in Moscow

Wed, 04 Mar 2009 07:03:00 EST

Jazz.com tries to cover the whole world of jazz, and not just the famous players at the name clubs. This is more than a quest for brotherhood and goodwill, but also driven by a realization that some of today’s most exciting developments are happening outside the US, especially when talented artists mix the jazz sensibility with the best of their local or regional musical culture.

Frederick Bernas, who covers the Moscow jazz scene for us, finds just this in a performance by Alex Rostotsky at the V amp; J Club in central Moscow. Here Rostotsky, a hot electric bassist in a Jaco mold, takes on the music of Russian composer Modest Mussorgsky (1839-1881). Rostotsky's new CD is still a rare item in the West, but you are encouraged to check out the video here, even if your Russian is rusty.
Ted Gioia [editor]

Jazz and classical music enjoy an unpredictably tempestuous relationship: polar opposites in one sense, yet drawing ever closer in another. The very act of improvisation is alien to many classical players, but jazz musicians often receive a dual upbringing. Contemporary jazz in particular has seen frequent blurring of genre boundaries between the two, with people including Wayne Shorter, Chris Potter, Jacques Loussier and Uri Caine experimentally combining elements of both and compositional techniques growing ever more sophisticated.

Russia is no exception to this rising trend. With its magnificent classical history and fertile developing jazz scene, perhaps that’s no surprise—but it is nevertheless slightly unusual that one of the leading advocates is Alex Rostotsky, an electric bassist who favours a distinctly Jaco-esque fretless fusion sound.

On February 28, Rostotsky presented his new album Pictures at an Exhibition or Promenade with Mussorgsky at the recently opened V amp; J Club in central Moscow. As the title would suggest, it features jazz interpretations of some of the great Russian composer’s most famous works; Rostotsky is aided by pianist Yakov Okun and Alexander Mashin on drums, with a grand finale featuring the Russian State Symphony Orchestra and original music by Alexander Rosenblatt. An optional DVD to accompany the CD gives a fascinating insight into the making of the final track, a 16-minute sweeping epic that ebbs and flows through the full emotional continuum.

“The music of Mussorgsky is so strong that it invites interpretations and assimilations in other genres,” said Rostotsky in an interview with jazz.ru, Russia’s leading jazz magazine. “Maybe this was the first composition in Russian musical history for jazz trio and symphony orchestra. I dreamt for many years about such an idea. I heard a few seconds of Rosenblatt’s demo recording and immediately understood we had to make the project together.”

The live experience, although lacking an orchestra, nevertheless nearly matched the viscous intensity catalysed by Rosenblatt, Rostotsky and conductor Sergey Skripka in Rosenblatt’s “Concert Fantasia.” The trio’s deft interactions were augmented by Spanish artist Fernando Jimeno Perez, who produced spontaneous sketches to accompany the playing, every stroke projected onto a screen beside the stage. During a couple of quieter moments, the gristly brush of the charcoal even became a musical voice in itself.

“Rich Jew, Poor Jew” sees a klezmer-oriented bass drone slowly build up after Rostotsky’s introduction, before a brief piano interlude and the return of the ostinato and Okun’s harmonically dexterous overlaid solo. He has inherited something of the mathematical, scientific approach from his father Mikhail, a venerable elder statesman of Russian jazz who performed at the V amp; J on February 26. Mashin cuts loose for a few rounds between crashing dissonant chords, before settling back down to burn menacingly, eerily scraping his cymbals as the track draws to a close.

Rostotsky’s sustained, humming presence is a feature of the record, like an electric current running through the music as he channels the energy of his counterparts. It adds welcome variety to the standard trio palette—his occasional devious intrusions are worth listening out for beneath Mashin’s busy beats and scampering ideas. A fine example is “The Old Castle,” a 10-minute offering where the rhythm section works together to subtly up the ante for Okun’s ponderous, musing solo that understatedly takes its time to say what he wants to say.

The words ‘Mussorgsky’ and ‘post-bop’ in the same sentence may seem an unlikely marriage of conflicting interests. Some conservatives would splutter at the very thought of such a union. However, there is one essential aspect of human nature which must not be forgotten: opposites attract.

Published @ jazz.com, 4/3/09 - click here for original.

Tim Garland - Libra

Fri, 23 Jan 2009 07:01:00 EST

The adventurous two-disc Libra features saxophonist Tim Garland heavily entrenched in trio territory. He is joined by rising star Gwilym Simcock on piano and versatile percussionist Asaf Sirkis, with guest appearances from zany guitarist Paul Bollenback and London's Royal Philharmonic Orchestra.

Expansive, well-structured pieces are the record's mainstay, with a tasteful sprinkling of standards. Known for sideman work with names including Chick Corea, Joe Locke, Bill Bruford, and many of the UK's finest, Garland here speaks an advanced compositional language to match his fiery presence on saxes and bass clarinet. As in any group of this nature, the Lighthouse Trio emphasizes personal interaction and mutual exposition, and the intense, flourishing nature of these musical relationships is arguably as important a feature as Garland's writing.

"Frontier," a four-part suite dedicated to Gunther Schuller, incorporates classical influences: the first segment, "SunGod," is a grandiose orchestral introduction sans jazz. Clear lunar connections can be made to Holst's masterpiece, The Planets (1918). Attention shifts in seamless waves between trio and orchestra, with the full ensemble often ebbing and flowing behind solos or suddenly jumping in to punctuate breaks and gaps. The piece runs organically without sounding mechanical, before abruptly ending in the blink of an eye. There's almost not enough time for the mind to process, but here lies the simple beauty of recorded music.

The second CD opens with a live version of "Blue In Green," pleasantly presented without a steady pulse. A couple of steamy Latin numbers evoke the spirit of Corea, particularly "Bajo Del Sol," with its tour de force piano solo climaxing in loud, crashing sheets of rippling chordal deviance. Kenny Wheeler's "Sly Eyes" is playful and adventurous: Simcock's stompy vamp underpins a deft, loping sax melody before another sudden ending via Sirkis' agile brushwork. All three are burning on the penultimate track, "Break In The Weather," as Garland skips and darts and a fierce battle of rhythmic ideas takes place between piano and drums.

Libra is a striking achievement by three leading talents on the contemporary British scene, successfully balancing the intricacies of large ensemble writing with a deep sense of openness and reciprocal understanding.

Tim Garland: Libra

Fri, 23 Jan 2009 04:01:00 EST

Published @ allaboutjazz.com, 23/1/09 - click here for original.

My Musical Year

Tue, 30 Dec 2008 05:12:00 EST

It's been busy...

Concerts
italics = gigs I played :)
* = gigs I put on

January
[[ exams ]]
18 - Dub From Atlantis + The Hit-Ups; The Croft, Bristol
19 - The Haggis Horns; Native, Bristol
21* - The Blessing; epi bar, Bristol
22 - Ruckus Collective; Mr Wolf's, Bristol
23 - Ruckus Collective; Moles, Bath
25 - Hélélé; Oppo, Bristol
31 - Powerplant w/ Elysian Quartet; St George's, Bristol

February
4* - Spokinn Movement; epi bar, Bristol
7 - Mankala; The Attic, Bristol
9 - Ruckus Collective; Anson Rooms, Bristol
9 - Spokinn Movement; Mr Wolf's, Bristol
12 - The Blessing; Thekla, Bristol
16 - Ruckus Collective; Oppo, Bristol
18 - Ruckus Collective; Joe Public's, Bristol
20 - Roni Size Reprazent; Thekla, Bristol
21 - Tribal Underground; Tao Bar, Bristol
23 - Ruckus Collective; a beer festival, Bristol
27 - Ruckus Collective; Mr Wolf's, Bristol
28 - Ruckus Collective; The Attic, Bristol (w/ Anomaly + The Scribes)
29 - Ruckus Collective; The Golden Lion, Bristol (w/ CCQ)

March
4 - Ruckus Collective; student ball, Bristol
6 - King Porter Stomp; Tao Bar, Bristol
7 - Ruckus Collective; student ball, Bristol
8 - Mark Wingfield; Avon Gorge Room, Bristol
9 - Kokolo; Mr Wolf's, Bristol
12 - Songwriter Session; The Lansdown, Bristol
14* - Anomaly; The Attic, Bristol (my birthday party!)
16 - Ruckus Collective; Mr Wolf's, Bristol
17* - Mankala; epi bar, Bristol
20 - Sheelanagig; Grain Barge, Bristol
25 - Joe Driscoll + Gideon Conn; Vibe Bar, London
27 - Tony Allen; Jazz Cafe, London
28 - Acoustic Ladyland; Vortex, London
29 - John Scofield; Jazz Cafe, London
30 - Richard Bona; Jazz Cafe, London

