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Soil & “Pimp” Sessions – Live at Jazz Cafe 21st July 2010

The adjectives do not exist, even in the English language to begin to describe the Soil & “Pimp” Sessions live experience. Even this scribe was left awestruck – along with the baying masses- having witnessed the full force of “Death Jazz” first hand at London’s Jazz Cafe after hearing so much positive vibes.

Photo courtesy of Mickael Dubois

So it was that The Dood stood expectant with the Soil & “Pimp” Sessions devotees and the soon to be converts as Giles Peterson introduced yet another quality acquisition to his burgeoning Brownswood Label Roster:  ‘....For me I’ve seen this band probably about thirty times maybe more, could be forty times. And I’ve still come up here again tonight because I want to see them again, they’re that good. They are one of the greatest bands in the world today. Please give it up, from Tokyo Japan, Soil & “Pimp” Sessions!!!!

Photo courtesy of Mickael Dubois

With that the unmistakable strains of Ennio Morricone’s classic ‘Ecstasy of Gold’ (the Good, the Bad & the Ugly) gradually enveloped the venue. ‘Soil & “Pimp”!  Soil & “Pimp”!’ chanted the audience beckoning the group to come to the fore. After thirty seconds or so they sauntered to the stage and assumed their positions. Ecstasy of Gold was interrupted abruptly by front man and ‘agitator’ Shacho, dressed immaculately in black suit, black shirt and black hat, with a piece of bling around his neck ‘Ice T’ would’ve proud of – Pure Pimp! He grabbed the microphone and bellowed, ‘HERE WE GO!!!!!’

Photo courtesy of Mickael Dubois

We were off and the band let off their opening salvo, a thunderous version of ‘Hollow’ from their 2008 ‘Planet Pimp’ project. With the crowd already bouncing off the walls, the six piece outfit segued straight into the first of five tracks from their current release ‘6’ – ‘Papa’s Got A Brand New Pig Bag.’ An evocative cover of the Art Blakey & Bobby Watson composition and DJ favourite, ‘Wheel Within A Wheel’ gave Tabu Zombie and Motoharu on horns an opportunity get their freak on, egged on by the Jazz Cafe massive. Somehow the two of them manage to give the impression and fullness in sound of a much larger six piece brass section – Amazing!

Keeping the up-tempo mood was the instant anthem, ‘Quartz Chronometer’ the second track of the night from their ‘6’ CD. The ‘agitator’ got to agitating his people by chanting ‘Soil’ repetitively while orchestrating the crowd to do likewise as they pogo jumped in front of him, fists raised high pumping the air. The quiet genius that is Josei got to flex his fingers during a brief solo on keyboards. However, it was on the following track the nursery melody sounding but complex and infectious ‘Sahara Mint’ that Josei as well as Akita (bass) and Midorin (drums) aka J.A.M got to represent proper. Josei laid down the gauntlet, twinkling the life out of the ebony and ivories, handing the virtual baton over to the animal that is Midorin. He distressed the skins and I mean spanked them proper! The crowd went mental. All the while it was left to the anker that is Akita Golding to keep the tempo on the double bass. No surprise then that this tight trio already have a couple of albums in the can in their own right. Spell-binding!

Photo courtesy of Mickael Dubois

Shacho, Tabu Zombie and Motoharu rejoined their cohorts on stage keeping the momentum by reeling off three high octane tunes in succession – ‘Fuller Love’, the funked up ‘Mirror Boy’ from the new ‘6’ set and ‘Fantastic Planet’ from their ‘Planet Pimp’ collection.  The whole time Shacho was playing to and interacting with the audience.  This captivating set was brought to a close by two more soon to be classics from their ‘6’ outing, ‘Pop Korn’ and the madcap ‘Satsuriku Theme’.  Trust me this tune is off the hook! Shacho bringing the psychedelic feel with his hand held synthesiser, chanting in Japanese and screaming ‘Soil!’ repeatedly via a mega phone! Akita mashing the double bass strings with a drum stick and Tabu Zombie and Moto prancing around the stage. At one point Moto was balancing one foot on Midorin’s drum kit whilst playing his saxophone – Awesome entertainment!

Photo courtesy of Mickael Dubois

So it was they exited up the stairs – job done! No sir! This crowd weren’t leaving anytime soon chanting Soil & “Pimp” incessantly until eventually their Japanese ‘Death Jazz’ heroes where assembled back on stage for one last hurrah. And so it was with the toe tapping, head nodding feel good vibes of ‘Summer Goddess’ from the mini album of the same name that Soil & “Pimp” Sessions sent home their entranced followers, musically sated.

Photo courtesy of Mickael Dubois

There’s a popular saying in Japanese: ‘Hageshii Jazz’ which means ‘to tear down old Jazz and rebuild it.’ Well having witnessed up close and personal the Phenomenon that is Soil & “Pimp” Sessions, The Dood can confidently report that these guys have not only torn down any old school Jazz stereo types, but completely reformulated it and taken it to the next level, whilst staying tethered to their Jazz roots. Soil & “Pimp” Sessions – we salute you!

Photo courtesy of Mickael Dubois

Do make sure that wherever you are on planet Earth or should that be ‘Planet Pimp’ that you get to experience Soil & “Pimp” Sessions LIVE! The excellent CD’s and You Tube clips still only scratch the surface of the unconfined joy and energy they bring to every live ‘SESSION.’

Michael ‘The Dood’ Edwards

Soil & “Pimp” Sessions are:  Shacho (‘agitator’), Tabu Zombie (trumpet), Motoharu (Sax), Josei (keyboards), Akita Goldman (double bass) and Midorin (bass)
• Essential Albums: 2009 – “6”
• 2008 – “Planet Pimp”
• 2007 – “Pimpoint”
• 2006 – “Pimp of the Year”
• 2005 – “Pimp Master”
• 2004 – “Pimpin’”

• Essential Myspace:  http://www.myspace.com/soilpimpuk

A little addition from the editor when Soil & Pimp landed in Birmingham the night before the Jazz cafe gig.

Bilal – Live at Fabric, London 14th July 2010

With The Dood frustratingly unable to stay to experience one of the modern era’s true Soul/Jazz vocalist (last train ‘n’ all), it was left to background vocalist to the stars and also black music connoisseur Sarah Nelson to step in to the breach and review this his one-off London gig for UK Vibe.

Drummer: Steve Mickie, Bass: Tone Whitfield, Guitar: Mike Stevenson, Keyboards: Corey Bernhard – this band are ‘Air Tight!’ With both drummer and guitarist sharing backing vocals, it was a strong sound. This handsome slender man, Bilal, hits the stage ready! The crowd bellow as both men and women rush forward.

http://www.youtube.com/watch?v=uE883gLdObc

He kicked things off with ‘Free’ segueing into ‘Hey Hey.’ Bilal has an amazing vocal ability diving and soaring from mid to low to high vocal ranges within 0 – 5 seconds. As the strains of ‘Something to Hold On To’ waft in, the crowd start screaming! Now on a roll he moves onto ‘Reminisce’, ‘Cake and Eat It Too’, ‘Think It Over’. He is breezing through these tracks effortlessly! Boy does he put on a show!
Imagine Prince, Maxwell, JB, Bobby Womack and Hendrix without his guitar all on stage in one person! His vocal abilities are boundless – a mind blowing act to witness. I have seen nothing like it!

http://www.youtube.com/watch?v=_dtm7-X-TuQ

He has a soulful, Funk ‘n’ Rock infusion sound that just grabs you from start to finish. A rapid fire selection of classics ‘Now for Love,’ ‘Restart,’ ‘Since I’ve Been Lovin’ You,’ ‘U Matter,’ ‘White turns to Grey,’ ‘Sometimes,’ ‘Levels,’ carried the Bilal faithful and converts toward his final song ‘Soul Sista.’ At one stage he was laying on his back singing! He is all that and a bag of chips WITH THE DIP!!
He commands the crowd and has an awesome stage presence. He introduced the band members in true James Brown stylee, voice ‘n’ all! Funny! He engages the crowd, owning and oozing sex appeal! He is HOT property! The most amazing show ever! We love you Bilal! He is a Man on Fire!

http://www.youtube.com/watch?v=brouS9xfs2U

He performed a two hour set (12am to 2am) without gasping for air! This show was outstanding!! 20 out of 10! Yes I said it 20 out of 10!
Sarah Johanna Nelson

http://www.youtube.com/watch?v=TTKWkJt1QIw

Bilal: Essential Albums:
New album ‘Air Tight’s Revenge’ released 14th September 2010
‘Love for Sale’ – 2006
‘1st Born Second’ – 2001
Essential Myspace:  http://www.myspace.com/bilaloliver

Eddie Palmieri and the Afro-Caribbean Jazz All Stars

RNCM, Manchester, 2 July 2010

Piano legend and Latin band leader extraordinaire, Eddie Palmieri, has been among the crème de la crème of Afro-Cuban musicians for the last forty years or so. The innovations that he pioneered in Latin music at the end of the 1960s and throughout the 1970s onwards, are akin to those of the key musicians in jazz and Palmieri came to be regarded as a leading musical godfather of what is now referred to as salsa. Hard-hitting songs such as ‘Justicia’, ‘Verdict on Judgement Street’ as well as the heartfelt tribute to ‘Puerto Rico’ have meant that Palmieri’s contribution to the genre has been well and truly gargantuan. The list of musicians who have played alongside him reads like the who’s who of Latin music and includes the Gonzalez brothers, bassist Andy and trumpeter/conguero Jerry, timbales legend Manny Oquendo and Cuban greats Israel ‘Cachao’ Lopez on the bass and Alfredo ‘Chocolate’ Armenteros on the trumpet, not forgetting a memorable duet album with timbalero Tito Puente which was the very last recording by the latter musical giant. It is not for nothing that Palmieri has earned the nickname of the ‘Son of Latin music’ and his bands have served a similar apprenticeship as those of Art Blakey and Miles Davis in the jazz world. Parallel to this, Eddie Palmieri has been keen to explore the relationship between Afro-Cuban music and jazz with a separate all-instrumental only line-up. During the 1990s this has become his preferred modus operandi and it was with a pared down six piece band that he took to the stage at the RNCM in front of an expectant audience.

