tag:blogger.com,1999:blog-220275222024-02-20T00:57:18.515+00:00Babel blogDiscussions,ideas and rants from The Babel Label, in London.
Music and more on www.babellabel.co.uk
@babellabel. Like Babel Label on FacebookUnknownnoreply@blogger.comBlogger374125tag:blogger.com,1999:blog-22027522.post-79489188236223439472016-09-08T11:19:00.001+01:002016-09-08T11:19:43.141+01:00Art and music<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">It’s not far from the parts of the brain stimulated by art and by music. Perhaps that's why artists and musicians seem so often to work hand in hand. Most obviously in the jazz scene here in London as an artist is Gina Southgate who has a regular display at the Vortex. </span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">A third leg of this creative stool is maths/science. Eloquently put by the book “Gödel, Escher, Bach” by Douglas Hofstadter. And there is an evocative subtitle “An eternal golden braid”</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Very rarely do all three come together. But very frequently there are two out of three, such as my own awareness of Escher and Bach, but not Gödel. Einstein was a violinist, as was Paul Klee and many artists passim who have become musicians, with two springing to mind being Terry Day and Leafcutter John. The art school movement of the 60s has a lot to answer for. Miles Davis could paint (of sorts). Evan Parker was originally a botanist, and Jake McMurchie (who leads Michelson Morley) studied maths. </span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">My usual immediate reaction to the influence of science on art is that there is a strong precision involved, such as meticulous anatomical drawings by the like of Leonardo. Jazz musicians are usually logicians, solving problems of how to make music out of chord sequences, but also how to integrate with the musicians around them, as well as being able to assert their individuality.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixuvEWVOdA6gSn8hzrrybbRbw7yZkH-ZqqgoDrqhM6Omtm5Y9eoVzpJWsHiVtg8e7hyVoUe8y8DAO1Np0jSRccZylveTh1LtUIZz5GqHhfk1S81sxRrht-kNmfE-e96tRaLbu1/s1600/IMG_2449.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixuvEWVOdA6gSn8hzrrybbRbw7yZkH-ZqqgoDrqhM6Omtm5Y9eoVzpJWsHiVtg8e7hyVoUe8y8DAO1Np0jSRccZylveTh1LtUIZz5GqHhfk1S81sxRrht-kNmfE-e96tRaLbu1/s320/IMG_2449.jpg" width="267" /></a></div>
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<b id="docs-internal-guid-9ad437a5-0938-a24f-11a9-8d3d357d39e5" style="font-weight: normal;"><br /></b>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">My thoughts on this have been further influenced by my contact with mathematician turned artist Aurelie Fréoua. She uses terms and concepts such as ‘order’ and ‘chaos’, homing in on the spiral and on colour. But there is something which hooks up to jazz and even improvisation. Her work seems to have movement to it. Her spirals have intriguing ways of moving around colours, by the way that the paint is applied. While her abstracts start with her working from a wholly blank canvas, going with the flow, before actually recognising imagery which emerge from her subconscious. So there is an element of improvisation.</span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Like any good artist, she is fearless, though well aware that her work needs to communicate. </span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This was the case in a portrait of me that she has done. Completely transforming my complexion, clothing and hair but getting over her own vision of me!</span></div>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 14.666666666666666px; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">She has been developing in a parallel way to many musicians whom I know and using the same attitude. I wonder if she will respond as much to the music as a stimulus to creativity, in the way that many musicians have responded to art?</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-5245724891443440902016-09-08T11:15:00.000+01:002016-09-08T11:15:41.909+01:00The new Vienna School of Jazz: Namby Pamby Boy and Vienna Improvisers Orchestra 2016<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">The Vi<span style="font-family: "times" , "times new roman" , serif;">ennese jazz scene <span style="font-family: "times" , "times new roman" , serif;">is evolving. And, <span style="font-family: "times" , "times new roman" , serif;">with the s<span style="font-family: "times" , "times new roman" , serif;">igning of <a href="http://www.nambypambyboy.com/">Namby Pamby Boy </a>on Babel, we are part of it. <span style="font-family: "times" , "times new roman" , serif;">I went to Vienna for the launch of the new eponymous album<span style="font-family: "times" , "times new roman" , serif;"> at Konzerthaus. And enjoyed a great gig<span style="font-family: "times" , "times new roman" , serif;"> with over 250 there. How would I describe it? <span style="font-family: "times" , "times new roman" , serif;">Bit<span style="font-family: "times" , "times new roman" , serif;">s of early Acoustic Ladyl<span style="font-family: "times" , "times new roman" , serif;">and, L<span style="font-family: "times" , "times new roman" , serif;">ed Bib, prog, <span style="font-family: "times" , "times new roman" , serif;">New York downtown<span style="font-family: "times" , "times new roman" , serif;"> (reflecting Fab Rucker<span style="font-family: "times" , "times new roman" , serif;">'s work with Bobby Previ<span style="font-family: "times" , "times new roman" , serif;">te perhaps)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span> and snatches of the app<span style="font-family: "times" , "times new roman" , serif;">roach of Weather Report<span style="font-family: "times" , "times new roman" , serif;"> (which <span style="font-family: "times" , "times new roman" , serif;">of course was founded by an Austrian, Joe Zawinul). It has <span style="font-family: "times" , "times new roman" , serif;">a lot<span style="font-family: "times" , "times new roman" , serif;"> of<span style="font-family: "times" , "times new roman" , serif;"> drive and pos<span style="font-family: "times" , "times new roman" , serif;">itive enthusiasm<span style="font-family: "times" , "times new roman" , serif;">, <span style="font-family: "times" , "times new roman" , serif;">which could make it one of those <span style="font-family: "times" , "times new roman" , serif;">bands that we dream of - which can, without co<span style="font-family: "times" , "times new roman" , serif;">mp<span style="font-family: "times" , "times new roman" , serif;">rom<span style="font-family: "times" , "times new roman" , serif;">ise, perform also <span style="font-family: "times" , "times new roman" , serif;">in 'non-jazz' en<span style="font-family: "times" , "times new roman" , serif;">vironments. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>Of course<span style="font-family: "times" , "times new roman" , serif;">, there was the Vi<span style="font-family: "times" , "times new roman" , serif;">enna Art Orchestra, which spawned a number of great musicians, such as Wolf<span style="font-family: "times" , "times new roman" , serif;">g<span style="font-family: "times" , "times new roman" , serif;">ang Puschnig as well as leader Matthias Rüegg. Matthias, along with Christoph Huber, was one of the founder<span style="font-family: "times" , "times new roman" , serif;">s of Porg<span style="font-family: "times" , "times new roman" , serif;">y & Bess, <span style="font-family: "times" , "times new roman" , serif;">one of<span style="font-family: "times" , "times new roman" , serif;"> a handful of imaginative jazz clubs continuing in Europe to<span style="font-family: "times" , "times new roman" , serif;">d<span style="font-family: "times" , "times new roman" , serif;">ay. Another important 'link' in the Austrian chain is Peter Herbert, the bassist who is on a couple of albums with Huw Warren, as well as Christine Tobin's 'Deep Song'.</span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></span></span></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Now we are coming across <span style="font-family: "times" , "times new roman" , serif;">a great new generation. Hannes Riepler brought over some about two years ago: the Pichler brothers and Maria Neckam. Mark Holub, of Led Bib, is now in Vienna too, and has come over with violinist Irene Kepl, on a couple of occasions. A trio involving Swiss singer Andreas Schaerer and two Austrians (Schaerer-Eberle-Rom) performs at Cheltenham. Pianist Elias Stemeseder is in Jim Black's present band</span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></span></span></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Meanwhile, Julian Argüelles is beginning to work teaching magic on the next generation as a professor in Graz, one of the longest-established conservatoires teaching jazz.</span></span></span></span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span></span></span></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">I got to hear some of the others also, when I went to the Zoom festival organised by Jazzwerkstatt. </span></span></span></span></span></span></span></span></span></span>The Vienna Improvisers Orchestra was the final concert. <span style="font-family: "times" , "times new roman" , serif;">It is always intriguing to differ the various Improvisers Orchestras around Europe, such as those in London, Glasgow, Amsterdam (the Royal IO). This one is very much the brainchild of Michael Fischer who really makes the group move like a single instrument. The VIO's texture seemed to be strongly influenced by strings accounting for nearly half the line-up and also a strong vocal duo. Fischer allows a lot of space to many of the instruments to solo extensively. Particularly noteworthy, to me, was that of Alex Kranabetter on trumpet who was able to take advantage of the many sonic capabilities of the instrument, sensitively sputtering as much as playing technically clearly.</span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "helvetica";"><span style="background-color: white;">As with many such improvised gigs, it was a mixture of getting involved in the process, and enjoying the elements in the middle of the set, but it led to a grand climax which was worth the wait. So, watch out! The Austrians are coming.</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "helvetica";"><span style="background-color: white;"><br /></span></span></span></span><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/160081951" webkitallowfullscreen="" width="640"></iframe>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-30691830830513549252016-04-30T10:47:00.001+01:002016-04-30T11:34:49.134+01:00Jazzahead - some thoughtsJazzahead is the big jazz trade fair that has developed over the past ten years. It is now pretty vast. Despite spending three days there, there were so many people I missed meeting and working out ideas with.<br />
I spent most of it with my Babel hat on, as there are several new albums - not least Namby Pamby Boy and the new duo of Elliot Galvin and Mark Sanders. Indeed I sat mainly on the Austrian stand!<br />
It is rather enjoyable to have a question and find the specific person who might have the answer face to face. If it be about a venue in Estonia or a festival in Poland, the people who know are there.<br />
But there are some new trends that I feel are there. And particularly I am concerned about the changing balance of live music - moving more and more towards festivals and away from the regular venues. I reckon, for example, that there are now not more than 10 venues in the whole of Europe putting on adventurous jazz with proper fees on a regular basis. The Vortex is a second tier, with much more limited resources. However, the number of festivals is growing and growing.<br />
Festivals are a great way for audiences to experience new things intensely. But there are only 52 weeks in a year. What about the rest of the year?<br />
Take London. A dense and intense festival for 10 days in November. But on 15 February? Or 18 June?<br />
I noticed this for the number of great young bands who have played at the Match and Fuse festival last October (N.B. 28, 29 October this year.) Now they are asking when they can play the Vortex again. I wish we could oblige them all.<br />
Other things I found out - many bands are able to get travel support from their home countries to perform overseas. Unfortunately not, in general, UK bands. How can we 'compete'?<br />
I sorted out the basics of our festival with Intakt in 2017. There is already a bit of information on the Vortex web site.<br />
Showcases are patchy in quality when delivered, if not on paper where most look pretty mouth watering. It's part the problem of selection by 'committee'. However hard they try, the results are not always as good as they should be. Some, indeed, are probably not necessary for a showcase, as they have a commercial quality already or the musicians are known already.<br />
Another part of the problem is that the groups only have 30 minutes. That puts a pressure on the band that means that the gigs don't really allow the bands to open out.<br />
And a third is the time slot. A clear example here was Bokani Dyer, whom we at the Vortex know and love dearly. He had travelled all the way from South Africa and the showcase was at 0030. So the venue was a bit sparsely attended.<br />
And certainly we have booked a few bands off the back of Jazzahead, even if a couple of years later. Such as Kaja Draksler last year, or Julia Kadel (playing in June)<br />
I realise that the organisers are really trying hard to balance things out.<br />
And a final thought is about how the press are beginning to disappear a bit off covering the scene. Very few proper 'press' journalists there, though I did meet the main German magazines and Downbeat. Things are moving more towards blogs and DAB stations on radio. For example, I was happy to meet Jez Nelson and Chris Philips, now radio buddies again at Jazz FM. But I most notably see it at the Vortex. For the past two nights, we have been privileged by the company of Bobo Stenson; while on Sunday and Monday, we have Tim Berne's Snakeoil. In the past BBC would probably recorded at least one of these (or else Enrico Pieranunzi who appeared at the start of April). Not a single journalist has asked to attend, nor a radio person. Likewise, relatively little advance coverage in the nationals such as Guardian. We need to redress this balance. Thoughts please?Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-22027522.post-42989601630492888692016-04-30T10:28:00.001+01:002016-04-30T10:28:39.007+01:00May at the Vortex<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx3o3FInmUmx_IfqPEyyE_N4IiilSw2tbvEHin_mjJsKi6tJ0Vo8txbfXeeDbAmbISAG9eoLKJZ6SPWQnv2pc3MOV0gRFQ2XxQ1mmYCcCIfk3CUwo9KCFH9pSDf0Qsq4DPMhWC/s1600/Tim-Bernes-Snakeoil-009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx3o3FInmUmx_IfqPEyyE_N4IiilSw2tbvEHin_mjJsKi6tJ0Vo8txbfXeeDbAmbISAG9eoLKJZ6SPWQnv2pc3MOV0gRFQ2XxQ1mmYCcCIfk3CUwo9KCFH9pSDf0Qsq4DPMhWC/s320/Tim-Bernes-Snakeoil-009.jpg" width="320" /></a></div>
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Some great highlights as ever at the Vortex in May.<br />
It starts with Tim Berne's latest version of Snakeoil, now up to a 5 piece for two nights on 1 and 2 May.<br />
Elliot Galvin then previews the material from his upcoming trio album on 3 May. There will also be copies available of his new duo album with Mark Sanders, which won't be formally appearing on Babel till September.<br />
More great pianists during the month. (I am a sucker for them!) Perhaps the one we see/least is Lucian Ban on 12th, in duo with Mat Maneri.<br />
Barry Green (4th) John Law on 5th; Marco Marconi (11th) Tom Cawley with Trio Red (17th); Pat Thomas (19th); Sam Leak and Bruno Heinen both playing solo (22nd) and ending with more solo (and quartet) from the marvellous Huw Warren (27th). And not forgetting Alexander Hawkins playing with Evan Parker (26th).<br />
Gilad Hekselman, who has become one of our favourites, is back with Petros Klampanis on 29th.<br />
Last but certainly not least, do check out the stars of the future with the Royal Academy of Music finals students on 30th and 31st.<br />
Meanwhile Christine Tobin is back for two nights on 23 and 24 May (along with another piano genius Steve Beresford) in Brian Eley's special show about Alzheimer's.<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-50993216576319468862016-04-03T15:13:00.001+01:002016-04-07T09:45:06.430+01:00 April at the Vortex<div class="separator" style="clear: both; text-align: center;">
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While the programme of the club is ongoing, there are always a few highlights and connections that seem to spring out every month.<br />
This month, the programme is topped and tailed by gigs involving two of the most influential European pianists in jazz.<br />
<b>Enrico Pieranunzi</b>. Comes in on 4-5 April. It's a privilege that Enrico's London base has become the Vortex. We have had a trio with Geoff Gascoyne and Enzo Zirilli as well his <a href="https://youtu.be/KVMPARdfGuI">Racconti Mediterranei </a>involving the gorgeous clarinet of Gabriele Mirabassi.<br />
For his concerts this time, half will be with a trio involving Andrea di Biase and James Maddren (and adding Fulvio Sigurta on 5) and the other half will be him playing solo. His touch is very classic, so it's not surprising when I found an album that he has done of Scarlatti sonatas.<br />
At the end of the month, we have <b>Bobo Stenson</b>, playing with Martin Speake. They recorded together for ECM about a decade ago. Bobo has, along with JT, defined European piano identity for Europeans. They last played together at the Vortex in 2009 and you can see the result <a href="https://youtu.be/90QvrmMgBPI">here</a>.<br />
Put 28 and 29 in your diaries.<br />
But it's a month with all sorts of other things that one can be excited by.<br />
On 12th, the <b>Deep Whole Trio</b>'s gig coincides with Paul Rogers' 60th. So come to the party!!!<br />
We are lucky that a couple of specials are there to co-ordinate with Stewart Lee's curated All Tomorrow's Parties festival. Namely on 10th, <b>Alan Wilkinson</b>'s trio will play early evening and on 24th, we'll have Tania Chen.<br />
I look forward to the gig on 10th in the evening. <b>Terry Day</b> seems to be playing better than ever at present. And it'll be great to have Tom Challenger and Shabaka Hutchings sparring, along with Jonathan Impett on trumpet (who was on the Babel albums by Amit Chaudhuri) and Peter Urpeth coming down from the Hebrides.<br />
21st - <b>James Allsopp's Organ Trio</b>. This guy is always a blast. And he now seems to be becoming a member of <b>Pigfoot</b>. Let's see for sure on 30th, when the band celebrates 1972, a year of good and bad no doubt.<br />
But then I can't forget that <b>Stan Sulzmann</b> is back as is <b>Carol Grimes</b> and we can hope that <b>Gilad Atzmon</b> will be focussed on his horn playing, where he is uncontroversially top notch. Good to hear him taking on Coltrane. Denys Baptiste did this a few weeks ago and it led us into the stratosphere.<br />
We, at the Vortex, also take certain young musicians to heart. One such is <b>Camilla George,</b> who is back on Wednesday. A lovely saxophonist in the making, with pianist Sarah Tandy firing things up behine.<br />
Anyway, as I called the month 'topped and tailed by two great pianists', so too this blog post.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-63763107621411505642016-03-19T13:56:00.003+00:002016-03-19T14:03:03.506+00:00Some Babel newsBabel Label at times gets forgotten in the hype of some of the new artists/labels on the scene. We've now been going for 22 years. But if you look it's been a good touchstone of some of the best of British jazz over this period. I am proud to see that, for one of the last Jazz on 3 programmes dedicated to British jazz, Babel-related stuff has a prominence. Check out the programme on <a href="http://www.bbc.co.uk/programmes/b072hwj8">http://www.bbc.co.uk/programmes/b072hwj8</a> and you'll hear Django, who nearly appears on a few Babel releases, but definitely as part of True Love Collection and Skull View, Big Air, which Babel proudly released in 2012, Acoustic Ladyland, whose first two albums were on Babel, TrioVD, and Steve Williamson, whose first recording for 20 years was with Black Top, released in 2014.<br />
So, I would like to think that new Babel stuff is worth checking out - and owning.<br />
Coming soon:<br />
Michelson Morley - the band led by Jake McMurchie<br />
Brass Mask Live - led by Tom Challenger and with a launch gig to come on 30 March at Rich Mix<br />
The Saberton Album - a tribute to Pete Saberton, perhaps less known by the public but revered by musicians from all generations over here.<br />
