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Julie Fowlis RNCM 3rd October 2009

On a wet and windy evening that would not have been out of place in the Scottish Isles, Julie Fowlis began proceedings with an evocative walking song that conjured up her native northern Uist and one almost felt as though one had been transposed to the highlands. Scots Gaelic may seem an unlikely vehicle in the current increased interest in folk music, yet in Fowlis and band’s accomplished hands, the audience were treated to a masterclass in the musical genre. Throughout the evening it is the purity of Fowlis’ vocals that shine through, irrespective of whether the accompaniment was sparse or full on. Julie Fowlis came to prominence two years ago with a critically acclaimed debut album, ‘Cuilidh’ that won an award at the annual BBC Folk presentations and the songs on that album along with her brand new recording, ‘Uam’ (literally ‘From me’ and referring to a book Fowlis received of north Uist poems and songs) formed the basis of this evening’s repertoire. However, key to her art is an exploration of the common roots of Irish and Scots music and this is something that folk musicians as distinguished as Andy Irvine and Bert Jansch have long believed in. This interest in common roots was perfectly illustrated on another collaborative album from 2008 ‘Duet’ featuring Irish guitarist Eamonn Dorley who is an integral member of Fowlis’ current band. A technique that the singer has perfected is that of the wordless vocal, seemingly inspired by the scat vocals of jazz singers such as Ella Fitzgerald and Betty Carter, yet here sounding thoroughly grounded in a traditional folk setting. The audience is transfixed by the vocal gymnastics even if the overwhelming majority understand little or nothing of the Gaelic lyrics. Fowlis alternates between vocal pieces and instrumental numbers where she joins the rest of the band with an assortment of penny whistles and flutes (she can even plays the pipes as heard on her albums) that are ideally suited to the music. She is very ably assisted by a talented bunch of musicians. These include the long-time musical partner and guitarist Eamonn Dorley who frequently intervenes between songs with witty banter (doubling up also on fiddle) and Glaswegian Martin O’Neill who, in addition to being a fine bodhran player (and one who can play in a variety of contexts - witness his performances at the Manchester Jazz Festival a few years back with Neil Yates) can also accompany Fowlis on piano or play solo. Two other members, a fine fiddler and guitar player, add layered texture to the ensemble sound and in general the interplay between musicians was simply excellent. A definite highlight was a Gaelic version of the Beatles classic ‘Blackbird’ with gorgeous accompaniment on fiddle. In this pared down version, it is the bare essence of the song that emerges and Fowlis even returns to the English original part way through.  Julie Fowlis’ rendition of the song was actually the first folk song download to feature on the national playlist charts.

The singer seems very much as ease in a live setting and her frequent musical collaborations as witnessed on the recent Transatlantic seessions for the BBC have done her no harm at all, rubbing shoulders with the likes of James Taylor and Martha Wainwright, and even Mancunian Irish multi-instrumentalist Michael McGoldrick. Often the inspiration for writing traditional folk songs was an everyday happening such as one devoted to having a new pair of shoes, or the plight of women on the island. To the general amused bemusement of the audience, Fowlis announced that they would be singing along to some Gaelic lyrics (the singer is also a presenter on radio Alba - the Gelic-speaking digital channel with Gaelic now officially recognised as a national language) and her perseverence succeeding in teaching them a few lines of the language via a classic love song during which the audience joined in on the chorus. A new song translated from Breton was an indication of Fowlis’ desire to explore new territory within the Celtic musical domain and this piece was in fact first performed at the Celtic Connections festival in Glasgow. On the purely instrumental pieces the band cooked up a folk equivalent of a jam session which generated some intensity and had the audience clapping in unison. Tumultuous applause resulted in a greatly appreciated encore and a fitting song about cows! This proved to be a mournful lament with O’Neill supporting Fowlis on piano. The evening’s entertainment ended on a definite high with an uptempo instrumental jig with Fowlis on penny whistle and a joyous rapport between band and audience.  Tim Stenhouse

