London Jazz Festival 2008

London, England
November 14-23, 2008


Ken Vandermark, Barry Guy, Mark Sanders
The Vortex
November 14

In a meticulously unplanned concert, the music often seemed like a sonic battle between these three renowned improvisers. Sporting a black-fitted tee and a hairstyle that could be straight from the Police Academy films, Vandermark was the dominant voice. On tenor saxophone and occasionally clarinet, his signature wailing, guttural, distorted screams interchanged with lithely melodic phrases and deft percussive passages. Sanders and Guy were largely in the background, providing a constant stream of ideas and demonstrating why they are so highly regarded amongst the European avant garde. Guy in particular employed a number of extended techniques, utilizing all parts of his five-string double bass and performing on-the-job customizations such as jamming a drumstick under the strings, or using a soft-headed beater to produce gentle ripples of sound during quieter movements. Certainly a spectacular opening for the promising festival program, it would be hard for any subsequent performance to surpass the sheer creative intensity on display this Friday night.

Bill Frisell
Barbican Centre
November 15

The idea of a band playing live to accompany films is becoming very fashionable: Courtney Pine and Steven Bernstein are, along with Frisell, artists who have experimented with the concept. Frisell's trio tonight provided the soundtrack for a series of short pieces, from abstract insectile cartoons to a couple of delightful Buster Keaton slapsticks. With such a volume of audio and visual stimuli assaulting the senses, it was difficult to simultaneously focus attention on both music and moving images. However, the band, comprising Kenny Wollesen on drums and Tony Scherr on bass, always produced something to fit the occasion--whether stretching out in illustrative soundscapes or employing highly synchronized compositions with clever and perfectly-timed sound effects from the drummer. Always the individual stylist, Frisell stamped his mark on everything they played, his instantly recognizable tone ringing out with influences heavy in rock and country as much as jazz. The only drawback was that, occasionally, there was not a lot of variation in the overall sound produced for different films.

Richard Galliano and Gonzalo Rubalcaba
Queen Elizabeth Hall
November 16

A truly dreadful opening act featuring Romanian violinist Alexander Balanescu and Russian accordionist/singer Evelina Petrova went on for much too long without going anywhere musically; it wasn't even jazz. Galliano and Rubalcaba did not appear as a duo until after 10 p.m., after brief solo recitals from both. The fleet-fingered French accordion player ran through a series of short tunes, including Astor Piazzolla's classic "Libertango," with typically passionate Gallic flair. Rubalcaba's formidable touch was not employed to its fullest extent at any stage. His hands danced around the keys, but he seems to have developed a calmer, more restrained and exploratory attitude--there were no blistering runs, but his harmonic and rhythmic inventiveness was equally spectacular for those listening carefully. As a duo, they were engaging and communicative, giving each other space to play and not going over the top. A few more tempo changes would have been pleasing, but on the whole an impressive and vibrant performance.

Chris Potter
Ronnie Scott's
November 17

What hasn't been said about Chris Potter? Deserved critical praise has been sent his way from all angles, including for the current 'Underground' project featuring Craig Taborn (Fender Rhodes), Adam Rogers (guitar) and Nate Smith (drums). All were in fine form at Ronnie's, with the band's groove-oriented aesthetic laid bare for a packed house to enjoy. Potter's tenor sax (and occasional bass clarinet) cut through an intriguing web of guitar and Rhodes as they melted together lavishly, with either Rogers or Taborn keeping an eye on the low frequencies to compensate for the lack of bassist. The saxophonist's brutally rhythmic improvisational attack is perfectly suited to this kind of upbeat setting--the band has mastered the art of carefully growing each tune, gently rising in volume and intensity to push any soloist to his limits. And the repertoire wasn't restricted to fast-paced blitzing assaults, with Bob Dylan and Joni Mitchell covers thrown in for a bit of mellow variety.