Palmieri immediately embarked upon a solo intro before his rhythm section comprising timbales, congas and bass entered proceedings and settled into a gentle rumba with the leader vamping on piano to marvellous effect. Eddie Palmieri is now in his mid-seventies and if the driving piano chords of his early years are not quite as ferocious in their intensity as previously, it is simply that Eddie is infinitely wiser and able to incorporate a wider ranger of variations. On this evening he seemed more in jazz mode, taking on board the pianistic innovations of both Bill Evans and Thelonius Monk as well as Latin piano masters of the calibre of the great Peruchín. As the band demonstrated throughout the evening, this group effortlessly shifts gear from a sedate pace to a more frenetic one before returning to the former tempo. Among the distinguished musicians to have graced Palmieri’s band, current trumpeter Brian Lynch is one of the longest serving and fully deserving of a place with the likes of Chocolate. An apprenticeship first with Art Blakey’s Jazz Messengers and then with left-field salsero Angel Canales has served Lynch well and given him a broad musical perspective from which to develop. In tone he has the same intensity of sound as Lee Morgan and Kenny Dorham, both equally adept in bop and Latin idioms. Lynch is very ably abetted on the alto saxophone by young Cuban musician Yosvany Terry, an altoist inspired at times by the fiery tones of Jackie McLean, but whose laid back, soulful approach is all his own.

For non-aficionados of Afro-Cuban music, the archetypal rhythm section is a major departure from the usual rock format. Timbales player José Clausell has been a staple member of the band for well over a decade and was totally at ease taking an ear shattering solo, or blending to the overall sound by playing on the timbales rim in concertation with the other percussionist, conguero Vincente Rivera who was apt to verbally encourage the other musicians. Finishing off the rhythm section was young bassist Luque Curtis, whom eddie in turn would actively encourage to take a solo. The fluidity and surefire nature of the bassist’s playing recalled the young Eddie Gomez in Bill Evans’ trio.

Collectively the Afro-Caribbean Jazz All Stars impress above all on the mid-tempo numbers with catchy bass riffs, intricate percussive polyrhythms and the leader himself, in relaxed mood, evidenced by his tendency to groan when taking a piano solo. Among the classic pieces to choose from the seemingly bottomless repertoire, one piece, ‘17.1’ from the seminal album, ‘Superimposition’, received a classic treatment with the band going up several years in the process and the horn players maintaining the blistering pace and then outdoing one another in some fiery solo slots. One technique employed by the band is the use of the false start, before Eddie would announce, ‘And now for our next number!’, much to the receptive audience’s delight. Elsewhere a gentle solo interlude from Palmieri was a pretext to display his jazz-loving credentials and this helped to create a relaxed atmosphere, typified during the interval by timbales player Clausell happily chatting with members of the audience and seen taking photos with them. Two fifty minute sets provided a fitting climax to an evening that never once ventured into clichés and where the audience were left at the end wanting more. A standing ovation gave the band all the information they required as to how the audience felt about the evening’s performance.

Tim Stenhouse

Matthew Halsall

Matthew Halsall, St. Clements Church, Chorlton-cum-Hardy Arts Festival, Manchester, 29 May 2010

It was to the stunning backdrop of a multi-coloured stainglass window in St Clements church as part of the annual arts festival that local jazz innovators under the aegis of trumpeter Matthew Halsall and saxophonist Nat Birchall laid down some truly spiritual jazz vibes. This would be the ideal setting in which to hear the sextet. Divided into two parts, the first half of the evening was devoted to a classic reworking and interpretation of some of the seminal pieces of what has now been termed modal jazz as pioneered by Miles Davis and John Coltrane in the late 1950s and early-mid 1960s. Indeed it was the latter’s wife, Alice Coltrane, an accomplished pianist and harpist in her own right, who provided the inspiration for the first number which was the title track to the ‘Journey to Satchidanada’, a seminal album on the Impulse label from 1971. Here Nat Birchall wisely opted for soprano saxophone with Rachel Gladwin providing the melodic component on harp, faithful to the original version. This epic twelve minute number was memorable also for the unexpected entrance of Adam Fairhall on piano with a modal vamp that inevitably conjured up images of the young McCoy Tyner during his tenure with the classic quartet of John Coltrane. Meanwhile while the music unfolded, Halsall remained crouched throughout on the stage, soaking up the spiritual sounds emanating from the rest of the band. This is a formation that has toured extensively throughout the UK, including a prestigious concert at the legendary Ronnie Scott’s, the British mecca for jazz, and equally regular gigs at Matt and Phred’s in their home city of Manchester, a venue that has earned a reputation for capturing some of the key musicians early on in their careers. These experiences have certainly stood Halsall, Birchall et al in good stead and consequently there is a mature, relaxed feel to the playing with ample freedom and space for the musicians individually to explore the sounds on their instruments while at the same time adhering to a collective rigour and discipline. It is this freedom to flourish and performing for the collective whole that made the evening such an enjoyable experience for the audience. If the riff to the first number was familiar, then the second was quite simply a jazz classic with one of the most distinctive riffs of all time, ‘A love supreme’ by John Coltrane. As with the original, drummer Luke Flowers laid down some scintillating polyrhythms on drums, but unlike the classic rendition Matthew Hasall soloed on muted harmon trumpet. The pretext of a piano solo afforded the rhythm section the opportunity to enjoy an extended outing minus the two leaders.

Key to understanding the band’s sound is is the rapport between the two horn players. Whereas in a conventional be-bop setting the reed players might engage in a ‘cutting edge’ contest attempting to outdo one another, here Birchall and Halsall operate at a different level and on a more complimentary playing field, allowing each other the space to go off and explore before eventually returning to the source and repeating the main theme in unison. Among influences the independent labels out of black America in the 1970s such as Strata East, Black Jazz and the legendary Detroit-based Tribe have proven a seminal influence and have helped shape the musical style and trajectory of the band. One of these labels, Strata East, provided the inspiration for an album by Clifford Jordan, ‘Glass Bead Games’, from 1974 that included a devotional tribute to John Coltrane and it was this composition simply entitled, ‘John Coltrane’, that the band really stretched out on from the immaculate bass solo intro from Gavin Barass to the vamps on harp and piano, all carefully managed by Nat Birchall who looked on with serious intent. Another Coltrane composition was a vehicle for harpist Rachel Gladwin. The harp in a jazz setting is quite a rare occurrence and apart from the aforementioned Alice Coltrane and Dorothy Ashby, has largely been ignored. This is a loss to the jazz idiom since it blends in beautifully with the other instruments and enables a seamless transition from drum through to piano. in addition the harp adds layered textures to the overall sound and weaves in between the two horn players. A crescendo of notes enveloped the auditorium as the harp strings were carefully plucked and the harp is that most flexible of instruments where once a theme has been stated, it is then possible to improvise on that same theme. Rachel Gladwin performed this task with aplomb.

After a well deserved interval, the band returned to the compact stage and the repertoire changed to the more recent numbers from the latest Nat Birchall album, the excellent, ‘Guiding Spirit’ (Gondwana) and from Matthew Halsall’s own ‘Coloured Yes’. It was the lengthy opener from the former that re-introduced the band and included a lovely evocation of the theme before Halsall took a restrained solo. At times the tempo and sound descended to a whisper, before gradually building up again in intensity. Always melodic, Halsall’s solos created a plaintive sound emanating from the trumpet with never a note too many. Nat Birchall is an extremely reflective saxophonist, taking in the influences of Joe Henderson and Charles Lloyd as well as more obviously John Coltrane when reverting to the tenor and toying with the audience on some pieces with a false ending that then continues. He has enjoyed a varied career, guesting with the Cinematic Orchestra and played one number inspired by them. Overall this was a deeply contemplative evening of jazz, but one that created accessible riffs and gloriously improvised virtuosity. The audience went away with a far greater appreciation of this somewhat neglected aspect of the jazz world.

Tim Stenhouse

MATTHEW HALSALL VISITING BIRMINGHAM FOR THE FIRST TIME TO PERFORM - 28TH MAY 2010:

Rakesh Chaurassia, Bridgewater Hall, Manchester, 22 May 2010

It was in the more intimate surrounding of the smaller venue at the Bridgewater Hall on a roasting hot summer’s afternoon that Rakesh Chaurassia, nephew of the great master Hariprasad, serenely took to the specially constructed stage with luxurious Indian carpet and pastel coloured cushions to create a relaxed ambience, partnered by percussionist Bhavani Shankar. Greatly aiding the audience’s ability to follow proceedings and the musicians playing more closely was the use of a video screen on the wall. One of the great virtues of Indian classical music is the way in which a piece, or raga can convey the mood of a particular time of day and so it was that Rakesh introduced the opening number as an afternoon raga. With the alap, or first introductory part, one is immediately transported into a different world where all sense of time is lost. As is the normally the case in the alap, Chaurassia began with a slow rhythm aided only by a drone beat in order to provide a full exposition of the raga. He is indeed an exponent of the bansuri flute (like his uncle), a long wooden instrument that gives it an altogether meatier sound than a conventional western flute. Here the sheer ability of the musician to improvise on a simple riff and go off onto another tangent is simply breathtaking. It was a full fifteen minutes before Shankar entered proceedings. We then entered into the jorh, or second part, where some elements of rhythm are introduced. Shankar plays on the pakhawaj, a drum where the right hand is used to produce a heavier sound whereas the left places emphasis on the end of the fingers to create a tinnier sound. A drum solo elicits spontaneous applause and is testimony to the virtuosity of the musician. Chaurassia finally begins to accompany and plays a frenzied improvised passage ati-drut (at a very fast tempo), creating in the process a high-pitched sound on the bansuri. The role of the percussionist seems to be to play off the flautist and thereby enrichen the overall sound. As the intensity builds at drut, or medium tempo, the two delight in trading licks, listening to one another intently in the process. This is a musical genre where a split-second reaction is required and they are not dissimilar in this respect to a master jazz musician. During quieter passages the percussionist retunes his drum, encouraging the flautist to comment, ‘You shouldn’t play so loudly!’, much to the amusement of the appreciative audience.

