Category: Musing on Music

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Fretless struggle…

As usual, most of the new album will probably end up being improv stuff – things that just happen, are lovely, and I’ll then go back and learn them for playing live. However, I have got a couple of things written, as well as the cover tunes, and they bring with them certain er ‘problems’. The big one at the moment is recording the song for Eric – it’s a chord melody piece on a fretless bass, in AbMajor (so I can’t fall back on my usual collection of open strings and natural harmonics to bail me out when it gets tough) – and I’m really struggling with the intonation and phrasing on it. I’m sure I’ll get there eventually, and it’ll certainly be worth the struggle, as it is, in my ever so biased and rose-tinted opinion, one of the best things I’ve ever written. It was certainly the favourite with the audience at Edinburgh last year, and will be the centre-piece to the record (I’m thinking of possibly recording a sister piece to go with it, a big ambient tune dedicated to Eric too – with the recording of Deep Deep Down as well, if that makes it to the record, it’ll be a nice big tribute to a very wonderful and much missed friend).

I’m having the same problem with Deep Deep Down – I’m going to try a version of that now on the fretted bass and see how it comes out. It sounds great on fretless, but it’s just SO hard! I’m not cut out for this actually-having-to-work-at-it way of making an album. They’re usually a breeze, aren’t they? (time to go back and read blog posts from June 2004 to check)

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To Cover or Not To Cover, that is a question…

…it’s clearly not THE question. I mean, if you spent your life pondering whether or not to do cover versions of other people’s songs, you’re missing out on some pretty important pondering in other areas.

But right now, it’s a question, and it’s foremost in my mind cos I’m recording a new album. Finally. So, do I put the various covers that I’ve played live on it? The three that are up for consideration are People Get Ready, What A Wonderful World, and Deep Deep Down – the last one is an Eric Roche tune, that Eric and I had planned to do together and he’s apparently wanted me to play on on his last album. That never happened, but it’s an amazing bit of music, so I’ve got a solo version of it that I do.

So, do they go on the record? they’re pretty different from what I normally do, not least of all because Wonderful World and Deep Deep Down are just chord melody pieces, no loopage at all. And People Get Ready only has the loop bit for the solo in the middle. With those three, and my tune for Eric (still as yet untitled), that’d be four chord melody pieces on the album. A nice change, I think, but how well will they sit with the usual stevie floaty-ness? I guess the obvious answer is to record them and then see what happens when it comes to sequencing the album – do they fit or don’t they?

right, back to recording…

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Imogen Heap gig

This is one I’ve been looking forward to for quite a while. I first saw Imogen Heap play at the Kashmir Klub about 6 years ago, at a ModernWood Management showcase gig, along with Nik Kershaw (who also had Leo Abrahams on guitar, to be featured at the next Recycle Collective gig) and the Dum Dums. I then bought her debut album in the US for some tiny amount of money, and it very quickly became one of the favourite CDs in this house. It’s great.

Last night she was playing Shepherd’s Bush Empire – a pretty huge venue for someone who this time last year was just finishing up recording a self-produced CD. However, between then and now, the track Hide And Seek from that CD, ended up being featured at some critical moment on The OC (I’ve never watched The O.C. – I’ve been to Orange County, and if the TV show is accurate, I can’t imagine in being very interesting, and if it isn’t, I’d just get annoyed with it). It was a huge radio hit all over the place, Radio 1 played it a lot here, and Imogen was right there in the spotlight where she belongs. The album’s lovely, BTW.

So, anyway, the gig – Shepherd’s Bush Empire – a v. large and pretty prestigious gig, though not the friendliest for the musicians or the audience. I’ve ranted here before about venues owned by Carling, and SBE is one of them with the corresponding focus on beer, leading to people talking. At times it was impossible to hear what Imogen was saying between songs, and during the two supports there was a bit of chatter coming from the main floor.

Ah yes, the support – first support was Zoe Keating – someone I’ve had a fair bit of email contact with as she’s a looping cellist, and was, I think the third owner in the world of a Looperlative, after me and Rick Walker. Her solo set was lovely, featuring unprocessed looped Cello (and the best live amplified Cello sound I’ve ever heard – apparently it’s an AKG contact mic, will get the details for any geeks wanting to know). Very lovely stuff.

