CD Review: Barb Jungr - Man In The Long Black Coat

Barb Jungr - Man In The Long Black Coat
(Linn Records - CD Review by Sarah Ellen Hughes)

Man In The Long Black Coat is a collection of Bob Dylan songs uniquely interpreted by vocalist Barb Jungr, to mark the songwriter’s 70th birthday (which is next Tuesday).

Barb Jungr’s love affair with the songs of Bob Dylan began a decade ago as she says herself: “Once I started singing Dylan’s songs I couldn’t stop.” In fact, only four of the tracks here are newly recorded, the rest having appeared on previous albums

The album opens with the title track, stripped down to its bare minimum – an exquisite delivery of lyrics accompanied by the haunting toll of bells and beautifully arranged piano lines, which add occasional sparks life to this solemn chant. One could imagine Jungr on stage for the opening of the Threepenny Opera, or Sweeney Todd, or something equally dark, such is the evocatively delivered lyric and melody. One feels they’re in for a treat as this album is sure to deal with Dylan’s anthems expertly.

Jungr has taken some risks with interpretations and arrangements. Just Like A Woman has been transformed from its delicate, lilting acoustic folk to an altogether more quirky and bold reggae-influenced style. It is an interesting interpretation as it gives a carefree and jovial side to the emotionally charged lyrics, but somehow it works. Conversely, the beautifully understated delivery of Like A Rolling Stone, with its haunting accompaniment and Celtic flavours does the opposite in toning down the passion and drive showcased in a Dylan delivery. The poignancy of this tune makes it the stand-out track for me.

I also love the gospel-y Wade-in-the-Water-style Trouble In Mind. Refreshingly, Jungr hasn’t chosen the token Dylan hits such as Blowing in the Wind and Mr Tambourine Man – rather she has delved deep into the catalogue of songs and picked ones which really work for her.

Jungr has that rare ability of delivering each song with a different edge to her voice – making for a delicious mixture of tones and colours, from the ethereal, jaunty Times They Are A-Changing to the soulful and passionate It Aint Me Babe, a more lyrical and expressive offering than Dylan’s orginal.

Jungr demonstrates a solid vocal range throughout, singing Tomorrow Is A Long Time an octave lower than many other singers would, and indeed than any other song herein. It’s wonderful!

The instrumentation is incredibly imaginative and serves to support Jungr’s interpretations with a range of timbres: the haunting toll of bells; organ; mbira (thumb piano); and electronic effects such as the autoharp and mellotron (although I could have been convinced someone was playing jam jars filled with odd amounts of water). It all adds to a theatrical yet tasteful collection of songs, one that is a fitting tribute to the music of Bob Dylan.

Linnrecords.com

Barb Jungr will be performing songs from the album with Jenny Carr (piano) at the Purcell Room on the South Bank on May 25th.

Review: Matana Roberts

Matana Roberts with Robert Mitchell, Tom Mason and Mark Sanders. Queen Elizabeth Hall, Front Room, Friday 4th March 2011. Review by Tim Woodall.

The Front Room at the Queen Elizabeth Hall is arguably Southbank Centre’s one truly good space for jazz and the free, early evening Friday Tonic series presents reliably strong names.

Sax player Matana Roberts was over from the States to promote her new album, Live in London, recorded at the Vortex with this local rhythm section (although drummer Mark Sanders was a stand-in for this gig). The empathy between these players, Roberts and pianist Robert Mitchell especially, was obvious right from the off.

The young Chicagoan has a free jazz background – she was exposed to Albert Ayler’s music at toddler age – but what was most notable about these two sets, was the lyricism and swing of the quartet’s playing.

That’s not to say there wasn’t some challenging material here. The first two long tunes featured both probing ensemble playing and freer improvisation, Mitchell careering up and down the piano while Roberts fluttered Coltrane-style arpeggio figures.

Individual solos don’t feature much with this band. The expressive bassist Tom Mason enjoyed an entwining duo with Roberts in the first number and a fast-paced but beautifully crafted solo from Mitchell lit up the second, but for the most part Roberts’s pieces are group explorations.

This approach favours Matana’s playing. With its car-horn register and historical misuse by cheesy entertainers, the alto is the hardest of the sax family to play really well. Roberts plays her alto like a tenor, favouring long legato lines and drawing a deep sound from the instrument.