After a brief interval, tabla player Vijay Ghate entered the stage, introduced by Chaurassia. Ghate is, perhaps, best known in the UK for his presence in the Indo-Jazz fusion band Bombay Jazz that included guitarist Larry Coryell and assorted musicians on saxophone, flute and tabla among its alumni and toured this country in the autumn of 2007. Clearly there is a friendly camaraderie between Ghate and Chaurassia, doubtless due in part to the fact that they both hail from the same part of India, and share a similar outlook on music. After a couple of passages of flute, the tabla player begins to improvise with his left hand, keeping time with his right. The two instruments contrast, yet at the same time compliment one another beautifully, the flautist engaging in a lilting melodic solo while Ghate plays off him, and as a result the music takes on a looser feel. They manifestly delight in each other’s presence and after a relatively short piece, it is finally time for the other percussionist to return to stage and they now become a trio. Both percussionists sit at either end of the stage to view one another. Chaurassia starts to play a flute vamp and Ghate responds by soloing, then Shankar in turn plays a riff, all to great applause from an audience really digging the interplay between the three. In general the musicians are adept at shifting roles in the trio while playing sometimes at breakneck speed and this is a true reflection of their craftsmanship. When the piece ends suddenly, the musicians burst into spontaneous laughter. For the final six minute piece, Rakesh Chaurassia opts for a smaller bamboo flute that has a true storytelling quality (almost akin to a nursery rhyme) and Shankar this time uses a smaller hand drum that looks similar to a castanet, but has several small cymbals inside. With the number complete, the audience stand to applaud in unison at the end of what was a unique and intoxicating musical experience.

Tim Stenhouse

Sa Dingding, RNCM, Manchester, 20 May 2010

Chinese singer Sa Dingding came to international attention during 2008 with her debut album and quickly established a rapport with British audiences via appearances at both Womad and the BBC Proms. With her second album ‘Harmony’ (Wrasse), Sa has returned to the UK with an all-Chinese band and a sound that typifies her approach to music, a melting pot of influences comprising Chinese traditional and contemporary Western. The traditional element is provided by the use of the pipa, a pear-shaped four-string lute not dissimilar to the mandolin and the guzheng, a zither with sixteen or more strings, the latter producing a sound that oscillates between harp, harpsichord and marimba all rolled into one. Both instruments are most ably played by Zhang Yi. However, by clever use of keyboards, the Chinese element is reinforced by programming traditional instrumentation riffs and strings. In contrast the Western component comes together with the use of conventional
bass guitar, drums and vamping on keyboards.

Communication between East and West is a key theme to Dingding’s philosophy and non-verbal dialogue comes in the form of her visual performance which recalls the young Kate Bush in performance. Sometimes swinging form side to side, sometimes prostrate on the floor for dramatic effect, Sa immediately attracts the eye with her traditional dress in burnt orange and turquoise. Sa’s voice is high-pitched and slightly nasal, but remarkably flexible, even bluesy in places, and this enables her to engage in vocal gymnastics including the practice of her own invented language. This is best exemplified on the song, ‘Yun Yun Nan Nan’. Fusing Chinese and Western musics is no easy task and does not necessarily work for every song. On one uptempo piece the rock influences are simply not melodic enough to mix successfully, but it is surprising overall how well the seemingly disparate elements do combine to good effect. Far more successful are the mid-tempo songs where the bass and drum combination enables a number to build and bubble up in intensity while the subtle effects of the keyboards from Peng Bo and traditional instrumentation provide a fine counterbalance. An English language song, ‘Lucky day’, receives an almost whispered delivery from Dingding with the bass riff sounding as though it has been borrowed from Talking Heads’ ‘Once in a lifetime’. On the slower numbers, it is the haunting sound of the keyboard and the guzheng that compliment Sa’s voice, especially on the wordless vocals of one number where a programmed violin accompanies.

Sa is eager throughout to communicate her thoughts in English with the audience and explain in particular how her interest in music was stimulated by staying with her grandmother in inner Mongolia. This led to the beginning of Sa the songwriter. One song, ‘Pomegranate woman’, is devoted to women in South East China where there are no less than twenty-six ethnic groups. Here the symbolism of the fruit is used to depict the harsh outer appearance of the women, contrasted with the softer and beautiful inner self. Unquestionably, this is one of the evening’s highlights when the new and the traditional work best together over a slow nu-soul inspired beat accompaniment and gorgeous pipa strumming. Keyboards here provide added texture and the band have clearly interiorised many of the western sounds that they now feel at ease with. The best is reserved for almost last with the incredibly catchy and compelling ‘Hua’, a song about everlasting love according to Sa and one that illuminates the use of wordless vocals. Sa encourages the audience to wave their hands in the air, which they respond to in kind with mobile phone lights in the dark creating a quasi-candlelit ambience. For the hi-energy tempo of ‘Blue heart’, Sa reassures the audience that lucky blue heart is for them.

After a final bow and a comment from the keyboardist, ‘It’s all rock and roll’, the concert comes to a logical close. The concert as a whole is an illustration of how from a cultural perspective globalisation has facilitated greater experimentation between musical cultures. Sa Dingding may just be among the first wave of musicians to exploit these cross-cultural exchanges.

Tim Stenhouse

Rokia Traoré, Bridgewater Hall, Manchester, 5 May 2010

Malian singer Rokia Traoré has had a far from normal upbringing. Born into a family with a diplomat father, she has been exposed from an early age to other cultures and rapidly became at ease in both West African and European lifestyles. This cosmopolitan experience has clearly shaped her musical perspective and outlook to life in general. Traoré has been keen to explore new sounds that fuse both sides of her life thus far and this is reflected in the musical development of her albums. Whereas earlier projects were essentially devoted to updating traditional Malian sounds, in recent years and especially with the release of ‘Tchamantché’ in 2008, Traoré has focused far more on a genuine merging of genres and is both innovative and visionary in this respect.

Taking centre stage with a French trio comprising the rhythm section plus ngoni player (four stringed West African instrument) and percussionist, and background singer, one cannot fail to notice the coming together of seemingly disparate musical traditions. The band immediately enter into an uptempo number that places firm emphasis on funky guitar riffs with the chorus of ‘Je t’aime’ sung in French. Discernible influences on the singer would include blues, funk, rock and even and disco while late 1970s Talking Heads seems to permeate a good deal of the French musicians playing. Malian influences are harder to identify, particularly in terms of vocalists and this one of Traoré’s aces, namely her ability to sound like none of her contemporaries with the booming voice of say an Oumou Sangare wheareas Rokia has an altogether softer tone. The balance between African and Western music shifts with each song. While on one song there might be a distinctly Malian tuareg (denoting the political border between Mali and Algeria) feel with repetitive riffs strummed by the ngoni player, on another piece there might be greater stress on rock music sounds. Yet even here multiple influences are subtly bubbling underneath with the band in jam session mood and Traoré dancing from side to side. An evening highlight is the tribute paid to the South African songstress Miriam Makeba in the form of the English language, ‘Quit it’, which skilfully blurs the lines between world roots and popular music. Indeed this raises an important question: should not world roots music by its very nature be easily accessible to all and not limited to an elite in the know? Troaré’s approach would surely endorse greater accessibility and mainstream acceptance. Throughout the evening one is constantly reminded that Rokia Traoré is capable of playing within and outside her musical tradition and in so doing has finally created her own unique style. What is interesting is how receptive the audience is to some of the more fusion oriented songs, giving lie to the argument that western world music audiences only want to hear older sounds in contrast to African audiences who openly embrace modern instrumentation and external influences.

Accompanying Rokia Traoré is an impressive band who are oustanding individuals not afraid to stretch out (and given free rein to do so by the singer), yet always conscious of their role as being part of a cohesive whole. Bassist Christophe Minck deserves particular praise and appears to be the musical director in charge. It is noticeable how bassist and ngoni player exchange riffs while the rhythm guitarist is often deployed within a song to denote a brisk change in tempo, so common to music throughout the African continent. Traoré herself is a fascinating individual. Of slim build with cascading hair that recalls the Supremes, she might at first glance appear to be a Malian equivalent of the young Diana Ross. This would be a false perception for once adopting guitar for various numbers, Traoré looks far more like Sister Rosetta Thorpe with all the confidence and distinctiveness of the latter and when adlibing revealing a blues-inflected tone in addition. For a well deserved encore, Traoré’s piercing voice is heard a cappella with the audience joining in on handclaps and with the majority of the lower tier already out of their seats before the band eventually join in and take the song in another direction, becoming a terrific dance number. Rokia Traoré is a musician with real stage presence and her regular if somewhat quiet banter with the audience is well received. She is in microcosm the very future of world roots music, seamlessly blending musical traditions to create something new, yet never losing sight of, or disrespecting her own tradition. Preceding her were British alt.country group Sweet Billy Pilgrim who presented an excellent set of sweet harmonies and folksy Americana sharing lead vocals, and created an instant rapport with the audience adding a few personal anecdotes from the drummer for good measure.

Tim Stenhouse

Jerry Dammers and Spatial AKA Orchestra, Bridgewater Hall, Manchester, 30 March 2010

Formerly founder member and leader of the Specials, Jerry Dammers has long championed more exploratory musical terrain and this latest, much anticipated project, was devoted to cosmic jazz and avant-garde keyboardist extraordinaire, Sun Ra. It promised to take the extended band, audience and auditorium into an altogether different and at times a truly alien musical stratosphere and visually it was an absolute treat. Even before the band came on stage, the audience were able to marvel at an impressive array of space age artificats ranging from Tutenkhamun facsimiles, flashing space mobiles, voodoo masks and Dammers’ own vast electronic keyboard wizardry, fittingly arranged in the shape of a starship enterprise-style cockpit. As the cast members suddenly appeared down the principal aisle, dressed in spaced out garb and entered centre stage, the audience expectation of being transported onto a cosmic musical odyssey heightened considerably. With a near twenty piece band, no less than eight members of the excellent reed section, comprising alto, tenor (Denys Baptiste among the cast) and baritone saxophones plus flautist, keyboardist Zoe Rahman, vibist, tympani and conventional drummers, percussionist, electric and acoustic bassists and even two main vocalists, this was a big band of epic proportions.

