Corner Painter

in a corner

Q: What’s small, female, Australian and brilliant?

A: Tal Wilkenfeld.

No, it’s not a joke. It’s what I asked Mrs. Crotchety the other day after reading a blog post by CirdecSongs. The article was a personal appreciation of Jeff Beck and it just happened to mention Beck’s bass player on his Live At Ronnie Scott’s album. In Cedric’s words:

The tiny Australian bassist had jaws scraping the floor as she played with style and soul well beyond her years.

As a diminutive ex-bass player myself I’m well aware that small hands are a handicap you really don’t need for that instrument. Being small, young, female and still good enough to draw that sort of remark is, well, remarkable. Hell, touring with Jeff Beck would be the apex of most musicians’ careers and in 2007, aged 20, Tal was just starting out on hers. Crotchety Man instantly developed an itch he just had to scratch.

Who is this woman with a strange name? How did she come to be in Jeff Beck’s band? What else has she done? Tell me Wikipedia, please.

Tal

The cyberspace oracle does provide a few details about Tal Wilkenfeld’s life and career to date. I won’t try to summarise them here. What strikes you most is that Tal was playing bass with musicians such as Herbie Hancock, Prince, The Who (as support act), Chick Corea and, of course, Jeff Beck at a relatively tender age. Her Wikipedia page lists collaborations with another couple of dozen big name artists, too. That’s a C.V. to be mighty proud of.

And that’s not all. In 2007, when she was still virtually unknown, Ms. Wilkenfeld formed her own band, recorded some of her own compositions and released the album, Transformation. The tunes on that record fall squarely into the jazz fusion category and Tal’s bass playing sounds a lot like Jeff Berlin on some of Bill Bruford’s albums. (That’s a Crotchety Man 5-star recommendation, by the way.)

More recently, Wilkenfeld has ventured into song writing. On what Wikipedia describes as her ‘upcoming’ second album she sings her own songs as well as playing guitar and bass. But that seems to be old news. Corner Painter, the album’s title track, was released as a single over a year ago, on 3rd March 2016. Tomorrow a live version of Corner Painter is due to be released on the Tal Wilkenfeld YouTube channel. But I can find no evidence that the album will be out any time soon.

I did, however, find this YouTube video that fits the description for tomorrow’s video release perfectly. Is it the same one? I guess we’ll find out tomorrow.

After the exciting sounds of Wilkenfeld’s bass playing I find this latest single rather less convincing. It’s a perfectly good song, Tal’s voice is pleasant enough and there’s nothing wrong with the performance. It just doesn’t rise far enough above the bar set by myriads of singer/songwriters out there to get the pulse racing. Tal Wilkenfeld is no competition for Taylor Swift. Then again, Taylor Swift doesn’t play bass guitars like Tal Wilkenfeld.

Postscript, 17 October 2017

The video that was released yesterday is different. It’s from her set opening for The Who and it’s rather good.

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Bolek i Lolek

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Nearly a year ago now Crotchety Man got very excited about a band/project called Hidden Orchestra. Regular readers will remember my review of the album Archipelago in which I introduced the term “orchestral beats” to describe the music of Joe Acheson and his collaborators. Since then there has been one other post in these pages tagged “orchestral beats” (Cantorum by Penguin Café) and the next Album of the Month will be on Feathers, a solo album with a similar feel by another member of Hidden Orchestra, the violinist and pianist, Poppy Ackroyd.

But, first, I want to bring your attention to the orchestral beat music from Clarinet Factory. Please don’t be put off when I tell you that Clarinet Factory is a clarinet quartet from the Czech Republic. All four players are classically trained and they draw on a wide range of influences from Bach through to jazz and other forms of modern music. They adapt and interpret other composers’ work; they also write their own pieces. And sometimes they add voice, percussion and electronics. (Now you’re taking notice, aren’t you?)

Where Hidden Orchestra‘s sound relies heavily on electronic instruments Clarinet Factory create very modern music almost entirely from traditional instruments. Just listen to what they can do with four clarinets and a few recorded natural sounds in this YouTube clip of a track from their latest album, Meadows, released in March of this year.

