Friday 14th August: Crikey! It's been over a month since my last post, which means that it has also been over a month since I went to a gig. I have to admit that, in my opinion, the live music scene in York is a little bit in the doldrums at the moment - even looking at the Duchess's What's On list for the rest of the year there are only a handful of bands that I am actually looking forward to seeing. Although, I was chatting to Bryan Josh during the break, asking him whether there were any plans to perform his solo stuff live in York and it turns out that the first weekend in December is going to be quite busy - Bryan Josh at the Duchess on the 4th, Mostly Autumn at the Grand Opera House on the 5th and Breathing Space at the Duchess on the 6th.
Tonight, however, it's a cut down attendee list (myself and Roy) out to see a cut down band (Breathing Space unplugged , a.k.a. Iain Jennings and Livvy Sparnenn) playing a mostly acoustic set at the somewhat intimate venue that is the Punchbowl. It was reasonably busy, meaning that the area reserved for live music was quite full with some very familiar faces in attendance, including family and friends of the performers. Unfortunately, from where I was standing Livvy was perfectly hidden by a speaker.
This was the first unplugged set the duo have performed and they as much as admitted that they probably hadn't rehearsed as much as they should have done, leading to the use of cheat sheets for some lyrics. Apart from that, however, it was a superb performance. Livvy's voice, not having to fight against the sound of the rest of the band (or, perhaps, the acoustics in the usual venue) was stunning and came across as stronger than normal. My only criticism is that it came across as just a little too strong on a couple of occasions during a cover version of Fields of Gold.
Iain's keyboards, in this case more piano-like than synthesiser, are always brilliant and tonight he showed that he can play both his own compositions using a different style and some more-than-competent cover versions. Tonight was also the first time that I realised that keyboards themselves can be used to keep time during a performance (obvious in hindsight but I'm musically incompetent, remember...) and there were more than a few times when I found myself playing along with Iain (on my leg) where I would normally be doing something similar to the drum line.
Overall, we were treated to nearly two hours of music which added a new dimension to the existing catalogue and provided an insight into the new album (sadly not available tonight, despite the hope of being able to pick up a copy being the main reason I decided to go out on my wedding anniversary...) It's probably not a surprise that the set leaned heavily towards Beneath The Radar, with six songs from it being performed. Perhaps more surprising was that we also heard six covers and only a total of five songs from the first two albums. It may still be too soon the band's career to suggest an album in the format of Bon Jovi's This Left Feels Right, but it may well be an option in the future. The full set list, with sources and a few notes, was:
Coming Up For Air (Coming Up For Air); Clear (Beneath The Radar - the only song from that album written by Paul Teasdale and also available on the cover CD of Classic Rock Presents Prog issue 3); Dusk (Beneath The Radar); No Promises (Breathing Space); You've Got A Friend (Carole King); Belief (Breathing Space); Lantern (Beneath The Radar - performed live for the first time tonight); Fields Of Gold (Sting); Here Comes The Rain Again (Annie Lennox); When I Hold Onto You (Coming Up For Air); Rain Song (Coming Up For Air - in my opinion, the best performance of the night and originally performed by Livvy and Chris Johnson when they supported Mostly Autumn); Autumn Leaves (Eva Cassidy); The Night Takes You Home (Beneath The Radar); Never Make Your Move Too Soon (Bonnie Raitt); Drowning (Beneath The Radar); I Can't Make You Love Me (Bonnie Raitt); Questioning Eyes (Beneath The Radar).
Saturday, 15 August 2009
Sunday, 12 July 2009
Coming Up For Air
Saturday 11th July: It's been a bit of a strange week, really, with Tuesday being the strangest day.
(Regular readers, please bear with me here. I suspect this is going to be a meander. I think there's a point that I'm trying to get to and, you never know, I might even manage it. New or occasional readers, please don't let this post put you off - I'm not normally this bad...)
