Showing posts with label blues. Show all posts
Showing posts with label blues. Show all posts

Sunday 19 February 2023

Transatlantic Sessions 2023

 



The Transatlantic Sessions 2023 celebrated its 20th year with its familiar and successful format – like a warm comfort blanket – which is one of the highlights of cc festivals final weekend. Afterwards the TS goes on tour to six UK venues. The strength of the sessions concerts is the unique quality of the folk, roots band that is fronted by a range of talented solo performers. They set the stage as a relaxed living room to capture that live folk essence.


This year’s sessions hosted its eclectic and diverse line up with firstly - Canadian folk royalty, singer songwriter Martha Wainwright, who recently released her fifth album Love Will Be Reborn, as well as her autobiography 'No Regrets.' She sang a poignant 'Love Will Be Reborn' and later more joyous songs with her guitar. She is an accomplished and engrossing performer, with her contemplative vocal nuances. 


Martha Wainwright


Karen Matheson

It is always good to see new talent coming through, tonight with Americans folk/ blues singer Amythyst Kiah and accomplished roots musicians, Allison de Groot & Tatiana Hargreaves: their debut album earned them the Independent Music Awards “Best Bluegrass Album.” Amythyst impressed with her strong soul voice: her first album in 2022, Wary + Strange, saw her opening for The Who. 

Amethyst Kiah

                              


Liam O Maonial


Irish musician Liam Ó Maonlai, frontman of Hothouse Flowers, displayed his virtuosity and range on both piano and vocals. His song ‘Worry Not’ had shades of John Marty’s folk blues. Revered Capercaillie vocalist, Scots Gaelic singer  Karen Matheson sang with her tender and pure voice ‘’I will Set my Ship in Order.’ In 2021 she released her album Still Time, with both traditional and contemporary songs. While dubro master Jerry Douglas performed a soaring George Harrison’s ‘My Guitar Gently Weeps ` and the finale of ever popular reels was uplifting.

Crucially the TS concert is led by the synergy between Aly Bain and Jerry Douglas, backed by the quality Scots, Irish and American musicians. As well as the tight dynamism of composers Phil Cunningham, John McCusker, Michael McGoldrick and Donald Shaw.

Jerry Douglas
John Doyle

This was my 14th TS concert, and I did miss some of the American musicians who are often to the right of musical directors Jerry Douglas and Al Bain - Russ Barenburg, Tim O’Brian, Darrell Scott and others. I met audience members who’d travelled a distance to be part of the Celtic connections festivals – from Ireland and the US. A truly international, open and outward-looking musical celebration, as well as building on the Celtic musical traditions.

Many Americans celebrate their Scots Irish, connections – (with 17 Scots Irish of the 44 US presidents). My own background is Scots, Irish too, and the history of religious strife over these islands (and Europe!) is very confusing – even for scholars! Many left Europe for the Americas for freedoms, and took their heritage and religion with them. And also importantly, enlightened thought and freedom of thought, which we so value today. America was and is a melting pot of many diverse cultures, which led to a musical blending with travellers up the Mississippi river from New Orleans, and the Appalachian mountains – from Nashville to Chicago, to New York to Los Angeles. I’ve been on those road trips too, years back. 

Music is one of the most powerful forces to bring us all together. Our culture is very much NOT an extra, it’s the roots and future of who we are, and leads politics. It offers all a creative voice. There’s an artists in all of us. 

The Transatlantic band of both Celtic and Americana roots talent, includes Phil Cunningham, John Doyle, Michael McGoldrick, John McCusker, Donald Shaw, James Mackintosh and Daniel Kimbro.


Sunday 5 September 2021

Jackie Kay Fearless Blues Woman Bessie Smith, at Edinburgh International book festival 2021


Jackie Kay 

Acclaimed jazz and blues vocalist Suzanne Bonnar sang some of Bessie Smith’s best-loved songs. She began with the song ‘Nobody Knows you When You’re Down and Out’.

 

Poet and former Scots maker, has written a quality and inspired biography of the legendary Blues singer - her book 'Bessie Smith' was first published in 1991 and the time is right now for its reissue. 

Bessie reflected her times. Her first album sold 750 copes and she was rich. Then in 1931 suddenly blues was out and jazz was in and she was poor again, in. In 1937 she had a car accident. She collided with racism of the times and the blues were considered too rough.

 

Kay said her father bought her Smith’s album when she was only twelve and she remembers the cover – the front had a smiling Bessie Smith and the back her sad face - which in a way told the story of her life.

 

She was a chronicler of her times, with the Blues oral history and counter culture. On the day of her last recording, Billie Holiday came in later for her first recording. 