If you were paying attention you will have noticed a direct connection between Hidden Orchestra and Clarinet Factory – Joe Acheson is credited on the video. My guess is that Joe provided the recordings of the trains and the bees that he mentions on Facebook and he may well have had a hand in producing the record.

Judging by their concert schedule Clarinet Factory are reasonably well-known in the Czech Republic. They have also performed in a number of other European countries (Belgium, France, Germany, UK, Hungary, Bulgaria, Poland, Israel) and even in China and Japan. As far as I know, though, they have never visited the U.S. Perhaps that’s just as well because I have a feeling they may find it hard to find an audience over there.

on stage

Clarinet Factory – WOMEX 2015

Crotchety Man’s knowledge of the Czech language is non-existent so I don’t know what Bolek i Lolek means. Google translate tells me that the equivalent English is something like “Bolek i Lolek”, which I interpret as a polite way of saying that my request indicates a level of intelligence slightly below that of a snail. So what picture, I wondered, should head up this post? Well, that troublesome track title sounds like a double act to me: Stan Laurel and Oliver Hardy, Sherlock Holmes and Doctor Watson, Butch Cassidy and the Sundance Kid. That sort of thing.

So that, if you were wondering, explains the little slide show at the top of this post.

Living, Breathing

babe in arms

The winner of the Mercury Music Prize for 2017 was announced in a live BBC TV broadcast on Thursday evening. At Crotchety Mansions the TV was tuned in and the Crotchety Couple watched with a mixture of hope and trepidation. The shortlist was promising, with a high proportion of deserving acts, but last year the judges took the insane decision to award the prize to a wholly unmusical assault on the senses by a rapper called Skepta. Would they disappoint us again? Or would we enjoy the live performances and respect the opinion of the judging panel?

To give you some perspective, here are the shortlisted artists and their albums:

  • Alt J, Relaxer
  • Blossoms, Blossoms
  • Dinosaur, Together, As One
  • Ed Sheeran, Divide
  • Glass Animals, How to be a Human Being
  • J Hus, Common Sense
  • Kate Tempest, Let Them Eat Chaos
  • Loyle Carner, Yesterday’s Gone
  • Sampha, Process
  • Stormzy, Gang Signs and Prayer
  • The Big Moon, Love in the 4th Dimension
  • The XX, I See You

Everyone on the planet knows who Ed Sheeran is. I don’t need to say anything about him other than that Crotchety Man regards him as a genuinely great artist and his Divide album had to be a contender for the title of Best UK Album of 2017. Alt J and Kate Tempest have both featured in these pages before; I have a soft spot for both artists and was very happy to see them in the running. Tracks by Blossoms, Glass Animals and The XX come up on the BBC 6 Music radio station from time to time and have earned a place in the Crotchety heart. If any of those artists’ albums should win that would be OK with me.

At the other end of the spectrum, Stormzy was already sitting dejectedly in the rejected pile of rubbish rap and J Hus, a name I’ve never heard of before, had been tentatively assigned the same fate based on a description on the Mercury Prize website. That left Dinosaur, Loyle Carner, Sampha and The Big Moon as unknown quantities. So we watched their live performances with particular interest.

dinosaur

Dinosaur – Corrie Dick, Laura Jurd, Elliot Galvin, Conor Chaplin

As I’ve said before, the nice thing about the Mercury Prize is that it has a habit of throwing up artists paddling their canoes a little way away from the mainstream but coming up fast. In this case, though, The Big Moon‘s performance of Cupid was disappointingly ordinary and we dismissed them as just another unexceptional all-girl guitar band.

Loyle Carner gave us a song called Isle of Arran. It was sung by a nice gospel choir but spoiled by his tuneless rapping and we reluctantly consigned him to the ‘mediocre’ bin. Sat at an upright piano, looking like Stevie Wonder (without the glasses), Sampha sang (No One Knows Me) Like The Piano. That’s a good title and his piano playing showed a glimmer of promise but, in the end, neither the song nor the performance warranted more than a ‘not bad’ rating.

