Rapscallion87's Last.fm Journal

Live gigs 2008 / my musical year

Wed, 24 Dec 2008 02:08:41 +0000

It's been busy...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

peace,
frederick

More Interviews

Tue, 7 Oct 2008 12:40:21 +0000

I've had quite a few interviews published recently:

Omara Portuondo - "77 Not Out"
Link: Fly, 4/10/08

James Morton - "Bristol Fashion"
Link: Jazzwise magazine, October 2008

Portico Quartet - "Mercury Rising For Hang Man"
Link: London Tourdates magazine, 22/8/08

Neil Cowley (Neil Cowley Trio) - "What's In A Name?"
Link: London Tourdates magazine, 24/7/08

Comments and feedback are always appreciated!

peace,
frederick

Interview: These Acoustics Can Electrify

Thu, 22 May 2008 15:29:25 +0000

Pete Wareham is on a musical crusade: Acoustic Ladyland's frontman abandoned the traditional jazz direction to discover his real identity. Frederick Bernas heard all about it.

It wasn't a typical jazz club crowd. Over 100 standing people, overwhelmingly young, crammed into Dalston's Vortex to watch four musicians tear through a set of short, thrashy, piercing songs; this definitely wasn't a typical jazz club performance. No. It is exactly what Pete Wareham envisioned when the sound of his band transformed into a manic punk-jazz-rock hybrid that can be heard on the albums Last Chance Disco and Skinny Grin.

"I wanted to connect with people who were my age, because a lot of the time people were at least 20 years older than me," he explains. "I reached a point about five or six years ago where I got a bit confused because I'd gone so far down the jazz route and realised it wasn't really who I was. I grew up listening to Hendrix, led zepellin, Velvet Underground and things like that. Playing the saxophone and listening to all that rock music was like two worlds I could never join together."

These motivations led Wareham to a new journey, looking at how his instrument could function in a non-jazz context: "One of the big things was trying to explore life as a saxophonist outside playing jazz. I wanted to express my feelings for guitars and vocals because the saxophone can do those things as well, but I had to find a way to play in a rock context that didn't sound like 'rock sax', which is quite a dodgy area." Amen to that.

On the issue of jazz tradition, he admits maintaining a certain element – "I don't think it's about turning your back on tradition, it's just about not letting tradition intimidate you into thinking you can't be who you are. You've got to develop your own personal approach, trying to find the things you like without being a slave to those things."

Acoustic Ladyland's profound evolution is reflected in the fact that, technically, the name of the band is now completely misleading – the songs are far from acoustic. Its genre has been widely discussed but remains ambiguous, perhaps due to Wareham's reluctance to associate with popular pigeon-holing. "I don't know what genre it is. It's just all the types of music I like and we're trying to squeeze them together," he states hesitantly.

"I think a lot of people have us down as an experimental avant garde jazz band, which we're totally not, and I don't really care," he continues, with a bitter note in his voice. "I don't really give a shit to be honest; I'm getting so sick of industry bullshit that I don't care now. It's all bullshit. People are being lazy, trying to avoid having to carefully describe something based on what they feel. They just want a quick fix."

Indeed, the phrase 'punk jazz' has been frequently touted in connection to the emerging crop of progressive thinkers such as Wareham and drummer Sebastian Rochford. "In some ways the term 'punk jazz' makes me feel sick, but in other ways I quite like it. I like the idea of jazz having become such a studied and perfect thing and for it to be combined with trashy, simple, short songs which have real freedom and attitude. That's what punk represents to me. Jazz needs a bit of that, a bit of opening up.

"I didn't want us to be put in the little jazz corner, I want to be pitched against the best bands in the world. That's not because I think we are one of the best bands in the world or anything like that, but just because I want a fair crack of the whip, not to be marginalised in a little cupboard. No, it's music, and everyone should be allowed to get into it and not think they won't bother because it's jazz."

This question of jazz apathy amongst audiences is an interesting one – it's clear that Acoustic Ladyland has succeeded in accessing a far broader target group than hardcore devotees of the genre. "There are loads of people who have never listened to jazz before who love us and want to get into it after hearing we're from a jazz background, so we tell them about Mingus and all these brilliant things. Mingus was more punk rock than anyone around now."