April
1 - Robert Mitchell Omar Puente; St Cyprian's Church, London
4 - Ruckus Collective; Brixton Jamm, London
5 - Ruckus Collective; Bar Sonic, London
6 - Ruckus Collective; Thekla, Bristol (w/ The Apples)
7 - Polar Bear; Ronnie Scott's, London
10 - jam session; Harris jazz bar, Krakow
17 - Sharon Jones The Dap-Kings; Jazz Cafe, London
18 - Led Bib; QEH Front Room, London
19 - Antibalas Afrobeat Orchestra + The Budos Band; Jazz Cafe, London
20 - Polar Bear; Colston Hall Bar, Bristol
22 - Ruckus Collective; Timbuk2, Bristol
26 - Ruckus Collective; Phoenix, Exeter
28 - Dr Doctor; Joe Public's, Bristol
29 - Ruckus Collective; Mr Wolf's, Bristol
30 - The Zen Hussies; Old Duke, Bristol

May
1 - Talibam! + Ashowka + Sweet Potato; The Croft, Bristol
4 - Ruckus Collective; Jester's, Bristol
8 - Ruckus Collective; The Croft, Bristol (w/ Bizali + Clayton Blizzard)
[[ exams ]]
26 - Edenheight; The Full Moon, Bristol

June
7 - Ruckus Collective; street party, Bristol
8 - Ruckus Collective; live radio session, Bristol
12 - Ruckus Collective; Lakota, Bristol
13 - Ruckus Collective; Mr Wolf's, Bristol
16 - Ruckus Collective; Tiger Tiger, Cardiff
17 - Ruckus Collective; The Croft, Bristol
28 - Ruckus Collective; The Golden Lion, Bristol

July
2 - Kenny Garrett; Ronnie Scott's, London
11 - NORTH SEA JAZZ FESTIVAL, Rotterdam
Charles Lloyd, David S. Ware, Led Bib, Herbie Hancock, Bootsy Collins,
12 - NORTH SEA JAZZ FESTIVAL
Pat Metheny, Victor Wooten, The Bad Plus, David Sanchez, Finn Peters, Wayne Shorter, James Carter
13 - NORTH SEA JAZZ FESTIVAL
Lefties Soul Connection, Rudresh Mahanthappa, Gary Burton, Mark Helias, Brad Mehldau, Maceo Parker, Branford Marsalis, Buddy Guy
16 - Samay; Dingwalls, London
20 - Neil Cowley Trio; Koko, London
21 - BBC Jazz Awards; Mermaid Theatre, London
[[ including: Return To Forever, Guy Barker, Empirical, Fraud, Tommy Smith, Charlie Haden, Tony Kofi, The Blessing... ]]
22 - Hypnotic Brass Ensemble; ICA, London
23 - Youngblood Brass Band; Jazz Cafe, London
27 - Ealing Jazz Festival, London
29 - Grupo Fantasma + Brownout; Jazz Cafe, London
30 - Portico Quartet; Rough Trade East, London
31 - Hot 8 Brass Band; Cargo, London

August
6 - Ruckus Collective; The Old Blue Last, London
15 - Ruckus Collective; The Griffin, Frome
16 - Ruckus Collective; The Yardbird, Birmingham
17 - Ruckus Collective; party, nr Brighton
19 - Ruckus Collective; The Croft, Bristol
20 - Maceo Parker; Pigalle Club, London
23 - Hélélé / Edenheight; Old Duke Jazz Festival, Bristol
24 - Compadres; The Tobacco Factory, Bristol
27 - Ruckus Collective; Mr Wolf's, Bristol (open mic)
28 - Ruckus Collective; Ride Cafe, Plymouth (w/ The Scribes)
29 - Ruckus Collective; The Good Ship, London

September
4 - Roots Manuva; Rough Trade, London
4 - The Apples; Cargo, London
11 - Ruckus Collective; Joe Public's, Bristol (w/ Toyface + The Hats)

October
2 - Clayton Blizzard; The Junction, Bristol
22 - Arun Ghosh; Vortex, London
23 - Adam Waldmann Quartet; Charlie Wright's, London

November
6 - Jim Hart + jam session; Charlie Wright's, London
7 - Spokinn Movement; Ginglik, London
13 - Spokinn Movement; Pangea Project, London
[[ London Jazz Festival starts ]]
14 - Ken Vandermark, Barry Guy, Mark Sanders; Vortex, London
15 - Bill Frisell; Barbican Centre, London
16 - Richard Galliano amp; Gonzalo Rubalcaba; Queen Elizabeth Hall, London
17 - Chris Potter; Ronnie Scott's, London
18 - Robert Glasper; Cargo, London
19 - Herbie Hancock; Barbican Centre, London
20 - Courtney Pine; Barbican Centre, London
21 - Matthew Herbert Big Band + José James; Royal Festival Hall, London
22 - Chucho Valdés; Barbican Centre, London
23 - Biréli Lagrène, Martin Taylor; Queen Elizabeth Hall, London
[[ end of London Jazz Festival ]]
24 - a concert featuring works of Morton Feldman and Earle Brown, taking place as part of the Mark Rothko exhibition at Tate Modern, London

December
4 - Erik Truffaz; 16 Tons, Moscow
5 - The Bad Plus; 16 Tons, Moscow
12 - jazz showcase, Moscow

Ruckus Collective
The band really took off in 2008, playing over 30 gigs (actually only up til August/September), visiting a few different places and recording a full-length studio album, Stop, Drop, Dance!, during a crazy period after uni exams in June. Earlier in the year we also self-produced a five-track EP, Rise of The Ruckusaurus. Apart from that I played the odd function gig here and there around Bristol, and plenty of jams - always good fun.
www.myspace.com/ruckuscollective

Journalism
I had quite a few articles published throughout the year, writing for publications including London Tourdates (LTD), Jazzwise, All About Jazz (AAJ) and Fly. Not sure if anyone's going to check these out, but here's a list (in order of publishing):

28/2/08 - CD: The Blessing, All Is Yes [AAJ]
29/3/08 - Live: Acoustic Ladyland @ Vortex, London [AAJ]
8/4/08 - Live: Richard Bona @ Jazz Cafe, London [Fly]
9/4/08 - Live: John Scofield @ Jazz Cafe, London [AAJ]
15/4/08 - Live: Tony Allen and Antibalas @ Jazz Cafe, London [Fly]
19/4/08 - Live: Polar Bear @ Ronnie Scott's, London [AAJ]
23/4/08 - Live: Robert Mitchell amp; Omar Puente @ St. Cyprian's, London [AAJ]
15/5/08 - Interview: 'These Acoustics Can Electrify' - Pete Wareham (Acoustic Ladyland) [LTD]
15/5/08 - Live: Antibalas and The Budos Band @ Jazz Cafe, London [LTD]
24/5/08 - CD: James Carter, Present Tense [AAJ]
30/5/08 - CD: Ponto de Equilíbrio, Abre a Janela [Fly]
21/6/08 - Live: The Heliocentrics / Flying Lotus @ Venn Festival, Bristol [Fly]
9/7/08 - Live: Kenny Garrett @ Ronnie Scott's, London [Jazzwise]
11/7/08 - CD: Blink, Blink [LTD]
21/7/08 - Live: North Sea Jazz Festival 2008 [Jazzwise]
22/7/08 - Live: Latin Funk Spectacular to hit Jazz Cafe [Fly]
24/7/08 - Live: Neil Cowley Trio @ Koko, London [Jazzwise]
24/7/08 - Interview: 'What's In A Name?' - Neil Cowley [LTD]
31/7/08 - Live: North Sea Jazz Festival 2008 [AAJ]
8/8/08 - Live: Samay at Dingwalls, London [LTD]
8/8/08 - CD: Polar Bear, Polar Bear [LTD]
22/8/08 - Interview: 'Mercury Rising For Hang Men' - Portico Quartet [LTD]
27/8/08 - CD: Avishai Cohen, Gently Disturbed [AAJ]
5/9/08 - Live: Maceo Parker @ Pigalle Club, London [LTD]
1/10/08 - Interview: Taking Off - James Morton [Jazzwise]
3/10/08 - CD: Alex Wilson, Salsa Con Soul [Fly]
4/10/08 - Interview: '77 Not Out' - Omara Portuondo [Fly]
24/11/08 - Interview: 'Freedom First, History Later' - Manuel Mengis [AAJ]
2/12/08 - Live: London Jazz Festival 2008 [AAJ]
21/12/08 - Live: Moscow City Jazz Festival 2008 [AAJ]

Broadcasting
While I was in Bristol, I had a weekly show on BURST Radio called 'Off The Hook'. It was a really cool experience and I played a lot of different tunes, as well as being joined by several guests from the local music scene. I won't go into detail here, as this is already too long, but you can see the myspace page for info and playlists. [Some of my friends have taken it over this year, as I'm not attending uni at the moment, so tune in!]

Many thanks to anyone who's had a look at this post - all the best wishes for Christmas and the New Year!

peace,
frederick

London Jazz Festival 2008

Tue, 02 Dec 2008 05:12:00 EST

London, England
November 14-23, 2008

Ken Vandermark, Barry Guy, Mark Sanders
The Vortex
November 14

In a meticulously unplanned concert, the music often seemed like a sonic battle between these three renowned improvisers. Sporting a black-fitted tee and a hairstyle that could be straight from the Police Academy films, Vandermark was the dominant voice. On tenor saxophone and occasionally clarinet, his signature wailing, guttural, distorted screams interchanged with lithely melodic phrases and deft percussive passages. Sanders and Guy were largely in the background, providing a constant stream of ideas and demonstrating why they are so highly regarded amongst the European avant garde. Guy in particular employed a number of extended techniques, utilizing all parts of his five-string double bass and performing on-the-job customizations such as jamming a drumstick under the strings, or using a soft-headed beater to produce gentle ripples of sound during quieter movements. Certainly a spectacular opening for the promising festival program, it would be hard for any subsequent performance to surpass the sheer creative intensity on display this Friday night.

