TIGblogs - Frederick Bernas's TIGBlog

A Cappella Group Jukebox Make Good on Own

Tue, 09 Jun 2009 06:06:00 EDT

Like all popular music groups, the Jukebox Trio has its own successful formula. Presenting a rich mix of classic covers and original material in an open, friendly, accessible style – with two singers and a human beatbox – it’s hard not to enjoy the experience of seeing them play.

“I don’t know any other a cappella bands with only three people,” says lead singer Vladimir Ivanov. “Usually they have six, but we cut it down to the main things: bass, rhythm and melody. And actually, that’s all you really need in music.” Clever live sampling techniques are also often used to create layered, harmonised soundscapes that give the impression of more voices.

The group formed in 2004, when brothers Vladimir and Ilya Ivanov met Kirill Sharafutdinov at a vocal studio where they learned jazz and funk fundamentals. “We had mutual interests, we were listening to a lot of the same music – Bobby McFerrin, Take 6, Queen, The Beatles. It’s different music but we like it all,” explains Vladimir.

At live shows, this diversity is evident. Re-worked Elvis Presley hits, silky Bossa Nova ballads and sermonising soulful serenades are all on the agenda. The penultimate track on the Trio’s debut album, Acappellipsis, features a list of influential artists: names as varied as Ozzy Ozbourne, John Coltrane, Jimi Hendrix and the Chemical Brothers are recited in comically exaggerated Russian accents.

However, copies of the CD are somewhat hard to come by. “We decided not to sell the album in shops, it’s only available at our concerts,” says Vladimir. Why? “It’s a big problem to make a good production with Russian record labels. They are really down now.” He also cites the mercenary nature of the country’s music industry as something the group wants to avoid. “Radio stations and TV channels play everything just for money, apart from maybe Western musicians – mainstream stuff. If you want to be big in Russia, you have to pay.

“The most important thing with Jukebox Trio is that, at first, it wasn’t for money – simply for pleasure. When we started to earn money with the music, it was a bonus. And that’s still the order of priorities.”

The fickle nature of the scene in their home city, Kazan, was another obstacle the group strove to overcome. “The funny thing about Kazan is that, as it’s the capital of Tatarstan, the Tatar public tend to like mostly Tatar singers. We were like some kind of circus for them. Breaking onto Moscow stages in 2006 was a really big step for us – people started to say we were musicians and not just a circus, we were getting real respect,” says Vladimir.

A subsequent string of gigs around Russia earned Jukebox many fine reviews, as well as a prize from pop heroine Alla Pugacheva and the chance to open Elton John’s show in Rostov-on-Don. They are already writing for a third CD, which will come after an album comprising cover versions of well-known Russian rock songs.

Ilya Ivanov, the Trio’s rhythmic engine, is optimistic about future prospects. “We’re hoping to collaborate with a suitable record label, which can help us produce great albums.” And in the long term, he makes no secret of lofty ambitions: “We want to become famous and be like rock stars all over the world – at least like The Beatles! I want to travel and perform in many different countries. And I think it is really possible, because I believe in the power of music.”

The Jukebox Trio take music down to its basic elements, focusing on the purity and versatility of the human voice – no instruments required. An online video for their song ‘So… Let Me Know’ emphatically illustrates this concept, as the group are shown smashing guitars into splinters at the tune’s climax. Don’t expect that to happen at every show, but, as Vladimir says, “you’ll be put in a good mood”.

Published in The Moscow Times, 9/6/09 - click here for original.

Earth Patriot

Wed, 13 May 2009 06:05:00 EDT

“I always wanted to be a cosmonaut,” states Fyodor Yurchikhin without hesitation. “When I was a small boy, I jumped from a second floor balcony because I thought I was Gagarin! My father jumped after me, it all happened very fast, and luckily we were both OK.”

Born in January 1959, Yurchikhin grew up during the heyday of the Soviet space programme. Yuri Gagarin’s maiden flight in 1961 held mythical significance: “When we played in our yard, we would pretend to be Russian cosmonauts,” he recounts. “We knew all their names and I can’t tell you how much it meant to us. Gagarin was more than a name. For us, what he did was something like the impossible. He was an icon, a symbol – ‘Wow, Gagarin!’”

Yurchikhin’s face still glows with childlike enthusiasm as he talks, springing up to illustrate the balcony scenario or act out the process of spacewalking. His two missions to the International Space Station, in 2002 and 2007, amount to over 200 days, with nearly 19 hours working in open space.

“My first time on the ISS, the biggest problem was orientation. There’s no gravity, everything is floating around; until you adjust to that, you have to move very slowly, holding onto things.”

“When I first looked down out at the earth, I realised it’s impossible to understand this view from pictures. It’s black of course, but when you get there you see it’s not a normal black – it has infinite depth. I wanted to touch the colours, they are so bright and clear. No photos can convey the beauty of that sight.”

Nevertheless, Yurchikhin keenly uses orbital photography to spread his ideals for the future of humanity. His work has been exhibited around Russia[?]. “The name of my gallery is ‘Our House on Earth,’ because everybody should understand it’s very small. Yes, very big for us, but in reality very small. You need to keep your house clean and beautiful, we need to understand this; otherwise, we may destroy the house. It’s terrible.”

He applies this approach to both environmental and social concerns, as well as international relations. “People need to understand each other. We need to stop settling problems with weapons and war. It’s quite probable there is life on other planets. I think contact could be valuable for both sides if we understand and respect each other. But this doesn’t happen on earth, a planet where people have been living together for thousands of years.”

“I think the international space programme can be used as a model for the future: many different countries, different languages and different levels of technology all working together. America and Russia in particular have very different ways of thinking. For example, there’s an old joke that when the Americans found it was a problem to write in space, they spent a million dollars to invent a special space pen. The Russians used pencils!”

Yurchikhin picks a potent analogy to look at these varying national standards. In the first class at school, children arrive knowing different things. Even if some start off being able to count higher numbers, for example, this doesn’t mean they’ll finish in first place. “I don’t know how we will graduate the ISS school. Russia and America too should understand we are all still in school, we must continue and share knowledge.”

“If we’re doing complex work in a difficult area, like cosmic research, it is very useful to work with others. Views can become clouded. Including different people can bring new perspectives to old problems.”

Looking to the future, Yurchikhin believes the next step is colonisation. “We should go to a planet, build something and live there. The moon should come first, then possibly Mars. We should also continue developing ideas for a new spacecraft.”

On April 12, Russian Cosmonauts’ Day, the Memorial Museum of Cosmonautics opened its refurbished doors in northeast Moscow. It is situated beneath a towering, angular monument with a soaring rocket at the peak. More than 3,000 exhibits include a life-size replica of the space station Mir, Gagarin’s legendary orange spacesuit and all kinds of lunar vehicles – in short, a fascinating stroll through Russian space history.

“It’s a good idea,” says Yurchikhin. “I hope lots of kids will go. I love meeting children who have this dream, just like I did. Maybe now more people will talk about cosmonautics as well – it’s not as popular as it used to be.”

Again emphasising the spirit of unity he so desires, Yurchikhin remains an optimist at heart. “For a while I wanted the Russian space programme to be number one, but perhaps now we should change our minds now. It’s better if our national programme is part of a wider international project. Being first isn’t important. We’re all going to fly into space together.”

“Going to space, every one of us went as a patriot of our own country. But we came back as patriots of our earth.”

RIR Dossier
Fyodor Nikolaevich Yurchikhin was born on 3/1/1959 in the autonomous Republic of Ajara, Georgia. On graduating high school in 1976, he entered the Moscow Aviation Institute. He qualified as a mechanical engineer in 1983 and joined Energia, the Russian Space Corporation, where he rose to the position of lead engineer. In November 1999 he completed his basic cosmonaut training course. In January 2000, he started training for the ISS programme. In October 2002, Yurchikhin flew aboard STS-112; his first space flight logged a total of 10 days, 19 hours, and 58 minutes. His second flight, in April 2007, was a 197-day tour of duty commanding the Expedition-15 mission aboard the ISS. He was honoured as a Hero of Russia on October 23, 2008. Yurchikhin also holds a PhD in economics and enjoys reading, sports, stamp-collecting and space history.

Published in Russia Now / Russia India Report, March 2009, with The Economic Times (India)...

Moscow: the new home of jazz

Wed, 29 Apr 2009 10:04:00 EDT

From hard bop to the new school, jazz has found a haven in post-communist Russia.

Moscow's jazz scene is a creature of many faces. Take the comical shenanigans of one big band in a dive of an expat bar, with all members clad in matching mustard-yellow tassled jackets and an old hippy guitarist who looks (and probably thinks) like he's still in the Swinging 60s, or a pastiche Cuban group belting out Santana covers to an empty room. Contrast that with heavy-hitters like saxophonist Igor Butman, a popular figure who cut his teeth in the US for a decade, or Alex Rostotsky, an electric bass player whose latest CD features adventurous adaptations of works by Modest Mussorgsky. Right down to a highly flamboyant yet equally creative acapella vocal trio called Jukebox, it's all here.