Robert Glasper
Cargo
November 18

The lines between jazz and hip-hop have been frequently blurred in recent years, by all manner of artists from saxophonist Greg Osby to the incendiary Youngblood Brass Band. No one, however, has been more effective than Glasper in exploring the crossover through a piano trio format. A relative newcomer on the international circuit, the Texan differs from many musicians who have dabbled with this potent fusion in that his music is genuinely rooted in jazz and hip-hop as equal partners--rather than simply jazz from a hip-hop angle, or vice versa. For this outing Glasper was joined by Alan Hampton on bass and phenomenal drummer Chris Dave, the band's indisputable engine. Beat-heads were out in force, uttering whoops of joy at Dave's peppery rhythms, lightning fills and fearsomely fiery breaks. His sense of timing is wickedly skewed in the best possible way, the perfect complement to Glasper's rippling, undulating chordal style. The pianist is a player of unrivalled fluidity and superior harmonic nous, but his vamps sometimes became overly cyclical and the music a touch directionless. Yet Dave and Hampton always managed to keep things moving--the essence of the trio is perhaps more about soaking up the grooves than any individual leading the way.

Herbie Hancock
Barbican Centre
November 19

To this writer's delight, it seems Mr. Hancock may have read the review posted on AAJ of his performance at the 2008 North Sea Jazz Festival. In short, it was a less-than-innovative stroll through a funk songbook largely of the Headhunters idiom, which, despite the classic nature of the tunes and excellent delivery, was disappointing in its familiarity. This show, on the other hand, was much more exciting--Hancock explored some different material at greater length, aided by a stellar band featuring Terence Blanchard (trumpet), Gregoire Maret (harmonica), Lionel Loueke (guitar), Kendrick Scott (drums) and James Genus (bass). The musicians seemed to gel more meaningfully than an almost completely different group in Rotterdam, with Genus and Scott locked together solidly and Loueke in inspired form. They played for nearly three hours. Blanchard was an imperious presence on every solo, strutting the stage and employing delay and chorus effects for added wow. It's an increasingly rare delight to find him on the road with other leaders, as he is often occupied with teaching and film score gigs. The Swiss Maret had his moments, but looked a little out of depth next to the plethora of highly experienced players. Of course Hancock had to throw in a couple of old standards--"Cantaloupe Island," "Actual Proof" and "Chameleon" as an encore (with obligatory keytar jamboree)--but long, twisted, epic adventures through "Speak Like a Child" and Wayne Shorter's "Visitor" ceded together, and a stirring rendition of Loueke's convoluted "17s," more than compensated.

N.B. Highlights from this concert are being broadcast by BBC Radio Monday 3, December 8, 2008 and will be available for seven days online at www.bbc.co.uk/radio3.

Matthew Herbert Big Band
Royal Festival Hall
November 21

Matthew Herbert has created a musical monster. With five saxophones, four trumpets, four trombones, piano, bass, drums, lead vocalist, more than 60 backing singers (exclusively for this gig), a musical director and the man himself on electronic wizardry, this a summative depiction of contemporary jazz on a grand scale. It is also a beast which obeys its every command, capable of filling any setting with euphoric uproar. Sadly the Festival Hall engineering crew did not match the band's standard--it came through the system flat, cramped and unbalanced in a venue that should do better. After a slow start, featuring a couple of forgettable pop-ish meanderings, things really took off with powerful vocalist Eska leading the effort; although often burdened with slightly mundane and repetitive lyrics, she was never lacking style in delivery, admirably making the most of what she was given. One of the most enjoyable moments was a delightedly choreographed tune that featured almost all performers on stage tearing up copies of a low-reputation national newspaper in tandem. Here and in other instances, Herbert's crafty live sampling skills were a lesson in ruthless accuracy. The audience went home very happy, but, in purely technical terms, this ferocious band could have sounded a lot happier.

Chucho Valdes
Barbican Center
November 22

With Chucho Valdes, one always knows what to expect: a flourishingly buoyant display of Latin jazz led from the piano stool of this old master. Tonight, a rare visit to London, was no exception. Opening with a scorching medley including Duke's "Satin Doll" and the effervescent "Caravan," he went on to quote Joe Zawinul's "Birdland" in mambo form and spotlight the talents of his two percussionists--Juan Carlos Castro Rojas (drum kit) and Yaroldi Abreu (congas)--by allowing them to let loose in a long, spicy rhythmic feast with no real piano melody. That was just the first half. After the interval, Valdes brought out a four-piece horn section as well as his sister, the eccentric singer Mayra Caridad, for a couple of party numbers. The music took on a slightly rougher, more instinctive vibe, with all players given ample solo freedom. A brilliantly tight arrangement of Victor Young's "Stella by Starlight," with the head blasted out at breakneck speed, was typical of the sweltering big-band writing Valdes has developed through his noted group Irakere. The pianist clearly prides himself on well-drilled ensemble work and, although this set of compatriots may not have reached the dizzy heights (forgive the pun) of Paquito D'Rivera or Arturo Sandoval, they all had rich improvisational contributions to make--particularly Alexander Abreu's blaring trumpet and the cameo appearance of German Velazco's sweet soprano sax. And if that wasn't enough, a solitary woman even began to dance in the aisles of the cavernous Barbican hall: a typically British scenario, surely a far cry from the rapturous reception this superb band would receive back in Cuba.

