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2018: A Year In Food

In 2018, my gym coach assigned me to keep a food blog so he could track my meals. Through developing healthy eating habits to satisfy all of my nutritional needs and a rigorous exercise programme, I lost the 21 kg between January-August 2018 I'd gained on anti-depressants.

I wanted it to be somewhere more private rather than being shoved down people's throats (literally) through Instagram/WhatsApp. Hence I've posted my culinary creations here.

​Being vegetarian and/or vegan always presents a challenge in terms of hitting the protein target so this was particularly the most interesting challenge for me.

I made a conscious decision to stop food blogging in 2019 (due to time restraints), but it's useful to have a year's diet documented as a reference and a source of inspiration!

London Jazz Festival 2011 - Day 10

21/11/2011

 

Outhouse Ruhabi @ RFH Clore Ballroom

Outhouse Ruhabi is an ensemble consisting of 2 tenor saxophones, bass, drums and 4 Gambian Wolof percussionists. Led by drummer, Dave Smith, the group started in Africa, and its members are spread around the world. Their sound is a juxtaposition of traditional Gaba drumming from Gambia, West Africa, and contemporary, avant-garde jazz... Well, not so much a juxtaposition, but more of a reconciliation; the project truly acknowledges and embodies the African roots of jazz. Saxophonist Robin Fincker described how when the band were touring in Africa, and playing in the villages, the entire population of those villages would come out to watch, and they would recognise their own rhythms and practices integrated within those of the jazz drummer - it is their own rhythms that have permeated jazz and popular music throughout the Americas. The ethos of Outhouse Ruhabi is effectively a reconciliation of the old and the new, the African and the American, the one informing the other in a generational dialogue that transcends time and space - a musical and cultural 'time warp'. The project is a evolutionary frontier, and a breaking of the boundaries, for it returns modern jazz back to its motherland.

The music was extremely spiritual, combining static, saxophonic chordal applications, revolving around crackling percussive layers, fractured by violent ruptures, and occasionally heightened by repeated, call-and-response, polyphonic vocal refrains. The saxophones seemed to float weightlessly at the surface, providing a smooth, airy contrast to the rumbling, wavering percussion. The spine-tingling, intricate, popping rhythms tickled the sinuses of my soul, and moved me in a way that I felt transfixed, lest anyone else know how intimately I was experiencing them.

While I have some knowledge of Afro-Cuban rhythms, my knowledge of West African rhythm is somewhat limited, so forgive me for incorrectly applying Cuban terminologies to a music that through lifelong study I would barely scratch the surface. The hierarchical layers of percussion added a three-dimensional quality to the music, and played an elastic yet robust rhythmic groove, which morphed seamlessly through different feels and tempos; sometimes a spirited, buoyant 6/8, at other times gnawing and sawing its way through a 4/4 meter, and occasionally a leaping rumba with a 6/8 lilt. The moods were sometimes sombre and processionary, breaking into complex, multi-faceted structures rotating like giant musical organisms; their cyclic hooks compelling you into a state of total absorption and contemplation. During the intense sections, the squealing saxophonic laments of Tom Challenger were egged on by the relentless onslaught of torrential percussion; their cascading tones manifesting themselves in a pure 'flow-of-consciousness' expulsion of the brain, and rippling in a frenzy of wild counterpoint. 

The music incited a man to dance alone, which reminded me of the solo male dancer in the Cuban colombia - one of the oldest forms of rumba descended from the African legacy - in which the male dancer manifests himself as the orisha, dancing out the spirit. This man was lost in his own spiritual world, his eyes trance-like, and his mind apparently turned towards the heavens. In dialectic response, one of the drummers positioned himself in front of the stage and performed his own dance at the end, provoking spontaneous cheers and hand clapping from the audience. The percussion 'solo' towards the end was not really a 'solo'; it was a 'soli' yet it was all improvised - or so I understood. It was like your conventional jazz drum 'solo' yet all of the percussionists were improvising together as a unit! This incredibly integrated display, disciplined through generations and years of initiation and practice, is a miraculous phenomenon of human nature that since has manifested itself as a religious, recreational and social cohesive tool across many forms of music.

I only realised half way through the performance that, unlike most groups that I had witnessed in the jazz festival, there was no piano, guitar or equivalent harmony instrument. However, the music did not necessarily need this; there was enough substance to tantalise and tickle the senses, throwing the listener into an open, expansive, inharmonious void. Altogether, it was an energetic, spiritual performance that was very moving and humbling to watch. I have seen some amazing things over the last week that have truly been a measure of the human capability, but it is very rare to be able to simply drift into the Southbank Centre and to be immersed in music of such depth and richness, and to have the luxury of allowing its ripples to wash over you - an experience that cannot be felt at any other place or time.