The first surprise of many during the evening was an interpretation of one of Erik Satie’s ‘Gnossienne’s’, here transformed into a dub meets jazz head-on classic that had something of a Middle Eastern flavour to it. Dammer’s first utterances were, ‘We’re going backwards in time, forwards in time’, and this was very much an accurate résumé of how the evening would proceed. A minor theme ska piece from the Specials era was totally revitalised with an electric piano solo from the ever excellent Rahman and an Afro-Cuban feel permeated the stage from flute and percussion. It was four numbers in before Dammers openly acknowledged the evening’s direct homage to Sun Ra with a revisting of the seminal, ‘Where pathways meet (Prince of Peace)’ to the impressive visual backdrop of Sun Ra on a large screen with numerous examples of egyptology that Sun Ra was such a devotee of. To a bubbling funk-bass accompaniment, the tenor saxophonist (a Charles Lloyd lookalike if ever there were one), honked and squawked in the style of a mid-1960s Pharoah Sanders complete with a solo from the conguero and ending with vocoder vocals from Dammers himself. An extremely well received piece from the knowledgable crowd.

One of the evening’s highlights was a tribute to Jamaican saxophonist and one-time Sun Ra Arkestra band member Cedric ‘Im Brooks and leader of the legendary Jamaican band Light of Saba that fused reggae and jazz during the 1970s. This is where the Dammers project was at its most successful with a gorgeous rendition of Brooks’ ‘Sabia’, echoey dub provided by Dammers on the keyboards and the brass section in full flow. In turn one homage was followed by another, on this occasion to another Jamaican tenor saxophone legend, Tommy McCook, who graced many a classic recording at the Studio One studios in Kingston. McCook’s anthemic ‘Exodus’ was given the ska treatment. In a far more sedate vein there was heartfelt tribute to Dammers’ own father who had recently passed away with a Sun Ra blues vocal entitled, ‘I’ll wait for you’ with Zoe Rahman very effectively conveying the sombre mood of the piece.

A Jerry Dammers concert would not be complete without at least one of the Specials favourites and ‘Ghost Town’ was arguably the band’s finest moment and a timely one too during the last economic recession. Here Dammers introduced the number in typical eclectic fashion, ‘Have a gargle in your throat’, with audience participation requested. Consequently, a gargled voice instead of the normal vocals accompanied the song along with a poetic rap of the chorus from Trinidadian Anthony Joseph and this was an indication of how Dammers has moved on from this era. The tune was taken at a far more sedate pace than the original, jazzier, but with lyrics emphasized just as emphatically. Jerry Dammers has never been one to avoid political issues and here a later period Sun Ra composition, ‘Nuclear war’ was introduced with once more poetic chanting. Spiritual jazz, as espoused by the recently passed Alice Coltrane, was celebrated on ‘Journey to Satchinanda’ with the original sound of the sitar replaced by vibes and electric piano and on another Coltrane piece, the uptempo, ‘On Armageddon’. A fine interpretation of both.  After twenty numbers and almost two and half hours of playing without any break, the band slowly departed stage individually to what was something of a Sun Ra anthem, ‘Space is the Place’, the title track of both a film and album from the early 1970s that attracted a whole new audience to the keyboardist’s music. This was to be no conventional exit, though, and as the audience left the main auditorium, the band were to be found jamming to the same tune in the bar section, much to the delight of the departing crowds. Quite simply, one of the year’s best concerts.

Tim Stenhouse

African Soul Rebels Tour Bridgewater Hall, Manchester, 28 February 2010

As ever an eclectic mix of styles from the African continent were presented and this year’s instalment of the African Soul Rebels featured musicians from as far afield as West and southern Africa, with the little known nation of Benin represented by the Orchestre Poly-Rythmo de Contonou. It was indeed the latter who started off proceedings, a kind of equivalent of Senegal’s Orchestra Baobab, though with a quite different and more urban sound. The group were in their prime during the 1970s and 1980s before disbanding and were known throughout the region for their Afro-funk beats. Comprising a ten piece band with three horns, two lead vocalists, beefed up percussion and the obligatory cheesey keyboard, Poly-Rythmo immediately set about hitting the choiciest of retro grooves with the reed players providing a wonderful counterpoint to the singers. Stylistically Poly-Rythmo oscillate between Afro-funk (though never derivative of the Nigerian sub-genre) with a subtle use of the drumbeat pattern associated with the music and more laid back styles that enable the emotional warm of the saxophonists and trumpeter to shine through. Key to the overall sound is the use of rhythm guitar to propel the beat and this is what Poly-Rythmo do to perfection while the slick arrangements fail to prevent the band from offering a rawer edge to their music, as their excellent recent compilation from 2007 ‘The Kings of Urban Groove 1972-1980’ so amply illustrated. It was this gritty side to the band’s repertoire that had the audience on the edge of their seats, particularly on the extended workouts with manic percussion work from the bongo player and reed players doubling up on cowbell to add an extra layer. Call and response dialogue with the public worked wonders and on the minor themes the band came across as akin to the Malian supergroup the Ambassadeurs with whom Salif Keita first plied his trade. Make no doubt about it, this was a master class in African big band extravagazna and the sheer versatility of the musicians in shifting from one style to another made for an intoxicating beginning to the evening.

Taking centre stage as the principal act for the final performance, Malian diva Oumou Sangare cuts an imposing tall, yet equally elegant figure and arrived on the stage after her two female vocalists has entertained the audience with their tambourines. The band hit an instantaneous rhythmic groove and were made up of kora player, hand drummer as well as two guitarists and flautist, with the West African calabash instrument intriguingly stuck to what appeared to be a piece of plywood and played on a table. The lilting sound of the band serves as an ideal background over which Oumou’s piercing nasal vocals soared and enveloped the auditorium. They excelled on the mid-tempo numbers and the building of intensity was enhanced by Sangare inviting the audience to clap along which they immediately reacted to. Oumou Sangare has had to fight long and hard to achieve her status in Malian society and was anxious to point out that in her native country, and in Africa more generally, the plight of women is an extremely hasardous one. She devoted one song to this very subject and emphasized the inestimable contribution that women make to society as mothers. Despite language barriers, Sangage managed to convey this message most effectively. Instantly recognisable were the introductory chords to one of her most loved songs, ‘Wanita’ where for once her vocal delivery was far more delcate and restrained, entering into a lengthy call and response session with her two vocalists. By now the audience were up out of their seats and Oumou Sangare departed to a standing ovation which ended the evening on a high note.

In between the two main acts were a relatively little known trio from Capetown, South Africa, the Kalahrai Surfers who are a clear indication of the multi-racial side of South African music in the twenty-first century and of the multitude of musical influences that South Africa has taken on board, including techno or electronica as evidenced by the array of sound effects the trio had at their disposal. For instrumentation the trio use programming beats plus bass and rhythm guitarists while the vocals veer sometimes towards reggae and at other times towards mainstream reggae, and even indie rock that takes in Talking Heads’ innovations. This made for an interesting contrast with the primarily acoustic instrumentation of the other two acts and was a reminder of how globalisation has greatly facilitated the dissemination of newer electronic sounds to the African continent. Particularly impressive was the use by the Kalahari Surfers of lyrics to put across political content as demonstrated on songs such as ‘General amnesty’ and ‘Child soldier’.

Tim Stenhouse

Mariza, Bridgewater Hall, Saturday, 6 February 2010

Current Portugese fado queen Mariza is not an obvious contender for best known singer in world roots music so it was an unexpected and very pleasurable surprise to see that the event was extremely well attended with the audience coming from as far afield as Argentina, Brazil, France and Spain, not to mention all parts of the north-west. Mariza cuts a quasi-supermodel figure with a tall and slender frame, futuristic ash-red dress, closely cropped blond hair and theatrical gesticulations that an actress at the Royal Exchange would be proud of. However, it is her voice that everyone is here to sample and what a distinctive diction it has too. The clarity of the delivery is simply astounding and takes one’s breath away even if the lyrics are entirely in Portugese (bar one song as an encore).

Accompanying the fado diva are three guitarists on collectively mandolin, acoustic lead and bass, and they teak a leaf out of the three great guitarists tour (Paco de Lucia, John McLaughlin and Al DiMeola) with the spotlight on them dressed in black and sat on stools on either side of the stage with the lead guitarist in the middle. Providing occasional accompaniment are a drummer/percussionist and pianist who also doubles up as a trumpeter. Part of the genius of Mariza’s repertoire is to constantly mix up these elements to provide endless variety for the listener. Mariza entertains the audience between numbers with her excellent command of English and on one number explains why a song is devoted to her native city of Lisbon where fado reigns supreme. The uptempo number has the audience immediately clapping while the mandolin player delivers a refined solo. On other compositions Mariza reveals the intimacy of fado with a beautifully excecuted ballad and one that indicates just how fado has become the Portugese man and woman’s take on the blues. Sometimes with the quintet in full flow the music takes on jazzy overtones and Mariza comes across as the logical modern day inheritor of Amelia Rodrigues’ mantle as the undisputed all-time fado great. This is particularly noticeable on the songs where the trumpeter plays a muted harmon in the style of late 1950 and early 1960s Miles Davis and where sheer sophistication simply oozes out of the ensemble sound. A good deal of credit should also go to the multi-percussionist who manages even with hand drums to create layers of sound that compliment Mariza’s vocals to perfection and blend in ideally with the guitar trio, no easy feat for a drummer.

The audience are very appreciative of the fact that Mariza in her introductions goes to some lengths to explain the reasoning behind her recordings and in particular the latest album’ Terra’ from which much of tonight’s repertoire is taken. At one point Mariza departs stage to rightly allow the three guitarists to take centre stage and engage in what is referred to in Portugese as ‘guitarrata’, with the bassist soloing while the other two accompany sensitively. The tempo suddenly increases a notch and we then find the trio playing in unison with a distinctly gypsy feel and the music taken at a rapid tempo. The mandolin player solos displays great dexterity until Mariza finally re-appears on stage and the guitarists are introduced in turn by her. Crucial to understanding the logic of fado is the concept of ‘saudade’, which Mariza translates as ‘longing’ and is one of the recurring themes of the fado songbook alongside love and lust. That she manages to convey this to the audience while reciting a song devoted to nineteenth century female poets in Portugal is testimony to her unquestionable communicative skills. Mariza recounts how her early childhood was spent in Africa (Mozambique to be precise) before she returned with her family to Lisbon. She then takes the audience to the south of Portugal with a song that has all the flavours of Spanish flamenco and at a brisk tempo then invites the audience to clap along which they respond to immediately. The warm rapport with the audience is all too evident and Mariza responds to this by descending the stage and singing among the audience, much to the latter’s delight followed by a mandolin solo con mucho gusto before there is a deliberate paused silence and then a dramatic vocal re-entry by Mariza once again on stage. The singer has a complete command of proceedings and to a standing ovation this seems a wonderful way for the evening to come to a conclusion.