Bireli Lagrene and Martin Taylor
Queen Elizabeth Hall
November 23

This was a fitting end to the festival, as two of the world's principal guitarists came together for an intrepid race to the pinnacle of distinction. Messrs. Lagrene and Taylor both worked with the great Stephane Grappelli, and, while continuing to honour the gypsy swing roots of Grapelli and Django Reinhardt, they have carved their own niches in the minds of music lovers. Taylor is par excellence in his incredible solo work, hypnotically fingerpicking his way through standards and originals alike; imagine Tommy Emmanuel high on jazz with a smooth electric tone and endless silky licks. Lagrene, although he has dabbled in fusion and post-bop, often favours the Manouche style of his Gypsy forefathers. His compact trio, featuring gentle bassist Diego Imbert and Hono Winterstein on rhythm guitar, offered the perfect opportunity for the Frenchman's dazzling chops to run free. When joined by Taylor for the last few songs of the night, the spectacle became any guitarist's dream ticket: the two had traded ideas in earlier duets, but went on to push each other further upwards with breathtaking interplay, supercharged by the immaculate backing of Winterstein and Imbert. A couple of swinging encores later, it was the end of everything--another spectacular success for the London Jazz Festival.

Published @ allaboutjazz, 2/12/08 - click here for original.

Omara Portuondo: 77 Not Out

At 77, Omara Portuondo is an elder stateswoman of world music. Here she tells Frederick Bernas about her new album, Gracias, and reflects on a long life of innovation, cultural enterprise and funny stories.

With a musical career spanning 60 years and counting, Omara Portuondo is far from finished. "It is never enough, there is always more to do, there is always something new," she states from a comfy couch in the top-floor bar of a London hotel. It's early Friday morning and the singer is probably not too enthralled by the prospect of a day with the media.

However, she speaks enthusiastically about her new CD, Gracias, which was released on September 25. "I selected these tracks because they are very popular and people know them in Cuba. I like all of these songs and I wanted to work with younger people who play modern music which is still rooted in tradition." Indeed, the backing band for this 13-track disc features the likes of jazz bass virtuoso Avishai Cohen and rising Cuban star Roberto Fonseca on piano. Other guest appearances include Indian percussionist Trilok Gurtu, sweet-voiced Richard Bona from Cameroon, veteran pianist Chucho Valdés and Brazilian crooner Chico Buarque.

"The music doesn't know the barriers of age or language," she continues. "I wanted to bring everyone together to celebrate 60 years. I've done lots of records; this time I wanted to work with songs I've done before but make them more contemporary, more actual." Easily discernible from its title, the album is a gesture of appreciation -- "I wanted to say thank you to all these people: my family, musicians, authors, composers, the public, everyone who has helped me."

In the early years, Omara learnt traditional songs from her parents and became a professional dancer in 1945. Swapping her dancing shoes for a mic, she was then part of several innovative movements in Cuban music, with fusion across genres such as jazz, bossa and other Latin styles. Her debut album was released in 1959 and for the next 40 years she worked steadily on different projects, mostly solo, including the Buena Vista Social Club.

A worldwide phenomenon emerged: Wim Wenders produced a compelling documentary and World Circuit Records released an album of the same name. Portuondo and others skyrocketed to international fame almost overnight, and she identifies this as the highlight of her musical life so far. "It made Cuban music known all over the world. I had been to Finland, Japan, other countries, but then with the Buena Vista Social Club everything went global. There was a collective feeling of joy and it made me very happy. I have huge pride that I worked with these musicians, sang these songs."

Had she expected such a boom of interest in Cuban music? "It's a difficult thing, it was a coincidence. It happened organically, without thinking about it -- [producer] Nick Gold, Wim Wenders and [guitarist/producer] Ry Cooder were there to work on the project and it just happened. We never really imagined it was going to be so successful. The record was going to be made anyway. You just need to be in the right place at the right time for an opportune moment!"