Elliot Galvin and Mark Sanders - one of the best young pianists teamed up with a great great drummer, who is a father figure to many.<br />
In addition, the first two forays into bands who have no direct connection to these shores. Perhaps as the British seem to be bringing out their Europhobia, we are doing our bit for the opposite:<br />
Hermia Ceccaldi Darrifourcq - we know Sylvain D from his work with Kit Downes. Valentin Ceccaldi is one of the most dynamic cellists, belying his young age, and Manu Hermia has been ploughing a furrow acrosss the Belgian scene<br />
Namby Pamby Boy - Fabian Rucker's Austrian posse. As with many of these groups, the name of the band is ironic. Their new album is launching on 8 April at Konzerthaus in Vienna.<br />
You can buy them via <a href="http://www.babellabel.co.uk/">www.babellabel.co.uk</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-68909019322491809422016-03-14T15:18:00.001+00:002016-03-14T15:18:14.218+00:00London Jazz Festival - how we try to deal with itWe have started putting together our programme for the EFG London Jazz Festival for 2016. Out in November.<br />
At present, I am collating a whole range of proposals because, of course, the Vortex has limited space. How best to balance things out between the sort of gigs supporting our scene here in London and musicians from elsewhere in the UK or overseas. (There will be, almost certainly, our regular Mopomoso and London Jazz Orchestra dates, by the way, as well as double bills involving Dice Factory and Benoit Delbecq/Petter Eldh/Jonas Burgwinkel.)<br />
The London Jazz Festival is not a guaranteed money spinner for the Vortex. With 30+ gigs a night going on around town, we have to be careful. For example, one of the best gigs, creatively, last year was Orquestra Mahatma. And there were about 15 only in the audience.<br />
Also, we ourselves receive no direct additional funding for our programming. Of course, sometimes the gigs that we want have support from elsewhere. We are reliant, as ever, therefore on musicians' own co-operation with the club and our own enthusiasms.<br />
Meanwhile, the Festival itself has already announced some of its own headliners! Of course, one of the other problems for the audience is that this may be the only chance to hear these line-ups when they are in London. But a punter can only go to one gig a night. So this immediately precludes the chance that something even better turns up later.<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-50876220919540039602016-03-09T11:38:00.000+00:002016-03-19T13:43:00.286+00:00"Survival"<div class="separator" style="clear: both; text-align: center;">
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Jazz has survived by keeping a foot in the camps of the commercial and also the sector supported by grants/patrons.<br />
Contrast the clubs and venues, such as the Vortex or Ronnie Scott's, with the parts which have been supported by the Arts Council. The reach of the Arts Council into jazz has been relatively short-lived and never that huge, in comparison with the largesse required to keep opera, the orchestras or the big venues such as the South Bank running.<br />
I remember organising my sole Contemporary Music Network tour for the wondrous Billy Jenkins (soon to turn 60, by the way) in 1996 and the relative luxury and support that was given at that time - guaranteed radio broadcast and half a dozen gigs which got organised with virtually no pleading.<br />
The 'commercial' approach has really been imported from New York, while the other could be thought of as more 'European', picking up on the philosophical, aesthetic but also the classical roots of the music. Clubs closing have been mainly the result of commercial exigencies.<br />
The country in which the supportive approach has been seen to best advantage is Germany. Struggles of festivals and venues are mainly the result of a decline/cut back/questioning of public funding. If public support is reduced this is problematic, while the chance of growing without is difficult.<br />
A recent example of the former has been shown by the latest querying leading from the debt of €300,000 of the promoters of Moers Festival. When the programme was announced on 3 March, there was no guarantee that it would take place. A new hall was opened a couple of years ago, courtesy of North Rhine Westphalia and it seemed to lead to the festival's long-term security. Basically, the programme is, for jazz and Vortex lovers, near perfect - many of the artists perform at the club, but rarely in as large formations as Moers could afford. Rainer Michalke, one of the co-founders of the Stadtgarten in Cologne, has been running for a decade and built on its roots of high quality improvised music, from all points of the compass.<br />
And a clear example of the latter is that, up in the North, in Hamburg, a tremendous wide-ranging jazz festival, Elbjazz, had grown dramatically over the past four years. Virtually unfunded by the city or state, the festival grew, courtesy of the support of leading shipyards and also the involvement of some of the main jazz promoters, such as Karsten Jahncke - in the year that I went, the range was from Jamie Cullum via Joshua Redman and Troyka to Schlippenbach Trio and Mary Halvorson. With inadequate income from the general public/ sponsors and only a belated offer of more-than-token public support, the festival has been put on hold. But it will be revived next year, we also have to hope.<br />
The struggle of jazz as peripheral to the mainstream arts world is shown by the fact that the festival took place in the shadow of the new Philharmonie rising nearby. Total cost of that edifice, much underwritten by the city, is €750,000, up from an initial €200,000! So, here, an attempt at a true commercially-based festival in Germany has foundered with the public funding safeguarding its serious-minded roots.<br />
At least Tina Heine, whose brainchild it was, now has the chance to run the autumn jazz festival in Salzburg. This was the second festival that Gerhard Eder had created, following on from Saalfelden. Unfortunately he died suddenly and suprisingly last Autumn. So she will be able to take her knowledge of the scene to the neighbouring country which already has a few fantastic festivals.<br />
<br />
UPDATE!<br />
The Moers Festival is now safe for another year. As the press release on 10 March said:<br />
<span style="font-family: inherit;">'<span style="background-color: white; color: #181818; line-height: 20px;">moers festival 2016 will take place as planned, just like we thought it would.</span></span><br />
<div class="bodytext" style="background-color: white; color: #181818; line-height: 20px;">
<span style="font-family: inherit;">Concern about the festival’s financial situation arose after the new CEO reevaluated the figures. Last night, the city of Moers signed a guarantee agreement and thereby fulfilled the new CEO’s condition to go ahead with moers festival 2016. Time will show to what extent the CEO’s financial assessment was correct.</span></div>
<div class="bodytext" style="background-color: white; color: #181818; line-height: 20px;">
<span style="font-family: inherit;">Unfortunately, we lost precious time to advertise for the festival </span><span style="font-family: inherit;">due to the uncertainties in these past weeks. Therefore we now need your help with advertising for our festival! Please support us now by raising awareness of the festival.</span></div>
<div class="bodytext" style="background-color: white; color: #181818; line-height: 20px;">
<span style="font-family: inherit;">The best proof that the world needs moers festival is a sold out house on all four days.'</span></div>
<div class="bodytext" style="background-color: white; color: #181818; line-height: 20px;">
<span style="font-family: inherit;">Clearly it's a relatively expensive investment for a town of just over 100,000, but who would have heard of the town outside the Ruhr area, had it not been for this festival?</span></div>
<div class="bodytext" style="background-color: white; color: #181818; line-height: 20px;">
<span style="font-family: inherit;">Programme on <a href="http://www.moers-festival.de/">www.moers-festival.de</a></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-10587663197984282042016-03-06T14:45:00.003+00:002016-03-07T10:40:04.436+00:00The great pianists of Europe - Pieranunzi, StensonIn April, there are two particularly great pianists coming to the Vortex.<br />
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4, 5 April ENRICO PIERANUNZI<br />
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Pieranunzi has now played 3 times at the Vortex. He is a musician whose New York 'home' is the Village Vanguard. But his London one is the Vortex!<br />
With an amazing classical clarity, it is a pleasure that he will be back.<br />
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28, 29 April BOBO STENSON playing with Martin Speake<br />
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Bobo Stenson is one of those who defined the European piano style a la ECM, along with, of course, Jarrett, but also our late great friend John Taylor (JT).<br />
Bobo recorded a decade ago with Martin Speake. So Martin has invited him back for his first visit for several years. He will be playing with Martin, Steve Watts and Jeff Williams.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-15066982273034865192016-03-02T12:49:00.001+00:002016-03-02T12:49:47.148+00:00March at the VortexI try and keep up to date on some of the March highlights at the Vortex in a more quirky way than on the programme. But there's a lot on and I actually wouldn't really want to say that I prefer these to others.<br />
<br />
These include<br />
<b>5 Phil Robson Organ Trio</b> - With Phil now living in New York, his visits are to be treasured. Here with Ross Stanley (who was mind blowing last week on piano with James Allsopp and Ed Jones) and NY-meets-London drummer Gene Calderazzo.<br />
<b>7 Lume.</b> Lume nights are always special, though not enough audience. Totally undeservedly really. Adam Fairhall has always sparkled when we've had him here. He'll be well prodded by Tom Ward and Olie Brice, no doubt.<br />
<b>10 Vein </b>The previous gigs by this Swiss band (With Greg Osby and Dave Liebman). Now we have the chance to hear them alone. I heard some of this last year in Schaffhausen and can't wait to hear more.<br />
<b>11 John O'Gallagher/Hans Koller </b>A thoughtful saxophonist is Mr O'Gallagher. Not many musicians can translate Webern for grooving jazz. John can. Glad to have him back with Hans Koller<br />
<b>13 Emilia Martensson with all star guests. </b>Worth it for a great series of vocalists.<br />
<b>15 Sacha Rattle/Zeynep Ozsuca + Bruno Heinen. </b>A slightly broader variety of music. As James Allsopp pointed out to me, music by Berg and Lutoslawski are almost 100 years old. So not that 'contemporary' or 'avant garde' to our ears.<br />
<b>18 Alice Zawadzki and Box String Quartet. </b> We all love Alice. Box String Quartet could develop with a little help from our friends, into a new Kronos Quartet. Help them on their way!<br />
<b>19, 20 Festival of the Between. </b>Alya has put together a mouth-watering combination of musicians fusing Europe and the Middle East.<br />
<b>25 Penny Rimbaud presents the complete war poems of Wilfred Owen. </b> Has the founder of Crass mellowed? He was always thoughtful, but here he brings out his strong views by focussing on a great poet. He's done it here before and I was very moved.<br />
<b>31 The Enemy</b> Well not really.Kit Downes, Petter Eldh and James Maddren are great guys, when you get them away from the stage, at least. Back on 1 April with a double bill of Tom Harrison Sextet.<b> </b><br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-77354538043553253542016-03-02T12:05:00.000+00:002016-03-02T12:05:22.056+00:00Programming and more<div class="separator" style="clear: both; text-align: center;">
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For the past year, I have been as busy on programming the music at the <a href="http://www.vortexjazz.co.uk/">Vortex</a> in Dalston, as releasing on <a href="http://www.babellabel.co.uk/">Babel</a>.<br />
It has helped focus my mind on the changing nature of getting to hear this innovative music, especially live but also recorded - who is playing, where do you find it, what does it take to best hear it. Many of these questions move into more general ones about where we have time to get to experience culture, how it can be created - the problems of time, location and value - and more.<br />
So, for now, here are a few initial thoughts on how the Vortex is placing itself.<br />
The first thing to notice is the increasing difficulty of existing in the expensive environment that we are in. Rents are rising, as are all running costs in London, but income isn't! The chance of getting public funding, such as from the Arts Council, is getting harder; the number of venues is on the decline, according to a recent report commissioned by Boris Johnson by around 30% since 2008; yet the number of really good musicians who want the chance to play is rising. Jazz courses are doing a great job in nurturing some fabulous young musicians, even though they have to get smarter to work out how to survive. There used to be big record labels willing to help too.<br />
Luckily, we have a sympathetic landlord in Hackney Co-operative Developments who has been able to keep the rent relatively steady. The changing nature of the area where the club is, in Dalston, and its accessibility by public transport (especially the Overground) has also been helpful.<br />
Next then is to consider how to balance out the need for the music to be experienced and selecting what might be right for us. It's about finding the right audiences for the music and a steady income without compromising on quality.<br />
The various solutions that the Vortex has been going for, over the past year in particular, include: moving towards more gigs per month (in February alone 46); encouraging more volunteers to do functions both in the office and in the evenings; and keeping a good relationship with the musicians. While the marketing has suffered a bit in terms of the spend, the club has nevertheless been able to increase turnover and numbers coming in through the door. Meanwhile, we have tried to balance out the music that is performed at the club. A whole range in terms of the styles which one can look at when considering the words 'jazz' and 'improvised'.<br />
This weekend is a good case in point. On Friday, Ian Shaw delivering his customary balance of entertainment and musicianship, followed late by Wolf Off, a blend of electronica, grooves and improvisation from Loop Collective members; on Saturday, Julian Siegel Quartet (the highest quality original contemporary jazz) followed late by a jazz-rocksteady-ska band late, then on Sunday, two doses of free improvisation (Mopomoso and a night curated by Loz Speyer) and our Downstairs session led by Hannes Riepler. The busier more mainstream gigs help fund the less busy free improv.<br />
As the number of musicians passing through the club rises, so the amount of interest in performing also increases. Both from the scene in London, but also from elsewhere in the UK and overseas.<br />
There is partly a degree of self-selection in who is asking and who we interact with. We can't put on gigs with too little audience indefinitely.<br />
So we have to keep looking, The club is hovering just above the levels to survive but it needs to strengthen.<br />
But more on different elements of these anon.<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-20714822353041787012014-12-30T19:36:00.000+00:002014-12-30T19:36:18.304+00:00<br />
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<h2>
<span style="font-family: inherit;">BABEL IN 2014</span></h2>
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<span style="font-family: Verdana, sans-serif;">Babel ended 2013 with a flurry of new releases that carried on into 2014. There were the high-spirited compositions and energetic surges of <a href="https://babel-label.bandcamp.com/album/spy-boy" target="_blank">SPY BOY</a> by Brass Mask, and the sprightly melodies and Afro-Cuban rhythms of <a href="https://babel-label.bandcamp.com/album/tower-casa" target="_blank">TOWER CASA</a> by Nick Smart's Trogon. Early in 2014 these were followed by Step Wide, Step Deep, Opabinia, Parallel Moments and others. It was also the year that Babel celebrated its 25th Anniversary. In an interview with Textura to mark the occasion, the Director of Babel, Oliver Weindling gave the following short but sweet interview.</span><br />
<i style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"><br /></i>
<i style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"><b>Identity</b></i><span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">: The Babel Label was started by me, Oliver Weindling, twenty years ago. I like to call it a “jazz” label, reflectingan attitude and approach that j azz can have, in terms of pushing boundaries but without necessarily being unapproachable. That frequently overlaps with London's Vortex, where I help with the programming. Only part of this will be the traditional view of “jazz.”</span><br />
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<br style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;" />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"><i><b>Distinguishing characteristics</b></i></span><span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">: The label primarily reflects my taste (whatever it may be at any time). If the music has individuality, creativity, commitment and personality, with something unique to offer, then that's what really thrills me.</span><br />
<br style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;" />
<i style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"><b>Proudest accomplishments</b></i><span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">: Survival for twenty years and releasing </span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">over 120 albums. Thus helping one aspect of musicians on the scene</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> in London releasing their music to the world. Jack Massarik of The</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> Evening Standard said about Babel, “It brings to the public for </span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">twenty years music that it doesn't want to hear.” My additional </span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">word to that is “YET”! So all Babel releases rank more or less</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> equally as my proudest accomplishments.</span><br />
<br style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;" />
<i style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"><b>Currently promoting</b>:</i><span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> Alexander Hawkins: Solo and Ensemble, with </span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">a new trio due next year; Dan Messore's new Indigo Kid;</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> Woven Entity; Whahay: bassist Paul Rogers' take on Charles Mingus;</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> Bourne Davis Kane (with Paul Dunmall); Sylvain Darrifourcq / Valentin</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> Ceccaldi / Manu Hermia; Brassmask: Tom Challenger's brass band with </span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;">influences of Haitian rara and Henry Threadgill. That's enough for</span><br />
<span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> now.</span><br />
<br style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;" />
<i style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"><b>Future</b>:</i><span style="background-color: white; color: #2d3037; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.2000007629395px;"> Continuing to survive and find exciting music.</span></div>
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<span style="font-family: inherit;">What's coming in 2015 in brief...</span></h3>
<span style="font-family: inherit;"><span style="background-color: white;">Good things eventually come to all who wait... t</span>here's a new album by WHAHAY (Paul Rogers, Robin Fincker and Fabien Duscombes) with it's Charles Mingus inspired theme. A live performance of the album at the Vortex Jazz Club in this December received a rave review from Richard Williams who said, <i>The album was terrific but the gig was a monster... </i>Unsurprisingly ,<i> </i>The Guardian's <a href="http://www.theguardian.com/music/2014/nov/20/rogers-fincker-duscombs-whahay-review" target="_blank">John Fordham</a> described the trio as on of Jazz's best kept secrets. </span><br />