Tord Gustavsen Quartet RNCM 21 October 2009

Norwegian pianist Tord Gustavsen has emerged without great fanfare during the early noughties as one of Scandinavia’s and more generally Europe’s finest jazz musicians, quietly consolidating his growing body of work. Indeed Gustavsen’s minimalist style is ideally suited to the ECM label with which he has become closely associated and the chamber-jazz sub-genre that defines much (if not necessarily all) of the ECM catalogue. It is the echo-laden production of ECM founder Manfred Eicher allied to the distinctive sparse album covers that makes the label such a collector’s and listener’s delight. The label has proven to be the ideal home for Gustavsen where he has recorded three highly acclaimed trio albums, ‘Changing Places’ (2003), ‘The Gound’ (2005) and ‘Being There’ (2007). What is particularly interesting about tonight’s proceedings is that Gustavsen has extended the previous intimacy to a new quartet setting introducing new member multi-reedist Tore Brunborg as illustrated on the latest recording, the excellent ‘Restored, Returned’ (2009).

It is the apparent simplicity of Gustavsen’s playing that first strikes the listener and in terms of influence one can hear that the Norwegian has taken on board the romanticism of Bill Evans, the lyricism of Keith Jarrett and possibly even the spatial freedom that Brad Melhdau practices. Among his contemporaries in Scandinavia fellow label mate Bobo Stenson and the late great Esbjorn Svensson are conjured up without in any way being derivative of them. A delicate piano solo greets the audience for the opening piece before Brunborg enters gently on tenor, recalling Jan Garbarek at his most melodic. Gustavsen is a fascinating figure to watch, hunched up over the piano keys and engaging in a hypnotic riff, very ably assisted by the rhythm section. Thunderous applause at the end of this first number and a bow from the leader is followed by a softly spoken rap to introduce the quartet members. Gustavsen alternates between solo piano and piano-saxophone duet intros, and on the latter engages in a simple folkloric melody that gradually builds in intensity. Sometimes the pianist drops out altogether, before re-entering in order to re-emphasize the riff as on the delightful ‘Left over lullaby no. 1’, though minus vocalist Kristin Asbjornsen as on the CD. On other occasions he builds a vamp as the level of sound increases, or plucks the piano blocks to create a different sound. Occasionally Gustavsen improvises freely as the rhythm section maintains its rhythm, even standing sideways to achieve a specific sound. A good deal of credit for the cohesive ensemble sound must go to the two members of the rhythm section, bassist Mats Eilersten and drummer Jarle Vespsted. The latter, currently leader of a quartet featuring Manchester’s very own John Taylor, must surely be one of the most sensitive jazz accompanists on the planet and even when towards the end has his own solo, it is of the most delicate type imaginable before seemlessly re-integrating the ensemble. The former, who has recorded and toured on and off with Gustavsen, alternating with long-term trio member Harald Johnsen, provides a steady groove throughout and often uses a bow to compliment Gustavsen’s solos.

One of the most pleasing features of the ensemble is the degree of individual space band members have in which to flourish. This is certainly no group of major egos. Saxophonist Tore Brunborg alternates between the warm tenor and the higher-pitched baby alto which creates a more plaintive sound, recalling Wayne Shorter on soprano. When staying out of proceedings, he moves to the back of the stage before returning to the centre. This reminds one of the mid-nineteen-sixties Miles Davis quintet on stage. Gustavsen is extremely sensitive to everyday sounds and on one piece seemingly replicates the trickle of rain. In general when taking solos, the pianist explores the variation of a given theme, sometimes inspired by impressionistic music from the classical field and other times laying down blues-inflected licks. On another the ensemble are almost funereal in tone, but this is more a Scandinavian mourning than a New Orleans one. Brunborg caresses the tenor displaying a soulfulness Johnny Hodges would have been proud of and Gustavsen samples ‘The shadow of your smile’ in his solo. In fact Gustavsen is at his most Evanesque here. The addition of a saxophonist, far from subduing Gustavsen, seems to have stimulated even greater musical ideas and freedom with the latter inspired by the reed instrument and either embellishing the theme stated on either tenor or baby alto, or conversely playing sparses chords. By the final piece the quartet are in full swing with wailing tenor and Gustavsen setting off on another improvisatory roll. Rapturous continued applause from a very appreciative audience results in an encore with the band returning and being re-introduced before a short, contemplative rendition brings the evening to a quiet ending. This is simply music ideally designed for reflective, nocturnal listening. Catch the met the London Jazz Festival in November if you can.  Tim Stenhouse

