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.
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.
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”→
Last weekend, at the Royal Northern College of Music in Manchester, we were treated to a stunning display of instrumental virtuosity by Ballake Sissoko, kora master from Mali, and Vincent Segal, French conservatory-trained cellist. Since 2009 the pair have recorded three albums together, delicate and lovely conversations between instruments from two classical music traditions. Continue reading “Rocking gently: Ballake Sissoko and Vincent Segal in concert at RNCM”→
During the interval at last night’s magnificent Arvo Pärt concert at the Bridgewater Hall I sneaked a look at the latest news on my phone. At the Brussels eurozone summit, Greece was being forced to accept financial colonialism in terms as humiliating as those imposed on Germany at Versailles in 1919.
Just as the Red Queen in Through the Looking Glass asks, ‘What do you suppose is the use of a child without any meaning?’ so the question might arise, ‘What is the use of art without meaning?’
Should a person enter the room at Manchester’s Whitworth Gallery in which the work of Gerhard Richter is currently on display, and should that person have read no advance publicity about the Richter/Pärt show of which it is a part, they would find themselves confronted by four large abstract paintings in which thick layers of paint have been squeegeed across the surface – scorched black on white, smears of bloody red, and patches of disintegrating green. They might then ask, ‘What does this mean?’ Continue reading “Richter/Pärt at the Whitworth, Manchester: no broken hallelujah”→