<span style="font-family: inherit;">A second helping of Dan Messore's Indigo Kid with the title 'FIST FULL OF NOTES' and is due for release soon.This second album shows that Messore has really come into his own as a leader and composer. Bruno Heinen and Kristian Borring's came together for POSTCARD TO BILL. </span><span style="font-family: inherit; line-height: 18px;">This was a project centred around compositions of the great pianist Bill Evans, recorded live at the Vortex, and arranged by the duo who took inspiration from Evans’famous duo recordings with guitarist Jim Hall. </span></div>
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<span style="font-family: inherit;">Releases in 2014</span></h3>
<span style="font-family: inherit;">Babel would like to thank reviewers who chose Babel releases as part of their best of 2014. <a href="http://www.theartsdesk.com/users/peterquinn" target="_blank">Peter Quinn</a>, musician and music writer, who cites Emilia Martenssen's ANA and Black No 1 amongst his selection of outstanding releases for 2014,<i> </i><i style="color: #333333; font-size: 14px; line-height: 18.8999996185303px;">The mercurial interplay, surging counterpoint and textural </i></span><br />
<span style="color: #333333; font-family: inherit;"><span style="font-size: 14px; line-height: 18.8999996185303px;"><i>shifts of Black Top's debut # One combines boundary-pushing improv with brilliant musicianship, while subtle arrangements, exquisitely beautiful songs and a voice of remarkable expressive depth mark out Ana, the second album from the London-based Swedish vocalist, Emilia Mårtensson.</i></span></span><br />
<span style="font-family: inherit;"><a href="http://www.marlbank.net/news/2144-jazz-vocals-20" target="_blank">Marlbank</a> also chose Babel's <a href="https://babel-label.bandcamp.com/album/ana" target="_blank">Emilia Martenssen</a> as #3 of his best of 20 jazz vocals for 2014. <a href="http://www.textura.org/reviews/2104top10s.htm" target="_blank">Textura </a> also chose ANA as #20 of its 20 top albums. </span><br />
<span style="font-family: inherit;"><a href="http://www.birdistheworm.com/bird-is-the-worm-best-of-2014-albums-16-20/" target="_blank">Bird is the Worm</a> who chose Step, Wide Steep Deep as #17 of it's 30 best albums in 2014. To be included in the top 30 releases the music had to engage - elicit a cerebral connection, evoke intrigue, show personality, be different and embrace the best qualities of creativity. </span><br />
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<span style="font-family: inherit;">NOW’s THE TIME III</span><br />
<span style="font-family: inherit;">(Compilation focusing on France)</span><br />
<span style="font-family: inherit;">Not yet available</span><br />
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<span style="font-family: inherit;">Preview: </span><br />
<span style="font-family: inherit;">John Fordham http://www.theguardian.com/music/2014/dec/11/nows-the-time-iii-focus-on-france-jazz-review</span></div>
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<span style="font-family: inherit;">WOVEN ENTITY (Dec/14)</span></div>
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<span style="font-family: inherit;">by Woven Entity</span><br />
<span style="font-family: inherit;">https://babel-label.bandcamp.com/album/woven-entity</span><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2744591426/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;">&amp;lt;a href="http://babel-label.bandcamp.com/album/woven-entity"&amp;gt;WOVEN ENTITY by WOVEN ENTITY&amp;lt;/a&amp;gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews:</span><br />
<span style="font-family: inherit;">Marlbank http://www.marlbank.net/reviews/2274-woven-entity-woven-entity-babel-recommended </span><br />
<span style="font-family: inherit;">Chris May https://www.jocksandnerds.com/articles/woven-entity-cd</span></div>
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<span style="font-family: inherit;">NO. 1 WITH SPECIAL GUEST STEVE WILLIAMSON (Jul/14)</span></div>
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<span style="font-family: inherit;">by Black Top</span><br />
<span style="font-family: inherit;">https://babel-label.bandcamp.com/album/no-1-with-special-guest-steve-williamson</span><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1500300771/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;">&amp;lt;a href="http://babel-label.bandcamp.com/album/no-1-with-special-guest-steve-williamson"&amp;gt;No. 1 with special guest Steve Williamson by Black Top&amp;lt;/a&amp;gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews:</span><br />
<span style="font-family: inherit;">Gapplegate</span><br />
<span style="font-family: inherit;">http://gapplegatemusicreview.blogspot.co.uk/2014/10/black-top-with-steve-williamson-no-1.html</span></div>
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<span style="font-family: inherit;">A collation of Black Top reviews</span></div>
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<span style="font-family: inherit;">shttp://www.thecentreofattention.co.uk/black-top-2/news/what-they-have-been-saying/</span></div>
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<span style="font-family: inherit;"> ANA (April 2014)</span><br />
<span style="font-family: inherit;">by Emilia Mårtensson</span><br />
<span style="font-family: inherit;">https://babel-label.bandcamp.com/album/ana</span><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=356805694/size=small/bgcol=ffffff/linkcol=63b2cc/transparent=true/" style="border: 0; height: 42px; width: 100%;">&amp;lt;a href="http://babel-label.bandcamp.com/album/ana"&amp;gt;Ana by Emilia Mårtensson&amp;lt;/a&amp;gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews:</span><br />
<span style="font-family: inherit;">John Fordham http://www.theguardian.com/music/2014/apr/24/emilia-martensson-ana-review</span><br />
<span style="font-family: inherit;">Dave Kelly http://www.theguardian.com/music/2014/apr/20/emilia-martensson-ana-review-jazz</span><br />
<span style="font-family: inherit;">http://www.londonjazznews.com/2014/04/cd-review-emilia-martensson-ana.html</span></div>
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<span style="font-family: inherit;">Mark Corroto</span><br />
<span style="font-family: inherit;">http://www.allaboutjazz.com/ana-emilia-martensson-babel-label-review-by-mark-corroto.php</span></div>
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<span style="font-family: inherit;">Peter Quinn </span><br />
<span style="font-family: inherit;">http://www.jazzwisemagazine.com/pages/jazz-album-reviews/13087-emilia-martensson-ana</span></div>
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<span style="font-family: inherit;">Peter Bacon </span><br />
<span style="font-family: inherit;">http://thejazzbreakfast.com/2014/04/09/emilia-martensson-ana/ </span></div>
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<span style="font-family: inherit;">Ian Mann</span><br />
<span style="font-family: inherit;">http://www.thejazzmann.com/reviews/review/emilia-martensson-ana/</span></div>
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<span style="font-family: inherit;">Other review links</span></div>
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<span style="font-family: inherit;">http://emiliamartensson.com/blog/</span><br />
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<span style="font-family: inherit;">STEP, WIDE, STEP DEEP (Feb 2014)</span><br />
<span style="font-family: inherit;">by Alexander Hawkins Ensemble</span><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3985956585/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;">&lt;a href="http://babel-label.bandcamp.com/album/step-wide-step-deep"&gt;Step Wide, Step Deep by Alexander Hawkins Ensemble&lt;/a&gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews</span><br />
<span style="font-family: inherit;">Bird is the Worm</span><br />
<span style="font-family: inherit;">www.birdistheworm.com/recommended-alexander-hawkins-ensemble-step-wide-step-deep/</span><br />
<span style="font-family: inherit;">London Jazz News</span><br />
<span style="font-family: inherit;">www.londonjazznews.com/2014/04/cd-review-alexander-hawkins-ensemble.html</span><br />
<span style="font-family: inherit;">All About Jazz (Karl Ackermann)</span><br />
<span style="font-family: inherit;">http://www.allaboutjazz.com/step-wide-step-deep-alexander-hawkins-babel-label-review-by-karl-ackermann.php</span><br />
<span style="font-family: inherit;">Adrian Pallant</span><br />
<span style="font-family: inherit;">https://adrianspallant.wordpress.com/tag/step-wide-step-deep/</span><br />
<span style="font-family: inherit;">All About Jazz (Phil Barnes</span><br />
<span style="font-family: inherit;">http://www.allaboutjazz.com/alexander-hawkins-step-wide-step-deep-by-phil-barnes.php</span><br />
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<span style="font-family: inherit;">SONG SINGULAR (Feb 2014)</span><br />
<span style="font-family: inherit;">Alexander Hawkins</span><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4197792768/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;">&lt;a href="http://babel-label.bandcamp.com/album/song-singular"&gt;Song Singular by Alexander Hawkins&lt;/a&gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews</span><br />
<span style="font-family: inherit;">Guardian (John Fordham)</span><br />
<span style="font-family: inherit;">http://www.theguardian.com/music/2014/feb/27/alexander-hawkins-song-singular-review</span><br />
<span style="font-family: inherit;">All About Jazz (Karl Ackermann)</span><br />
<span style="font-family: inherit;">http://www.allaboutjazz.com/song-singular-alexander-hawkins-babel-label-review-by-karl-ackermann.php</span><br />
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<span style="font-family: inherit;">OPABINIA (Feb 2014)</span><br />
<span style="font-family: inherit;">Dominic Lash Quartet</span><br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3845648815/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;">&lt;a href="http://babel-label.bandcamp.com/album/opabinia"&gt;Opabinia by Dominic Lash Quartet&lt;/a&gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews</span><br />
<span style="font-family: inherit;">The Jazz Mann</span><br />
<span style="font-family: inherit;">http://www.thejazzmann.com/reviews/review/dominic-lash-quartet-opabinia/</span><br />
<span style="font-family: inherit;">London Jazz News</span><br />
<span style="font-family: inherit;">http://www.londonjazznews.com/2014/03/cd-review-dominic-lash-quartet-opabinia.html</span><br />
<span style="font-family: inherit;">All About Jazz (John Sharpe)</span><br />
<span style="font-family: inherit;">http://www.allaboutjazz.com/opabinia-dominic-lash-babel-label-review-by-john-sharpe.php</span><br />
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<span style="font-family: inherit;">PARALLEL MOMENTS (Feb 2014)</span><br />
<span style="font-family: inherit;">Raymond MacDonald & Marilyn Crispell</span><br />
<span style="font-family: inherit;"><br /></span>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=864535906/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;">&lt;a href="http://babel-label.bandcamp.com/album/parallel-moments"&gt;Parallel Moments by RAYMOND MACDONALD &amp;amp; MARILYN CRISPELL&lt;/a&gt;</iframe><span style="font-family: inherit;">
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<span style="font-family: inherit;">Reviews</span><br />
<span style="font-family: inherit;">Gapplegate Music Review</span><br />
<span style="font-family: inherit;">http://gapplegatemusicreview.blogspot.co.uk/2014/10/raymond-macdonald-and-marilyn-crispell.html</span><br />
<span style="font-family: inherit;">All About Jazz (Glenn Asitara)</span><br />
<span style="font-family: inherit;">http://www.allaboutjazz.com/parallel-moments-marilyn-crispell-babel-label-review-by-glenn-astarita.php</span><br />
<span style="font-family: inherit;">Jazz Times (Scott Albin)</span><br />
<span style="font-family: inherit;">http://jazztimes.com/community/articles/128237-parallel-moments-raymond-macdonald-marilyn-crispell</span><br />
<span style="font-family: inherit;">The List</span><br />
<span style="font-family: inherit;">https://www.list.co.uk/article/57705-raymond-macdonald-and-marilyn-crispell-parallel-moments/</span><br />
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<span style="color: #e06666; font-family: inherit;">Thank you for your support and wishing you all peace, love, prosperity and more in the coming new year.</span></h3>
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<span style="color: #e06666; font-family: inherit;"> Happy New Year!</span></h3>
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katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-91783820306132320932014-12-07T13:28:00.000+00:002014-12-07T13:28:18.971+00:00News From the Tower<br />
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<span style="font-size: x-large;">New Release By Woven Entity</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXbQf1gXT9mm-SiToa31Dfln2Jc7crvpdbwl_-yzFjjomWPbSA7NcM3TLXV8g4ry5PKmyLS1LfOnVC_AfW_UxIAhMdNjmuJlED9RgPgTF3eRMagxUO-R_hxLF38Ip07jlHeBFhg/s1600/Newsfromthe+tower.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXbQf1gXT9mm-SiToa31Dfln2Jc7crvpdbwl_-yzFjjomWPbSA7NcM3TLXV8g4ry5PKmyLS1LfOnVC_AfW_UxIAhMdNjmuJlED9RgPgTF3eRMagxUO-R_hxLF38Ip07jlHeBFhg/s1600/Newsfromthe+tower.jpg" height="320" width="281" /></a></div>
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<a href="http://wovenentity.blogspot.co.uk/" target="_blank">WOVEN ENTITY </a>are: Lascelle Gordon, Patrick Dawes, Paul May and Peter Marsh. The band began life in 2010 after percussionist, DJ and multi instrumentalist Lascelle Gordon crossed paths with fellow percussionist Patrick Dawes and with drummer Paul May at various gigs and suggested the three try playing together. Soon the trio were organically evolving a brand of freely improvised music that wasn’t afraid to groove, float or tinkle. With appearances from a regular pool of guests such as Led Bib’s Chris Williams, Snorkel keyboardist Ben Cowen, bassist Peter Marsh, trumpeter Andy Knight and saxophonist Alan Wilkinson, </div>
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LASCELLE GORDON</div>
Lascelle (often known as Lascelles Lascelle) began his musical career as a DJ at London’s Wag Club in the 1980s, where his eclectic taste made him a favourite among the punters. After touring as A Certain Ratio’s DJ, he went on to form the Brand New Heavies, one of the biggest bands of the Acid Jazz movement. Leaving the band some five years later he formed Heliocentric World, scoring a hit single for Gilles Peterson’s Talkin’ Loud label before joining indie rockers and NME darlings Campag Velocet as their drummer. From there, Gordon went on to provide percussion live and in the studio for such diverse acts as Mr Scruff, The Sandals, Beth Orton and Gossip - he’s also worked extensively with producer Trevor Jackson and with Ben Cowen as 7 Hurtz, whose collaborators include Peaches. More recently Lascelle has toured with indie popsters Le Volume Courbe, supporting My Bloody Valentine on their 2013 tour, as well as forming improvising collectives Flight and Vibration Black Finger.<br />
<br />
PATRICK DAWES<br />
Patrick Dawes has been working for over two decades as a percussionist, beginning his career working alongside DJs in clubs such as the Ministry of Sound. In 1995 he began a four year stint recording and touring with The Herbaliser before joining Groove Armada as their live percussionist for the best part of a decade. As well as working alongside the likes of the legendary Richie Havens as well as co-fronting quirky jazz-popsters Patrick and Eugene and recording two albums with them, Dawes has released two albums for Tummy Touch, Circus Train and in 2013, Raising Stone, a collaborative record featuring contributions from a diverse range of talents from improvising vocalist Maggie Nicols to Acoustic Ladyland saxophonist Pete Wareham and early music specialist William Summers.<br />
<br />
PAUL MAY<br />
Paul May is one of the most respected drummers on the UK improvising circuit. His CV includes work with the likes of Alexander Hawkins, Tim Hodgkinson, Klaus Filip and Matthias Eick, as well as working with bassist Peter Marsh in electro-acoustic improvisers Sonnamble, Elvers (with trumpeter Ian R Watson) and Found Drowned (with guitarist James O’ Sullivan) to name just three. May has enjoyed a long working relationship with pianist Carolyn Hume which has yielded several well received albums on Leo Records and led to the formation of the quartet Fourth Page. May also plays and records regularly with bluesman Duke Garwood as well as songwriter Petra Jean Phillipson.<br />
<br />
Peter Marsh<br />
Marsh has often been heard alongside Paul May in recent years, forming the rhythm section for a bewildering variety of improvising bands from Clang Sayne to Fourth Page to Sonnamble among others. As well as playing a more conventional role backing singer Petra Jean Phillipson, they’ve<br />
also worked with a huge range of improvisers from Alan Wilkinson, Martin Siewert to Klaus Filip. They also record as a duo, with a debut album (Falling More Slowly) released in 2013 on Linear Obsessional. Previously Marsh also played in avant fusion band Lob, spent time depping in The<br />
Tiger Lillies, has played a lot of folk music (from Brittany to Macedonia) and has worked providing soundtracks to films by artists including Laura Cooper and Sami van Ingen. He has played with many improvisers including Lol Coxhill, Steve Williamson, Paul Rutherford. Robert Dick, Roger Turner and David Toop to name a few.<br />
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The new album <i><a href="https://babel-label.bandcamp.com/album/woven-entity" target="_blank">Woven Entity</a></i> is essentially a freewheeling expanded rhythm section, Woven Entity cook up a rich, strange brew of psychedelic jazz, electronic explorations, ethnological forgeries and unstoppable ritual grooves. Featuring contributions from guests Alan Wilkinson, Ben Cowen and Julie Kjaer, Woven Entity’s debut is a restless, playful and eclectic record that<br />
travels a long way in its 48 short minutes, cheerfully trampling genre divisions in its path. The brief ‘C358X’ opens proceedings; flurries of exotic percussion and a woozy, sourly cosmic synth skirt round each other, much like Sun Ra crashing an Art Ensemble of Chicago session. The following ‘Me=You’morphs somewhat unexpectedly from a bracing free jazz workout for balafon, bass, drums and bongos into a deep, insistent groove that might just lure the more adventurous listener to shake a tailfeather or two. Julie Kjaer makes her first appearance on the album with some sly, bittersweet flute, steering away from the dancefloor towards darker, more uncertain territory. ‘Naked Eye’ displays May’s uncanny ability to conjure both anarchy and order from the drumkit as he, Dawes and Gordon trade phrases over a lush backdrop of loops and drones; one second he’s coaxing squeals from a cymbal, the next he’s locked in a metronomic groove Jaki Liebezeit would be proud of. ‘This Day Will Come’ also subverts expectations, like much of this album seems to. Birdsong, bass and balafon are joined by percussive eruptions and what sounds like someone building furniture before settling into an extended coda for fizzing electronic noise and a pair of harmonicas, underpinned by the warm thrumming of Marsh’s bass, before dying away suddenly. Alan Wilkinson turns up on ‘So Black Dada’ with a short but (uncharacteristically) sweet alto solo over a shifting matrix of metals, talking drum and jaws harp that provides one of the album’s most affecting moments. Trisssh’ (dedicated to the late Trish Keenan of Broadcast) blends minimal gamelan-esque percussion, field recordings, wind-up toys and drum machine into a slo-mo avant funk brew. ‘Hola’ is powered by a brooding, episodic groove from May’s muted kit, flecked with whistles, saxophone multiphonics, sonar bleeps and duck calls.‘Earth/Crisis’ is the longest piece by some margin. Beginning with abstract scribbles and stridulations, an off- kilter, loping afro-jazz groove emerges.Kjaer delivers progressively more heated, oblique bursts of alto before the whole shebang implodes into a primitive, ritualistic throb worthy of early 80s experimentalists 23 Skidoo. Kjaer is back on flute for ‘Who’s Who’, a humid slice of poised exotica that comes on like a stoner take on Ra’s ‘Angels and Demons At Play’. Gordon’s spectral electronics hover above the proceedings, while he and Dawes decorate Marsh and May’s locked down groove with intricate percussive exchanges. It’s astonishing how they keep out of each others way yet can apparently act as one organism, negotiating tempo and dynamics on the fly with astonishing fluidity. The album ends with ‘Moors and Orandas’, a luminous, mournful piece which promises to lead somewhere rich and strange, then thinks twice about it. Something for the next journey, perhaps.Woven Entity’s music is immersive, rhythmically infectious and eclectic to the point of uncategorisablity. All gates are open.<br />
