This 33 track feast of radical, wayward and modern Brasilian music comes courtesy of Dave McLoughlin, who is something of a don on the Brasil music scene. Dave operates out of Brasil Music Exchange and works with my good friend and fellow Brasiliophile, Jody Gillett. Together, they make a rather formidable duo. This selection is the basis for an up’n’coming Bandcamp version – http://bit.ly/R7YQfV and a physical promo CD.
Familia Gangsters
Basically, the Brasil Music Exchange is a project conducted by BM&A (Brasilian Music & Arts) and Apex-Brasiland it’s mission is is to stimulate activities and exchanges of experience in the global musical marketplace. With that in mind, don’t expect classic sambas or smooth jazz ‘n bossas or polished MPB this is the now- sound of indie Brasil.
In recent times the Brasil Music Exchange has forged links with British Underground, who were responsible for the “Bass Culture” foray into SxSW earlier this year, and somewhat surprisingly it appears that the Bass Culture concept is crossing borders and attaching itself to the musical hybrids of Brasil.
However, as you can hear from the tracks included in this selection there is a widescreen vision at work and I leave it up to you, the listeners, to tune in and decide which strand of twisted sounds from modern Brasil will resonate with that elusive worldwide audience once the Olympic ball gets rolling.
‘So long Eric’ was Charles Mingus’ tribute to the late great saxophonist/bass clarinetist Eric Dolphy and in this short piece I pay my respects the another revolutionary, another Eric – Eric Hobsbawm – who passed away a couple of days ago aged 95.
Eric Hobsbawm 1917 – 2012: Portrait by Gaby Wood
As an aspiring young painter and Marxist back in the early Seventies I found Eric Hobsbawm and EP Thompson’s approach to history and culture a revelation. Thompson’s weighty Making Of the English Working Class was an inspirational and essential read and as the years have progressed people’s history – culture and class – remains something of an obsession.
I expect little from our elected politicians who, on the whole, tend to be devoid of any cultural depth but I definitely suffer ongoing frustration with the radical left’s inability to recognise the significance and vital importance of culture in relation to their economic strategies. It’s a frustration that has been allayed only by the contributions of a few, one of whom was Eric Hobsbawn.
I was moved by Jonathan Jones’ perceptive piece in the Guardian and was gratified by the way he clarified Hobsbawm’s radical, and largely unrecognised, contribution as to how we all perceive popular culture today. He was an heir to the ideas and concepts of Karl Marx but he was no “clunk click” Marxist. He was a thorough and challenging thinker and you could do worse than delve into his four volumes on the History Of The World or seek out his collaboration with George Rudé – Captain Swing.
Besides being a card carrying commie like myself Eric was a jazz-head. As ‘Francis Newton’ (named after a Communist jazz trumpeter who played on Billie Holiday’s ‘Strange Fruit’), he wrote a column every month or so for the New Statesman and he did it for about ten years. He was regular at the Downbeat Club in Soho during the Fifties and was no Philip Larkin. As a jazz journo he checked out one of the Duke’s last gigs in San Francisco and attempted to interview a catatonic Bud Powell in Paris. Basically, Eric Hobsbawm found that he could slip away from the rigors of academia and often fraught world of political activism into another world – “no milieu is more tolerant than that of jazz musicians.”
Eric Hobsbawn was an unstoppable intellectual force and if he had no regrets about the political positions he’d adopted at different times I’d be surprised. Regardless of the times and the forces that railed against him and his comrades his intellect and passion drove him on. There was a humility about that generation of intellectual Marxists and I for one benefited from their openness and encouragement. So, right now, as I await a new generation of radical thinkers armed with the ideas and the determination to inspire a generation I’ll doff my Baker’s Boy and say, ‘So long Eric!”
Just spotted this. In the past I have talked about this bold venture whereby my good friend Frederic Voisin has re-interpreted, image by image, Albrecht Durer’s L’Apocalypse.
