Not Under The Bus

When I got to The Vortex it was pretty crowded, and I was late, but not too late to see the seven piece Jazz band do what it did, from 9-10 or so, The Robert Mitchell band features Tom Mason, Deborah Jordan, Julian F and Ben Davis. The Vortex is a nice place to get a drink and spend the evening. You don’t have to have too much money to buy a drink and enjoy yourself. I found the night inspiring. As a person who writes creatively, there was enough togetherness for the evening to be remembered. The 7 of them one missing played songs such as Quantum and The Red Bridge; sitting as I did in the corner, they played well.

Rebel Music took action with Not under the bus, a women’s rights organization which works to prevent torture and share information on legal action. They can be followed on twitter. On stage were Drum’s, Cello, bass guitar, piano and a vocalist. The CD is available for £9.99. Travelling from the Triangle by bus and train, and getting the bus home allows for the experience of outdoors to contrast the world in the room of The Vortex. I carry a pen and a bag, walk with an iPod to fill the silence between stares. It took about an hour and a half to get there. A great break from the rush of football fans and the cold outdoors.

If you haven’t been to The Vortex to see a band play it is located in Dalston, not too far from the station. I recommended, it to first time jazz listeners or those of experience. The square is tucked away from the high road. This is the second time I have been and I expect, if I go again then there’ll be some kinda miracle, having a great time again. It’s typical technology and you tend to get the money if you decide to take the step forward by going.

I left as it was over, but there was still time and enough jazz residue to stay and chat, Deborah Jordan is similar to Julia Biel, in-they both do a good job of not demanding too much attention. Robert Mitchell opened by saying some words on Haiti, which was the topic of the day. Every other instrument was in tune, every other person had a good time I would say for the money. It’s the type of place where the drums could go no louder, but then they shouldn’t really have to; to have people entertained. It’s not so social, not too prying, by which I mean overall there is not so much concern. A good night for the money, a good place to go get a drink and hear see sounds. The music was a fusion of low tempo, smooth melodic, creative, climactic. Professional musician’s being one. I wouldn’t say too much more than the night being a UK Jazz experience. I listen to some chill out music on the way, Robert Mitchell at The Vortex a good night.

Jaie Miller

Rebel Music Ltd

,Not Under the Bus.

This week long summer school will be held at
The Yehudi Menuhin School, Stoke d’Abernon, Cobham, Surrey
22nd - 28th August 2010

With a FREE public performance in the Menuhin Hall on 28th August 2010 at
6pm - 8.30pm and a pre-concert public seminar  in “Good practice for young
jazz musicians” at 4.30pm

Tutors include Issie Barratt, Alec Dankworth, Nic France, Mark Hodgson, John
Hollenbeck, Mark Lockheart, Liam Noble, Jeremy Price, Nick Smart, Martin
Speake, Rowland Sutherland and Mike Walker.

The focus of the National Youth Jazz Summer School is to develop
improvisatory and interactive skills within the context of small group
playing, as well as offering a high level of performance experience and
professional guidance.

Summer school participants will be asked to pay a registration fee of £150
Free regional auditions, open to all young jazz musicians aged 14 - 18 and
residing in England, will be held at the following venues between 27th March
and 17th April 2010.

Leeds College of Music
Saturday 27th March 2010

Brewery Arts Centre, Kendal
Sunday 28th March 2010

The Sage Gateshead
Monday 29th March 2010

Royal Northern College of Music, Manchester
Tuesday 30th March 2010

Richard Attenborough Centre, Leicester
Wednesday 31st March, 2010

Birmingham Conservatoire of Music
Thursday 1st April 2010

Hills Rd Sixth Form College, Cambridge
Tuesday 6th April 2010

Centre for the Performing Arts, UWE, Bristol
Wednesday 7th April 2010

Dartington Hall (c/o South West Music School), Devon
Thursday 8th April 2010

Truro College, Cornwall
Friday 9th April 2010

Royal Academy of Music, London
Saturday 10th April 2010

Royal Academy of Music, London
Sunday 11th April 2010

West Norfolk Professional Development Centre, Kings Lynn
Saturday 17th April 2010

The closing date for applications is 19th February 2010.

For more information and the on-line application form please visit the
National Youth Jazz Collective’s website www.nyjc.co.uk or contact the
National Youth Jazz Summer School Project Manager
on summerschool@nyjc.co.uk or c/o the National Youth Jazz Collective, PO Box
63162, London, SE14 9AB

www.eddiekadi.com

www.yolandabrown.co.uk

www.guvnab.com

www.blackgrapelive.com

Akua Tu

Akua Tu started singing in the school choir and at the tender age of 9 was singing in the equivalent of the Royal Festival Hall in Germany and Hong Kong. At the age of 14 she sang and played Bass Guitar in her own Reggae band performing at the Donmar Warehouse Theatre in London on several occasions.

During her time singing background vocals in a 16-piece African Jazz/Funk band, Akua auditioned for a Gospel band and found herself performing alongside The Sounds of Blackness and other well known artistes.