Her style matches the spiritual bent of her music. The second set, which to be honest meandered a little, was less energetic than the first. This reflective music requires more concentration, not always forthcoming from a capacity crowd. The band regrouped for a stormy encore however, delighting all present with some hard-headed pyrotechnics.

In between sets I spoke to Matana Roberts about her visit to London and her life in NY, where she’s been living for the past 10 years. Tonight, Matana links up with another prominent British jazz musician, drummer Seb Rochford, for a free improv gig at Cafe OTO, the experimental music venue in Dalston. “What music will we be playing? Hell I don’t know,” she laughed. “Seb played with the quartet last year and I really wanted to hook up with him again.”

For more Friday Tonic - http://www.southbankcentre.co.uk/series/friday-tonic

Tim Woodall writes for http://culture-capital-blog.com/

Review: Led Bib

Led Bib – “Bring Your Own” Album Launch
(Purcell Room, February 28th 2011, review by Roderick McKinley)

They began as they meant to go on, slam-full of sounds – Mercury Prize nominees, Led Bib were certainly not about to let down their many fans. A fat over-driven bass rocked out to the strong steady groove hit out on the kit, as restless fingers clambered about the rhodes, while jabbing melodic figures were punched out by the saxophones.

Led Bib marked themselves apart by their distinctive assimilation of orderly rock-style beats and grooves, into a jazz-world of many wider, ranging freedoms. This approach creates some interesting juxtapositions. In many songs, the rhythm section will vamp away to familiar-sounding, rock-solid grooves while the saxes freely solo away with abstract figures. The players took subtly contrasting approaches to this. Chris Williams (tenor) appeared to use the rhythm section as a foundation he aimed to depart from with phrasing and angular figures which were almost orthogonal to the rhythm section’s content. Peter Grogan’s (alto) solos, by contrast were more responsive and accepting of the beat and tonalities which were being sounded by the rhythm section – an inclination which I personally found more compelling.

Keyboardist Toby McLaren, spent most of the gig either creating agitated and estranged ambiences by passing his rhodes playing through an effects box, or vamping funky chords with the drum and bass. On the two songs where he did solo, his playing demonstrated an impressive balance between restrained, structured statements, and wilder, unbridled throws of striking virtuosity. Personally, I wished he had been able to contribute more in that capacity.

At the centre of the band was founder Mark Holub’s drumming, holding everything together as a good drummer should, keeping a steady beat delivery despite the fierce flurry of his stick movements. Still, at times some strokes weren’t quite as crisp as they might have been.

Liran Donin (electric & double-bass) played flawlessly. Together with Mark he provided the core sound for Led Bib’s rockier elements. Apparently, it was the first gig they had pulled out an acoustic bass at a gig. Though only present in a couple of numbers, it added greater variety to the sound and ambience of their music.

Apart from subtle touches like this, Led Bib’s new album is a continuation, rather than a departure, from their previous offerings, but that’s no loss given the variety in their material. Fans can be assured that they will be getting more of what they came for.

The "Bring Your Own" launch tour continues. For dates check Led Bib's website.

Review: Eduardo Niebla

Eduardo Niebla
(Queen Elizabeth Hall, January 29th 2011, Review by Rod Fogg)

This concert marked the launch of the new CD "My Gypsy Waltz". Eduardo was joined on stage by six other musicians; Brother Salvador Niebla on drums/percussion, Jyotsna Srikanth on Indian violin, Carl Herring and Ricardo Garcia on guitars, Dharmesh Parmar on tabla and Ken Marley on double bass. At the back of the stage stood the choirs of two girls schools, around 60 children, who sang on three or four numbers.

The concert began with the track India - an 18 minute exploration made up of three sections that is the major composition on the CD. It is an ideal introduction to Eduardo's current passion for blending flamenco elements with Indian classical music. The violin and tabla supply Indian authenticity, while the guitars provide the flamenco flavoured harmony and percussive interludes. Salvador Niebla's drumming is a delicate and sensitive motive force, which interacts beautifully with the percussion of the tabla.

The concert featured many tracks from the new album, which begins with the title track - a lilting waltz with an evocative melody. In fact, many of the tracks are strongly melodic. Eduardo seems to be developing his lyrical side, in contrast to the complex and accented themes of many tracks from his previous album "Lights from the Inner Side". "Rosie" and "Mirror of Life" are standout tracks, but this is a varied and intriguing set of compositions, blending elements from all around the world.