According to Cyril Moshkov, editor of jazz.ru, Russia's only jazz magazine, there are about 1,000 jazz players in the city (official population 10.5 million – in reality it's more). They fall into three generations: the old guard, who favour austere hard bop and other mainstream styles; the middlemen, now in their 30s and 40s, 80% of whom left Russia to pursue careers abroad (interestingly, many went to Israel); and, finally, the young cats, still paying their dues and finding a way into the murky world of jazz music.

Russia's first jazz concert took place in October 1922 at the behest of Valentin Parnakh, an enigmatic all-rounder who wrote poetry, choreographed ballet and played piano. He brought the first jazz records and instruments to the country from Paris. The music was thereafter repressed in various ways throughout the Soviet Union – including the period of Butman's emergence in the 70s and 80s, when non-state-sanctioned concerts could see musicians or promoters locked up. During jam sessions with visiting American groups, Russians played with their foreign peers but were not allowed to exchange words. Government inspectors would ensure two violations resulted in dismissal from the state booking agency, which provided musicians with all their work.

Much has changed since those dark days. One look at the monthly gig listings on jazz.ru's information portal will show abundant choices any given night – and not only local groups, but a host of international names as well. Tessa Souter, a British vocalist who lives in New York, recently played a couple of dates at the Union of Composers and was happy to sing the praises of her Russian backing band: "They were great. There's something different about the way Russians swing, it's wonderful. Musicians have a lot of soul like the Russian people."

Financial woe may have hit the country hard, but that hasn't stopped a new jazz club from popping up right in the historic centre of Moscow – the Vamp;J, situated on Old Arbat, a popular tourist promenade. "People are becoming more interested in music and art, not material things, so I don't think the crisis makes a difference" says Victor Voitov, the V half of "Vamp;J". "We wanted to open a place where Moscow's high-level musicians can let new people into jazz music."

Even after three months of pretty solid concertgoing, there's still a lot left for me to see.

Published @ guardian.co.uk, 29/4/09 - click here for original.

Igor Butman: A Jazz Leader for the New Era

Wed, 25 Mar 2009 06:03:00 EDT

Hailed by none other than Bill Clinton as one of the world’s greatest living saxophone players, Igor Butman is an icon of Russian musical life. Born in St Petersburg in 1961, he took up the instrument at 15 with encouragement from his jazz aficionado father, a keen musician who worked by day and gigged by night.

“My father told me about jazz. I hadn’t actually heard much, because I’d been listening mostly to Soviet pop, but my dad was an amateur drummer and singer who often played at weddings and in restaurants,” Butman explains. “He was really the person who got me into jazz music, and music itself.”

Jazz in Russia goes back to the 1920s. According to Butman, it has been through various blurry periods of development, as well as confusion with classical music. The Soviet regime’s strict control of artistic liberty presented both opportunities and challenges: “As soon as I started playing sax, I was able to perform in jazz clubs around St Petersburg. I travelled with different groups to places like Moscow, Latvia, Lithuania and Ukraine, but I wasn’t allowed to go abroad because they thought I might escape.”

“In Soviet times, the state-owned booking agency would provide you with concerts – it didn’t matter if you sold out or had two people in the audience, they would still get you 14 concerts a month,” says Butman. However, despite supplying a steady stream of work, this closed system placed considerable constraints on creativity. “I put together my own band, but I couldn’t get a job because I wasn’t in the state booking agency. It wasn’t easy to get professional status and be able to travel. So I decided to go to the United States and try the normal way.”

In 1987, Butman arrived in Boston to study at the renowned Berklee College of Music. “I was already the best in the Soviet Union and I knew my limitations,” recalls the saxophonist. “I had to study, play and be in competition with the best in the world. After graduating, I moved to New York for a few years, before coming back to Russia permanently in 1997.”

It was on his return to Moscow that Butman’s career really took off. He began to establish himself as the leading light in Russian jazz, recording several CDs – including his most recent release, Magic Land, which features theme tunes from Soviet cartoons and an elite group of American players.

Russia’s jazz scene today is a far cry from its state in the former USSR, when you could be thrown in jail for holding unauthorised concerts. Butman is quick to acknowledge how “everything has changed,” especially in terms of healthy competition in the musical world. “It’s a harder life for us in a way. There’s a lot of competition between orchestras and groups, which I like. You have to keep improving and really provide something interesting and unique; you have to think about what you can give to venues or concert halls.”

“Now there are a lot more good young musicians. A lot of things are happening all around Russia – every town has its own interesting scene. It’s not only Moscow, but Novosibirsk, St Petersburg, Vladivostok, Rostov-on-Don, Yaroslavl. There are also a lot more jazz clubs competing with each other, and they are able to bring in the best musicians from all over the world.”

The sense of anticipation when a big act hits town is exciting for Butman, who has been organising his own jazz festival for nine years. “It’s called Triumph of Jazz. I’m trying to find new names and give them the opportunity of playing here, as well as bringing old stars who made a revolution in jazz.”

“I think there’s a big market for that in Russia. People are interested in jazz, and they’ve heard about me – a lot of people know me, so they can place trust in what I’m going to play or the people I’m going to bring, even if they don’t know who it is. There’s a big sense of curiosity, because it’s not every day we have something so special. A lot of different people come to the concerts.”

Butman’s status as something of a jazz celebrity in Russia has built up from numerous angles, not least his powerful and distinctive voice on tenor saxophone. In addition to running a club and the Triumph festival, he also hosted the show ‘Jazzophrenia’ on national television.

Most recently, he embarked on an ambitious eight-concert US tour with the Crossover Concerto, a collaboration featuring classical maestro Yuri Bashmet and the composer Igor Raykhelson. “We have my big band and a chamber orchestra, the Moscow Soloists, conducted by Yuri Bashmet. It’s a combination of different music: they play classical pieces, with a little jazz influence, and we play some classical in our jazz way. It’s challenging, but it sounds so good – for us it’s just incredible.”

The current vitality of Russian jazz receives no better endorsement than the fact Butman does not see a reason for returning to America: “I don’t have to live there. Of course I really liked it, but I like to live in Russia just as much.” Habitually sold-out gigs indicate this feeling is mutual.

Published in Russia Now, March 2009, w/ Washington Post (USA) Daily Telegraph (UK).

Kirill's balancing act

Fri, 06 Feb 2009 02:02:00 EST

The new Russian patriarch will need all his diplomatic skills to manage what has become a fractious church.

The Russian Orthodox church's new Patriarch faces several challenges as he comes to power; not least, a fresh wave of questions over the institution's role in everyday life.

A recent poll conducted by the Russian public survey centre, VTsIOM, saw nearly half of respondents express a degree of opposition to the suitability of Orthodox moral standards in modern society. Thirty-five percent went half way, saying some standards were acceptable and others not, while another 14% held all Orthodox practices to be completely outdated. The number of undecideds was 21%, with only 30% believing people should unequivocally stand by the Orthodox moral schema.

While these findings may be indicative rather than definitive, they come at a crucial moment. The popular Patriarch Alexey II, who led a spiritual revival after decades of enforced Soviet atheism, died in early December, setting off a wave of public grief. On 1 February he was replaced by former Metropolitan Kirill, a man whose coverage in the western media has created as many questions as answers. Kirill, the first post-USSR patriarch, must ask himself why people seem to be drifting away so soon after the church's supposed renaissance. What can he do to stanch the flow and win them back?

The first problem stems from the patriarchal election process. The competition was bitter and ugly. Though the candidates themselves were diplomatic, their followers engaged in smear tactics and mudslinging, spreading rumours on the internet and openly defaming opponents. Kirill must immediately cast this aside. His famed PR skills will be put to good use – known as an inspirational orator, he has hosted a weekly national TV show. The nasty campaign has at least produced a decisive victory, with Kirill winning 508 out of 702 votes; he should use this mandate to deal confidently with the challenges facing him.

Questions surround Kirill's relationship with government. He is known for being close to the Kremlin, but observers appear divided over where he could take the church-state relationship. Progressives are aching for him to usher in a new age of independence for the church, but this is unlikely to happen any time soon, if at all. Nevertheless, the critical consensus seems to be that, one way or another, Kirill will be a politically involved patriarch.

In his Christmas speech, Kirill discussed the economic crisis. The dire financial situation means he must be cautious – at least publicly – about how closely he allies himself to Putin's establishment. He has said the relationship should be based on "mutual non-interference in each other's affairs", but the truth of this statement remains to be seen. During these times of falling government popularity and rising prospects of social unrest, Kirill's best tactic would be presenting himself as the detached voice of reason, projecting calmness and hope.