F-IRE Collective @ RFH Clore Ballroom

F-IRE Collective is an exciting hotpoint of pioneering jazz, which fosters and cultivates emerging young talent both nationally and internationally through a school of like-minded composers and performers, inciting a vivacious wave of creativity bubbling up through the surface of London's jazz scene. I witnessed the F-IRE Collective big band on two separate occasions at the RNCM in 2005 and 2007, and on one occasion I was even lucky enough to play with F-IRE Collective graduates saxophonist Ingrid Laubrock and trumpeter Tom Arthurs through the Manchester University Big Band, organised by Graham South. Today, I was fortunate enough to hear Porpoise Corpus, one of their newest ensembles, who incite innovative, electrifying and trailblazing original music; combining a wide range of influences, juxtaposing live acoustic and electronic instruments that crash and burn their way through explosive interludes balanced with languid pools of sustained piano and creamy saxophone, and integrating contemplative, sophisticated sensibilities with grooving material that has a sense of immediacy among listeners. The dissonant ballast antagonises itself between periods of tension and relaxation; swelling outwards, withdrawing inwards, and occasionally giving way to glistening, gleaming, diminished and inquisitive vibraphonic releases. The concert finale offered a glimpse inwards into the milky way, sailing outwards into a vast expanse of stellar, musical horizons. ​

Phronesis @ Southbank Centre Front Room

Phronesis Big Band mix instruments with vocals in an interesting combination of free jazz improvisation and structured arrangement. Their music has an authoritative, auspicious quality to it, and it almost materialises a fantasy film score with a prophetic undertone, tinged with seclusion, mystery and awe. Its lines ebb and flow with magic, effortlessly interchanging between brass and vocals, and transporting you on a whirlwind ride through a sequence of through-composed, programmatic soundscapes. Structurally, it is loose and free in some sections, whilst in others, the material is tonally and rhythmically centred. Occasionally, it is reminiscent of the music of American composer Charles Ives, synonymously juxtaposing a multitude of layers; liturgical, choral curtains with a stratosphere of sparkling piano clusters and gently spattering percussion - engendering a transcendental texture wherein the past and present seem interchangeable. Towards the end, the integrated clapping textures intermingling with the scatted vocal ostinato patterns manifest the most fundamentally and organically human forms of musical expression, gripping the heart and lifting the soul. This clears the way for mirrors of piano sheen, and flourishing brass improvisations among hissing, rumbling percussion.

London Jazz Festival 2011 - Day 8

19/11/2011

 

Phil Bancroft - Small as the World @ Southbank Centre

Saxophonist Phil Bancroft gathered together a host of musical friends for a cosy coffee time session in the front room of the Southbank Centre. The show reflects on the home, what home means to different people and how our perceptions of 'home' change as we develop through life. The result of these seemingly random yet thoughtful considerations is a delightful, humorous display of live jazz interspersed with topical talk and video. Like the home, the music (for the most part) had its own rhythmic and harmonic home (the only exception being the free jazz second piece, about childhood, which perhaps signifies a playful rebellion against the home). The lineup consisted of Edinburgh-based Phil Bancroft on the alto saxophone, Glasgow-based Paul Harrison on the piano, with trumpet, violin, guitar, bass and drums. You can tell that these guys are from Scotland, as there is a poignant Celtic undertow to the music - I can tell, being an ex-patriot born in Aberdeen and raised in the highlands. While the first piece 'Swim, Jenny, Swim' has a definite Michael Brecker edge to it, the folky, modal melodies revolving around a rolling 5/4 groove maintain a rootsy, tonal and rhythmic 'home'. The timbral combination of saxophone, violin and trumpet in the second tune almost reminds me of the bagpipes and the fiddle in traditional folk music, while the long, held notes sing a gentle lullaby. In terms of 'home' this brings me right back home to the music that I was brought up with, with its soothing, tranquil melodies - calm, like the surface of a lake. The third piece brings into play the issues of childhood - both remembering childhood from an adult's point of view, and actually being that child, playing with a group of friends. In contrast to the second piece, this piece takes the music to the opposite end of the spectrum; relying heavily on free improvisation in response to the childhood images projected on screen, and bringing out a different dimension to the band's oeuvre. This piece fluctuates between order and chaos; the 'order' being a swinging zig-zag motif initiated by the saxophone, and echoed by the other instruments, which grooves momentarily before collapsing again and clearing for the 'chaos' - the individual soloists, sometimes two instruments in interplay with one another. The effect is of a game; at times, inspired and motivated, while at others tense and frustrated - as if the music is the reenactment of a group of children discovering a new game, breaking the rules, getting fed up with one another and then moving onto the next thing (this was my interpretation, anyway). The tail off ending was a nice touch, perhaps this was deliberate? Finally, to raise the issue of technology in the home and to explore the influences that it has had on our lifestyles, the live musicians played an improvised composition with another two musicians, at home, via Skype. The result was laughable, but perhaps not exactly what they had intended. However, I thought that this is an area in jazz which could be experimented with a bit more, so I was much obliged that this group opened the front door. Moreover, I found the musicians and the band genuine and personable. Nothing was absolutely polished; I found that the rough edges and quirky imperfections had a charm in themselves, and made for a very human performance. Overall, one would never have thought to theme a musical performance on the home. Nevertheless, I thought that the musicians did a Sterling job (excuse the pun), and raised a number of interesting questions and ideas. An insightful and stimulating performance - utterly bonkers but brilliant.