This gig marked the first of many around the UK during the next few months all of which involve a small band or just a duo, so it if you wanted to hear the full band live I’m afraid it's too late. However, I reviewed a trio gig (two guitars and tabla) in March last year and found it utterly spellbinding. Some of the upcoming gigs are within easy reach of London; they are highly recommended.

Tour details: EduardoNiebla.com

Preview: Eduardo (and Salvador) Niebla

Eduardo Niebla
(Queen Elizabeth Hall Saturday 29th January 7.30pm, Preview by Rod Fogg)

In March 2010 Eduardo Niebla cast a spell over the QEH audience in an engrossing concert with just two guitars and tabla. This Saturday he returns to the hall with an augmented band to launch his new CD “My Gypsy Waltz".

He’ll be joined by, among others, brother Salvador Niebla (above) on drums/percussion, Jyotsna Srikanth on Indian Violin, Dharmesh Parmar on Tabla plus guitars, double bass, ‘cello and, intriguingly, Queen Mary’s School and Lady Margaret School choirs.

Expect exploration of the ground between flamenco, jazz and world music of the Indian kind. Also expect to emerge deeply moved and enriched from the music of this soulful virtuoso.

Review: Richard Thompson

Richard Thompson
(Royal Festival Hall, January 18th 2011, Review by Rod Fogg, photo richardthompson-music.com )

This was the first of a two-nighter at London’s Royal Festival Hall, part of a UK tour extending on into February before heading off to Europe, the USA and eventually Japan. The tour is in support of the new album “Dream Attic”.

Thompson takes the stage as part of a five piece band; his sonic blue Strat is accompanied by Michael Jerome on drums and Teras Prodaniuk on bass; texture and contrast are supplied by Joel Zifkin on violin and mandolin and the multi-talented Pete Zorn on sax, guitar, mandolin and flute.

Full credit to the team at the RFH, the band sounded fantastic (believe me, that’s not always the case with electric music at this classical venue) and there was a cool light show running too.

At a time when most musicians’ careers have long since hit the buffers (he is in his early sixties) Thompson’s is, if anything, gathering pace. For many years the critical acclaim that he has enjoyed has not always resulted in public approval or large-scale record sales. Nowadays, however, given his self-deprecating humour and gentle wit he seems to be heading for the role of household name meets national treasure, a position confirmed by the recent bestowing of an O.B.E. - an award for “a significant non-military contribution to British Empire.”

Where he gets his energy from is anyone’s guess, but this is an inspiring group of musicians and given the packed house and the obvious fondness of the audience he doesn’t hold back. We are treated to two full sets - the first of tracks from the new album, the second a kind of “greatest hits” which included a brief acoustic interlude.

Thompson’s recording career dates back to the late 60s with folk rock band Fairport Convention. Since 1983 he has effectively been a solo artist recording a wide range of albums with various selected backing bands, while also participating in other projects with other musicians. Over the years he has soaked up many influences and journeyed far from his folk roots; much of his excellent and inspired guitar soloing - including some climactic extended solos - owes its flavour to American country guitar. “Tear Stained Letter” is cajun-inspired, while tracks on the current album such as “Bad again” mix country with Chicago boogie.

His influences range wide but somehow it all comes out as Richard Thompson’s music. However much Americana may be on the surface there’s something British about his song writing that sets him apart. One part of this is his traditional British folk influence - there’s a freedom in the cadence and rhythm of his lyric writing that is purely British. Another part of the equation is the quality of the songs - some have great hooks, some have singalong choruses; others are quiet, deeply felt and moving or inspiring. His ability to keep moving forward in his career is key to his success - aspiring singer/songwriters take note if you too want a long career.

I confess to being a Richard Thompson newbie. After last night, I understand what all the fuss is about.

Tour Details from richardthompson-music.com

London Jazz Festival Preview (14) Paco de Lucia

UPDATE 20th NOVEMBER. Rod Fogg's REVIEW of the concert is also published.

* * * * * *

London Jazz Festival Preview
Paco De Lucia Royal Festival Hall, Royal Festival Hall, Thursday 18th November(Sold Out- Returns Only - Preview by Andrew McCormack*)

Ron Moss, who managed Chick Corea and Return to Forever made a revealing remark when I was speaking to him recently: "In the seventies, all they listened to was Paco!"