<br />
<br />
RELEASE DATE:<br />
15/12/2014<br />
<br />
1. C358X<br />
2. Me = You<br />
3. Naked Eye<br />
4. This Day Will Come<br />
5. So Black Dada<br />
6. Hola<br />
7. Trissh<br />
8. Earth/Crisis<br />
9. Who’s Who<br />
10. Moors and Orandas<br />
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<a href="https://babel-label.bandcamp.com/album/woven-entity">https://babel-label.bandcamp.com/album/woven-entity</a></div>
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katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-67827031661521762742014-10-30T13:39:00.000+00:002014-10-30T13:41:58.148+00:00Babel selected as favourite...and other news.<br />
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<span style="font-size: large;">Babel Label Selected As One of textura's Favourite label for 2014</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu-taST6C-hX6n45wm2bPntf2kWby2LWQBmjpIWxHBZdtTTcwNDFj6-LAT0dLZig_LApjfK9x6JeHahv_XSOOP2oWpDagLmvgYofMNqQFEJfS355NKrF1TTMvQbXmCOxdT86WZBg/s1600/textura.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu-taST6C-hX6n45wm2bPntf2kWby2LWQBmjpIWxHBZdtTTcwNDFj6-LAT0dLZig_LApjfK9x6JeHahv_XSOOP2oWpDagLmvgYofMNqQFEJfS355NKrF1TTMvQbXmCOxdT86WZBg/s1600/textura.jpg" height="113" width="320" /></a></div>
At Babel we are delighted to have been chosen by the publication <a href="http://www.textura.org/index.htm" target="_blank">textura</a> as a favourite label. textura has been around for 10 years focusing on experimental,electronic, jazz and classical music forms putting out 11 issues per year packed with reviews, interviews and articles.There is also the<a href="http://www.textura.org/pages/archives.htm" target="_blank"> textura label</a> on which three full-length recordings, Kubla Khan (2008), Esther Marie (2010), and Monuments and Ruins (2012) were released. The latter is a split work with two contrasting but connected soundworlds, one epic and memorializing and the other eerie and elegiac by Ben Chatwin and Damian Valle. The Canadian-based publication, every November selects ten labels whose
output 'dazzled' and stood out from the crowd in the past year. Along side
Babel the other labels chosen include: Cantaloupe, Denovali, Gruenrekorder,
Hubro, Innova, Metalheadz, New Amsterdam, Populist, Schole and Western
Vinyl. This time textura seem to have chosen eleven.There is a short but sweet revealing interview with Babel's capo Oliver Weindling reproduced below organized around the themes of Label identity, distinguishing characteristics, proudest accomplishments, currently promoting and the future.<br />
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<i>Identity</i>: The Babel Label was started by me, Oliver Weindling, twenty years ago. I like to call it a “jazz” label, reflectingan attitude and approach that j azz can have, in terms of pushing boundaries but without necessarily being unapproachable. That frequently overlaps with London's Vortex, where I help with the programming. Only part of this will be the traditional view of “jazz.”<br />
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<i>Distinguishing characteristics</i>: The label primarily reflects my taste (whatever it may be at any time). If the music has individuality, creativity, commitment and personality, with something unique to offer, then that's what really thrills me.<br />
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<i>Proudest accomplishments</i>: Survival for twenty years and releasing <br />
over 120 albums. Thus helping one aspect of musicians on the scene<br />
in London releasing their music to the world. Jack Massarik of The<br />
Evening Standard said about Babel, “It brings to the public for <br />
twenty years music that it doesn't want to hear.” My additional <br />
word to that is “YET”! So all Babel releases rank more or less<br />
equally as my proudest accomplishments.<br />
<br />
<i>Currently promoting:</i> Alexander Hawkins: Solo and Ensemble, with <br />
a new trio due next year; Dan Messore's new Indigo Kid;<br />
Woven Entity; Whahay: bassist Paul Rogers' take on Charles Mingus;<br />
Bourne Davis Kane (with Paul Dunmall); Sylvain Darrifourcq / Valentin<br />
Ceccaldi / Manu Hermia; Brassmask: Tom Challenger's brass band with <br />
influences of Haitian rara and Henry Threadgill. That's enough for<br />
now.<br />
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<i>Future:</i> Continuing to survive and find exciting music.<br />
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<span style="font-size: large;">Recent Babel Release</span>: <span style="font-size: large;"><i><a href="https://babel-label.bandcamp.com/album/woven-entity" target="_blank">Woven Entity</a> </i>by Woven Entity<i> </i></span><br />
<i> </i>Woven Entity is Lascelles Lascelle (percussion), Patrick Dawes( percussion), Paul Barkingside(drums) and Peter Marsh (bass). Expect improvised and semi-improvised spiritual grooves skirting the boundaries of astral jazz, free improv, krautrock and lo-fi electronica. The band operates as a floating collective along side various guests including saxophonists Julie Kjaer, Chris Williams (Led Bib), Alan Wilkinson, Andy Knight, Ben Cowen and others. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT41EmL4rFVohJl0TYuab2nozKN1dFOZhEZ-IBaxZEDRBmXPpMqygr5FznQq3ejUso6eM07sIC31EAQbFMWdGyqlHWX0gucfqNUcnqUT0S74kKhQcbSOgpYjxLe1uEB00te7_ssA/s1600/Whahay.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT41EmL4rFVohJl0TYuab2nozKN1dFOZhEZ-IBaxZEDRBmXPpMqygr5FznQq3ejUso6eM07sIC31EAQbFMWdGyqlHWX0gucfqNUcnqUT0S74kKhQcbSOgpYjxLe1uEB00te7_ssA/s1600/Whahay.jpg" height="176" width="200" /></a> <span style="font-size: large;">Coming to the Vortex Jazz Club:</span> <span style="font-size: large;">Whahay 13/Nov/2014 </span><br />
Info:<a href="http://www.vortexjazz.co.uk/event/whahay/"> http://www.vortexjazz.co.uk/event/whahay/</a><br />
Whahay is Paul Rogers (hybrid 7 stringed double bass), Robin Fincker (saxophone, clarinet) and Fabien Duscombs (drums). Their latest offering is a tribute to Charles Mingus' compositions which are revered but at the same time given a 'European free Jazz' treatment. There is also a solo set from another Babel artist James Allsopp on tenor saxophone.<br />
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<span style="font-size: large;">Check out Babel on<a href="https://babel-label.bandcamp.com/" target="_blank"> Bandcamp </a></span><br />
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<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-collapse: collapse; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: Merriweather, Georgia, Cambria, 'Times New Roman', Times, serif; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 24px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<span class="Apple-style-span" style="background-color: white;">A three day festival across three venues in East London: showcasing an exhilarating diversity of new music across a multitude of genres</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-collapse: collapse; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: Merriweather, Georgia, Cambria, 'Times New Roman', Times, serif; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 24px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<span class="Apple-style-span" style="background-color: white;"><span style="font-size: 14px; line-height: 23.7999992370605px;">- M&F LONDON 2014 will feature </span><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">premieres of new works</strong><span style="font-size: 14px; line-height: 23.7999992370605px;"> </span><span style="font-size: 14px; line-height: 23.7999992370605px;">from</span><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"> </strong><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Elliot Galvin, Shabaka Hutchings, James Allsopp, Rebecca Sneddon & Lunch Money </strong></span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-collapse: collapse; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: Merriweather, Georgia, Cambria, 'Times New Roman', Times, serif; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 24px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<span class="Apple-style-span" style="background-color: white;">- M&F LONDON 2014 will be<strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"> broadcast live online to the world</strong> through Screensaverlive.tv on October 3</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-collapse: collapse; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: Merriweather, Georgia, Cambria, 'Times New Roman', Times, serif; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 24px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<span class="Apple-style-span" style="background-color: white;">- M&F LONDON 2014 will feature some of the <strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">UK and Europe’s most exciting acts</strong>, breaking genre barriers, challenging convention and producing innovative live sounds including:<strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;"> </strong></span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-collapse: collapse; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: Merriweather, Georgia, Cambria, 'Times New Roman', Times, serif; font-size: 14px; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 24px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<span class="Apple-style-span" style="background-color: white;"><strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Lazy Habits, The Comet Is Coming, <strong style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">Pixel,</strong> Lana Trio w/ John Butcher, Snorkel, The Physics House Band, Bellatrix </strong>and many more.</span></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; border-bottom-width: 0px; border-collapse: collapse; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: Merriweather, Georgia, Cambria, 'Times New Roman', Times, serif; line-height: 23.7999992370605px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 24px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<span class="Apple-style-span" style="font-size: large;">MORE INFORMATION <a href="http://www.matchandfuse.co.uk/bands/matchandfusefestivallondon2014/">HERE</a></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-13815664568173448102014-09-03T17:20:00.001+01:002014-09-03T17:20:11.753+01:00Gaume Jazz Festival, 2014. Photos My full review of the festival for Londonjazz is <a href="http://www.londonjazznews.com/2014/08/festival-round-up-2014-gaume-jazz.html">here</a>. Here are some photos and a short review of the Grappe D'Or in Torgny<br />
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Antoine Pierre</div>
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Enrico Pieranunzi:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH0tBcwWdXp7hKXVa9mdUyOzDUCARbKTjN0jgyOR8F8rgsUUeN5LHt8wZuxCIt_rT0oVj71CmomwBWlsG9t-X4AhOdEDTetE-gm1drI8b0VYVKdtF6NkPrmWsc8H7ej4qFMLEn/s1600/DSC02819.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH0tBcwWdXp7hKXVa9mdUyOzDUCARbKTjN0jgyOR8F8rgsUUeN5LHt8wZuxCIt_rT0oVj71CmomwBWlsG9t-X4AhOdEDTetE-gm1drI8b0VYVKdtF6NkPrmWsc8H7ej4qFMLEn/s1600/DSC02819.jpg" height="212" width="320" /></a></div>
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Leila Martial's Baa Box </div>
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(in the rain!):</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4GcGq9SjEuBCUdfV0IPGkYuGqzaDPxBIj2Aa4XMKq41wcjLQNf5-640z7yof_4o-5o9aY4eKRLSxBYHk2EUV8zAnQQRgxLfB3wygBR_no0JY4Kd5jrMjD7v_TVVU5ffuGvfqx/s1600/DSC02815.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4GcGq9SjEuBCUdfV0IPGkYuGqzaDPxBIj2Aa4XMKq41wcjLQNf5-640z7yof_4o-5o9aY4eKRLSxBYHk2EUV8zAnQQRgxLfB3wygBR_no0JY4Kd5jrMjD7v_TVVU5ffuGvfqx/s1600/DSC02815.jpg" height="212" width="320" /></a></div>
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Manu Hermia, Majjid Bekas, Khalid Khouen</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhphfZReTRAapIUUGVO79JrBXLaxaIuockfNzL7lJBa7hcpwK8dXY7qODncQMoJApWcrIh6oMUtyJ-dcyMG__uQ2lfgWwQTHbaVDhaXDnA4Nn11ZH_ujvvQdI7Oc9eEvMTL1Y/s1600/DSC02803.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhphfZReTRAapIUUGVO79JrBXLaxaIuockfNzL7lJBa7hcpwK8dXY7qODncQMoJApWcrIh6oMUtyJ-dcyMG__uQ2lfgWwQTHbaVDhaXDnA4Nn11ZH_ujvvQdI7Oc9eEvMTL1Y/s1600/DSC02803.jpg" height="162" width="320" /></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Mik Mâäk (and Guillaume Orti):</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-yGpDJhudSFi_NQAXqvle87v6ZOjB8OTRgBz16JgJaeXyusS39RgXdNxUbU_QWKDftfJzt1b8yHcR6mLdOBkQnHYS9kLw-P5P_qBdg3LXhIys4KoFTl9i5ns2QPFEqGTVqsm4/s1600/DSC02780.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-yGpDJhudSFi_NQAXqvle87v6ZOjB8OTRgBz16JgJaeXyusS39RgXdNxUbU_QWKDftfJzt1b8yHcR6mLdOBkQnHYS9kLw-P5P_qBdg3LXhIys4KoFTl9i5ns2QPFEqGTVqsm4/s1600/DSC02780.jpg" height="212" width="320" /></a></div>
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Big Nowhere Big Band:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLNeKkbTr7kYLf86k09we3FJkckBa9MkfusayymSVPSxkGn4VcDznOM-gLQQ2M0mB28u8dvqxNo5ABrM3E3QxWNnvi9MUnTEunJ4E4EFIkP6_oWq4cIuV5QeBqDFBzRlCxpRi/s1600/DSC02794.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQLNeKkbTr7kYLf86k09we3FJkckBa9MkfusayymSVPSxkGn4VcDznOM-gLQQ2M0mB28u8dvqxNo5ABrM3E3QxWNnvi9MUnTEunJ4E4EFIkP6_oWq4cIuV5QeBqDFBzRlCxpRi/s1600/DSC02794.jpg" height="202" width="320" /></a></div>
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La Grappe D'Or at Torgny:</div>
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In addition to the jazz festival, the area around Gaume in the Ardennes is home to a great holiday area, including the meandering Sémois river. In the South of the area, there is the sole wine-growing region of Belgium in Torgny. Seems like a surprise to link wine and Belgium, but surely there's no real shock. Couldn't we have said the same for a long time about wine and England? And certainly the area there is about the same latitude as Luxembourg, where the white wines are renowned.</div>
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Anyway, there is also great food there. And we spent a Sunday lunch at the Grappe D'Or, a one-star rated Michelin restaurant. We took the full 7 course menu to really be able to appreciate what the place is about. Just like jazz, there is plenty of risk taking. Particularly notable was the ability to mix more oriental flavours, such as the raw fish with local herbs and vegetables (mainly from the restaurant's own garden). The most surprising and successful was the mix of raspberries and wasabi for the dessert (the last photo here).</div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-33964040084445391862014-07-24T14:42:00.001+01:002014-07-24T14:42:16.730+01:00On the Sofa #4 with Orphy Robinson<br />
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<span style="font-size: x-large;">On the Sofa with Orphy Robinson</span></h2>
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<span style="font-size: x-large;"><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;"> "For me a “Nightingale did not sing in
Berkeley Square” but possibly in somewhere more relevant to me like Gillett Square..."</span></span></span></span> </span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbVHgHaia8OZQehqaI0DxCfha4YiC8UQTFikvVR7mTTykl3emC6onVU7TwgMvHIYvdcOV6ANikbn-NnnaX9v-7amLheFMYno_ErN_7LvEU2tBOGknRz-n_Hx4vU1FRjdsCqJsNBA/s1600/orphy+on+sofa.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbVHgHaia8OZQehqaI0DxCfha4YiC8UQTFikvVR7mTTykl3emC6onVU7TwgMvHIYvdcOV6ANikbn-NnnaX9v-7amLheFMYno_ErN_7LvEU2tBOGknRz-n_Hx4vU1FRjdsCqJsNBA/s1600/orphy+on+sofa.JPG" height="240" width="320" /></a></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">With the release of Black Top #1 14 July 2014 I thought it was time to get Orphy on the sofa to get his views on football, cricket and the long orange thing he's waving around in a photograph in his Wikipedia entry. If you don't believe me take a look for yourself. <a href="http://en.wikipedia.org/wiki/Orphy_Robinson" target="_blank">http://en.wikipedia.org/wiki/Orphy_Robinson</a></span></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QcjUdTEWKKJD_xurFTiQPGooCOQh85q67I8Hy3hM2PaGDmq-SyYYYR0bFtov1Ov-wbFeUkDFZSqE_t3N18LDbCuXp5Fa65S7Ift1AmgH9pixgTW2On5roWm4F_1Nk2lyp7nPxw/s1600/Black+Top.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QcjUdTEWKKJD_xurFTiQPGooCOQh85q67I8Hy3hM2PaGDmq-SyYYYR0bFtov1Ov-wbFeUkDFZSqE_t3N18LDbCuXp5Fa65S7Ift1AmgH9pixgTW2On5roWm4F_1Nk2lyp7nPxw/s1600/Black+Top.jpg" height="200" width="200" /></a>Orphy Robinson was born in London he has been a major figure in UK and international jazz since the 1980s, releasing two critically acclaimed solo albums on the Blue Note label and playing with a host of major artists including Don Cherry, David Murray, Henry Threadgill, Courtney Pine, Jazz Warriors and Andy Shepherd. His approach is eclectic as it crosses a variety of musical forms including jazz, free jazz, free improvisation, jazz fusion, and funk music. Black Top #1 his latest album on Babel is a collaboration with the pianist Pat Thomas and saxophonist Steve Williamson <a href="http://babel-label.bandcamp.com/album/no-1-with-special-guest-steve-williamson" target="_blank">Available here</a> Together they form a sound shape-shifting unit exploring the intersection between live instruments and lo-fi technology. </span></span><br />
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
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<br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span>
<br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
Favourite colour</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
Blue</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
Jazz is in 150 characters. </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
"Jas" its original name was derived from the Bordellos. However it
became a name given to the music described by Duke Ellington as Negro folk
music. It’s a catch all title for many different sounds, not all good... </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
That's 173 characters but since it's you I'll let you off. Football or cricket </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
Cricket.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
Do you remember the Norman Tebbit test</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: <span style="color: black;">Yes.</span></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
I guess you're going to be tactful... How do you relax?</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: Roller
Skate </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
I'm assuming that's roller and not ice </span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"> à la Torville and Dean... Town or
country?</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
Country </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
Car or Bike?</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
Bike </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
Cats or Dogs </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: <span style="color: black;">Both. Um...no preference.</span></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
Tell me something about yourself that most people don't know...</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
Ha, No idea. What could that be?</span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: You ready?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: Fire...</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><br /></span></span>
<br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
So how did you start? </span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: black;">ORPHY: It was the local youth orchestra in Hackney where I learned to
play Trumpet, drums and Tuned percussion. Ultimately settling on Tuned
percussion because I found playing it fun and interesting.</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: <span style="line-height: 115%;">Are
you from a musical family?</span></span></span><br />
<br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: My parents and family listened to music from
Jamaica primarily, but also introduced me to a wide selection of music from
around the world. It's probably why I’ve always been open minded and eclectic.
