In Memoriam, Pete King, missed, never forgotten

Friend, brother, soulmate, kindred spirit... Pete was all these and much more. The song claims 'a good heart... is hard to find', yet the word 'good' serves insufficient justice to what an amazing person Pete was. Thoughtful, kind, generous, quick witted and humorous yet he was also one who knew his own mind, taking key decisions with confidence.

And PK (in After The Fire lingo) was, of course, a sublimely brilliant drummer. I can still recall a couple of shows where the rest of us turned round and watched in amazement as he completed a seemingly impossible fill that he'd already embarked upon!

Despite being such a strong and super fit individual it was to be cancer that was his undoing. Strangely, at an early ZipcodeS gig in 1983, when a close friend of ATF already in terminal decline from the same disease arrived in a wheelchair, PK confided in me that he foresaw himself landing up in the same state. Naturally, I dismissed it at the time, now that prophetic remark is a dark ghost in my memory bank.

He was the baby in After The Fire and we all looked out for PK as our younger brother. Yet with his stint depping in ELO and later as a full member of top flight German band BAP, he landed up becoming the most successful musician of us all.

Personally, I miss him dreadfully and I am well aware I am not alone. Conversations with close friends and family regularly land up remembering him. Furthermore BAP nobly braved the potential emotional black hole by recording their deeply personal tribute, as above.

When our post funeral posse stopped off for some sea air by Sheringham waterfront 25 years ago I felt this moment when Pete whizzed past nearby 'up there', just for a split second. And I had this overwhelming sensation that he longed for us to delight in his new incarnation rather than suffer the grief of our loss...

PB

Church and Drugs and Rock and Rollins...

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

P

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!

P

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

P

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.

P