Yazz Ahmed @ National Portrait Gallery

Yazz Ahmed's music combines her Arabic heritage from her native Bahrain in the Persian Gulf, with 1950's jazz. The result is a smouldering hotpot of mystical improvised music played with the exotic instrumental setting of vibraphone, flugelhorn, bass and percussion. The first piece begins with milky, ambient vibraphone gently pulsating through the atmosphere, eventually joined by the rest of the ensemble in a rustic, gyrating groove. The melodic lines, which grow biologically, have a hypnotic, almost ritualistic quality to them. The improvisations are sparse, leaving much space and clarity, while the bass and percussion maintain a vivacious bubbling of movement and viscosity below the surface. The piece begins and ended with an angular, unfocused bass ostinato, which throws the listener into a trance-like void of uncertainty. The second piece was more avant-garde; a jazz waltz permeated with diminished and tritonal harmony. The third piece is, again, more folky sounding. The interesting 15/8 meter, subdivided into 4+4+4+3 creates a smoky, intoxicating and heady dynamic, and lending itself to sizzling improvisation. Yazz Ahmed's flugelhorn has a husky, breathy and almost papery tone to it. Its haunting inflections and fluttering middle-Eastern scales throw a certain sonority and spirituality into the music - it simply draws you in. This is complemented by the sweet glucose of the vibraphone, whose improvisation glistens with viscosity and restlessness; the clear, foil-like quality softening and sweetening the sultry sound of the ensemble. These voices are underpinned by the rough, abrasive sounds of the percussion and bass, creating a sound world that is rich, delicate and exquisite. The entire gig was enchanting, seducing and sensual, but not without its soulful personality - which, at some times, lulls you into a false sense of security, while at other times, bristles with attitude and assertiveness. 

The only weak point of the performance was the choice of space. I think that the performance would have worked much better in a larger space. I found the art gallery staff quite disruptive, because they were persistently asking people to move on when they were standing in the wrong place, and in doing so, they were talking over the music. Had the gig been in an alternative, larger space, then we would not have had these restriction issues - which I found quite off-putting. Apart from that, the performance was magical.

Peter King @ QEH

Long-time award winning saxophonist, Peter King, led an outstanding quartet in the Queen Elizabeth Hall. Demonstrating his virtuosity on arrangements of tunes by Billy Strayhorn, Chick Corea and John Coltrane, along with some of this own compositions, Peter King played an excellent set. His fluid, quicksilver alto saxophone sound is well-projected, and resonant with crystal clarity. His finger-work is extremely nimble and dexterous, with elaborate, scalic improvisations that spiral, cascade and twist and turn with the smoothness and muscularity of a rattlesnake. On the Chick Corea tune 'Inner Space', these were complemented by the chunky and playful improvisation of pianist Steve Melling - with a delightful quirkiness yet a sophistication to it that would leave many contemporary pianists standing. Steve's composition 'Bees Groove' is a sultry, almost cheeky blues, with a swinging, easy feel and elegantly elaborated melody. His own piano solo contained that classic sophistication yet sleazy, stumping swing that has been mastered as an art in itself, while the saxophone sang freely in an elastic, bird-like improvisation. The bass solo by Geoff Gasgoyne was florid and polyrhythmic. Peter King followed this with his own take on the Billy Strayhorn tune 'Lush Life' which he completely improvised on the sax - apart from the last few bars. He has an incredibly intricate inner-ear, his fingers translating the orchestra inside his head onto the keys of the saxophone, with lightning-fast fluency, slipping through the chord changes with ease. The improvisational style is thoroughly elaborated, leaving more attuned ears to discern the melody amongst the ornamented leaps and runs - a very elaborate rendition. The piano entered at exactly the right moment, and was soon joined by the percussion and base in a sensitively-timed wash of colour. 'The World of Trane' presented a montage of the music of John Coltrane; beginning with the arhythmic, modal, profoundly spiritual hymn, amidst with the collateral of improvised percussion and the sweet, silky, swirling textures of the piano; leaping into the 'Giant Steps' chord changes before dissolving again into a free arhythmic pool or mirror-like, cascading finesse; finishing with the haunting and bewitching 'My Favourite Things' jazz waltz. Peter King had just enough time to do one more; his burning bebop arrangement of Joshua, spinning off into 3/4 sections was very tightly carried, with flaming licks and crackling exchanges between the saxophone and drums. While the bebop sections were always progressing towards a definitive climactic point, the 3/4 sections offered a glance inwards at an alternative, introspective world (for a few split seconds per time). The cataclysmic energy of the ending brought the set to an explosive finale, which paved the way perfectly for Roy Haynes. Stylishly done.