Dinosaur, though, did hold our attention. They are a modern jazz quartet led by Laura Jurd (trumpet, synthesiser, composition) with contributions from Elliot Galvin (keyboards), Conor Chaplin (bass) and Corrie Dick (drums and percussion). They played Living, Breathing from their one and only album, Together, As One. The clip here is the official video; their live session for the Mercury Prize is also available on YouTube.

It was immediately obvious that these musicians could play. Whether you like their material, though, may well be a different matter. I chose Living, Breathing as a Track of the Week because I think it is the most accessible of their works. It is bright, bold, complex modern jazz and most people just won’t ‘get’ it. Sitting there in our living room Crotchety Man confidently predicted that Dinosaur would not be on the winner’s podium at the end of the programme. But they do have the mark of a Mercury Prize nominee: their canoe is well off the mainstream and they deserve greater recognition, especially outside jazz circles.

All in all the Crotchety Couple enjoyed the Mercury Prize award show. Unlike last year I didn’t spout invective when they announced Sampha‘s Process as the winner. The likes of Ed Sheeran, Alt J and Kate Tempest would have been better choices, but they don’t need the cash or the publicity. I would have put Blossoms, Glass Animals and The XX above Sampha, but at least the rappers lost out. Sampha wasn’t the best choice but I can live with the disappointment this year. Introducing me to a living, breathing Dinosaur is all the compensation I need.

Tea Time

mint tea

There are some funny names out there. In my Release Radar playlist this week there was a single called Screen Shot 2017-08-26 at 11.46.22 by a band called Screen Shot 2017-08-26 at 10.41.48. I did listen to it and it’s OK but not up to Crotchety blogging standard. (For the incurably curious it’s on Spotify here.)

Curiosity then seized the helm of the mental ship and took me on a quest for a translation of those names or some snippet of information about the track or the band. But the mission foundered. I haven’t even been able to identify the script. It resembles the cursive writings from the Indian subcontinent (the electronic oracle suggests Tamil) but some of those symbols look suspiciously like glyphs that only electronic brains would recognise. And it’s not Tamil – I checked.

Fearing that mistress Curiosity was taking us to the sea of Shameless Publicity Stunt I wrested the wheel from her and set a course back to our home port. I could see we had ventured far into strange waters and the long voyage had made many of the crew weary. Then, just a few nautical miles homeward, another place to delight the flighty fancy of Miss Curiosity showed up on the radar screen. A thin band of land the inhabitants called FORQ and a sheltered bay named Thrēq offered the prospect of rest, recuperation and fresh supplies.

I remembered that another crew had encountered the natives of FORQ on an earlier expedition and by all accounts they were a friendly people. As we dropped the anchor in the calm water of the bay the late afternoon sun warmed our backs and as we lowered the dinghies to go ashore we could see about a dozen natives moving leisurely to and fro along the beach.

When we pulled the boats onto the sand the FORQers greeted us with warm smiles and beckoned us to join them. “Come”, said the chief, “It’s Tea Time and we have enough scones, jam, cream and delicious China tea for everyone”. “Of course, if you prefer Indian tea”, said the native girl coyly smoothing her pretty white waitress’s apron, “we have that, too”.

As we chatted over our tea and scones Big Chief Boiling Water told me that the country they ruled had allowed its name to be used by a four-piece band from New York City. The band was formed by Henry Hey (keyboards) and Michael League (bass guitar), subsequently adding Chris McQueen (guitars) and Jason “JT” Thomas (drums). All four have played with some fairly big names in the past: Hey with David Bowie, League and McQueen with Snarky Puppy and JT with D’Angelo. That’s an unlikely mix of influences resulting in one of those fuzzy, hard-to-define areas in the patchwork quilt of musical styles somewhere to the east of jazz fusion but not that far from soul and R&B. FORQ themselves describe their music as jazz/groove.

