Gustavo Dudamel, let us be numinous...

The phenomena that is El Sistema, the Venezuelan 'system' that introduces young kids to playing musical instruments in an orchestral, classical music community which lands up changing their and their families lives has been well documented. Now a good few years since its inception by Maestro José Antonio Abreu, the orchestra has removed the word Youth from it's name and has become the Simón Bolívar Symphony Orchestra of Venezuela (SBSOV). Along with the world renown and highly respected conductor, Gustavo Dudamel, the combination is a powerful force that bucks the traditional enclave within the classical music world.

Even if you have the T-Shirt, watched the videos, seen the Prom broadcasts, nothing can prepare you for the experience of seeing them in action live, it is totally overwhelming, the impact it had on me is still fresh and imprinted in my consciousness. There is so much more to say and I will endeavour to explain more in due course, but the overall impact is one of an intense spiritual and worshipful moment that captivates everyone in the room. Performers, conductor and audience find themselves caught up in unison, a rare and numinously transformative place.

Whilst the orchestra's appearance in 2007 won hearts with robust performances of Bernstein and Latin composers, this recent concert in June 2012 depicted above demonstrated their ability to perform principally European works with astonishing sublimity.

However, for me the moment occurs right at the end...

Move the time bar to 1hr46mins45s, the start point for the encore, humbly introduced by Gustavo, Sir Edward Elgar's Nimrod. Then enjoy the performance, again, totally sublime, and wait to see what happens right at the end of the piece. There is a full 28 seconds of silence, a pin drop pause, a selah, before any applause starts.

Everyone is caught up in the extraordinary moment and it is so clear to see the effect it has had on orchestra and conductor. What is notable that neither Elgar's nod to his buddy Jaegar nor the subsequent notion of the piece being so linked to Churchill's funeral were anywhere in the ether, this is a new and transcendent interpretation that only comes with fresh ears and eyes...

...we have so much to learn!

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Church and Drugs and Rock and Rollins...

Regular Greenbelt Festival contributor Peter Rollins at his provocative best.... Let us discuss?

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Serving up Dylan for Amnesty International...

Eric Burdon is one of the artistes that has contributed to Chimes of Freedom, a 4 cd album set of Bob Dylan songs supporting the 50th anniversary of Amnesty International. Some approach the songs and arrangements pretty much as an homage to the original, others, like this, have a spirit of re-invention. This song is taken from the first of Dylan's 'Christianity phase' albums, Slow Train Coming and features Mark Knopfler and Pick Withers from Dire Straits amongst the musicians on the 1979 release.

It was the 1960s hit for The Animals, 'The House of the Rising Sun', that launched Eric Burdon on his career, followed up by a string of hit singles for the band. In a recent BBC documentary about the Gospel hymn Amazing Grace the Blind Boys of Alabama sang the words to the tune of House of the Rising Sun, an apposite combination.

I've picked out the Eric Burdon track as a highlight, IMO I don't hear many other moments of inspiration and it is difficult to even imagine who this collection would appeal to. Certainly Dylan aficionados will find it painful and, ironically, the least original approaches marginally less so. Supporting Amnesty is a good thing, so cut out the middle peeps and send them some dosh direct instead!

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Emmanuel Jal - Savvy Peace Soldier...

Last night I was privileged to attend the Get the Youth Talking event in Camden, organised by a handful of charities linked together by the extraordinary and charismatic singer Emmanuel Jal. The evening was effectively in four parts commencing with a lively panel discussion on how to engage the far flung young and exiled Sudanese to work together to stimulate peace in their troubled land. As well as Emmanuel the contributors included representatives from Amnesty International (student section) and Jeremy Gilley from Peace One Day.

The video above can only give some idea of the fragile situation in Sudan since South Sudan declared independence last year on 9th July, hence the mobilisation to engineer the rallies outside embassies on the anniversary in one week's time on Monday. The panel and audience discussions were revealing, encouraging and sought to gain positive ground with insightful and well informed views.

Part two of the evening was spend enjoying East African cuisine from one of the sponsors, restaurateurs Abyssinia, and very splendid it was too!

Before the host took to the stage the seating was cleared away and Congolese poet JouJou Bola painted a moving picture of reality in African countries plundered for their conflict minerals.