My Father was friends with a famous Jamaican trombone player named Don
Drummond. </span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: Was there a defining moment when you decided to become a musician?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: Well, there was a music competition at Alexandra Palace... <span style="color: black;">I wasn't a participant...I was watching, </span>but <span style="color: black;">I vowed to come back the next time and win
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: Was there a prize...have you still got it?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: No idea
where that stuff is now. I once went a whole year winning every competition in
the country. You can imagine, that would be a lot of trophies... I’m sure I
would have thrown out most of that or given them to family through my various
moves over the years. It’s enough for me to know that I had that grounding and
did well in those early years rather than live in the past carrying around too much
nostalgia...</span></span><!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
OK. You've fessed up to being ‘polygamous’ with your instruments, do you have a
fav instrument that you like to spend more time with? </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: My
marimba.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: black;">KATAN500:</span><span style="color: red;">
<span style="color: black;">Do you give your instruments names? </span></span> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: black;">ORPHY: </span><span style="color: black;">No...</span></span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: black;">KATAN500: Orphy meet Zaboca [my laptop] Zaboca meet Orphy... </span></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: Growing up what influences played on you?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: Influences... growing up in the UK in Hackney at that time it was Jamaican music, Funk... family and friends were important. I learned to play football and cricket to a good standard.The music I grew up with still appears in my own music at various times. Musicians such as Bobby Hutcherson for the vibraphone, Walt Dickerson and Roy Ayers were influences again for vibes. My own style is eclectic crossing various styles, and I use many different instruments.</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: Who do you admire (alive)?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: Stevland Hardaway Judkins that's Stevie Wonder<span style="color: red;"><span style="color: black;"> to you and me...he's a prolific song writer and musician... </span></span></span></span><br />
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</xml><![endif]--></span></span><span style="color: red;"><span style="color: black;">KATAN500: Your Wikipedia entry says
that you were discovered while playing with Courtney Pine and Jazz
Warriors. Tell me how you came to be involved with them.</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
No. I was first "discovered" if that is the word, by the Press in my
Brit Funk band days in 1981, my band was called Savanna we had two number One
hits in the R & B charts and sold records internationally. I'm still well-known in that particular genre and play in various high profile bands from that
genre every year. Funnily, when I went to Japan with Courtney Pine in the 1986 the media
wanted to know about Savanna more than any of the music I was playing with
Courtney...[KATAN500: did that annoy him?] <span style="color: black;">No why would it? They were interviews
with me.</span> I was invited to join
The Jazz Warriors in 1985 by Courtney who knew about me from funk session work
and the Pop charts. I had a lot of fun in the Warriors and grew considerably as a
musician during that period.<span style="color: red;"><span style="color: black;">
</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">KATAN500:
Is "Jazz" dead? </span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">ORPHY: </span><span style="color: black;"> "Jazz" is just a word for marketing purposes. However the music continues to grow and change...I’ve no idea what is commonly understood by the word
as it means all sorts of things to all kinds of people. If there was a commonality in
the meaning... there wouldn’t be different interpretations of the
word. </span><span style="color: black;">I prefer improvised music, </span><!--[if gte mso 9]><xml>
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</xml><![endif]--><span style="color: black;">Free, Avant-garde... I
don’t follow the jazz media, or play in those particular styles that followers
of "jazz" expect and relate to<span style="color: red;">. <span style="color: black;">To me m</span></span>usic will always grow and change as we all know,
it's if the audience comes along with those changes, and the new music catches
the imagination of the musicians, which dictate if those shifts are
successful or not in a commercial sense.</span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
"Black British Jazz" What's that? A tradition? The colour of the musician?
Routes? </span></span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;">
<span style="color: black;">ORPHY: "Black Jazz"? I suppose that could be music played by
musicians who are black and might have different emphasis either in rhythmic,
melodic or harmonic senses. History or tradition are obviously important
aspects of the music called "Jazz" that some musicians hold on to for different
reasons. Fortunately that’s not the same for all of us. I prefer to move
forward with a healthy respect for the past but not to linger there. Creating
something from my own experiences appeals to me more. I understand that some
musicians and critics prefer to stay rooted in particular periods of the
music’s development in the last century, and I respect that ...even wish them well.
I prefer to own and name my own music. For me a “Nightingale did not sing in
Berkeley Square” but possibly in somewhere more relevant to me like Gillett Square. If the music you're playing is called
Jazz then that’s what it's called. I wouldn’t go on stage and announce I’m going
to play any particular colour of jazz, in the same way if I was going to play so-called
Classical music I wouldn’t give that a colour either.</span></span></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;">
</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: How do black "jazz musicians" fit into the contemporary UK scene: Do they have the same opportunities?</span></span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY:
Musicians who happen to be Black do have a glass ceiling in employment in music
education, we tend to be employed in community projects more than anything
else. The odd part-time opportunity might come up once in a while in a
dedicated music college, but it’s really <span style="color: black;">outside of that area that we are employed.</span> So we mostly work in community based
projects, schools... I have been
fortunate to have had some success in those areas with students winning big
competitions internationally or going on to be successful in the commercial
field, as well as being nominated for a top teaching award myself.</span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">KATAN500: Do you think there is a perception that 'black audiences' are not interested in Improv / Free/ Avant-garde jazz etc? </span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">ORPHY:</span> </span><span style="color: black; line-height: 115%;">If you counted on being able to sustain a career,
counting on your core audience to be black in the UK, you would be seriously
deluded and very quickly starve! You just have to concentrate on getting
audiences to come and listen to you and then they spread the word to their
friends from whatever ethnic background they might be. Create honest music and
it will find its own audience. As I said previously I don’t promote the music I
create as "jazz" so I don’t lose sleep over the words or connotations. Many times
people come along to a gig and say to you afterwards that they really enjoyed
the music and didn’t really know what to expect, but that they might not know
how to describe the music to others! Some of my ex-students come along to gigs
all the time and they are mostly the ones who I didn’t teach anything that
could be termed "jazz", I taught them more about opening the door to music
appreciation. </span></span></span><!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: Which piece of your work are you
particularly proud of and why?</span></span><br />
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: I’m particularly proud of my first ever
album on Blue Note Records, <i>When Tomorrow Comes</i> because I was able
to tour for a couple of years internationally through its success.<span style="color: red;"> <span style="color: black;">I
still meet people who are complimentary about the album and tell me what they got from the
music. I was lucky to record two albums and two EPs there and had many fantastic opportunities</span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
You’ve said elsewhere that too many cabaret singers
shelter under the umbrella of jazz – do you see this as a quality issue? Why do
you think new people are not being picked up by promoters – do they operate
under the logic that people will only be interested in the familiar...</span></span></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">ORPHY: I would put that down to lazy
short-sightedness by promoters who tend to hold back quite a lot of the real talented jazz artists who are struggling to find decent places to play, they do this by
going for a kind of faux supper club look and an ever-revolving conveyor belt of yet more Billie Holliday / Ella
fitzgerald sounding clones, with Charlie Parker bebop type lines thrown around from an endless line of talented but
unimaginative saxophone players... and while we're at it let's also pretend
it’s the 1950s again. Add to that, the "promoters" that have no balls and what you
have is a really uninspiring pool of what I call "demoters" not promoters!</span><span style="color: red;"> </span></span></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500:
<span style="color: red;"><span style="color: black;">As a young Black
musician who were your role models?</span> </span><span style="color: black;"><br /></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;"><span style="color: black;">ORPHY: Ray Carless and Claude Deppa. Ray is one
of the nicest people out there and made the same jump from playing in jazz funk and reggae bands as myself. He's still inspiring others and has always been
hard working promoting his gigs and setting up teaching opportunities in the
local community. Claude helped me, gave me records and inspired me to practice
at various important times, and had always said at the beginning that I would be
a jazz musician one day... finally meeting up at yet another influential moment
for me but this time on a Jazz platform with the Warriors in the 80s, after a
period when I had taken up saxophone and was studying with various Teachers at
the City Lit in Holborn that included the recently departed Kathy Stobart - a
beautiful spirit and really encouraging at the time. </span></span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: Do you think that
American jazz musicians today still carry far greater clout than our home grown
ones. If we take Coltrane he was American, take Joe
Harriott he was from he colonies but British at the same time, therefore rejected by much of the jazz establishment...<span style="color: black;"> </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: black;">ORPHY: Depends where in the world you are, what the promoters in
that particular area thinks will sell the best for them, and the audience they have cultivated locally... and of course what they have been exposed to. However, in the
Improv/Free/Avant-garde world musicians from Europe are well respected
worldwide and the European circuit provides many exciting and interesting festivals,
venues and situations etc. On the rejection of Harriot by the Jazz
establishment, he was awarded five stars in Downbeat Magazine and could have built
a very different career by all accounts had he not had an aversion to
aeroplanes or travel per se! There might well have been some in the jazz
establishment who didn’t take to his <i>new</i> music but that’s always going to be
the case. Maybe some journalists will be scared to admit that they haven’t got
a clue what’s going on in the music of a particular musician and that can also
depend on personal preference or musical knowledge of harmony etc. Or as
someone recently said at a gig when commenting on an album review, if you admit
you haven’t got a clue about what’s happening the reader might think ‘then why
have you got the job as reviewer? Give it to someone who does know what’s going
on'! So the alternative response might be
to ignore or denigrate the music/artists in order to save your own rep! He
might have a point!</span></span></span></div>
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<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: So what’s your take on Joe Harriott?</span></span></div>
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">ORPHY: <span style="color: black;">Joe was of course an inspiration for
myself and some of my contemporaries, he was the first to experiment with free
form music or a freer type of jazz predating Ornette Coleman's experiments in the
late 1950s. He alongside Michael Garrick and their Indo Jazz fusion albums do
some of the very first, if not the first album fusing Jazz and Indian music with
that kind of "world music" sensibility. In
the 1980s the Jazz Warriors did a memorable tour based on Joe’s music. Before
that tour, when touring with Courtney, I also remember him playing to the band a
cassette tape with some of Harriott’s music that completely blew my mind at the
time because he was someone that I was not aware of before that so hearing
about the Jamaican background and the whole Alpha Boys school background in
Jamaica resonated with my own background. Whenever I have listened to Steve
Williamson on Alto Sax in the past I can make a valid connection between the
way that his phrasing might evoke echo’s of Joe’s Style. However Steve’s
playing is all about his own extensive harmonic studies with a healthy respect
for the past. I was once stopped outside Ronnie Scott’s by a guy who said “Joe
Harriott always predicted that a generation was coming up who would put up with
no shit, and be good musicians. He would have definitely enjoyed playing music
with you guys”. </span></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;">KATAN500: <span style="color: red;"><span style="color: black;">What was your last tour and who was it with? </span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">ORPHY<span style="color: black;">: Recent touring has been with Nigel Kennedy the classical
violinist. I have been working with him for about four years on various tours playing
music by Bach, Vivaldi, Ellington, Hendrix and many more... I'll be recording a
new album later this year with him. </span></span></span></span></span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;"><span style="color: black;">KATAN500: </span><span style="color: red;"><span style="color: black;">How did you get together with Pat Thomas and </span></span><span style="color: red;"><span style="color: black;"><span style="color: red;"><span style="color: black;"><span style="color: red;"><span style="color: black;">Steve Williamson</span></span></span></span>?</span> </span><span style="color: red;"> </span></span></span></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><div class="MsoNormal" style="line-height: normal;">
<span style="color: red;"><span style="color: black;">ORPHY: </span></span><span style="color: black;">I met Pat while we were touring with Lawrence Butch
Morris and the LMC on the London Skyscraper tour in the late 1990s. We got on
well and then and continued working on quite a lot of my own projects and in a
lot of different bands ever since. He is a unique individual and player, who's
extremely creative as you can see with the great reputation he has
internationally. Steve was a natural partner in our endeavour to play the style
of music we call <i>Archiac Nubian Stepdub</i>. Steve is a fantastic and special musician,
really inspiring and constantly challenging and taking his music forward. His
reputation as you can see is well earned. The rapport between the three of us on
the album [<i>Black Top #1</i>] and whenever we perform is always a joy, it's why the music we create
always feels so special.</span><br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;"><span style="color: black;">KATAN500: Tell me about Black Top...</span></span></span></span></span></div>
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;">
</span></span></span></span>
<br />
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"><span style="color: red;"><span style="color: black;"><span style="color: black;">ORPHY: </span><span style="color: black;"><span style="color: red;"><span style="color: black;">Black Top is a group put together by myself and Pat Thomas with featured guests for
each concert or recording, The idea was to create original music
through the
use of music from the black experience and technology. The name came
about
through a misunderstanding when Pat went to say he had created something
on his
“laptop” but said “Black Top” instead. [KATAN500: ...there're probably
people out there thinking it was deep and meaningful...]. We tend to
adopt a more avant-garde
approach to sound, notes and tones looking for inspiration in the
Chicago based
Association for the Advancement of Creative Musicians approach to
improvised
music...</span></span> </span></span></span></span></span></div>
KATAN900:<span style="color: red;"> <span style="color: black;">I was wondering if the actual process of making the music is
as important as the sound. It’s not just the technical skills - though obviously
that is a very important part – it’s the relationships between the musicians,
and individual musician’s relationship with their instruments and then the creative
relationships within the group...</span></span>
</div>
</span></span><span style="font-size: small;"><span style="font-family: Verdana,sans-serif;"></span></span><div class="MsoNormal" style="line-height: normal;">
<span style="font-family: Verdana,sans-serif;">ORPHY:<span style="color: red;"> </span><span style="color: black;">Yes.