Our waitress turned out to be the chief’s eldest daughter, Sweet Sugar Lump, and she informed us that FORQ‘s latest album takes its title from the bay where the ship’s crew were enjoying the hospitality provided by the local inhabitants. One of the tracks on that album even celebrates the traditional pastime of taking afternoon tea under the shade of the beach umbrellas. It’s a relaxing holiday groove that brings to mind the genteel gatherings in nineteenth century English country gardens when polite conversation rarely strayed beyond the topics of the weather, the roses or the antics of Mrs. Slocum’s pussycat. It was a time of tranquility and innocence, when an unintended double entendre might be erased with a hasty, “More tea, vicar?”.

Sitting there in the glow of the sun a cup of Jasmine tea had the invigorating effect of an exotic cocktail. Or perhaps it was the musical accompaniment that soothed the brow and restored our vigour. Or was there something in the water? Whatever it was the ship’s crew slept soundly on the soft sand that night.

the band

FORQ – June 2015

In the morning the beach was deserted. The tables and chairs, the umbrellas and all the paraphernalia of the previous day’s tea party were gone. There was not so much as a footprint in the sand to show that yesterday’s festivities had been more than mere illusion. But real it must have been. Because everything we had of value had also vanished. Our plundering hosts had even taken our boats. No wonder that accursed tribe are called the FORQers.

Footnotes

  1. FORQ‘s third album, Thrēq, was released on 4th August 2017.
  2. The band has just finished a tour of North America. A European tour is scheduled to start in the autumn; the only confirmed date so far is Dublin, 17th October 2017.

Finale

A new album by Pentangle was released last year. Given that the band had split up shortly after I saw them in Oxford back in 1973¹ and, more pertinently, that two of them have died, it couldn’t be a new recording. But it’s not just another compilation, either. The original line-up reformed in 2008 and did a 12-date UK tour that year. Finale: An Evening with Pentangle,  released on 7th October 2016, is a two-CD album² of recordings from the 2008 tour. Why it took so long to get it onto the shelves of the brick-and-mortar shops and into the catalogues of the online retailers is a mystery that my Google Fu has been unable to solve.

The latest album has several things going for it. For a start it’s a relatively recent recording that captures the sound of a live performance extremely well. Just listening to the deep, round, plummy tones of Danny Thompson’s double bass (he calls it ‘Victoria’) is enough to bring a joyful tear to the eye. The guitars of Bert Jansch and John Renbourn ring out as if all the paraphernalia of the recording process has dissolved. There are no pickups, microphones, mixers, equalisers, recorders or speakers between the instruments and our ears, nothing to distort or subtract from the musicians’ art. OK, so Terry Cox’s drums sound a little muffled and Jacqui McShee’s voice is a little indistinct at times but as live recordings go this is a good one, a really good one.

Then there’s the performance, fresh and vibrant as the day the band was born. If you’ve never heard Pentangle live, take this album for a spin. It has songs that will caress and delight you. It has folk tales that will enchant you, too, transporting you to another place, another time; and it will welcome you and your friends to the telling.

Finale has nearly all the fans’ favourite Pentangle songs on it: Light Flight, Hunting Song, House Carpenter, Cruel Sister, Bruton Town and more. In the past I recommended Light Flight – The Anthology as the one essential Pentangle album but with Finale it has a rival. The Anthology compilation has my own all-time favourite song, The Trees They Do Grow High, but Finale has the better sound and the immediacy of a live show. Sadly, neither include the heart-warming story of Willy of Winsbury (from Solomon’s Seal) but no album is perfect.

There are no bad Pentangle albums (as far as I know) but Anthology and Finale provide a magnificent summary of the band’s work. So, ignore my previous advice. Both albums are, I think, essential for any Pentangle fan. Get them both and when you fancy a little folk with a light frosting of jazz pick one or the other according to your mood.