Roy Haynes @ QEH

It would be impossible to do adequate justice to a maverick musician such as Roy Haynes, within such a limited review. The way in which he was welcomed onto the stage with the rapture of an encore is enough to release a hint.  With a career spanning well over sixty years, Roy Haynes has played pretty much every avenue within jazz - including swing, bebop, fusion and avant garde - not to mention pop, soul, and his own personal genre 'Snap Crackle'... He began the concert with an amazing drum solo - with his feet! The first composition with the full rhythm section had a light, breezy, almost suburban sounding smoothness to it, which reminded me of the modern jazz group Oregon, with the cosmopolitan flavour of American gospel, blues and soul. I could tell from the playing that Roy and his band were experienced and versatile across many genres. Roy Haynes seemed to feel his way through the groove, blending effortlessly with the rest of the ensemble and enhancing what the others were doing with their solos. His timing was the epitome of precision-point tightness, and he played with an extraordinary level of elasticity and subtlety - following every twist and turn of the phrasing, responding to its every shade and mood, and embossing it with his unique style. The rhythmic interpretation of the saxophone was so relaxed, that it was almost out-of-sync, but it was always pulled back in by the irrepressible magnetism of the ensemble. The stunning interplay between the saxophone and the piano, following each other as they spiralled upwards, was always brought back into play with the recurring motif. The pianist and saxophonist seemed to be able to read each others' minds, and they were always finishing off one another's phrases - the saxophone tending to escape the harmonic framework before being drawn back in by the piano. Jazz on another level.

Dunajska Kapelye @ Vortex

Piotr Jordan led this passionate and danceable ensemble for a night of hot jazz at the Vortex. When I arrived, I was welcomed in to a warm, festive atmosphere in the club - a vibe of healthy fun and debauchery. The delivery was confident, virtuosic and stylishly flamboyant, with bags of charm, wit and personality. In the dance numbers, the rhythm section naturally pushed ahead with momentum, launching the string players into an emotionally rousing frenzy, prompting spontaneously hand clapping and foot stomping from the audience. The highlight for me had to be the Transylvanian folk song, a work of wonderful wizardry. These players came together through their joy and love of the musical tradition which has been passed down from generation to generation, and enjoyed by all in the decade to come. Devilishly delightful.

Down to the Bone @ Hideaway

Down to the Bone is a young, hip and cool group of musicians combining a diverse melting pot of influences - funk, soul, rock, Latin and Brazilian - in an exhilarating live experience. The pumping, percussive disco beats are beefed out with thick, crusty congas and juicy, electrified samba piano and pulsating, psychedelic rhythm guitar. The musical content is groove-based, containing flexible, open platforms that really allow the horn players to stretch out and to explore their musical territory through vibed-out, improvised solos, over slinky jazz harmony chord changes. The band radiate a heated, vibrant energy. They command the stage with such ease and a have great natural fusion which gets the audience going, creating a carnival atmosphere. By the end of tonight's gig, they left the busy club screaming and pleading for more, and the atmosphere was tingling with fiesta fever. Their highly energised 'Supercharged' combines a throbbing lead guitar playing the melody, interspersed with chunky brass riffs which are catchy, whilst not being cheesy or corny, making it impossible not to dance. The alto saxophone solo towards the end displayed fluent improvisational skill, springing with life, vitality and flavour, with nicely structured builds and extensive use of timbral trills, flittering in and out of the changes. The rhythm section were truly working up a sweat in this tune. After the encore, the band had everyone in the club on their feet for a standing ovation.

Samara @ 606

I made it just in time to catch the end of this set, with this beautiful Brazilian band. Being a dedicated Brazilian music lover, the rush was definitely worth it. The band combined heavy, rock solid percussion with clinging, clamouring piano solos and an explosive melt of saxophone and vocals. The highlights were hearing two songs by a couple of my favourite artists 'Cravo E Canela' (Milton Nascimiento) - check out the George Duke version - and 'Come With Me' (Tania Maria). Vocalist Jandira Silva brought the sunlight of her native Brazil into this basement club, displaying a natural vivacity, radiance and charm - which was a pleasure to witness. Saxophonist Steve Rubie nailed the arrangements and the improvisation, leading a super-tight band, which had everyone up dancing all night. Moreover, it is such a great feeling to hear such gems of tunes being played in public, after only hearing them on record. Tight, sophisticated and funky, I would definitely recommend this band.

I have to say that out of all the jazz clubs that I have experienced in London this week, the 606 has to be my favourite. This south-west London establishment may be a little off the beaten track, but it is busy enough to create a great atmosphere where the guests intermingle freely with the staff, yet spacious enough not to be completely maxxed-out. Furthermore, when I came here last Saturday to see Christian Garrick, I recalled that the staff were extremely welcoming and accommodating. When I arrived tonight, slightly out of breath, I was treated to a complimentary orange juice and friendly conversations with the landlady and front-of-house girl, which really made my experience here. Definitely my new hangout!

London Jazz Festival 2011 - Day 6

17/11/2011

 

Out of the Cool - Trinity Laban Contemporary Jazz Ensemble
@ Southbank

This composition makes use of an innovative range of timbres and colours, over a buoyant, Count Basie-style rhythmic feel. It has a strong emphasis on free improvisation, with members playing abstract solos that are tonally unfocused, yet made up of interesting clusters. A truly inventive work.

John Turville @ Barbican

I managed to catch the latter part of this concert in the Barbican, with the John Turville Trio playing numbers from their new album, Conception. The ensemble was very tight, and the compositions nicely arranged. In the final number, the bass and drums pinned down a revolving, zig-zag groove, punctuated with explosive percussive hits, which offset the piano during its improvisation. While the harmony is atonal, it creeps earnestly towards tonalism at points, but withdraws as quickly as it entered it, giving the composition character and emotion. The clear, well-projected piano lines flow in a fluid, fluent exploratory improvisation consisting of captivating lines and shapes - characteristically bubbling up in small bursts with tight, chunky collisions against the percussion, which are always pulled off with style. During the drum solo, the piano laid down a cyclic cell made up of abstract shards, which brought the virtuosity of the percussionist into relief. A breathtaking performance.

