BREVIEW: Trish Clowes – My Iris @ Eastside Jazz Club 25.01.18

BREVIEW: Trish Clowes - My Iris @ Eastside Jazz Club 25.01.18

Words by Anna Whittaker

Eastside Jazz Club is a new venue inside Birmingham Royal Conservatoire at Birmingham City University. Given the gig started at 6.30pm and was set in a university building, I was prepared to feel like I was still at work and be horrified by the lack of alcohol. 

In fact, there is a cafe bar, from which you can take your drinks through to the venue, and they even do a little bit of food. Actually with the lighting and seating, it feels less like a lecture theatre-cum-practice room and less like a typical jazz club replete with sticky floor, general trodden in smell and dingy bar in the corner. The band gets loads more room than you see at most places, and the acoustics are great. Get here early for a seat.

Trampette, the support band of students at the Conservatoire, come on stage at 6.30pm. They’ve only been playing together since the summer but Tom Harris, Tommy Fuller, Josh Savage and Kai Chareunsy have a funky sound with songs based on your typical student things like a game of Jenga that went horribly wrong. It’s an interesting combo of keyboard/grand piano and bass guitar, with a drum kit and percussion section featuring bongos and a beat box to modernise the sound. Guest singer, Rebekah Wilkins, brings another dimension, and sounds beautifully like Melody Gardot. The best thing is they are definitely enjoying themselves. Trampette are also joined by a tenor sax player Harry Lear, for ‘Chickpea Mash’ they regularly stay with a slow rhythm then switch on the offbeat to more upbeat with impeccable timing on those pauses.

Talented saxophonist and composer, Trish Clowes, tours with her new quartet, My Iris. Clowes plays tenor and soprano sax with the accompaniment of Chris Montague on guitar, Ross Stanley on piano and Hammond Organ, and James Maddren on drums. Evocative and dreamy, Trish Clowes and My Iris build up slowly to an entrancing wall of sound as an intro to a much funkier guitar-led beat. There’s quite a lot of instrument switching going on but it’s smooth. The improv is fast but coordinated, reminding me a little bit of Ken Peplowski as there is a lot of doodle-oodle going on but it then fades into what seems to be her classic style on this album which sounds like the end of a rain storm. The puddles of sound keep coming, and actually this isn’t quite like any other jazz; with plenty of tempo switches. Clowes mixes in new material to the album My Iris released last year.

Next up is a ballad that makes the most of the gorgeous sounding grand piano. If you had to sum up the style of this set, perhaps ‘dreamy’ and ‘echoes’ would be the sort of words you would use. The piano solo in this piece is stunning to the point where the audience barely dare breathe; it’s reminiscent of Debussy. ‘Lightning Les’ finishes the first set and sounds like a barge coming through with discordant tones; you could be forgiven for thinking that the main chords were being played by an inexperienced clarinetist, blowing too hard and aiming at setting your teeth on edge, but it’s certainly a unique sound.

James Maddren’s drum solo provides some relief. But for some this might prove a little bit too experimental although it’s certainly not derivative in any way, and each musician is clearly highly talented; they meld together well, but it’s not relaxing listening. It would be nice to hear a few more solos from Clowes herself, amongst the bridges and twirls of the other artists, and we get a bit more of that towards the end of this piece on her tenor sax.

The start of the second set is more moody with just sax and piano before getting more boisterous. They’ve got sheet music in front of them, but I’d love to know how the ensemble get what they play from a mere couple of pages of scribble. This is more of a foot tapper and intriguing in its melodies. The older chairs in the audience all sit forward and start nodding in their seats, ‘Eric’s Tune’ is hitting the jazz nerve. Tap Dance (for Baby Dodds) is next, continuing the drum theme. This tune indeed has a tap dancing undercurrent throughout, with lead solo on tenor sax; it’s jumpy, it’s rhythmic while somehow mellow at the same time.

There is definitely something special about the weird wobbly sound of a Hammond organ that introduces the next piece, but what we didn’t expect was Clowes to do vocals rather than sax, in a sort of sound poem. This is really different, and such a contrasting intro to what comes next – an up tempo syncopation with echoes of the sax followed through on the piano. Tuning up the sustain on the guitar it’s very atmospheric; the moody ending is what makes them unmistakable.