Bill Frisell
Barbican Centre
November 15

The idea of a band playing live to accompany films is becoming very fashionable: Courtney Pine and Steven Bernstein are, along with Frisell, artists who have experimented with the concept. Frisell's trio tonight provided the soundtrack for a series of short pieces, from abstract insectile cartoons to a couple of delightful Buster Keaton slapsticks. With such a volume of audio and visual stimuli assaulting the senses, it was difficult to simultaneously focus attention on both music and moving images. However, the band, comprising Kenny Wollesen on drums and Tony Scherr on bass, always produced something to fit the occasion--whether stretching out in illustrative soundscapes or employing highly synchronized compositions with clever and perfectly-timed sound effects from the drummer. Always the individual stylist, Frisell stamped his mark on everything they played, his instantly recognizable tone ringing out with influences heavy in rock and country as much as jazz. The only drawback was that, occasionally, there was not a lot of variation in the overall sound produced for different films.

Richard Galliano and Gonzalo Rubalcaba
Queen Elizabeth Hall
November 16

A truly dreadful opening act featuring Romanian violinist Alexander Balanescu and Russian accordionist/singer Evelina Petrova went on for much too long without going anywhere musically; it wasn't even jazz. Galliano and Rubalcaba did not appear as a duo until after 10 p.m., after brief solo recitals from both. The fleet-fingered French accordion player ran through a series of short tunes, including Astor Piazzolla's classic "Libertango," with typically passionate Gallic flair. Rubalcaba's formidable touch was not employed to its fullest extent at any stage. His hands danced around the keys, but he seems to have developed a calmer, more restrained and exploratory attitude--there were no blistering runs, but his harmonic and rhythmic inventiveness was equally spectacular for those listening carefully. As a duo, they were engaging and communicative, giving each other space to play and not going over the top. A few more tempo changes would have been pleasing, but on the whole an impressive and vibrant performance.

Chris Potter
Ronnie Scott's
November 17

What hasn't been said about Chris Potter? Deserved critical praise has been sent his way from all angles, including for the current 'Underground' project featuring Craig Taborn (Fender Rhodes), Adam Rogers (guitar) and Nate Smith (drums). All were in fine form at Ronnie's, with the band's groove-oriented aesthetic laid bare for a packed house to enjoy. Potter's tenor sax (and occasional bass clarinet) cut through an intriguing web of guitar and Rhodes as they melted together lavishly, with either Rogers or Taborn keeping an eye on the low frequencies to compensate for the lack of bassist. The saxophonist's brutally rhythmic improvisational attack is perfectly suited to this kind of upbeat setting--the band has mastered the art of carefully growing each tune, gently rising in volume and intensity to push any soloist to his limits. And the repertoire wasn't restricted to fast-paced blitzing assaults, with Bob Dylan and Joni Mitchell covers thrown in for a bit of mellow variety.

Robert Glasper
Cargo
November 18

The lines between jazz and hip-hop have been frequently blurred in recent years, by all manner of artists from saxophonist Greg Osby to the incendiary Youngblood Brass Band. No one, however, has been more effective than Glasper in exploring the crossover through a piano trio format. A relative newcomer on the international circuit, the Texan differs from many musicians who have dabbled with this potent fusion in that his music is genuinely rooted in jazz and hip-hop as equal partners--rather than simply jazz from a hip-hop angle, or vice versa. For this outing Glasper was joined by Alan Hampton on bass and phenomenal drummer Chris Dave, the band's indisputable engine. Beat-heads were out in force, uttering whoops of joy at Dave's peppery rhythms, lightning fills and fearsomely fiery breaks. His sense of timing is wickedly skewed in the best possible way, the perfect complement to Glasper's rippling, undulating chordal style. The pianist is a player of unrivalled fluidity and superior harmonic nous, but his vamps sometimes became overly cyclical and the music a touch directionless. Yet Dave and Hampton always managed to keep things moving--the essence of the trio is perhaps more about soaking up the grooves than any individual leading the way.

Herbie Hancock
Barbican Centre
November 19

To this writer's delight, it seems Mr. Hancock may have read the review posted on AAJ of his performance at the 2008 North Sea Jazz Festival. In short, it was a less-than-innovative stroll through a funk songbook largely of the Headhunters idiom, which, despite the classic nature of the tunes and excellent delivery, was disappointing in its familiarity. This show, on the other hand, was much more exciting--Hancock explored some different material at greater length, aided by a stellar band featuring Terence Blanchard (trumpet), Gregoire Maret (harmonica), Lionel Loueke (guitar), Kendrick Scott (drums) and James Genus (bass). The musicians seemed to gel more meaningfully than an almost completely different group in Rotterdam, with Genus and Scott locked together solidly and Loueke in inspired form. They played for nearly three hours. Blanchard was an imperious presence on every solo, strutting the stage and employing delay and chorus effects for added wow. It's an increasingly rare delight to find him on the road with other leaders, as he is often occupied with teaching and film score gigs. The Swiss Maret had his moments, but looked a little out of depth next to the plethora of highly experienced players. Of course Hancock had to throw in a couple of old standards--"Cantaloupe Island," "Actual Proof" and "Chameleon" as an encore (with obligatory keytar jamboree)--but long, twisted, epic adventures through "Speak Like a Child" and Wayne Shorter's "Visitor" ceded together, and a stirring rendition of Loueke's convoluted "17s," more than compensated.

N.B. Highlights from this concert are being broadcast by BBC Radio Monday 3, December 8, 2008 and will be available for seven days online at www.bbc.co.uk/radio3.

Matthew Herbert Big Band
Royal Festival Hall
November 21

Matthew Herbert has created a musical monster. With five saxophones, four trumpets, four trombones, piano, bass, drums, lead vocalist, more than 60 backing singers (exclusively for this gig), a musical director and the man himself on electronic wizardry, this a summative depiction of contemporary jazz on a grand scale. It is also a beast which obeys its every command, capable of filling any setting with euphoric uproar. Sadly the Festival Hall engineering crew did not match the band's standard--it came through the system flat, cramped and unbalanced in a venue that should do better. After a slow start, featuring a couple of forgettable pop-ish meanderings, things really took off with powerful vocalist Eska leading the effort; although often burdened with slightly mundane and repetitive lyrics, she was never lacking style in delivery, admirably making the most of what she was given. One of the most enjoyable moments was a delightedly choreographed tune that featured almost all performers on stage tearing up copies of a low-reputation national newspaper in tandem. Here and in other instances, Herbert's crafty live sampling skills were a lesson in ruthless accuracy. The audience went home very happy, but, in purely technical terms, this ferocious band could have sounded a lot happier.

Chucho Valdes
Barbican Center
November 22

With Chucho Valdes, one always knows what to expect: a flourishingly buoyant display of Latin jazz led from the piano stool of this old master. Tonight, a rare visit to London, was no exception. Opening with a scorching medley including Duke's "Satin Doll" and the effervescent "Caravan," he went on to quote Joe Zawinul's "Birdland" in mambo form and spotlight the talents of his two percussionists--Juan Carlos Castro Rojas (drum kit) and Yaroldi Abreu (congas)--by allowing them to let loose in a long, spicy rhythmic feast with no real piano melody. That was just the first half. After the interval, Valdes brought out a four-piece horn section as well as his sister, the eccentric singer Mayra Caridad, for a couple of party numbers. The music took on a slightly rougher, more instinctive vibe, with all players given ample solo freedom. A brilliantly tight arrangement of Victor Young's "Stella by Starlight," with the head blasted out at breakneck speed, was typical of the sweltering big-band writing Valdes has developed through his noted group Irakere. The pianist clearly prides himself on well-drilled ensemble work and, although this set of compatriots may not have reached the dizzy heights (forgive the pun) of Paquito D'Rivera or Arturo Sandoval, they all had rich improvisational contributions to make--particularly Alexander Abreu's blaring trumpet and the cameo appearance of German Velazco's sweet soprano sax. And if that wasn't enough, a solitary woman even began to dance in the aisles of the cavernous Barbican hall: a typically British scenario, surely a far cry from the rapturous reception this superb band would receive back in Cuba.

Bireli Lagrene and Martin Taylor
Queen Elizabeth Hall
November 23

This was a fitting end to the festival, as two of the world's principal guitarists came together for an intrepid race to the pinnacle of distinction. Messrs. Lagrene and Taylor both worked with the great Stephane Grappelli, and, while continuing to honour the gypsy swing roots of Grapelli and Django Reinhardt, they have carved their own niches in the minds of music lovers. Taylor is par excellence in his incredible solo work, hypnotically fingerpicking his way through standards and originals alike; imagine Tommy Emmanuel high on jazz with a smooth electric tone and endless silky licks. Lagrene, although he has dabbled in fusion and post-bop, often favours the Manouche style of his Gypsy forefathers. His compact trio, featuring gentle bassist Diego Imbert and Hono Winterstein on rhythm guitar, offered the perfect opportunity for the Frenchman's dazzling chops to run free. When joined by Taylor for the last few songs of the night, the spectacle became any guitarist's dream ticket: the two had traded ideas in earlier duets, but went on to push each other further upwards with breathtaking interplay, supercharged by the immaculate backing of Winterstein and Imbert. A couple of swinging encores later, it was the end of everything--another spectacular success for the London Jazz Festival.

