Improv inspiration

Last night’s gig made for a fantastic companion piece to the night before… it’s a shame nobody else was able to be at both!

The gig was an improv performance, featuring music, dance and video projections. The musicians were me, Rowland Sutherland on flute, Roger Goula on guitar and loopage, and the organiser, singer Filomena Campus.

The evening started with me playing a low droning loop as people were coming in the door, which served to punctuate the beginning of the gig really well, as it stopped just as the first bit of poetry was read (a TS Eliot poem), from which I surreptitiously sampled the line ‘Before the beginning and after the end. All all is always now’ – which I then used to feed into the rest of my opening solo piece. So end of poem, into a 5 or so minute improv of me, and I was then joined by a dancer, Sofie Arstall, who was responding to what I was doing, and to the projections that were happening on the wall behind me (I’m told they were amazing).

Filomena joined us, and her voice was fed into the sample collage of my stuff and the TS Eliot line. All in all, a fab lil’ improv.

following that Roger and Rowland played a duet – both are great players. in these kind of situations Roger and I think quite similarly, in that we juxtapose weird noises with tonal elements – he created a mad loop of heavily processed and mangled guitar scrapes and squeaks, and then added a lovely jazzy chordal thing over the top, while Rowland played some of the most amazing flute work I’ve ever heard, using a whole load of extended techniques I’d not really come across before. Lovely stuffs.

Roger and I were then both employed to loop a load of noise from the audience as part of the next guided improv, which errupted into a (staged) argument amongst a load of audience members (this again was looped and processed), which blended into another improv piece…

I love gigs like this – I always come away with new ideas for places to go, musically. It’s also really unusual to do gigs where I don’t get to connect with the audience by chatting with them as well. It’s got to the point where the chat is as much a part of allowing the audience to know what I’m about as the playing is, so going back to just playing is another interesting challenge, and a good one.

Hopefully we’ll get to do all of this again soon – Roger is going to be at the Recycle Collective in March, and I’m sure Filomena will be involved very soon too – maybe I’ll do a trio gig with her and Rowland at some point…

SoundtrackBill Frisell, ‘East/West’.

too much bass?

Is there such a thing as too much bass? Let’s explore…

Sunday started at 6am – get up, load the car, get on the road. If you’re thinking of driving to Manchester, I highly recommend 6am on a Sunday as a time to go – v. easy drive, no traffic, bit frosty and a frozen window washer, but a breeze.

Trip and I arrived at the Life Cafe, unloaded our gear into the venue which was already full of lovely bassists and big PA stuffs. Park car, come back, chill out.

The running order was marvellous – started with John Lester (saving the best ’til first?), who won over the entire crowd within about 5 minutes, as he always does. Marvellous start to the day.
the breakdown – Bass solos? Yes, lots. slapping and tapping? yes but minimal and tasteful. Great tunes? oh yes. vocals/other instruments? All vocal tunes.

next up, Trip Wamsley – Trip and I have been playing together for the last week, so I caught the beginning of his set then headed off to have a shave and a wash so as not to go on stage looking like a slightly camp homeless dude. But anyway, Trip did his thing, sang a couple of things, played some lovely fretless.
the breakdown – Bass solos? Yes, all bass solos! slapping and tapping? mucho both. Great tunes? again, in abundance. vocals/other instruments? All solo bass, but a couple of vocal tunes.

and after Trip, Jon Reshard – Jon’s a phenomenally gifted player for his slender age – at just 20, he’s already playing beautifully and writing some fabulous compositions. There’s more than a small amount of Victor Wooten in his playing, but each time I hear him play he’s adding more of his own sound to the mix, and is on his way to being a truly outstanding musician.
the breakdown – Bass solos? all bass solo! slapping and tapping? yes, and just about every other imaginable technique. great tunes? some v. cool tunes, and some other more groove-oriented rhythm experiments. vocals/other instruments? no, except a little bit of audience sing along which worked beautifully.

Then me – my set was the usual affair, set list was Grace And Gratitude, Kindness Of Strangers, MMFSOG, Despite My Worst Intentions, Shizzle, then a bit of a Q&A before finishing with People Get Ready. Response seemed to be great (CD and t-shirt sales were amazing, so clearly lots of people were digging it), audience very attentive and supportive. All in all v. happy with my set.