As in all religions, rampant factionalism has plagued the Orthodox church; an institutionally conservative body encompassing hardliners, moderates and more progressive thinkers. It is impossible to keep everyone happy. The issue of ties with the Roman Catholic faith is controversial: while serving as the Orthodox church's director of external relations, Kirill improved relations with the Vatican. His elevation to the patriarchy received words of welcome from the pope himself. However, on the eve of the vote, Kirill had made a wily bid to secure the support of ultraconservatives: he refuted reports that he was set to swiftly convene a papal meeting if he won, saying problematic issues remained to be solved. As the Roman Catholic church is excluded from official status in Russia, this is an area he must navigate extremely carefully – perhaps by continuing to moderate his own conciliatory instincts.

Next, there is the long-standing dispute over Estonia. Following the break-up of the Soviet Union, the country's Orthodox church split in two: the state-endorsed Apostolic Orthodox church, under jurisdiction of the ecumenical patriarchate, and the Estonian Orthodox church, under the Moscow patriarchate. Sour wranglings over which one has territorial rights, including disputes regarding property ownership, have been a dominant issue – and were particularly so for Estonian-born Alexey II. Kirill's reputation as a talented diplomat and skilled negotiator, finely honed during his time at the external relations department, gives him a fresh opportunity to finally make headway.

It seems Patriarch Kirill will be faced by the emerging challenge of reconciling the Russian people with his church's moral compass, in effect redefining its significance for modern times. This won't be easy: under western influence, Russian society is becoming less spiritual and more materialistic. In an intriguing aside, an online public referendum of senior clergymen saw Kirill win by less than 2% in a poll of 76,000 votes, with 41.1% in total. Moreover, the close second was not one of the three final contenders but Metropolitan Daniel of All Japan. Comical this may be, but perhaps it does indeed reflect an appetite for change from an institution which, according to the New York Times, often has the air of an enforced state religion.

Published @ guardian.co.uk, 6/2/09 - click here for original.

A Bohemian Dream

Tue, 20 Jan 2009 05:01:00 EST

It’s not exactly new news, but the story of the audacious squatter collective currently occupying 39 Clarges Mews must be seen to be believed. Five minutes from Green Park station, the Ritz Hotel and all that goes with it, the Mayfair property is worth a reported £22.5 million.

After stooping low to enter a dusty back-garage-type-area with a makeshift information desk, various bikes and a welding station, I soon realise this is not one, but two connected houses. The first is mostly used as sleeping quarters, while the second serves as nerve centre for the Temporary School of Thought – a freewheeling educational project with all kinds of workshops and sessions on offer.

A quick snoop around is anything but that. It spans four or five floors, with most rooms in reasonable condition but showing obvious signs of disuse. Gutted, gaping concrete cavities glare forlornly up from where majestic fireplaces used to recline, and the occasional window shutter hangs limply from its fittings. Floorboards creak. An aged lift stands dead behind criss-cross gates in a spooky stairwell. As evening approaches and darkness closes in, exploring becomes a game of shadowy surprises – who or what lies behind the next door? A dilapidated bathroom? Another cavernous palatial living space with red fleur-de-lis wallpaper? An improvised cinema? This could be the setting of any B-list horror movie, or, with a little imagination, the most typical British costume drama.

‘Starting a post-capitalist enterprise’ – how’s that for an oxymoronically intriguing workshop title? A shy middle-aged fellow named Mike claims to have done exactly this, but, over the course of nearly two hours, doesn’t actually get round to explaining even vaguely how. According to him, people who created the first companies didn’t have profit in mind: it was the corrupting influence of shareholders which catalysed today’s viciously money-driven market angle and, hence, the onset of capitalism. A colourful dramatis personae including fellow wannabeatniks, one silent note-taking bookish type, a couple of voluble old timers and a Lebanese film producer nevertheless yields a spirited discussion, although by the end we are no closer to formulating an alternative ideology to solve all the world’s problems. Disappointing.

As dusk settles, the house is buzzing. An eager crowd is all ears for a lecture on Palestine; a representative of the amusingly-titled A.S.S. (Association of Squatters Something) presents a step-by-step guide to the art of squatting, from scoping out potential “empties” to prolonging residence by fending bailiffs away; upstairs, in a room with gold trim, ornate hand-painted panelling and ceiling-to-floor mirrors, two enthusiasts play Indian classical music and talk about traditions of the genre. No one pays, no one makes money, knowledge is here for all to enjoy – maybe this is the quintessential post-capitalist enterprise our friend Mike was struggling to define.

Dinner is served: downstairs, everyone is welcomed to the communal eating area. Random artwork adorns the walls. Familiar, unknown and overwhelmingly friendly faces gather round one large table, as if it’s the most normal thing in the world to be sharing scavenged food in a stately mansion with 30 people you’ve never met before. For many of them, it is. Others are mere visitors, passers-by or voyeurs of the lifestyle; those (like me) who fully appreciate the remarkable situation’s cheeky impudence, but probably wouldn’t have the guts or bottle to do something like it. Musicians, artists, climate change activists, nomads, travellers, Swedes, Australians and squat veterans all mix freely – the air is thick with conversation. In the cold, hard, business-powered parallel universe that is central London, this is a refreshing oasis of creativity, freedom and open-minded dialogue.

Someone wake me up already?

Published @ SHOOK.fm, 20/1/09 - click here for original.

The Kremlin's hot and cold war

Mon, 19 Jan 2009 05:01:00 EST

If today's "outline" gas agreement between Ukraine and Russia holds, there will be no doubt who brokered it: Vladimir Putin, Russia's busy ex-president. A week ago, as the crisis peaked, Russia's constitutional head of state, President Dmitri Medvedev, delivered a virtual address from the alpine resort of Sochi. Standing in front of a picturesque mountain backdrop, he spoke about the importance of Russians learning how to relax.

Why was Medvedev, a former chairman of the board at Gazprom – the Russian state energy company at the heart of this ugly dispute – not on the other end of the phone? This glaring question invites a closer investigation into the nature of the relationship between the two most powerful men in Russia.

When he took office in May 2008, doubts were cast on Medvedev's true level of independence from Putin, his predecessor. As Putin's former chief of staff and then deputy prime minister, he was expected by many critics to act as no more than a figurehead for the previous president's continued domination. His pledge to appoint Putin as the constitutional head of government solidified this perception.

However, early interviews seemed to offer hope of a more liberal regime. Medvedev spoke earnestly of the need to tackle corruption and further an agenda of civil and economic freedoms. His status as the first Russian president with no known links to the old Communist party or Soviet secret service was music to western ears.

Any casual glance at Russian papers or TV news bulletins will tell a different story. One person is in control, and it's not Medvedev. The president can often be seen shaking hands with foreign leaders, exchanging gifts or signing treaties – and now, perhaps, in this new hobby of video-blogging to a nation with a 23% internet access rate. It is Vladimir Putin who answers the questions, makes the speeches and outlines policy proposals. And the strangest thing is that nobody even tries to pretend governance happens in any other way: Putin knows, the media knows, the people know. And surely Medvedev knows.

Putin evidently sees no need for the smoke and mirrors of political theatre. He is happy to project his cultivated image as a stoic figure of authority, the heroic leader who revived Russia's global standing and transformed the ailing state into a major emerging power. His popularity ratings are consistently higher than the man who is supposed to hold the keys to the Kremlin, even while they both pointed financial fingers everywhere else amid thousands of Russian job losses.

The situation was compounded in the last months of last year, as Medvedev introduced a package of constitutional reforms that sped through parliamentary approval and were ultimately passed on December 30. Its main feature is an extension of the presidential term from four to six years, applicable from the next election in 2012. Some Kremlin observers believe this was originally drafted during the Putin presidency, and that it is designed to prepare the former KGB operative for a return to power in the long run. Of course, Putin has gone on record to vehemently deny this; but it must be noted that Medvedev's professed anti-corruption ideals have taken a back seat – the constitutional alterations are his only significant legislative achievement from the first eight months in office.

On the other hand, there have been rumblings and rumours from the presidential residence. The Financial Times reported that Medvedev had been moving to distance himself from the idea of a bilateral decision-making process with his prime minister, openly stating he would "not be able to share this responsibility with anyone". This ran contrary to his former emphasis on consultation. Even more overtly, he then went against the previous line to criticise Putin's government for a slow response to the economic crisis. The Putin circle has been tight-lipped, but recent developments regarding the gas negotiations and Medvedev's apparent demotion to blogger-in-chief suggest that something may have happened backstage.

Over the next few months this subtle tug-of-war will be an intriguing story. The Russian government has attempted to gloss over the severity of the financial crisis, but, as its effects increasingly emerge in the public sphere, someone will have to talk about it. Any statements from Putin in the coming days will be significant, as it seems Medvedev has already initiated a little blame game with his supposed number two. This could be the start of a new self-confidence campaign, as the president attempts to assert himself as the face of power; he's even adopted faint echoes of an Obama-style web consultation by opening his blog to moderated comments.

Indeed, Barack Obama will present the next major challenge for Medvedev and Putin. Constitutionally, Obama's Russian counterpart controls foreign policy, but the PM may have something to say about that.

