Jan Garbarek Group at the The Royal Festival Hall

South Bank, London. Sunday 13-November-2022.

We had no real plans for the Sunday of our weekend in London when, through the miracle of social media, this picture appeared on Mary's timeline on the Friday instantly recognisable as our favourite jazz saxophonist, Jan Garbarek. He was appearing at the Royal festival Hall as part of the EFG jazz festival. Straightaway Mary booked for the best available seats, back of the stalls by the centre aisle!

This was the sixth time we have seen Jan Garbarek. Four of the previous concerts were also at the Royal festival Hall courtesy of the EFG jazz festival. 

We went for supper beforehand in the OXO tower brasserie. They were doing a special three course meal. Very tasty and good value for money. We allowed a leisurely two hours which we used up and had to walk briskly the short distance to the concert hall.

Listening to Jan play the saxophone was a fascinating contrast to Friday night's sax player. The former was good, but Jan is world-class. His breathy haunting style draws a very different sound out of the instrument, evocative and mesmerising.

Although there were four musicians in the group it was clear to me that Jan Gabarek and Trilok Gurtu have a strong rapport as a number of the songs featured duets between them. Trilok is an endearing combination of world-class percussionist and a three-year-old kid who loves banging things together to hear what sound they make. There were solos for all the individual musicians with the bass guitarist's solo making good use of a loop pedal. 

In contrast to Friday night when the solos were being performed the others did more than just stand and listen reverentially they actually walked round to the back of the set and sat down to give the soloist the stage to themselves and themselves a rest at the same time - important as there was no interval.

Jan does not go in for chat with the audience, not even a “this next song is called x“. They walked on stage at the appointed time, played a track, waited for the applause to die down and launched straight into the next one, rinse and repeat. Even the obligatory encore was equally spare. They walked off, waited 30 seconds, walked back on, played the final track and walked off again. That way we got a full two hours of superb music!

EFG Jazz Festival 2019

London. November-2019

A busy few weeks packed with music from the EFG Jazz Festival plus other gigs.

Jan Garbarek Group at the Royal Festival Hall
London. Sunday 17-November-2019.

John Lewis in The Guardian writes: "Amid celebrations of the ECM label’s 50th anniversary, the Norwegian saxophonist delivered some compelling exploratory solos"

This gig, however, was a marked improvement on his performance seven years ago with a similar quartet, largely because the band is now dominated by its charismatic percussionist, Trilok Gurtu. His entertaining solo spots (on tabla, cymbals, gongs, squeaky toys and even a bucket of water) take centre stage, but he also pushes Garbarek into his most garrulous and exploratory solos, both on tenor sax and on bamboo flute. It’s closer to the ECM spirit, and all the more compelling for it. Full review...

We had good seats in a box just above the aforementioned entertaining percussionist.

Antony Gormley at the Royal Academy.
Piccadilly, London. Tuesday 19-November-2019.

We enjoyed this exhibition, I find his work playful and accessible, slightly tongue-in-cheek.

Skye Sherman in The Guardian writes: "From its primordial gloop to the iron baby in the courtyard, Gormley’s show chronicles human progress. But is he really the right person to tell the story of us all?"

This is a seriously handsome show with plenty of crowd-wowing art that aims to put “the visitor centre stage”, yet also underlines his project’s sticking points. [...] It turns out there’s something in here for everyone, and that’s a problem. Gormley’s musings about bodies and being are too unfocused, and ultimately too polite, to land the political punches they attempt. Where’s the tension? Where’s the real debate? Full Review...

Hermeto Pascoal at Ronnie Scott's
Soho, London. Tuesday 19-November-2019.

We were due to go straight from the Gormley exhibition to Ronnie Scott's but Mary was feeling unwell so we wimped out. The concert was sold out so there was no problem in returning our tickets, getting a credit note and going home straight from the Royal Academy for a quiet night in.

Chrissie Hynde at the Royal Festival Hall.
South Bank, London. Sunday 24-November-2019.

Not the Chrissie of "... and the Pretenders" but a more ballady, crooner Chrissie of "... and the Valve Bone Woe Ensemble". We listened to her latest album as preparation and were not that enthused. Live we had the same reaction, great voice but just not really our style. Sorry, Chrissie.