One of the first surprises was to see a full band in action behind Emmanuel rather than the usual decks and tracks accompaniment. Emmanuel appeared at the back of the venue, clambered through the expectant audience bounced and onto stage before proceeding to lead the band through a seriously energetic performance. The set list comprised a selection picked mainly from War Child and his forthcoming CD, See Me Mama, the latter scheduled for an August release.

Throughout the set high energy levels were maintained, the band cooked, the drummer being the star player, and everyone couldn't help dancing to the groove. It was exuberant, colourful, moving and anthemic with the musical direction tipping a big nod towards reggae rather than solely hip-hop or rap. To Emmanuel's surprise and delight the audience was mainly Sudanese, whereas he usually plays to predominantly European or American punters.

After the show I was able to grab a few moments with him and he stressed the We Want Peace movement is an ongoing initiative despite the immediate focus on the worldwide rallies on July 9th and the follow up concert in South Sudan linking in with the Peace One Day 2012 on 21st September. Emmanuel is known worldwide as an activist, he now wants to mobilise people with the same vision as 'Peace Soldiers'. The downside is that all this activism is mainly self financed which has prompted him to start ringfencing his music work, his own label Gatwitch Records has been formed to consolidate this.

See Me Mama will be his fourth full CD album, he categorised his previous work as follows:

1. Gua (2005) - Expression to God, giving thanks
2. Ceasefire (2005) - exactly that (also a collaboration across religious divides)
3. Warchild (2008) - telling my story and developing as an artist

Undoubtedly War Child is his best known album as that was created once sufficient time and healing had elapsed for his remarkable story to be revealed, the song Forced to Sin effectively encapsulating it in a deeply moving, hip hop elegy. As well as the radio friendly title track another song about his late rescuer, Emma McCune, received recognition as it was introduced at Nelson Mandela's 90th birthday gig by kindred spirit, non other than the venerable Peter Gabriel.

Emmanuel's music deserves much more commercial success, one of the down sides of achieving almost cult status as an outspoken activist is that does not translate into sales. However, listening to the advance copy of the new CD on the way back the move toward the sing-along, anthemic style is a potential winner along with the grooves and unique voice. Furthermore, the growing interest from his fellow countryfolk may mean he can overcome the challenge of being a prophet in his own land...

Other important Emmanuel Jal links to check out:

Gua Africa
Lose to Win
Blog post on We Want Peace video

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Sunday Service...

For all those that need nurture after another typical Sunday at church... thank you Mike Scott of The Waterboys and the stained glass works of Irish artist Harry Clarke.

h/t David Di Sabatino

Making, playing, listening to and hearing music...

In the opening chapters of Professor Jeremy Begbie's authoritative book on Music and Theology entitled 'Resounding Truth: Christian Wisdom in the World of Music ' the author makes the distinction between music making and music hearing (p40). Whilst that may seem obvious, he then goes on to expand this further (pp 41-46) by initially pointing out that there may be a prior stage, composition, to the essential elements of performance (making) and listening (hearing). However, let's look at two additional discussions which have expanded the making and hearing aspects of music in line with Professor Begbie's theses.

Bruce Springsteen – playing versus making music:

On his We Shall Overcome - The Seeger Sessions / American Land Edition [CD+DVD] Bruce identifies the difference between performers who simply play music and those that make music together. As the interview progresses it is clear he is referring to the way some players are not content to just interpret a music score (or chord / tab chart) but have the inherent gift to gel together with their fellow musicians such that a new plane is reached where communication is instinctive rather than reactive. The group of players effectively become one and feel the groove enabling co-ordinated variations and improvisations with no pre-meditation.

Historically it is clear when either musical conventions are challenged or there is an 'ethnic' re-imagination then substantial musical developments occur. In relatively recent times we have seen the advent of Jazz, the worldwide success of songwriting bands spearheaded by The Beatles and the Punk explosion. Equally the international popularity of Reggae and Gospel Music on one hand and the UK folk music's crossover into the mainstream with groups such as The Fishermen Friends with their repertoire of traditional shanties. There is a potential division between classical and popular music performers that disappears when they have both the grace and desire to side step such differences. This can achieve a performance and response that transcend any where the artiste could have chosen to stay either entrenched or simply played safe. This was a revelation to cellist and composer Philip Sheppard when working with the late Jeff Buckley which I explored in this post. Clearly there are a vast number of additional parameters that come into play; social, geographical and chronological and this gives more to discuss and unpack to move toward a less generalised explanation of the above.

