Terence Blanchard is a magnificent trumpet player with a huge reputation. Even if you’re not into jazz you may have heard his music on the soundtrack of films, including most of those directed by Spike Lee – including, memorably When the Levees Broke: A Requiem in Four Acts, Lee’s 2006 powerful film about Katrina and its aftermath.
So it was quite something to be able to hear Blanchard perform live at Parr Hall in Warrington recently as part of a new project – piloted by The Band on the Wall – in which he had worked with some of the UK’s most remarkable emerging musicians, as a mentor offering a bunch of thirteen musicians an apprenticeship culminating in live performances around the northwest.
What resulted was an evening of sensational jazz in which Blanchard treated us to stellar moments of trumpet virtuosity, while the young musicians of the Inner City Ensemble, left to their own devices by Blanchard for a major part of the gig, proved an equal match in both their collective playing and in individual exchanges between instruments. Continue reading “Terence Blanchard and the Inner City Ensemble”
A few nights ago we watched Julien Temple’s super film, Keith Richards: The Origin of the Species, covering the guitarist’s early years, from birth to 18, following it with Jon Savage’s film, 1966: The Year the Decade Exploded, based on his expansive book which I’ve just finished reading.
Who would have thought it? The reprobate Keith Richards re-imagined as an avuncular national treasure? Temple’s film was a delight; I don’t think I stopped grinning once. Cleverly weaving Keith reminiscing about his childhood and family connections into an intricate montage of archive newsreel, TV commercials, old public information films and dramatic reconstructions in monochrome, Origin of the Species successfully evoked what it felt like to be part of the generation born in the 40s who grew up in the still grey and hidebound 50s. Continue reading “Keith Richards and the Decade That Exploded”
Among the galaxy of boundary-probing musicians recorded by Manfred Eicher’s ECM label, the name of Markus Stockhausen has a particular resonance. He’s the son of composer and pioneer of the avant-garde Karlheinz Stockhausen, regarded as one of the great visionaries of 20th-century music, with whom Markus collaborated on several compositions.
The flugelhorn player has got a new album out on ECM, Alba, on which he appears with pianist Florian Weber, and he was at the RNCM in Manchester last night to promote it, at the same time leading sessions teaching students the rudiments of what he calls ‘intuitive music’. During the concert – in which the duo – a.k.a. Inside Out – played several compositions from the new CD, we were treated to two exhilarating examples of intuitive music, performed with a band of the brilliant students with whom he had been working. Continue reading “Markus Stockhausen and Florian Weber at RNCM: exhilarating, intuitive music”
What felt like urban gridlock apocalypse meant that it took us nearly four hours to drive the 35 miles to Manchester and caused us to miss the first hour of the opening night of the UK leg of Bruce Springsteen’s River tour at the Etihad Stadium.
So while the Boss was powering ahead with the E Street Band on tracks such as ‘Two Hearts’, ‘Hungry Heart’ and ‘Crush on You’ from the classic 1980 album (and inviting a man dressed as Father Christmas onto the stage to join him in an impromptu rendition of ‘Santa Claus Is Coming To Town‘), we were locked down in the worst traffic chaos I have ever experienced – the result, apparently, of four simultaneous accidents that shut down Manchester’s entire tram network. Continue reading “Springsteen in Manchester: holy communion”
I’ve been listening to what will surely be the finest jazz record of the year – and one that I reckon will come to be regarded as one of the classic releases on the ECM label. It’s In Movement, the first release from Jack DeJohnette’s new trio who have been playing together for a couple of years. Now they have produced a very fine album of contemporary jazz, full of historical resonances, on which all three musicians deliver stellar performances. Continue reading “In Movement from Jack DeJohnette’s Trio: history, yet very much of the present”
Arild Andersen’s name has run like a thread through almost the entire history of ECM records, all the way back to the double-bass player’s collaboration with Jan Garbarek on Afric Pepperbird back in 1971. His most recent project has been the trio formed a decade ago with Paolo Vinaccia on drums and Tommy Smith on saxophone. I saw them play a spell-bindingly energetic set at Manchester’s Band on the Wall. Continue reading “Arild Anderson Trio at the Band on the Wall: fiery, intense, soulful”
Another good man has departed the world of music. But Guy Clark leaves behind some of the best songs ever to come out of Texas: down-to-earth, workmanlike, tender, and often with a touch of wry humour. Continue reading “Guy Clark: Songs of life, songs of hope”