Published @ allaboutjazz, 2/12/08 - click here for original.

Avishai Cohen - Gently Disturbed

Wed, 27 Aug 2008 05:08:00 EDT

With this release on his own Razdaz Recordz, Avishai Cohen firmly entrenches himself as a frontrunning innovator in the piano trio medium. The Israeli bassist is joined by Mark Guiliana on drums and countryman Shai Maestro on piano - the latter a change in personnel from Continuo (Razdaz, 2006) and Live At The Blue Note (Razdaz, 2007).

"Seattle" represents a slightly ponderous start, with a lyrical bass solo from Cohen over meandering chordal piano vamps, but it is not more than a gentle prelude to what is coming up. The next track, "Chutzpan," gives a fuller insight into the incredible locked synchronisation that exists between these three musicians. Shifting between angular, cascading motifs and jumping, jittery movements with consummate ease, the trio is well-drilled yet instinctive in its manner of interaction.

"The Ever Evolving Etude" is an outstanding track, a perfect example of Cohen's minutely accurate compositional style. Based around a couple of piano riffs and building in degrees, it works up to a frenzy of intricately subdivided phrasing with manically precise off-pulse syncopations. It's a wall of sound that doesn't stand still. Similar traits are present on tunes such as "Pinzin Kinzin," "Eleven Wives," and the dense album closer "Structure in Emotion," but they are all different enough to make the CD unpredictable.

A few slower items add further spice to the mix: "Variations in G Minor," "Puncha Puncha," and the title track, "Gently Disturbed," are more relaxed but no less crafty. It's all perfectly executed and Cohen's compositional identity has become distinctively recognisable - in piano voicing and the rhythmic intensity he draws from his group. In Maestro and Guiliana he has found ideal poetic partners.

The disc's title is reflective of the music - many of Cohen's ideas are challenging, but not inaccessible. Listeners can almost obliviously float through the advanced concepts without getting hung up, in the same way the musicians do. So, while it can take several listenings to fully understand what's going on, that effort should not be a deterrent to enjoying this release.

Track listing: Seattle; Chutzpan; Lo Baiom Velo Balyla; Pinzin Kinzin; Puncha Puncha; Eleven Wives; Gently Disturbed; The Ever Evolving Etude; Variations in G Minor; Umray; Structure in Emotion.

Personnel: Avishai Cohen: bass; Mark Guiliana: drums; Shai Maestro: piano.

Published @ allaboutjazz, 27/8/08 - click here for original.

Portico Quartet: Mercury Rising For Hang Men

Fri, 22 Aug 2008 06:08:00 EDT

The Portico Quartet are ‘indie’ in the truest sense of the word. Frederick Bernas talks to the Mercury-nominated post-jazz ensemble.

It is a genuine musical fairytale. In 2004, the Portico Quartet was just one of countless acts busking the hallowed walkways of London’s South Bank. Four short years later, the group finds itself nominated for the prestigious Mercury Music Prize, with a long list of gigs and festival appearances to its credit, and a fair degree of critical acclaim. The imminent question on the minds of all aspiring bands will be: how did they do it?

Talking to Nick Mulvey, Jack Wyllie, Milo Fitzpatrick and Duncan Bellamy before their gig at Rough Trade East, it becomes obvious their feet are firmly on the ground. Although none are originally from London, the four met in the capital when studying various courses at university and started jamming in public – “we got a really positive reaction,” says drummer Bellamy; “it was one of the things that spurred us on at first. We didn’t really know each other that well but we just started busking and everyone loved it, from little kids to old grannies and everyone in between.”

“We sold 10,000 copies of our debut album like that, about 200 a day,” Mulvey continues. “We had an industrial CD burner, so we would spend Friday nights getting them ready to sell that weekend.” In true DIY band tradition, the money was put straight back into recording time – and this notion of hard work has been a key factor in the Quartet’s rapid rise. At the end of 2007 they were rewarded with the Vortex jazz club’s Babel label releasing Knee-Deep In The North Sea, which has gone on to receive the Mercury nomination.

Another important facet of the group’s appeal is use of the Hang, a percussive steel instrument created in Switzerland by two master metallurgists and only available from this single source. “Since we’ve been selling CDs busking, people have been sharing them, showing their friends, who have been wondering ‘what’s that?’,” Duncan explains. Its mystical reverberation, which catalyses a similar trance-like aesthetic to Indonesian Gamelan music, is a hallmark of the Portico sound.

“It’s a different sound, it’s unusual,” says Mulvey, the main Hang player. “It’s a bit of a gimmick in a way, but it has a different character. It also encourages you to compose in a very different way: there are many more limitations than if we had drums, bass, sax and I was playing piano or guitar, a more standard quartet. You don’t have chromatic options, you have to work within these confines that have made us develop an unusual sort of sound.”

So how can the music itself be described? This question has the potential to open a giant can of worms, as happens here – it’s more of a group discussion than an interview. Inevitable comparisons have been drawn with the work of contemporary classical composers like Steve Reich and Philip Glass, but bassist Fitzpatrick doesn’t really go along with this – “Some of the earlier stuff was most closely paralleled to Steve Reich, but it doesn’t really sound Reichy or Glassy to me. It’s definitely patterns and cycles, changed by different harmonies on other instruments. But, to be honest, I hear hip-hop and rock rhythms, and some more experimental playing from the sax.”

According to Mulvey, the reference is related more to method than outcome – “the link with Reich is more relevant to our processes than the actual end sound, using cyclical refrains on the Hangs that build in texture rather than harmonic progression, which I suppose is arguably minimalist. But the end result is not minimalist.” At certain points in the album it would appear to be anything but, with dense layers building up gradually to a climax and sweeping angular saxophone melodies piercing through.

A multitude of influences is evident, in a manner akin to so many new bands which have often been hastily bracketed as ‘jazz’ due to difficulty in placing them anywhere else. “This is the first era where you’ve been able to grab music so quickly from all different sources using the internet,” is an explanation offered by the saxophonist, Wyllie. “Everyone’s absorbing everything, it’s part of globalisation. It’s not rigid anymore, people are crossing borders, the lines are blurring. It’s all grouped as post-jazz, although a lot of it is moving out of the jazz idea as well.”

The conversation went on for some time. Duncan came up with perhaps the best summary in that “more than anything, it’s just post-modern music. It all draws from so much different stuff that you can’t put it down – everyone borrows all the bits they want and puts it together.”

Advanced (or confusing) as the group’s musical concept may seem, it has succeeded in traversing boundaries and developing the foundations of a cult following. At the Rough Trade gig it was refreshing to see only one grey-haired devotee, surrounded by a plethora of young faces, all looking equally mesmerised by the hypnotic nuances of the group’s collective soundscape. If the Mercury prize was to be judged on the sole criterion of fostering a new open mentality in the minds of music fans, the Portico Quartet would win hands down.

But did they really expect it would all go this far? The answer is, intriguingly, a rather confident affirmative: “It’s amazing and a great excitement, and surprising on some levels, but also on other levels not surprising because we’ve always believed in the music,” says Mulvey. “I don’t think you project that far ahead, you just play music, but the belief has always been there. We play music that draws from jazz, but we operate with much more of an indie ethos. Everything that’s come our way is a result of that.”

If the 10/1 outsiders defy the odds and take this coveted award, it will be a victory not only for London’s rich progressive jazz scene, but that whole philosophy of do-it-yourself independence which permeates the modern music industry. “More people are realising that’s the best way to do it now,” says Wyllie thoughtfully. “We’ve done the DIY approach in a really hardcore way with busking, making the CDs and all that, and it shows you don’t always need record companies to do well.

“Also, I don’t think a ‘jazz’ band has won in a while, so I think it would mean a lot for opening people’s minds to this kind of music. When Roni Size won, it did a lot for drum‘n’bass, so maybe we could do the same for jazz. It’s been a really good year for British jazz, or post-jazz, with loads of bands doing things people might like. They deserve to be recognised and people should be aware of them – if we won, it could be like a gateway to new audiences.”

A Portico triumph would continue the ultimate fable for these four recent uni graduates who really are living the dream. And you never know, they might just do it.

Portico Quartet play the Vortex jazz club on August 27 and the Hoxton Bar amp; Grill on August 31.

Published in London Tourdates, 22/8/08.

Polar Bear - Polar Bear

Fri, 08 Aug 2008 09:08:00 EDT

Polar Bear: Polar Bear
Tin Angel Records
Release: 14 July 2008

The long-awaited third album from Sebastian Rochford’s trailblazing group does not disappoint. Polar Bear have recently been gigging material from the 75-minute disc, with themes varying from rich, reflective soundscapes to the frantic barrages of improvisation which captured the jazz world’s ears.