Wareham has positive thoughts about the British jazz scene's current health, but speaks scathingly of the music industry in general. "There are a lot of new bands in the rock and pop world which are doing well, but they're not doing anything like what the hype suggests and they don't last very long. An awful lot of good music gets overlooked because it hasn't got the tag of being this or that, and I think this has been going on for centuries. The media and society always feel like it's new and different, but if you look at the Victorian age the same thing was going on."

Is there any hope for improvement? "It's always the same, I don't think it's ever going to change. It's just up to individuals not to moan about it and find a way round." Acoustic Ladyland's defiant musical persona certainly comes through in the words of its leader – "My view is that punk attitude. I was listening to The Clash on the way here, Joe Strummer singing 'If you lock me out, I'll kick your door in', and that's the thing for me: find your own way of doing it, don't just moan about the inherent problems."

One problem faced by many bands is currently afflicting Wareham: label difficulties. Despite the success of Skinny Grin, released on V2 in 2006, the company has since been bought by Universal and appears unenthusiastic. "We haven't got a record deal at the moment and I'm looking for one," Wareham elaborates. "I'm talking to anyone who can be arsed to phone me back, which seems to be very few people. It seems a standard thing to have a meeting with somebody who says they'll call you next week, but you never hear back. Apparently that's just the way it is, so fair enough. It's just stupid because they could have a really fucking brilliant thing going on if they were a bit more aware."

This is an obvious reference to recent Ladyland gigs, which have drawn large crowds across the country. Wareham is not overly worried about the next album, even in the midst of the label dilemma - "I'm not going to do it until I'm ready. I did have a timescale, but it's been blown out by various record companies not doing what they've promised. The music has taken on its own timescale and when it's really firing I think everything will fall into place.

"We're absolutely full throttle at the moment and the music is the best we've ever done. The band feels the best it's ever felt and we're really moving forward. Hopefully someone with a bit of nous somewhere will realise and make themselves known." Any takers?

Published in London Tourdates magazine, 15/5/08.

Us3 / Geoff Wilkinson Interview

Fri, 23 Nov 2007 00:15:49 +0000

Us3: The Struggle Continues

In 1992 Geoff Wilkinson produced the groundbreaking jazz/hip-hop crossover track “Cantaloop (Flip Fantasia),” gaining international recognition with his Us3 project. Fourteen years and six albums down the line he’s still going strong, but it could all have been very different. Here he tells AAJ contributor Frederick Bernas about the highs and lows of his long and convoluted musical journey.

... click here for the rest of the article...

Elan Mehler Quartet - Scheme For Thought

Sun, 23 Sep 2007 16:43:35 +0000

Scheme For Thought was released on Gilles Peterson’s Brownswood Recordings in September 2007, accompanied by a series of gigs around London by pianist Elan Mehler and his quartet. This group has completely abandoned standard notions of jazz: the absence of a drummer and repeated use of arco playing on the double bass give an almost classical and very ambient feeling to this ten-track set.

There is a great deal of subtle harmonic interaction between Mehler and the sometimes ghostly presence of David Moore on Fender Rhodes; it can take several thorough listening sessions to fully appreciate what they’re creating. The Pale 45s begins with a simple bass ostinato and exploratory piano overture, which develops into a basic melody used as a reference point throughout the track. Saxophonist Andrew Zimmerman briefly improvises over a Mehler vamp and the theme then returns, with an extended exchange of ideas between piano and Rhodes building up in tempo and volume.

Auntie-Biotics features louder, grittier provocation from Mehler while Moore takes a long solo, after a delicate opening with a faintly swinging sax line. Zimmerman is in possession of a soft, malleable and breathy tone, and the clicking of keys on his instrument is frequently audible; it’s easy to imagine sitting meters from the action at a smoky little jazz club somewhere in the depths of New York City. Bassist Tod Hendrick is very attentive to the nuances of his colleagues throughout the recording and does not overcrowd their sound with too many notes.

