Author: birminghamreview

Shabaka Hutchings & Sons of Kemet

Headed by Shabaka Hutchings, a ‘musically adventurous instrumentalist’ and classical clarinetist major, Sons of Kemet are a new Jazz ensemble; also comprising of Seb Roachford and Tom Skinner – on drums, and Oren Marshall – on tuba.

Referring to the spiritual belief system, Kemetism; founded in Ancient Egyptian culture but serving African Diaspora, the four piece ensemble use music to explore Hutchings’ Caribbean roots; having been raised on the island of Barbados after being born in the UK.

Hutchings joined the Guildhall School of Music and Drama in 2003; then Courtney Pine’s Jazz Warriors in 2008.

Hutchings is part of the new generation of Jazz musicians, and has played alongside contemporary artists including; Kit Downes, Jay Phelps, Arun Ghosh and Soweto Kinch. He has also performed with Jazz stalwarts such as Julian Joseph, Jack DeJohnette and founding Blue Notes member, Louis Moholo.

Sons of Kemet have been described by John Fordham, in The Guardian, as ‘one of the hippest new UK bands’ and ‘certain to dominate the best of 2012 lists’.

Shabaka Hutchings & Sons of Kemet release their debut album later in 2012.

For more info visit http://www.shabakahutchings.com/

 

David Grey’s Greyish Quartet

Brainchild of local composer and pianist, David Austin Grey, the Greyish Quartet was formed in 2008.

With strong links the Birmingham Conservatoire, and established as young talents of the Birmingham Jazz scene, the Greyish Quartet includes; David Austin Grey – composition & piano, Sam Wooster – trumpet, Nick Jurd – double bass, and Jim Bashford – drums.

Greyish Quartet live performances can also feature the award winning saxophonist, Soweto Kinch, local vocalist, Jason McDougal, and New York emcees, iLLspokinn and Why G?

Earlier in 2012, Greyish Quartet’s released its debut album; ‘The Dark Red Room’.

A ‘set of contemporary compositions’ by David Austin Grey, this fourteen track project uses music to reflect ‘on a concept of film making, or an emotional response to a particular piece of film’. The album also features guest artists; Soweto Kinch, Jason McDougall and Why G?

Exploring a range ‘creative possibilities where music attempts to reflect photography, film and cinematography’, the album’s title track is an homage to the ‘quietly, intense mood of the photography dark room’; whereas the track ‘You’re Like Kryptonite To Me’ is in reference to the world’s most famous speeding bullet.

For more on David Austin Grey and Greyish Quartet, including samples of ‘The Dark Red Room’, visit www.davidaustingrey.com

Shabaka Hutchings & Sons of Kemet and Greyish Quartet play the Hare & Hounds on June 6^th. Rumour has it, Soweto Kinch will be appearing with Greyish Quartet.

For tickets & info, about this and other gigs at the venue, visit www.hareandhoundskingsheath.co.uk

Words & supporting pic by Cesilia Oriana Trecaquista

Asking what the general consensus was regarding the Mercury prize-winning act, Keane, I met with opinions ranging from indifference to utter disdain.

The latter from those who commonly referred to them as “posh twats”, or some other uncomplimentary reference to their background (Keane hail from Battle, East Sussex; and have never denied their middle-class roots).

I wonder if this acute disdain is based on class, or a genuine dislike for their music? Why is it more acceptable to like acts who have raised their profile ‘against the odds’, coming from so called ‘disadvantaged’ backgrounds, as opposed to more affluent. Even if the hard work, motivation and talent is equally evident. I digress…

(Ed – please refer to Haralambos & Holborn, ‘Sociology: Themes & Perspectives’. And Smash Hits)

It’s a pleasant summer’s night in Birmingham, as I make my way to the O2 Academy to see Keane; a band whose debut album – ‘Hopes and Fears’, evokes wonderful memories of a particularly happy period of my life. A time when student finance was always on hand to help me pay my bills, and things like catching the bus were significantly cheaper.

And despite all the negativity I’d encountered towards Keane, they were certainly not short of support. The O2 Academy packed to bursting point; the ‘pleasant summer’s night’ now almost unbearable.

I arrive after a long day at work, surprised to find Keane already on stage; echoes of ‘Silenced by the Night’ play as I walked through the doors. What headline act starts at 8pm on a Friday night, I ask myself??? And I wasn’t the only latecomer.