Every little part of the music-making process is very important but external
things are just as important, like hanging out, eating together, talking, its
all a part of the over all composition. </span></span></div>
</div>
<span style="font-family: Verdana,sans-serif;">KATAN500: What projects have you got on at the moment? You know I've got to ask you about <i>Broken Blossoms</i>...</span><br />
<span style="font-family: Verdana,sans-serif;">ORPHY: There's Jazz Warriors Nexus...and <i>Broken Blossoms</i>. I lead alongside </span><br />
<span style="font-family: Verdana,sans-serif;">Cleveland Watkiss the Jazz Warriors International - an organisation that doesn’t only play concerts, but is also involved in event promotions...education. We have a successful monthly event called Nexus - “One World Music”. That we put on at the iconic St Georges Bloomsbury, where we programme musicians who are better known in the Classical and world music areas. We work closely with Newham music hub and a new initiative called the Newham Youth Dub Orchestra taking in students across the borough in early stages of their musical development. I still lead music education projects at the Hackney Empire. I have been there eleven years now. <i>Broken Blossom</i> is one of a number of commissions I have on the go this year, A visually stunning silent movie from early last century written by the infamous D.W. Griffiths of “The Birth of a nation” fame... I've put together a quintet consisting of Byron Wallen, Corey Mwamba, Emi Watanabi and Beibei Wang for the project... Other stuff, I'm producing and musically directing some more commercial projects that will be launched next year. Watch this space.</span><br />
<span style="font-family: Verdana,sans-serif;">KATAN900: If you weren’t a musician what would you be?</span><br />
<span style="font-family: Verdana,sans-serif;">ORPHY: A barrister or teacher...</span><br />
<span style="font-family: Verdana,sans-serif;">KATAN500: One more thing Orphy what <i>is</i> that long orange thing that you're waving around...</span><br />
<span style="font-family: Verdana,sans-serif;">ORPHY: What orange thing is that? </span><br />
<span style="font-family: Verdana,sans-serif;">KATAN900: Thank you for being a good sofa sport...</span><br />
<br />
<br />
<span style="font-size: large;"><span style="font-family: Verdana,sans-serif;"><b>Broken Blossoms</b></span></span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwoUr8wk3StPmmyhv15qm2Zh16vson1SsF6yuHC4FL_6-YJ-6l3XycLqwaIvI7zKkZbuYGtaXwIF-U' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<span style="font-family: Verdana,sans-serif;"><br /></span>
<span style="font-family: Verdana,sans-serif;">The Vortex Jazz Club with Hackney Co-operative Developments/Gillett Square and Reel Islington present, D. W. Griffith’s 1919 silent masterpiece Broken Blossoms with music scored and performed by Orphy Robinson, with Byron Wallen, Corey Mwamba and Emi Watanabi and Beibei Wang. The event is subject to sufficient funds being raised.There is a crowd funding campaign with a reward incentive for supporters. Please check it out <a href="http://www.gillettsquare.org.uk/">www.gillettsquare.org.uk</a></span><br />
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<span style="font-family: Verdana,sans-serif;">Film and music screening 13 September 2014</span><br />
<span style="font-family: Verdana,sans-serif;">Gillett Square, Dalston, N16 8AZ </span><br />
<span style="font-family: Verdana,sans-serif;">Time: 8pm. Admission: Free</span><br />
<br />
<br />katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-29759999531133669942014-07-15T16:59:00.002+01:002014-07-15T16:59:21.863+01:00Release of No. 1 with special guest Steve Williamson by Black Top<br />
<br />
<i> Black Top #1 With Special Guest Steve Williamson</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYoH7xXyPNDnfyJfPk9QEz4KkzzlECfuVR1kK7CCn_lu0r0CtTRuQXawGyNpw_BU6B9gSEBd_55Ng02sgD_3u26voTyF5QE3tnQoJkNk6-mT4X3IqOpJawJxCiX8OmqWA6Leb3lA/s1600/No1+Black+Top.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYoH7xXyPNDnfyJfPk9QEz4KkzzlECfuVR1kK7CCn_lu0r0CtTRuQXawGyNpw_BU6B9gSEBd_55Ng02sgD_3u26voTyF5QE3tnQoJkNk6-mT4X3IqOpJawJxCiX8OmqWA6Leb3lA/s1600/No1+Black+Top.jpg" height="320" width="320" /></a></div>
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<br />
<i>Black Top's No. 1 with special guest Steve Williamson</i> was offically released yesterday on Babel.The album which was recorded live is a genre-bending work leapfrogging generic concerns as it plays with elements of the avant-garde, free improvisation, Jamaican dub and electronica. Black Top brings the personal experiences and influences of the musicians into the Improv and Free Jazz world - a 'black' perspective that is in flux while interacting all the time with the vibes around it. Forming a shape-shifting unit they are dedicated to exploring the intersection between live instruments and lo-fi technology.<br />
<br />
Through regular live performances at North London’s Café Oto and elsewhere, Black Top have concentrated on developing working relationships with musicians from across the cultural and generational spectrum, who can match their own technical dexterity and handle the element of surprise that’s ever-present in their experiments. Collaborators have included saxophonists Steve Williamson, Shabaka Hutchens and Jason Yarde, vocalist Cleveland Watkiss, flugel horn player Claude Deppa and trumpeter Byron Wallen. <br />
<br />
<b> Black Top is:</b><br />
<b><br /></b>
<b>Orphy Robinson</b> (trumpet, marimba, vibes, steel pan and various electronics) <br />
has been a major figure in UK and international jazz since the 1980s, <br />
releasing two critically acclaimed solo albums on the Blue Note label and <br />
playing with a host of major artists including Don Cherry, David Murray, <br />
Henry Threadgill, Courtney Pine, Jazz Warriors and Andy Shepherd.<br />
<br />
<b>Pat Thomas</b> (keyboards, piano, various electronics) is one of the most <br />
challenging and audacious pianists currently operating in the UK, with a <br />
unique style that embraces improvisation, jazz and new music. He has played<br />
with major figures in improvised music including Derek Bailey, Steve Noble,<br />
Tony Oxley and Lol Coxhill.<br />
<br />
<b>Special Guest:</b><br />
<br />
<b>Steve Williamson</b> (saxophones) has released three acclaimed solo albums,<br />
including 1990’s A Waltz for Grace, in collaboration with legendary vocalist <br />
Abbey Lincoln. He has played in the renowned ensembles Jazz Warriors, <br />
Chris McGregor’s Brotherhood of Breath and Louis Moholo-Moholo’s Viva La<br />
Black, and worked with Courtney Pine, Iain Ballamy, Maceo Parker and others.<br />
<br />
<br />
<b>REVIEWS</b><br />
<a href="http://on.ft.com/1ro7OIY" target="_blank">Financial Times (Mike Hobart) Black Top: #One – review</a><br />
'...free jazz electronica with urban grit...'<br />
<a href="http://bit.ly/1nDEBcN" target="_blank">Guardian (John Fordham) Black Top: #One review – edgy, uncompromising improv jazz</a><br />
'edgy, uncompromising improv jazz'<br />
<a href="http://www.jazzwisemagazine.com/features/jazzwise-magazine-features/13164-black-top-new-forms" target="_blank">Jazzwise (Kevin Le Gendre) Black Top New Forms</a><br />
'...no rules is the only way to create a new jazz tradition today...'<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF-ROAp0XQW0wg9fLkPgd8Km5kXMrTs8pURXmeFRrtlOluWwVodR_Sb3w2pd70Vxgsslxri6j_GC9nIVstpRnylqjRr0UA41M-sbLpps3wFepP7yIy6meYTNZXrgeDxjotway0Jg/s1600/orphypat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF-ROAp0XQW0wg9fLkPgd8Km5kXMrTs8pURXmeFRrtlOluWwVodR_Sb3w2pd70Vxgsslxri6j_GC9nIVstpRnylqjRr0UA41M-sbLpps3wFepP7yIy6meYTNZXrgeDxjotway0Jg/s1600/orphypat.jpg" height="212" width="320" /></a></div>
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<a href="http://babel-label.bandcamp.com/album/no-1-with-special-guest-steve-williamson" target="_blank">BUY / LISTEN TO Black Top #1 </a><br />
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katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-31410904423416369802014-07-11T11:21:00.000+01:002014-07-11T11:21:16.720+01:00Saslonch Suite photosTo add to my review of the incredible gig "Saslonch Suite", reviewed on http://www.londonjazznews.com/2014/07/review-saslonch-suite-at-2014-suedtirol.html<br />
<br />
Here are some photos are copyright of Bernd Zimmermann, nrwjazz.net (Please contact him for all further usage.)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg31C58tSJWzqAtWkbU7-ssj76Vn24Zjx2rikLxxz3BSnYl4_9L1TeWXsljr3we7r7axkZ8MHua0s-TduAz5jeivpoJdDH6XEi0_o24OwZzqwC2jUnljffpUOwKKj5l2r8rRpOx/s1600/alto_adige_copyright_bernd_zimmermann1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg31C58tSJWzqAtWkbU7-ssj76Vn24Zjx2rikLxxz3BSnYl4_9L1TeWXsljr3we7r7axkZ8MHua0s-TduAz5jeivpoJdDH6XEi0_o24OwZzqwC2jUnljffpUOwKKj5l2r8rRpOx/s1600/alto_adige_copyright_bernd_zimmermann1.jpg" height="228" width="320" /></a></div>
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Lucas Niggli, Kalle Kalima, Andreas Schaerer</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjD2ikNxLZik7JQQaHxZmheE1xxgtKU4Eut4aBaLIPjyWz18d1u24GZI6-ZM0SWLCmf5uV0c9G_rGJ_cvMFiS_xjmzN8cf-60di2tagw0zTKBH1LEyrD0cfP-VZ-St1KjJ9B5/s1600/alto_adige_copyright_bernd_zimmermann2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjD2ikNxLZik7JQQaHxZmheE1xxgtKU4Eut4aBaLIPjyWz18d1u24GZI6-ZM0SWLCmf5uV0c9G_rGJ_cvMFiS_xjmzN8cf-60di2tagw0zTKBH1LEyrD0cfP-VZ-St1KjJ9B5/s1600/alto_adige_copyright_bernd_zimmermann2.jpg" height="228" width="320" /></a></div>
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Slacklining by the Favresse brothers</div>
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Matthias Schriefl, Cédric Favresse, Florian Trübsach (halfway up the mountain)</div>
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Bear in mind that there was also the effort taken by the musicians to get into place. They left at 7 a.m. and had to carry up their gear!!</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-52812741934155195782014-06-11T12:20:00.002+01:002014-06-11T12:22:03.751+01:00Vortex Real Ale Group trip to Vilnius<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFbZu-1cllQWwI5-adohDs7gnqUKMXuH6xNd_lv8EhQwDJViHiAGKzK5mE36PMb3a6nvZfsawg50iw-opJviewLsTZw9P4PpdSuLiXTn-AAlgcbLegNeYGsyni-EhUowKhncL0/s1600/LOGO_2014_RGB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFbZu-1cllQWwI5-adohDs7gnqUKMXuH6xNd_lv8EhQwDJViHiAGKzK5mE36PMb3a6nvZfsawg50iw-opJviewLsTZw9P4PpdSuLiXTn-AAlgcbLegNeYGsyni-EhUowKhncL0/s1600/LOGO_2014_RGB.jpg" /></a></div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">We are looking at the possibility of a visit of Vortex fans to the Vilnius Jazz Festival. </span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Under the auspices of the Vortex Real Ale Group, so that a visit to a brewery will be included.</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Here are some details:</span><br />
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The festival tales place from Thursday 16- Sunday 19 October 2014.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The line-up hasn't been published yet. The festival website is:</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<a href="http://www.vilniusjazz.lt/" style="color: #1155cc;" target="_blank"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">http://www.vilniusjazz.lt</span></a></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div style="border-collapse: collapse; color: #222222;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Return flights are likely to be between £50 and £100. Festival tickets are about €30 for entry to all events.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Accommodation costs will be reasonable.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Reports are that the beer in <span class="il" style="background-attachment: initial; background-clip: initial; background-color: #ffffcc; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: #222222;">Vilnius</span> is very good!</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div style="border-collapse: collapse; color: #222222;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">One idea might be to fly out on say, the Thursday afternoon and return on the Sunday.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div style="border-collapse: collapse; color: #222222;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Anyway, at this stage if anyone is interested let me know. You don't have to commit yet, but it would be good to get an idea of who would be keen to go so we have an idea of possible numbers.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Look forward to hearing from you.</span></div>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div style="border-collapse: collapse; color: #222222;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">If you are interested, contact me first on <a href="mailto:oliver@babellabel.co.uk">oliver@babellabel.co.uk</a></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-342977871334486252014-05-27T12:47:00.000+01:002014-05-27T12:47:13.534+01:00Festival timeI am lucky enough to have been invited/motivated to go to a few festivals over recent weeks.<br />
<br />
What is the rationale?<br />
1. Busman's holiday.<br />
2. To hear some different music live<br />
3. To meet people in a different environment and promote Babel's musicians and the Vortex<br />
<br />
I have posted the reviews on www.londonjazznews.com<br />
<br />
Europa Jazz Le Mans<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOtIXWo1igIR7yyDMJ-PMEqhB04CatVEdkzn8n4Bp7KT4rQg2vtSAjABq6iRPkvleaao1_B-tv_H7kfQgXQHR9RXosOfEUJEGpf-soR71F6aZgQrz3_dHKqBC3JX_Y9Wflg5Xe/s1600/entete-logo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOtIXWo1igIR7yyDMJ-PMEqhB04CatVEdkzn8n4Bp7KT4rQg2vtSAjABq6iRPkvleaao1_B-tv_H7kfQgXQHR9RXosOfEUJEGpf-soR71F6aZgQrz3_dHKqBC3JX_Y9Wflg5Xe/s1600/entete-logo.png" height="188" width="200" /></a></div>
<br />
<a href="http://www.londonjazznews.com/2014/05/festival-report-europa-jazz-2014-in-le.html">http://www.londonjazznews.com/2014/05/festival-report-europa-jazz-2014-in-le.html</a><br />
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Schaffhausen Jazz Festival<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqwPrCqUF7a0FOBaT1z8nTn_tWV8i_EZs8UOHph9wGB-t9WvT7ANYXnukwsBBupUMPTAYPmaP2s3ITnjDTecQXt75N8Fi7a1WU-CwEB4p_OYKUIhUTtPMuR5klibxNfLmxJWi/s1600/1010795_614777691927896_771302458_n.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqwPrCqUF7a0FOBaT1z8nTn_tWV8i_EZs8UOHph9wGB-t9WvT7ANYXnukwsBBupUMPTAYPmaP2s3ITnjDTecQXt75N8Fi7a1WU-CwEB4p_OYKUIhUTtPMuR5klibxNfLmxJWi/s1600/1010795_614777691927896_771302458_n.png" height="67" width="200" /></a></div>
<br />
<a href="http://www.londonjazznews.com/2014/05/featival-round-up-schaffhausen.html">http://www.londonjazznews.com/2014/05/featival-round-up-schaffhausen.html</a><br />
<br />
Jazzahead<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSujXo_ETjnP77dElBe2iBfLxtfEekLtQGjLOAz6Mj7gKev3tVVzPcP_3A9CnVzu0de0jBLStr6u4jOOiCCZCj2qvnQN74R2klBVWmoA_S0F6z1snTZL_zxMvMRYobtMMGPZrQ/s1600/jazzahead.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSujXo_ETjnP77dElBe2iBfLxtfEekLtQGjLOAz6Mj7gKev3tVVzPcP_3A9CnVzu0de0jBLStr6u4jOOiCCZCj2qvnQN74R2klBVWmoA_S0F6z1snTZL_zxMvMRYobtMMGPZrQ/s1600/jazzahead.jpg" height="200" width="200" /></a></div>
<br />
<a href="http://www.londonjazznews.com/2014/05/review-christine-jensen-jazz-orchestra.html">http://www.londonjazznews.com/2014/05/review-christine-jensen-jazz-orchestra.html</a><br />
<br />
Overall, it has to be admitted that I do not necessarily hear better things when away. It almost reassures me that our scene is as strong as it is, though it also disappoints me that it doesn't get better heard.<br />
<br />
I get niggling feelings of sadness that I miss some very special gigs in London when I go off. For example, when at Jazzahead I missed Louis Moholo's special night; and when at Le Mans, I missed the launch of Jason Yarde/Andrew McCormack's duo with strings.<br />
<br />
Nevertheless, you also get feelings of great positive energy about what is happening in jazz. You can't quite work out when something more might transpire, but you just have to stay flexible.<br />
<br />
I certainly prefer the festivals as a way to "network" because they are based around the music. Jazzahead seems to let alcohol overpower that. However, one major positive of Jazzahead is about musicians meetings. Kit Downes told me that he met Sylvain Darrifourcq and Adrien Dennefeld there for the first time (with the result of Barbacana!). Julia Hülsmann, in today's interview in <a href="http://www.londonjazznews.com/2014/05/interview-julia-hulsmann.html">Londonjazznews</a>, says that she met Tom Arthurs there (with the result of Tom playing on her last ECM album). Hannes Riepler, when there now, reconnected with his Dutch friends (with whom he studied) and the Austrians of his homeland.<br />
<br />
As more come along, I shall continue to do the linking up. More fully-fledged reviews on Londonjazz, and more oblique thoughts here.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-5612942623088526142014-04-30T11:37:00.000+01:002014-04-30T13:02:00.383+01:00Jazz Matters: International Jazz Day 2014<br />