Nick Coleman– listening versus hearing music:

This former NME journalist and music lover's entertaining yet deeply moving memoir, The Train in the Night: A Story of Music and Loss , describes how his world was changed forever when he was diagnosed as having the condition Sudden Neurosensory Hearing Loss, a combination of partial deafness combined with thunderous tinnitus. He effectively has to re-learn how to hear and for some time during his recovery it is his encyclopaedic knowledge of pop, rock and classical music that sustains him as he psychologically engineers a way to replay his record collection from memory. It is only when he realises that he needs to learn how to listen to what music is saying to him that a sense of hearing is partially restored, albeit accompanied by great physical pain and discomfort. So he concludes that he has to develop a new way to listen, one that is active rather than passive.

If I may suggest:

This provides a clue as to why listening and hearing are different. For example, one method I employ when trying to check something subtle but potentially troubling during a recording session is to play the piece back whilst making a cuppa when I'm not in full close up, focus mode. This synthesises the moment someone hears your work for the first time and corrections can then be effected if there is, indeed, actually an issue anyway. In a similar way there are songs that stand out on the radio as we are driving along, at times I've even stopped the car to catch who the artiste is (so annoying when the presenter doesn't say?!). My proposition is that is an example of when a piece 'speaks' to us, provoking us from a hearing only to a listening intently mode. This endorses what Coleman concludes, that hearing is passive whilst listening is deliberately active.

It is therefore safe to propose that the more acute hearing of most musicians enables them to listen better than someone less musically gifted, and, when playing in an ensemble, engages that ability to promote those special moments of making transcendent music together.

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Crowdfunding classical combo ColdPlay cover...

Have recently stumbled across this extraordinary duo, The Piano Guys, a virtuoso pianist, Jon Schmidt, and cellist, Steven Sharp Nelson, playing inventive cover versions and original material. For this project they enrolled charismatic singer Alex Boye who translates the song into Swahili, English, Yoruba (his mother's native language), and his own African "scat". So the original title of ColdPlay's Paradise became 'Peponi' in this brilliant and adventurous cover.

The Piano Guys are inviting folk to join a 'Founder's Club' to help them produce more music and videos... check it out!

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Bruce Springsteen from boy to Soul and Spirit...

An insightful (and rare) interview with 'The Boss', who talks about the influence of his childhood house and Catholic upbringing in relation to his brilliant Wrecking Ball album. For Apple viewers here's some text but video may still be Flash :-(

P h/t Martyn Joseph

Fathoming Francis... Savvy Saint

My attention was first drawn to Ian Morgan Cron's (IMC) literary output when the Greenbelt highlighted a review he had made about the 2010 Festival which I blogged about here. Subsequently his 'memoir of sorts' Jesus, My Father, the CIA, and Me was praised by friends such as Maggi Dawn and Martin Wroe so I felt compelled to purchase, despite the J word in the title! To say I enjoyed it is an understatement, it was one of my top reads last year and one I heartily recommend. I was also aware of IMC's earlier book, Chasing Francis: A Pilgrim's Tale, a novel about a pastor of an evangelical 'megachurch' in New England who struggles with a crisis of faith, so when given the opportunity to review it I was delighted.

The book is prefaced with a firmly worded disclaimer that Chase Falson is not IMC in disguise... Ha, I expect I will not be the only one determined to find cracks in that defence! It then opens with Chase arriving in Italy to visit his Uncle Kenny after bucking the trend in church by saying what he really thinks and, as an outcome, being given an immediate sabbatical by the church elders (the Sanhedrin?!). The key characters in the church are introduced before the action happens as Chase is 'nudged' to call this enigmatic Uncle, a Franciscan monk / priest, who has persuaded Chase to drop everything and fly to Europe forthwith.