After me was Stevie Williams – fantastic Manchester local, highly respected jazzer and occasional solo bassist, this time Stevie was playing with a quintet, playing some exceedingly funky stuff – the perfect balance to all the solo bass stuff that had opened the show. At this point I realised that I’d been treating the day more like a proper gig than any bass-day i’d been to before – lots of great music, an audience that really seemed to be listening, it all added up to being a fine day thus far…
the breakdown – Bass solos? a few, but shorter and tasteful. slapping and tapping? Some slap, I think, but didn’t see any tapping at all. Mainly solid fingerstyle grooving. great tunes? yup, lots. vocals/other instruments? yup, full band, drums/keys/guitar/trumpet/bass.

Who was next? Er, ah, yes, Jan-Olof Strandberg, a Finnish bassist that I’ve known for quite a few years. Lovely guy, and fantastic bassist. Started out with some solo stuff on acoustic bass guitar which was beautifully played, but sounded a bit harsh through the PA to really do it justice. Having heard Jan play solo ABG before, I know how good he can sound, so it was a shame that it wasn’t quite what it could have been, but still very good, and very well received. He then assembled a scratch band, his band not having been able to get there, including Dave Marks on guitar. Dave’s usually a bassist, but is clearly also a very fine guitarist. The bastard.
the breakdown – Bass solos? lots, but some grooving as well. slapping and tapping? plenty. great tunes? some cool tunes, some more meandering technical things. vocals/other instruments? quartet stuff was very good.

Then British-born-of-Polish-descent-New-York-residen Janek Gwizdala was on. Another player stricken by fallen band members, Janek’s guitar player is currently in hospital in London with unknown scary ailments. So Janek and his drummer improvised a set, starting out playing to a drum ‘n’ bass thing Janek had programmed in Ableton Live, which sounded great, lots of v. creative bassing and drumming. They played a few more improv things, Janek looping on a DL4, and shredding over the top in a jazz stylee. I’d have really liked to heard the trio, having heard the CD, but the duet set was still good, especially for an impromptu thang (even most improv gigs are planned as improv gigs, so this was double-improv!), Janek’s another player who is developing his own thing away from a strong Matthew Garrison influence. He’s already great, and could well end up world-beating…

The last two acts of the day switched order due to travel problems. So second last on was Lorenzo Feliciati, a good friend and very fine bassist from Italy. He had his band with him, and they played incredibly tight, funky and beautifully arranged fusion. Great compositions, fantastic playing, great sounds. By this time my ears were beginning to fatigue from bass overload, but Lorenzo was just marvellous. Great stuff.

And last up, Linley Marthe – bassist with the Zawinul Syndicate, fantastic player, some killer ideas, and an amazing array of sounds from a really simple set-up (about four stomp boxes and a wah pedal). His improvised set was a bit meandering in places, but contained enough moments of brilliance to keep me interested. Just the range of sounds he was squeezing from the bass was amazing enough, and add to that some great musical ideas, and I was with him most of the way (though he did slip into ‘Tears In Heaven’ which seems to have become something of a solo bass staple… I dunno, I’m not sure about performing songs that someone else wrote about their child dying… but maybe that’s just me.)

Anyway, that was the music – except Linley, I’d met all these guys before, and it was great to catch up with so many old friends, to make some news ones, meet people from my street team that I’d emailed a lot and who’d been so supportive for years without us ever having met, and just to get a chance to chat with lots of people who were into what I was doing. We like that a lot.

A great day all round, the best lineup I’ve heard at a bass day, a very cool venue, well organised, great audience. What’s not to love?

And now I’m knackered, having done nearly 500 miles in two days, had v. little sleep the last two nights, and needing some rest. g’night.

SoundtrackCathy Burton, ‘Speed Your Love’ (I love this album more every time I listen to it).

And so the onslaught begins…

When I first announced that I was starting a monthly gig night with the Recycle Collective, the mighty Stig warned me that I should expect a hail of demos and requests to play at the gig.

‘no’ says I, ‘it’s not that kind of gig, people will realise and I’m not putting an address on the website for people to submit demos’.

But Stig was right. Today I got two emails from people wanting to play. I don’t mind getting them, but it’s an ominous precedent, in that I really don’t have time to start trawling through MP3s or listening to CDs to find stuff. And as I said to Stig, it’s not that kind of gig.