Second support I didn’t get to hear much of… We arrived just before 8 so we could see Zoe play, and thanks to the craziness of guest-list goings-on, I had a ticket, but TSP’s hadn’t arrived yet ( we were meant to be going with TAFKASB, but she had to go to some punk gig instead…) so I went in to see Zoe’s set (not fair on TSP at all, but as my ticket was on Zoe’s guestlist, it would have been pretty dreadful to miss her solo set), then came out again to find TSP and sort out tickets. Which was all during second support.

Sadly, while my first ticket was seated upstairs, second tickets were standing downstairs only. We’re too old for that, but we did anyway, found a place by the stairs where TSP could see the stage and settled in for an evening of chronic backache.

Imogen came on and did her first number just solo, looping her voice with a Repeater (she so needs a looperlative!) – it was one of the most musical, clever, groovy and entertaining loop performances I’ve ever seen. It’s interesting that often the best loop-based performers are those that don’t make a big deal out of it, but that’s by the by. The rest of the night was a gorgeous mix of solo loopy stuff, solo piano stuff and was the first time she’d showcased the full band, with Zoe being marvellous on cello, plus drums, tuned percussion and a second keyboard player (the second support bloke), augmented by a few things on laptop.

Imogen’s stage presence was somewhat akin to an amiable old-school TV chef, like a glammed up Fanny Craddock cooking up the perfect gig; ‘now we’re going to add some Cello – would that be lovely?’ – sadly the constant chatter of audience members lubed up on nasty overpriced lager from the venue owners meant that a lot of the between song asides were lost, but the whole vibe of just chatting to the audience instead of trying to whoop them into some frenzy was right up my street.

All in all, musically and performance-wise one of the finest gigs I’ve seen in a long time, some of the most sophisticated looping and a whole slew of stunning songs (including one of the duets she did with Urban Species years ago, just her, the rapper from the band and piano – lovely stuff!). I just can’t wait to see her play the Barbican or Festival Hall, or the Albert Hall – somewhere with seats and an audience encourages to STFU during the whole gig.

The After-show party was a bit of a long wait – I really wanted to meet Zoe, so we stuck around for about 45 minutes til she showed up. Well worth the wait, as it’s always lovely to meet online-chums face to face. Also got to say hi to Imogen, who I’ve met on a few occasions before, but she couldn’t remember where. :o)

If she plays near you, DON’T MISS IT.

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CD recommendations from yesterday…

For any students from Salford reading this, here’s a list of all the CDs I mentioned at various times and for various reasons throughout the masterclass yesterday –

Voodoo – D’Angelo (made me rethink my whole understanding of rhythm)
It Takes A Nation Of Millions To Hold Us Back – Public Enemy (ditto, also amazing for the cavalier way they treat ideas of dissonance and tonality)
Spirit Of Eden – Talk Talk (the one mastered by the bloke who mastered my last record, a glorious album)
Michael Manring – Soliloquy (not only the finest solo bass album ever made, one of my most amazing solo statements by any instrumentalist ever)
John Lester – Big Dreams And The Bottom Line (the solo bass/singer-songwriter who was on at Bass Day that I’ve toured with, who’s fantastic)
KT Tunstall – Eye To The Telescope (I shouldn’t really need to list this, but she’s the anti-Blunt – great in exactly the same ways that James Blunt is shit.)
And of course all my my stuff, available via my webshop where you can also get the Michael Manring and John Lester CDs.

Can’t think of any others that I mentioned for now, but if you want a more exensive listening list, just request it, along with the areas you’re interested in, in the comments section. :o)

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What goes around…

Back in ’91 when I left school, I applied for three universities – Middlesex and Leicester to do performing arts and Salford to do Popular Music and Recording. Middlesex and Leicester didn’t even invite me for interview, but Salford did, and I went down to Manchester to check it out. I drove down with my schoolfriend Martin, as Ocean Colour Scene were playing in Manchester that night, so we went down, spent the day mooching around record shops and comic shops in Manchester, I did the audition, we went to see OCS, slept in the car and went back to Berwick.