Emeli Sande (Ben Monteith) at the Eventim Apollo
Hammersmith, London. Monday 25-November-2019.

We had seen Emeli before so were looking forward to her set. What took us by surprise was the excellent support act, Ben Monteith. A busker from Glasgow, a talented singer / songwriter with great stage presence. He was discovered as part of a TV series on BBC Scotland hosted by Emeli. Apparently she was sufficiently impressed with Ben to invite him to be her support act for her European tour.

Mario Biondi at Ronnie Scott's
Soho, London. Tuesday 26-November-2019.

Our third time of seeing Mario.

This time along with our friend Cathy who originally introduced us to this performer. Excellent seats and an excellent concert.

Phew, that's a fair bit of concert going!

There will be wine (and beer and more wine)

Champagne and Sparkling Wine.

Philglas and Swiggot. Battersea. Thursday, 31-October-2019.

A walk around tasting of champagnes and sparkling wines and from around the world. Some very knowledgeable presenters made it an informative evening. In particular, for me, it highlighted the huge variety of grape varieties used to make sparkling wines. Champagne may use pinot noir, chardonnay and a little pinot meunier but producers of presecco, cava and Tasmanian sparkling have others grapes at their disposal. Our three favourites bottles were:

• Antonij Rupert L'Ormarins MCC Brut NV
• LLopart Brut Reserva Cava 2016
• House of Arras Tasmania 'Grand Vintage' 2008

11th Wandsworth Beer Festival.

Royal Victoria Patriotic Building, Wandsworth. Saturday , 02-November-2019.

Our third WBF at the wonderful gothic pile that is Royal Victoria Patriotic Building. It was the last night of the festival and beers were running low. Our friends who arrived half an hour after us got in for free because so many barrels had run out!

I focussed on porter and stout as I dislike this current fad for overly sharp pale ales. I started at the back of the catalogue hoping to catch some beers still on offer as I am sure many start on page 1. Even so only half the dark beers were still showing. I had enough to provide a satisfactory tasting but might think about an earlier start next year.

Afterwards we went with our friends for a lovely Italian meal at the family run Dan and Angel, named after the owners two children.

Wine Society Dining Club 277th dinner.

Drapers Hall, London. Tuesday, 05-November-2019.

At the other end of the spectrum from the beer festival is fine claret at a black tie dinner in the elegant surroundings of the Drapers' Hall.

The WSDC proposition is that the members of the main Wine Society buy wines for laying down and some years later consume them when they are ready for drinking.

The theme was "The Three Leovilles". We had an informative introduction to the wines, a lovely meal with superb wines and talked to charming strangers.

Hic!

Jan Garbarek at the Royal Festival hall 2016

London. Sunday 13-November-2016

Another excellent concert from our favourite Norwegian saxophonist. The third time we have seen him at the RFH as part of the London Jazz Festival.

We got seats close to the stage but high up in a box. Not suitable for those suffering from vertigo but it did give us an excellent view of the stage and the performers.

It was a great concert, the most uptempo of his three jazz festival concerts that we have seen.

Sarah Chaplin of London Jazz News writes: "Now forty-odd years into his career, Garbarek is as close to perfection as it’s humanly possible to achieve, showing himself to be a master of silence as well as sound, of striking rhythmic figures as much as achingly beautiful phrases." Full review...

I'll go with that. It was a rare treat. He doesn't give that many concerts. It is well worth getting to see him if you can. His next UK date isn't until July 2017.

Average White Band at the Royal Festival Hall

South Bank, London. Saturday 21-November-15.

We enjoyed AWB hugely when we saw them at Ronnie Scott's so it was an easy decision to go see them again albeit in a larger venue. Still we got pretty good seats, Row E in the stalls.

The support act were Kokomo featuring Jim Mullen who we have also seen at Ronnie's in other line-ups. They were most enjoyable, always good when you hear a new (to me) band. They guy next to me was clearly a fan singing along and strumming the chords.