So, if you’re reading this thinking about sending something in, here’s the scoop –

– The musical spectrum of the gig is more about an approach than a style – the looping/improvised/chiilled nature of it lends itself to unusual solo performers, loopists and interesting improvisors. If you’re a straight down the line singer/songwriter or a jazz quartet, there are other places where what you do are going to work much better.

– if I already know you, especially if we’ve played together, great, ask away, we’ll see if we can sort something out. the likelihood is that I’ll ask you anyway when I get the chance.

– if you decide to email me anyway, please send a link to an MP3, and tell me exactly what you do on stage, what you play and how the set-up works. If I don’t know you, or know of you, already, the chances of me booking you for one of the two main sets on each gig is pretty minimal, and therefor it would just be a 10-15 minute guest-slot in the middle of the gig, with no sound- check etc. I wasn’t planning on adding anything like that at all, but having Jeff Taylor come and do his thing on Wednesday was so sublimely wonderful that it’s made me want to use the gig to showcase people that I think are amazing. If I just quite like what you do, I won’t book it. Nothing personal, it’s just that I already know enough people who are really good, and even then I’m only going to book the ones that are amazing. This isn’t an ‘open mic’ slot at all. This is about me trying to use the evening to showcase huge talent (like Trip/Jeff etc.)

If you’re just looking for a singer/songwriter gig, your best bet in London is The Bedford .- Tony Moore who runs it is a tireless campaigner for great acoustic music and songwriting in London, and runs nights that are purely devoted to multiple act lineups.

Please don’t take it as a slight on what you do – I’ve got a pretty precise vision for the evening (if it continues beyond March at all – a lot depends on how many people turn up in Jan/Feb!), and I’ve said it before but it bears repeating that I’VE NO DESIRE TO BECOME A PROMOTER – I book my own gigs, I put on gigs that give me the chance to play interesting music with interesting people to interesting audiences, and if in doing that I can provide a space for massively talented people to do their thing too, that’s magic.

I guess the best thing you could possibly do is come along to one of the nights, and say hi. If you bring a load of friends with you, I’ll certainly be feeling very positively disposed towards you! 🙂

SoundtrackChris Tarry, ‘Project 33’ (V. talented Canadian bassist living in NYC)

Last night's gig

Last night was the first of the Recycle Collective gigs. Usual Darbucka affair WRT to getting there, setting up, dealing with people who are ‘just there to eat’ etc. But all fine.

Music was great – Trip played a fabulous set, as always, and went down supremely well. The sound was great (well, except an earth hum off his bass whenever he wasn’t touching the strings, which was less than ideal…) and his between song banter was funny and engaging too. Good stuff.

After him, our first surprise guest of the series – JazzShark had sent me a link a week or so ago to a guy she’d seen live, called Jeff Taylor – the MP3s on his MySpace page were amazing. a few days later another message arrives from La Shark that Jeff is coming to London. So we exchange emails, meet up for lunch on Monday, and he says he’s coming to the gig, so I suggest he brings his guitar.

He did, and so I got him to play three songs, which were fantastic. A great performer/vocalist/guitarist/songwriter. The whole thing. He really ought to be huge. I’m sure he will be, and the select audience from Darbucka will be able to see that they saw him first.

Then onto Theo and I – we played a mixture of the tunes from Open Spaces and some improvised stuff, including a marvellous improv thing with Jeff on beatbox/vox/weird noises. the sad part of all this (sorry, guys) is that once again, the minidisc has let me down and is blank. It might be that it was still blank from the last time I tried to record a gig, and I’d not formatted the disc. either way, I’ve once again missed out on documenting some marvellous music. Bollocks. It’s getting to be something of a frustration with me – I’ve not been able to record a live gig for lord knows how long, and would really like a document of how I’m playing these tunes now (and I really ought to have had a copy of the Edinburgh show!) I need to come up with a fool proof way of doing it. If I had a roadie I’d get a rack-mountable minidisc deck wired into the rack so I could just put a disc in and go, but I just haven’t got the car space or the muscles to carry it.