Bassekou Kouyate and Nogoni Ba Band on the Wall, Manchester, 22 October 2009

It was in the newly renovated and recently re-opened surroundings of the legendary Manchester concert venue Band on the Wall that Bassekou Kouyate entered stage followed closely by other band members. This comprised a six piece band with a difference. In fact it would be more apt to descibe them as a mini orchestra for the unsual (in appearance at least) rectangular string instrument specific to West Africa, but known in Mali as the ngoni. The different size of each of the ngonis corresponds to the varying instrumentation in a western-style band and are designed to replicate bass and rhythm guitars among other instruments.

The songs on offer were a fascinating combination of the largely uptempo numbers from the excellent new album ‘I speak Fula’ and the more reflective pieces from its predecessor, the critically acclaimed ‘Segu Blue’. In the evening’s opening offering Bassekou immediately engages in a lengthy solo. He plays like a seasoned bluesman and the ease with which he solos stems in large part from the apprenticeship that he has served both with his father and grandfather, both nogoni players and makers. This is a feature of many of the top musicians in Mali and more generally in West Africa, belonging to a musically oriented family that goes back generation upon generation. Pieces alternate between uptempo and more laid back grooves. For the latter the bass nogoni plays a solo riff alongside which Bassekou lays down a vocal monologue, fingersnapping while the percussionist slowly builds in intensity. Suddenly there is a rapid shift in tempo and it is at this point that the whole band enters with Amy Sacko taking over vocals. The leader, Bassekou, is resplendent in a sashed camel-coloured traditional dress while lead singer and Bassekou’s wife Amy Sacko dazzles in a burnt orange dress.

On the uptempo numbers of which there are several, Bassekou moves to the left hand side of the stage to trade riffs with another nogoni player. When interviewed just before the concert, Bassekou declares his love of classic Congolese rumba with its renowned guitar duets and he seems to be taking on board their stage antics in order to warm up the audience. The sounds created on the various nogoni are quite astounding given the relatively simple nature of the instrument. Sometimes it can be likened to a blues guitar from John Lee Hooker or Muddy Waters in full flow while on other occasions it can sound like a harp. For one number, which is devoted to kings of the Bambara kingdom, Bassekou sits down and plays his ngoni like a zither with minimum accompaniment on bass ngoni. To the astonishment of the audience he even conjurs up a 1970s style wah-wah guitar without any use of electrification. Amy Sacko adopts a serene stance throughout the evening and delights in taking the lead vocals with Bassekou on a shifting mid-tempo song. In the tradition of the great Malian divas Amy adopts a high-pitched tone. Part way through the concert the talking drum (a small drum held under the armpit and beaten with a large thin stick) becomes the core percussion sound (with calabash taking a secondary role) and one one song the percussionist leaps forward and jumps in the air as he solos, followed in hot pursuit by other band members. By now the appreciative audience are loving the on-stage gymnastics while Amy sings in praise of ‘Coulibaly’, a famous family name in Malian history. Endless repetition of a riff-laden groove begins to exert its influence upon the audience who are clearly in a dancing mood. Similar to Amadou and Mariam in concert, Amy calls out in French: ‘Do you want to sing with us? Ok’ while at another moment in the evening Bassekou enquires in English ‘You happy?’ to which one audience member implores him to speak in French. This pleases Bassekou greatly and he thanks him in the language of Moliere. Indeed at one point four ngonis play an identical riff with Amy singing before the talking drummer takes the tempo up a notch again.

For the deserved encore band members are introduced once more and the ngoni solo this time sounds more like the graceful and meditiative kora instrument. The visual side to the performance is emphasized further by instrumentalists indulging in twisting and turning routines to the obvious delight of other musicians and the now frenzied crowd alike. When Amy enquires once more whether the audience would like to sing with her, there is an immediate response before one by one the group members depart the stage leaving just a trio to play out. A great evening’s entertainment for an audience that was in the mood to party. Band on the Wall was surely tailor-made for this kind of concert.  Tim Stenhouse