I left work on Tuesday feeling mentally exhausted. I had been looking at a particularly knotty problem for two straight days without getting anywhere (and still haven't solved it). There was also quite a lot of tension within the team, something that I was trying to stay out of but, when you work in such a small team, it's sometimes difficult to avoid things. On top of that I had volunteered for what turned out to be a bit of an emotional battering from a friend who was/is going through a bad time. Not that I minded, you understand - I had offered an ear and a virtual shoulder and was glad that I have been able to help in whatever small way. (I should also mention that if said friend is reading this and isn't happy being mentioned they should let me know - there's always the edit button...)
So, as I said, I left for home feeling drained. Then, roughly halfway home, a song came on the i-pod. Written by keyboard player Iain Jennings for Mostly Autumn's second album and in memory of his mother, The Gap Is Too Wide is my favourite piece of music. It's an achingly beautiful song about loss with a second half instrumental that somehow manages to convey sadness and joy in equal measures. Just a few minutes into the song I suddenly found myself in tears. Luckily there was nobody around.
Now, I'm not normally an emotional person. I rarely get stressed and I definitely don't normally wear my heart on my sleeve like this. Hmmm, I wonder if this is the start of a mid-life crisis...
Anyway, The Gap (as it is affectionately known), although being a Mostly Autumn song, has been the regular encore song for Breathing Space - Iain Jennings' new band - every time we have seen them. And tonight, a full contingent of us (including Debbie - Breathing Space are one of the few bands we both like) were at the Roman Bath to see them again. Would I find myself coming over all unnecessary and make a fool of myself? Say tuned...
When Debbie and I arrived, York centre was still full of that afternoon's race-goers and we had to queue to get into the Bath. With the sound check in full flow and audible outside, it wasn't long before a large group of people left the pub and we were allowed in, to find Roj already inside. A nifty move by Debbie soon found us couple of tables close to the stage area and, with the music forcing the racegoers out, we were set.
Breathing Space are in a bit of a flux at the moment, having lost guitarist Mark Rowen and Saxophonist John Hart earlier in the year, Liam Davidson (Mostly Autumn) had been standing in on guitars but he is currently unavailable so Bryan Josh (also Mostly Autumn) is on guitar duties at the moment. It has to be said that a guitarist of Bryan's standing could easily have overshadowed tonight's performance but didn't - his performance was subtle and almost understated and the man himself almost faded into the background during most of the set. That's not to take anything away from the music, however. When solos were called for, they were of the man's usual high standard.
In fact, the whole band was on top form (although I can't tell where Iain's keyboards end and brother Ben's start) and this was an excellent performance - by far the best Breathing Space gig we have seen at the Bath. Livvy looked incredibly relaxed and, although she never seems to get the best of the audio in this venue, her voice soared. It was also nice to see her smiling so much as she can sometimes, in my opinion, look a bit too serious on stage.
We were treated to a nearly two-hour set of songs mainly from the first two albums, but sprinkled with new songs from the soon to be released Below The Radar. These appeared to be a bit rockier than previous songs, perhaps not surprisingly given the band's revised emphasis on guitar and keyboards (the reason Hart left the band). Although difficult to tell from a first hearing, it sounds as though the new album could well be worth waiting for.
Some of my favourites were missing and I wonder whether we'll hear On The Blue Horizon (written by Rowen) again. However, it's hard to criticise when the likes of You Still Linger, Belief, Coming Up For Air and Searching For My Shadow are included in the set. All are brilliant songs, written and sung from the heart.
With the end of the gig fast approaching, it was time to steel myself. The band announced that they had finished and the usual cries for more ensued. After a very short time, with everybody back on stage, Livvy announced that they would do one more song. One from the new album. Shock! I can't remember the title but it was a superb way to end the gig - a fusion of vocals, keyboards and guitar (obviously with the backing of Barry Cassels on drums and Paul Teasdale on bass) that seemed to go on forever and yet still finished too quickly. One more reason to anticipate the new release.