Solstice @ Walthamstow Cricket Ground​

​Solstice are a six-piece band comprising vocals, alto flute / tenor saxophone, piano, guitar, bass and drums. I was lucky enough to catch a preview of pianist John Turville earlier in the evening, playing with his trio, so I decided to follow him across town to witness his work with this modern jazz ensemble. The ensemble play a mixture of their own original compositions, combined with arrangements of works by contemporary jazz composers. Their sound is steely, smooth and haunting; wonderful when cosied up by the Christmas tree in the warmth of this intimate venue, the Walthamstow Cricket Club. Their style is characterised by the juxtaposition of a repeated refrain or backing against a melange of wild, free improvisation, over complex time signatures - 6/8, 9/8 and even 14/8 (I counted) in one composition. This effectively throws the listener into a hypnotic, trance-like, almost kaleidoscopic void, that draws you with its dual sense of stability and instability, with its free, meandering improvisations revolving around repetitive refrains and cycles. The building sections are beautifully carried out, and help to propel the momentum upwards, while the more intense moments are balanced by cool, shimmering plateaux of peace. Some of the compositions have a very urban, almost industrial sensibility to them; in my mind, its busy, chaotic, angular yet atonal lines seem to weave among streets of traffic and towering skyscrapers. The delivery was very well-rehearsed and polished, and the music created a relaxed, contemplative ambience.

London Jazz Festival 2011 - Day 5

16/11/2011

 

Matt Roberts Big Band @ Southbank Centre

​Matt Roberts presented his all-star big band lineup made up of current and ex-students from the London music colleges, in the front room of the Southbank Centre, as part of the London Jazz Festival. The concert consisted of five compositions, all written by Matt Roberts himself. His progressive compositional style is gloriously reminiscent of Bob Curnow and Pat Metheny, combining an age-old charm with the new and challenging ideas. The symbiotic relationship between the classical and the jazz elements that Matt Roberts writes about on his website is evident, for there is a distinctly orchestral or 'wind band' feel to his sound, which interchanges seamlessly with fluid jazz essence. Horizontally (structurally), the compositions explore the antagonism between concordance and dissonance, ever progressing towards symphonic, culminating moments of accomplishment - perhaps with the exception of the fifth composition, New Horizons, which is cyclic and infinite. Vertically (texturally), the emphasis is constantly shifting between the objective, organisational ensemble writing, and the subjective autonomy of its individual soloists; each composition like a tasty sandwich, with thick crusty brassy textures, and thick, buttery chords.

The first two compositions offer explorations into rural, almost neo-medieval landscapes; dripping in modalism analogous to feudalism, and weaving lavishly integrated tapestries of texture, harmony and melodic interplay. The first composition, inspired by the constellation Orion, is a strident 12/8 feel, with a valiant thematic language evocative of Bob Curnow's Celtic Big Band sound world. The programmatic 'jazz' landscape, with its peaks and valleys, is like a fantasy film score to an epic legend - think Robin Hood or King Arthur - with the fanfare-like interludes playing out noble struggles and triumphant victories, underpinned with a folky, almost Celtic lilt. The harmonies are tonally centered, and for the most part, conventional, however they occasionally extend themselves outwards in a technically sophisticated manner without losing their immediacy. Structurally, there is a satisfying interplay between the saxophones and brass, and the gradual building up towards the climactic, jovial moments are very well restrained and controlled. The 'Minuano'-like cross-rhythms produce a brilliant counterpoint of rich, shimmering textures, like a stained glass window of sound. The second composition starts off languid, like a river, with a spongy, mellow flugelhorn line intertwining with the smooth tone of the soprano saxophone, played by Johnny Griffiths. The mood is grandiose, yet gentle, with lazy melodic musings and chiming, expansive, bell-like chords that fluctuate like the subtle shifting of tectonic plates gradually building mountains over time, culminating in majestic peaks with soaring trumpets on the horizon reminiscent of hillside fanfares.

The third composition, Oligopithecus, inspired by an early human primate, is placed at the mid-point of the programme, and is a stark contrast to the other compositions; bringing into relief an alternative, more avant-garde dimension to his writing - both in its fusion of irregular time signatures, and in its heavy emphasis on free improvisation. The dissonant tritonic and diminished harmonies, coupled with the mischievous, gyrating groove, hints that trouble is brewing. Although the mood of the composition is comparably darker, it does not lose its comical edge. The focal point of the composition is the enacted 'battle' between two soloists (or primates, as indicated in the commentary). The chaotic, gritty improvisations manifest the animal-like shrieks, whimpers, cries and moans of primal beasts in the thick of turmoil, punctuated by militant, charging ensemble sections.

