When was the last concert you went in 2017

Thursday, 7th September. A benefit show in Gipsy Hill, South London, for the launch of the Gipsy Hill Green party, which is working to save the threatened Central Hill community, among other things. Ese and the boys put on a great show and managed to raise a few hundred quid for a great cause.

From the night, here's Ese performing one of my favourite songs of hers, "Up In Smoke".

Monday night and a trip to King’s Place (and an excellent little hotel just yards from the venue) to hear Zoe Keating.

Fascinating 80 minutes of playing.  Ms Keating describes the music as Cello and iMac, using multiple recorded loops made on the fly; record a sequence, play over the top and record that and then pick other loops, stop them, re-start others. Very difficult to see how she controlled it all except it involved her foot (perhaps feet).

One downside, the playback system had a noticeably different tone from her instrument. Enough to be audible, but not detract from some accomplished playing. Her payback system was miles ahead of the execrable efforts at the Pink Floyd V&A display we visited the next morning.

Neil Diamond at Manchester last night. 

Altinoglu/CSO: Prokofiev, Poulenc & Gounod
Sandrine Piau soprano
Michael Schade tenor
Andrew Foster-Williams bass-baritone

Program

Prokofiev Suite from The Love for Three Oranges
Poulenc Gloria
Gounod Saint Cecilia Mass - CSO Premier

I didn't know anythig at all with this young conductor but I very much loved how  he lead CSO with a crisp and engaging rendering.

The program opened with Prokofiev with exuberant vigor and lots of angular jagged corners fitting of the composer's wit. Lighthearted and love its carefree attitude.

I also enjoyed Poulenc's Gloria. It has more of contemporary flair ( composed in 1959 ) than the traditional mass and his clear reading made the tune much easier to follow as well as Chicago Chorus rich and colourful backdrop. Soprano Sandrine Piau's voice was a bit thin but I appreciated her clarity and sensitive delivery. I appreciated Altinglou's precise direction filled with vivid colours but for the slow number it could been a little more romantic. He finished off with an exciting finale.

The back half of program was a Chicago premier of Gounod's St. Cecillia Mass.

This is more of your *standard* mass and it sort of lost me towards the end. Certainly not as powerful as Beethoven's Missa Solemnis. Where the music can alone can penetrate the soul. Strictly from the musical content, I thought this Gounod's Missa was just fair. Once again the soprano offered a nice clarity and nuance, the tenor sounded a bit stressed in upper register but I did however love the tone of bass-baritone. The small chap on the left yet he produced deep and resonant surprisingly far reaching projection.

Anyways, I love this conductor tho. Hope he can come back again. Very precise and but got a very nice flair. Here he's ad-libbing some Gershwin a la Carmen. I do very much like his grooves.

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On Wednesday saw "Tubular Bells for Two" at G-live in Guildford. Two guys playing Mike Oldfield's Tubular Bells from start to finish. Stunning musicianship, both playing keyboards, guitars and percussion/drums. Awesome night out.

Two in a row at St George's, Bristol. 

Last night, The Aurora Orchestra, in particular Mahler Das Lied von der Erde with a chamber orchestra setting. If you get a chance to see this young orchestra, they ard engaging, taldnted whatever thed choice of programme. For a taster they are on Radio 3 on Sunday.

Tonight, Leveret, three piece collaboration/arrangement of tunes old and self written,  gentle, peaceful and exciting. Try Two Nights in Chievley (really, two nights in a Travelodge brings inspiration!) and Henry Blogg (read his story and marvel at a volunteer)

Last Friday night.

Last night at G-Live Guildford - Clare Grogan (Altered Images), The Christians and Midge Ure. All three sets were superb.

Clare's voice is a bit richer that 35 years ago, but still sounding wonderful.

I didn't pay much attention to The Christians in the 80s, but now realise that was a huge mistake. Not the original line-up but they are very tight and great tunes.

Midge was awesome. Vienna live was breathtaking. His voice is better than ever. My ears are still ringing.

I’ve just got back from a wonderful concert by Ella Rundle and Eloisa Fleur, playing Kodaly, Bach and Ravel in Westbourne church, which is about five minutes from my house. It was put on as part of Wemsfest, the local arts festival, which is volunteer run and rather fine. As well as collecting tickets and serving wine, I had a chat with the musicians, who are both lovely. 

Herbie Hancock:
James Genus bass
Vinnie Colaiuta drums
Terrace Martin saxophone and keyboards

Hancock closed his '17 US tour in his home town Chicago. From what I saw on past set list for this tour, I was expecting more of his funky stuff from the 70s. Instead the rather short 90 min. concert was filled with more of progressive free jazz. So it was a bit of a disappointment for me. Altho listening to him playing Cantaloupe Island was worth waiting for. I just wished that he did more of his *greatest hits* but he deliberately avoided doing so for Chicago set. Atmosphere was relaxed and  audience gave him a warm welcome home cheer. There were a decent amount of an old geezer like me but there were some young folks attending.  He was in his top form but I just wished that he played more of acoustic material and less time given to Terrace Martin.