This event was chaired by artist, feminist and co-founder of the Glasgow Women's Library Adele Patrick. 

 

Bessie Smith

‘Bessie Smith showed me the air and taught me how to fill it.’ And Janis Joplin was certainly not the only person who fell in love with the Tennessee blues singer’s unforgettable voice. As a young Black girl growing up in Glasgow, Jackie Kay found inBessie not only an inspiring singer but a complex, sensuous, extravagantly generous woman with whom she could identify. Now of course, Kay has gone on to become one of the best-respected British poets of her generation, herself an inspiration to others. 

 

She joins us to discuss her extraordinary book,Bessie Smith.

It isas much a quest for emotional truth as for biographical fact, mixing poetry and prose, historical record and fiction. At times Kay enjoys imagining what the singer might havethought, orspeculates about the contents of the trunk in which she kept her most beloved possessions. It all adds up to a towering monument to one of the 20thcentury’s most influential singers. 



Thursday 31 January 2019

Grace and Danger Review


A troubled soul looking for love…

What a glorious concert to celebrate one of Scotland’s best loved singer songwriters, John Martyn. He was born in London, but after his parent divorce when he was five, it was Glasgow that formed him. – where he lived with his father and grandmother. 

The tribute concert was hosted by double bass Danny Thompson who recounted anecdotes of his tours with Martyn. His immense legacy is well preserved by the fine artists who performed tonight at Glasgow concert hall as part of Celtic Connections. They sang some of his best loved songs.


We were graced with quality guitar playing by American blues guitarist Eric Bibb, who opened the concert with Martyn’s perfect Solid Air. He also performed accomplished guitarEasy Bluesand a moving One World.  

With the full band Ross Wilson (aka Blue Rose Code) performed with dynamic rhythms and heartfelt soul Make no Mistake, and in his first set soulful Fine Lines and Bless the Weather, along with strings led by Greg Lawson


Several younger singer songwriters expressed his widespread musical influence on their work. Lucy Rose provided intimate emotions with the song I Couldn’t Love you More, while Katie Spencer sang, Hurt in Your Heart and John the Baptist

English singer songwriter John Smith performed the songs, Walk Down, Spencer the Rover and Go Down Easyalong with Thompson’s double bass: he sounded very Martyn-like. 
Popular Scottish singer Eddi Reader performed with the string ensemble  the upbeat Dancing, Certain Surprise, and a moving Fairytale LullabyBrit award winners Paul Weller (of The Jam fame and considered a leading mod figure) played the songs, Evil in Your Heart and Sweet Little Mystery.


The concert ended with all on stage to sing his best loved song May You Never, followed by a video of Martyn in concert singing the poignant Over the Rainbow. 
What a memorable, moving night!

Like many of the greats, Martyn mixed varied influences to take his music to the edge, with pounding blues rhythms, Celtic heart and moving soul.  He recorded 22 studio albums and toured exclusively. 



Saturday 17 February 2018

Blue Rose Code at Celtic Connections 2018

A restless torn soul
Blue Rose Code, (aka Ross Wilson) Scottish singer-songwriter, performed a concert at Celtic Connections 2018 to support Beth Orton. Ross commanded the ABC stage as he sang with a full band line up. 


His band consisted of Lyle Watt on guitar, Ian Sloan on Pedal Steel, Angus Lyon on keys, Graham Coe on Cello, Nico Bruce on bass and with drums and brass, trumpet and sax. He played dynamic guitar and the kind of set to get lost in. He performed songs from his new 2017 album ‘Water of Leith’, as well as other fan favourites.

In some memorable songs he has connected to his Scottish roots (thankfully) – and brought in the lovely Gaelic voices of Kathleen McInnes and Julie Fowlis on some of his best songs – Sandaig, Passing Places, Where the Westlin Winds Do Carry Me, Edina - more of this please!  He also performed the soothing Nashville Blues (minus guitar), followed by the optimism of Grateful.

The drama of his voice and songs have soul and hope filled emotional surges. His voice is engaging and expressive alongside his pounding guitar. His sound mixes Celtic soul with smooth rhythms informed by the soul and blues of John Martyn and Motown .
I would have enjoyed to hear Ross on a couple of songs solo to take the tempo down a little. The ABC audience was here to hear the headliner - subtle songstress Beth Orton - and sometimes less can be more too. I first heard Ross on his previous sold out visit to the folk club for more intimate gigs and was highly impressed with both his strong performance and music and also with the enthusiasm of the fans.  