Finally, ‘A Cat Called Behemoth’: the organ and guitar are the rhythm of its giant paws, the sax it’s swaggering walk, and the drums are fizzing the sound of each tensed muscle and especially every hair in his fluffed out tail. The students are amazingly attentive, by now mine are out on Sports Night ten sheets to the wind and don’t know what they’re missing.

My Iris is a completely unique sound, inspired by Clowes’ grandmother and messenger from Roman and Greek mythology (as well as a song called ‘Iris’). But as Trish Clowes says, Iris kept coming up from all directions as inspiration, like the many colours from the instruments her band.

For more on Trish Clowes’ My Iris, visit www.trishclowes.com

For more on Trampette, visit www.facebook.com/trampetteband

For more from Jazzlines, visit www.thsh.co.uk/whats-on/org/jazzlines

For more events from Eastside Jazz Club and Birmingham Conservatoire, including venue details and links to online ticket sales, visit www.bcu.ac.uk/conservatoire/events-calendar

ED’S PICK: January 2018

Words by Ed King

January 1st… no finer day to cross off the calendar. But as the world crawls out of bed with hangovers and resolutions, Birmingham’s events diary looks forward to a pretty vibrant January. It seems the ‘quiet month’ is not so dormant this year. Which is a good thing, right? I mean, who needs to stay in and save money? Food and heating are for quitters.

Some pretty big gigs happening this month, with the rock powerhouse that is Paramore (ain’t alliteration ace) coming to the Genting Arena on Jan 14th. Tickets may be sold out by the time I finish this sentence, so you’d better act rápido por favor (just finished watching Narcos) if you want to catch them tour their fifth album, After Laughter, through the second city. On the Lord’s Day as well… dios nos perdone.

On the smaller stages in Birmingham, Surprise You’re Dead are tearing the city in two on 24th Jan – as Ohio’s metalcore Miss May I come to Mamma Roux’s, whilst London’s pop punksters The Bottom Line are joined by Nottingham’s Lacey at The Asylum. In fact, overall it’s quite a strong start to 2018 from SYD as the Birmingham’s stalwart rock/punk promoters are also bringing Dead! to The Flapper on 31st Jan and The Bronx to Mama Roux’s on 17th Jan – although The Bronx gig has already sold out so check the relevant corners of t’interweb for returns.

Elsewhere in the land of live gigs, we have the rising stars Riscas headlining an uber line up at The Sunflower Lounge on 19th Jan – with Spilt Milk Society, Candid and The Real Cool all in support. If this gig doesn’t sell out then I will 1) buy a hat, 2) eat my hat, 3) buy another hat. 2018 is set to be a big year for Riscas, we reckon, so catch them when and where you can. Then The Hunna return to the O2 Academy on 11th Jan, whilst Setting Son Records present Average Sex and Semantics (one of our faves) at the Hare & Hounds on 24th Jan.

Hot on the heels of their recent triumphant homecoming, KIOKO headline a stellar line up of local acts at The Crossing on 26th Jan – with Namiwa Jazz, Zara Sykes, VITAL, Elektric, and revered local poet Kurly all performing as part of the Love Music Hate Racism event at the Milk Street venue. Trish Clowes presents her latest album, My Iris, with a new ensemble of the same name at Eastside Jazz Club on 25th Jan. Whilst those somewhat silent psychedelics, Moon Duo, come back to the Hare & Hounds on 30th Jan courtesy of This Is Tmrw. Then there’s the gig I’m throwing my metaphor in the ring for – This is the Kit showcase their new album, Moonshine Freeze, at The Glee Club on 24th Jan.

January also sees a strong line up of comedy in the city, kicking off with Tina T’urner Tea Lady Steamy Bingo at The Old Joint Stock on 5th Jan. Tracey Collins will be bringing her ‘camp alter ego’ back to The Old Joint Stock in March, so if you miss your numbers this time around you can always try again in spring.