What then ensues is somewhat of a whirlwind exploration of both the physical church connections and the theology of Saint Francis of Assisi in the company of a bunch of lairy guys who are able to impart wisdom through both their love and behaviour. So our erstwhile pastor is thrown into a bewildering world of relatively orthodox Roman Catholic rituals and edifices in the company of these 'disciples' as they unpack the history of St. Francis. As a result Chase starts to write his journal entries directly to St. Francis, another literary medium to impart some deeply personal thoughts about his pilgrimage. There are some notable counterpoints, too, as St. Francis' advanced thinking is explored, for example, I couldn't help notice the narrative as red wine was poured into plastic cups whilst simultaneously discussing how St. Francis was effectively the first Christian enviromentalist. Furthermore, during one of the services of Mass there are disctinct similarities between the young IMC and the adult Chase. Ian, you've been sussed!

Now, just as I was starting to get a little uncomfortable thinking that the answer to all my spiritual quests could only be answered by attending Mass and/or church even more, half way through the book Chase is on his own and lands up encountering Carla, a gifted and beautiful cellist. Subsequently they share a meal with a top notch musicologist who has a major effect on them both.

From then on I was hooked. Ok, music may be home territory for me, but I found myself reflecting that perhaps, as a reader, I need to cover all the same ground as Chase, to be a pilgrim too? From then on I found myself reading purposefully, allowing myself to be absorbed as even more stunning surprises were revealed before the build up to the challenging conclusion, which is neither one of received wisdom or what you might expect. This is then developed in greater detail in the excellent and comprehensive study guide included as an appendix.

Interestingly his two books appear to be directed at different audiences. Chasing Francis is much more of a book for a Christian, churchy type whilst I could certainly give Jesus, My Father, The CIA and me to anyone, regardless of their faith journey or affiliation. As a UK citizen who just has to drive across this country to experience the relatively radical teaching that forms the core of the Greenbelt Festival ethos, I feel much of the theology in Chasing Francis was comforting rather than revolutionary. However, I equally found that an important aspect of this book is the encouragement and endorsement it provides, particularly concerning the arts and, for me, music. One minor warning for non North Amercian readers is some of the language and acronyms may remain a total mystery! IMC's later book translates better in that respect.

Readers will really appreciate IMC's turn of phrase, he has a enchanting writing style that makes this book very enjoyable and, as I said earlier, a great encouragement. More significant are the layers in the narrative that give the reader the opportunity to mine the text for interpretations that match their current condition, which migrates this work from purely fiction. IMC refers to this as 'wisdom literature' in the introduction, an apposite description. And what's really intriguing is the loose ends with many of the characters, roll on the sequel...!

Ian Morgan Cron is one of the speakers this year at Greenbelt 2012

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Jubilate everybody...

This is the incredible Geoffrey Gurrumul Yunupingu who stole everyone's hearts when featured in Gary 'Take That' Barlow's documentary programme about the creation of the rather splendid 'Sing', a Commonwealth anthem for the Diamond Jubilee...

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I see the Power of Music...

Another great TED talk from Abigail Washburn with some powerful quotes:

I see the power of music to connect cultures. I see it when I stand on a stage at a bluegrass festival … and I bust out into a song in Chinese, and everybody's eyes just pop wide open.

I see the power of music to connect hearts...

DO watch all the way through. Thank you TED

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Air Canada - In Flight Entertainment...

The Lemon Bucket Orkestra, who describe themselves as "Toronto's only Balkan-Klezmer-Gypsy-Party-Punk Super-Band", were delayed on a flight to Romania... what better way to while away the time than play an impromptu gig right there and then?

P h/t The Wedlocks

Bishop's Got Talent - NT Does Dylan

N.T. Wright Sings Bob Dylan from Thomas McKenzie on Vimeo

Former Bishop of Durham ends talk with Dylan, wonder if he will do this at Greenbelt this year?!

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And the greatest of these is...

From the film Across The Universe (in my Amazon wishlist!) including cameo appearances from Eddie Izzard (as Mr Kite) and Bono. Screenplay by Dick Clement and Ian La Frenais, directed by Julie Taymor.

P h/t RJ

We all had to start somewhere...

Along with many others I am indebted to this book which I was given with my first guitar. What a legacy Bert leaves, becoming more successful as the author of this guide than as a performer and above all for creating an initial introductory milestone for so many players.

Bert will be remembered for this book, whilst Jim Marshall will be remembered for effectively defining the rock guitar sound, both lives are to be celebrated...

PB

We all give God the blues...