Published at guardian.co.uk, 19/1/09 - click here for original.

Moscow City Jazz Festival 2008

Sun, 21 Dec 2008 05:12:00 EST

City Jazz Festival
December 4-5, 2008
16 Tons
Moscow, Russia

Erik Truffaz
December 4

Swiss trumpeter Erik Truffaz, a moderately well-known figure on the international tour circuit, surely counts Russia as a favorite gigging destination. This concert, in a popular pub-cum-music-club called 16 Tons, saw him welcomed by a highly enthusiastic young crowd--a far cry from the standard demographic at most similar events in the UK. Despite lengthy delays in reaching the city after landing at the airport, Truffaz and his quartet played with similar vigor, whipping up euphoric grooves based on relatively simple melodic and harmonic ideas. His effective cross-section of jazz and popular music is the main source of his mainstream appeal, although the live show was nevertheless largely sans gimmicks save for the drummer's momentary dabbling with electronic randomness. Obvious references can be made to the late work of Miles Davis, so it's not particularly original, but the band was enjoyable to watch and Truffaz can certainly look forward to many happy returns to city and country.

The Bad Plus with Wendy Lewis
December 5

Music by Stravinsky, Ornette Coleman and the three band members was on the bill in a typically distinctive set from The Bad Plus. Two things let them down. First, the sound engineer: Ethan Iverson's piano was far too low for the instrumental tunes, meaning it struggled for leverage against drummer Dave King's trademark scampering rhythms and skittery beats. A bigger, balanced sound to match the players' personalities was needed. The band's inclusion of indie rock singer Wendy Lewis for recent tours and the upcoming album has raised many eyebrows, and justifiably so. Her presence, although it clearly dominated the sound check, did not lend matching gravity to the overall performance--with a limited vocal range and negligible on-stage charisma, it felt like she was getting in the way more often than not, distracting from the fine creative work of Iverson, King and bassist Reid Anderson. The group's desire to explore new territory is understandable--even after a series of highly acclaimed trio records--but one couldn't help thinking they might have made a better choice of vocalist.

Photo Credit
Elmira Kuznetsova

Published at allaboutjazz.com, 21/12/08 - click here for original.

Omara Portuondo: 77 not out

Sat, 04 Oct 2008 06:10:00 EDT

At 77, Omara Portuondo is an elder stateswoman of world music. Here she tells Frederick Bernas about her new album, Gracias, and reflects on a long life of innovation, cultural enterprise and funny stories.

With a musical career spanning 60 years and counting, Omara Portuondo is far from finished. "It is never enough, there is always more to do, there is always something new," she states from a comfy couch in the top-floor bar of a London hotel. It's early Friday morning and the singer is probably not too enthralled by the prospect of a day with the media.

However, she speaks enthusiastically about her new CD, Gracias, which was released on September 25. "I selected these tracks because they are very popular and people know them in Cuba. I like all of these songs and I wanted to work with younger people who play modern music which is still rooted in tradition." Indeed, the backing band for this 13-track disc features the likes of jazz bass virtuoso Avishai Cohen and rising Cuban star Roberto Fonseca on piano. Other guest appearances include Indian percussionist Trilok Gurtu, sweet-voiced Richard Bona from Cameroon, veteran pianist Chucho Valdés and Brazilian crooner Chico Buarque.

"The music doesn't know the barriers of age or language," she continues. "I wanted to bring everyone together to celebrate 60 years. I've done lots of records; this time I wanted to work with songs I've done before but make them more contemporary, more actual." Easily discernible from its title, the album is a gesture of appreciation -- "I wanted to say thank you to all these people: my family, musicians, authors, composers, the public, everyone who has helped me."

In the early years, Omara learnt traditional songs from her parents and became a professional dancer in 1945. Swapping her dancing shoes for a mic, she was then part of several innovative movements in Cuban music, with fusion across genres such as jazz, bossa and other Latin styles. Her debut album was released in 1959 and for the next 40 years she worked steadily on different projects, mostly solo, including the Buena Vista Social Club.

A worldwide phenomenon emerged: Wim Wenders produced a compelling documentary and World Circuit Records released an album of the same name. Portuondo and others skyrocketed to international fame almost overnight, and she identifies this as the highlight of her musical life so far. "It made Cuban music known all over the world. I had been to Finland, Japan, other countries, but then with the Buena Vista Social Club everything went global. There was a collective feeling of joy and it made me very happy. I have huge pride that I worked with these musicians, sang these songs."

Had she expected such a boom of interest in Cuban music? "It's a difficult thing, it was a coincidence. It happened organically, without thinking about it -- [producer] Nick Gold, Wim Wenders and [guitarist/producer] Ry Cooder were there to work on the project and it just happened. We never really imagined it was going to be so successful. The record was going to be made anyway. You just need to be in the right place at the right time for an opportune moment!"

Portuondo already had a considerable reputation in Cuba: wonderful images from Wenders' film of her walking through Havana, singing choruses of popular tunes with members of the public, illustrate her significance in domestic culture. She maintains that her life "didn't really change" when her fame acquired this international dimension, but it perhaps fostered a heightened sense of consciousness at being a global ambassador for the little island's artistic scene. "I don't feel pressure from fans to produce a good album, but I feel responsibility that I am representing the music of a country. I feel like the public are on my side. And I don't really feel the high expectations because I am part of a team; the musicians with me are young, and they have won prizes in jazz festivals. They really help me to move forward."

Cuban influence on world music is disproportionate to the size of its population -- the nation has a history of producing great players who have collaborated fruitfully with foreign artists, particularly in the field of jazz. Dizzy Gillespie was one of the first to break away from the American mainstream he'd helped create, venturing into what is now known as Latin jazz to produce a series of albums which defined the sub-genre. Omara offers an insightful explanation, arguing, "It's no so much that Cuba is an influence, we've been very well-informed.

"Even though it's a small country, 11 million inhabitants, we still receive information. I knew the Beatles, I sung their songs, I sung with Nat King Cole, I sung Italian songs, American, English... We had people on TV from Italy, North America, Mexico, so we all saw that. Cuba has always been very well-informed on what's going on in the outside world -- whether it is music, film, recordings or whatever."

In terms of the future, she has prudent words: "I see it like any other country in the world. It all depends on the youth, the opportunities. Cuba is subject to a lot of things -- for example, hurricanes -- but I see it as any other country." Her tone possesses a grandmotherly air of wisdom on the subject, and she speaks brightly of new Cuban musical talent. "There are so, so many musicians to look out for! They are making all kinds of music, and lots of young people ask to work with me -- for example, I have worked with a rapper on something really funky, very upbeat. There is a lot of musical interest from young people in Cuba."

Like any grandparent, Omara has a wealth of random tales -- she bursts into life when asked about comical memories, animatedly recounting the time when "I was singing with a quartet live on TV, and one of the other girls swallowed a fly! It flew into her mouth as we were ending a song, and we didn't realise she had run away!

"Lots of unexpected things happen on stage. There was another time when the heel of my shoe wedged into a little gap in the stage live on TV and I fell down! And another time, when we were in Mexico preparing for a show, there was an earthquake while I was on the toilet -- we didn't know what was going on!"

The warmth of her personality shines through, a characteristic that has endeared her to music lovers the world over. This public familiarity as one of the queens of Latin music is aptly demonstrated by the fact her surname has been omitted from the cover of Gracias, a risky luxury few other musicians could afford. Her expressive, compassionate voice can be recognised instantly -- it's a "gift" she is profoundly grateful for. "I am lucky to be able to do things with my voice musically. Other people might be more limited, but I can, so I am always going to find something new and something to innovate."

As for motivation, another crucial facet to her thinking is creative exchange: "I did all this so I could spread culture to other countries in the world, and I think I have succeeded. My father taught me all the old Cuban songs when I was a young girl and I've been singing them for more than 50 years now." Did she think it would come this far? "It's not something you think about, it's something that happens. It doesn't matter about the language. It's not something I thought ahead about. I'm doing something I like, so I will always keep going: I never tire of singing, I will not stop singing until one day when I might have to!"

UK tour dates:
10/12/08 -- Sage 1, Gateshead
13/12/08 -- Town Hall, Birmingham
13/12/08 -- Union Chapel, London

Links:
www.omaraportuondo.com
www.myspace.com/omaraportuondoworldcircuit

Published @ Fly, 4/10/08 - click here for original.

Alex Wilson - Salsa Con Soul

Fri, 03 Oct 2008 06:10:00 EDT

On his sixth solo album, the award-winning Wilson looks more towards commercial influences than previous work.

It would be easy for a man of Alex Wilson's pianistic talent to cruise along comfortably, picking up sideman or session gigs here and there and continuing to operate in the time-honoured medium of standard small jazz groups. But that doesn't match his creative vision. Instead, recent records have seen him assemble a 12-piece all-singing, all-dancing Latin ensemble, capable of swirling grooves and intricate polyrhythms which bring out the best in his compositional nous.

