New Music Reviews
Robert Glasper, Barbican review - emotional fellowship and creative interconnectionsSaturday, 18 November 2017
As moments of transcendence go, Laura Mvula’s guest spot at Robert Glasper’s EFG London Jazz Festival show provided one of the year’s most transporting musical moments. Powered by the huge harmonic slabs carved out by keyboardist Travis Sayles and the vast backbeat of bassist Derrick Hodge and drummer George “Spanky” McCurdy, Mvula’s delicately outerspacious “Bread” was... Read more... |
Seeger MacColl Family, Cecil Sharp House review - keeping the folk tradition aliveFriday, 17 November 2017
The family that sings together stays together… At least that’s true in folk music. Think of Waterson- Carthy and Seeger-MacColl. And last night at Cecil Sharp House, citadel of British folk music, Peggy Seeger and her sons Calum and Neill stepped out for a family concert. Read more... |
Mark Guiliana Jazz Quartet, Ronnie Scott’s review - sophistication and simplicityThursday, 16 November 2017
If having several projects on the go is a necessity for most jazz musicians, the US drummer Mark Guiliana is more protean than most, with a musical CV that traverses jazz, rock and electronic music. Like the pianist Robert Glasper, Guiliana – voted Best Jazz Drummer in this year’s Modern Drummer Readers Poll – has been hugely influenced by electronic music and textures, as equally inspired by... Read more... |
Kesha, Electric Brixton review - a joyously sassy comebackWednesday, 15 November 2017
There are more clothes flying Kesha’s way than onto the stage at a Las Vegas Tom Jones concert in the mid-Seventies. She started it. As she introduced her 2010 single “Take It Off”, she announced that since things were so hot she’d be discarding a few items. Duly, she removes the heavy, dark velveteen jacket, decorated with embroidered red roses, that she’s been wearing so far, and undoes her shiny gold shirt down to her sternum, revealing her bra. The song kicks in and the capacity crowd go... Read more... |
Iceland Airwaves 2017 review - political change at Reykjavík's major music festivalMonday, 13 November 2017
Óttarr Proppé, the stylish chap pictured above, was appointed Iceland’s Minister of Health in January this year. Last Saturday, when the shot was taken, he was on stage in his other role as the singer of HAM, whose invigorating musical blast draws a line between the early Swans and Mudhoney. Read more... |
Reissue CDs Weekly: The Moody BluesSunday, 12 November 2017
In early 1965, Birmingham’s The Moody Blues topped the British charts with a forceful reinterpretation of Bessie Banks’ R&B ballad “Go Now”. In early 1968, after some line-up changes and a radical musical rethink, they hit 19 with “Nights in White Satin”. Although as moody as “Go Now”, this was a different Moody Blues. Read more... |
An Evening with Pat Metheny, Barbican - sheer joy under the Missouri skySaturday, 11 November 2017
Pat Metheny recently described quite how much he enjoys just being on stage: “As Phil Woods used to say, the concert, that's for free. What the promoter is paying for is getting on the plane, getting off the plane, to pack your suitcase. The actual gig – you can have that for nothing.” Read more... |
Saz'iso, Colston Hall, Bristol review - bewitching music from Southern AlbaniaFriday, 10 November 2017
A strange and wonderful moment: the standing area at the rear of The Lantern, the smaller venue at Bristol’s Colston Hall, is suddenly transformed into a corner of Southern Albania. Read more... |
theartsdesk on Vinyl 33: Pet Shop Boys, AK/DK, Ian Dury, Grateful Dead and moreFriday, 10 November 2017
The autumnal release deluge is upon us. Vinyl’s thriving and writhing. Raise a glass to it. Do it. However, records that, in another month, would have been reviewed here, music that would have been in the ALSO WORTHY OF MENTION section, has been unfairly passed over. Read more... |
Peter Perrett, Concorde 2, Brighton review - magnificent songs scorchingly renderedThursday, 09 November 2017
These days Peter Perrett doesn’t rely on the songs of his late Seventies/early Eighties band, The Only Ones, to hold his audience’s attention. At 65, looking and sounding healthier than he has done in years, he’s on a vital late-career creative roll. At the start of his first encore he even plays a new, unreleased song, “War Plan Red”, giving vent to fiery infuriation with global... Read more... |
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