...and then it was time to get removed from the Bath. We finally braved the rain to run and shelter in a shop doorway, just before an increasingly irate bouncer decided to throw us out. There followed the usual insults, a round of Tommy Cooper jokes, music discussions and remembrances as we watched the band pack their equipment into cars and drive away. Eventually, I caught sight of Iain Jennings and wandered over to ask whether The Gap had been put to bed as the band's encore. It turns out that they are simply resting it, wanting to end gigs on a bit more of a lively note. Given the significance of the song to the man himself, I hope he didn't mind me telling him the story of how it affected me this week, even if it did mean us both getting rained on.
Breathing Space next play York on the 6th of December, at The Duchess as part of a tour to promote the new album. I'll definitely be there.
(Regular readers, please bear with me here. I suspect this is going to be a meander. I think there's a point that I'm trying to get to and, you never know, I might even manage it. New or occasional readers, please don't let this post put you off - I'm not normally this bad...)
I left work on Tuesday feeling mentally exhausted. I had been looking at a particularly knotty problem for two straight days without getting anywhere (and still haven't solved it). There was also quite a lot of tension within the team, something that I was trying to stay out of but, when you work in such a small team, it's sometimes difficult to avoid things. On top of that I had volunteered for what turned out to be a bit of an emotional battering from a friend who was/is going through a bad time. Not that I minded, you understand - I had offered an ear and a virtual shoulder and was glad that I have been able to help in whatever small way. (I should also mention that if said friend is reading this and isn't happy being mentioned they should let me know - there's always the edit button...)
So, as I said, I left for home feeling drained. Then, roughly halfway home, a song came on the i-pod. Written by keyboard player Iain Jennings for Mostly Autumn's second album and in memory of his mother, The Gap Is Too Wide is my favourite piece of music. It's an achingly beautiful song about loss with a second half instrumental that somehow manages to convey sadness and joy in equal measures. Just a few minutes into the song I suddenly found myself in tears. Luckily there was nobody around.Now, I'm not normally an emotional person. I rarely get stressed and I definitely don't normally wear my heart on my sleeve like this. Hmmm, I wonder if this is the start of a mid-life crisis...
Anyway, The Gap (as it is affectionately known), although being a Mostly Autumn song, has been the regular encore song for Breathing Space - Iain Jennings' new band - every time we have seen them. And tonight, a full contingent of us (including Debbie - Breathing Space are one of the few bands we both like) were at the Roman Bath to see them again. Would I find myself coming over all unnecessary and make a fool of myself? Say tuned...
When Debbie and I arrived, York centre was still full of that afternoon's race-goers and we had to queue to get into the Bath. With the sound check in full flow and audible outside, it wasn't long before a large group of people left the pub and we were allowed in, to find Roj already inside. A nifty move by Debbie soon found us couple of tables close to the stage area and, with the music forcing the racegoers out, we were set.
Breathing Space are in a bit of a flux at the moment, having lost guitarist Mark Rowen and Saxophonist John Hart earlier in the year, Liam Davidson (Mostly Autumn) had been standing in on guitars but he is currently unavailable so Bryan Josh (also Mostly Autumn) is on guitar duties at the moment. It has to be said that a guitarist of Bryan's standing could easily have overshadowed tonight's performance but didn't - his performance was subtle and almost understated and the man himself almost faded into the background during most of the set. That's not to take anything away from the music, however. When solos were called for, they were of the man's usual high standard.In fact, the whole band was on top form (although I can't tell where Iain's keyboards end and brother Ben's start) and this was an excellent performance - by far the best Breathing Space gig we have seen at the Bath. Livvy looked incredibly relaxed and, although she never seems to get the best of the audio in this venue, her voice soared. It was also nice to see her smiling so much as she can sometimes, in my opinion, look a bit too serious on stage.