However, looking at these images, they appear to be way bigger than the originals he showed in the Cathedral in Reims – and I’m getting a real sense of their power. According magazine piece I stumbled upon they will be on show ” dans la salle des Ducs de Bouillon au château” from the 20th October to 4th November. I believe that’s in Belgium.
Maybe, there’s a gallery curator out there with serious vision who can bring this amazing set of works to the UK. Let’s hope so.
It doesn’t seem right that nigh on 20 years have slipped by since that natural mystic and astral traveller, Sun Ra, left us for other worlds.
However, the spirit of Sun Ra is alive and kicking, as the full house at the Barbican’s Transcender Festival testified. An audience that reflected all walks of life gathered to hear the Arkestra that 88 year old alto saxophonist, Marshall Allen, has kept alive since taking the reign from tenor saxophonist, John Gilmore, who tragically died from emphysema in 1995.
It was down to the dreadlocked Chicago based techno visionary Jamal Moss aka Heiroglyphic Being to introduce the 11 piece ensemble with a reading of Ra’s poem, ‘Astro Black’ and the music that followed took us deep into the jazz tradition and then out out beyond the stars.
There were familiar faces in the ranks of the Arkestra like baritone player Danny Ray Thompson, who doubled up on flute and bongos, and the alto saxophonist and congalero, Knoel Scott, and believe me this posse of glittery, caped crusaders can swing. They conjured up shades of a wayward Fletcher Henderson orchestra in full flight in Kansas City and then gave us a taste of the speedy, agile be bop lyricism born of Dizzy and Bird. The Arkestra love to take a riff and work it and on this night, unable to resist the groove, Scott, who is well into his mid fifties couldn’t help but bust a set of capoeira moves including a couple of heart-stopping cartwheels across the front of the stage!
Sun Ra Arkestra, Cafe Oto, London, England, 14 April 2010
It was scheduled as a game in two halves and as we headed toward the end of the first set my initial frustration with the all too polite volume was waylaid by a gathering momentum and futuristic intensity. Our appetites had been whetted and based on past experiences it could only get better.
As Jamal Moss’ turntablist and digital innovations took take shape in the foyer between sets one erudite associate mused, “This is cool but there’s a danger of it becoming a distraction.” And on that note we headed back into hall to await the return of the Arkestra.
As I had no serious intention of writing up the session, I do not have the benefit of copious notes. That was the task of my journalistic neighbours, who were there there to scribble comprehensive pieces for The Quietus and http://www.jazz.com. I was simply there for the music. However, as I now feel motivated to write something please forgive me if I present what transpired in a somewhat random fashion.
Marshall looks more and more like an aged wizard and he was clearly at the helm of the Arkestra. I have to pay tribute the ongoing physical impact of his inimitable technique on alto sax and his dexterity on his antiquated electronic valve instrument was enormously effective. His space age volleys of sound furthered Ra’s dedication to electronica and provided the perfect foil for the shards of synth that pianist Farrid Barron dropped into the mix.
The musicianship in the Arkestra is flawless and their choice of compositions ranged over a host of Ra classics from ‘I’ll Wait For You’ to ‘Angels & Demons At Play to ‘I Am Gonna Unmask The Batman’ and ‘Cosmos Song’. James Stuart’s fluid tenor solos would have benefited from a touch more volume while trombonist Dave Davis and the trumpet duo of Cecil Scott and Fred Adams constantly delivered alternatively lyrical and rapid fire solos. In the absence of that legendary thunder drum, the surdo of Elson Nascimento added welcome weight and momentum to the rhythms and colours of the Arkestra’s dynamic trap drummer Craig Haynes.
Behind the Arkestra, amid the ever shifting shapes and colours of the light show, images of Sun Ra came and went and he would have been proud of what his disciples continue to do with his substantial musical legacy. When Marshall Allen and the Arkestra tackled Louis Armstrong’s ‘When You’re Smiling’ they had the whole of the Barbican smiling along with them. They maintain a long lasting and deep faith in the vision of their mentor and while they continue to explore the creative limits of the cosmos there is a warmth, humour and genuine devotion to the music that guarantees – once they’ve done a full circuit of the hall – a standing ovation.