However, all is not yet finished and to a second standing ovation, Mariza and the band return on stage at which point the singer then calls out to the audience to determine where precisely in the world they come from. For the first time Mariza starts to sing in English, a heartfelt rendition of ‘I’ve been crying over you’, before, as a second encore, the mandolin and lead guitarist go close up to Mariza in the middle of the stage to create further initmacy and the singer commences for the final time a classic mid-tempo groove of a song with the audience clapping throughout. A marvellous way to conclude an evening of Portugese soul music projected straight into the heart of Manchester.

Tim Stenhouse

Bassekou Kouyate and Nogoni Ba Band on the Wall, Manchester, 22 October 2009

It was in the newly renovated and recently re-opened surroundings of the legendary Manchester concert venue Band on the Wall that Bassekou Kouyate entered stage followed closely by other band members. This comprised a six piece band with a difference. In fact it would be more apt to descibe them as a mini orchestra for the unsual (in appearance at least) rectangular string instrument specific to West Africa, but known in Mali as the ngoni. The different size of each of the ngonis corresponds to the varying instrumentation in a western-style band and are designed to replicate bass and rhythm guitars among other instruments.

The songs on offer were a fascinating combination of the largely uptempo numbers from the excellent new album ‘I speak Fula’ and the more reflective pieces from its predecessor, the critically acclaimed ‘Segu Blue’. In the evening’s opening offering Bassekou immediately engages in a lengthy solo. He plays like a seasoned bluesman and the ease with which he solos stems in large part from the apprenticeship that he has served both with his father and grandfather, both nogoni players and makers. This is a feature of many of the top musicians in Mali and more generally in West Africa, belonging to a musically oriented family that goes back generation upon generation. Pieces alternate between uptempo and more laid back grooves. For the latter the bass nogoni plays a solo riff alongside which Bassekou lays down a vocal monologue, fingersnapping while the percussionist slowly builds in intensity. Suddenly there is a rapid shift in tempo and it is at this point that the whole band enters with Amy Sacko taking over vocals. The leader, Bassekou, is resplendent in a sashed camel-coloured traditional dress while lead singer and Bassekou’s wife Amy Sacko dazzles in a burnt orange dress.

On the uptempo numbers of which there are several, Bassekou moves to the left hand side of the stage to trade riffs with another nogoni player. When interviewed just before the concert, Bassekou declares his love of classic Congolese rumba with its renowned guitar duets and he seems to be taking on board their stage antics in order to warm up the audience. The sounds created on the various nogoni are quite astounding given the relatively simple nature of the instrument. Sometimes it can be likened to a blues guitar from John Lee Hooker or Muddy Waters in full flow while on other occasions it can sound like a harp. For one number, which is devoted to kings of the Bambara kingdom, Bassekou sits down and plays his ngoni like a zither with minimum accompaniment on bass ngoni. To the astonishment of the audience he even conjurs up a 1970s style wah-wah guitar without any use of electrification. Amy Sacko adopts a serene stance throughout the evening and delights in taking the lead vocals with Bassekou on a shifting mid-tempo song. In the tradition of the great Malian divas Amy adopts a high-pitched tone. Part way through the concert the talking drum (a small drum held under the armpit and beaten with a large thin stick) becomes the core percussion sound (with calabash taking a secondary role) and one one song the percussionist leaps forward and jumps in the air as he solos, followed in hot pursuit by other band members. By now the appreciative audience are loving the on-stage gymnastics while Amy sings in praise of ‘Coulibaly’, a famous family name in Malian history. Endless repetition of a riff-laden groove begins to exert its influence upon the audience who are clearly in a dancing mood. Similar to Amadou and Mariam in concert, Amy calls out in French: ‘Do you want to sing with us? Ok’ while at another moment in the evening Bassekou enquires in English ‘You happy?’ to which one audience member implores him to speak in French. This pleases Bassekou greatly and he thanks him in the language of Moliere. Indeed at one point four ngonis play an identical riff with Amy singing before the talking drummer takes the tempo up a notch again.

For the deserved encore band members are introduced once more and the ngoni solo this time sounds more like the graceful and meditiative kora instrument. The visual side to the performance is emphasized further by instrumentalists indulging in twisting and turning routines to the obvious delight of other musicians and the now frenzied crowd alike. When Amy enquires once more whether the audience would like to sing with her, there is an immediate response before one by one the group members depart the stage leaving just a trio to play out. A great evening’s entertainment for an audience that was in the mood to party. Band on the Wall was surely tailor-made for this kind of concert.  Tim Stenhouse

Tord Gustavsen Quartet RNCM 21 October 2009

Norwegian pianist Tord Gustavsen has emerged without great fanfare during the early noughties as one of Scandinavia’s and more generally Europe’s finest jazz musicians, quietly consolidating his growing body of work. Indeed Gustavsen’s minimalist style is ideally suited to the ECM label with which he has become closely associated and the chamber-jazz sub-genre that defines much (if not necessarily all) of the ECM catalogue. It is the echo-laden production of ECM founder Manfred Eicher allied to the distinctive sparse album covers that makes the label such a collector’s and listener’s delight. The label has proven to be the ideal home for Gustavsen where he has recorded three highly acclaimed trio albums, ‘Changing Places’ (2003), ‘The Gound’ (2005) and ‘Being There’ (2007). What is particularly interesting about tonight’s proceedings is that Gustavsen has extended the previous intimacy to a new quartet setting introducing new member multi-reedist Tore Brunborg as illustrated on the latest recording, the excellent ‘Restored, Returned’ (2009).

It is the apparent simplicity of Gustavsen’s playing that first strikes the listener and in terms of influence one can hear that the Norwegian has taken on board the romanticism of Bill Evans, the lyricism of Keith Jarrett and possibly even the spatial freedom that Brad Melhdau practices. Among his contemporaries in Scandinavia fellow label mate Bobo Stenson and the late great Esbjorn Svensson are conjured up without in any way being derivative of them. A delicate piano solo greets the audience for the opening piece before Brunborg enters gently on tenor, recalling Jan Garbarek at his most melodic. Gustavsen is a fascinating figure to watch, hunched up over the piano keys and engaging in a hypnotic riff, very ably assisted by the rhythm section. Thunderous applause at the end of this first number and a bow from the leader is followed by a softly spoken rap to introduce the quartet members. Gustavsen alternates between solo piano and piano-saxophone duet intros, and on the latter engages in a simple folkloric melody that gradually builds in intensity. Sometimes the pianist drops out altogether, before re-entering in order to re-emphasize the riff as on the delightful ‘Left over lullaby no. 1’, though minus vocalist Kristin Asbjornsen as on the CD. On other occasions he builds a vamp as the level of sound increases, or plucks the piano blocks to create a different sound. Occasionally Gustavsen improvises freely as the rhythm section maintains its rhythm, even standing sideways to achieve a specific sound. A good deal of credit for the cohesive ensemble sound must go to the two members of the rhythm section, bassist Mats Eilersten and drummer Jarle Vespsted. The latter, currently leader of a quartet featuring Manchester’s very own John Taylor, must surely be one of the most sensitive jazz accompanists on the planet and even when towards the end has his own solo, it is of the most delicate type imaginable before seemlessly re-integrating the ensemble. The former, who has recorded and toured on and off with Gustavsen, alternating with long-term trio member Harald Johnsen, provides a steady groove throughout and often uses a bow to compliment Gustavsen’s solos.

One of the most pleasing features of the ensemble is the degree of individual space band members have in which to flourish. This is certainly no group of major egos. Saxophonist Tore Brunborg alternates between the warm tenor and the higher-pitched baby alto which creates a more plaintive sound, recalling Wayne Shorter on soprano. When staying out of proceedings, he moves to the back of the stage before returning to the centre. This reminds one of the mid-nineteen-sixties Miles Davis quintet on stage. Gustavsen is extremely sensitive to everyday sounds and on one piece seemingly replicates the trickle of rain. In general when taking solos, the pianist explores the variation of a given theme, sometimes inspired by impressionistic music from the classical field and other times laying down blues-inflected licks. On another the ensemble are almost funereal in tone, but this is more a Scandinavian mourning than a New Orleans one. Brunborg caresses the tenor displaying a soulfulness Johnny Hodges would have been proud of and Gustavsen samples ‘The shadow of your smile’ in his solo. In fact Gustavsen is at his most Evanesque here. The addition of a saxophonist, far from subduing Gustavsen, seems to have stimulated even greater musical ideas and freedom with the latter inspired by the reed instrument and either embellishing the theme stated on either tenor or baby alto, or conversely playing sparses chords. By the final piece the quartet are in full swing with wailing tenor and Gustavsen setting off on another improvisatory roll. Rapturous continued applause from a very appreciative audience results in an encore with the band returning and being re-introduced before a short, contemplative rendition brings the evening to a quiet ending. This is simply music ideally designed for reflective, nocturnal listening. Catch the met the London Jazz Festival in November if you can.  Tim Stenhouse