After Inglaterra (2007), a disc which firmly established his arrival as a major player on dancefloors around the world, Wilson has opted for a more western, singer-oriented outing - as the title of Salsa Con Soul would suggest. Welcome to a truly globalised world, where traditional elements of Latin music are combined with more mainstream genres like soul, Ramp;B and gospel.

The band is spot on, raking through sharp, classy arrangements that complement the assortment of vocalists and help them sound really good. The word 'diva' has become cliché, including its use in this CD's press release, and there is a sense of a diva complex in the music: the English lyrics occasionally veer precariously close to the rather crass realms of our dearly beloved pop kingdom. However, spicy instrumentation will often step in to save the day, like a knight in shining armour to rescue the damsel in distress, going some way to appease even the staunchest anti-pop crusaders. This is not said lightly, but it's forgivable in the name of fun.

Salsa Con Soul ticks pretty much all the boxes. There's even a sprinkling of fiery non-vocal tunes to soothe the aforementioned purists - 'Sabroson' and 'Antonio' offer a pleasant respite from soul diva shenanigans. If you're planning a Latin-themed dance party, this record should be number one on the shopping list.

Release: 20/10/08

Tour:
19/10/08 - Leeds University
8/11/08 - Birmingham Town Hall
21/11/08 - Jazz Café, London

Links:
www.alexwilson.net
www.myspace.com/alexwilsonpiano

Published @ Fly, 3/10/08 - click here for original.

Taking Off: James Morton

Tue, 23 Sep 2008 06:09:00 EDT

As the Bristol scene becomes increasingly self-confident and highly talented players pour out of the city seeking wider exposure, Frederick Bernas profiles the latest to make a splash, saxophonist James Morton.

“I don’t class myself as a jazz musician,” says James Morton. This 26-year-old saxophonist’s philosophy reflects the Bristol music scene that has nurtured him. The city has attracted recent attention in the jazz world, with The Blessing taking home the Best Album gong from this year’s BBC Jazz Awards and a string of ear-catching performances at Glastonbury’s Jazz Lounge. Morton, however, keenly emphasises its position as “a real hub of creativity in a very eclectic way” and his passion for other forms of music is crystal clear.

“I’m not one of those people who was obsessed by jazz from a really young age, although I was listening to it. I’ve always loved funk, reggae, soul, motown and dance music. Being a saxophone player, I think everyone has the expectation that jazz is the predominant thing, but for me it wasn’t that way. Jazz was secondary in my musical journey; it’s now very important to me, but I discovered it later.”

Growing up in Cheddar, a village near Bristol, Morton’s first instrument was the violin: “I started playing when I was five, but when I was nine I looked at the saxophone and thought it was sexy and tactile – I thought ‘yeah, I want to play that!’ A violin case doesn’t look cool, but if you walk around with a saxophone a few girls might look at you,” he says with a cheekily confident air. A couple of years later he was gigging regularly with older musicians, earning money and drawing inspiration from how “playing, rehearsing and performing became a normal part of life.”

After leaving school at 16, Morton graduated from the Guildhall jazz masters course age 22. He returned to Bristol and has been mentored by Andy Sheppard and Pee Wee Ellis, both of whom he is quick to acknowledge as major influences. Touring with Ellis’ African Tribute to James Brown project has been fruitful – “I’m learning an amazing amount. Every gig, every rehearsal, every moment I’m absorbing. It’s a few different categories: horn section playing, concentration, building solos, grabbing an audience, listening… I could go on forever.”

A productive relationship with Sheppard took off when the talismanic tenorman showed up at Morton’s residency in a small Bristol wine bar, Luna. “The first bit of advice he gave me was to get a stable house band, as I’d been using different people every week. When I did, he came and played a gig with us and I started hanging out with him more. We’ve done a few gigs now – the project is called ‘James Morton and the Luna-tics featuring Andy Sheppard’ and I feel very privileged to be working with him. He’s taught me a lot about approaching solos, jazz composition and even valuable skills like presenting yourself to promoters and that kind of business angle.”

This understanding of the need to pick up information from those with greater know-how was boldly apparent. When asked about his ambitions, Morton replies: “For now, I want to keep on working with really inspirational people who are more experienced than I am. I feel I am still very much learning about playing and writing music.” And he is adamant there is no better place to do it than Bristol.

“Bristol is kicking off musically. There are loads of young players coming through, getting better very quickly, and there’s some really good stuff going on. I don’t want to stick with the jazz thing – the scene is very diverse. There’s some great reggae music by Dub From Atlantis, which I’m loosely involved with. Edenheight is a 10-piece funk collective I’ve been working and recording with. James Gardiner-Bateman and Josh Arcoleo are talented sax players and look out for Bellatrix, a bebop-playing bassist and award-winning beatboxer who is currently studying in London.”

As for his own projects, in addition to the Luna-tics Morton currently leads a “nine-piece soul and hip-hop influenced jazz-funk thing” called The Rawness. “In between touring and gigging, I’m working hard to develop the band – it’s getting there, I’m still writing. I hope to have something finished by early autumn.” Once again demonstrating a full awareness of the challenges this can entail, he admits that “the way I recorded it the first time didn’t match the sound in my head, so I’m re-recording in a different way. You have to make mistakes; making records and playing gigs are two completely different sports. I’m learning a lot by doing things, not being happy, and doing it again.”

This calm level-headedness stems from an iron desire to succeed as a solo artist, rather than going down the hallowed session road. “I’ve always been headstrong about the things I do. I decided I wanted to make a living out of music and nothing’s got in the way.” Nominations for the Jerwood Foundation Take Five scheme and the Promoters’ Choice Award pay testament to his vision and drive. “I want to sell records, see my name in lights and be an amazing musician… with people who are better than me! I want to be able to choose the musicians I want to work with and the venues I want to play.” With a work ethic that produced 8-10 hours’ practice per day in the run up to his Guildhall audition, the alto player is obviously not lacking commitment.

Morton’s modus operandi also stresses the need for a fiery live persona: “To me there’s more than just playing notes, I like to perform and give people a show, which is part of communication and entertainment. I’m much more an emotional player than an intellectual player. I want to make people move without thinking about it. I want to make people dance, to give them tingles down their spine and make asses shake uncontrollably. That’s my thing. I’m not really a beard-scratcher, I don’t want to go down the beard-scratching audience route. I want to make music that sounds good and feels good and makes people happy.” Amen to that.

Published in Jazzwise, October 2008.

Maceo Parker - Pigalle Club, 20/8/08

Fri, 05 Sep 2008 06:09:00 EDT

The Pigalle is not short of trendy downtown charm. It’s a little bit glitzy and supper-clubbish: definitely not the usual setting for “2% jazz, 98% funk” kind of music. Luckily, there is no better man to bring a venue to life than Maceo Parker, playing here with his nine-piece band featuring UK trombone star Dennis Rollins. Early on, the saxophonist stirred people up by patrolling dinner tables, many of which then gave way to open up a heaving dancefloor.

Song lengths went well into double figures without exception, moving up and down the dynamic spectrum with frightening rigidity. At times it felt a little like too much filler and not enough funk – Maceo would go through long periods without lifting horn to mouth – but since the set lasted almost three hours, we probably shouldn’t complain. And when he did play, he really played – with a towering stage presence, signature piercing tone and perfectly controlled melodic phrasing. It’s no exaggeration to state Maceo as the seminal influence on a generation of funk saxophonists.

Despite the drawbacks of the club, this was a rare chance to see Maceo on stage in such an intimate venue. Even at the age of 65, the former James Brown sideman shows no sign of slowing down. The king is dead, long live the king.

< Published in London Tourdates, 5/9/08.

Neil Cowley Trio: What's In A Name?

Fri, 25 Jul 2008 06:07:00 EDT

Neil Cowley is a jazz musician who doesn’t listen to jazz. Frederick Bernas talks to him about his 20-year career on the piano stool.

When their debut album Displaced was released independently in 2006, the Neil Cowley Trio received mixed reactions. Conservative critics with a penchant for old school hard bop and pure, traditional jazz were quick to ridicule the newcomers as noisy, obtrusive, brusque showmen who didn’t improvise enough. However, dissenting voices were soon drowned out by an expanding legion of younger fans that flocked to the piano-hammering Cowley, relishing the raw energy and colourful emotion of his music.

“At early gigs, we had – bless them – the old blue rinse brigade show up quite a lot, put their fingers in their ears, and leave quite early,” says the pianist over a coffee in Chiswick, before a recording session with Adele at Metropolis Studios.

Since beginning his performance career aged 11, Cowley’s musical journey has been long and zig-zagged, with stops or U-turns at almost every junction. “I joined a pub blues band when I was 14,” he explains, “and from that point I wanted to do it for a living – it was sexy, you got into pubs underage and girls loved you. From the blues band I was introduced to contemporary black American music and discovered funk, soul, Ramp;B and all that stuff.”