When Knoel Scott auditioned for the Arkestra back in July 1979, Sun Ra said to him, “If you want money fame or fortune, you don’t want to work with me. This is the Creator’s band and I work for the Creator. The Creator will pay you but if you want money fame or fortune then this is not the band for you.” Thirty years later he and his brethren are still working for the Creator. Ra lives. Long live Ra.
SINGING DRAGON PUBLICATIONS are fast becoming the most interesting publisher in the UK dealing with ancient wisdom traditions for health and well-being. Two recent publications that confirm this: The Five Levels of Taijiquan by Grandmaster Chen Xiaowang – which comes complete with commentary by Master Jan Silberstorff – and Yi Shih Tzu‘s classic Taoist journal on “the theory, practice and benefits of meditation” – entitled Tranquil Sitting.
It was a combination of Kung Fu films and health issues that led me to begin practicing taijiquan three decades ago. As Bruce Lee said of taijiquan, “The idea is running water never gets stale… you just keep on flowing.” My initial teacher, John Kells, was based in Wimpole Street in central London and taught Yang Family taijiquan. There was a school curriculum but I had no real idea of where it was leading. We started of with Master Chen Man-ch’ing’s classic short form and progressed to Yang Cheng Fu’s long form which we learned on both sides, left and right. Push hands was an integral part of each class. There was also Da Lu and, for some senior students, a 2 person routine called the “dance” which Master TT Liang was renowned for. Basically, there was a lot to take on board but it was underpinned by all too little theory and a dangerous belief that somewhere along the line you’d be able to toss an attacker aside with out even touching them.
Above: Master Cheng Man Ch’ing demostrates Yang style Tui Shou / Push hands
Call me disrespectful to my teacher, call me an anorak, but I was always looking for stuff on taiji whether in Kung Fu magazines or books. Compared to now there was very little written material on taijiquan. Books, like Taiji Touchstones: Yang Family Secret Transmissions, Cheng Man-Ch’ing’s Advanced Form Instruction and TT Liang’s Tai Chi Chuan For Health & Self Defence rooted one in the history and methods of this mysterious martial art and as such were treasured possessions. The only book that covered the full spectrum of styles – Chen, Yang, Wu, Sun – was The Dao Of Taijiquan – The Way of Rejuvenation by Tsung Hwa Jou but as I was young, foolish and dedicated to Yang taijiquan I instinctively blocked out the bigger, more relevant, picture.
Unlike other martial arts taught in the West, taijiquan has no gradings, no belts etc. Most people seem to just train and gradually take on more and more forms etc. and it’s inevitable that one encounters periods of doubt. As I was constantly diggin’ and doing my own research, I gradually becoming more and more knowledgeable about the origins, concepts and essence of taijiquan and Chinese martial arts in general. Inevitably, I became dissatisfied with my own school and what seemed to be a portion of blind faith, on the part of my fellow students, that the teacher would help them attain that elusive high level of skill.
Master Wang Shujin in San Ti / Xing Yi Quan
After incuring a serious illness I put taijiquan on hold and went off to explore xing yi quan – another more directly aerobic and martial discipline within the so-called internal or neijia schools of Chinese martial arts. I took lessons with various teachers and found each had different things to offer. They introduced me to the complementary art of bagua zhang which is built on walking the circle or the bagua itself. Basically, it opened me up to a wonderful world of possibilities and while that’s all good it’s also easy to get lost. I also recognised I still needed to find a teacher, a home, where I could build a solid foundation through guided practice.