Lead singer, Tom Chaplin, tells us about his fondness for Birmingham; adding that the previous times he’s played here, he’s found the reception as warm as he does this night.

The audience become even more receptive, and personally, I find him charming and sincere; which is why what happened next made me feel rather wrong.

No longer able to stand sandwiched between die-hard Keane fans, relentlessly singing down my ear hole the lyrics to songs such as ‘Somewhere Only We Know’ and ‘Bedshaped’, I retreat to the stairs leading to the toilets; seeking desperate respite for my shell-likes.

Unfortunately due to the layout of the O2 Academy, my view became somewhat impaired; and I spend the most of the gig only able to see Chaplin’s gyrating groin area.

‘Charming’ and ‘sincere’ no longer appropriate adjectives.

However, although often headless and obscured, this vantage point allows me to appreciate Chaplin’s pitch perfect vocals, and Keane’s excellent on stage musicianship.

As their final song finishes, and everyone clambers out the doors; most leave satisfied and happy, others simply desperate for air.

And although standing in a still-light-outside Birmingham City Centre, after having left a gig at 9.20pm on a Friday night, I was encouragingly not alone. Apparently “posh twats” can have a loyal fan base too; albeit a very sweaty one.

For more on Keane visit http://www.keanemusic.com

For further info on the O2 Academy, including full gig listings, visit http://www.o2academybirmingham.co.uk 

Words by Cesilia Oriana Trecaquista

Arriving at the Birmingham Ballroom, I expect a long queue. Surely people will be lining up as far as Scruffy’s; awaiting the performance of the reggae veteran, Jimmy Cliff.

Yet to my surprise this was not the case. Although seeing the price of the on-the-door tickets (£32), I wondered if this had anything to do with it.

(Ed – ticket prices often reflect the cost of booking the artist. If you build it, they will come; but it can cost a promoter more than they’d like)

However, what the crowd lacked in (initial) quantity, they made up for in quality. The atmosphere; a contrast of excitement, expectation and contentment – the smell of marijuana inoffensively potent in the air.

Support act, 1Eye, warm the crowd up with numbers such as ‘Mr Bailiff’, ‘Worries and Trouble’ and a cover of ‘No, No, No’; aided by some seriously glamorous backing singers.

During the short interval before Mr Cliff’s entrance, I inadvertently become official drink watcher for people venturing out for a cigarette.

It was then I meet ‘Duffy’, who gleefully (and toothlessly) tells me he won his tickets from a competition on the radio, otherwise he’d never have been able to afford to see his ‘idol’. I felt, in this moment, that watching his Red Stripe was the least I could do.

Jimmy Cliff bursts on stage, in a bright outfit consisting of the Jamaican flag colours; and opens with ‘You can get it if you really want’. His energy is relentless, his voice as good as it’s ever been.

The set is versatile; consisting of an anti-war song about Afghanistan and some instrumental numbers which allow Cliff to show off his dance moves; namely the ‘Scooby Doo’ and the ‘Chucka Chucka’.

Looking at one point, whilst mid-dance, as though he was performing Tai-chi, I wonder if this is his eternal youth secret – enabling him to perform with a zest, at 64 years old, that would put counterparts half his age to shame.

Cliff takes to his guitar to perform the classic – ‘I can see clearly now’, and encourages the audience to partake in what felt like a 300 strong karaoke; getting the crowd involved in a call and response number, alongside splitting them in two to harmonise with one another. I can’t help but get into the full spirit; and become unashamedly emotional swaying away to ‘Many Rivers to Cross’.

The inevitable encores just keep coming, with Cliff performing a version of ‘Rivers of Babylon’; a cappella with only different percussive beats. After (at least) 20 minutes they stop, but at no point feel self indulgent – even with the singer wearing his own Jimmy Cliff t-shirt, available for sale at the merchandising stall.

Jimmy Cliff performs every number as if it were his last; making it impossible for the audience to take their eyes of the show, and I eventually leave the Ballroom feeling elated; after finally singing along to ‘Wonderful World, Beautiful People’.

And as expensive as it may have been to see it, Jimmy Cliff’s hard work pays off; leaving me, the rest of the crowd, and in no doubt Duffy – happy, uplifted and thoroughly entertained.

For further gigs at the Birmingham Ballroom, visit http://www.birmingham-ballroom.com

For more on Jimmy Cliff, visit http://www.jimmycliff.com