I was amazed at how fit he was at 77. Jumping up and down on the stage and shaking hands and signing copy of records. Hard to believe Pollini who even has trouble walking up to the piano is 2 years younger than Hancock!

Joe Bonamassa in San Francisco. Great concert. I also completely unexpectedly bumped into Joe himself the next day at Real Guitars on Lafayette. He bought a Hamer Flying V. 

Just back from The Hot Club of Cowtown at St George's,  Bristol. The first night of their tour, rockabilly, hot jazz trio. Their recordings don't do justice to the live performance. The bass player Jake Erwin is a master of slap bass, if there is a show near you I suggest the price of entry is worth it to see him.

At the risk of offending, the live performance shows what PRaT doesn't describe (for me), ensemble, the gestalt from that, energy, excitement and enjoyment.

Very much looking forward to the start of my concert season tomorrow ....

Freitag, 27.10.2017 | 20:00 Uhr | Meistersingerhalle

10-18

Murray Perahia | Klavier und Leitung
Tomo Keller | Konzertmeister

Academy of St Martin in the Fields

Beethoven, Coriolon-Ouvertüre c-Moll op. 62
Beethoven, Klavierkonzert Nr. 2 B-Dur op. 19
Beethoven, Klavierkonzert Nr. 4 G-Dur op. 58

1. Meisterkonzert

Murray Perahia
Murray Perahia © Udo Titz

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„Die Seele eines Dichters, der Geist eines Denkers, die Hände eines Virtuosen“, so brachte ein Kritiker die Qualitäten des Pianisten Murray Perahia treffend auf den Punkt. Dessen Name ist seit Jahrzehnten Markenzeichen für eine Musikalität, die weit über die reine Perfektion an den Tasten herausgeht: Perahia begreift die Kunstwerke in ihrer Gesamtheit, mit allen Besonderheiten ihrer Textur und ihrer Entstehungsgeschichte. Mit Phantasie und Leidenschaft haucht der „Sänger unter den Pianisten“ seinem Repertoire neuen Atem ein, bringt sein Klavier zum Singen, Phrasierung und Melodie frei und natürlich strömend.

Perahias Sieg beim Leeds-Klavierwettbewerb 1972 war die Initialzündung für eine Weltkarriere, die viel Klang, aber nur wenig Lärm erzeugte: Weit entfernt vom Gebrüll eines „Tastenlöwen“ musiziert Perahia mit Herz und Verstand, setzt sein superbes Können nie zum Selbstzweck ein, sondern stets als ein Medium für die Kunst.

Diese Qualitäten erkannte man auch schnell bei der Academy of St Martin in the Fields – erste gemeinsame Projekte mit dem Senkrechtstarter verwirklichte man bereits 1974. Das Band zu dem Londoner Kammerorchester, weltweit gerühmt als Spezialisten für die Wiener Klassik, riss nie ab: Seit 2000 ist Murray Perahia 1. Gastdirigent der Academy, die er in unserem Konzert vom Klavier aus leiten wird.

Das reine Beethoven-Programm wird eröffnet von der Ouvertüre zum Schauspiel „Coriolan“, die bereits bei ihrer Uraufführung im März 1807 vor dem bedeutenden 4. Klavierkonzert erklang. In diesem sind bereits die ersten Töne epochemachend: Zum ersten Mal in der Musikgeschichte hatte bei einem Konzert das Klavier das erste Wort! Von Robert Schumann als „Beethovens vielleicht größtes Klavierkonzert“ gepriesen, ist es wie das frühe Schwesterwerk in B-Dur bei Murray Perahia im wahrsten Wortsinne in besten Händen.

EUR 104,- / 96, – / 85,- / 74,- / 62,- / 51,- / 40,- inkl. 

The concert as above specified was a good start in the season. As always a nice tonality, not as sharp as it can get, but Murray is also getting into the years. Enjoyed it a lot....

Public Service Broadcasting at Hammersmith Apollo.  A storming show both musically and visually.  The finale, an unaccompanied male voice choir, left few dry eyes in the house.

Bluesfest - O2 Indigo, London

The Indigo venue is tucked into the outer limits of the main O2 building - medium/small (say a little smaller than the Hammersmith Odeon). A good size. In the company of Dave J (a most accommodating chauffeur).

Planks were spanked throughout.

The bill was shared by  Kenny Wayne Shepherd - a blues rocker very much in the vein of Johnny Winter. He's technically excellent and can certainly crank it out, though the playing is a little monochrome. Nevertheless, considering I knew none of the repertoire (apart from a couple of blues standards and a faithful closer of Voodoo Chile Slight Return) it left you thinking that Gov't Mule would have to go some to top them.

Gov't Mule needn't have worried. From the start they just piled into it, a few old favourites, some songs from the new album (including Drawn That Way that morphs into a classic uber-ZZ Top vamp). Built on a thunderously grooving base of Matt Abts and Jorgen Carlsson that literally shook the place, Warren Haynes showed the way to vary blues guitar solos, helped by changing guitars nearly every song but playing throughout with a human voice. Danny Louis played some great keys, some guitar and even a trombone solo.

