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February 7, 2014

REVIEW: Jay Phelps Trio @ Bramall Music Building, Thurs 6th Feb

Words by Althea Patterson / Pics by Lucy Heath

With the crowd waiting expectantly, Soweto Kinch kept us entertained playing Coltrane’s Naima on the piano – standing in for an absent Ruben James. Jay Phelps arrived slightly later than planned, berating the London traffic and tube strike.

Barely off the motorway and ensconced in a cold Birmingham, along with his bassist Mark Lewandowski, the trio got stuck into performing with aplomb. With a short warm up, they lit up the beautiful Bramall Hall with a pacy rendition of Harry ‘Sweets’ Edison’s Better Go, what a delight. Heads bopped and knees swung. The acoustics saw Jay’s trumpet ring as clear around the hall. My, can he play…

Quickly jumping into a rendition of Gigi Gryce’s Salute to Bandbox, Phelps’ playful joy of performance made me want to dance in the sun. Still, and with the delightful piano of Kinch accompanying, I was content to sit and listen with the rain falling outside.

Jay Phelps makes no secret of his knowledge of Jazz and its long history. Here is a man who loves his chosen art; littering us with anecdotes of his hero Duke Ellington and his cohorts and contemporaries. Phelps, sharply dressed in suit, plays well to the Jazz ‘look’ of old – even so far as to mop his brow between playing with an elegant silk handkerchief. Dapper? I do say.

Playing a melody based on Gershwin’s I Got Rhythm the trio tore it apart and set it back up in a way you had to appreciate. I’m of the school that improvisation was too hard to follow; my shame, tonight my ears were opened up to a flow and I was converted. I relaxed and let it wash over me.

This is not to say the brass had all the fun tonight, oh no. Double bass player Mark Lewandowski shone with solos, skill, dexterity and humour; between the interplay of the sax and trumpet he was akin to a matador taming two testy bulls. He was amazing.

But the cherry on top was singer Francis Mott, joining the trio on a beautiful rendition of Autumn Leaves. Mott blew me away with his Stevie Wonder-like smoothness, ad libbing and searing notes. I had to compliment him afterwards ‘YOUR VOICE IS STUNNING’ or something equally as subtle.

The set ended with a rendition of Billy Strayhorn’s Upper Manhattan Medical Group. Talented, cool and most certainly passionate, Jay Phelps and his trio brought some musical sunshine at least to an otherwise dreary Brum day. Huzzah.

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For more on Jay Phelps, visit http://jayphelpsmusic.com

For more from THSH’s Jazzlines programme, visit http://www.thsh.co.uk/whats-on/jazz-and-blues

February 7, 2014

SINGLE: Skin – Rae Morris

Words by Ed King

It’s unfair for me to review Rae Morris. Why? Because ever since I heard Way Back When I’ve been subconsciously replaying the song in the back of my mind, circling a soundtrack of one round and round my far dark corners. I love it. I want to live in it. I’m so complicity obsessed by its melody not even my alarm clock stands a chance.

So with hope and defense I CLICK HERE to watch the official video to Skin, Ms Morris’ new & free-to-download release.

The first thing I notice is there’s no obvious piano. What??? They say that things that happen have a reason. OK, calm down; not every song in the world must be delivered on ivory. In its place we have a ticking clock, Natasha Khan whispers, and a mix of Chris Cunningham/Jean-Baptiste Mondino flickering across the screen.

I don’t like the ticking clock. It makes me think of Alice in Wonderland. And whilst I question this (I love Alice in Wonderland) the slow, slow, metro, nome, slow, slow-ly-takes-ho-ld.

Skin’s second verse brings in a soft bass drum, expelling the contrived hands of time and adding depth to the vocals – not that Morris’ voice need accompaniment, some of her finest moments have been acoustic.

I’m still not sure. But I realise my head has started, swaying, very, slightly as I watch the contrast and contortion on screen. Skin tells its story is through halls of empty marble, grayscale, soft lighting and tight fabrics. It’s very visual, very stylised and still very subtle. There’s some wonderfully simple photography (an arm stretching backwards across a wall, disguised floor to ceiling perspectives, severed close ups) which you could argue is Art4Art’s sake. And I occasionally wonder when the CK will appear. But I’m a cynic watching a video with chutzpah.