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<div style="background-color: white; border: 0px none; color: #4d4d4d; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 20px; margin: 0px 0px 15px; padding: 0px; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: black;"></span></span><span style="font-size: large;"><span style="color: black;">International Jazz Day 2014</span></span></div>
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For those who didn't know April 30th was declared International Jazz Day by UNESCO in 2011. So <br />
what is International Jazz Day and what are we celebrating? The music? Or a form of cultural diplomacy that pays lip service to the role that jazz has played in soft diplomacy - beyond which usually lie social, economic and political influence? Not wanting to sound completely cynical, though I can help, when confronted with the 'sugarcoated' messages. On the <a href="http://jazzday.com/about/" target="_blank">International Jazz Day website </a> there's a nice quote from jazz ambassador Herbie Hancock,<br />
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"Jazz is really about the human experience. It’s about the ability of human beings to take <br />
the worst of circumstances and struggles and turn it into something creative and constructive. <br />
That’s something that’s built into the fiber of every human being. And I think that’s why people <br />
can respond to it. They feel the freedom in it. And the attributes of jazz are also admirable. It’s <br />
about dialogue. It’s about sharing. And teamwork. It’s in the moment, and it's nonjudgmental."<br />
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Of course these noble sentiments aren't offensive as such. How could any reasonably- minded person be against mutual tolerance, unity and peace, equality, etc. My unease is about the way jazz has been co-opted as a soft power tool. Jazz's role in cultural diplomacy paved the way for America to dominate popular music globally, which presented an interesting paradox in 1950s and 60s. As the music that originated with an oppressed minority struggling against racism and inequality, jazz was used to represent American culture abroad by the US State Department - although racial segregation existed in some states in America. Jazz royalty / heroes were appointed jazz ambassadors to carry the message of 'freedom' that jazz symbolized, which became attached to American propaganda about the 'American way of life' and the value of democracy during the cold war period. The contradiction did not escape the musicians - Charles Mingus, commented that if jazz was good enough for the overseas audiences of the state department then why wasn't it good enough for young people at home. Back then cultural diplomacy was clearly about the American experience of freedom with its modernity idealized. It wasn't just Jazz musicians but also Basket ball players, and other entertainers whose auras were exploited in this way.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUusv0Ses-vpIHadAjZYJcErFSyE0U-QvgBX-ymXsIKcruYigBUplSKQkioSl1ccY_xwMTLb-GkofmTsMNq33tWQ1a9trXE2qPe_9tTTtVVE_L4m08-QKjTTzGE0r0_v-gD9hMVg/s1600/jazzambassadorsdizzy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUusv0Ses-vpIHadAjZYJcErFSyE0U-QvgBX-ymXsIKcruYigBUplSKQkioSl1ccY_xwMTLb-GkofmTsMNq33tWQ1a9trXE2qPe_9tTTtVVE_L4m08-QKjTTzGE0r0_v-gD9hMVg/s1600/jazzambassadorsdizzy.jpg" height="245" width="320" /></a>Is the creation of International Jazz Day a revival of the jazz ambassadors of the 50s and 60s? Jazz and 'freedom' go together like a horse and carriage. But it gets tricky because 'freedom' was shaped by particular ideological forces and the US State Department that made the American way of life and 'democracy' appear interchangeable. Looking at the current language used to talk about 'jazz': 'jazz is a democratic music'; 'jazz allow people to express their individuality; 'jazz is a vector of freedom of expression', are these sentiments that different? Weren't these also the symbolic messages jazz musicians carried with them behind the iron curtain? Perhaps the really interesting part is what has happened to the American dream and America's 'moral' authority in the world today. Wasn't this enduring sense of 'freedom' - the freedom to make money, which accommodated the rise of rapacious bankers? For me engendering an appreciation of the music art form sometimes seems to be a footnote by comparison.<br />
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Herbie, tells us,"We all want to live in a <b>jazz world</b> where we all work together, improvise together, are not afraid of taking chances and expressing ourselves." I'm not knocking Herbie because he's right about one thing which is jazz is about the human experience and to put it in a less sugary way, that experience was / is about hope, possibility and at times losing oneself. So what should one do on International Jazz Day? Listen to Jazz; buy some jazz, play some jazz; engage in dialogue about jazz; find something jazzy to do...<br />
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Here are my quick and very random picks for International Jazz Day 2014 and Happy International Jazz Day!<br />
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Ted Gioia's <i>The Imperfect Art: Reflections On Jazz and Modern Culture</i> - a really excellent and enjoyable read.<br />
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Herbie Hancock: <a href="http://mahindrahumanities.fas.harvard.edu/content/norton-lectures" target="_blank">The Norton Lecturer in 2014'The Ethics of Jazz' </a> - in 6 parts. Vijay Iyer and Homi Bhabba make an appearance.<br />
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<i> <a href="http://www.npr.org/blogs/ablogsupreme/2014/04/24/306513332/the-history-of-jazz-piano-in-11-minutes" target="_blank">The History Of Jazz Piano In 11 Minutes</a></i><br />
by Patrick Jarenwattananon<br />
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<a href="http://liamnoble68.blogspot.co.uk/2013/09/episode-4-music.html" target="_blank">Music</a><br />
Liam Noble's Brother Face<br />
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Graham Scrambler Emeritus Professor of Sociology UCL<br />
<a href="http://www.grahamscambler.com/jazz-and-sociology-revisited/" target="_blank">Jazz and Sociology Revisited (Feb 11 2014)</a><br />
<a href="http://www.grahamscambler.com/jazz-and-sociology-a-footnote/" target="_blank">Jazz and Sociology (Mar 27 2014)</a><br />
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<a href="http://babel-label.bandcamp.com/" target="_blank">Check out Babel Label on Bandcamp</a>katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-86881847231012236132014-04-17T10:35:00.001+01:002014-04-22T11:12:26.641+01:00 Jammin' the Blues (1944) and Blues for Joan Miro (1966)<br />
<span style="font-size: x-large;"> JAZZ PROJECTOR</span><br />
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<span style="font-size: large;">DOWNSTAIRS @ THE VORTEX JAZZ CLUB</span><br />
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<span style="font-size: large;">28/MON/4/14 20:00 - 2:00am</span><br />
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<span style="font-size: large;"> Entry: FREE</span><br />
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Jazz Projector is a night of jazz related films hosted by Dr Nicolas Pillai (University of Warwick). Since most of these legendary musicians are dead it is perhaps the closest we can come to experiencing them live. The two short films selected for the next Jazz Projector event are: <i>Jammin’ the Blues</i> (1944) Dir. Gjon Mili, and <i>Blues for Joan Miro</i> (1966) Producer Norman Granz. The first conjures up classic images of Lester Young and others, while the second film is part of an uncompleted Ellington film project. The evening concludes with a 1965 <i>Jazz 625</i> recording of the Thelonious Monk Quartet.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3g3xixlXjB8DXhebRQc_af_fs-UVRQAMwxZdY0KXdh_qvBn_MMPo47FRZAc_W-_q8AEd_kR_MFvKvhX1Ni4pPQt5_f2g9CsyFUPosetkWm72ena0fqqk0tVHaLWylTD8l4MIJQ/s1600/bscap0323-custom2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga3g3xixlXjB8DXhebRQc_af_fs-UVRQAMwxZdY0KXdh_qvBn_MMPo47FRZAc_W-_q8AEd_kR_MFvKvhX1Ni4pPQt5_f2g9CsyFUPosetkWm72ena0fqqk0tVHaLWylTD8l4MIJQ/s1600/bscap0323-custom2.jpg" /></a><span style="font-size: large;"><i> Jammin' the Blues</i> (1944)</span><br />
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Features a jam session with some of the most outstanding African-American <br />
jazz musicians, including Lester Young.<br />
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There was one white musician present, Barney Kessell on guitar, who appears as a shadowy silhouette figure in a deliberate attempt to make him unidentifiable as a white man jamming in the company of black musicians.<br />
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The noir-ish ambiance is created through the dim lighting, and wisps of cigarette smoke evoking the night club. To come to think of it the chairs look the same as the ones upstairs in the Vortex Jazz Club. For 1944 the film must have seem very avant-garde with its use multiplied images and abstract treatment of instruments and their players.<br />
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<span style="font-size: large;"><i> Blues for Joan Miro</i></span> (1966)<br />
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In this film Duke Ellington and his Trio play for Joan Miró in the South of France. Miro takes Duke on a guided tour of his sculptures while chatting away in French.The two men couldn’t understand a word the other said, but seemed contented to show each other their work. You see Miró standing, leaning on one of his sculptures behind Duke looking on as he plays <i>The Shepherd</i>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1leRDMIZ55IeF9_BiFIGpWedksfJqzyPu_tMNq7rVQZCFPAXc3nDubh0GknlY6HEhLxSRblGbzRSD93JvbYf6lAUrdP-vsFiS-O1L1xG1nJPm6WhrVH19qbCWTVIh7z0NOzH5Cg/s1600/DE.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1leRDMIZ55IeF9_BiFIGpWedksfJqzyPu_tMNq7rVQZCFPAXc3nDubh0GknlY6HEhLxSRblGbzRSD93JvbYf6lAUrdP-vsFiS-O1L1xG1nJPm6WhrVH19qbCWTVIh7z0NOzH5Cg/s1600/DE.jpg" height="240" width="320" /></a> <br />
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<span style="font-size: large;">Hope to see you there and check out the food while you're there...</span><br />
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<span style="font-size: x-small;"><span style="font-size: small;"><a href="http://www.vortexjazz.co.uk/event/jazzprojector/" target="_blank">http://www.vortexjazz.co.uk/event/jazzprojector/</a></span></span><br />
<span style="font-size: small;"><a href="http://www.vortexjazz.co.uk/event/jazzprojector/" target="_blank"></a></span><br />
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<br />katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-19219635653903528872014-03-03T13:37:00.001+00:002014-03-03T13:41:22.458+00:00Raymond MacDonald/Marilyn Crispell review (From Sandy Brown Jazz)<h4 align="justify" class="style182">
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<b style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Album Released: 24 February 2014 - Label: Babel</b></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0); font-size: 17px;">Raymond MacDonald & Marilyn Crispell</span></h3>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0); font-size: 17px;">Parallel Moments</span></h3>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><br />Steve Day reviews for us this album of duets from Raymond MacDonald (alto and soprano sax) and Marilyn Crispell (piano):</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">In the dark basement of an old church on the Lower Eastside in New York I first heard Marilyn Crispell play piano live. It was a trio with drummer, Gerry Hemingway and the bassist, Mark Dresser. All these years on, it is still one of those gigs that permeates my memory bank. No one jumped about or played the fool, rather the music they played came forth as if it were some Gloria ghost cut loose in the bowels of this old building. I had wanted to catch them because they were all members of Anthony Braxton’s celebrated 1980’s quartet. Marilyn Crispell came to the piano not simply (sic) as a gymnast of octaves, but</span></div>
<img align="right" alt="Raymond Macdonald Marilyn Crispell album" src="http://www.sandybrownjazz.co.uk/images/Raymond%20Macdonald%20Marilyn%20Crispell%20Parallel%20Moments.jpg" height="200" hspace="20" style="text-align: start;" vspace="20" width="200" /><br />
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"> as a fully contextual composer writing and reacting right there in the given moment. Now we have a duet of ‘parallel moments’.</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">And the other player? The alto saxophone can take my ears to the heart of the matter. In no particular order: Johnny Hodges, Joe Harriott, Art Pepper, Bird, Alan Barnes, Ornette Coleman, Bruce Turner, Eric Dolphy and Dudu Pukwana, the beginning of a list which retunes my hearing. Add Glasgow’s Raymond MacDonald to the roll-call. And I simply don’t care about sticking labels like be-bop, mainstream, or avant garde on musicians; if you are interested in how an alto saxophone can really engage with piano you will want this CD. <em>Parallel Moments</em> is superb.</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">This session dates back to the London Jazz Festival of 2010. The recording quality is ‘pin-drop’. There are ten distinctly different pieces in a seamless tapestry of dialogue, giving way to intense close duets breaking to solo conversation. We listen to these two listening, ears are the other instrument here. There’s an etiquette present, a mutual recognition audible within the playing. Thank the stars and the Babel Label for making these performances available now. From the opening track <em>Longing</em>, which is almost the ballad form crushed open to release a rapture rich with privacy, to the closing piece, <em>Distant Voices</em>, taking under two minutes to delineate circular breathing technique as an abstracted soundscape. The listener is drawn in to witness the MacDonald/Crispell duo in a parallel act at the pinnacle of the art of improvisation. I call it jazz or maybe I should just settle for listening.</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Sometimes you feel you’ve already heard too much. This is the real thing, treat yourself to a little bit more.</span></div>
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<span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);"><span class="style231">Steve Day</span> <span class="style231"><a href="http://www.stevedaywordsandmusic.co.uk/">stevedaywordsandmusic.co.uk</a></span></span></div>
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<span style="-webkit-text-size-adjust: auto;"><b>Listen and buy on <a href="http://babel-label.bandcamp.com/album/parallel-moments">http://babel-label.bandcamp.com/album/parallel-moments</a></b></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-22027522.post-18641148440735582462014-02-12T22:55:00.001+00:002014-02-17T10:10:26.511+00:00On the Sofa #3 with Rachel Musson<div style="text-align: center;">
<span style="font-size: x-large;">On the Sofa with Rachel Musson </span></div>
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<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGbz3r6oofnNvsVKclX3Lu84dm8BB6RLR3h6cGY7r85wIk7JnFfeQfUFn2apZ4AkHXYy2ijaCLdTiAhoF6GHl3FhEmImk804CVCquxN7k_3iMmtcw0Hf8apd3Nx43UH7cfJneUfg/s1600/Rachel_Musson-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGbz3r6oofnNvsVKclX3Lu84dm8BB6RLR3h6cGY7r85wIk7JnFfeQfUFn2apZ4AkHXYy2ijaCLdTiAhoF6GHl3FhEmImk804CVCquxN7k_3iMmtcw0Hf8apd3Nx43UH7cfJneUfg/s1600/Rachel_Musson-2.jpg" height="320" width="214" /></a></span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQeG18J3E0CsDEWdv39jVT51troA8wcicV2tgUdsunha2rn67euGRrN4GkSdhJ2wGdv7xCk8gY3h_CaqrA8S6Zv57PygkB_RjBiE88bhK1UYpdFhEPxAGqPPfyWw0zhLr3VE1FUg/s1600/tatterdemalion.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQeG18J3E0CsDEWdv39jVT51troA8wcicV2tgUdsunha2rn67euGRrN4GkSdhJ2wGdv7xCk8gY3h_CaqrA8S6Zv57PygkB_RjBiE88bhK1UYpdFhEPxAGqPPfyWw0zhLr3VE1FUg/s1600/tatterdemalion.jpg" height="200" width="200" /></a>Saxophonist<a href="http://rachelmusson.com/" target="_blank"> RACHEL MUSSON </a>has played with Mary Halvorson, Sebastian Rochford, Gail Brand and many others. She has released one album with her ensemble, Skein, the critically acclaimed Flight-Line, and has also recorded with NewYork based drummer Federico Ughi and Caroline Kraabel’s Mass Producers. She is currently working with Danish saxophonist and flautist Julie Kjaer. <a href="http://babel-label.bandcamp.com/album/tatterdemalion" target="_blank">Tatterdemalion (Babel 2013)</a> is the debut album of Musson's Trio with Liam Noble and Mark Sanders.The result is an in-your-face electrifying, completely free workout, by a deep-thinking free-improv threesome engrossed in energetic dialogue. Tatterdemalion was chosen by <a href="http://www.allaboutjazz.com/php/article.php?id=44569&pg=3" target="_blank">All About Jazz’s Mark Corroto</a> as one of the Best Releases Of 2013 and an album of the year by New York City Jazz Record.<br />