Philosophical references in the disc title are definitely appropriate for this inward-looking and highly contemplative release. The lack of a steady pulse instigates a spiritual, free-flowing quality but an undercurrent of deep intensity is always there. A chance meeting between Peterson and Mehler in a bar in Switzerland has turned out to be a blessing to jazz listeners everywhere.

Track listing
Little Lost
Christmas Song
Scheme For Thought
The Pale 45s
Muse Suite
Vals
Auntie-Biotics
Ruby D
Head Trick
Elvis Presley Blues

Elan Mehler Quartet personnel: Elan Mehler: piano; David Moore: Fender Rhodes; Andrew Zimmerman: tenor saxophone; Tod Hendrick: bass.

Published @ allaboutjazz, 23/9/07 - click here for original.

Empirical CD Review

Wed, 19 Sep 2007 09:14:30 +0000

Empirical burst onto the international music scene at the 2007 North Sea Jazz Festival, beating four other bands to win the inaugural European Jazz Competition. Two days later, with perfect timing, their self-titled debut album hit the shops. British saxophonist Courtney Pine had been keeping a keen eye on the quintet's progress and produced the CD, which is released on his own Destin-E Records.

It's a startlingly mature set for such a young group, undoubtedly as a result of time spent playing together in Tomorrow's Warriors, a development programme which has seen the likes of Denys Baptiste, Soweto Kinch and Tony Kofi pass through its ranks over the years. All of these have become established names on the UK jazz scene and Empirical look set to follow their lead.

The opening track, "Blessings", is a crisp, quick, swinging post-bop melody penned by saxist Nathaniel Facey. The composer moves into the limelight, taking the first solo with a pleasing dexterity, and is flawlessly overlapped by Jay Phelps on trumpet. It's clear from the start that a near-telepathic understanding exists within the group and this gently whets the listener's appetite for what is to come.

A strong African influence is present on a couple of tunes: Ali Farka Touré's "Tulumba" is delightfully arranged by Phelps, with a meditative overdubbed opening passage taking off into a whirling frenzy of collective improvisation. It's a shame this track was cut to less than four minutes, as it fades away into nothingness just as pianist Kit Downes is setting out his ideas. The first few seconds of "The Deep" recall the opening of A Love Supreme as Facey's wailing sax borrows a touch of John Coltrane's phrasing. However, this ten-minute offering moves into other directions as a spiritual chant begins and extended solos follow. Chanting then returns at the end, apparently depicting the emptiness of deep, unexplored regions of the ocean.

Drummer Shaney Forbes displays a loose affiliation to hip-hop in the album's longest track, "Palantir", which clocks in at nearly 17 minutes. During movements of this composition and on the tracks "Clapton Willow", "Kite" and "Dark Lady", Empirical demonstrate their aptitude for intimate, more sensitive moods – as opposed to freewheeling, dynamic and fast-paced jams.

This is a highly promising release from a band which can only go from strength to strength. All tracks but "Tulumba" are originals, with a multitude of influences and fresh, excitable energy in abundance. Watch this space.

Track listing: Blessings; Tulumba; A Tyrant's Tale; Clapton Willow; The Deep; Kite; Fat Cat; Palantir; Dark Lady (Bonus Track).

Personnel: Nathaniel Facey: alto saxophone, voice; Jay Phelps: trumpet, voice; Kit Downes: piano; Neil Charles: bass; Shaney Forbes: drums, percussion.

Published @ allaboutjazz, 19/9/07 - click here for original.

London's Funkiest Hour

Sun, 16 Sep 2007 12:10:32 +0000

Thu 30 Aug – The Sound Stylistics

The Sound Stylistics
Jazz Café, London
Thursday 30 August, 2007

After witnessing Australian deep funk outfit The Bamboos tear up a small Bristol wine bar some months ago, it was hard to imagine how any other band could ever match such a boisterous performance. However, the funk gods up above clearly had other ideas when they gifted us The Sound Stylistics.

This 11-piece group, essentially operating as a loose collective of some of London’s finest session players, stormed the packed Camden venue with an awe-inspiringly vibrant display. The tight 6-man horn section was flawless in its delivery of clever arrangements of songs ranging from the James Brown vintage to original compositions and the occasional groove-infused blues.