From the album Mercyland: Hymns For The Rest Of Us, a collection of 12 songs curated by Phil Madeira by various artists. As well as this song in the style of the Blues there are contributions ranging from traditional, Country and Rottsy folk songs.

This Nashville Scene article explains more, a couple of sentences that challenge are:

a devotional album without all the religious and commercial hoopla

"I think the most visible expressions of Christian faith are very exclusive, and I think that has been a real struggle for me."

P h/t @iancron

You would not believe your eyes...

Video featuring iDrum virtuoso sticksman Dan Abbott along with his pots and pans percussionist Jono breaking out some broad smiles in the metropolis of Londinium with some guerrilla busking. Hailing from my local patch of Colchester iDrum is a drummer's collective headed up by Dan who is also a regular member of Psalm Drummers as well as playing for various bands. Dan stresses that iDrum is primarily about having fun, being a tad different from other buskers and definitely not a commercial masterplan. Love the mime to Owl City's single Fireflies too, pukka performance art!

According to Dan the interaction of the watching crowds makes all the serious effort well worthwhile, with folk saying that stumbling across them playing landed up making their day. Young guns have staged dance offs in front of the band, there have been spontaneous break dances and other pro drummers have stepped up and joined in for impromptu jam sessions. Keep an ear and eye out for them as they perform all over the place, check out the various youtube videos.

Film above created by Timecode Cartel.

P h/t Tim Abbott

Does my bum look big in this?!

I recall it was all a tad stressful as our Ivor had already legged it home to watch the transmission when a technical problem was identified and we were put on standby to re-record.... Fortunately all was well!

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Mr Bond, I presume?!

How tough it is for students these days? This was created by the University of Pennsylvania's School of Engineering and Applied Science... read more about the project here.

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Athlete's Union Chapel Anthems...

Athlete are one of those bands that, whilst successful, have not managed to scale the higher strata of music business status despite notable awards and plaudits. Indeed, although there musical output is relatively compact, it is definitely a matter of quality rather than quantity. There anthemic approach to songwriting, recording and their live performances have inspired both loyal fans and appreciative listeners. Their strength relies on producing songs that have intelligent, yet charming, lyrics and memorable melodies that readily induce the Old Grey Whistle effect.

This latest release is a snapshot of the last night of their 2011 'Stripped Down' tour, a subset of the full setlist, but all the songs have that sense of familiarity from airplay and the TV broadcasts of their festival sets. Last night I settled down, donned my headphones on and treated myself to an uninterrupted listen. Unlike many first CD auditions I found myself happily riveted, encapsulated by the mood of the event and, as each song ended, smiling broadly in appreciation.

With a consummate line-up that knows these songs every which way, it is a delight to hear the re-inventions played with such ease and feel. And there is plenty of imaginative re-invention, with drummer Stephen Roberts combining percussion with beat boxes as well as kit. The balance and sound is approached differently, too, yet nothing is out of place or overpowering. Bassman Carey Willetts has a couple of starring parts along with a little out of tune passage, which, of course, makes it all totally authentic!

Singer Joel Potts makes a point of complementing keyboard player Tim Wanstall for his contribution, rightly so, as his playing throughout is sublime (even though there's what sounds like one little fluffette just before Joel's introduction!). The vocals are excellent throughout, too, although I suspect there has been some minor tweaking as I am sure I can hear some harmonies sung by Joel ;-) Mr Potts has one of those singer's voices, very distinct, easily identifiable and the way he phrases the lyrics is special.

The CD album captures those live gig moments, introductions and banter have been left in without detracting from the overall production, the atmosphere builds as they launch into 'Flying Over Bus Stops' gently, then building with a Jónsi-esque 'Grow Til Tall' climax. This is then followed by the closing track, 'that' song, 'Wires'. As per when I enjoyed their set at the Greenbelt Festival in 2009, the song is reprised after the tumultuous applause, culminating in just the 'congregation' singing with gusto and conviction, wonderful!

ATHLETE - LIVE AT UNION CHAPEL will be released on 27th Feb 2012 - purchase direct (as I did!) from Athlete HQ here.

Joel closes his anecdotal sleevenotes with this:

It's pretty nerve wracking playing in such a setting. I mean, everyone sitting in the pews and God is somewhere at the back.

And God saw that it was good... very good...

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