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Listen to and buy Tatterdemalion on the Babel web site <a href="http://babel-label.bandcamp.com/album/tatterdemalion">here</a><br />
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KATAN500: Favourite colour?<br />
RACHEL: Green. I think. Yes.<br />
KATAN500: Jazz is in 150 words...</div>
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RACHEL: An inconvenient category, an attitude, and approach, probably not what most people think it is…hmmm</div>
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KATAN500: Fruit salad or black jacks?</div>
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RACHEL: Definitely fruit salad. I’m not sure what a black jack is.</div>
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KATAN500: See here... </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMiBmCj_h-HqmoX_hde-HeFevpvS9_Kv0G0mWNRGrzDcwK5pdFzFxHVZ9nlEbZulu52gfnY0eje-yzhOswgZvsdys_lQPMkOa8LKu5TDaurmr4VK3AMZY4ezQM6Tu8f7u1gyGRFA/s1600/BJFS.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMiBmCj_h-HqmoX_hde-HeFevpvS9_Kv0G0mWNRGrzDcwK5pdFzFxHVZ9nlEbZulu52gfnY0eje-yzhOswgZvsdys_lQPMkOa8LKu5TDaurmr4VK3AMZY4ezQM6Tu8f7u1gyGRFA/s1600/BJFS.jpg" /></a>So where would you like to go on holiday?<br />
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RACHEL: I’m currently looking forward to a trip I’m planning to Thailand to study Thai massage. I’ve studied it before, but I’m hoping to brush up on skills and learn plenty of new ones. I suspect it's more of a lifelong task than this statement suggests. All the best things are. I’m also hoping to take a saxophone and find somewhere to play. Is that a holiday? <br />
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KATAN500: As long as extended loafing is a substantial part of it...<br />
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RACHEL: I’d also like to make it back to New York in the not too distant future to hook up <br />
with a few musicians who’ve suggested playing. Is that a holiday?<br />
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KATAN500: Hmm. Well how do you relax?<br />
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RACHEL: I’m not so good at this. Relatively lengthy silent mediation retreats seem to be the only thing that does the trick for me at the moment! Otherwise yoga helps a lot. <br />
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KATAN500: Last book you read?<br />
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RACHEL: Ouch! I’ve had my head in various anatomy books for what feels like forever…and yoga <br />
and mediation books. I guess it might be ‘The Solitude of Thomas Cave’ by <br />
Georgina Harding – a fictional story set in the 1600s of a man choosing to overwinter alone in the artic. I’m currently making a belated new years resolution to read more fiction.<br />
<br />
KATAN500: Is 'Jazz' dead?<br />
<br />
RACHEL: Pass! I hate this question/debate. It feels a bit irrelevant. I know you’re asking it because <br />
it’s such a well-worn question. There are so many amazing musicians out there making amazing<br />
music….much of which defies genre these days. So it doesn’t really matter whether ‘jazz’ is dead. <br />
There’s plenty of inspiring music happening. The whole financial situation that surrounds it is <br />
another matter, though.<br />
<br />
KATAN500: So creatively no, but financially yes ...something like that? Do you have another job...besides musician?<br />
<br />
RACHEL: I teach part-time in various guises. I teach saxophone at the City Lit, a place I really love.<br />
And, I also specialize in working with music with children with autism and other special needs. <br />
But more recently I’ve trained as a yoga teacher and am currently completing a course in sports <br />
and remedial massage. So I sense, even if it’s a distant future, a change afoot in terms of how I <br />
support my more creative pursuits. I think I’d be particularly interested in working with musicians who might use bodywork to address the various postural problems that come from repetitive practice, or even stress and stage fright… Watch this space.<br />
<br />
KATAN500: What was the last piece of music you listened to? <br />
<br />
RACHEL: Well, I’m just back from a very lovely few days in Cornwall as part of the Sound and <br />
Music Portfolio scheme, and each night we had a listening session where people brought a couple of tracks to share with the group. It was a great way of finding some new music to listen to. [Katan500: Care to comment on it...] A couple of things were particularly memorable for me – Sidsel Endresen being one, and the Arcado String Trio. Specifically an album they did with a clarinet trio called ' Green Dolphy Suite' (on Enja). So I’m really looking forward to checking out a few things over the coming weeks.<br />
<br />
KATAN500: Where were you last seen / heard?<br />
<br />
RACHEL: Apart from the Sound and Music thing, it was a week or so ago with Alan Tomlinson, <br />
Dave Tucker and Jim Lebaigue at Alan Wilkinson’s wonderful Flimflam night in Stokey. <br />
I was supposed to make it to the recent London Improvisers Orchestra gig – I so love this band, but the February malaise got the better of me.<br />
<br />
KATAN500: No-one asks a man what's it like being a man playing jazz,
but I feel somewhat compelled to put the question to you....<br />
<br />
RACHEL: Oh no. The question. This might have to be a separate Q+A! Looking back, I think the lack of <br />
role
models early on was an issue. [katan500: I would never have heard of
pianist Hazel Scott if I hadn't been doing research on black women's
hairstyles in the 1940s]. I thought things would have got better than
they are by now. There is some improvement out there in terms of numbers
of female musicians, but not massive. I’ve had a few less than pleasant
experiences in the past, but I think the greatest challenge is an <br />
internal one – the stories held by your mind. And these are probably different for each female musician. And maybe the younger generation of musicians has less to shake off. I don’t know. And it can get a bit boring turning up for a gig and being the only woman in the room – both on stage and in the audience. It still happens now occasionally.<br />
<br />
KATAN500: Since reviewers (almost all) are male how do you think your compositions are received. Do you think there is an attempt to be gender-neutral? What do you think when you see words like 'in-your-face' and 'hardcore', 'screams and wails like a drunken ghost'? Language as part of culture reproduces signs that evoke certain stereotypes: is the same language or nuances used to describe the work of male composers? I'm just wondering if to use terms such as 'hardcore' 'in your face' you are being accepted as one of the boys...<br />
<br />
RACHEL: A tricky question. I do think many reviewers to try to be gender neutral. I don’t think the use of the words’ in-your-face’ has any gender reference to them except if, of course, they are used with an element of surprise or followed up with a reference to gender. The only time I’ve really felt a gender reference in a review was when a fellow female musician and I were playing in a trio with a male musician, and myself and the other female musician were very patronisingly referred to as ‘his ladies’. Am I being accepted as one of the boys? I don’t know. But I don’t feel any need to be ‘accepted as one of the boys,’ certainly now I’m getting older and with it getting less self-conscious and in need of acceptance. Obviously I desire respect, as most people do, from fellow musicians and listeners. I understand that hardness can be seen as a masculine quality. But everyone, if you are going to think like that, has a range of masculine and feminine qualities. Maybe it’s interesting that reviewers have picked up on the harder aspects of my playing…I do think I play soft as well. It’s not a decision, though, it’s just what happens. When I’m improvising I try to switch off that conscious mind, or at least turn it down, and let things run their course. Maybe if I lived somewhere a bit less frenetic there’d be less ‘drunken ghost’ in my playing! <br />
<br />
KATAN500: What's a wonderful, creative experience for you? And what might be the <br />
ingredients that let that happen?<br />
<br />
RACHEL: Hmmmm… I quite like the unexpected. That thing where you hook up with someone for <br />
a play and end up having a great time. It’s nice to be surprised, and to be pushed out of your <br />
comfort zone. On this recent Sound and Music weekend, for example, I did some playing with <br />
electronic musicians Shelley Knotts and Shaun Blezard. I’ve worked a little with electronic musicians <br />
in the past, but not a huge amount, and it’s great to be challenged by totally new sound worlds <br />
and tempos of working (it sort of felt slower and larger scale). And then, of course, there’s the <br />
opposite, when you hook up with someone who you’ve been playing with for years, and all that <br />
shared experience feeds into a feeling of great comfort and trust.<br />
<br />
KATAN500: Which was your most challenging piece of work?<br />
<br />
RACHEL: I think when I was a student a classical composer presented me with a soprano part that was<br />
wall to wall scored multiphonics that he’d copied out of a book and had no idea how difficult <br />
it would actually be to produce.<br />
<br />
KATAN500: What’s the best compliment you’ve received?<br />
<br />
RACHEL: I have to say I’m particularly fond of Jack Chuter’s quote from his blog on experimental music that goes something like, ‘reminiscent of a cold car engine refusing to start.’ There was also the chap who got pissed at a duo gig by myself and Julie Kjaer who said that we sounded like ‘syncopated farts’. Doesn’t get much better than that really.<br />
<br />
KATAN500: Who / what are your musical influences? I’ve seen Evan Parker mention a few times...<br />
<br />
RACHEL: Really – who mentioned Evan? Evan is rather fantastic, of course. When I think of influences I think of people I was listening to a long time ago. Otherwise I suppose everyone and everything is an influence at the moment. There’s so much amazing stuff happening in London. Way back when Lee Konitz was a huge influence on me. His later work. As was early Coltrane. Fairly straight ahead stuff really. I hugely loved Dexter Gordon. And Art Pepper – talking about when I was a teenager now, and both the European and American Keith Jarrett quartets. Around that same time I was also listening to some great British musicians – Bobby Wellins, Julian Argüelles, Geoff Simkins, Iain Ballamy. And then much more recently I have to confess to a bit of a Mats Gustafsson phase. And Brotzmann. Oh…and the list could go on.<br />
<br />
KATAN500: John Fordham said that you were a hot ticket for 2011 after the release of Skein's Flight Line, which was closer to idiomatic jazz and folk music, but the emphasis for Tatterdemalion is on collective free improv suggesting that you have moved off jazz's centre ground, how would you now characterize your current musical interest? Where do you 'position' yourself?<br />
<br />
RACHEL: My current musical interest is still definitely improvisation. I’m thoroughly enjoying the freedom it’s given me, and a sense of really beginning to find myself in the music. But I do think at some point I might venture back towards jazz (whatever that is) or composed music. There’s an art to writing compositions that promote freedom rather than writing the musicians into a corner that I haven’t cracked yet. I’d like to try crack it! [Katan500: How do you see the role of melody?] I like melody... I like melody in improv. I think/hope we’ve got past the stage of it being terribly unfashionable. I actually particularly like slightly cheesy (or heartfelt?!) melodies and simple harmonies with the odd twist and turn.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpTUoMuZnYFfXecWTpDuyfZrDK3WZN3fb-svgtpq4CrklAeb1GsrQrol6kemO_hf6HQimnURO4WAtjSUxbw5Wc7K9WdS1MUIShyphenhyphenzGp0K63OgMG_G1lxSQ3_b9DbZiGctjfLxpEsA/s1600/RMLNMS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpTUoMuZnYFfXecWTpDuyfZrDK3WZN3fb-svgtpq4CrklAeb1GsrQrol6kemO_hf6HQimnURO4WAtjSUxbw5Wc7K9WdS1MUIShyphenhyphenzGp0K63OgMG_G1lxSQ3_b9DbZiGctjfLxpEsA/s1600/RMLNMS.jpg" height="133" width="200" /></a>KATAN500: Tatterdemalion received a fair amount of attention – interesting title meaning a demented marvel comic villan right... what made you choose this? How did the collaborative process work?<br />
<br />
RACHEL: Well…I initially wanted to call it Disco Duck! [Katan: Flight Line featured some fine ducks on the album cover... got a thing about ducks then...]. But unsurprisingly that title wasn’t approved by the <br />
others, so it somehow ended up as Tatterdemalion. There’s something slightly decrepit about the sound of the album, something reminiscent of a worn out fairground ride. And tatterdemalion was a title I found that somehow personified that. The recording was literally a get into the room and play affair.The collaborative process was (and is) what happens when we play together on gigs. Maybe that sounds obvious, but I think we thrash things out musically... [Katan500: ...a collective thrash...] rather than round a table in a discursive sort of way.<br />
<br />
KATAN500: Is there some sort of etiquette that you follow e.g. do you decide how much time you <br />
each get...is it about striking a balance, or is it about democracy? Do you see any politics (with small p) in the way musicians collaborate in free improv – is it egalitarian in form, a dismantling of power structures?<br />
<br />
RACHEL: Yes – definitely a dismantling of structures. It certainly throws out the age-old structures normally associated with more ‘conventional’ jazz. That’s a major attraction for me. There is probably some kind of unwritten/unspoken etiquette, but I’m not so sure what that is. I guess a bit like how there’s etiquette when you go to the pub with some friends, but you don’t necessarily spend the first fifteen minutes establishing what that is. You allow people some space, work with them, challenge them a little, and establish a way of communicating.<br />
<br />
KATAN500: Have you started work on a new album?<br />
<br />
RACHEL: No, not yet! Although there’s this trip with Hannah and Julie that’s recording this week. <br />
I have a little seed of an idea for another album that’s just starting to take a little bit of shape.<br />
<br />
KATAN500: Who is your ideal partner (however you choose to interpret)?<br />
<br />
RACHEL: Ha! So, as it’s just a couple of days to Valentines’ Day, I’m going to let you know <br />
what I’ve got planned…Alto saxophonist Julie Kjaer, cellist Hannah Marshall and I are going to spend a few hours in the early evening recording. Can’t think of anything I’d rather be doing on the 14th Feb!<br />
<br />
KATAN500: Would you be unfaithful to your sax, or flirt with another instrument?<br />
<br />
RACHEL: Yep – I gave up saxophone for a good chunk of time when I was in my twenties – bit <br />
of a long story, perhaps eight years, but I took up accordion as a way of keeping <br />
myself musically engaged. I have to confess it defeated me, though – it’s so hard!<br />
<br />
KATAN500: What made you chose sax?<br />
<br />
RACHEL: Not really sure – probably something terribly unromantic like hearing it at school.<br />
<br />
KATAN500: What gigs have you got coming up?<br />
<br />
RACHEL: I’m very much looking forward to an upcoming gig with <a href="http://www.vortexjazz.co.uk/gigs.php?gd=20140305" target="_blank">Alex Ward’s new quintet and sextet </a>at the Vortex on the 5th of March. He’s written this really great piece that totally cracks the composition/improvisation balance I was talking about. And I’ve a couple of gigs with the trio with <a href="http://towerofjazz.blogspot.co.uk/2013/12/a-q-and-with-pianist-liam-noble-on-sofa.html" target="_blank">Liam</a> and Mark – in Derby on 12th March, and London (e17 jazz) on the 26th. I’m also getting to play a couple of times in what’s a regular duo with bassist <a href="http://babel-label.bandcamp.com/album/catatumbo">Olie Brice</a>, including at Arch 1 on the 25th Feb. And then there’s this 8-piece saxophone group that’s starting to come to life. Saxoctopus. I think we’re going to do a couple of pieces alongside Trio Riot at the Vortex on the <a href="http://www.wegottickets.com/event/258728">24th March</a> as a way of getting the whole thing off the ground.<br />
<br />
KATAN500: I shall look forward to seeing you at the <a href="http://www.vortexjazz.co.uk/" target="_blank">Vortex Jazz Club.</a> Thank you for being an excellent sofa buddy...<br />
<br />
Other reviews for Tatterdemalion<br />
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<br />
<a href="http://www.theguardian.com/music/2013/jun/13/rachel-musson-sanders-noble-review" target="_blank">John Fordham</a> (The Guardian) 13/6/13<br />
<br />
<a href="http://www.allaboutjazz.com/php/article.php?id=45305" target="_blank">Glen Astarita</a> (All About Jazz) 11/9/13<br />
<br />
<a href="http://lance-bebopspokenhere.blogspot.co.uk/2013/05/cd-review-tatterdemalion-rachel.html">Bebop Spoken Here</a> 12/5/13<br />
<br />
<a href="http://www.tomajazz.com/web/?p=6086">Tomajazz</a> 2/5/13</div>
katan500http://www.blogger.com/profile/12504031933090599687noreply@blogger.com0