Cowley went on to join seminal funk outfit the Brand New Heavies, wearing flared trousers, playing Fender Rhodes and embarking on two world tours. “It was absolutely awesome, a pop spectacular way of living, a bit unrealistic in a way. It was a massive way to start and I’ve tried to diminish it into a world I can control ever since.”

Work with Zero 7 followed the Heavies gig, but after a period of busy touring it was time to settle down. He became one half of the critically successful chilled electronica group Fragile State, but in 2004 was forced to abandon the project as its record company liquidated. Time for another change: “I thought I would throw away the computer and focus on live music. We’d formed a jazz trio in 2002 and played standards, nothing too serious. But I started to realise I could have a voice within it and do something contemporary.”

Contemporary, indeed. Cowley’s group is the latest in a growing list of piano trios with the conventional jazz line-up that are pushing boundaries and breaking through the confines of the medium. The Bad Plus, the Esbjörn Svensson Trio (R.I.P. Esbjörn) and NY-based Israeli Avishai Cohen are among the frontrunners, but Cowley hesitates when asked about inevitable comparisons. “Strangely, I saw Esbjörn Svensson in 2002 and since then I’ve not listened to one single record, for fear of being subliminally influenced. Everyone says they hear those influences, whereas actually I avoid them like the plague because I don’t want to sound like them.”

The Trio’s second album, Loud… Louder… Stop! pays tribute to one of the aforementioned stuffy jazz purists – its title is a quote from a less than complimentary gig review. Cowley explains how “this guy saw us at the BBC Jazz Awards (where they won 2007 Album of the Year) and didn’t see what the fuss was all about,” before telling of how the group dealt with this apparent blow. “We thought ‘yeah, that’s genius really, it does sum up the band, he’s absolutely right and we’re not ashamed.’ So we named the new album Loud… Louder… Stop! and there’s a track called ‘Dinosaur Die’ which references that kind of thinking.”

The wit and cocky bravado which turned flak into flair has also worked its way into the Trio’s musical persona. A strong rapport exists between the three members; Cowley talks of the “usual smelly-men-on-tour antics” and a “collective sense of humour” they revel in. “We all get each other’s gags and jokes and that comes out on stage quite a lot. Throughout my early years I was dead scared to show any humour on stage – I thought it wasn’t credible to be flippant – but now we absolutely relish it. We relish coming out and not taking it too seriously, whereas before I took it extremely seriously. It’s good to be yourself on stage.”

This exciting live presence has won the Trio, which also features drummer Evan Jenkins and bassist Richard Sadler, a series of popular gigs in non-jazz settings. Recent appearances have been as diverse as Glastonbury, the Roundhouse (at Gilles Peterson’s ‘death jazz’ showcase), the Pizza Express Jazz Club (well, why not?) and Koko. Yes, the leading indie kid stomping ground. “We played at the iTunes festival,” Cowley explains. “It is odd, but they love it down there; they even put us up as Single of the Week. They can see the crossover potential, as it has something of the power trio about it.”

Herein lies the key to it all: crossover. Crudely speaking, it is a frightening power that can equally commit unspeakable crime (think jazz + pop = smooth jazz) and serve as a force for good (funk ÷ dub + poetry = hip-hop) in the artistic world. With Cowley’s highly varied career, it was perhaps inevitable he would end up pulling it all together into a complex amalgam of different genres: “I really don’t know what it is. On our MySpace page I put ‘neo-classical soul for shoegazers’ – it’s got everything we listen to in it. The format of the band is the jazz trio, but I hardly listen to jazz.”

Essentially, then, it is a jazz trio that doesn’t play jazz. Cowley appreciates that the band’s title has “made the battle harder” as it adopts the traditional naming system of jazz groups, but doesn’t seem overly fussed. “Obviously people are going to pigeonhole us because that’s what they do. Ultimately, they need to fit you somewhere in HMV, they need to put you in a section. You just need to put up with it and break on through – it’s all fusion really.”

And being bracketed does have its advantages. “There are a huge number of venues to play within jazz,” states Cowley, “so if you are someone who wants to play live, which I do, there’s no better genre to be part of. It’s having a revival in that sense – there are a huge number of places you can play and gigs you can target.”

“Our favourite pastime is converting people. We played at Glasgow Jazz Festival a few weeks ago and they put up a video of interviews with the audience. One guy said he had to drag two mates down to their first ever jazz gig and they were kicking and screaming; then they saw us play and were completely converted, they loved it.”

This widening appeal testifies that the modern mainstream can understand Neil Cowley’s music; a broad experience across different styles is arguably his strongest compositional tool. From driving, urgent, uplifting anthems to brooding, melancholically conscientious meditations, he uses a rich palette of mood and feeling with a distinct streak of confident humour. The Trio’s brash “balls-out” approach has emboldened with every gig – the blue rinse brigade certainly won’t be back for a while.

The Neil Cowley Trio play Pizza Express Jazz Club (0845 6027 017) on 24 July.

Published in London Tourdates magazine, 24/7/08.

Latin Funk Spectacular to hit Jazz Café

Tue, 22 Jul 2008 06:07:00 EDT

Tuesday 29 July will see two acclaimed Latin funk collectives take to the Jazz Café stage in a special gig to showcase new albums on Aire Sol Records.

Hailed as one of the hardest-working and most exciting bands to emerge from the States in the last decade, Grupo Fantasma draws on a wide variety of influences from the 1960s’ Fania All-Stars through to folk-fusion wonderkid Manu Chao. Sonidos Gold, released in June this year, is described by bandleader Adrian Quesada as “the one we’ve wanted to make from the beginning,” and features guest appearances from, among others, legendary saxist Maceo Parker. Prince is also a designated star fan, having given the 10-piece group a two-month residency at his Las Vegas nightclub.

Homenaje, the debut album from label-mates Brownout, was two-and-a-half years in the making. It was worth waiting for. Simmering, acerbic grooves, catchy guitar riffs and richly funky solos come as standard. It’s impossible not to feel the energetic party vibes - the CD is one to turn up and play loud, which almost always translates into a highly enjoyable live experience. In fact, you probably won’t be surprised to find out that the eight members of Brownout all play in Grupo Fantasma.

There is clearly a deep pool of talent in Austin, Texas — the home city of both groups. More importantly, they have evidently worked incredibly hard to bring their music to a global audience: the label was formed in 1999. Now they are reaping the rewards, with distribution deals and festival appearances to take things to a new level. Watch out.

Links:
Grupo Fantasma - www.grupofantasma.com / www.myspace.com/fantasmics
Brownout! - www.myspace.com/brownoutmusic / www.brownoutmusic.blogspot.com
Aire Sol Records - www.myspace.com/airesolrecord

Published @ Fly, 22/7/08 - click here for original.

Blink - Blink

Fri, 11 Jul 2008 07:07:00 EDT

Blink: Blink
LOOP Records

The latest offering from London’s infamous LOOP Collective, this eponymous debut features an unconventional bass-less trio of pianist Alcyona Mick, Robin Fincker on tenor sax and clarinet and drummer Paul Clarvis. All demonstrate considerable capabilities in the field of loose, open jazz which is experimental yet accessible.

Mick’s command of the low registers and occasionally percussive propulsion compensates for the lack of bassist, providing part of a stimulating backdrop for Fincker’s lean, airy tones to trace a weaving path. As if liberated, Clarvis shines in his use of textural variations away from the idea of a steady pulse.

This is ‘free’ jazz, but not in the extreme. Compositional similarities can be made to the likes of Polar Bear, The Blessing and Led Bib – a clear element of free-form collective improvisation is offset by a reticent yet unpredictable sense of control and direction. The balance has been finely cultivated, with track length maintained at a modest five-minute average: none of the solos are over-indulgent or tiring.

< Published in London Tourdates, 11/7/08.

Kenny Garrett - Ronnie Scott's, 2/7/08

Wed, 09 Jul 2008 08:07:00 EDT

Hackneyed cliché it may be, but Kenny Garrett really has done it all. Work with names such as Duke Ellington, Miles Davis and Herbie Hancock provides a mere glimpse of his glittering CV, augmented by recording dates for labels including Atlantic, Warner and Nonesuch.

At Ronnie’s he was joined by Lennie Stalworth on bass, Jeff Motley on organ and impressive young drummer Justin Brown. The opening number was reminiscent of Davis’s late fusion group, in which Garrett prominently featured, and he opted to play his alto through a variety of electronic effects. Its fluid, shimmering tone was cheapened to the level of poor quality synth sax and struggled for penetration above the bustling band.

This alarming trait continued, with Garrett often abandoning his horn to join Motley on a second keyboard. Not a wise move. Indeed, it was Brown on drums who threw up the most surprises; his energetic, imaginative cross-rhythmic ideas saved many tunes from turning into drearily predictable elevator music.