The audition went terribly – not because I played worse that usual, just because I was rubbish, and didn’t really deserve to even get an audition. Still, the guys conducting it managed to stifle a laugh. The upside was that OCS were outstanding. Those of you who didn’t hear their first two singles will find that impossible to believe, given that they peaked there and by the time their first album came out they were already past their best. But they were fantastic.

What’s this got to do with today? Well, today I was back at Salford, giving a masterclass for their students! haha! fantastic! It was a hell of a lot of driving (410 miles round trip), but a lot of fun to do – the students asked a lot of good questions, and seemed to enjoy it (if you were there, feel free to post a comment here!) – It’s great getting paid to talk about music for a couple of hours, and hopefully give the students some food for thought on what it takes to become a professional musician. Those kind of sessions can go either way, and get deep into the mechanics of playing, or be all about the stuff of living as a musician. This was more the latter, with a few questions about Ebows and looping thrown in. All in all, a fine way to spend the day!

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Martha Graham quote

“There is a vitality, a life force, a quickening
that is translated through you into action,
and because there is only one of you in all time,
this expression is unique.
If you block it,
it will never exist through any other medium
and be lost.
The world will not have it.
It is not your business to determine how good it is;
nor how valuable it is;
nor how it compares with other expressions.
It is your business to keep it yours, clearly and directly,
to keep the channel open.

You do not even have to believe in yourself or your work.
You have to keep open and aware directly
to the urges that motivate you.

Keep the channel open.
No artist is pleased.
There is no satisfaction whatever at any time.
There is only a queer, divine dissatisfaction;
a blessed unrest that keeps us marching
and makes us more alive than the others.”

this is by Martha Graham – not someone I knew anything about, but clearly a wise lady. Apparently she’s the founder of contemporary dance, and rather important. must do some research.

anyway, it’s a fantastic quote.

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Margrave Of The Marshes

I finished the John Peel autobiography, ‘Margrave Of The Marshes’ last night. I say ‘auto..’, he actually wrote just under half of the book, his wife Sheila finishing the rest of it. The changeover between the two, the sudden nature of his part stopping and her picking up the story, is one of the saddest moments in any book I’ve ever read. It’s odd to think of a 65 year old man as having so much unfulfilled potential, especially one who was already arguably the most important figure in the development of pop music in the UK. I’d argue that anyway.

His life story is candid, heartwarming, beautifully written as you expect from the presenter of Home Truths, full of his love for music, his family, tales of his frankly insane youth and young adulthood. I’m not sure I’d have liked him if I’d met him in the late 60s, though even then, the excerpts from his diary that Sheila quotes reveal a man I have an enourmous amount of empathy and respect for, despite his opportunist deceptions involving the Beatles and deflowering numerous american highschoolers…

His marriage to Sheila is an inspiration, his love for his family equally so. His impact on me as a musician and music fan has been written about here before, but it bears repeating – growing up in Berwick on Tweed, pre-internet, music information was pretty hard to come by. There was the mag trinity of NME/Sounds/Melody Maker which, whilst nowhere near the cheap nasty nonsense they are now, were still pretty trend-driven, even if those trends were a little more underground that they are today. No, the only real source of information about music-without-boundaries was Peel, and I devoured his show voraciously, recording it onto Tandy cassettes, making compilations of Pixies sessions before they were released, and collections of tunes by The Wedding Present, Bongwater, Napalm Death, The Stupids, Rob Jackson (not THAT Rob Jackson, sadly), Billy Bragg, The Bhundu Boys, Extreme Noise Terror and hours of obscure Soukous and strange German techno squawks.