Leafcutter John’s electronic wizardry is more deeply embedded on the record than in live performances – he adds to the unpredictable nature of Rochford’s composition with an array of zaps, whirs, bursts of static and live samples that compliment the other musicians. The track “Industry” lives up to its name: clanking mechanical noise from John’s computer weaves a vibrant backdrop for the two saxophones’ finely-scored harmonic countermelody. Haunting vocals courtesy of Julia Biel feature in a couple of tunes, lending the band a Portisheadesque ambience on “Sunshine” and “Brian”.

As an artistic statement, Polar Bear seems calmer and more pensive than previous work. This intricately absorbing set possesses a new brand of vicious intensity. Rochford has solidified his position as a leading creative force in modern music.

< Published in London Tourdates, 8/8/08

Samay - Dingwalls, 16/7/08

Fri, 08 Aug 2008 07:08:00 EDT

The first thing that strikes you about Samay is the intriguing combination of Western and Indian instruments: guitar, bass, saxophone, Tabla and Sarod. From the opening moments of this CD launch gig, it was clear a wonderful sense of communication existed: the five musicians frequently exchanged glances and pushed each other forward during solos.

In terms of genre, the band presents a mysterious blend of Indian music, jazz, Mediterranean flamenco, eastern folk and even a hint of reggae. It is the latest in a long chain of so-called “Indo-jazz” groups, which originated in the 1960s with such protagonists as John Mayer, Joe Harriott and, later, John McLaughlin. As well as drawing on this rich history, the multi-national musicians of Samay contribute shades of their own background into a culturally diverse melting pot of different styles.

Jesse Bannister on alto sax and Italian guitarist Giuliano Modarelli stood out as improvisers, with Tabla player Bhupinder Singh Chaggar providing exactly the right percussive backdrop – at times jaw-droppingly fast or subtle and persuasive, depending on the mood of the tune. There was no shortage of individual talent on display, but the evident emphasis on collective interaction meant no one could steal the limelight – an occasional drawback of jazz concerts.

Indo-jazz is enjoying a resurgence of interest on the London scene, with groups like Samay in the vanguard. Debut album “Songs For a Global Journey” represents a pleasingly unpredictable voyage through the myriad of influences that infuse this highly refreshing sound.

< Published in London Tourdates, 8/8/08.

North Sea Jazz Festival 2008

Thu, 31 Jul 2008 08:07:00 EDT

North Sea Jazz Festival
Ahoy, Rotterdam
July 11-13, 2008

The 33rd North Sea Jazz Festival was a showcase of epic proportions. 15 different stages in the Ahoy Centre played host to 200 artists; venues varied in size from large concert halls like the Amazon, Darling and Hudson to smaller, more intimate spaces and cavernous stadiumesque acoustic settings. With so much talent and variety on offer, it was very difficult deciding what to see: intriguing as it was to scout out obscure names on small stages, the lure of the jazz A-List often proved a little too tempting.

A festival day typically ran from between 4-5 pm until around 2 am, with an earlier start and finish on Sunday. Perhaps one improvement would be to have fewer performance spaces and always begin a little earlier, thus lessening the potential for agenda clashes and needing to leave gigs early. Nevertheless, the event was a sublime feat of organisational professionalism. Nearly everything ran on time--a trait almost unheard of in the jazz world--and, with 70,000 visitors over three days, there obviously weren't many other complaints.

The key to drawing such a large attendance was undoubtedly the choice of several blatantly non-jazz headliners for prime slots on the biggest stages: Gnarls Barkley, Paul Simon and Chaka Khan stand as cases in point. However, one can bear no grudges as this pop factor was heavily saturated in the majority of the programme's content. Also, any strategy that can entice mainstream music fans into this metaphorical dark den of underground jazz demons cannot be faulted--it was awesome to see so many people at a festival of this nature.

Day 1 - Friday, July 11

In retrospect, the festival's opening day was a relaxed prelude for things to come. First up was Charles Lloyd and his exciting quartet featuring Jason Moran (piano), Reuben Rogers (bass) and Eric Harland (drums). Now 70, the saxophonist was sporting a snappy ensemble with shaded glasses and his trademark beret. His performance, however, was unexpectedly disjointed: while Moran, Harland and Rogers were very much locked in together, Lloyd's playing was strangely disconnected, almost as if he were operating on a different level from his rhythm section. This disparity could have been due to evident teething problems for the sound crew on the Hudson stage--it all seemed much too quiet, with snatches of other gigs drifting in quite audibly.

David S. Ware's performance in the atmospheric Missouri tent was another matter. Despite the music's obviously more open nature, a band consisting of iconic improviser William Parker on bass, impressive drummer Nasheet Waits and guitarist Joe Morris conveyed a greater sense of unity and understanding--with the occasional exception of uncertain contributions (or simple lack thereof) from the slightly confused-looking Morris. Ware's penetrating style was at its most potent, switching from textured, breathy phrases to full-on squawks, screams and extended streams of notes. Casual festival-goers wandering in received a shocking blast of the contemporary avant garde; many looked rather perplexed, if not equally fascinated, by the raw, edgy tonal quality of this skull-capped elderly gentleman who sat down for the show's entirety. In spite of slightly frail appearances, Ware and Parker remain at the forefront of the free jazz movement. Collaboration with younger players like Waits has clearly given them a new lease of life and opened a fresh streak of creativity.

Next to perform on the same stage was London's Led Bib, a free improv group spearheaded by Zorn disciple Mark Holub. The dynamic quintet of two alto saxophones, organ/piano, drums and bass catalyses an infectious sense of energy which fills the room--as does the manic, twisted punk-jazz freeform fusion sound of the band. Holub's hyperactive drumming is the motor, supported by solid bass work from Liran Donin. This hard base of noise allows the keys player and the saxes to break out with wild solos, often working in twos or all at once. Most remarkable, however, is the way they can snap back together as a tight unit, in the blink of an eye, after riotous passages of collective improvisation; tunes are typically built around sax-led melodic ideas that act as reference points. Led Bib has a small cult following back in London town and it was great to see the music export so well: a full house of absorbed onlookers emitted frequent shrieks of encouragement. This loud, passionate and unpredictable band will surely turn a few heads at many more festivals in the not-so-distant future.

Unfortunately there was no time for the full Led Bib enlightenment, as people were flocking to see Herbie Hancock and his elite quintet on the Hudson stage. Dave Holland (bass), Chris Potter (sax), Lionel Loueke (guitar) and Vinnie Colaiuta (drums) joined the legendary keysman for a thorough workout of the standard funk repertoire. It was highly enjoyable to behold Potter tearing through solos on a selection of familiar tunes, with the exception of Loueke's complicated composition "17" (yes, it has 17 beats), but one couldn't help thinking Hancock might have been more ambitious in his choices. The capacity crowd went mad for the likes of "Cantaloupe Island," "Watermelon Man" and "Chameleon," which were delivered in expected fine style, but many will have been disappointed not to see something more exploratory from a man with such a rich history of innovation. The closest they got to post-bop was Wayne Shorter's "Footprints." Holland stood out with a long, lyrical introduction on his own, and Hancock's harmonically cryptic solo was somewhat spoiled by heavy-handed clumsiness from Colaiuta, who is an incredible funk drummer but seems to lack a subtler side. Hancock was also guilty of indulging in keytar duels with Loueke and Potter (the latter of which he most certainly lost) and didn't seem able to keep hands off his rather cheap-sounding synth. But it definitely wasn't a bad gig by any means and, bearing in mind Hancock's recent slant towards the mainstream market, it probably wasn't a great surprise either.

Another father figure of funk, bassist Bootsy Collins, was due to finish the night in the Nile arena--a vast standing space with tiered seating at the sides. The gig was an extremely bizarre experience for several reasons. First of all, before Collins even got on stage, the audience was treated to lengthy semantics from a series of sideshow acts which hadn't been listed on the festival itinerary. A dancing three-piece singing skewed mashups of James Brown tunes was followed by an indiscernible rapper and a relatively decent instrumental funk group. It emerged that the whole event was conceived as a tribute to the Godfather of Soul himself--a credible notion in principle. However, a woefully dire performance from a lady named Vicki Anderson (apparently a former JB backing singer), whose voice sounded like fingernails scraping down a chalkboard, pushed patience to its limit. Collins had still not materialised, and there was a feeling that only his appearance could restore a semblance of dignity to proceedings.

It didn't. Collins finally came out but, rather than stepping forward to lead a storming set of original material, stood back as an impostor James Brown took the spotlight. Indeed, someone pretending to be the deceased King of Funk. He wasn't a bad singer, but anyone trying to imitate Brown's towering talent and unique stage presence is bound to fail. And, as if it couldn't have got any weirder, Brown's controversial widow, Tomi Rae Hynie, was next on stage to deliver a couple more horribly out-of-tune covers. It was time to leave.