For the end of the main set they were joined by Kenny Wayne Shepherd and his lead singer for an extended and wild version of Statesboro Blues, and for the encore of Whipping Post, Mule were joined by one Bernie Marsden (though his contribution was not that great and he's clearly been at the pies).

So a short set from the Mule by their standards (they normally play twice as long). but a great ear-ringing evening.

Mule Setlist

Saw Blind Pilot at the Louisiana in Bristol last night - small room above a pub and only a tenner. They were absolutely excellent - if you like Boy and Bear/Decembrists type music they would be well worth checking out. They come from Portland, Oregon - seems to be an amazing music scene there!

Just waiting for Michael Schenker to come on stage.????

The Sadies at The Tunnels Bristol last Sunday

Storming show bringing a close to their U.K. Tour

Peter Perrett  at Gorilla Manchester last Thursday.

Great show played most of the new album which is the best album I've heard this year plus a few old Only Ones tracks including the classic Another Girl, Another Planet.

Andras Schiff/CSO:

Program

Haydn Symphony No. 88 in G Major
Bartók Divertimento for String Orchestra
Bach Keyboard Concerto No. 5 in F Minor
Beethoven Piano Concerto No. 1

It's been over 20 years since he last played at the Orchestra Hall.

This time he directed ( altho he reminded me of bobbing head figurine cheer leading the band rather than *directing* ) and also played his own 9ft. 280 Vienna Concert Bosendorfer grand this week. 

Overall i thought that his style is too sophisticated and suave particularly for Bartok program missing a bit of earthy foot stamping quality. Whilst Bach's keyboard concerto was enjoyable, his Bosendorfer's warm tone felt perhaps too comfortable. I didn't mind a bit of  clarity and incisiveness there.

I have never heard Schiff play any of Beethoven's concerto as I think his style better suited for gentle delicate programs.  It was not the most muscular rendition lacking a bit of audacity but his playing was immaculate and impeccable with a plenty of wit.  ( which gotta have that for PC1) I was secretly hoping he'd play Gould's Bach-laced cadenza but no such luck. He stuck to the Beethoven cadenza. No missplaying and I was lucky enough to set where I could see his finger movement closely. Here, Bosendofer's weighty tone was perfect.

Interestingly, he touches upon sense of humour in classical music in this interview. (I wasn't aware his US debut was at the Orchestra Hall )

My friend loves the program so much this was a second night for him. For those who live near Chicago, he'll be playing through Sunday. ( 4-5 Nov. )

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Looking forward to this evenings concert. It's the first time for me to see Fazil Say live. As I had a double booking I will miss the concert with Yuja Wang. So the program for this evening will be....

Fazil Say | Klavierabend

Chopin, 3 Nocturnes
Beethoven, Klaviersonate Nr. 23 f-Moll op. 57 „Appassionata“
Satie, 6 Gnossiennes
Say, Klaviersonate op. 52 „Gezi Park 2“

Bert Schurink posted:

Looking forward to this evenings concert. It's the first time for me to see Fazil Say live. As I had a double booking I will miss the concert with Yuja Wang. So the program for this evening will be....

 

Fazil Say | Klavierabend

Chopin, 3 Nocturnes
Beethoven, Klaviersonate Nr. 23 f-Moll op. 57 „Appassionata“
Satie, 6 Gnossiennes
Say, Klaviersonate op. 52 „Gezi Park 2“

Just had the concert. It was a concert of contrast BEETHOVEN and Fay bold and Chopin / Satie gentle and lyrical. I mostly like him playing the lyrical stuff, while his own piece is kind of expressing well what he tries to express. He has kind of strange mannerisms when playing and more or less dancing / conducting with his arms. 

So bottom line. Chopin, Satie...yes please. BEETHOVEN I appreciate a different execution. His own piece interesting. The encores where good...

Black Star Riders at Wulfrum Hall in Wolverhampton tonight! Three support bands so a very full evening. 

Time to catch up again: On Saturday, 9th September, at The Old Dispensary in Camberwell, Ese & The Vooduu People did two great 40-minute sets in front of a lively crowd. Then a mass jam session ensued, with all kinds of people coming and going for more than hour. The "Good Times"/"Sign of the Times"/"Vooduu Chile" mashup was especially enjoyable...

To The Barbican on September 21, to see the Jim Jarmusch Revisited show.

A brilliant house band (David Coulter saw, guitar, percussions, musical director; Terry Edwards saxophones, trumpet; Dave Okumu guitar; Steve Nieve piano; Tom Herbert bass; Seb Rochford drums; Carla Pallone violin; and Gaspar Claus cello) played interpretations of music from various Jim Jarmusch movie soundtracks. They were joined at various points by various guests including Mulatu Astatk; Camille O’Sullivan; Alex Kapranos (Franz Ferdinand); Kirin J Callinan; and Jolie Hollan.

A brilliantly executed show, with great sound and some superb performances.