I’m starting to enjoy this. Or at least, I’m starting to stop comparing. There’s a certain elegance to it, both visually and audibly. I’m gently pushed along like a slow train; then at 55/6secs a subtle drop in Morris’ vocals introduces the chorus. 9secs later and my right hand is keeping time for a small invisible orchestra. After another 2mins 44sec I’m writing this review.

Rae Morris is a captivating songwriter. And I use the word deliberately. She’s delivered moments that owned me. You might not like her, there will be those that don’t; and between callous Pop and Saturday night television she was always going to lose part of the nation. But it gives me hope knowing that there’s more to come, from her and others with actually something to say.

Skin is far more polished than anything on Morris’ previous releases, with the marketing machines behind her stating it’s ‘the first glimpse of new material from her upcoming debut album.’ Which is great, there’s certainly time and money behind. So my only trepidation would be the potential distraction of production; an overzealous 3^rd party missing the simple trick and adding too much padding. A ticking clock, for example.

But perhaps I too am an ‘overzealous 3^rd party’. And I’d imagine between a booked out festival season and YouTube, there’ll be enough stages with just a stool and piano. If Skin is a glimpse of Rae Morris future I’m going to have to back down.

Why? Because of Grounded. Because of Grow. Because there’s an album out in summer. Because I’m excited. Because we’ve all seen artists over produced and diluted. Because vocals and piano might not be en vogue. Because of X Factor. Because the pressure to payback, tour, write and release must be intense. Because I don’t know. Because it must be easy to get lost. And, albeit more selfishly, because I want to make room for another song in my head.

For more on Rae Morris, including a free download of Skin, visit http://www.raemorris.co.uk

February 6, 2014

PREVIEW: Rachel Sermanni @ The Glee Club, Fri 7th Feb

Rachel Sermanni returns to The Glee Club on Friday 7^th February, headlining the Birmingham venue’s Main Room.

Touring her recent Everything Changes EP, the Scottish singer/songwriter comes back to the city as part of a widespread UK tour – having been on the road since Jan 31^st and culminating at the end of March.

Sermanni’s Everything Changes EP is the first release since her debut album, Under Mountains, in Sept 2012, and her subsequent cover of Robert Burns’ 1793 love song, ‘Ae Fond Kiss’. The 4 track Everything Changes EP was released via Middle of Nowhere Recordings on Jan 27^th and is the first of Sermanni’s new material to be released since Under Mountains.

Rachel Sermanni built on her initial following from a significant touring schedule, reportedly playing over 200 shows in 2012 alone, and some well delivered online performances.

Firmly Folk music, Sermanni’s use of lyrical imagery and Burns homage established a platform identifiable as her own. Beautifully delivered acoustic recordings of ‘Eggshells’, ‘Breathe Easy’ and ‘Song to a Fox’ became widely promulgated online, further pushing Sermanni’s material towards a worldwide audience.

Rachel Sermanni has toured extensively across the UK, Europe, North America, Canada and Asia.

Birmingham Review last saw Rachel Sermanni, again at The Glee Club, in Sept 2012. Under Mountains also received a Birmingham Review in the same month.

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Rachel Sermanni performs at The Glee Club on Fri 7^th Feb. For more info and tickets, visit http://www.glee.co.uk/performers/rachel-sermanni.htm

For more on Rachel Sermanni, visit http://www.rachelsermanni.net

For further listings at The Glee Club, including comedy and music, visit http://www.glee.co.uk

February 5, 2014

PREVIEW: Jay Phelps Trio @ Bramall Music Building, Thurs 6th Feb

Jazz trumpeter, Jay Phelps, will be performing at the Bramall Music Building on Thursday 6^th February.

Back in Birmingham as part of THSH’s Jazzlines program, Phelps will be joined by Reuben James on piano and Mark Lewandowski – performing as the Jay Phelps Trio.

Jay Phelps has been heralded as part of the UK’s young, contemporary Jazz scene. Originally from Vancouver, Phelps moved to London in 1999 and has performed with artists including Wynton Marsalis, Ray Brown, Nasheet Waits, George Benson, Jamie Cullum, Dennis Rollins, Guy Barker, Hugh Masakela and Gary Crosby’s Jazz Jamaica ensemble. Jay Phelps has also worked on Courtney Pine’s Jazz Warriors project, as well with Soweto Kinch on The New Emancipation and The Legend of Mike Smith.

Jay Phelps released his debut solo album, Jay Walkin’, in November 2010. He also leads the Jay Phelps Big Band.