The fourth composition is structured in two parts, a ballad and a waltz. The ballad begins with an improvised solo piano introduction, played by Sam Leake - daylight filtering in over the aftermath of the battle in the previous composition - with an improvisation demonstrating a poignant sensitivity and subtlety. The texture is soon moistened with lush curtains of brassy texture, with dovetailing call-and-response melodies that ripple and overlap one another over the course of the ballad. The waltz section re-introduces the rolling 3/4 and 6/8 cross-rhythms of the first composition. Here, off-beat brassy chords are thrown directly across the beat, and the dotted crotchet is marked by the cymbal bell, further distorting the rhythmic perspective. Tom White's trombone sound has a deep, rounded and sweet tone, his fluttery, fluffy improvisation flossing organically through the additional sheets of chordal material that fall around its shoulders. After a brief, folky bridge of hammering triplets, Laura enters with a trumpet solo; initially shrouded in dark mystery, but increasingly gutsy, flighty and discordant. This builds up until the orchestra, in unison, plays an ascending five-note scale which swells upwards and explodes into the original, expansive, ballad feel, indulging in plenty of juicy suspension chords.

The fifth composition, New Horizons, is inspired by a photograph of the planet Saturn. This composition is again different, and, in my opinion, the most compelling musically, for it demonstrates an extraordinary degree of maturity for a writer so young. The composition starts and ends with a space-age 7/8 ostinato pattern on the guitar harmonics, calculatedly revolving in an enigmatically coded combination of notes. The mood is celestial and contemplative, with kaleidoscopic, cyclic melodies that arc inwards and (for the most part) coalesce around themselves - although occasionally folding outwards in funky linear inflections, expelling rays of melodic light. The harmonies, in contrast to the first two compositions, are more dissonant, with juxtaposed seconds and sharpened elevenths, rendering a focused, ultra-modern lens. Behind the piano solo, played by Sam Leake, the saxophones and lower brass blow a ghostly wind, like a star field shimmering in the depths of space. The dynamic is controlled, occasionally rippling with threatening ruptures, but for the most part tactfully restrained. The ascending phantom-like, reverse pedal guitar solo demonstrates great technical accomplishment, considering the difficulty of learning and applying the technique which is often heard within the context of psychedelic, progressive rock. As the solo builds, the nauseous brassy undertow rises up again, and the 12/8 cross-rhythms return, building into a deafening wall of sounds and culminating in a florid bridge that prompted a spontaneous burst of delight from the audience. The music swiftly shifts through a number of skeletal segments, and then comes to rest on a drifting, floating piano improvisation which twinkles like stars up in the stratosphere, clearing to leave the original, resolute guitar harmonic ostinato which prevails long after the band has finished, eventually fading into blackness. This recurring ostinato technique is effective, for it implies that there is no beginning or ending to the composition; rather, that the composition itself has merely tapped into an infinite stream.

Altogether, the programme was well-balanced, since it started and ended on a cosmological note, with the celestial themes of the two outer compositions - which, in themselves, seem to embody tradition and modernity, or astrological and astronomical perspectives, respectively. The middle tune progressed from the macrocosm - space, to the microcosm - man, in its anthropological premise. Moreover, it is so pleasing to hear modern big band writing that both acknowledges the traditional idioms of modalism and neo-classical tonality yet embraces the contemporary influences of fusion and free improvisation that we have heard elsewhere in the festival, thus bridging a thematic continuum that is relative and innovative at the same time. This is the ultimate strength of the Matt Roberts Big Band. I look forward to hearing much more writing from this talented young composer, and trumpet player.

London Jazz Festival 2011 - Day 3

14/11/2011

 

PB Underground @ Jazz Cafe

​The PB Underground is a large funk, soul and motown outfit featuring many of the UK's top musicians. The band kicked off in 2008 by building on a core of musicians who have played with one another in various lineups, so the level is already tight and has instantly created a storm on the London funk scene, fireballing several sell-out shows and stirring up a party at festivals, clubs and venues wherever they appear. The band's expansive lineup is built upon a tight core of heavyweight rhythm section players who have played together as a unit for several years and already make a phenomenal sound together. Added to this are a pool of London's top vocal stars, each with big personalities, wide ranges and oodles of bling factor - each commanding the stage and creating a captivating presence. The ready-made and gelled horn section, bought into the band after having extensively toured together, give it that 'BIG BAND' sound - combining blistering brass hooks with stabbing, stinging riffs, and crisp, chunky blocks of harmony. The texture is fattened out with a trio of pulsating electric guitars, tasty keyboards and illustrious backing vocalists, all laid down with thick, buttery bass lines. The resulting 17-piece lineup is truly a spectacle, and nothing is done half-heartedly or in small measure - the band bring extra percussion, extra pianos and special electronic effects to add that extra zing - in terms of their lineup, sound and general vibe, think BIG. Their live shows cook up a stonking mix of heady Tower-of-Power-style funk, with touches of James Brown and Stevie Wonder, and the progressive momentum of Earth, Wind & Fire, causing a funkadelic revival and inspiring a surge of new, raw material to be written, played and enjoyed worldwide in the coming decade... This is straight-up, to-the-point, no bollocks, good music, the way that music is meant to be played, bringing sledges of attitude, soulfulness and positive feeling. Listening to the band, it is impossible not to move; the catchy vocal refrains mess with your head and make you dizzy with euphoria. With each song, the band drive the energy and momentum up another level until you think that they cannot possibly go further (yet they still do) whilst successfully avoiding the usual clichés saturated throughout most mainstream commercial music, but instead brewing up their own uniquely infectious and engaging recipe. These musicians have their heads screwed on and their feet firmly in the music. All clearly professionally trained and industry schooled, these guys are at the top of their game and they KNOW what they are doing: they understand how to write a good tune that utilises that 'jazzy' technical sensibility to the max - juicy, sophisticated chord changes, inventive rhythms and grooves, and flashy improvisation - without losing the ingredients of a quality song that moves audiences with an effortless mastery direct from the laboratory of FUN. The rhythm section maintained the pumping dynamic throughout the entire set, as the vocalists brought the ecstacy into relief. Even though they had played for two hours straight, it was all over too quickly, and by the end of it, the audience was in rapture, demanding not one, not two, but THREE encores. As a musician watching, it is pretty scary to see how far they can push the bar, with their roof-shattering solos, floor-shaking grooves and cascading vocal cadenzas; it reminds you how man is truly the measure of all things, and it instantly generates ripples that you simply want to be part of. In just three days, I have been completely blown off my feet by some of the amazing things happening in the festival, and the sheer talent that is all around us, but this has definitely been the highlight for me so far. Here is a band destined for great things, and definitely one to follow in the coming months with plenty of shows lined up and the promise of an album release in the forthcoming year, and one I'll be raving about to everyone I know. The band modestly describe themselves as 'a work in progress'... I say that it is a work of a collective genius, and an inspiration for musicians and audiences alike across all genres and backgrounds, for generations to come.