Notes

  1. I had nothing to do with the band’s demise, I assure you!
  2. Finale was also released as a 3-disc vinyl LP in 2017.

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Love Rat

lovable rat

I first heard Sally Barker some time around 1990 when she was touring in support of her second album, This Rhythm Is Mine. Guest musicians on that album included Mary MacMaster¹ and Patsy Seddon, harpists from Scotland, who subsequently joined Sally and accordionist Karen Tweed to form the all-woman folk band The Poozies. If my memory serves me correctly the concert I attended at the Phoenix Arts Centre, Leicester, UK was billed as Sally Barker but all four of The Poozies were on stage.

I particularly remember that evening for a story told by Karen Tweed. The band had arranged to rehearse at Sally’s house out in the Leicestershire countryside, a place that Karen had never visited before. When she arrived Karen found a rambling house at the end of a long drive and surrounded by a large garden with lots of trees and bushes. She knew from the directions she had been given that this was the right place but, at first, it seemed deserted. Karen had to ring three times before anyone came to the door.

When the door opened a stranger stood there with an expression on her face that seemed to say “whoever you are, don’t bother me now”. Karen hesitantly explained who she was and why she was there and the woman at the door ushered her inside saying curtly, “Go and wait in the kitchen, we’re a bit busy right now”. Karen followed the pointing finger down the corridor and as she did so she noticed a flustered figure scurrying through the house. Some furtive words were exchanged in the next room but all Karen could make out was “we may have to call the police”.

Karen found the kitchen and waited. From time to time far off voices could be heard from the garden. They were calling out to each other and sounded worried. They were looking for something, something important or precious. No-one came to the kitchen. Karen could sense that some emergency had happened and might take some time to resolve. In the meantime she thought it best to stay out of the way and decided to make herself a cup of tea.

As Karen started to search for mugs and tea she thought she heard a scratching noise from one of the floor-level cupboards. The building was probably an old farmhouse and she imagined the kitchen might be home to mice or even rats. Nervously, Karen opened the cupboard and a little girl’s face peered up at her. “Hello”, said Karen, “what are you doing in there?”. But the girl said nothing. Karen explained that she plays the accordion and she had come for a rehearsal. “Shhsh”, whispered the girl, “they’ll hear us”.

Puzzled, Karen asked the little girl why she was whispering and if she knew what was going on – what were they looking for out in the garden? “Shhsh”, said the little girl again, “They’re looking for me!”.

Sally

It was an enjoyable concert. Sally Barker writes unusually original songs and she has a warm, distinctive, soulful voice. The other musicians were faultless – I was particularly impressed with Karen Tweed’s accordion playing. So, yes, readers, I bought the CD. Although I didn’t know it at the time guests on This Rhythm Is Mine include some of the most respected musicians on the folk circuit: Dave Mattacks, Dave Pegg and Danny Thompson to name but three. If that’s not a recommendation I don’t know what is.

From 1995 to 2006 Sally Barker put the music business on hold while she had two children and then cared for her husband who became ill with cancer and died in 2003. In 2007 Sally rejoined The Poozies and in 2013 she relaunched her solo career. The following year she became a contestant on the BBC talent show, The Voice, in which she finished in joint second place. As a result, according to her website, “Sally’s album ‘Another Train’ featured in the official indie charts and ‘ebayers’ were asking in excess of £100 for 2nd hand Barker LPs and CDs!”. That’s quite a comeback.

Sally Barker’s latest album, Ghost Girl, was released earlier this year but it’s not on Spotify² so I’ve chosen her Love Rat EP from 2015 as my Album of the Month. Here’s a live version of the title track. Listen to the words.

Did a chill run up your spine at the one minute mark? No? Then perhaps you’d prefer the studio version with drums, bass, organ and slide guitar supporting Sally’s vocals. (The link above is to the full band recording on Spotify.)

In addition to the title track the EP contains three original songs (Jealous Bones, Kissing a Stranger, Heart & the Shell) and two covers (Walk On By, Don’t Let Me Be Misunderstood). The covers are done in typical Sally Barker style; either you like them or you don’t. For me, nobody beats the original Dionne Warwick version of Walk On By, but Sally Barker’s take is pretty good, too. I do like Heart & the Shell, though. It’s one of those songs that has all the wrong characteristics for my taste: a folksy waltz, country-tinged slide guitar, not much of a tune. And yet, Sally Barker’s voice burrows under the skin and the poetry of the words sinks deep.