The opening number featured an extensive solo from Jim Watson, whose simmering organ lines were a foundation of the band along with Al Cherry (guitar), Neil Robinson (drums) and Gary Crockett (bass). A highlight of the evening was when the horn section dropped out entirely, leaving these four to play one song as a quartet. Robinson produced one of the night’s most inspired solos, going it alone on the kit for at least five minutes and coming up with many highly challenging rhythmic ideas at blistering speed.

Party People is an eminently danceable composition featuring a vivacious fanfare chorus underpinned by deep booming saxes and a catchy bassline. Shake And Hip Drop, released on 7-inch in February this year, is another melody to remember with sharp stabs of brass reminiscent of the great JBs’ classic ensemble sound. Other notable tunes include Soul Dynamite and Get Ya Some, which began with a Brown-esque group chant and spotlighted the considerable powers of The Herbaliser’s Andy Ross on flute.

The best thing about this gig was the obvious fact all members of the band simply loved the experience of playing together for a full house of responsive punters. This enjoyment translated into heightened levels of verve and creativity in improvisation and palpable energy was bouncing around between the audience and the musicians on stage.

The Sound Stylistics have a 17-track CD, Play Deep Funk, currently out on Adrian Gibson’s Freestyle Records and several vinyl releases. Live performances, on the other hand, occur somewhat infrequently – so next time you hear of a show in the offing make sure you get down there. This explosive jam band needs to be seen live for the complete experience.

Published @ allaboutjazz, 16/9/07 - click here for original.

Trio Innovation

Wed, 5 Sep 2007 10:52:07 +0000

Fri 24 Aug – Avishai Cohen

Avishai Cohen
Ronnie Scott's, London
Friday August 24, 2007

This was the first time I’d visited London’s legendary jazz venue since its recent swanky refurbishment; still dimly lit, but with a classier kind of ambience, Ronnie’s barely allows punters to appreciate the photos of great jazz musicians adorning every wall.

One man well on the way to joining this still illustrious company is Avishai Cohen. The Israeli bassist, with his acoustic trio of Shai Maestro (piano) and Mark Giuliana (drums), is seriously pushing the boundaries of creativity in the jazz medium. One For Mark featured a forceful opening riff followed by fluid, undulating piano passages and a variety of innovative techniques from Cohen. Throughout the night he approached the bass from many different angles, both physically and technically, including frequent use of percussive strikes to the shoulders of the instrument.

There was not a standard to be heard; Cohen even announced they were “trying new stuff” and sometimes “didn’t know what was going to happen.” To a certain extent, unpredictability is always the case in jazz, but on this evening it was true to a greater degree than normal. Drummer Giuliana played with an uncommon minute sensitivity, carefully listening to the others and edging them along with delicate variations on the beat. 20-year-old Maestro was given the somewhat monotonous role of vamping set chords for most of the night, but he avoided repetition and possesses a natural gift for elegant phrasing.

Such a restricted role is a sacrifice the pianist has to make in this new conception of the jazz trio, in which no instrument takes the lead for a sustained period. Although—as expected—Cohen did have a few notable moments in the spotlight, the music was more about exploring group interplay than focusing on any individual. The audience was taken through a neverending passage of hypnotic changes, with what seemed to be bright, airy compositions shifting to dark, intensive jams within the space of a few short moments.

Published @ allaboutjazz, 5/9/2007 - click here for original.

Multi-directional Masterclass

Mon, 30 Jul 2007 00:03:29 +0000

Sat 21 Jul – Rashied Ali

Rashied Ali Quintet
Pizza on the Park, London
Saturday July 21, 2007

"True legend" in jazz circles is a frequently-used cliche. This time it's true. Rashied Ali is the man who pioneered an approach to drumming which threw out the traditional idea of the drummer as human metronome. His work with John Coltrane in the great saxophonist's final years is a high point of avant-garde creativity. It was Coltrane who coined the term "multi-directional" to describe Ali's loose, free style of rhythmic propulsion.