London Jazz Festival 2011 - Day 2

13/11/2011

 

Robert Mitchell's 3IO @ Clore Ballroom

Robert Mitchell (piano) leads this soulful and sophisticated jazz trio, alongside Tom Mason (bass) and Richard Spaven (drums). The result is a fresh, dynamic and engaging live outfit; demonstrating a wide array of textures, a grooving sense of ensemble, and a tight, clean sound that you would only expect from such an accomplished modern jazz trio. I was particularly impressed with the rippling arpeggiated improvisations of the virtuosic pianist and leader Robert Mitchell, who threaded contoured passages over the fluctuating time signatures with mastery. The drummer, Richard Spaven, had a nice, natural rolling groove and feel, which was complemented by the punchy and vibrant clarity of the bassist Tom Mason. Simply brilliant and definitely worth checking out!

The Charming Transport Band @ Charlie Wright's

I saw a taster of this band last night in Ronnie Scott's and I thought 'wow... must check these guys out!' What an incredible combination - saxophones, tuba (substituting bass), piano and guitars, fronted by 3 West African percussionists - congas, cajon and djembe; one that simply draws you in and compels you to move. The avian-like soaring arcs of the saxophone and flute are underpinned by a robust hot bed of sweet, earthy percussion. The crackling, popping rhythms - zesty to the ears, in themselves - have a funky elasticity about them which just makes you want to be a part of it, and they speak in their own colourful language of tones. What struck me most was the level of communication among the band; the way that they appeared to be laughing and joking as they played, the music almost forming part of a conversation that they were having. The hits and stops were as well-rehearsed and tight as the skin of a drum, and the swift interchanges of texture, rhythm and harmony made for a stimulating performance, bubbling with good vibes, leaving you fulfilled and on top of the world!

Dice Factory @ Vortex

The compositions are fairly short, each presenting a window into a different environment, which keeps the attention transfixed. The compositions are structurally complex, yet programmatic, progressing through an array of structures, loosely interconnected through thematic line and argument. There is a strong emphasis on group improvisation over heavy structural arrangement, rather than individual solos; the virtuosity is well integrated throughout the ensemble. The melodies have a real shape to them, sensitively balanced between angular intervals, arpeggiated textures and runs, while the harmonies escape tonal centres and transport the listener through haunting, mystical soundscapes demonstrating the technical sensibility of twenty-first century jazz. The moment that took everyone was when the group improvisation boiled down to nothing, leaving the pianist alone playing a neo-nineteenth century piano sonata that was strikingly beautiful, dripping in old-time romanticism and reminiscence submitting the collective consciousness to a higher realm, which reminded me of the transcendental works of American composer Charles Ives. This was interrupted by the drummer building a steady pulse that built into a squealing saxophone wail, and descended in a dramatic scale to a unified finale. It was so unusual to hear this played within a contemporary jazz ensemble, but well done for being so bold and brash - I have heard nothing else like this!

Splice @ Vortex

Splice conjured up an immersive, hypnotic sonic experience - bringing together ambient, ghostly, celestial and futuristic sounds; interweaving digital sampling with live instruments, inventive textural combinations, timbral trills and special effects, within an arhythmic void of deep space. The pulsating segments of sound - aptly described as 'loose limbed' - are loosely connected, collapsing forth in waves of varying speed and momentum, sometimes building towards poignant climactic moments. The windy depths and chasms into which the musicians drop their sonic fragments, samples and ambient noises, are punctuated by striking, industrious musical landmarks and percussive edifices - their intensity, at times, bordering on rock and heavy metal. I was particularly impressed with the drummer, Johnny Hunter, whose crunching, cascading asteroid-like collisions exploded with a real thunder and intensity; at times, almost falling into a groove, but escaping just in time, interspersing the collateral with pools of reverberant space.