Julie Fowlis RNCM 3rd October 2009

On a wet and windy evening that would not have been out of place in the Scottish Isles, Julie Fowlis began proceedings with an evocative walking song that conjured up her native northern Uist and one almost felt as though one had been transposed to the highlands. Scots Gaelic may seem an unlikely vehicle in the current increased interest in folk music, yet in Fowlis and band’s accomplished hands, the audience were treated to a masterclass in the musical genre. Throughout the evening it is the purity of Fowlis’ vocals that shine through, irrespective of whether the accompaniment was sparse or full on. Julie Fowlis came to prominence two years ago with a critically acclaimed debut album, ‘Cuilidh’ that won an award at the annual BBC Folk presentations and the songs on that album along with her brand new recording, ‘Uam’ (literally ‘From me’ and referring to a book Fowlis received of north Uist poems and songs) formed the basis of this evening’s repertoire. However, key to her art is an exploration of the common roots of Irish and Scots music and this is something that folk musicians as distinguished as Andy Irvine and Bert Jansch have long believed in. This interest in common roots was perfectly illustrated on another collaborative album from 2008 ‘Duet’ featuring Irish guitarist Eamonn Dorley who is an integral member of Fowlis’ current band. A technique that the singer has perfected is that of the wordless vocal, seemingly inspired by the scat vocals of jazz singers such as Ella Fitzgerald and Betty Carter, yet here sounding thoroughly grounded in a traditional folk setting. The audience is transfixed by the vocal gymnastics even if the overwhelming majority understand little or nothing of the Gaelic lyrics. Fowlis alternates between vocal pieces and instrumental numbers where she joins the rest of the band with an assortment of penny whistles and flutes (she can even plays the pipes as heard on her albums) that are ideally suited to the music. She is very ably assisted by a talented bunch of musicians. These include the long-time musical partner and guitarist Eamonn Dorley who frequently intervenes between songs with witty banter (doubling up also on fiddle) and Glaswegian Martin O’Neill who, in addition to being a fine bodhran player (and one who can play in a variety of contexts - witness his performances at the Manchester Jazz Festival a few years back with Neil Yates) can also accompany Fowlis on piano or play solo. Two other members, a fine fiddler and guitar player, add layered texture to the ensemble sound and in general the interplay between musicians was simply excellent. A definite highlight was a Gaelic version of the Beatles classic ‘Blackbird’ with gorgeous accompaniment on fiddle. In this pared down version, it is the bare essence of the song that emerges and Fowlis even returns to the English original part way through.  Julie Fowlis’ rendition of the song was actually the first folk song download to feature on the national playlist charts.

The singer seems very much as ease in a live setting and her frequent musical collaborations as witnessed on the recent Transatlantic seessions for the BBC have done her no harm at all, rubbing shoulders with the likes of James Taylor and Martha Wainwright, and even Mancunian Irish multi-instrumentalist Michael McGoldrick. Often the inspiration for writing traditional folk songs was an everyday happening such as one devoted to having a new pair of shoes, or the plight of women on the island. To the general amused bemusement of the audience, Fowlis announced that they would be singing along to some Gaelic lyrics (the singer is also a presenter on radio Alba - the Gelic-speaking digital channel with Gaelic now officially recognised as a national language) and her perseverence succeeding in teaching them a few lines of the language via a classic love song during which the audience joined in on the chorus. A new song translated from Breton was an indication of Fowlis’ desire to explore new territory within the Celtic musical domain and this piece was in fact first performed at the Celtic Connections festival in Glasgow. On the purely instrumental pieces the band cooked up a folk equivalent of a jam session which generated some intensity and had the audience clapping in unison. Tumultuous applause resulted in a greatly appreciated encore and a fitting song about cows! This proved to be a mournful lament with O’Neill supporting Fowlis on piano. The evening’s entertainment ended on a definite high with an uptempo instrumental jig with Fowlis on penny whistle and a joyous rapport between band and audience.  Tim Stenhouse

Jorge Pardo 3 dd’3/ Enrico Pieranunzi Trio RNCM, Manchester, 31 July 2009

It was with a distinctly Mediterranean flavour that MJF concluded its occupancy of the RNCM for this year with a double bill of Spanish and Italian interpretations of the universal art form known as jazz before a packed auditorium. First up was Jorge Pardo and trio collectively referred to as 3 dd’3. Pardo is a largely self-taught musician who served his apprenticeship in fusion band Dolores, then came to international prominence as part of the pioneering flamenco-jazz group under guitarist Paco de Lucia and participated on such landmark recordings as ‘One summer night’ and ‘Solo quiero caminar’. This opened up Pardo to a multitude of influences. As sideman his work has taken in Madrid-based Brazilian singer-songwriter Jayme Marques and flamenco singing legend Camaron de la Isla on the seminal ‘ Volando Voy’, not to mention more recently Chick Corea in the jazz sphere on the album ‘ The Ultimate Adventure ‘ from 2001.

The trio are a cohesive unit with a distinctly rootsy feel not dissimilar, though in a specifically Spanish context, to the mid-1960s Brazilian outfit Quarteto Novo headed by flautist Hermeto Pascoal. Both formations engage in a large degree of freedom for their individual constituent members, yet nonetheless operate within a coherent and strictly defined structure. Malaga-born bassist Francis Posse displays his Andalucian roots on a modal bass solo that is possibly inspired, in part at least, by Arabo-Andalucian music and going back further in time to the maqam modes of Iraq. Drummer Jose Vazquez was part of the free jazz scene in Madrid in the 1980s and it is his ability to play both within and outside a given structure that impresses. While the trio may on the surface appear to some to be a somewhat restrictive format, in the hands of a master craftsman it opens up all kinds of possibilities and this is exemplified by a fiery tanguillo from the Cadiz region where percussive flamenco rhythms are conjured up by the use of handclaps from Pardo and by the particularly inventive use of the double bass as a percussive instrument reproducing the sound of the cajon*1 Multi-reedist Jorge Pardo alternates between flute and soprano (the latter shaped like a baby alto)saxophone and while Eric Dolphy and John Coltrane have unquestionably influenced him, he has long ago created his own personalised sound. There is a fiery intensity to Pardo’s playing, particularly on flute, yet this is always tempered by great lyricism and the use of space, knowing when not to play too many notes. The latter is a skill first developed in jazz by pianist Ahmad Jamal and one that Miles Davis took on board. As a collective the trio are supremely skilled in taking a riff and going off in a whole new direction with it, changing tempo at ease yet always returning to the theme on several compositions showcasing their excellent latest album ‘3 dd’3’(Quadrant). This is clearly an environment Pardo feels comfortable in and the empathy generated by the trio members is self-evident. Pardo introduces his bassist part way throughout proceedings as ‘Francis from downtown Malaga’. The trio leave the stage to rapturous applause with the audience clearly wanting more. As Spaniards might say: *2”!Como Jorge Pardo y su trio no hay dos!” In other words, Jorge Pardo and his trio are truly one of a kind!

Jazz music has been blessed in recent decades with a multitude of piano trios ranging from the evolving genius of Brad Mehldau to the sadly departed Esbjorn Svensson as part of EST. It was with great anticipation, then, that Italian pianist Enrico Pieranunzi took the stage, without great fanfare, but to greatly appreciated applause. The trio began in restrained manner with sensitive percussive accompaniment from Enzo Zirilli. Pieranunzi possesses that quality that all great jazz pianists are blessed with: the ability to construct a melody and then improvise on it effortlessly. Thus the standard ‘Everything I know’ receives a latinesque vamp on piano in the introduction with polyrhythms embellished by Zirilli before Pieranunzi demonstrates what a wonderful blues lexicon he has at his disposal as well as swinging beautifully (a much maligned quality Bill Evans also had in abundance - Pieranunzi has written an acclaimed book on the all-time great pianist).
Integrating the trio ensemble sound are some delightful bass riffs from Daryl Hall, building a new melody into a given composition. Excelling on tunes from the great American songbook, the trio create a meditative ambience and this is illustrated on ‘Yesterdays’ where even though the piece is taken at a quicker tempo than per usual, Pieranunzi seemingly floats over the piano and Zirilli deploys cymbals to great effect, creating a de facto Brazilian theme on percussion. In this respect the trio seem to be taking a leaf out of the great Brazilian piano trios of the 1960s such as Tambo trio, or those led by master drummers Milton Banana and Edison Machado. On the last piece, a staccato piano intro leads into some ferociously paced trio playing with Pieranunzi exploring new territory, using the whole range of the piano. A crescendo of applause results in the trio returning to stage with the pianist engaging in a lengthy piano solo intro, quoting ‘My funny Valentine’ before the other two members enter and the piece is played as a quasi-waltz. All in all an evening of wonderous entertainment and a marvellous advert for MJF’s commitment to jazz from southern Europe.  Tim Stenhouse

*1 A wooden percussive block originally used by Black Peruvian musicians, but introduced into flamenco as it evolved and now considered a staple instrument)
*2 Please note that in correct Spanish the first exclamation mark should be placed upside down. I could not find the key to accomplish this on my keyboard.

RNCM, Manchester Tuesday 28 July 2009.  MJF Festival Art of Sound/Alata

The innovative combination of acoustic instrumentation and electronic gadgetry has earned British trio the Art of Sound rave reviews and a cult following in recent years, and it was therefore with great anticipation that they took the stage as part of a double bill during MJF week. After an informal introduction to greet the audience, a repetitive yet highly melodic riff opened proceedings with the inventive interplay between trio members immediately apparent. Pianist/leader John Law partakes in a good deal of solo improviation and is especially influenced by the romantic school of jazz piano of Bill Evans who has proven to be such an influence on the 1960s generation of pianists such as Chick Corea and Herbie Hancock in their acoustic phases. Evans would surely have been fascinated by the manner in which Art of Sound have taken the trio format in a wholly new direction. On the piece ‘Congregation’ the electronic sound intro serves as the springboard for extended piano improvisation, yet is is the delicate entering, departure and re-entering of the bass and drums with piano that impresses here. In general the Art of Sound are supremely well versed in jazz history at the same time as looking to the future and on ‘Trap clap’ the modal bass riff fromSam Burgess in the introduction and Latin-tinged drumming from Asaf Sirkis gives way to be-bop soloing from that Bud Powell would have been proud of.