Admirable as it is to honour James Brown the musical legend, questions must be raised about the way it was attempted. The whole spectacle was, quite frankly, a crass parody. It seemed like a bad dream. As a man who was famed for high standards and relentless pursuit of musical perfection, Brown must be turning in his grave. It looked like a cheap shot on the part of former colleagues to make as much money as possible from his legacy. But, even so, why did it have to be done in such a tactless, unethical manner? Perhaps the most disturbing, lamentable fact is that Collins and trombonist Fred Wesley, who also performed, have compromised their own values and integrity in associating with such a terrible production. It really was an insult to the memory of the great JB: he deserves better.

Day 2 - Saturday, July 12

After the extraordinary anti-climax of Friday night, something to heal the faith was certainly needed. It came in the form of Pat Metheny and his superb trio with drummer Antonio Sanchez and Christian McBride on bass. Playing to a sell-out crowd in the Amazon hall (tickets for concerts there had been sold separately to festival day passes), he emerged on his own for a couple of solo numbers to start the show. The first was largely chordal and had a little country twang, played with a powerful empathy that disguised its relative simplicity. Relative, that is, to what Metheny was about to play on his custom-made 42-string guitar. Somehow managing to hold a bassline with his left hand and a varying series of chords and motifs on the other three sections of the instrument, it was a mesmerising display. It set the scene for what was to follow; Sanchez and McBride came out to join and were perfect partners. The drummer's skittering, busy, polyrhythmic style was complemented by McBride's knack for always finding the right balance: he didn't use too many notes and played brilliantly within himself, clearly below the limits of his virtuoso technique.

Dropping in to catch a few minutes of Victor Wooten on the Maas stage--a huge, echoing space also used for a tennis tournament--was not the shrewdest decision. Of Flecktones fame, Wooten is an electric bass player par excellence. Countless videos of him performing ridiculously difficult technical stunts exist on YouTube. However, it is a shame to report that his band's music comes nowhere near this level of instrumental proficiency: tacky, cheesy and soulless, it is often geared towards generating showmanship opportunities for Victor and his guitarist brother Regi. There was no coherence. The only moment worth seeing was when the band went off stage entirely, leaving Victor alone to perform a few neat little tricks with his bass and a loop pedal.

The Bad Plus is one of the big jazz success stories of recent years. A young, eager standing audience had assembled in the Yukon tent and provided a rapturous welcome. From the start of the gig, it was clear the progressive trio go for a lot more when they play live. Drummer David King was exemplary in his scuttling crossrhythmic approach, throwing random accents onto different beats with joyous animated energy--he looked like a man possessed by the sheer exuberance of making music. The first few tunes, including "Big Eater," were as expected: crunchy, hard-hitting piano riffs combined with moments of delicate dynamic interaction as the three musicians rose and fell as one. Things took a turn for the worse, however, when kooky singer Wendy Lewis was presented. Billed as a new feature of upcoming album For All I Care, her wailing, moany vocals were off key at times--perhaps intentionally? She didn't add a great deal to the band's signature sound. One wonders about the reasoning for getting her involved in a group that has done so well with its instrumental concepts. In any case, maybe it is too early to pass judgement: it will be very interesting to hear the new CD when it appears.

Then it was a quick call on saxophonist David Sanchez. The Puerto Rican tenorman played in the Yenisei venue, a pleasant little room reminiscent of inner city jazz clubs. Sadly his set was drawing to a close, but there was enough time to see that Sanchez is very much back on the scene. This year he released Cultural Survival (Concord, 2008), a long-awaited disc to follow the Grammy-nominated Coral (Columbia, 2004). Backed by an able group of Lage Lund (guitar), Orlando Le Fleming (bass) and Henry Cole (drums), his lean, heavy tone was given ample space to live and breathe.

British saxophonist/flautist Finn Peters was on stage in the Murray tent, and there was time to catch a couple of tunes before going back to the Amazon for Wayne Shorter's headline show. Peters, who recently released his second album Butterflies (Accidental, 2008), was joined by stellar sidemen from the London circuit--including bassist Tom Herbert and pianist Tom Cawley, both of Acoustic Ladyland and Polar Bear fame. The result was an ambitious mix of crossover music drawing on influences as broad as Indonesian Gamelan and pulsating Afrobeat grooves, with a jazz undercurrent running through. It was pleasing to note these original concepts translate better into a live show than they appear on the record, which comes across as rather airy and lacking punch. Peters clearly possesses a high degree of musical knowledge; it would have been great to see him really let go with solos, but he is perhaps more a thinker than a showman. Nevertheless, this was a valuable contribution to the festival, a strong representation of the vibrant new UK jazz scene which is constantly growing in stature.

It was difficult knowing what to expect from Wayne Shorter. The only certain fact was that his quartet would be performing with the Imani Winds, a contemporary ensemble of flute, clarinet, oboe, bassoon and French horn. Imani opened proceedings, playing a complex Shorter original and a delightfully layered arrangement of Astor Piazzolla's "Libertango." Shorter then emerged with his all-star band featuring Danilo Perez (piano), John Patitucci (bass) and Brian Blade (drums). Each of these musicians has an outstanding track record, so to see them congregate with a legend such as Shorter sends any informed jazz fan into spasms of excitement.

They did not disappoint. The long opening piece built up through gentle movements, with Blade texturising and Patitucci alternating between arco and pizzicato. It was easy to detect a large improvised element in this dense exploration of the traditional jazz quartet's orchestral possibilities. They were listening to each other and communicating through their instruments. As the spontaneous composition gained magnitude, Shorter's wailing interjections would occasionally bring him to the front of the mix without detracting from the collective emphasis. He has become a master exponent of the less is more approach. When the Imani Winds joined later, a stronger aspect of organisation surfaced. Passages of improvisation were separated by arching arabesque melodies and coloured with nuanced harmonies in a thoroughly entrancing, vividly captivating artistic soundscape.

Fascinatingly, many onlookers seemed puzzled and bewildered; some even walked out. Shorter's new brand of structureless creation is not designed for casual listeners. It is a mark of his significance to jazz that, at the age of 74, he is still pushing boundaries and making music as advanced and challenging as any of the young avant garde. To compare this with the overtly crowd-pleasing performance of Herbie Hancock is intriguing; despite their longstanding friendship, the two could not be much further apart in terms of artistic philosophy. Hancock was spotted in the audience--what could he have been thinking?

A break was needed to digest this mind-bending musical experience. Due to a late start on the Amazon, Shorter's gig had overrun--thus jeopardising plans to return to the Yukon for Acoustic Ladyland (pictured). However, reliable sources confirm the talismanic trailblazers of the UK scene's recent revival had indeed taken the festival by storm. Agents on the same stage also report that the infamous Soil amp; "Pimp" Sessions, a Japanese group questionably labelled "death jazz" by music mogul Gilles Peterson, garnered a wave of encores as they made a similarly resounding impact.

Like David Sanchez, James Carter cuts a mysterious figure to jazz insiders. Another unquestionably gifted player, the multi-instrumentalist suffered from the breakdown of Atlantic Records' jazz department in 2000. Present Tense (Emarcy, 2008) marked a welcome return to disc after three years, and he showcased material from the album during his late set on the Madeira stage. Carter captivated the audience with cheerful charisma in the opening moments, before launching into a Sidney Bechet tune on which his vivacious soprano wove an intricate web of dazzling ideas. He quickly established a penchant for volatile, expressive howls and honks that were perfectly placed within the context of every solo alongside many more innovative sonic devices. Tracks from the album such as "Bossa JC," "Bro. Dolphy" (a leading feature on bass clarinet) and the gut-busting "Hymn of the Orient" were all given similar treatment. Apart from the startling degree of virtuosic control on each instrument he picked up, Carter's magnanimity also shone. All members of the band were given unlimited opportunity to display their considerable skills, with the saxophonist even sitting out on a ballad so young trumpeter Curtis Taylor could take the lead. With this triumphant return to touring, James Carter has reminded the jazz world of his place at the zenith of leading saxophonists.

As if that wasn't enough music for one day, word was spreading about an after-hours jam session on the Hudson stage. Horacio "El Negro" Hernandez had finished early and invited Roy Hargrove, Bobby McFerrin and others to join an impromptu Latin jazz free-for-all which was highly entertaining to watch. McFerrin, the festival's Artist in Residence for 2008, stepped forward on the melodica and piano, and a constant interchange of musicians from different bands kept things moving til the very end.

Day 3 - Sunday, July 13

The final day was always going to be busy, with a couple of tricky schedule clashes to work around (Alisha Keys not being one of them). On the outdoor Harlem stage, situated at the front of the Ahoy centre, Dutch funk group Lefties Soul Connection was warming people up for things to come. Tight, compact and precise, it was music to generate a good mood. A couple of local brass bands also played a series of guerrilla corridor gigs at random times throughout the festival, always pleasing to encounter.

US saxophonist Rudresh Mahanthappa opened the afternoon in the Yenisei room. As Mahanthappa and abstract pianist Vijay Iyer are stalwart collaborators, it was a shame not to see the latter on stage. Instead, the role was filled by a more than able deputy: Craig Taborn. It was only possible to stay for the first couple of tunes, but the band appeared to be simmering nicely and poised to take off. Mahanthappa's leathery, sinuous alto slithered effusively through convoluted compositions; the opening number featured a meditative sax intro before cranking up the gears into fizzing post-bop. Irregular manipulations from drummer Dan Weiss provoked a gushing, frenzied solo from the saxophonist before Taborn took over with a torrent of challenging ideas, pulling and distorting the concept of rhythmic conformity into blurry shapes of his own creation.

