blues
David Nice
It should work as pure musical theatre. Yet what precisely is Gershwin’s - or rather “The Gershwins’”, as this title frames it, though Ira wasn’t quite Gilbert or Brecht - Porgy and Bess? An opera? Trevor Nunn made the three-hour-plus score, much cut here, dazzle at Glyndebourne and Covent Garden. Michael Tilson Thomas’s Barbican espousal of bleeding chunks alongside Berg’s Lulu, left as a torso in the year of Porgy’s premiere, 1935, even put me in mind of the sheer generous optimism of Wagner’s Die Meistersinger. A musical? This threepenny version made me think rather of Carousel, a Read more ...
Matthew Wright
Robert Cray’s veteran blues band made a compelling case for their unique blend of soul and blues at the Barbican last night. Despite the five Grammys, record sales well into seven figures, and investiture in the Blues Hall of Fame in 2011 at the precocious age of 57, he’s sometimes suspected of watering down the blues tradition. What he’s actually done is preserve the most of the attitudes and atmosphere of traditional blues, while modernising some of the instrumentation and phrasing.Off-stage, Cray is considered and soft-spoken. He comes across as a clean-shaven, fresh-scrubbed version of Read more ...
Kieron Tyler
Various Artists: Chicago Hit Factory – The Vee-Jay Story 1953-1966According to the book accompanying this 10-disc tribute to the Chicago independent label, “in one month alone in 1964 Vee-Jay records sold 2.6 million records. Two years later the company was bankrupt.” The reason for it flying so high in 1964 was a deal made in 1962 when the label began licensing material from Britain’s EMI. The prize then was yodelling popster Frank Ifield, whose “I Remember You” Vee-Jay got into the US Top 10. Along with Ifield, they got an unknown quantity called The Beatles. When 1964 arrived, Vee- Read more ...
Kieron Tyler
Michael Bloomfield: From his Head to his Heart to his HandsMike Bloomfield was undoubtedly one of rock’s greatest and most distinctive guitarists. He was also wildly erratic and did much to undermine what others saw in him. He died at age 37 in 1981. He had been a drug addict and self-mythologist. The records he left behind were many, and he never landed in one band or place for long. Crucial to Bob Dylan turning his back on the acoustic, he was on stage with him when he went electric at Newport in 1965. His stinging tones helped define “Like a Rolling Stone”. Dylan told Bloomfield not Read more ...
Kieron Tyler
“Long may it stay a mystery,” said Keith Richards, the first talking head seen in this opening shot of a two-part excursion through blues music. Self-evidently, two hours devoted to this oft-explored subject wasn’t going to leave too many mysteries. Woke Up This Morning did tread new ground though – at least for British television – by recalibrating perceptions of authenticity and motivation.Big Bill Broonzy had made his name in Chicago, where he was seen as a sophisticated and urban performer. For his 1938 New York debut, he allowed himself to be portrayed as fresh from an Arkansas farm. The Read more ...
peter.quinn
It's only the truly great albums that usher you into a sound-world that is entirely sui generis. And so it is with this second chapter of jazz sax player and composer Matana Roberts's Coin Coin project, a vast musical work-in-progress exploring themes of history, memory and ancestry. Divided into 18 separate tracks, but heard as one continuous arc of sound, we enter into the leader's all-encompassing “panoramic sound quilting”, as she calls it, a reference both to her family’s handicraft heritage but also to the collage-like juxtaposition of her materials.Over a bowed pedal note in the Read more ...
peter.quinn
Gregory Porter's Blue Note debut provides one of the biggest sugar rushes of auditory pleasure you'll hear this year. Grounded in jazz but heavily seasoned with the blues, gospel and soul, it's a superbly paced album, ranging from the poetic tableaux of ballad “When Love Was King” to the unstoppable, hand clapping moto perpetuo of the title track.There are many other gems amongst the album's 14 tracks, including the singular intimacy of opener “No Love Dying”, the heartfelt plea of “Musical Genocide” and the soulful melodicism of “Movin'”. With a baritone voice that evokes heartbreaking Read more ...
Kieron Tyler
R Stevie Moore: Personal AppealIt’s a brave person who whittles down the output of R Stevie Moore to one CD. Since 1969, he’s made at least 175 albums, a significant proportion of which he committed to cassette tape. There are also a similar amount of singles, live albums and collaborative efforts. Handily, the British label Care in the Community has taken up the challenge and, instead of releasing a compilation which darts off all over the place stylistically, has issued a disc which unfolds as a unified album. No mean feat considering that the tracks on Personal Appeal originally Read more ...
ellin.stein
Christened the Blues Brothers, Elwood and Jake’s first public appearance was as the warm-up act Lorne Michaels used to put the studio audience in a receptive mood before the show started. The audience became so warmed up that in April 1978, Michaels put the Blues Brothers on the actual broadcast, backed up by the SNL band. A contract with Atlantic Records, the label of several of the artists the Brothers emulated, materialised in short order. Belushi and Aykroyd found themselves in a dreamlike state where the slightest creative whim could be realised as a viable commercial product (indeed, it Read more ...
peter.quinn
The great jazz singers are also the great storytellers. Last night, listening to Cassandra Wilson sing “Wichita Lineman”, that single, devastating couplet - "And I need you more than want you/And I want you for all time" - conjured up an individual's entire life story. Seamlessly traversing genres in fresh and creative ways, performing a set that juxtaposed Cesária Évora's “Angola” with a completely impromptu “A Foggy Day”, the Jackson, Mississippi vocalist, musician, songwriter and producer confirmed her own compelling storytelling gift.When Wilson took to the stage after a scene-setting Read more ...
mark.kidel
Mavis Staples keeps on comin': with a contralto voice soaked in gospel and soul, she delivers consistently heart-warming music.This is her second collaboration with Wilco’s Jeff Tweedy, a rocker with enough knowledge and taste to create a contemporary ambience in which Mavis can deliver classics such Washington Phillips’s spine-chilling religious classic “What are They Doing in Heaven Today” alongside Funkadelic’s secular lament “Can You Get to That”.Mavis grew up under her father’s musical and spiritual guidance: Pops was a Mississippi man, from the same plantations that gave us Charley Read more ...
graeme.thomson
Lucinda Williams’s current tour might be billed as “intimate”, but anyone who has seen her perform before will know that intimacy tends to come with the ticket. It is true, however, that this pared-down format, in which she performs drummerless and accompanied – splendidly – by Doug Pettibone and David Sutton on guitars, pedal steel, bass and harmonies, brings the audience even closer to her extraordinary voice and unflinching words. In Edinburgh last night, the effect wasn’t “intimate” so much as visceral: at times it felt like placing a microscope over an open wound.Two of the first three Read more ...