His current touring quintet with Greg Murphy (piano), Joris Teepe (bass), Josh Evans (trumpet) and Lawrence Clark (tenor saxophone) is playing a style which combines modern post-bop with Ali's trademark free jazz. During two hours at Pizza Express they performed only six tunes, averaging 20-30 minutes in length.

Every band member was given space for long improvisations on Jaco Pastorius's composition "Dania", which kicked off the night. Ali's revolutionary technique was evident from the start as he strayed in and out of timekeeping with an emphasis
on snare drum usage. Second on the bill was the Thelonious Monk classic "'Round Midnight" and the set ended with the ominous, fanfare-like melody of Coltrane's "Liberia". This was the first point at which the bass and piano dropped out, leaving Ali alone with Clark on saxophone. It was almost like two simultaneous solos, highly reminiscent of Coltrane's final studio album Interstellar Space which is a series of duets with Ali. The diners didn't know what had hit them; Saturday night in Knightsbridge is usually more genteel. It was a fitting tribute to 'Trane, with this concert coming days after the 40th anniversary of his death.

The second set featured two more standards and ended with "If only I had a Gig", the band's take on songs from The Wizard of Oz. There were further moments of
sax-drums duelling, bassist Teepe produced one of the most melodic solos of the evening, playing on his own for several minutes, and Evans on trumpet also
impressed with screamingly passionate lines.

Rashied Ali may be nearly 70, but his creative instincts continue to develop. His work with this young lineup constantly throws up new challenges and his solos burst with complexity. Hopefully this will carry on for some years to come.

Polar Bear / The Bamboos / Billy Cobham & Asere

Sun, 20 May 2007 12:03:48 +0000

Wed 16 May – Polar Bear

Comprised of two saxophonists, a drummer, bassist and electronic effects guru, Polar Bear are definitely one of the most progressive jazz groups around at the moment. They played the Colston Hall bar on May 16 to an audience mostly made up of older jazz fans looking for something new, with a few younger people who obviously identified with the more fusional facets of their distinctive sound.

Their music represents a form of organised chaos - the audience has absolutely no idea what's going on most of the time, but the band maintains a rigid tight sound and flawless collective timing. They were mostly playing material from their new album, which is recorded but without a name (as are many of the tracks) or any of the album artwork, as well as a few from Held on the Tips of Fingers such as Beartown and The King of Aberdeen.

The excellent leader Sebastian Rochford on drums, sporting an attention-grabbing flamboyant hairstyle, provided the rhythmic foundations with bassist Tom Herbert. Rochford's polyrhythmic and unpredictable beats were a delight to the ear, although unfortunately he never indulged us with an extended solo passage. Leafcutter John on electronics made a lot of nice contributions as well, using such tools as a balloon, mug and pencil, V-shaped electric mandolin and a games controller hooked up to an array of noises which always managed to sound in tune.

Pete Wareham and Mark Lockheart were outstanding on tenor saxes. Their arrangements on a lot of tunes could easily deceive listeners to think the saxophone was a chordal instrument, such was the perfection of the harmonic structure. Along with the use of electronics, this is possibly the most progressive aspect of their music - the band is notable for its lack of a chordal instrument and they really make up for it. During solos both displayed great flair and creativity in improvisation. Wareham, also the frontman of Acoustic Ladyland, wowed the horn players in the audience with his use of amazingly fast tongue techniques and one time when he used an echo effect to build up different 'sheets' of notes into distinguishable chord patterns.

I'll definitely be looking out for the new album when it's ready and would recommend anyone interested in progressive, creative, original jazz to check out this amazing band.

Some tunes and gig listings on:
www.myspace.com/sebastianrochford.

Thu 17 May – The Bamboos

The Bamboos' website boldly claims the band to be "Australia's premier deep funk outfit" and in listening to their tunes on myspace I could understand why. The lineup consists of a powerful three-piece horn section backed up by funky-as-hell guitarist and drummer and steadily-grooving organ player plus solid bassist and soulfully swinging singer, all of them immaculately tight and well-drilled.