So all in all, a great night’s music. The only disappointment was the size of the crowd, which was surprisingly small. I guess there are a few factors, like the Jazz Festival being on, and it not being that long since my last Darbucka gig, but it’s been well publicised… It seems like Theo and I generally struggle to pull a good crowd in London, which is frustrating, as it’s probably the most rewarding musical collaboration I’ve ever been involved in. He does fine if he’s playing with his quartet, and I do fine if I’m playing solo, but together it doesn’t seem to get the peoples in.

The next Recycle gig definitely needs to be bigger. I know these things are meant to grow, but still…

Anyway, it was a fab night, those that were there seemed to love it, Trip got to play London and went down a storm, and we all got to hear Jeff Taylor in a setting that we’ll remember for a long time.

Today, Trip and I are down at the ACM in Guildford for another clinic/masterclass thingie, which will be a lot of fun – it’s a great school, and is always good to go and play for the students there. Hopefully we’ll leave them with something quality to take away.

SoundtrackBill Frisell, ‘East/West’ (new double live album from my favourite guitar player – great stuff, a return to form)

Gig week is underway

This morning was the first of a few gigs ‘n’ stuff this week. Trip Wamsley arrived yesterday afternoon, and last night we headed into town to flyer outside Bill Frisell’s gig, which finished earlier than expected, so we went round to spitz to flyer outside another gig, which was more successful, and also bumped into the lovely Sebastian Merrick, promoter extraordinaire (booked me for my first ever solo gig at the Troubadour!), who in turn introduced me to two people I’ve been a fan of for a while and have wanted to say hello to – John Walters, jazz writer for the Guardian and Unknown Public amongst others, and Fiona Talkington, one of the presenters of the world’s finest music radio show, Late Junction. So that was a good night!

Then, this morning, Trip and I were giving a clinic/masterclass thingie at the Access To Music ‘British Academy Of New Music’ in East London, which went really well – a class of mixed musicians, we talked a lot about the thinking behind taking your instrument outside of its formal context, and Trip pulled apart the technical side of one of his tunes. Most entertaining it was too. Looks like I’ll be back at the college before long…

And then onto tonight’s gig. I’m really looking forward to this – playing with Theo is always a treat, watching Trip is always a treat. No idea how many people will be there, but it’s listed in Time Out, and there are flyers and posters up all over the place so there could be a few people come down!

Time to get ready to leave… see you there!

nice news

this morning I got an email from not-at-all-evil Dan, saying that ‘For the Love Of Open Spaces’, my duet CD with Theo Travis, is included in the new edition of the Penguin Guide To Jazz On CD.

Surely not? Aha, Amazon has a searchable book feature, so I head over there. Do a text search on me, and sure enough there’s an entry for it. Can I read it? Er no, for some reason Amazon tells me I’m not allowed to. So It’s over to The Cheat and his wikkid skillz to get a copy.

He then furnishes me with a JPG of said review, which reads thusly –

***(*) For The Love Of Open Spaces
Pillow Mountain PMR 0014 Travis; Steve Lawson (b). 7/03.

Lusciously beautiful without descending into New Age clap-trap, the music here walks an awkward line with great confidence. Both musicians make extensive use of loop technology (although, as they proudly say, no synths or midi-triggered sounds), and the result is a series of mood poems crafted with skill and a capacious melodic bent. Lawson gets a bit rocky here and there and maybe a couple of the pieces stat around a little too long, but in what is often a threadbare genre they’ve done very well.

How nice is that? ‘Luciously Beautiful’ is a fab quote for posters etc. and 3 1/2 stars is v. good for the Guide (they are, quite rightly, very precious about 4 and 5 star reviews).

And it times very nicely with the recycle collective gig that we’ve got coming up on Nov 16th – all the more reason for you to book that baby-sitter now and come along to the gig!

A Saturday doing not much

I so rarely get a saturday off! I’m really relishing this one – it’s nearly 3pm and I’m still not dressed, just sat here faffing about online in my dressing gown. Actually, does uploading gig dates to MySpace.com count as work? If it does, i’ve been working, but it certainly doesn’t feel like work compared to my usual 5/6/7 hours of teaching.

The reason for the day off was that there was a possibility that I was going to be flying out to Verona to play at a bass-day gig there, but it didn’t come off, so I’m here and happy and mellow and enjoying the rest.