Christian Garrick @ 606

The 606 jazz club may feel a bit off the beaten track, but behind the caged stairwell in the basement club, I discovered a hidden gem. When I arrived, the quartet was in the thick of a funky, swish samba groove, bursting with energy and nu-bossa flavours. The group have a real vibe about them that I can't quite put my finger on. Their music has a true culture of its own, one that speaks directly to the heart and nurtures the soul, with its own moods and temperaments; at times longing and nostalgic, glowing with a fond reminiscence; at other times rich and folky with Latin and gypsy touches. The music took us through majestic peaks and surging tidal waves of emotional epic, spirited dances and wistful lullabies. The encore treated us to a steaming serving of hot, stonking swing, with each of the musicians playing over the rhythm changes at breathtaking pace, displaying an accomplished sense of virtuosity. I was stunned just watching this - these guys have really made their craft, and they can do anything that they want with it. By the end of it, the audience were completely enchanted, and there was a real sense of magic in the air. A gig that neither I nor the rest of the audience will forget!

London Jazz Festival 2011 - Day 1

12/11/2011

 

Steve Coleman + Reflex + Stevie Williams @ QEH

Stevie Williams

​Stevie Williams spun a terrifically brilliant improvisation, alternating between playful, wistful and intense, moving almost effortlessly from one idea to another, and making pleasing use of the full palette of colours available at his disposal. My favourite feature was the way in which he interchanged between tenor and soprano saxophones over one idea; starting a musical passage in the upper register of the tenor, and picking it up from exactly where he left off on the lower range of the soprano, only to dip down into the tenor - all in the same phrase, the transition seamless. Another highlight was the way in which he really played with the acoustics in the auditorium - fluctuating between different colours and intensities over one tone. His saxophone sound was light, yet brittle, haunting, and at times gritty and husky. The delivery was well-projected in such a large space - not forced. The pianist Pat Thomas combined cascading clusters with Stravinsky-esque grooving cycles, which alternated between clashing discords, whole-tone amusement and almost ballad-like concordance. The slower passages of the music explored some lush tonal pastures, languishing in drifting interchanges of situation, allowing Stevie Williams' saxophone to flutter up into the stratosphere only to spiral freely back down again. In general, his performance style is centred around autonomous, spontaneous improvisation, which reflect his life experiences, and paint an honest picture of where he is at the moment. From where I was sitting, it was apparent that he is in a pretty good place right now!

Steve Coleman + Reflex

​Steve Coleman took us on a whirlwind tour across a multitude of musical landscapes and themes, from hot to cold, from sad to playful, from heavy grooves to fluid floridity and lyricism. His improvisations are centred around one motivic segment, which forms the structural and thematic germ of his musical argument, which grows organically into a multi-faceted work. This allows the band to really stretch out and to enjoy an unmeasurable degree of flexibility; the angular leaps, corners and runs open windows and doors into alternate musical situations, at times striving earnestly towards tonality, yet always retreating back to its motivic centre as quickly as it departed - each time implying something else that could almost be a section of another song, in itself.

In terms of the ensemble playing, the band gelled under an immense degree of sensitivity; the musicians almost predicting one another's next moves and turns. You can tell that these guys know one others' playing intimately. Yet this is nothing too deep - it's all on the surface, at the perimeter, edge of your pants stuff. The improvisations of drummer Marcus Gilmore drew gasps of delight and rapture from the audience; throwing out a barrage of distorted rhythmic perspectives and shapes in a remarkable variety of timbres and colours, as though there were an entire batucada ensemble emanating from one musician, or even an orchestra, for it was clear that his thinking was more than just rhythmic - he was thinking melodically, possibly harmonically. His interplay with the pianist David Virelles grooved militantly and stridently, yet staggered and fell over one another at times, giving the momentum a delightful viscosity.

Coleman's saxophone sound is profoundly spiritual, rooted in the influences from Cuba, Brazil and West Africa, yet at the same time insanely logical and methodical. This balance is complemented by a confident, charismatic and often witty delivery; Coleman is buzzing with energy and humour, yet he is clearly in control of the musical situation, and unwavered by the levels of momentum that emanates from this tight three-piece unit. The musical improvisation run freely, almost childish, but embossed with the weight of density behind it, always playing with your expectations. The Afro-Cuban influences were particularly poignant in the last part of the gig, with variants of the 12/8 bell patterns returning at the end, phasing against a juxtaposed riff scatted out with the piano, the de-synchronisation techniques gradually distorting the musical horizons and leaving us hungry again. Altogether it was a fantastic start to the festival; leaving the audience cheering and pleading for more. It gave us enough of a taste of something to entice us to Ronnie Scott's for an aftershow Jazz Festival broadcast where we were treated to another delightful offering - altogether different within the jazz bar. Absolutely stunning!
    Picture

    Rory Duffy

    Rory spent the first few years of his life in an ice cave, carving out his palace of wonder. He's a bit of a love doll, but he who melts the ice shall have their reward.

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