We were treated to a nearly two-hour set of songs mainly from the first two albums, but sprinkled with new songs from the soon to be released Below The Radar. These appeared to be a bit rockier than previous songs, perhaps not surprisingly given the band's revised emphasis on guitar and keyboards (the reason Hart left the band). Although difficult to tell from a first hearing, it sounds as though the new album could well be worth waiting for.
Some of my favourites were missing and I wonder whether we'll hear On The Blue Horizon (written by Rowen) again. However, it's hard to criticise when the likes of You Still Linger, Belief, Coming Up For Air and Searching For My Shadow are included in the set. All are brilliant songs, written and sung from the heart.
With the end of the gig fast approaching, it was time to steel myself. The band announced that they had finished and the usual cries for more ensued. After a very short time, with everybody back on stage, Livvy announced that they would do one more song. One from the new album. Shock! I can't remember the title but it was a superb way to end the gig - a fusion of vocals, keyboards and guitar (obviously with the backing of Barry Cassels on drums and Paul Teasdale on bass) that seemed to go on forever and yet still finished too quickly. One more reason to anticipate the new release.
...and then it was time to get removed from the Bath. We finally braved the rain to run and shelter in a shop doorway, just before an increasingly irate bouncer decided to throw us out. There followed the usual insults, a round of Tommy Cooper jokes, music discussions and remembrances as we watched the band pack their equipment into cars and drive away. Eventually, I caught sight of Iain Jennings and wandered over to ask whether The Gap had been put to bed as the band's encore. It turns out that they are simply resting it, wanting to end gigs on a bit more of a lively note. Given the significance of the song to the man himself, I hope he didn't mind me telling him the story of how it affected me this week, even if it did mean us both getting rained on.
Breathing Space next play York on the 6th of December, at The Duchess as part of a tour to promote the new album. I'll definitely be there.
Saturday, 4 July 2009
Bleu'ring The Edges
Friday 3rd July: ...and our current inability to match social calendars continues, as just me and Roj attend the Duchess.
John Mayall - a name that resonates through the historical corridors of British Blues. Back in the 60's, John Mayall's Bluesbreakers launched (or helped to launch) the careers of many a top artist. Eric Clapton, Andy Fraser (Free), Mick Taylor (The Rolling Stones), John McVie, Mick Fleetwood and Peter Green (all Fleetwood Mac) all served terms under Mayall's "incredibly great school for musicians". After moving to America in the 70's, he played with many notable US performers and backed Blues greats as they toured the UK. The Bluesbreakers, under various guises, have been around for most of his career, finally disbanding in 2008 after extensive touring took a physical toll on Mayall. However, he then decided to put together a new band (Rocky Athas on guitar, Greg Rzab on bass, Jay Davenport on drums and Tom Canning on Keyboards), with a more limited touring schedule.
Of course, being the music guru that I am, I knew barely any of that until I started researching for this entry. I did know Mayall's name, though, and when I saw it on the what's on listing, it was an easy decision which gig to go to this week.
The first thing to mention is the man himself. Now 75 years old, he looks and sounds a hell of a lot younger. No sitting through the set, no being helped on stage by "minders". Mayall is active throughout the set and his voice as he introduces the songs is clear on strong. For most of the nearly two hours he alternated between keyboard and various harmonicas, at times playing both at the same time. For one song he played a twelve string guitar. For another, the first of the evening (no support band tonight) he played completely solo.
This is a band that obviously enjoy playing together. Big smiles and acknowledgements of each others performances abounded as each member took their time in the spotlight for a series of dazzling solos including the longest and probably best bass solo I have ever seen, with barely a hint of funk.
I can't remember many of the track names but the set spanned Mayall's career from 1965 up to a track from a new album due out later this year. Nor can I remember how many tracks were played but I don't think we got far into double figures. Each track was more of an instrumental showcase than a lyrical masterpiece and some were in the region of ten or more minutes long. Most were easily identifiable, keyboard-led Blues (the second track of the evening was a lot more jazzy than the rest) but there was, for me, a hint of a prog-rock/Blues fusion, especially in Dream About The Blues - the standout track for me.