The Jay Phelps Trio are scheduled to perform from 5pm at the Bramall Music Building on the campus of Birmingham University. Entrance is free, and people are advised to enter the Birmingham University campus from the Bristol Road. Click here for further directions.

Althea Paterson will be there for a Birmingham Review, with pics from Lucy Heath.

For more info visit http://www.thsh.co.uk/event/jazzlines-free-gigs-jay-phelps-trio

For more on Jay Phelps, visit http://jayphelpsmusic.com

For more from THSH’s Jazzlines programme, visit http://www.thsh.co.uk/whats-on/jazz-and-blues

January 31, 2014

REVIEW: Outfit + Amateur Best, Batsch @ Hare & Hounds, Tues 28th Jan

Words by John Noblet / Pics by Jonathan Morgan

When dispatched by Birmingham Review to a gig I don’t always make it in time to see the support band, something I feel vaguely guilty about. However in this instance, being late might have been the better option.

Missing Batsch, I did catch Amateur Best – with a live show that consists of him standing behind a load of music gear with wires coming out of it; then singing over the aforementioned machines and occasionally playing a brass instrument, which I think is a bugle. The bugle is a nice touch and gets everyone’s attention when he starts playing it at the beginning of the opening track. However it soon goes away, and I am afraid to say so does my interest in his performance.

The backing, coming from whatever it is Amateur Best has up there, is pleasant enough sounding House; broken up with the odd, tastefully chosen James Blake style bass wobble or Hip Hop beat. Amateur Best sings in a way that is entirely technically correct, but for me, does nothing to spark emotional involvement. There’s a vague, air brushed melancholy to it all that seems to suggest the poor lad may have had some girlfriend trouble at some point.

It may seem like I’m being overly mean, but all the elements of what Amateur Best was doing on stage added up to not much at all. I feel bad saying that about an artist who’s still in the early stages of his career, but it’s the truth. Or my truth at least.

And I’ve got no problems with solo performers going on stage with nothing more than a bit of technical wizardry and a mic. But a lack of other musicians up there means your music should be particularly striking and/or your onstage charisma sky high.

Amateur Best is lacking in both departments tonight; and as much as I try to find something to enjoy, I instead struggle with the kind of bitchy, irritable boredom that makes me ‘overly mean’. Like observing his outfit and hairdo resembles one of the nice guys on Hollyoaks, and how on earth someone thought this was good enough to tour with so much promotional backing. Catty, right? Possibly. I did warn you.

Outfit fare better. Musically, they belong to that post-Hot Chip school of left field pop with a touch of MGMT about the vocals. Added to this is a distinctly post Punk flavour, right down to the neat dark shirts the band wear (buttoned to the neck obviously) and the minimal lighting, which involves barely any house lights and a few desk lamps dotted around the stage. Though hardly an original trick, it does seem to suit their slightly shy stage presence.

The music itself is meticulously constructed; mid pace rhythms building tension, whilst the keyboards, guitars and what-not, push the dynamics to some lovely sounding peaks – all with a distinctly chemical fizz to them. The vocals fit nicely in the mix, with some good melodies, and the idea of Outfit one day having a big hit one day seems plausible, even if they’ve yet to write it. Outfit fit nicely into that Indie-with-synths niche which seems to be endlessly popular.

However (and you knew there was a ‘however’ coming about two paragraphs ago) this is not enough for me. I don’t want music to sterilise and compartmentalise every negative emotion, encasing it in a trendy looking case. And that’s what’s happening tonight.

The intricate layers and delicately built crescendos serve to obscure Outfit’s point, rather than express it more clearly. They come across as a band whose music is so relentlessly self studied, analysed, mulled over and tweaked, that there’s barely any passion or urgency left in it.

And that’s the crux of the issue – do you go to a gig because you want to nod your head to some nice music, or because you’re looking for some borderline transcendental experience? Something slightly bewildering and terrifying that explores feelings you might not be ready to admit you had?

Personally, I go to gigs for the latter. I go because at the right time and place, live music can open you up to vistas of unimaginable wonder.

Outfit undoubtedly make some good music, and I’m sure for some people they’re the perfect ‘date band’; but for me, I’m afraid, there’s just not enough in it tonight.

For more on Outfit, visit http://www.everynightidressupasyou.com

For more on Amateur Best, visit http://www.amateurbest.co.uk

For more on Batsch, visit https://www.facebook.com/batschmusic

For further listings at the Hare & Hounds, visit http://hareandhoundskingsheath.co.uk