London Jazz News wrote:
"As Average White Band left the stage with two and a half thousand people on their feet, it felt more like the end of the final headline set at Glastonbury than an evening in the Royal Festival Hall. Yet when the house lights came on, with the final stabs of Pick Up The Pieces still hanging in the air, the audience were revealed not as muddy young rockers but a different tranche of society: charitably middle-aged and dressed for the theatre. On paper, Saturday night's Soul Summit may have seemed a straightforward return to past 70s glory, but the fantastic musical delivery from the bands and the joyous reception they received from the audience made it a new night to remember in its own right."
Full review...

Afterwards the band rushed round to the foyer to sign copies of their last CD. At first I thought "surely they don't need the money that badly?" but then I realised that it was actually them being good guys and allowing fans a chance to meet them all in person, say a few words and get a CD signed by *all* the band members.

And here is Mary having a word with Onnie McIntyre.

As London Jazz News said "A fantastic show, there was nothing average about this one."

Celebrating 75 years of Blue Note Records at the Royal Festival Hall

Saturday 22-November-2014

The first half was an extended, hour long duet by Jason Moran and Robert Glasper and it was mesmerising. It wandered through a whole range of styles. I am not sure whether it was an actual composition or whether they had a structure and improvised within that. Either way it was gripping. What also came across was how much fun they were having, that is something you can't see with a recording, you only get that with a live performance.

London Jazz News wrote: "This was a performance redolent of Herbie Hancock and Chick Corea’s great duets, even culminating in Maiden Voyage – albeit Glasper’s Radiohead-infused version. Both pianists made their own distinct styles clear: Moran with percussive prepared piano and blues licks; Glasper with irresistible harmonies and allusions to R&B. Given its intensity, this first half would have proved ample celebration for many." Full review...

After the interval an all-star sextet took to the stage after the interval: Glasper was joined by Marcus Strickland (sax), Ambrose Akinmusire (trumpet), Lionel Loueke (guitar), Kendrick Scott (drums) and Derrick Hodge (bass).

London Jazz News again: "The concert concluded with Message of Hope from Hodge’s first album as leader, providing a fitting, almost spiritual end to proceedings. With artists this talented, collaborating as well as they did here, it’s clear that the future of the label is in good hands. An exceptional evening which gave proof - if any were needed - that Blue Note is in rude health at 75 years old."

I would second that - an excellent and thoroughly enjoyable concert.

John McLaughlin and Hedvig Mollestad Trio at the Royal Festival Hall

Thursday 20 November 2014

My brother-in-law is a big fan of John McLaughlin; he and my sister booked early and had managed to get front row seats. We were a little slower off the mark and were back in row MM.

We met up for a meal beforehand in The Archduke a short stroll from the RFH. I cannot go to the Archduke without remembering the time I went there with a crowd of colleagues from BIS (Applied Systems) for a team outing. We were all horribly hungover the next morning and I mean everyone, even the hardened drinkers.

We were all well used to session drinking and knew our limits but this was qualitatively different. I am quite convinced we drank adulterated wine as it was the time of the "anti freeze in wine scandal". You may mock but I am convinced. For us all to be that unwell was unique and never repeated.

I really enjoyed the support act Hedvig Mollestad Trio who belted out an eclectic mix of styles. At one point even I thought I heard a riff reminiscent of T.Rex's Twentieth Century Boy. Plus it doesn't do any harm for a band to be fronted by a woman with long blonde hair and a short red dress.

KWC Today wrote, "The Mollestad trio is a powerful trio and opened this memorable evening and played an excellent set with a programme ranging from jazz fusion, psychedelica to sheer hard rock in the vein of Led Zeppelin."  Full review...

The Arts Desk wrote, "Support came from the Norwegian Hedvig Mollestad Trio, with lead guitarist Mollestad, clearly pregnant, a superb role model as well as atmospheric prog guitarist of the highest standard. [...] With the sonic impact of a serious metal outfit, but the rhythmic playfulness of a jazz trio". Full review...

After the interval it was the turn of John McLaughlin and the Fourth Dimension. As the lights went down we saw the Hedvig Mollestad Trio tip-toe into seats a couple of rows in front of us.

KWC Today wrote, "In 4th Dimension, John McLaughlin assembled an accomplished, creative and fiery band. The tight and incredibly talented unit draws on the musical diversity from all parts of the world. Broadly speaking it is jazz fusion with a hint of blues and the result is quite stunning." Full review...