Garrett’s apparent preference for cheesy smooth jazz in the vein of near-namesake jazz pariah Kenny G will leave purists foaming at the mouth. A final grandstand version of ‘Happy People’ served as the perfect example: with its gospelesque organ vamps and cringingly catchy sing-along sax melody, accompanied by animated calls from Garrett to bring the crowd to its feet for repeated choruses, it represented an undeniable trend of “selling out” to popular appeal.

The performance’s jazz merit was questionable – especially in relation to Garrett’s established post-bop credentials. However, if judged only against itself, it cannot fail to satisfy. The skull-capped saxophonist’s open defiance of “Quiet Please” jazz club decorum demands respect. How often does a full house at Ronnie Scott’s rise as one to sing, dance and applaud? Traditionalists will always take issue, but lovers of enjoyable good-time music have a powerful counterargument.

Published at jazzwise.com, 9/7/08.

Ponto de Equilíbrio - Abre a Janela

Fri, 30 May 2008 01:05:00 EDT

Formed in a Rio de Janeiro hippy refuge in 1999, Ponto de Equilíbrio blend traditional aspects of roots reggae with musical flavours from across Brazil into an utterly distinctive and highly refreshing individual sound.

The group's second album, Abre a Janela, conveys a similarly diverse selection of moods and emotions, from deep, mellow grooves such as 'Janela Da Favela,' to summery upbeat songs like 'Verdaderio Valor' or 'Tão Bela' and a delightful cover of Bob Marley's classic 'Soul Rebel'.

Lead singer Helio Bentes plays the expected principal role with a richly animated and passionate voice, perfect for reggae. However, this does not deprive other band members of opportunities to express themselves. All the songs are finely structured with verses often sparingly allocated, augmented by the hovering ghostly presence of sweet female backing vocals and sharp horn arrangements. It is certainly more than a sum of its musical parts, tailored wonderfully by producer Chico Neves.

'Ponto de Equilíbrio' translates as 'Point of Equilibrium' – an excellent reflection of the myriad of musical characters present, all balanced and brought out in equal measure. No single element is dominant or overriding. Afro-Brazilian dance rhythms such as maculele, capoeira and maracatu, as well as dub and ska, are all underpinned by the constant spirit and feel of roots reggae.

On another level, the band name references the balance point between equality and love, injustice and war, and political messages are present on several tracks. 'O Inimigo' (The Enemy), for example, is an attack on the Brazilian establishment. It represents a fervent cry for people to fight the well-documented social segregation and racial discrimination which ravages Brazilian society. Spiky horn stabs punctuate the opening verses, and a later passage of rapped lyrics over minimal dub background provides an interesting contrast.

Abre a Janela is a set of tunes as colourful and striking as its album artwork. It captures the sheer diversity of history, culture and life in Brazil – each track has its own distinct personality. Neves has succeeded in harnessing the considerable powers of this talented band and making them sound great: the CD has been on daily rotation since it arrived, which is possibly the greatest praise any record can receive.

Published @ Fly, 30/5/08 - click here for original.

James Carter - Present Tense

Sat, 24 May 2008 07:05:00 EDT

James Carter may not yet be forty, but he possesses a degree of instrumental mastery which could easily be a lifetime's work. At different stages of this record, the versatile multi-instrumentalist plays tenor, soprano and baritone saxophones as well as flute and bass clarinet, all with equal power and precision.

This diverse approach to instrumental voicing is reflected in the range of material selected for Present Tense, Carter's first outing as a leader since 2005. From pacey post-bop inflections to silky Latin sensibilities and delicately nuanced ballad playing, it's all here. Producer Michael Cuscuna was keen to capture Carter's varied musical palette on a single disc, and by all evidence has done a fine job.

"Song of Delilah," an old favourite of Clifford Brown and Sonny Rollins, receives a modern hip-hop treatment from drummer Victor Lewis and bassist James Genus, and features Carter dueling with himself on two overdubbed tenor sax tracks. "Hymn of the Orient" is the record's unexpected gem, spotlighting Carter's baritone expertise and a series of lively interchanges with Lewis and Dwight Adams on trumpet. In terms of the leader's own writing, "Bro. Dolphy" is a composition of shifting moods and movements that climaxes with a furious face-off between trumpet and bass clarinet.

Carter has succeeded in assimilating the old school and simultaneously applying a contemporary personal touch to this great set of aptly chosen tunes. Trademark expressive, colorful solos are present for all to enjoy but despite occasional flamboyance, nothing ever sounds out of place: his improvisation is characterized by a wonderful coherence of thought, with ideas and motifs flowing effortlessly together in a way so many sax showmen struggle to grasp.

Present Tense may not go down in jazz history as a landmark recording, but it is an excellent CD which has done pleasing justice to the multi-dimensional talents of this modern master. James Carter's music is relentlessly fresh and enticing - remember the name.

Published @ allaboutjazz.com, 24/5/08 - click here for original.

Antibalas / The Budos Band - Jazz Café, 19/4/08

Sun, 20 Apr 2008 10:04:00 EDT

A perfect warm-up for what was to come, The Budos Band took to the stage with well-synchronised, driving compositions and sharp melodies, matching the flawless studio sound of their two releases on Daptone Records. Definitely worth a headline slot in future, it surely will not be long before this materialises.

The 11-man force that is Antibalas didn't fail to make expected impact, playing a two-hour marathon set which built in momentum. Layers of polyrhythmic percussion were augmented by dual guitars and a horn section which never missed a trick. The band radiated a powerful, vigorous energy to get the whole place moving.

Hailing from Brooklyn, New York, this eclectic collective has assimilated roots knowledge of Afrobeat and infused rich flavours of funk, jazz, Latin and folk into a unique musical recipe. There is also a distinct political edge to many tunes, such as the bitterly rebellious 'Indictment', furiously orated by a rabble-rousing saxophonist on a mission to stir up the primarily London-yuppy crowd.

Even in calmer moments, the standard formula produced hypnotic, trance-inducing grooves ideal for the array of talented soloists to let rip on. Famed for random appearances at street parties all over NYC, Antibalas often play three or four hours. It wouldn't have got boring.

< Published (in part) in London Tourdates magazine, 15/5/08.

Polar Bear - Ronnie Scott's, 8/4/08

Wed, 09 Apr 2008 07:04:00 EDT

London's famous jazz club has been going through troubled times. In December 2007 its artistic director resigned amidst criticism that the venue's booking policy was veering away from the mainstream, hard jazz it is known for.

Considering such complaints, it was surprising to see Polar Bear in the listings. Led by drummer Sebastian Rochford, the group has recently established itself as a trailblazer on the UK's progressive jazz scene. Rochford is joined by a stellar array of musicians. The front line consists of saxophonists Mark Lockheart and Pete Wareham (also leader of Acoustic Ladyland), supported by electronics guru Leafcutter John and bassist Tom Herbert, formerly of Acoustic Ladyland and a long-time associate of Rochford and Wareham.

The musical relationship between this core trio drives the band forward on its journey into the realms of what many people see as the future of jazz. Intricate, interwoven compositions come as standard, with the two tenor saxes moving between moments of complementing one another with rich countermelodies and fiercely duelling each other to a backdrop of frenzied polyrhythms and blasts of seemingly random noise. Such a group of talented players on the same wavelength, completely in the element and bringing the best out in each other, is gripping to witness.

However, much of the loud chaos of Polar Bear's Bristol gig in May 2007 was sadly not replicated. Most tunes took on a familiar feel—darkly cinematic, brooding—but a sense of increased sobriety, or palatability, may have been stipulated by the club. Lockheart and Wareham frequently stepped off stage as metaphorical dust settled. The band's collective emphasis shifted to accentuating the fine subtleties of Rochford's compositions, with occasional moments of sudden crescendo that disrupted the mood of the jazz diners. Not a bad performance, but the atmosphere was very subdued in relation to previous experience.

It is a shame that one of the country's most exciting groups may have had to tone itself down at a venue which should encourage the opposite. If outside pressure is not the explanation, this move simply represents a dramatic change in the band's dynamic. Perhaps all will become clear at the Colston Hall in Bristol on April 20, when Polar Bear returns, and with the upcoming album on Tin Angel Records.

Published at allaboutjazz.com, 19/4/08 - click here for original.

Robert Mitchell amp; Omar Puente - St Cyprian's, 1/4/08

Wed, 02 Apr 2008 07:04:00 EDT

This unlikely duo of acoustic piano and electric violin allows Robert Mitchell and Omar Puente to stretch their considerable abilities beyond the confines of a conventional jazz group. Perhaps more unconventional was the venue, literally a Church of Jazz, tucked away near Baker Street in central London.

This was the perfect acoustic for such a performance. Mitchell and Puente played a variety of standards, originals and a couple of Spanish songs, on which the Cuban violinist also sang. A highlight was Mitchell's composition 'Envoy,' a tricky piece in seven. The pianist demonstrated his outstanding technique during an extended solo: his left hand would often hold a basic riff while the right took the lead, but he was not afraid to turn things around with the right maintaining fast sequences while the left struck down percussively or elaborated an improvised countermelody.