It was during a trip to Japan in the mid 80s that I met a couple of young taiji practitioners who had trained with Master Chen Xiaowang. They gave me a video of him performing the 38 form on NHK TV. It was impressive and explosive. Once back in London, I chanced upon demonstration by Master Chen. It was his first time in London and as with the tape I was impressed with his demonstration. Here was the root of Yang taijiquan and it was very different.
Above: A young Chen Xiaowang demonstrates Pao Chi – Cannon Fist
It was some years later, after training in xing yi quan, that I met Kinthissa – a student of Master Chen. I signed up to learn Chen taijiquan. Kintissa provided me with a solid grounding and from there I progressed to Shifu Liu Quan Jun’s classes at Taiji Circle in Camden. Though shifu is currently a disciple of Master Chen Xiaowang, he studied longest with Master Chen Zhenglei – also one of the Four Tigers of Chenjiagou village. At Shifu Liu’s I have learned the value of structured learning and continuous practice, and have an overview of how they train in the home of chen taijiquan. However, the nature of progression remains something of mystery and begs one to ask questions like “How important is Chansi jin – the twining silk exercises?” or “Is it beneficial to practice Qigong to develop power? If so, what kind if qigong?” or “What do you need to practice in order fight effectively?”.
Master Chen Xiaowang
This is where Master Chen Xiowang’s The Five Levels of Taijiquan comes in and it doesn’t matter what style of taijiquan you practice, or what level you are at, this book is must read. I have read another translation of Master Chen’s 5 Levels on the web but this book seriously benefits from the commentary on each section by a long time student of Master Chen, Jan Silberstorff. In order to master taijiquan you must begin with the most fundamental steps, and systematically work up to the advanced levels, slowly building up your knowledge and technique as you go. Trying to skip levels is not a good plan. This small book explains and guides us through the five levels of Chen taijiquan from complete beginner to highest level practitioner. It is the perfect companion to David Gaffney and Davidine Siaw-Voon Sim’s book ‘The Essence Of Taijiquan’ and it gives the practitioner an insight into how to assess your current ability and what is needed to reach the next level. There’s no real mystery here. The text is accessible and motivational and the blueprint Five Levels Of Taijiquan provides is a valuable bridge between you as a student and your teacher.
The other book I mentioned earlier is the re-print by Singing Dragon of the extraordinary Tranquil Sitting – which was written in 1954 by an 82 year old Taoist master. I chanced upon this book about 15 years ago and it’s content illuminates the remarkable experiences of one Yin Shih Tzu, while cultivating his own own practice of Tibetan Mahamudra.
“On the seventeenth day of June I entered into meditation, my whole body emitted light, and I felt it illuminate my mind and eyes. This was so bright that my entire body top, bottom and sides , was surrounded with a light which expanded into a large circular shape”
To find out what happens on the eighteenth day you’ll have to check the book. If you are in any way interested in Taoist and Buddhist meditation this is a inspirational text – a journey that once read you will never forget.
Dropped into the BME at the 02 last night. Along with a hundred-or -so other like minded souls I enjoyed a nicely structured discussion on the impact The Wailers 1973 debut LP for Island Records – ‘Catch A Fire’ – has had on the world as we know it. Sensitively chaired by Kevin Legendre and featuring a panel that included Aswad’s Brinsley Forde, Jazz Jamaica’s Gary Crosby and the albums remix studio engineer Tony Platt, they gave an illuminating, if at times contentious, insight into the momentum this seminal album provided for the global reggae revolution which ensued.
The discussion was followed by an open workshop intended to give us a taste of what is to come when Lively Up! goes on the road this Autumn with their 30 piece Jazz Jamaica big band, a string section and, in some places, a choir. Their task, or that of arranger/saxophonist, Jason Yarde, is to deliver a mind-blowing interpretation of ‘Catch A Fire’ and knowing Jason and Gary Crosby I think that’s pretty much guaranteed.
In the vocal harmony section of the rehearsal, alongside a natty Valerie Etienne, was Zara Mcfarlane who had just been nominated for a MOBO. Not surprisingly, she was pretty thrilled with the news.