I'm beginning to appreciate just how many styles of Blues music there is and this was the first time I've really encountered the lighter side of the genre. Blues that brings a smile to the face, rather than some of the more dour and depressing stuff. There was even dancing!!
So far this year, the Duchess has hosted some top-notch older acts and this was yet another superb show.
Afterwards we headed of to the Roman Bath to catch the second half of the always excellent Mojos. As usual, we were treated to a selection of classic covers including (but, as usual, not limited to...) Robbie Williams (Let Me Entertain You), Dire Straits (Sultans of Swing - a superb version), Guns 'n' Roses (Sweet Child of Mine), Bon Jovi (Livin' On A Prayer), and Kings of Leon. Good music, well played. I even found myself singing and dancing along. I must have checked some of my inhibitions at the door. Maybe it's the Daisy effect... :-)
John Mayall - a name that resonates through the historical corridors of British Blues. Back in the 60's, John Mayall's Bluesbreakers launched (or helped to launch) the careers of many a top artist. Eric Clapton, Andy Fraser (Free), Mick Taylor (The Rolling Stones), John McVie, Mick Fleetwood and Peter Green (all Fleetwood Mac) all served terms under Mayall's "incredibly great school for musicians". After moving to America in the 70's, he played with many notable US performers and backed Blues greats as they toured the UK. The Bluesbreakers, under various guises, have been around for most of his career, finally disbanding in 2008 after extensive touring took a physical toll on Mayall. However, he then decided to put together a new band (Rocky Athas on guitar, Greg Rzab on bass, Jay Davenport on drums and Tom Canning on Keyboards), with a more limited touring schedule.
Of course, being the music guru that I am, I knew barely any of that until I started researching for this entry. I did know Mayall's name, though, and when I saw it on the what's on listing, it was an easy decision which gig to go to this week.
The first thing to mention is the man himself. Now 75 years old, he looks and sounds a hell of a lot younger. No sitting through the set, no being helped on stage by "minders". Mayall is active throughout the set and his voice as he introduces the songs is clear on strong. For most of the nearly two hours he alternated between keyboard and various harmonicas, at times playing both at the same time. For one song he played a twelve string guitar. For another, the first of the evening (no support band tonight) he played completely solo.
This is a band that obviously enjoy playing together. Big smiles and acknowledgements of each others performances abounded as each member took their time in the spotlight for a series of dazzling solos including the longest and probably best bass solo I have ever seen, with barely a hint of funk.
I can't remember many of the track names but the set spanned Mayall's career from 1965 up to a track from a new album due out later this year. Nor can I remember how many tracks were played but I don't think we got far into double figures. Each track was more of an instrumental showcase than a lyrical masterpiece and some were in the region of ten or more minutes long. Most were easily identifiable, keyboard-led Blues (the second track of the evening was a lot more jazzy than the rest) but there was, for me, a hint of a prog-rock/Blues fusion, especially in Dream About The Blues - the standout track for me.
I'm beginning to appreciate just how many styles of Blues music there is and this was the first time I've really encountered the lighter side of the genre. Blues that brings a smile to the face, rather than some of the more dour and depressing stuff. There was even dancing!!
So far this year, the Duchess has hosted some top-notch older acts and this was yet another superb show.
Afterwards we headed of to the Roman Bath to catch the second half of the always excellent Mojos. As usual, we were treated to a selection of classic covers including (but, as usual, not limited to...) Robbie Williams (Let Me Entertain You), Dire Straits (Sultans of Swing - a superb version), Guns 'n' Roses (Sweet Child of Mine), Bon Jovi (Livin' On A Prayer), and Kings of Leon. Good music, well played. I even found myself singing and dancing along. I must have checked some of my inhibitions at the door. Maybe it's the Daisy effect... :-)
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