Virtuoso Flamenco guitarist and Spanish hero, Paco de Lucia, whose career spans over forty years, has not only mastered his art but has also established himself as the leading exponent in his genre, and continues to expand the audience for this music.

A Flamenco ensemble often works much like a small jazz group. The musicians interact and improvise on a given structure. Being one of the most important leaders of modern flamenco, Paco de Lucia has made significant inroads to the genre of flamenco/jazz fusion.

This has included collaborations on the international music scene with examples such as his recording,‘Friday Night in San Francisco’, with fellow guitarists, Al Di Meola and John McLaughlin.

On Thursday, 18th of November, Paco de Lucia will bring a unique mix of virtuoso Jazz improvisation with the colourful and dramatic passion of Flamenco when his musicians and dancers come to the Royal Festival Hall.

http://www.londonjazzfestival.org.uk/

Andrew McCormack will be appearing with Jason Yarde in the London Jazz Festival at the 606 Club on Tuesday November 17th., Their most recent CD is My Duo (Joy and Ears).

London Jazz Festival Preview (13) Gary Lucas

London Jazz Festival Preview
(Gary Lucas, Spanish Dracula, Queen Elizabeth Hall, South Bank, November 21st 2010 at 6pm, of "Frankenstein versus Dracula." Preview by Lisa Gee, Photo of Gary Lucas from Bluesalive.cz).

“This version of Dracula isn’t that well-known,” says Gary Lucas, “which attracted me to it.” Lucas – Captain Beefheart veteran and Jeff Buckley collaborator, dubbed “the thinking man’s guitar hero” by The New Yorker – is an avid film buff. “Especially horror films made before 1970. I kinda lost interest when they got overtly bloody.”

The Spanish Dracula was filmed, at night, on same the sets and sound stages that hosted the famous Bela Lugosi version during the day. Title performance aside, the Spanish film has a reputation for being the better of the two movies. “They took it a few steps further”, says Lucas, “the editing, the lighting, the costume design, are all superior. The Lugosi version is very static, like a photographed stage play. This one has more interesting camera work.”

Like the Lugosi film, the Spanish Dracula mostly lacks music. Lucas was inspired to write a score for it when he had the opportunity to develop something for the Havana Film Festival: this was particularly apposite, because missing footage from the film had been unearthed in the Havana Film Archive back in the 80s. Despite the official US prohibition of travel to Cuba, and without state approval, Lucas premiered his work in the La Rampa Cinema, downtown Havana in December 2009 to a packed house and critical acclaim.

It’s not the first film Lucas has scored for live performance. He also works with The Golem (1920) and Tod Browning's thriller The Unholy Three (1925). “With a silent film,” he says, “you have to keep the balls juggling. If you leave too many silences, the audience becomes aware of the whirr of the projector. People like a continuing score. With a film with dialogue, you have to weave in and out and stay on your toes to avoid overplaying.”

Despite – or, perhaps, because of this – Lucas improvises far more when he’s playing with Dracula than with the silent movies. “I have my themes and I know the film pretty well,” he says.

I ask him if he ever works to the pitch of sound effects; spooky creaking doors, for instance?

“Yes I do. In the early performances I really underscored that. But I don’t have hard and fast rules, so last time I tried something different. There’s a magic that kinda occurs in improvisation… A confluence of currents of energy. I trance out. I stare into the screen and try to commune with the spirit of the original production. I sometimes really feel connected to these films and it’s like some other power’s guiding my hands. It sounds weird, but I can’t describe it any other way.”

In other words, Lucas approaches playing with film exactly as he approaches working with other musicians: it’s all about the interplay of energies. With collaborators “I try to take the energy and double it back”. With movies, “it’s jamming with the energy that’s intrinsic in the film. The film provides a reliable performance every time. I have to rise to the occasion.”

Overall, Lucas hopes others will feel the same reverence he feels for Dracula. “I’m still possessed of the sense of wonder that I felt when I first discovered horror films as a kid. So, each time I start to play, I feel like I’m embarking on a thrill ride. My aim is to give the audience the same kind of frisson I experience. It’s important,” he adds, “to try to preserve that sense of wonder. I think it gets beaten out of people…”

Gary Lucas is followed at the Queen Elizabeth Hall by Dave Douglas & Keystone playing their new music for Spark of Being, a re-imagining of the Frankenstein story by experimental film-maker Bill Morrison.

Double frisson.

South Bank Website: Frankenstein versus Dracula