Especially as yesterday was a bit of a frantic day flyering (echoes of Edinburgh in that sentence). Headed into town late morning to meet Dweez from the forum for lunch and to give him a big pile of flyers to dish out (gotta love them street-team lovelies!), and then off up Upper Street in Islington putting flyers and posters in all the little cafes along there that have flyer racks and walls devoted to posters for local events. The split between the corporate and the family-run couldn’t be more stark. All those places where decisions are purely made on their financial efficacy wouldn’t be seen dead allowing flyers for events not associated with the brand to be put in them. All the little funky family-owned cafes/bars/restaurants etc. are more than happy to help promote events in their local community. Good peoples, one and all.

After that, it was up to the Gallery in Camden to deliver more posters and flyers, and to see Alex who works there. A fun visit, for sure.

Where else for flyers? Ah, there’s Mole Jazz in King’s Cross. Back on the tube (via my lovely new Oyster Card) and head off to King’s Cross. Who’s this coming towards me carrying more camera equipment than your average hollywood film set? Why, it’s Steve Brown, photographer extraordinaire, and carrier of much photo-gear. Serendipity like this definitely calls for a coffee break. So we head off in search of Mole Jazz, which no long exists and is now a ‘Subway’ sandwich shop, so we find nearby little cafe and stop for lovely chat. It’s coincidences like this that make London special – bumping into your friends when you all live in a village of 30 people isn’t a surprise, it’s just called ‘going outdoors’. In a city of 11 million people, it’s a bit less likely, and therefor to be treasured.

It occurs to me while chatting to Steve that the commuter jazz series at the QEH (where it has transplanted from the RFH while the renovations are taking place) would be a great place to hand out some flyers, as well as to see some of the old RFH commuter jazz peoples. So i head down there, only to discover that it’s not every week, and this is an off-week. Ah well, at least I got to see the new shops ‘n’ cafes development on the Riverside bit of the RFH – it’s lovely, and I’ll have to investigate there further.

So, where next with flyers? Darbucka, of course! Posters and flyers delivered, time to head home. A knackering day, and one that earns me a mellow Saturday, fo shizzle.

Soundtrack – Sam Phillips, ‘Fan Dance’; Renaud Garcia-Fons, ‘Entremundo’; Prefab Sprout, ‘Steve McQueen’.

gigblog

Ok, last night was the gig at Darbucka – big thankyous to all you blogsters who made it along to the gig.

Before we get to the gig, back a few hours – 11am and we were back rehearsing. Wednesday night’s rehearsal with Orphy was messed up by Rise disappearing, saying he’d be back by 8 and not turning up til gone 11. Helpful. Doug, Orphy and I ran through the songs, and it was clear that Orphy was going to do a fantastic job on this stuff, though like me it was a real test of his stamina having to play this stuff consistently for that amount of time!

Thursday morning’s rehearsal was better, in that Rise was there, so we got to go through all the songs. It was interesting for me in that each time we’d play a song, Rise would notice another bit that I’d missed out from the CD, so the parts were getting more and more complex, which made it even more of an enjoyable challenge. Orphy again acquitted himself fantastically.

In the afternoon, Rise and Doug headed off into town, planning to be back in time to run through the songs with Jez before we packed up to go to the gig. Jez arrives, but no sight of D and R. We give up on the idea of practicing and instead start to load the cars up with all my toys, Orphy’s kit, jez’s piano etc. Cars loaded, still no D and R. I write a note, so we can leave, and just as we’re getting into the cars, they show up. The tube system is screwed, so big delay getting back. Quick turn around and we head to the gig. Soundchecks go fine, with Simon Jaquet from Duncan Senyatso’s band sitting in on drums (Orphy was performing the two-gig-dash, playing at a jazz fest before heading down to get to us for the last set).

Right, jumping forward to the gig itself, it was a marvellous night ,and felt like a suitably eclectic tribute to John Peel. Calamateur gets better every time I hear him. An excellent set that kicked things off really well. We did two songs together at the end of the set, which were lovely (and we’re recording together all this weekend, building on the stuff we’ve already done, so expect an album some time in the next couple of years!)

next up was me – not having had much of a chance for practicing, I didn’t launch any new songs at this one, though I’d intended to do at least one. Instead, the only non-album tune was the one for Eric. Set went well, people were entertained, lots of good comments afterwards.