The reason for leaving was a very good one. Gary Burton, Steve Swallow, Pat Metheny and Antonio Sanchez were performing together, under the auspices of revisiting the 1970s quartet which produced thoughtful, cinematic music often specially composed by outside sources. Burton's employment of electric guitar and bass had been a new phenomenon in the '60s, helping to break down barriers between jazz and rock. These striking features became entrenched in his fruitful collaboration with Metheny and bassist Swallow, which is evidently as alive today as it was 40 years ago. There was a strong sense of group understanding on stage as they played their own material and pieces by Chick Corea, Keith Jarrett and Carla Bley. Burton's pioneering four-stick vibes technique was hypnotic, and Swallow was outstanding with short, sweet solos that always hit the mark. Metheny made sparing use of his signature guitar tone, entailing a greater impact when it did appear--its effervescent, shimmering quality cut through the complex harmonic backdrop provided by vibes and bass and Sanchez's trademark hustle. Hopefully its current European tour will not be the last time this enthralling quartet reunites.

Bass player Mark Helias has been a busy figure on the New York improv scene since joining Anthony Braxton's group in 1977. His current project, "Open Loose," is a trio with drums and sax that does exactly what you would expect from its name. The music is understatedly progressive in that no instrument leaps to the front and you have to listen carefully to appreciate what's going on--it's nothing like the zealous free jazz of Ornette Coleman or John Coltrane. In the words of Helias, the music represents a "constant state of flux." The bassist and Tom Rainey on drums operate almost telepathically; Helias often fills the absent role of a chordal instrument with texturising harmonies high up the fingerboard. Dep saxophonist Ellery Eskin's tenor was a good match, blowing coolly and melodically; his approach placed clarity of thought above the notion of a piercing sound.

Next stop was the Darling Concert Hall for Brad Mehldau, who surprised everyone by piping up in Dutch--after which he would have endeared himself to the audience no matter how he'd played. Opening with a serene ballad, it got steadily more interesting: the next tune featured a light drum'n'bass beat from Jeff Ballard and a left-hand piano riff held in unison with bassist Larry Grenadier while Mehldau elaborated a cunning solo. Hard bop, Monk and Irving Berlin were all on the agenda, but the definite highlight was a gently lilting Latin number by Chico Buarque. It seemed to go on and on, with Mehldau giving a virtuoso display of calculated pianism in a solo which told a real story, taking each segment to harmonic exhaustion and holding spectators rapt with awe. This steadfastly unflashy, patient approach--tied in with an occasional minimalist aesthetic--has placed Mehldau firmly in the vanguard of modern pianists.

The danger of information overload was high after the sequence of Mahanthappa, Burton et al, Open Loose and Mehldau in quick succession. Luckily, there is no better person to avert one of those head-exploding moments than Maceo Parker--the legend of funk sax was playing the Nile stage with Germany's brutally efficient WDR Big Band. In a far classier show than Friday evening's disastrous James Brown tribute, they rattled through favourites like "Pass the Peas," "Shake Everything You've Got" and "To Be Or Not To Be," Parker's alto leading the way with fiery, funky licks and a razor sharp tone. It is a pertinent sign of his influence that, when another saxist came down from the bandstand to trade phrases with the master, her playing was eerily similar to the man himself. Parker also demonstrated a richly soulful singing voice as he crooned a couple of suave covers to honour the late, great Ray Charles.

On the Amazon stage, scene of some of the festival's brightest moments, Branford Marsalis and his excellent quartet brought the curtain down in fitting fashion. As an intermittently underrated contributor to the post-bop idiom, Marsalis has been working solidly with Joey Calderazzo (piano), Jeff "Tain" Watts (drums) and Eric Revis (bass), racking up thousands of air miles on the international tour circuit. The saxophonist is distinctive as a stylist who speaks with highly contrasting tonal voices on tenor and soprano: in the first place brawny and muscular, but with a delicate quavering vibrato as the hallmark of his sound on the smaller horn. Tain's composition "Return of the Jitney Man" was a forceful opening statement. Marsalis's tenor spewed out a cascade of blistering runs, and Calderazzo's burning lyrical lines bounced off the keys with verve and zest. A free-time ballad calmed things down as the drummer's rubato shading afforded space for a mournful, emotional soprano solo that evoked the essence of a funeral song. The group's variety of moods and ease in handling sophisticated compositional ideas is testament to Marsalis's skill as a leader. While his trumpeter brother Wynton remains a staunch protagonist of the old school modus operandi, it is wonderful to see Branford pushing the music forward with this terrific array of sidemen. He needs to hold onto them as long as he can.

A quick wander revealed the ultimate festival finale was in fact taking place back at the Nile arena, where veteran bluesman Buddy Guy was playing out to a boisterous pack of ecstatic revellers. Although most of the serious music seemed to have been and gone, Guy was in his element, shouting, singing, showboating on guitar and even leaving the stage to enter the crowd. He is an old expert at instigating a strong rapport with the audience so, when he finally exited to a mountainous cheer, there could have been no better way to finish the weekend.

Photo Credit
Andrew Hayes

Published @ allaboutjazz, 31/7/08 - click here for original.

Neil Cowley Trio - Koko, 20/7/08

Thu, 24 Jul 2008 07:07:00 EDT

Neil Cowley Trio + Portico Quartet
Koko, Camden
Sunday, 20/7/08

Two of our jazz scene’s rising names graced the stage at Koko, a venue normally reserved for the very latest disposable indie bands. Kudos must go to the iTunes festival programmers: even though the total number of acts performing at the month-long free event is 62, they could quite easily have overlooked jazz altogether – and they would have gotten away with it.

Both the Portico Quartet and the Neil Cowley Trio have proven popular with open-minded music fans, aptly illustrated by crowd demographics. The cavernous multi-level auditorium was full of young faces, nodding heads and tapping feet.

Cowley’s anthemic attack of the piano and humorous approach are key factors in his trio’s recent success. A typical tune will see them build up and break down a melodic idea in various ways, often smashed out in clustered, crunchy chords and accompanied by a rocky backbeat. Stomping rhythmic vamps on the piano alternate with dynamic or textural shifts in a pattern which could get a little boring if changes were not perfectly timed. They are, and the effects euphoric – as in ‘His Nibs,’ recently dubbed iTunes Single of The Week for good reason.

Another example was ‘Clown Town,’ which does justice to its name – it sounds like the twisted theme tune of a drunken clown stumbling around. ‘Clumsy Couple’ could be more of the same thing. But it’s not all about the comedic aspect of songwriting. The trio can resist the urge to pounce; they are capable of maintaining a more nuanced mood and exploring it in itself, rather than using the gentler dynamic as a throwaway device to develop the opportunity for a grandstand finale. It’s still not exactly balladesque, but that is part of the appeal.

In a live setting the trio stretch out more than is evident on CD. There may not be a lot of bona fide improvisation, but there is a great degree of collective interaction around the groove – they work together as an incredibly tight unit. Cowley is an agile master of the keys and has learnt to make the most of his powerful technique, combining it with wit and charisma to create one of the most accessible jazz groups to emerge for some time.

Published @ jazzwisemagazine.com, 24/7/08 - click here for original.

New wave of UK jazz groups shine at Europe’s biggest jazz festival

Mon, 21 Jul 2008 06:07:00 EDT

North Sea Jazz Festival
11-13 July 2008
Ahoy, Rotterdam

A veritable Who’s Who of contemporary jazz was on the bill at the 33rd North Sea Jazz Festival, with titanic names like Herbie Hancock and Wayne Shorter alongside an exciting selection of newcomers. Empirical, Led Bib, Finn Peters, Acoustic Ladyland and others represented the vibrant new UK scene – highlighted as an official theme of this year’s event.

Hancock, with his all-star quintet of Chris Potter, Dave Holland, Lionel Loueke and Vinnie Colaiuta, played to a rapturous audience on Friday night. They delivered the standard funk repertoire with expected finesse, but Hancock was guilty of over-indulgent synth use and an extended keytar solo. The set of recycled classics was immeasurably crowd-pleasing, but it laid bare Hancock’s recent shift towards the mainstream market.

If Hancock has become increasingly commercial, Wayne Shorter is his new arch-nemesis. The saxophonist’s quartet gave the most progressive performance on any stage. A long, undulating, largely spontaneous composition, based on collective empathy and listening to one another, puzzled many onlookers. When the Imani Winds joined in, a hint of orchestrated structure came with them: a spiralling, arabesque theme punctuated moments of free improv, thoroughly absorbing those people brave enough to stay. At 74, Shorter’s creative fire is still burning; his music is as advanced and challenging as any of the young avant garde.