The range of electronic sounds are used almost as a turntable like with old-school 1970s rappers to create special effect and embellish the overall trio sound. It is the ability of the trio to stretch out a seemingly simple riff and explore that is undoubtedly one of the Art of Sound’s major strengths, exemplified on the lyrical ‘Watching and waiting’. On the provocatively titled ‘Cannibal nibble’ the riff is repeated and improvised over (complete with siren sound) with a distinct Latin vibe and is reminiscent of the classic percussion outing ‘Jingo’, originally aired by Santana, but whose definitive version became a clubland hit for master Cuban conguero Candido. The full range of piano keys are deployed here hinting at Cecil Taylor as another influence. A quasi-religious tone was struck during the encore with ‘Kira’, a composition that pays homage to Bach (recalling also Jacques Loussier and his unique take on the composer) with the trio gently building in intensity and a piano vamp from Law that even takes in calypso, before gently fading out a la Abudullah Ibrahim. Even an untimely fire alarm (definitely not one of the intended accompanying sounds!) after the very first piece could not dampen proceedings on a performance that demonstrated above all the elasticity of the piano trio format.

The second half of the evening was taken up with a very welcome addition to the annual MJF, a French musical presence, which came in the form of Parisian-based quartet Alata. The group take as their inspiration and starting point the electric piano ensembles of the late 1960s and early 1970s as pioneered by Miles Davis on ‘In a silent way’. Keyboardist and leader Francis Le Bras proved to be an extremely sensitive accompanist and soloist following in a fine tradition of French jazz pianists from acoustic masters such as Martial Solal through to those combining electic and acoustic formats best illustrated by Michel Sardaby and the sadly departed Michel Petrucciani. He was ably assisted in these endeavours by the sure double bass of Emmanuel Brunet and the polyrhythms of Guillaume Dommartin. If Le Bras explaining titles in English to the audience belonged, perhaps, to the Jacques Tati school of sign-aided communication, the well behaved audience took this all in good humour. Alata excel on mid-tempo pieces where the multi-reedist Olivier Py impressed on tenor and was influenced by the soulful as well as exploratory sounds of French ace Barney Wilen, and more generally by the tenor giants Joe Henderson and Sonny Rollins. The best was left for last with two final compositions on which Py reverted to flute playing highly melodic solos a la Joe Farrell from his CTI tenure with Chick Corea. Alata came into their own on these and would do well to pursue that particular sound further. A night of new discoveries, then, for audience and band alike to cherish.  Tim Stenhouse

Joe Bataan Live At Cargo, London 11th June 2009

Joe Bataan – The KING of Latin Soul - Live At Cargo, London

So finally, after THIRTY years, the self confessed ‘Ordinary Guy’ and Latin Soul legend, Mr Joe Bataan performed his FIRST ever gig on a UK stage. Thanks to the Red Bull Music Academy, Karen P’s broadcasting and Stone Throw’s James Pants, the 11th June 2009 became a historic and indelible evening for all those in attendance, including UK Vibe’s The Dood.

The anticipation was heightened when the band took the stage, minus their Latin Guru. Then enter stage right - a red peaked cap came into view – the originator of New York Latin Soul, Joe Bataan had arrived in London, EC2! He worked his way along the stage front handing out signed photos to his adoring fans.

Then Mr B addressed his UK audience, ‘Ok, before I start, I gotta say something and then we’ll get on with the party. I travelled all the way from New York, and it took me twenty – nine years! The first time I came to London, I met this young lady, and we were at a disco….She said, ‘Do you wanna dance?’ ‘I said sweetheart, I never dance! She said, ‘Well you better start learning. So I went home with a lesson like that and here I am twenty –nine years later and I’m ready to party - with you!!

‘So let me tell you my story. Most artists come and they play for you, they look nice, they sound good and they go home and collect their money – not Joe Bataan, alright! I’m gonna tell you my story, my life, I’m gonna tell you what I’ve been doing for the last twenty – nine years! And I’m gonna include you in my prayers, which is most important.’

‘You see because when I tell you that story, then you’ll know the tragic and the good parts of Joe Bataan’s life.  So, it’s not an accident that Joe Bataan is here in London tonight, this was all planned. And it took twenty – nine years to make history and this is what were gonna give you today!’ Joe exclaimed.

James Pants, who insisted on Joe Bataan being the main attraction for this Red Bull event, duly took up his position, cow bell in hand as he promised. The scene was now set for an enthralling evening of Latin Soul/funk flavours – Joe Bataan style.

After catching the band(Grupo X) off guard by kicking off with a smooth soulful ballad intro taster, Joe changed up suddenly and proclaimed excitedly, ‘And so now, without modulation I’m gonna change the key and bring you the first song I did in 1966, and it goes like this….!!!’

Then BAM! The percussionist and pianist got mad busy, as did the brass section and backing vocalist (Joe’s wife Yvonne), as the familiar vibes of ‘Gypsy Woman’ filled the intimate Cargo venue. The party had most definitely started now. Half through the tune, Mr. New York requested the band bring it down real low and then take it gradually higher.

Sub-consciously, the Bataan faithful were drawn trance-like into Joe’s world as he got them to chant repeatedly, ‘We don’t need no music, all we need is rhythm!’ The brass section and timbales exploded once again for a final flourish. The cheers were deafening. Just one track in and we were already thinking, what great music the UK had been deprived of for the past thirty years.

With barely a breather, Joe introduced the next foot shuffler, ‘The next song, Mick Jagger took something from it and recorded the ‘Devil’s Advocate.’ I don’t know if that’s true, but here’s my rendition of ‘Johnny’.’ The rich soulful timbre of Joe’s voice was suited so well to the Latino rhythms.

On a roll now, the band smoothly segued into an immensely catchy, frenetic instrumental of ‘Puerto Rico Me Liama’. The supremely talented Grupo X, led by Jonny Enright got their time to shine, impressing Mr Bataan in the process. As did Joe’s good friend of forty years and legendary Timbales player/percussionist, Peter ‘Chukie’ Quintero.

The break from lyrics gave Joe and his wife a prime opportunity to lead a Conga train from the stage, out into their welcoming and adoring fans. They snaked rhythmically across the length of the floor and then back to base. Awesome!  There was to be no come down from this high just yet!

The classic tunes kept on coming as Joe hollered, ‘Back in 1979 there was a new thing coming out! Joe Bataan was right there. When I brought it to people they would say, ‘Hey Joe, you crazy, what the hell is that?’ I’d say, ‘This is something new!’ They’d say, ‘Well, so you don’t sing anymore?’ I’d say, ‘Yeah, but this is something new.’ They’d say, ‘Get outta here with that junk man, we’ll see you later!’

So instead of being the first, I became the third, and we had one of the top records in the world at that time. And it was one of the first rap songs called, ‘Rap-O-Clap-O!’ The infectious and insistent bass line kicked in as all present clapped their hands to the beat as instructed by Uncle Joe.

Three quarters into this delicious jazzy, sax laden version, Joe fleshed the story out further. ‘The story is, they didn’t let that play in London – it went on to be the number one hit in France, Holland, Spain and all over the world. Well, now Joe Bataan is back to claim his spot!’ The Cargo massive whooped their approval as the King of Latin Showmanship launched into the next verse.

In a set with no fillers, the 1968 hit ‘Riot’ was followed enthusiastically by the trumpeted intro to an even bigger smash, ‘Subway Joe.’- Everybody joining in with the sing-a-long chorus, Hey! Hey! Hey! Subway Joe!

After a lengthy but cathartic explanation of how he found a new spirituality following a near death experience, Joe Bataan treated the respectful crowd to an emotive version of ‘My Prayer.’ Sublime!

His adopted sound track to his life had the following introduction. ‘The next song is a song I happened to record ten times! A lot of people don’t know the story, but I recorded it in Spanish, English, I’ve done it slow, I’ve done ‘Bossa Nova’ I’ve done ‘Cha Cha’. And they told me it became popular here in the UK. And here’s my rendition of ‘Ordinary Guy.’ That was the bands cue to break into a languid and laid back ‘Bossa Nova’ version of the same.

With the evening drawing to a close, and before thrilling the audience with his unique version of Gil Scott-Heron’s ‘The Bottle’, Mr Bataan thanked them and introduced those supporting him. ‘Thank you so much, it’s been a pleasure….To my left, straight from New York, my wife Yvonne. And of course to my left we have James Pants.’ He then proceeded to name check the members of Grupo X and stalwart friend Peter ‘Chuckie’ Quintero, before adding, ‘…Last but not least my name is Joe and I’m the ‘Ordinary Guy!’

Joe Bataan’s first performance before a UK audience was rounded off with an uplifting, jaunty expression of Latino passion, Afro-Filipino style via ‘Do the Bush/Special Girl. A grateful Joe confessed, ‘It’s been a pleasure. You let Joe Bataan come back to your shores and I love ya!’

All I can say is on behalf of ‘Good Music’ lovers around the world and especially those present for his seminal and memorable show in the UK – Mr Bataan, It’s been a pleasure to indulge in ‘The Live Latin Soul/Funk Experience’ first hand. Please!  Please! Please! Don’t keep us waiting another twenty-nine to thirty years before you grace these shores again. One love!

Remember that ‘Nothing is Promised’ always love and appreciate those around you. You are blessed. Thank the Lord each and every day. – Joe Bataan/Your Ordinary Guy

Michael ‘The Dood’ Edwards

NB Big thanks to Georgia at Red Bull Music & Karen P’s broadcasting for arranging gig invite and subs sequent Joe Bataan interview. Respect!

The Line Up:

Joe Bataan: (lead vocal & keyboards)
Yvonne Nitollano: (background vocals)
Peter ‘Chuckie’ Quintero: (timbales, percussion)
James Pants: (cow-bell, percussion, background vocals)

Grupo X:
Jonny Enright: (band leader & trombone, background vocals)
Finn Peters: (alto sax, flute)
Grant Windsor: (piano)
Jimmy Le Messurier: drums
Leon Stenning: guitar
Elpadio Casedo: bass
Simon Finch: trumpet
Pete Eckford: congas/bongos

Essential Joe Bataan London gig link: 
http://redbullmusicacademyradio.com/shows/1603/

Essential website:
http://www.joebataan.net

Essential Joe Bataan You Tube:
http://www.youtube.com/watch?v=8Qmy6BGhV5A

http://www.youtube.com/watch?v=8wWh61RBNvw

http://www.youtube.com/watch?v=XGwV5LPa6Dc

Essential Grupo X websites:
(The backing band of choice for visiting Latin musicians)
http://www.grupo-x.com/Site_1/Welcome.html

http://www.myspace.com/grupox

NATURALLY 7 - Live at the Stables, MK & the Barbican, London 9th & 10th June 2009

NATURALLY 7 – A NATURAL HIGH
The Wall of Sound Tour (Live at the Stables, MK & the Barbican, London 9th & 10th June)

Every so often in life, an individual, or in this case a group come along who exceed your expectations ten fold and then some. Naturally 7 are such a phenomenon. I must confess, I jumped on late to the Naturally 7 band wagon, but I’m fully on board now and do not intend to alight any time soon.