And then Rise’s set – started by two tunes just Rise Doug and Orphy which sounded lovely, Jez and I then joined in for 6 songs. Despite a couple of wobbles (largely due to Orphy’s kit moving on the stage, and me having to hold it in place with my foot!!), we sounded pretty good, by all accounts, and people really enjoyed it. Doug and Rise were thrown by people not getting up and dancing – which, not surprisingly is not something that Orphy Jez or I have ever really thought about, not ever playing dance music as such. I guess it’s a london thing, and also just a Darbucka thing – it’s a pretty chilled venue, and people were blissed out enjoying the sounds…

So all in, a good night – it would have been nice to get a load more people there (the numbers were OK, but for Rise’s set in particular, it would work really well it the place was packed and dancing), but as a first outing for a particular lineup it was a great way to play without pressure, and to just enjoy the music. I had a great time, remembered the lines, played well, and much fun was had.

There are some photos of the gig, posted by the lovely RichardH off the forum, here

eagle-eyed bloglings will notice that I’m actually standing up to play there… don’t expect this to become a regular occurrence.

A very fine Big Idea

never let it be said that Britain doesn’t have a vibrant and burgeoning jazz scene.

Mark Lockheart is one of the busiest and most respected sax players in the country, and for his current tour he’s assembled a fantastic group featuring four marvellous saxophonists with a killer rhythm section. It’s pretty rare to see four sax players in a contemporary jazz setting in the UK – it’s not often that anyone can afford to take that kind of project on the road, but Mark has managed it.

Due to my having a gig on the same night, I won’t be able to make it to the London gig next thursday, so last night, Orphy and I headed out to Oxford to see ‘Mark Lockheart’s Big Idea’ play at The Spin, a weekly jazz gig at The Wheatsheaf in Oxford. I’d heard a lot about the gig from friends who’d played there, so was looking forward to checking out the venue too.

The gig was fantastic – playing mainly music from Mark’s latest album Moving Air, with Mark, Julian Siegel , Steve Buckley and Rob Townsend on saxes and bass clarinets, Martin France on drums John Parricelli on guitar and Dudley Phillips on bass.

Mark has a very distinctive writing style, that can be traced all the way back to the tunes he wrote for seminal british jazz outfit, Loose Tubes in the mid 80s. The horn arrangements are stunningly beautiful, and he made full use of the dynamic possibilities of having four horns on stage. Parricelli was on rare form, playing beautifully and blending with the sound of the horns magnificently.

Fortunately, the room was packed, and the audience were hugely appreciative. It’d be mad to suggest that Britain was in any way deficient in the jazz world – I guess the problem, as it is in most parts of the world, is a lack of places to play anything other than standards. The main jazz gigs in London are restaurant gigs, with venues like The New Vortex and Ronnie Scott’s doing their bit to promote interesting vibrant music. It’s still tough to find a gig, moreso now that the foyer gigs are the Festival Hall are on hold while the renovate the building.

So, in the spirit of last night’s gig, I’m going to offer you a beginner’s guide to the British Jazz scene – a handful of essential CDs that prove our place alongside the Americans and Scandinavians, while still all sounding uniquely British…

– The obvious place to start is with Theo Travis – his last two quartet CDs, Heart Of The Sun and Earth To Ether are both outstanding.
– Next up would be Ben Castle – his last album Blah Street is marvellous – clever, funny and intelligent in all the right ways.
– Of course Mark Lockheart who inspired this list in the first place – his latest, Moving Air is fabulous.
– And then there’s Mo Foster – any of his records are worth getting, but particularly Time To Think is gorgeous.
– Another one featuring Mark Lockheart, the Works is Patrick Wood’s amazing quartet – what Weather Report would have sounded like if they’d grown up in London. Beware Of The Dog is one of my favourite instrumental albums from any part of the world, not just the UK.

If you were to buy that lot (and I think you should), you’d have a pretty decent representation of why I’m excited about the future of British music, rather than wallowing in the despair that would ensue from burying yourself in the world of X-Factor, Pop Idol and the lame faecal mountain that is the pop charts.

Soundtrack – some tracks that I’ve been recording over the last three days with american fretless guitarist, Ned Evett – some really really cool stuff (to add to the stockpiles of other really really cool stuff that are sitting here waiting to be released!) – hopefully I’ll have an MP3 taster or two for you soon from this lot…

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