The overall effect was that of removing all possible labelling from the process of making music. This allowed me to be simultaneously a fan of BoltThrower, Weather Report, The Cure, Wet Wet Wet, George Benson, John Zorn, The Alarm, Yes, The Housemartins and just about anything else that came along. I was often being accused of having ‘no taste’ – not bad taste, just no discernment about what to listen to at all. Truth was I did, I went through obsessive phases (just as Peel did), and kept the best of it as I moved on. In 1986 I voted the Mission and The Smiths the worst bands in the Smash Hits readers poll. By the 1990, I had every album the Smiths had ever released, along with having cultivated a near-obsession with The Cure and The Pixies that lasts to today. Only this week I’ve been introducing various students of mine to the majestic delights of Kim Deal’s bass playing via ‘Debaser’ and ‘Hey’.

The more poignant, funny, engaging and revealing the book became, the greater the pain at John’s loss. The greater the sense of anguish for the family at having lost him – as much as I miss his broadcasting, and regret never having met him, it quite obviously is nothing compared to the excuciating pain of losing a parent/husband/brother/friend.

The tributes when he died were effusive, though not a surprise. I was one of millions of teens from the laste 60s onwards who saw the world of music though Peel-tinted specs, who dispensed with the style fascism of most teen music-factions and took on the mantle of music-lover. I think it’s safe to say that without that exposure, I wouldn’t be doing what I’m doing today. My relationship with music would have been very very different indeed, and that desire to explore as a listener would never have spilled over into that desire to explore as a player that lead to me playing solo.

So go, read the book, remember John, tell your kids about him, make them read the book, and buy them a copy of the new Billy Bragg boxed set, the Hardcore Holocaust’ Peel sessions compilation, The Shed Sessions by The Bhundu Boys and any other weird nonsense you find in the hope that they’ll grow up to view labels like ’emo’ and ‘goth’ and ‘pop fan’ to be as erroneous as they really are.

John, you are missed.

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RC IV – another great gig

Another stunning Recycle Collective gig last night – me, BJ Cole and Thomas Leeb, with special RC-stylee special guest, Rowland Sutherland.

As usual, I kicked things off with a solo set – the first improv piece was one of those ‘doh!’ moments where I forgot to switch on the minidisc, and it was gorgeous. Really happy with it, will have to try and remember what I did. Followed by a variation on the bubbly drum ‘n’ bass theme that I’ve been working on of late, then did Eric’s tune, after which Rowland joined me for a duo improv thingie. He’s amazing, you really have to hear him. He’ll be back. I finished up with ‘Despite My Worst Intentions’, which I completely forgot the title of, and thought it might have been ‘there but for the grace of God’. duh. Anyway, a nice set, which went down well.

Next up was BJ – I love BJ’s playing, and his approach to harmony. His opening piece was a variation on one of the ‘Transparent Music’ tunes, and sounded beautiful. His second track suffered from all kind of Echoplex gremlins – at least it’s not just me who has EDP nightmares! – but still went through some really interesting twists and turns. He was then joined by Rowland for a lovely duet, and finally by me for another duet. Much fun.

Thomas’ set was spectacular. The thing I think I love most about the RC gigs is presenting musicians to people who they might not have heard before. Tonight there were quite a lot of people there to see Thomas, so for them the joy was that of fulfulling the anticipation. For the others, it was amazement at what was possible with an acoustic guitar. His between song banter was funny, the performance was great, and the setting ideal.

We finished up with a quartet improv, with me looping and processing Thomas as well as myself, to great effect.

This really is the most fun gig for me – great musicians, lovely ever expanding audiences (in number, but for those who partake of the delicious food at Darbucka, in girth as well, no doubt), in a stunning, supportive venue. Don’t miss the next one on April 19th – I’ll announce who it’s with ASAP.

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Theatrical debut

Had a v. fun gig last night.

If you remember back as far as last year’s Edinburgh Festival, you may remember that on before me in the venue I was in was a fab theatre company called Subverse – a lovely collection of leftie eco-monkey anti-war political actors and playwrights doing a collection of short sketches that were alternately moving, hilarious and downright confusing.

Three of the pieces they performed – the three that most strongly resonated with me at the time – were three monologues in verse by a writer called Adrian Page, and it was these that I was called in to soundtrack last night.

