On Thursday evening, after storm Doris had raged all day, I turned up for the opening event of this year’s Liverpool Jazz Festival to find that Sons of Kemet had been stranded in London by the suspension of all services out of Euston. However, by Sunday lunchtime everything was balmy in the meteorological department when I returned to the Capstone to see saxophonist Iain Ballamy and pianist Huw Warren perform a remarkably eclectic set that embraced music from many genres, times and places. Continue reading “Iain Ballamy and Huw Warren at Liverpool Jazz Festival”
A Klezmer-ish night out? Why not – especially when the venue is one of the most beautiful buildings in our neighbourhood. Klezmer-ish are a group of four musicians whose day job is with the Liverpool Philharmonic Orchestra. They play klezmer, but at the same time (thus the -ish) explore a wide range of music created by immigrants from all sorts of places around the world – from Argentinean tango to gypsy jazz and Irish fiddle music. Last night they were performing in the dazzling Princes Road synagogue.
Continue reading “Migrant tunes: a Klezmer-ish night out at the local synagogue”
Last caught I finally caught up with a local musical phenomenon. John O’Connell’s Simply Dylan band has been amassing a growing following on Merseyside and then around the country since beginning as a modest project in 2011 to celebrate Dylan’s 70th birthday. After selling out the Cavern Club six times and several successful UK tours, I saw their rousing show at the Citadel in St Helens.
I’ll admit to a degree of scepticism before the show: though I’d never contemplate going to a show by the real Dylan anymore (voice shot, too many Frank Sinatra songs), I thought it unlikely that a show of Dylan covers would move me. But it did: Simply Dylan are Simply brilliant.
Continue reading “Simply Dylan: simply brilliant!”
Once again, we made the journey down to the capital to sample three events during the opening weekend of the London Jazz Festival. The music began with what was, for me, a welcome second helping of Tord Gustavsen’s collaboration with the German-Afghan vocalist Simin Tander on songs from their ECM album, What Was Said. The weekend concluded with a strong set but not totally convincing set from the Jan Garbarek Quartet at the Royal Festival Hall. But the outstanding event was a masterclass of breathtaking jazz improvisation by pianist Brad Mehldau and saxophonist Joshua Redman. That alone was worth the journey. Continue reading “At the London Jazz Festival: Mehldau and Redman deliver a jazz masterclass, but the Garbarek quartet disappoints”
Last night, before the news came of Leonard Cohen’s departure from this life, I was privileged to see an outstanding show by another great poet of song, Paul Simon.
On our way into Manchester I said to my travelling companions, ‘He must, surely, do An American Tune.’ He hadn’t the previous night in London, but I prayed that in Manchester he would sing what is truly a song for these times.
On Tuesday evening we sloshed our way through the first real rain of this autumn to the Philharmonic for a performance by a man whose lyrics have revealed a man who loves nothing better than to walk in gardens wet with rain – Van Morrison. With a notorious reputation for grumpiness and offhand behaviour in his concerts, we were a little apprehensive about what we might get. But Van was in fine form and, supported by an excellent band, crammed 90 minutes with a stellar selection of songs from a career in which he has recorded an astonishing 36 albums. Continue reading “Van Morrison at the Phil: in good voice and totally committed”
Can a medieval poem meditating on the suffering of Mary, the mother of Christ, as she stands at the foot of the cross have any relevance to these times, or to someone like me who adheres to no faith? The answer given by the performance of James Macmillan’s new setting of Stabat Mater at Manchester’s Bridgewater Hall was a resounding yes.
The singers of Harry Christophers’ The Sixteen and the strings of the Britten Sinfonia combined to produce an electrifying performance of Macmillan’s elegiac, angry and often discordant cry of grief and personal commitment in the face of tragedy. I don’t think I’ve attended a more enthralling concert of contemporary music in the classical tradition. Continue reading “The Manchester premiere of James MacMillan’s Stabat Mater: sacred music concerned with the suffering of humanity”