I first met Zara last October, at the launch of her album, ‘Until Tomorrow’. Being on Gilles Peterson’s Brownswood imprint has provided a global launch pad for this young singer and that, along with a vibrant live stage presence has earned her a growing rep. In recent times she has supported the godfather South African jazz and funk – Hugh Masekela – and duetted with The Voice of the moment – Gregory Porter and with her own band Zara continues to operate in a fluid and organic fashion between the twin worlds of contemporary jazz and eclectic nu-soul.
In tune with her touring the UK with Lively Up! I though it appropriate to flag up her unique take on Junior Murvin’s classic ‘Police & Thieves’. Enjoy the vid and if you are diggin’ Zara McFarlane’s voice and vision you can vote for her here: http://www.mobo.com/voting/best-jazz-act
One of the first posts I did on Ancient to Future, back in June 2011, was a news story on the forthcoming indie documentary Doin’ It In The Park: Pick-Up Basketball, NYC. Co-directed by Bobbito Garcia aka Kool Bob Love and Kevin Couliau, this much anticipated film explores the definition, history, culture, and social impact of New York’s summer b-ball scene, widely recognized as the worldwide “Mecca” of the sport.
Appropriately, Doin’ It In The Park: Pick-Up Basketball, NYC is set to be premiered this Friday (September 21st)at URBANWORLD FILM FESTIVAL, AMC Theater 34th Street between 8th/9th Avenue , NYC. Hopefully, not too long will elapse before it crosses the Atlantic and some well publicised cinematic showings grace our own inner cities. .
In New York City, pick-up basketball is not just a sport. It is a way of life. There are 700+ outdoor courts, and an estimated 500,000 players, the most loyal of which approach the game as a religion, and the playground as their church.
“You can play high school or college for four years. You can play Pro for a decade. You can play pick-up … for life.”
Doin’ It In The Park lovingly uncovers this movement through the voices of playground legends, NBA athletes, and most importantly the common ballplayer who all day looks forward to calling “next” game at their local schoolyard.
Co-directors Bobbito Garcia and Kevin Couliau visited 180 courts throughout NYC’s five boroughs to create their debut documentary. They traveled to a majority of the locations by bicycle, carrying camera equipment and a ball in their backpacks. The film’s title refers as much to the subject matter as it does to the method of film-making, providing an unprecedented perspective on urban America’s most popular, and accessible, free recreation.
Lively Up, celebrates Jamaica50! It consists of several ambitious projects set to tour the UK – two of which are dedicated to the music of The Wailers and innovative saxophonist Joe Harriott. Lively Up is the brainchild of Gary & Janine at Dune Records and the posse are holding an open vocal rehearsal, featuring Aswad’s Brinsley Forde, at the British Music Experience in the 02 this Thursday (2oth Sept). It’s intended to give us a taste of what’s to come with their 30 piece Jazz Jamaica big band + strings interpretation of The Wailer’s classic ‘Catch A Fire’album.
‘Catch a Fire’was released in 1973 and it is a seminal album. It arrived in a replica of a Zippo lighter complete with flip top and it established The Wailers as international superstars. The LP introduced reggae to the rock music mainstream who were taken aback by the raw, lyrical militancy of tunes like ‘Concrete Jungle’, ‘400 Years’ and ‘Slave Driver’ and the power of the music which had been tweaked to reach beyond it’s Jamaican audience. It was the spark that helped ignite a global Rasta revolution.
The Wailers circa. ’72. Bunny Wailer, Bob Marley, Carlton Barrett, Peter Tosh, Aston ‘Family Man’ Barrett
Along with the open rehearsal (don’t expect the full ensemble!), the BME have scheduled a forum/discussion around the global impact of ‘Catch A Fire’ which will feature Tony Platt (Engineer on ‘Catch A Fire’), Gary Crosby OBE (Jazz Jamaica/Dune Music), Brinsley Forde (Aswad) and Kevin Le Gendre (Journalist).