Ross is an exciting young talent and I look forward to his future songs. He was great fun to shoot, with the engrossed fun energy he puts into his set!   https://bluerosecode.com

He sang of the cries of freedom all along the west coast



Monday 2 February 2015

Van Morrison at Celtic Connections 2015


Morrison commanded the concert hall stage on the jazz and soul highway - a truly jazz inspired Celtic soul and all the way from Belfast city!

Morrison grew up with his Dad's record collection, the largest in Northern Ireland, (acquired during his time in Detroit in the 50s), and he learned from the likes of - Ray Charles, Lead Belly and Solomon Burke  -  of whom Morrison said,  "If it weren't for guys like Ray and Solomon, I wouldn't be where I am today. Those guys were the inspiration that got me going. If it wasn't for that kind of music, I couldn't do what I'm doing now."
The records exposed Morrison to many genres – the blues of Muddy Waters; the gospel of Mahalia Jackson; the jazz of Charlie Parker; the folk of Woody Guthrie; and the country music of Hank Williams.


When you have listened to an artist over many years it is quite strange to hear and see them live. There was that high level of eager anticipation in the concert hall air to see and hear one of our musical legends.  

He was in good voice and the sound mixing and band sounded just right. His set included sultry trumpet and sax solos. Morrison orchestrates his band, who framed him, with Strong arm conducting movements. He performed his soul-filled songs Please Don’t Go, Parchman, Don’t Stop, Moondance, Magic Time and a poignant Sometimes We Cry. He also sang a lovely cover of a Ray Charles song, I Can't Stop Loving You.
His band were tight and highly impressive while I did at times wish his guitarist on his right might have turned more to the audience as I enjoy seeing the musicians play too. There was no chat between his songs, then again Morrison's songs speak quite clearly for themselves.  

Van's music is smoking, sexy, smooth toned, sultry and also gravelly – he has a powerhouse voice and uses it to great effect like his saxophone. 
de-de-da-de-da; lonely, lonely, lonely flying, sighing; you know, you know; do-wop, do-wop,
Summer breeze in the garden, within the silence,

 

His musical narrative on tracks can be lengthy and spontaneous, even rambling, following his different influences - from Celtic tradition, jazz, blues, gospel and country music. 

I was happy he finished his set with his - Into The Mystic and Ballerina - after which he slipped off as he continued to sing to the side of the stage….and once again he was gone gone gone as quietly as he had arrived...... while the powerhouse of his musical voice lingered long after.....

He was well supported by gospel singers the McCrary Sisters. 

Morrison has received six Grammys and been inducted into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received. In 2008 he performed Astral Weeks live for the first time since 1968.

Thursday 26 July 2012

Those Blues Lines of The Rolling Stones


Those strong R & B signature guitar lines were so danceable, the rhythms and weaving guitars that were the basis for their music. The Stones were the first, biggest and the 'bad boys sexually charged' rock band.
Brian Jones. It was Jones who started the band and gave it their name and more than that their 'electric blues' sound. He realised that the niche market for R & B could be taken to a mainstream audience. The lost boy, never satisfied and sadly he became the first of the '27 Club'. He was the UK's first slide guitarist and one of the best blues guitarists in London at that time. Before he left his hometown, Jones said - 'I'm gonna move to London, start a band and I'm going to become rich and famous.'    

Every time 'Brown Sugar' played at student parties, people took to the dance floor and the track never failed to get everyone on their feet. Mick Jagger is rarely still on stage - so does their music reflect his dancing or vice versa!  The French students that were in abundance In Princes street gardens Edinburgh over the summer months in the city also loved the Stones. Former school mates Jagger and Keith Richards became the main songwriting team in the band. At the start the band was led by Brian Jones, known for his mop top long blond fringe and cool demeanour( he was the hip mod), and they played mostly cover songs, that had been selected by Jones - such as Little Red Rooster. I started this blog a month ago as The Stones were another huge influence on my musical tastes. The past week I noticed coincidentally that it is The Stones 50th anniversary. I think I'm getting psychic over music now! 
Brian Jones, The Stones 1962- 69. There is a very good article on Brian Jones, founder of The Rolling Stones in Mojo - the band were initially called the 'Brian Jones Blues band.'  He started the Stones sound and then was sadly sidelined, perhaps due to his own personal difficulties - drugs, abusing women and paying himself more than the rest of the band, not always the best idea.  He brought the tunes of Robert Johnston, Elmore Jones, Muddy Waters, and leading British bluesman Cyril Davies. Jones unlocked the blues secrets for Richards, taught Jagger the first rules of showmanship and brought invention and flamboyance to the band's extraordinary run of 60s singles. Try 'Singles Collection: The London Years.' 