Stand up also starts strong at The Glee Club, with Andy Zaltzman bringing his Satirist for Hire tour to The Arcadian Centre venue on 19th Jan – a week before Fern Brady’s debut Suffer Fools tour lands there on 26th Jan. Quick tip, if either of these stand ups ask you to email in suggestions or comments… don’t. Or at least don’t sign your name. Or sit in the front row. You have been warned. Whilst over at the Town Hall, Ed Byrne brings his Spoiler Alert tour to Birmingham on 27th Jan – a room big enough for some safe anonymity, for the audience at least.

Theatre stamps a reassuringly eclectic foot down on the first month of 2018, with Outer Circle Arts presenting The Death Show at The Rep Door on 26th and 27th Jan. Whilst a stone’s throw behind them in Hockley, Blue Orange Theatre present The Late Marilyn Monroe – running from 30th Jan to 3rd Feb. Then over at The Patrick Centre is the somewhat less self-explanatory Translunar Paradise  – Ad Infinitum’s unspoken story ‘of life, death and enduring love’, presented at the Hurst Street venue for one night only on 31st Jan.

Saint Petersburg Classic Ballet present Swan Lake, also for one night only, at the Symphony Hall on 7th Jan. Whilst The Mockingbird continues to its mission to save The Custard Factory from the cultural abyss with a double screening of Clerks and the documentary behind Silent Bob’s directorial debut, Shooting Clerks, on 19th Jan. There will also be a Q&Q with the latter’s director, Christopher Downie, and some cast members at 9pm.

For more film, mac hosts Playback from 7th to 24th Jan – a touring and ‘interactive exhibition’ of over 200 short films from ‘krumping and parkour dance shorts, to an animated tale of teenage love that unearths our desire to be as cool as the zines we read’. Held in the arts centre’s First Floor Gallery, with free admission, Playback carries a Tubbs and Edward local angle too, as ‘some of the films were originally made in and around Birmingham, where young people based in the Midlands were given the support and funding to create a short film.’

Then rounding off Birmingham’s cultural cache for the New Year, The Chefs’ Forum present their ‘Pay What You Can’ lunch at University College Birmingham on 15th Jan – a networking, trade and showcase event with four courses from some of the city’s top restaurants. Having launched its Midlands’ agenda at UCB back in February this… sorry, last year, The Chefs’ Forum is hosting their Jan ‘18 lunch to raise funds and awareness for its Educational Foundation which supports young chefs across the UK.

And with Louisa Ellis (The Wilderness), Mark Walsh (Opus Restaurant), Luke Tipping and Leo Kattou (Simpsons) and Olivier Briault (The Edgbaston Boutique Hotel) all chipping in a course, it should do just that. Although, the non-fixed donation approach is gratefully received in mid January.

Now if I can just find an energy provider with the same approach…

**Also straddling this month and the next are the two rescheduled Lady Gaga concerts, as the uber-star kicks off the UK leg of her Joanna World Tour at Arena Birmingham on 31st January before returning to play the Genting Arena on 1st February. Tickets to both arena shows are priced at £48.50 (+ fees), as presented by Live Nation UK.

In memoriam of her paternal auntie and namesake, Lady Gaga’s latest song, album and tour appear as personal an affair as you can offer when delivering it to millions of strangers. A curious dichotomy, but one Birmingham will get to see on stage first as the Live Nation machine sets down in our city before anywhere else in the UK. Kudos.

And with tickets being transferred from the previous dates in October 2017, it’s fair to say there may be a bit of a bun fight to get in to these gigs. No doubt it’ll be worth a few scuffed elbows though, but even if ‘I’m never going to know you now, I’m gonna love you any how’. OX Joanne.

For direct gig info, including venue details and online ticket sales, for Lady Gaga at Arena Birmingham on 31st January, click here. For Lady Gaga at the Genting Arena on 1st February, click here.’

Tickets for the originally scheduled Lada Gaga shows at the Genting Arena (12th Oct ’17) at Arena Birmingham (15th Oct ’17) can be transferred to the new dates. According to the venues’ websites, ‘if you cannot make the new date, refunds can be obtained at your point of purchase for a limited period’.**

Playback @ mac 7th to 24th Jan

For more on any of the events listed here, click on the highlighted hyperlink. 

Ed King is Editor-in-Chief of Review Publishing, which issues both the Birmingham Review and Birmingham Preview titles.