The gig was at Theatre 503, at the Latchmere pub in Battersea, and our bit was the second half of the show. I missed the first half due to a lovely trip to eastborne for my nan’s 87th birthday party.

The three pieces each had a very distinct flavour – the first, ‘Peace Police’ we did as a beatnik/tom waits kind of vibe, with the genius that is Andy Williamson on sax, the second was ‘There Is No Left Left’ – dark despondent piece that I took in a twisted abstract direction, manipulating and processing Lara’s voice to further the sense of dislocation. And the last of the three, ‘the Clever People’, was a bubbling drum ‘n’ bass track, which the performer, Penny, hadn’t rehearsed but performed to a T – I started up building a basic track of percussive stuff, bassline and chords, then played over it and used the pause, restart, double speed/half speed and reverse functions to try and follow the contour of the text.

All in all a huge success – I interspersed the monologues with solo tunes, and finished up with a version of my Erich Roche-tribute tune, which I again got Andy Williamson to come and play on, which he did beautifully.

I’ll hopefully be back there before long, and will get the SubVersives along to do the three monologues at Recycle Collective soon as well…

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3 gig reviews (not mine!)

That’s not my gigs, not not my reviews. Of course these are my reviews.

For some reason I completely forgot to blog about the two gigs I went to last thursday – Buddy Miller at Bush Hall followed by Ursula Rucker at The Jazz Cafe.

Buddy’s gig was put on by the lovely people at Greenbelt, so they were hosting a bit of a reception upstairs (if you ever want to do a gig with VIP stuff going on, Bush Hall is ideal – really nice little bar upstairs…) – so that was nice, to catch up with lots of GB-related friends, and Hoda from Fender who I’d not really had the chance to chat to for a long time. All good.

Opening the show was the marvellous Brian Houston – who just gets better every time I see him play. Don’t miss him if he plays near you.

After that was some other bloke who didn’t really do it for me, then Buddy. Part of the interest in the gig for me was that the rhythm section for the gig were Paul and Phil Wilkinson from The Amazing Pilots (I say ‘from’… they ARE the amazing pilots…) who are without doubt one of the finest roots rock rhythm sections in the UK. I’ve seen them before playing both as their own gig (where Paul plays guitar not bass) and backing up Iain Archer, and they are just fantastic. As a trio with Buddy, they were amazing (though there was no evidence of them being actual pilots). Alternately rocking out and acoustic balladeering, the evening was just magic.

Sadly I had to bail out about four tracks from the end of their set to get over to see Ursula Rucker. A gig that I really didn’t know much about other than a) Andy Hamill was on bass and had put me on the guest list and b) it involved, in some way, looping and poetry. Sounded promising. Lived up to the promise – Ursula is kind of a female Michael Franti – political poet, to eloquent and erudite to just be simply a ‘rapper’, she’s a soul singer/poet/thinker/activist, and puts on a slamming show. Her core band was Tim Motzer, looping and processing an acoustic guitar, and a drummer (whose name I can’t find just now), and they were augmented for a couple of tunes by Andy on bass and Julian on violin. All in all, a crackin’ gig.

And then, leaping forward to last night, Gary Husband was playing at St Cyprians. Well, was meant to be playing at St Cyprians, but there’s no heating in there, and the piano wasn’t tuned, so it was moved over the road to a school, a Yamaha C3 was hired in, and all was well.

Gary, for those who don’t know about such jazz-related things, is in the rather unique position of being pretty much at the top of his game worldwide as both a drummer AND a piano player. Last night was a solo piano gig (augmented at times by some extra layers of piano and percussion on multitrack), and was mind-blowing. It’s SO rare to hear that level of instrumental virtuosity without it either being smug, sterile or both. This was neither. Which was all the more remarkable given that the two sets were inspired by, and consisted of pieces written by or based on – Alan Holdsworth and John McLaughlin, both of whom are often seen as being monster technicians over and above their contribution to the world of jazz composition.

The playing, the arrangements, the performance and the banter were all top class, leaving no-one there in any doubt at all as to Gary’s standing in the world of piano players. I can’t think of many players who could have done anything even close to what he achieved. A hugely inspiring gig.

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