Although the venue, Luna Lounge in Clifton, was in my opinion far too small to contain the massive sounds of this top-quality ensemble (and rather too full of yuppies for my liking as well), it was nevertheless a spectacular night. The show started off with an uninterrupted medley of instrumental tunes lasting probably about half an hour; I lost count of the number of songs they played, such was the easy seamlessness with which they moved in and out of different melodies and funky heads.

Daniel Ferrugia on drums was driving things forward with style, but most impressive was the sparse kit he used in doing this. Bass drum, snare, high-hat and one cymbal were apparently more than enough for him, and perhaps more impressive was the fact he wore a suit the whole time in the overheated atmosphere of this cocktail-bar-turned-music-venue. You can always tell drummers of real quality when they amaze you with minimal equipment; this was none more evident than during the one of the closing tunes when he unleashed a viciously funky solo opening for at least five minutes.

The most exceptional part of the evening came during the final song. Trombone player Shannon Barnett, who had previously not taken the soloing spotlight at all, embarked on an unparalelled improvisational journey down the roads of funk. I don't even know how long it went on for, but she brought out more and more catchy lines with every minute, including a sustained passage without the rest of the band and only the audience clapping in rhythm for her to work with. Definitely one of the most inspired individual performances I have seen for a long time and it was pleasing to see that most onlookers were also appreciating it.

The Bamboos have played the Jazz Cafe in London and I would definitely like to see them at a medium-sized venue like that next time they come to Bristol. The infectious grooves and unbelievably well-synchronised horn arrangements get everybody moving in a way very few other bands can manage, so let's hope they come back here soon!

Check out www.myspace.com/thebamboos for songs and information.

Sat 19 May – Billy Cobham, ASERE

Groundbreaking drummer Billy Cobham needs no introduction to listeners of jazz, funk and jazz/rock-fusion. During a career spanning nearly half a century, he's played with jazz luminaries from Miles Davis and Horace Silver to rock-crossover king John McLaughlin and his Mahavishnu Orchestra.

His current project with Cuban soul band ASERE, which has been touring up and down the UK in recent weeks, hit Bristol's Colston Hall on May 19. Cobham, who was born in Panama but moved to America at a very young age, is attempting to rediscover his Latin roots by working with Asere, who are regarded as one of the most innovative groups in their home country.

The live show was notable for Cobham's dazzling virtuosity on a drum kit which couldn't have been more different from the set-up I saw The Bamboos successfully employ on Thursday night. It was pretty much a double kit, with two bass drums and endless toms, which Cobham used to tremendous effect. As well as passages of driving funk riffs often present on his albums recorded as leader, he brought in all the subtleness and dexterity used while playing bebop with Silver and added shades of Latin to match what the percussionists of Asere were producing. At the start of the second set he came out alone to give us a long solo, during part of which he played with two drumsticks per hand as well as a shaker in each - definitely haven't seen anything like that before.

It was obvious that Cobham, dressed in a billowy red shirt and matching headband that made him look a bit like a ninja, was very much the main feature. The Cubans, however, did not disappoint. Two guitarists, one of which displayed flashes of virtuosic flamenco technique, a trumpeter, a conga player and a couple of singers, all of whom doubled up on backing vocals and hand percussion from time to time, by and large did themselves justice despite being outshone by the mercurial talents of Cobham.

A couple of traditional songs, for which Cobham left the kit and picked up the bongos, were reminiscent of the classic sound of the Buena Vista Social Club. The Spanish-language rendition of Marvin Gaye's Inner City Blues was also nicely done. My favourite moments, however, were the percussive interactions between Cobham on drums and congaman Vicente, who have clearly developed a near-telepathic understanding during the tour. They seemed to be trading ideas and bouncing off each other during every song and especially in the period straight after Cobham's second-set opening solo when the bass and congas came in.

So on the whole, definitely a memorable night. The front few rows of stalls seating in the hall had been removed to open up a dancefloor and there were a lot of people taking up that opportunity. Credit to the Colston Hall again for getting in the world's top talent - it's awesome for Bristol to have a venue like this.

Have a listen at www.myspace.com/billycobhamandasere.