Portuondo already had a considerable reputation in Cuba: wonderful images from Wenders' film of her walking through Havana, singing choruses of popular tunes with members of the public, illustrate her significance in domestic culture. She maintains that her life "didn't really change" when her fame acquired this international dimension, but it perhaps fostered a heightened sense of consciousness at being a global ambassador for the little island's artistic scene. "I don't feel pressure from fans to produce a good album, but I feel responsibility that I am representing the music of a country. I feel like the public are on my side. And I don't really feel the high expectations because I am part of a team; the musicians with me are young, and they have won prizes in jazz festivals. They really help me to move forward."

Cuban influence on world music is disproportionate to the size of its population -- the nation has a history of producing great players who have collaborated fruitfully with foreign artists, particularly in the field of jazz. Dizzy Gillespie was one of the first to break away from the American mainstream he'd helped create, venturing into what is now known as Latin jazz to produce a series of albums which defined the sub-genre. Omara offers an insightful explanation, arguing, "It's no so much that Cuba is an influence, we've been very well-informed.

"Even though it's a small country, 11 million inhabitants, we still receive information. I knew the Beatles, I sung their songs, I sung with Nat King Cole, I sung Italian songs, American, English... We had people on TV from Italy, North America, Mexico, so we all saw that. Cuba has always been very well-informed on what's going on in the outside world -- whether it is music, film, recordings or whatever."

In terms of the future, she has prudent words: "I see it like any other country in the world. It all depends on the youth, the opportunities. Cuba is subject to a lot of things -- for example, hurricanes -- but I see it as any other country." Her tone possesses a grandmotherly air of wisdom on the subject, and she speaks brightly of new Cuban musical talent. "There are so, so many musicians to look out for! They are making all kinds of music, and lots of young people ask to work with me -- for example, I have worked with a rapper on something really funky, very upbeat. There is a lot of musical interest from young people in Cuba."

Like any grandparent, Omara has a wealth of random tales -- she bursts into life when asked about comical memories, animatedly recounting the time when "I was singing with a quartet live on TV, and one of the other girls swallowed a fly! It flew into her mouth as we were ending a song, and we didn't realise she had run away!

"Lots of unexpected things happen on stage. There was another time when the heel of my shoe wedged into a little gap in the stage live on TV and I fell down! And another time, when we were in Mexico preparing for a show, there was an earthquake while I was on the toilet -- we didn't know what was going on!"

The warmth of her personality shines through, a characteristic that has endeared her to music lovers the world over. This public familiarity as one of the queens of Latin music is aptly demonstrated by the fact her surname has been omitted from the cover of Gracias, a risky luxury few other musicians could afford. Her expressive, compassionate voice can be recognised instantly -- it's a "gift" she is profoundly grateful for. "I am lucky to be able to do things with my voice musically. Other people might be more limited, but I can, so I am always going to find something new and something to innovate."

As for motivation, another crucial facet to her thinking is creative exchange: "I did all this so I could spread culture to other countries in the world, and I think I have succeeded. My father taught me all the old Cuban songs when I was a young girl and I've been singing them for more than 50 years now." Did she think it would come this far? "It's not something you think about, it's something that happens. It doesn't matter about the language. It's not something I thought ahead about. I'm doing something I like, so I will always keep going: I never tire of singing, I will not stop singing until one day when I might have to!"


UK tour dates:
10/12/08 -- Sage 1, Gateshead
13/12/08 -- Town Hall, Birmingham
14/12/08 -- Union Chapel, London

Links:
www.omaraportuondo.com
www.myspace.com/omaraportuondoworldcircuit


Published @ Fly, 4/10/08 - click here for original.

Alex Wilson - Salsa Con Soul

On his sixth solo album, the award-winning Wilson looks more towards commercial influences than previous work.

It would be easy for a man of Alex Wilson's pianistic talent to cruise along comfortably, picking up sideman or session gigs here and there and continuing to operate in the time-honoured medium of standard small jazz groups. But that doesn't match his creative vision. Instead, recent records have seen him assemble a 12-piece all-singing, all-dancing Latin ensemble, capable of swirling grooves and intricate polyrhythms which bring out the best in his compositional nous.