While Jones' main instruments were the guitar and the harmonica, he was also a talented  multi-instrumentalist. Since his school days he had a focused interest in the music of skiffle, trad jazz, modern jazz and  the blues.  He started out playing jazz with local bands and later became Britain's first slide guitarist. Jones studied American blues music and was influenced by bluesman Cyril Davies, who was himself a devotee of Leadbelly's. Davies was perhaps the best player on the British trad and folk blues scene and his playing matched the intensity of the Chicago originals. Brian was influenced by Elmore Jones open D tuning on guitar and also by bluesman at the crossorads Robert Johnston. Then the New Orleans styled jazz and blues band of Chris Barber and Alexis Korner came to Cheltenham (Barber introduced Europe to the music of Big Bill Broonzy, Sister Rosetta Tharpe and Muddy Waters).

Jones moved to London to continue working on his music. There the opening of the damp basement 'Ealing Club' became a defining place as the cradle of British rock, from The Stones to Led Zepplin.  
Mick Jagger, Keith Richards and Dick Taylor were the first recruits for the 'Brian Jones Blues band'.  When they got a BBC session Brian supplied the new name - the 'Rollin Stones' which was the title of a Muddy Waters song. They started playing at the London's Marquee club and Charlie Watts joined as the drummer. Glyn Jones, their first producer recalled, 'Brian was very much the leader, he was quite specific about what they wanted.. He had a complete grip on everything.' Another producer Eddie Kramer said, 'Brian was the most musically gifted. his sense of tone colour was magnificent, he always thought out of the box. ..the marimbas on Under My Thumb. I can still remember being amazed when he brought out the recorder for Ruby Tuesday.'  
Jones sadly was the Stone unable to gain satisfaction in life, pun intended! whether it was with drugs or fast living. The lost boy, never satisfied. Bill Wyman remembers Jones as a visionary who could not deal with the Jagger-Oldham-Richards trio and he left it too late to fight back. However there were other issues too. Jones didn't view himself as a team player, he kept to himself on tour and paid himself more than the other band members. He was asked to leave in the band in June and died a month later in July 1969. Original Stones bassist Wyman stated about Jones, "...he formed the band. He chose the members. He named the band. He chose the music we played. He got us gigs. Very influential, very important, and then slowly lost it - highly intelligent - and just kind of wasted it and blew it all away." Jones had close relationships and was respected by other well known artists of the time - Dylan, Harrison, McCartney, Townsend, Hendrix and more.  These were simpler times - no internet, or online scrutiny - simply the touring. The youth culture had exploded with the baby boomers after the war.  Basically Jones saw that mixing the new and the old brought something exciting and fresh. 
The success of the Rolling Stones led to more popularity for blues music and musicians such as Muddy Waters who wrote 'Rollin Stone' the song the band drew its name from.  While they are best known for their No 1 rock and roll dance tracks (Brown Sugar, Lets' Spend the night Together, Satisfaction, Paint It Black, Little Red Rooster, Gimme Shelter, Jumpin Jack Flash, Get Off My Cloud, Honky Tonk Woman), they also played some unforgettable slow songs (Ruby Tuesday, As Tears Go By,The Last Time, It’s All Over Now)  Top Albums – Let It Bleed, Sticky Fingers, Aftermath.  A band for the road, The Rolling Stones have probably spent more time on stage, performed more dates, been to more cities and rocked more crowds than any other band. Ever. 
The Stones have had a prolific and long career and one of the longest of any rock band.  Also a prolific out put of recorded music and live albums - 29 studio albums, 12 live albums, and 107 singles.

Footnote :  I took a listen to my favourite Stones tracks -  Let It Bleed(69), Out Of Time (66), Under my Thumb (69), Time Is On my Side (69 ) Rugby Tuesday (66),.Play With Fire (65), The Last Time (65)
The song Rugby Tuesday, such a classic -. Marianne Faithful recalled that  Brian Jones presented an early version of this melody to the rest of the Rolling Stones. According to Victor Bockris, Richards came up with the basic track and the words and finished the song with Jones in the studio.  I began to think Jones was the inspiration but that Richards and Jagger took it on to write future songs and that much of the Stones best material was done while Jones was still playing with the band he created. 

The Rolling Stones 'endurance and relevance' ( Quote critic and musicologist Robert Palmer) is due to the band being 'rooted in traditional verities, in rhythm-and-blues and soul music' while 'more ephemeral pop fashions have come and gone.' Though R & B and blues cover songs dominated the Stones early material their repertoire has always included rock and roll.  (References from Mojo August 2012)  

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