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January was one hell of a month for live gigs in London, with Spring Heel Jack on tour more than living up to expectations, Han Bennink & Steve Beresford magnificent while launching a new club space on a boat moored on the Thames, Joe McPhee (in London for the first time in 20 years) starting his tour with Paul Hession, and also Wolfgang Muthspiel, Marc Johnson & Brian Blade calling in for a one-off date at the Vortex on a whistle stop tour of Europe. Not to mention Arthur Lee playing Forever Changes live with full orchestra at the Royal Festival Hall, but that is another story...
However, one event dwarfed all of these, when for five nights Philip Glass and his ensemble took over the Barbican to bring us Philip on Film , a celebration of Glass's soundtrack work. In addition to two talks from Glass, we were given the movies Koyaanisqatsi, Powaqqatsi, Beauty & the Beast, and Dracula , plus a full programme of shorts, all with live soundtrack provided by the ensemble. Over the years, we have seen some wonderful examples of this combination of film and live music - Bill Frisell's soundtracks for Buster Keaton shorts, and Ornette Coleman and Howard Shore's soundtrack for Naked Lunch are particularly memorable - but this season topped them all in its range, emotion and vitality.
The opening night featured short films by five directors, and was an excellent hors d'oeuvre for the rest of the week. The directors were chosen by Glass; he had an original list of ten, but the first five he approached all agreed to work with him. For me, the outstanding short film was Passage by the Iranian artist Shirin Neshat. Her work has striking images, resonant with cultural and religious overtones. Here, these included a funeral procession of black clad figures along a beach, and a group of women again black clad digging with their bare hands in coarse rocky desert soil. Glass's music, as throughout the season, complemented and intensified the images, becoming an essential part of the narrative. Typically, Glass's music is very rhythmic, not just through its use of percussion but also through the repetitive structures upon which it is founded. It also includes many elements of world musics that are integrated into it.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...