Thanks to a heads up email from UK Vibe’s editor Steve, a few days later I was sat in ‘the Stables’, Milton Keynes about to be awakened to the delights of ‘Vocal Play’ – a term coined by Naturally 7.

‘Fly Baby’, their opening number dispelled at once any notion I had that these guys were and are the real deal. From the moment Jamal Reed followed closely by Garfield Buckley loped onto the Stables stage, vocally mimicking a guitar/harmonica, with a high pitched ‘T’wah! T’wah! – T’wah! T’wah! , the audience were transfixed.

That then transitioned into gasps and whoops as vocal percussionist Warren Thomas chimed in with a heavy, heavy kick drum, cymbals and hi – hat, which resonated throughout the whole building! He was sat as if addressing a transitional drum kit and even mimicked the actions, but this kit was invisible! The booming tones of Hops brought in the bass and all the ladies present dissolved into their seats.

Trust me, if one was to close their eyes you’d be forgiven there was a real band hiding behind the curtains. That vibe was continued two songs later in Naturally 7’s classic arrangement and interpretation of Mr Mister’s timeless ‘Broken Wings’. Warren and Jamal’s intro guitars making way for Dwight Stewart’s smooth and rounded baritone, which did justice to the partially restructured lyrics.

The initially low, then gradually increasing and tight harmonies led into the incessant primal and upbeat rhythms of ‘Speed of Sound’, supported by an equally tribal dance routine and chants. The pace changed markedly with a pure sweet a cappella version of Naturally 7’s first ever song, ‘Bless This House’.

Now came Warren Thomas’ ‘Drum Solo’, the first of six individual spotlights on the night. Again Warren sat as if astride a complete drum kit and proceeded to ‘do his thang!’ for the next three minutes – truly spellbinding!

The stage lights faded then, ‘Drip drop, I need just one good cry…’ were the words that emanated from the darkness, before the haunting, angelic strains of ‘Let It Rain’ wafted over us. Jamal and Dwight exchanged lead vocals for this plea to the heavens.

Rod Eldridge performed his original and amazing ‘loop pedal solo’ next – building an entire composition with his voice, a microphone and that loop pedal! The first session was concluded with a powerful vocal and visual rendition of ‘Wall Of Sound’ and the classical treatment of ‘Another You’, flute ‘n’ all!

After everyone had splashed cold water on their faces during the interval - to confirm they weren’t dreaming – the funky swing of ‘Open Your Eyes’ heralded our welcome to part two. Jamal took centre stage, with his soaring vocals raising people out their seats who had just sat down.

They remained standing as Jamal segued into his ‘Guitar Solo’. A scarily real electric guitar screeched from his vocal chords, amusing his UK hosts with a respectful version of ‘God Save The Queen.’

The mega impactful ‘Say You Love Me’, introduced as a request from God’s point of view, resounded throughout the auditorium, mainly due to Warren’s thunderous kick drum effect and the imploring vocal of Dwight. By now it was standing room only!! No chairs required.

Next into the ‘Solo’ spotlight was Garfield, ‘the incredible Harmonica Man’. The superlatives were quickly being used up. Roger and his brother Warren then did a comedic skit, to explain how their household had only three albums – one of John Denver, one of Cliff Richard and one of Simon and Garfunkel. The latter being the musical template for an enthralling three song medley homage; ‘Sound of Silence’, ‘Scarborough Fair’ and ‘April, Come She Will’.

We were all snapped out of our trances by the full on ‘Don’t Shoot the Messenger’, acted out ala Michael Jackson’s ‘Smooth Criminal’. Slenderly built bass man’ Hops stepped to plate next to thrill his growing legion of fans with his booming ‘Bass Solo’ including an impromptu version of MJ’s ‘Billie Jean’ – with moves! The audience lapped it up.

As the evening drew to close, Rod got to itchin’ and scratchin’ on his ‘DJ Solo’ prior to the group belting out hair raising versions of ‘Amazing Grace’ and ‘Feel It (In the Air Tonight)’, both received with rapturous applause and whooping.

This gushing show of approval didn’t die down until Naturally 7 took to the stage again, implored by those gathered for more natural flavours. They duly obliged with the barber shop quartet styled ‘More Than Words’ and the Motown inspired ‘Ready or Not’, complete microphone stands and ‘Four Tops’ dance steps.

Naturally 7 are definitely the real deal and a breath of fresh air on the live music circuit. If ever they come to a town or city near you, make sure and check them out. I guarantee you’ll leave the venue intoxicated! However, it will be a natural high brought about by the ‘Vocal Play’ of Naturally 7.

Michael ‘The Dood’ Edwards

Many thanks to Sorcha Hunter @ Serious for her efforts

http://www.naturallyseven.com

Christy Moore Bridgewater Hall 29 May 2009

Singer-songwriter and all-round musical bard Christy Moore has since the mid-nineteen sixties carved out a fascinating parallel career; co-founding member of pioneering Irish folk group Planxty and later fusion-folk group Moving Hearts; headlining folk singer drawing upon a wide range of influences taking in the North and Latin American social protest song tradition as well as English, Irish and Scottish folk music such as the Watersons and Hamish Imlach. In fact these two facets to Moore’s career trajectory came together on his second album, ‘Prosperous’, recorded by legendary English folk producer Bill Leader. This was in all but name the debut recording by Planxty and featured the four long-time members. Here the traditional Irish repertoire of ‘Raggle Taggle Gypsies’ and ‘Cliffs of Doneen’ was selected side by side with contemporary Dylan. In the larger picture Planxty marked a conscious break with the likes of the Clancy’s and the Dubliners and attracted a whole new audience to Irish folk. Furthermore the group acted as the catalyst for new bands such as the emerging Clannad, the later Bothy Band and even prog-folk such as Horslips.

It was with this towering reputation and yet down to earth manner that Christy Moore came onto the stage to rapturous applause from a passionate and devoted audience. Among them were members of Christy’s family (the song ‘Michael Hatton’s house’ being devoted to them) and the association with Manchester dates back to the nineteeen-sixties when the then up-and-coming singer had digs in Longsight, and has frequently returned to the city to perform. Moore’s repertoire in the first part of the concert is laden with songs telling tales of emigration of the Irish diaspora such as ‘I pity the poor immigrant’ and ‘I’m missing you’. However, he leaves the audience in no doubt that he feels at home in his adopted city of Manchester with a cry of ‘Tis grand to be back at Bridgewater’. While there was no doubt this was a Christy Moore concert and not a Planxty one, he still found time to play in a traditional vein on bodhran for ‘John Reilly’ and the Planxty favourite ‘The well below the Valley’ (another Moore original) which went down a treat. One can only hope the band rekindle the spirit of the 2004 Dublin reunion with a UK tout at some stage.

Moore occupies a unique position in Irish music; that of the social conscience of modern Ireland. This has meant in practice singing about polemical topics in Irish society, challenging the establishment, and in recent times this has included a critique of the gap between the rhetoric and practices of the Catholic church. The new song, ‘God works in strange ways’ and especially the reworking of Joni Mitchell’s ‘Magdalene Laundries’ leaves the listener in no doubt of Christy’s views on the subject, but he is content to let the songs speak for themselves. Throughout proceedings Moore engages in friendly banter with the audience and is generous enough in the second part to respond positively to request songs. Of the new material from the excellent and recently released ‘Listen’, ‘Does this train stop on Merseyside?’ impresses as does a startling and radical revision of Pink Floyd’s ‘Shine on you crazy diamond’ which becomes an altogether different song in its condensed acoustic version.

After an extended sabbatical in the nineteen-nineties, Christy has returned to solo perfomances, ably assisted by guitarist Declan Sinnott and so it was in this pared down format that the evening unfolded on the second night in his adopted city. On songs like ‘I’m an ordinary man’ the sheer melodicism of Moore’s songwriting craft comes to the fore and Sinnott’s electric and acoustic guitar playing proves to be the icing on the cake. Equally Moore has always had a sensitive ear for other songwriter’s songs that he might adapt and so Bob Dylan has been fertile territory with a rendition of ‘Lonesome Hattie Carroll’ as well as Moore’s brother Luka Bloom on the superb ‘City of Chicago’, another tale of migrant saudade.

Of course among the Christy favourites, the anthemic ‘Ride on’ has always had pride of place (the live version of the song in Dublin from the mid-nineteen nineties with the audience singing along is a classic) and listeners replicated the 1994 version, participating with equal passion. Running the fomer a close second was a rousing version of ‘Lisdoonvarna’ where Moore sang the verses almost like a rap. By now the audience were off their seats, helped in no measure by Christy recalling in song a trip to Germany in 1990 and the footballing exploits of the Irish national team in that year’s World Cup.

However, Moore has never been an artist who has limited himself to songs relating exclusively to the Emerald isle, however proud an Irishman he may unquestionably be, and it was the reflective side to his character that was emphasized in the encore. Some might argue that taking the tempo down after what preceeded was a misguided choice. This, though, would be to ignore Moore’s passionate espousing of the underdog, the downtrodden people who have no voice in the celebrity-obsessed media. It was with this thought in mind that the singer performed flawless renditions of ‘Viva la quinta brigada’ and ‘Victor Jara’. Fitting, then, that for the former, devoted to Irish recruits to the Republican cause during the Spanish civil war, an exhibition of the war was being aired in a Manchester museum, and that one of the presumed assassins of Chilean singer-songwriter Jara had been caught that week. In sum a marvellous evening of mastercraft singer-songwriting from Christy and in just over two hours almost thirty songs were performed with no interval required.  Tim Stenhouse