The Arts Desk wrote, "The repertoire and style was largely familiar, much of it released on the band’s album earlier this year, the pieces in many cases reworked from earlier McLaughlin material. But it was remarkable for the excellence and of the ensemble playing. The sensitivity and sheer quality of interaction within the band embodied the interest in loving spirituality that drives much of McLaughlin’s work perhaps more convincingly than the lyrics the band sung." Full review...

Next up - "Celebrating 75 years of Blue Note Records" on Saturday...

Jan Garbarek at the Royal Festival Hall

London. 13-November-2012.

While at the John McLaughlin concert we discovered that one our favourite musicians, Jan Garbarek, was appearing a couple of days later with the programme annotation "Queue for returns". Ever the optomist Mary went online and manage to bag a pair of return tickets - in a box!

The concert was fine, two hours without an interval, and we particularly enjoyed the extended solo from the percussionist, Trilok Gurtu.

The FT review summarised it as
"Gurtu’s tour de force solo on some unconventional percussion was the high point of an otherwise bitty evening"

The Guardian review was similarly ambivalent:
"Where has Jan Garbarek gone? I miss him. The Norwegian saxophonist used to be the king of icy cool jazz – but at this gig he sounded more like Kenny G. What's going on? If you know anything about Jan Garbarek, you'll know him as the Norwegian who invented a uniquely Nordic language for the saxophone; the guy George Russell described as "the most original voice in European jazz since Django Reinhardt"; the guy whose austere albums with the Hilliard Ensemble have shifted millions of copies; the guy who almost single-handedly defined the ECM label.
[...]
Garbarek – mainly playing his tiny, odd-looking curved soprano sax, but occasionally switching to tenor – mainly sticks to simple, nursery rhyme-style melodies. He occasionally restates them with light improvisation, but rarely lets rip with full-on solos. Nor does his playing tonight ever really imply the weight of jazz history that he usually holds in reserve. Instead, he sounds like a jazz musician at a pop session, where the producer is nagging him to "cut that jazz crap".

What transforms the lineup is the rhythm section: German veteran pianist Rainer Brüninghaus, Brazilian bass guitarist Yuri Daniel and eccentric Indian percussionist Trilok Gurtu. For much of the gig, they push at their roles magnificently. Gurtu multitasks on his Aladdin's Cave of a drum kit, switching from kit drums to tablas, from hand percussion to vocal percussion, and – during his extended solo – performing his usual tricks with a bucket of water. "

Hey, ho. We enjoyed it and that is what matters.

Jazz on a Sunday Night (Take 2)

This Sunday it was the turn of Jan Garbarek* at the Royal Festval Hall as part of the London Jazz Festival.

We had never heard of him until a few years ago but our copy of the Rough Guide to Jazz kept falling open at that page so Mary figured we had to go buy an album. The first one we bought was the haunting and evocative Visible World. Since then we have acquired several more so when we saw that he was appearing it was a no-brainer decision to go and see him.

It was a fine concert, two hours without an interval. It was a quartet but to my untutored ears there was a definite pecking order in the band. Surprisingly Manu Katché on drums was the driving force then Jan Garbarek on sax with guitar and keyboards definitely playing second fiddle (sorry could not resist).

The FT said:

"When Jan Garbarek last toured the UK, he played in cathedrals. His music fitted: icy, architectural slabs of devotion.

At the London Jazz Festival, the Norwegian saxophonist presented a very different proposition. He had mislaid two members of his usual touring quartet. Eberhard Weber, his double-bass player, is ill, and was replaced by Yuri Daniel, a Brazilian resident of Oslo playing an electric guitar that might have been carved from teak. And the Parisian Manu Katché took the place of the percussionist Marilyn Mazur. Katché at his best is an indispensable drummer, giving a jazzy fluidity to rock records just as often as he lends a rocky energy boost to his jazz dates.

This youthful, hard-driving rhythm section was a challenge to which Garbarek rose. He could occasionally be seen slapping his thigh, which in someone so austere was as surprising as if he had stripped to the waist and gone stagediving."

Copyright The Financial Times Limited 2007

Full review on "FT Review".

* Wikipedia on Jan Garbarek