Tag: london

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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! 🙂

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

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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.

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

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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!

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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’.

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I really don't get this…

From the BBC news site –

“Defence secretary John Reid is “keeping an open mind” about whether a World War I soldier shot for cowardice should be pardoned, the High Court has been told.”

How can someone be shot for ‘cowardice’???? Apparently the bloke in question refused to fight, was court marshaled, and then executed. The case hangs on whether or not he was shell-shocked.

I’m really really troubled by a world in which someone can be shot for choosing not to kill. I appreciate that the middle of a war is probably not the best place to decide that, but to force someone to fight seems just as barbaric as shooting people in the first place.

I don’t know what he reasoning was, or if he was actually up for a scrap but was indeed shell-shocked. Either way, the lack of a pardon now seems sick in the extreme. That his family were punished by having his pension taken away so they ended up homeless is another injustice.

I’m often amazed at how far the world has come in the last century. Even in the last 10 years. A documentary on last night charted the relationship between the emergence of pop culture in the 50s and the changing attitudes to sex, drugs and gender politics. Some of the thoughts and ideas that were common place in the 60s and 70s seem so bizarre now. Others seem quite attractive. The huge leaps forward in terms of equality for women, gay rights, racial integration etc. are counterbalanced by the way the world has been divided up by the growth of a consumer culture and a transnational business model where entire countries are turned into sweatshops. I doubt the concept of fair-trade was much of an issue back then (though apparently the Salvation Army started a fair trade match factory in London in response to the dreadful treatment of match-makers by Bryant and May in the late 1800s, paying them four times as much and changing the work to protect their health).

Some things about the modern world are frightening – gun crime, the massive rise in teenage pregnancy and STIs, etc. – but on the whole, I’d rather be here now than there then. I’m a modern at heart. I don’t want to live in world where women are oppressed, black people are enslaved and people who refuse to fight in wars are executed. Sadly, all three things still exist. There’s still work to be done.

Soundtrack – Cathy Burton, ‘Speed Your Love’ (a really really lovely album – it’s a strange world where Charlotte Church’s crap attempt at being a popstar results in top 10 hits, but Cathy hasn’t got a deal… Buy this, and feel smug that you’re one of the chosen.)

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All is well with the world

OK, so the labour party is run by fascists, public transport is a disaster, London’s getting set to be ruined by the Olympics… But Danny Baker is back on Radio London so all is well with the world.

Oh yes, for the last few months, the radio dial has been Bakerless – in his place the broadcasting car-crash that is Joanne Goode, and now the antipodean waste of oxygen that called himself Jono Coleman. But now Danny is back, in the afternoons, and the BBC London 94.9 running order is looking a lot better. Vanessa Feltz is on from 9-12 – she was dreadful in the afternoons, but seems to handle topical serious phone-in better than celeb gossip nonsense. Robert Elms still has the lunch time slot, which he does so well, and now Danny in the afternoons. What’s more, he has Amy Lame back on as well.

All is indeed well with the world.

Soundtrack – David Bowie, ‘Reality’ (marvellous stuff – it’s been a while since Bowie last did two really good albums in a row. Let’s hope he keeps this up); The Pixies, ‘Bossanova’ (one of the Pixies albums I never got round to buying first time out – genius is parts, but it’s no Doolittle).

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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.

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Rehearsal fun

So Rise Kagona and Doug Veitch are here, and we’ve had two rehearsals – last night was just the three of us, two guitars and bass, running through the songs for tomorrow night, and then today Jez joined us to put the keyboard parts in place. Playing this stuff is just so much fun – it’s a challenge to get the African feel right, and to try and ‘think African’, feeling the songs rather than analysing what’s going on, but I’m definitely feeling more inside these songs that I did with Duncan’s stuff at Greenbelt – I think it’s just having spent the last couple of months listening to African stuff more than anything else has got me into the right head-space.

There are a few of the lines that I’d got slightly wrong from the CDs, so we’ve been correcting the parts, and I’m pleased with how quickly I’ve got a hang of that stuff. It’s been a lot of work and it appears to have paid off. You’ll have to come tomorrow night to see if it worked!

Gig details again, in case you’ve missed them up until now –

Venue – Darbucka World Music Bar, 182 St John’s Street, Clerkenwell, London EC1 – nearest tube, Farringdon.
Date – Thursday Oct 13th
Time – doors 7.30, first band on 8pm.
Bill – Rise Kagona and band, Steve Lawson and Calamateur

Be there!

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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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'Forward With Technology'

or ‘Vorsprung Durch Technik’, as advertising men speaking cod-German say.

I’ve just bought meself an Oyster Card – prompted largely by the announcement that the cash price of tube tickets is going up, but oyster tickets are coming down. I guess the plan is to get more people prepaying for tickets, topping up either automatically or online, and therefor not clogging up ticket-halls with huge queues, and getting people in and out of the tube network quicker. Either way, the price decrease is welcome, and the increase isn’t, so I’m getting an Oyster card.

And what’s more, Oyster cards make a great bleeping noise when you go through the barriers. Very satisfying.

Britain’s public transport is currently a shambles. Well, not all of it, but certainly the london tube, and the national rail system are nowhere near of the standard they could and should be. Both are pretty much crippled by PFI, or the threat of PFI… The selling off of the Tube was one of those things that nobody, save people managing investment portfolios, wanted. Everyone except the government recognises that what’s needed is huge investment, on a level that won’t be profitable to the tube enough for it to work under private investment. That’s because the benefits won’t be felt by the Tube itself. it will be of benefit to London, make it more attractive to tourists, render cars a pain the ass, and generally improve access for all Londoners, but the necessary renovations will cost billions of pounds.

And I haven’t even started on just how far short of the legal requirements for disabled access the Tube system falls. Somewhere less than 10% of the stations are wheelchair accessible. What it must be like traveling by tube for a disabled person I dread to think. There’s no way that the PFI funding is going to prioritise disabled access – there’s no money to be made in helping cripples get round London, of course. They can just get their mobility busses, and rely on friends to ferry them around. Clearly their independence means nothing in this most modern of modern capital cities.

Anyway, I will soon be Oyster-boy, swanning in and out of tube stations without a care in the world.

Soundtrack – KD Lang, ‘Ingenue’.

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