On smaller stages, Acoustic Ladyland gave a typically storming performance and Led Bib drew screams of encouragement with the grimy, punky persona spearheaded by Zorn disciple Mark Holub. Both are surely more ‘death jazz’ than Soil amp; “Pimp” Sessions, recently dubbed as such by Gilles Peterson, whose high-octane display of backbeat hard bop received repeated encores. James Carter was also in fine form – his consummate virtuosity, passionately gritty tone and constant flow of ideas firmly places him among the top saxophonists of today.

A remarkable 70,000 visitors attended the festival, which spanned 200 shows across 15 stages in only three days. Its position as the highest-profile jazz showcase in Europe is hard to dispute.

Published @ jazzwisemagazine.com, 21/7/08 - click here for original.

The Heliocentrics / Flying Lotus - Thekla, 7/6/08

Sun, 08 Jun 2008 01:06:00 EDT

Bristol's ambitious Venn Festival came to the end of its fifth year in spectacular fashion with a showpiece evening at Thekla on Sunday 7/6/08.

Californian DJ/producer Flying Lotus, a.k.a. Steven Ellison, warmed the crowd up with a frenzied sequence of myriad beats – drumamp;bass, hip-hop, techno and more – and frequent lightning embellishments from a drum machine. His rapid synchronisation of different songs and effortless mixing skills were perhaps only outshone by the sheer joy he displayed at performing for a packed house in the underbelly of Bristol's favourite maritime venue: a broad grin was present throughout the set, as heavy sheets of bass thundered out of Thekla's formidable soundsystem. His new album Los Angeles is definitely one to look out for.

Given top billing by festival organisers, The Heliocentrics are famed for collaboration with groundbreaking producers DJ Shadow and Madlib, as well as legendary Ethiopian jazzman Mulatu Astatke. The nine-piece ensemble, spearheaded by the robotic precision of drummer Malcolm Catto, was suitably eclectic in its delivery of an unclassifiable concoction of jazz, hip-hop, funk, Afrobeat and avant-garde fusion – offset by a distinctly Portisheadesque tendency to explore new ways of melding diverse musical colours into rich soundscapes with an added element of free improvisation in the mix.

From mesmerising, hypnotic, trance-inducing grooves to upbeat, bouncy melodies and catchy riffs, the band traversed genre and mood in a way few other groups can pull off. The blend of such ingredients as electric violin, musical saw, baritone sax, electronic oddities and sultry, blues-infused vocal lines provided an unpredictable panorama of texture and tonality. A strong sense of collective chemistry is ever-present: it acts as the glue binding together this psychedelic labyrinth of musical tongues and dialects. Along with Catto's immovable rhythmic foundation, it serves as the constant factor in an eternally shifting atmosphere of captivating audio illusions.

Venn Festival: www.vennfestival.com
The Heliocentrics: www.myspace.com/heliocentrics
Flying Lotus: www.myspace.com/flyinglotus

Published @ Fly, 21/6/08 - click here for original.

UN Day Four

Tue, 04 Oct 2005 23:45:00 EDT

This day began with a 'working breakfast' meeting at the Swiss Mission, on the subject of mental health. It was well attended, with many national youth reps coming along to discuss the situation on this issue in their countries and think about ways to improve things. Although this isn't exactly my specialist subject, I was able to contribute what I knew and it was very interesting to learn about the situation in other countries. And free food never goes down badly!

After that there was preparation work to be done with Kristofer and Keeley for our side event, scheduled to take place at 1.15. We had a runthrough of what we were all going to say just to make sure everything would go smoothly in the actual event. We rehearsed it all in the room where it would happen and felt ready once that was done.

I ran into one of the staff members of the UN Youth Programme and he invited me and lots of other youth delegates to a press conference on the launch of the 2005 World Youth Report. But this wasn't the only topic: the UN press officer went through all the day's news and we then had presentations about the report. It was dissappointing to see that most of the journalists' questions were related to other matters, not the youth report, but it was good that young people had a strong presence anyway.

Media at the UN seems to be very entrenched and centralised. Reporters have offices in the main building and there is a large area with all the latest press releases available in different languages. There's also a dedicated radio station which operates on site - several youth reps have been interviewed and hopefully this will be valuable publicity.

The official launch of the report took place shortly afterwards in one of the big meeting rooms and consisted of a series of presentations on the youth issues which haunt mankind today, given by leading experts who had contributed to the report.

Next it was time for the real side event, entitled "Youth Participation and Citizenship: Governments Must Do More!". It went incredibly well, with over 70 people squeezing in to conference room number five. They had a series of speeches and presentations, first from two guest speakers and then the three of us. We presented the outcome of the consultation conducted with young people in the UK and used these findings to stimulate discussion in the working groups that followed. Attendees were split into three separate sections, each dealing with one cluster of the WPAY, and discussed the issues; the points raised were then converted into recommendations for action.

We were all incredibly happy with the event and how everything went. In the evening we had appropriate celebrations, at a reception for youth delegates taking place at the luxurious residence of Michael O'Neill, the UK's ECOSOC Counsellor. This was also well attended, with many youth reps and national Third Committee members enjoying a pleasant evening of wine and canapes. The UK's Mission staff and the three of us youth reps stayed later and it was great to be able to ask Michael about different aspects of his job.

We went back to the hotel quite late but I had a speech to work on for the next day so was awake for a while more. On the whole this was another great and productive day, especially the side event - we really couldn't have wished for it to go any better.

Monday, Monday... so good to me!

Mon, 03 Oct 2005 23:30:00 EDT

After a pretty hectic weekend trying to catch some sleep and explore New York, it was another early start. A quick briefing at the UK Mission followed by a more exciting event: the Welcome and Briefing Session for Youth Delegates (Committee Room 8, in case you were interested!).

A few of us had met earlier in the week but it was very exciting to see some new faces, to recognise that more countries were noting the importance of youth delegates - everyone was really enthusiastic and dedicated so the meeting was very positive and productive and we agreed a meeting schedule for the rest of the week. We were an active group of young people and we certainly were going to work rather hard.

At 10am we saw the Opening of the UN General Assembly 3rd Committee - nothing too formal, just recognising the important agenda for young people and other related issues.

The afternoon started with the Youth Delegates side event and we were slightly sceptical about its likely success. It was, however, a very good event although it was mostly attended by youth delegates. At the end of the discussions we celebrated the 10th birthday of the World Programme of Action for Youth by eating some cake! The youngest delegate present, at only 16, blow out the candles and made a wish - we don't know what she wished (that wouldn't make it come true!) but she assured us that it related to the WPAY!

Afterwards, it was time for the UK Youth Delegates to prepare their own side event. At the UK Mission we prepared our areas for discussion and also made presentations for the side event - leaving the office at about 6pm.

8pm arrives and we have another meeting for all the youth delegates. The main topics for discussion were recognition for Member States sending youth delegates and creating a working group for the round-table. The meeting dragged on ever so slightly due to the contentious issue of states being given an award for sending a youth delegate but eventually at about 9:30pm we concluded and most of the European delegates joined some people from the European Youth Forum for pizza!

A busy day but a fun one all the same!

First Day at the UN

Thu, 29 Sep 2005 17:37:00 EDT

After hastily purchasing milk and a box of cereal for breakfast and taking it back to my rather luxurious room at the Hotel Affinia 50, I met up with Keeley and Kris in the main lobby.

It was a short walk to the UK Mission, situated on the 28th floor of number one Dag Hammerskjold Plaza. From that high up we had spectacular views of the Manhattan skyline - even though it was all looking a little grey, with the weather seeming unable to decide whether it was to be rain or shine.

We had a bit of both; as we approached the main UN building for a tour of the premises the heavens started opening. Luckily we got inside before the downpour really began. Although I'd done the tourists' tour before, this one was much better: the UK Mission's Third Committee expert Tom gave us lots of extra details and we even got to go inside the Security Council chamber.

Following this, we headed back to the Mission for a brief meeting with the UK's Ambassador to the UN, Sir Emyr Jones Parry (who we'd seen making a statement in the Plenary Hall earlier). He was a fascinating man, outlining to us his aims and achievements regarding the terrible poverty situation in Africa among other things. I got the impression that, although many modern-day politicians/diplomats are good at talking the talk, here was one who wanted to take the lead in action and really work for a better world.

Our afternoon agenda consisted of an 'informal' meeting in a UN conference room where the youth resolution was being discussed and negotiated. It was a very intensive session, but thankfully did not run to its full three hour allocation.

A lot of the national representatives present were quibbling at certain aspects of wording in the 13 paragraphs and it was hugely interesting to see which countries were bringing up which points. Unfortunately we weren't allowed to speak in the meeting - the UK's presidency of the EU means any statement made by our representatives is on behalf of all 25 member states. Additionally, the fact that Portugal are managing this particular resolution means EU countries don't really contribute in the informals - their points can be raised in separate co-ordination meetings.

So, the end of day one. I didn't really know what to expect, but I was excited anyway and really happy to be in NYC again. However, what is now clearer than ever is that to manage to influence anything which happens in the UN will be very difficult. Difficult though, not impossible. I truly believe that if this year's record number of youth reps can work together as a team and be organised with our plans, we can succeed in making a significant contribution.

Blog Live!

Thu, 29 Sep 2005 12:00:00 EDT

We're now in New York and will be posting entries every day about our experiences at the UN. Watch this space over the next few days!