Puente also displayed the breadth of his technique, frequently switching between arco and pizzicato – the latter often offering provocative interjections during Mitchell solos. When the roles were reversed, Puente took the central position with intense, fiery improvisation that has won him sideman gigs with Courtney Pine, Denys Baptiste and others. His compositions were varied, expansive and occasionally complex, proving he is equally gifted with pen and bow; 'Swings and Roundabouts' is a work of several movements, from cautious overture through to intricately lyrical melodies and sharp bursts of simultaneous percussive co-ordination. 'Somebody Backstage' reflects the same diverse character, but takes more of a relaxed ballad feel.

A finely honed understanding exists between these two musicians, who really bring out the best in each other. It's great that the F-IRE Collective has enabled this wonderful rapport to be captured on CD: Bridges was released in 2006. The partnership is a breath of fresh air for devout jazz fans and accessible enough for lovers of classical chamber music to enjoy.

Published @ allaboutjazz.com, 23/4/08 - click here for original.

Richard Bona - Jazz Cafe, 30/3/08

Mon, 31 Mar 2008 12:03:00 EDT

It's an incredible story. Born in a small village in Cameroon, Richard Bona was raised by a musical household and developed a talent for building instruments. As a teenager he was inspired to take up bass guitar after hearing Jaco Pastorius. In 1995 he moved to New York and has flourished into an international star.

That is the short version. At the Jazz Café Bona quickly established a rapport with his audience, cracking a few jokes while the sound man sorted out an errant monitor. His warm sense of humour shone through at frequent intervals, such as a moment of mocking the classic lack of rhythm suffered by many gig-goers in this country.

Two exceptional elements of the music stood out: Bona's expressive, sweet-sounding, flexible voice and his equally dexterous bass playing. Both were drawn together for a trademark display of simultaneous scat-singing and blistering finger-picking, his left hand speeding up and down the fretboard with virtuosic precision. Interested readers are advised to check out youtube for examples of this unique capability.

Moods varied from relaxed ambience to deeper, sharper grooves and a regrettable smattering of smooth jazz. A couple of Kenny-G-esque numbers were only saved by the charm of Bona's vocals and a steady Latin undercurrent provided by percussionist Samuel Torres. However, the evening's highlight was when the multinational backing band walked off stage completely. Left all alone (and without his bass), Bona used a loop pedal to layer up vocal harmonies, magically turning himself into a one-man choir.

This must have been one of the quietest recent gigs at the Jazz Café, perhaps intentionally: the Sunday-night crowd remained in absolute silence for long periods. Despite phases of duller instrumentation verging on pop, the songwriting encompasses a broad range of genres and Richard Bona is a highly gifted performer.

Published @ Fly, 8/4/08 - click here for original.

John Scofield - Jazz Cafe, 29/3/08

Sun, 30 Mar 2008 01:03:00 EDT

How to begin a review of a concert at which one's musical outlook has been picked up, shaken about, flung around haphazardly and finally set back down in a completely different state?

John Scofield has enjoyed a rich and varied career, the nature of which is aptly mirrored in his guitar playing. Material from his latest album, This is That (Emarcy, 2008), was the subject of his two-night stand at London's Jazz Cafe. The occasion was an increasingly rare instance of the venue living up to its name: jazz doesn't get much more serious than this.

Scofield's classic trio format, with stalwart sideman Bill Stewart on drums and bassist Matt Penman ably deputising for Steve Swallow (who plays on the album), was augmented by a three-piece horn section. This textural color added another wonderful dimension to the guitarist's already intricate musical language. Whether providing sharp stabs of sound on "Heck of a Job" or smoother, elegant chords on a number such as "Shoe Dog," the arrangements were perfectly fitted. This exciting orchestral resource could have been easily overused, but Scofield's playing remained at the forefront while the core trio was never crowded out. Though never intrusive, the unusual orchestration remained vivid and unpredictable at the same time.

As for the man himself, he possesses one of the most unique guitar voices in modern music. Its bendy brilliance, from twisted country to straight-up bebop and funk-drenched wah effects, represents an eclectic yet historically comprehensive journey for the active listener. The layers of altered harmony which spring up between passages of blues, bop or casual swing can sound strange and unusual but never wrong or misplaced. Think Wes Montgomery crossed with Jimi Hendrix and that's not even half of the story.

As a creative concept, Schofield's music is highly accessible for devotees of all the aforementioned genres—as the Jazz Cafe's booking manager would no doubt testify. And when Scofield steps out to centre stage, his epic facial contortions matching the howl of his electric guitar, there is something undeniably rock'n'roll about this balding 56-year-old from Ohio.

Published @ allaboutjazz.com, 9/4/08 - click here for original.

Acoustic Ladyland - Vortex, 28/3/08

Sat, 29 Mar 2008 12:03:00 EDT

As the act which opened the new Vortex in 2005, Acoustic Ladyland hold a special place in the hearts of many club regulars. The band returned on March 28 to a full house of over 100 people, with the usual table layout abandoned to create an entirely different atmosphere.

It is a standing audience which pushes the quartet to perform at its highest level. Saxophonist-turned-singer Pete Wareham looked the part in a white suit jacket and black skinny tie; he has appropriated the role of enigmatic frontman with relish and zeal. Many of the songs saw him switching swiftly between instrument and voice, and he had broken sweat within ten minutes. This conception of the sax taking the lead in a frenzied, punky setting distinguishes his tone and phrasing from any of his contemporaries.

The rhythm section were exciting, often unpredictable. Tom Cawley on keys was typically percussive, at times smashing down open-handed in a seemingly random fashion or producing twisted impressions of a demented ice cream van chime. Seb Rochford and Ruth Goller (drums, bass) were as tight as could be expected from the band's recent gigging, even if the bass may have been a little quiet out front.

Over the course of three albums, the Acoustic Ladyland sound has become increasingly hard to define. Is it punk jazz? Is it progressive rock (albeit with no guitar in sight)? Is it pure avant garde experimentalism? Wareham is reluctant to bracket the music into any genre and it is easy to see why. The result is a group that can surprise and enlighten in equal measure, which will surely continue its rapid rise and develop cult status over the coming years.

Published @ allaboutjazz.com, 25/4/08 - click here for original.

Afrobeat: Tony Allen and Antibalas - Jazz Cafe

Fri, 28 Mar 2008 12:03:00 EDT

Within the space of one month, London's Jazz Cafe plays host for two singular names in the Afrobeat genre: representing the old guard is Tony Allen, one of the foremost figures in the music's inception. Representing the new generation is the Antibalas Afrobeat Orchestra, a wild collection of New Yorkers with its own niche on the international circuit.

Tony Allen is living history. One of the pioneers of Afrobeat, along with the legendary Fela Kuti, he has been described by Brian Eno as "perhaps the greatest drummer who has ever lived". This towering reputation and illustrious past warranted high expectations of his group when they played a packed Jazz Café on March 27.

As I entered to a stream of pulsating beats and hypnotic basslines, it was disappointing to see only a single brass player on stage. Although he put up a valiant effort, the simulated chorus effect on Nicholas Giraud's trumpet was a long way from the heavy barrage created by a full horn section which is so vital to the genre.

The band was tight enough, driven forward by Allen's ever-changing rhythmic variations assimilating jazz, funk, African highlife and other traditional styles. Bassist Rody Cereyon produced the evening's most memorable solo, drawing screams of respect and encouragement from the Thursday night crowd, and it was clear that all the musicians were sharing this enjoyment.

However, there was something else missing from the performance. Many of the songs began strongly but proceeded to lower in tempo, lacking the verve and bite of Fela's recordings. The in-your-face bullishness and rebellious attitude which defined early Afrobeat was scarcely detectable. Perhaps Mr Allen has calmed with age – he is nearly 70 – but I can't help thinking a larger band would have greatly benefited the cause.

The value of numbers will surely be proven when New York's 12-man Antibalas Afrobeat Orchestra invade the same venue in April. Fresh from the recent release of Security, the group has firmly established itself as a leader of the genre by touring extensively in North America and Europe.

In the same way Tony Allen incorporates other music into his unique drumming voice, the Antibalas sound consists of many diverse elements beyond its African core. It is a potent reflection of the cultural melting pot that is New York City: funk, folk, jazz, Latin and soul are all detectable, spearheaded by a five-piece horn section and several polyrhythmic percussionists. Lyrics often display a defiant streak in the fine tradition of Afrobeat itself.

If Antibalas can maintain current momentum, the Brooklyn-based collective will surely continue to draw massive crowds and rave reviews alike. The next few years are going to be crucial in the development of what may well become a seminal force in world music.

Another name currently in the vanguard of new Afrobeat is The Budos Band. Hailing from the slightly more genteel surroundings of Staten Island, NY, this 11-piece unit has released two albums on Daptone Records. The Budos will be supporting Antibalas to complete a mouthwatering double bill on April 19 at the Jazz Cafe.

Published @ Fly, 15/4/08 - click here for original.