After Inglaterra (2007), a disc which firmly established his arrival as a major player on dancefloors around the world, Wilson has opted for a more western, singer-oriented outing - as the title of Salsa Con Soul would suggest. Welcome to a truly globalised world, where traditional elements of Latin music are combined with more mainstream genres like soul, R&B and gospel.

The band is spot on, raking through sharp, classy arrangements that complement the assortment of vocalists and help them sound really good. The word 'diva' has become cliché, including its use in this CD's press release, and there is a sense of a diva complex in the music: the English lyrics occasionally veer precariously close to the rather crass realms of our dearly beloved pop kingdom. However, spicy instrumentation will often step in to save the day, like a knight in shining armour to rescue the damsel in distress, going some way to appease even the staunchest anti-pop crusaders. This is not said lightly, but it's forgivable in the name of fun.

Salsa Con Soul ticks pretty much all the boxes. There's even a sprinkling of fiery non-vocal tunes to soothe the aforementioned purists - 'Sabroson' and 'Antonio' offer a pleasant respite from soul diva shenanigans. If you're planning a Latin-themed dance party, this record should be number one on the shopping list.


Release: 20/10/08

Tour:
19/10/08 - Leeds University
8/11/08 - Birmingham Town Hall
21/11/08 - Jazz Café, London

Links:
www.alexwilson.net
www.myspace.com/alexwilsonpiano



Published @ Fly, 3/10/08 - click here for original.

Latin Funk Spectacular to hit Jazz Café

Tuesday 29 July will see two acclaimed Latin funk collectives take to the Jazz Café stage in a special gig to showcase new albums on Aire Sol Records.

Hailed as one of the hardest-working and most exciting bands to emerge from the States in the last decade, Grupo Fantasma draws on a wide variety of influences from the 1960s’ Fania All-Stars through to folk-fusion wonderkid Manu Chao. Sonidos Gold, released in June this year, is described by bandleader Adrian Quesada as “the one we’ve wanted to make from the beginning,” and features guest appearances from, among others, legendary saxist Maceo Parker. Prince is also a designated star fan, having given the 10-piece group a two-month residency at his Las Vegas nightclub.

Homenaje, the debut album from label-mates Brownout, was two-and-a-half years in the making. It was worth waiting for. Simmering, acerbic grooves, catchy guitar riffs and richly funky solos come as standard. It’s impossible not to feel the energetic party vibes - the CD is one to turn up and play loud, which almost always translates into a highly enjoyable live experience. In fact, you probably won’t be surprised to find out that the eight members of Brownout all play in Grupo Fantasma.

There is clearly a deep pool of talent in Austin, Texas — the home city of both groups. More importantly, they have evidently worked incredibly hard to bring their music to a global audience: the label was formed in 1999. Now they are reaping the rewards, with distribution deals and festival appearances to take things to a new level. Watch out.

Links:
Grupo Fantasma - www.grupofantasma.com / www.myspace.com/fantasmics
Brownout! - www.myspace.com/brownoutmusic / www.brownoutmusic.blogspot.com
Aire Sol Records - www.myspace.com/airesolrecord

Published @ Fly, 22/7/08 - click here for original.

Eduardo Niebla - St George's, 25/11/06

St George's Hall off Park Street, which boasts of being one of the finest acoustic venues in the country, was host to a creative exploration of musical possibilities from a trio comprising two guitars and an Indian tabla player. Eduardo Niebla, whose show title brings to mind a completely contrasting guitar legend - Hendrix - put on an explosive masterclass of instrumental virtuosity.

Born in Tangiers, Morocco to a family of diverse talent (one of his brothers apparently holds a drumming world record), Niebla has a fascinating tale of how he first became captivated by music: "My father was a runner, one of the champions in 40-50 kilometer distances, and when he won a race he would bring musicians home for the celebrations." This inspired him to take up the accordion from age 5, before moving to guitar a few years later while living in Spain.

So how did he arrive at the unique flamenco-jazz-fusion style which mesmerised Bristol's punters? "I listened to all kinds of music from an early age - classical, flamenco and jazz were always playing. And I always loved improvisation. I think my own music developed in a natural way from listening to so much different stuff."

Further opportunities came when Niebla moved to London in 1978 - "It was an awakening. I got to play with musicians from all over the world and learn about their cultures. Music is a universal language with many shapes, colours and ways; my style is based on being free, showing your feelings and playing with emotion."

Published in the Epigram, 15/1/07.