On the whole Sally Barker is an acquired taste. She’s no rocker and her mix of folk with a little bit of country and a soupçon of jazz will never appeal to everyone. She has a really good voice, though, and I’ll leave you with another live video that I think illustrates her talent. Anyone who can do justice to a song made famous by Sandy Denny must have something to blog about.

Notes

  1. Mary MacMaster was also mentioned in my earlier blog about the Archipelago album by Hidden Orchestra, a very different sort of music.
  2. There is a video of the title track on YouTube performed live as a solo piece but I don’t know if that’s representative of the album.

Zamzama

cannon

Kim’s Gun – outside Lahore Museum

The third track on my Release Radar playlist this week was called Zamzama, which is obviously a made-up word and gives no clue to its musical style. It’s by Avi Avital, Omer Avital, Yonathan Avishai and Itamar Doari, names which suggest foreign influences but which throw no further light on what might be in store for the curious listener. The album title doesn’t help either: Avital Meets Avital seems deliberately designed to mystify rather than inform.

What does it sound like? Surprisingly, I can give a very accurate description. It sounds very much like an instrumental cover of Pink Floyd‘s Set the Controls for the Heart of the Sun performed by a Jewish popular folk band. There are just four instruments: mandolin, piano, double bass and hand drums. The piano carries the tune and adds some faintly jazzy chords. The bass tumbles along echoing the gentle jazzy feel. The drums inject the rhythm of a joyous dance. And a light smattering of mandolin notes flash like the white hem of a wedding dress as the bride dances with her new husband.

Here’s a live version with some wonderful improvised solos:

Curiosity prompted the Crotchety fingers to search for further information. First stop, the album, which offers various blends of klezmer, jazz and classical styles, including slow ballads and up-tempo dance tunes. One track, Ana Maghrebi, sounded too much like a piece for a bar mitzvah ritual to tingle the Crotchety senses much but everything else has plenty to offer, not least some very impressive musicianship from all the players. Listening to the album convinced me that Zamzama was worthy of a Track of the Week slot.

But there was an obvious problem. This blog puts an appropriate image at the top of every post, a picture that illustrates the subject and helps this old man (and, hopefully, my readers) remember the music and my response to it. How could I choose a picture for a nonsense word? The task seemed impossible, so I decided to pick another track from the Avital Meets Avital album instead. Perhaps I should choose one of the ballads – Lonely Girl or The Source and the Sea would be worthy of a mention – and pictures for those shouldn’t be hard to find. Or should I choose something more representative of the album as a whole? Avi’s Song, Maroc and Hijazain would fit the bill but an appropriate image for those would be just as hard to find.

Avi & Omer

Avi Avital (mandolin) and Omer Avital (double bass)

And then the Crotchety brain cells sparked into life and commanded my flesh and bone digits to consult with the virtually infinite store of electronic digits that is Google. To my complete surprise the cyberspace oracle informed me that Zamzama is not a nonsense word at all. It is, in fact, the name of a very large cannon. Also known as Kim’s Gun, it was cast in 1762 in Lahore and is now on show outside the Lahore Museum. That, of course, made the choice of headline image a no-brainer.

Apparently, Zamzama is also the name of a shopping mall in Karachi and seems to have some connection with a film star famous in at least some parts of the Indian subcontinent (judging by the images Google serves up). More pertinently, though, zamzama is a Persian word meaning “murmur, whisper or pealing thunder”.

So here we have a British blogger listening through a Swedish streaming service to Israeli musicians playing a track with a Persian title used to name a gun made and fired in what was then India but is now Pakistan. Come, let’s murmur its name among our friends, whisper it to strangers and send it like pealing thunder across the rest of the globe. Let’s make it earn the tag of ‘world’ music.

Additional Note

  • There’s a rather lovely video here of Avi Avital and Bridget Kibbey playing a Bach piece arranged for mandolin and harp.