It all kicks off at 7.30… but get there early. Along with access to the rehearsal and discussion, you will be able to take in the the Bob Marley exhibition and savour Stage 2 of our very own Chaser Productions’ Word Sound & Power: Reggae Changed My Life.
This Thursday!!! 20 September – 7.30pm / Tickets – £5.00
Last Wednesday saw the opening for my good friend Hassan Hajjaj’s latest images – My Rock Stars Vol. 1 – at The Third Line in Bahrain. This time round Hassan’s lens pays tribute to tradition African portraiture of photographers like Seydou Keita and homes in on the musicians, performers, unsung artists and personal inspirations that currently inform and help shape his cultural world-view. The artists and images included here give us and idea of where Hassan’s pre-occuptions lie and as ever his mixed media presentations, which highlight his passion for style and pattern, typically resonate with a brilliant array of colour.
Let’s hope he brings the show to London in the Autumn and Hassan and I can have a little “ancient to future” reasoning.
Above: Hindi Zahra
PS: You can find Hassan’s shop at Arnold Circus end of Calvert Avenue in Shoreditch, East London… it’s got a double fronted shop window and wares that are obviously his!
Drifting through Hoxton Square on my way to the printers I noticed that the White Cube had a show of works by Anthony Gormley.It was an enticing offer I couldn’t refuse.
I’m definitely a fan and as I entered the downstairs space which is populated by seventeen figures I was totally hooked. Each body was formed from rectangular cuboid blocks, stacked and jutting out at different angles. They are a warm rust colour and drip stained as if corroded over time. As one moved around the space you became increasingly aware of their character and Gormley’s ability to create then most subtle shifts in posture.
Up until recently, the previously residence for these isolated figures was in a grand columned space at St. Petersburg’s illustrious Hermitage Museum andI felt I tinge of privilege upon discovering them by chance in Hoxton Square. As with the works that the artist showed at the Hayward the Academician’s body shape and size is the scultor’s starting point and he explores numerous stances. Arms are crossed or placed behind the head, some strain to stay upright, one is bent double while another is prostrate on the floor. One figure seems to simply disintegrate. Obviously, there are resonances of Cubism and Constructivism but it’s the pixel effect created by the use of blocks that instantly transports these physically powerful pieces into the digital dimension.
When I suggested to a fellow viewer that some figures appeared to be watching us he spontaneously recited an appropriate piece of verse. I thanked him for his poetic insight… I was totally knocked out
As a result, I failed to notice that there were more recent pieces on show upstairs at the gallery and another visit may well be on the cards. Otherwise I’ll have to wait until the dark days of November to roll in and the White Cube in Bermondsey hosts a major exhibition of the artist’s new work.
Plum Publications
Excellent resource for run by Ted & Debbie in California, both long time martial arts practitioners…. lots of books, dvds etc with informed reviews based on experience.
SUPA DUPA rare 'n' old skool Nigerian Ju Ju, Fuji & hi life…
Just haul up the the groovemonzter, log on & stream the majestic sounds of Sir Shina Adewale, Dr Orlando Owoh, King Sunny Ade, Cardinal Rex Lawson, Queen Oludunni Decency, Tunde Nightingale, Alhaji Sikuru Ayinde Barrister…. wonderful!
the blue moment
Richard William’s exellent reflections on the world of music and….
Plum Publications
Excellent resource for run by Ted & Debbie in California, both long time martial arts practitioners…. lots of books, dvds etc with informed reviews based on experience.
This 33 track feast of radical, wayward and modern Brasilian music comes courtesy of Dave McLoughlin, who is something of a don on the Brasil music scene. Dave operates out of Brasil Music Exchange and works with my good friend and fellow Brasiliophile, Jody Gillett. Together, they make a rather formidable duo. This selection is the basis for an up’n’coming Bandcamp version – http://bit.ly/R7YQfV and a physical promo CD.
ancienttofuture.com 