Forever moving forward she then sang background vocals with a five-piece Jazz/Funk band and then lead vocals in a 3-piece R’n’B band performing in the presence of Trevor Nelson who were offered an independent record deal.

Having achieved the highest accreditation in World Music for Live Musicianship and Rehearsal/Performance, she then went on to achieve the highest accreditation at the British Academy of New Music as Vocal Artist and Performing artist at the end of 2007.

She performed, for the first time as a solo artist, with guitar in hand in January 2007, to a packed audience at the Vocals@Vortex in Dalston, with the Bob Stuckley Trio and was told by an audience member that she blew everyone out of the water. At a recent British Academy Of Songwriters, Composers and Authors song writing critique (June 2009) Tim Fraser, Phil Pickett and Peter Cunnah (D:Ream), were very impressed with her piano and vocal track “Mother Nature”, due to be released from her new album ‘Introspection’ out now.
Jules Rendell

Julie trained under the direction of Barbara Robotham at the Royal Northern College of Music in Manchester until July 2003. Julie performs and records a variety of music with her accompanist Charlotte Wilson, from the early sacred songs of Purcell to the light cabaret songs of Britten from 20th century.

Jules has broadened her musical horizons, working with not only classical musicians, but in the genres of jazz, gospel and soul. Some highlights of the contemporary side of her work have been recording and promoting her new cd to follow up her debut four track EP

Other notable events have been singing with the Gorillaz as part of the Manchester Community Gospel Choir for their five date tour in 2005; presenting two short films for VideoJug, “How To Sing: The Basics” and “Learn To Sing Pop”.

Her classical career in itself has been varied. She has been privileged to perform premieres of new works by Hannah E. Jackson: So, written for mezzo-soprano and orchestra, Rain comes, All change for mezzo, piano and bass, and ground breaking techno-opera, Fragile Existence. Opera roles that she has studied and performed include Rosina (Il Barbiere di Siviglia), Smeton (Anna Bolena), Hansel (Hansel and Gretel) and Diana (La Calisto). Performing song-cycles is where she is most at home though. Her favourite recitals have been of Da Falla’s Siete Canciones Populares Espanolas with guitar, Britten’s Cabaret Songs and Cinco Canciones Negras by Montsalvatge.
Emily O’Hara

Emily O’Hara is a recent graduate classical guitarist of Trinity College of Music. This site is dedicated to her classical music. Performed at venues tha include The London Palladium (Dec 2008), and Royal Naval College Chapel (March 2009). Emily is one half of the acclaimed guitar and mandolin duo ‘Cancion’; specializing in Latin and Brazilian classical music (Audio track ‘Tango’). Other projects include a soprano and guitar duo and flute and guitar duo.

The Horizon Venture

Seven short sci-fi stories

with a LIVE jazz soundtrack.

8pm Thursday 28th January 2010

@ Rich Mix, 35-47 Bethnal Green Road,

Shoreditch, LONDON E1, 6LA.

TEL 020 7613 7498

The last show in the series.  Darren Vidal Montgomery Taylor (jazzreloaded, Jazz Warriors AfroPeans, The Mighty Jeddo, The Courtney Pine Band, The Omar Puente Band )  brings his debut sci-fi novel THE HORIZON VENTURE to life with a multimedia jazz operetta of visuals, spoken word and physical performance, all set to his own compositions and arrangements and performed live.

Featuring :

Chris Jerome  -  Keyboards

Daniel Crosby -Drums

Donald Gamble - Percussion

Nanar Vorperian –Vocals

Samy Bishai – Violin

And the physical theatre performer Nicole Pschetz

“Deeply groove-heavy lines got plenty of space… this showing heralds a welcome new departure for the talented bassist” Stephen Graham, Jazzwise

Tickets: £11 (door), £8 (advance) Ring the box office on 020 7613 7498 or visit www.richmix.org.uk or online at http://tinyurl.com/HV2010tickets

Register @ www.thehorizonventure.com and get two tickets for £10 (door) or £15 (advance) Please quote “Horizon Venture” and your registered email address when booking

All Box Office profits will be donated to www.yele.org

The Horizon Venture is supported by the National Lottery, through Arts Council England. To find out more about the Arts Council visit www.artscouncil.org.uk

Mr Taylor, editor, Jazzreloaded magazine

Having worked closely with musicians from Dominica and Cuba for the last five years, and having played music strongly influenced by Haiti in the last year in particular, I’ve come to understand that the influence of Cuban, Dominican and Haitian music, lifestyle, culture, tourism and industry on global consciousness is inestimable, incessant, and essential. From the Caribbean food we eat, the holidays we take, through the music, dance, literature and drama we enjoy, and to the intellectual and physical talents of those who work around the world towards our common wealth.

Yet the recent earthquakes in the region are in danger of overshadowing this. In particular, the integrity of Haitian communities and the self determination of its people are still under threat, despite the rapid and welcome responses from aid organisations worldwide.

I urge those of you who can consider  Haiti in one of its many hours of need to:

1. Get curious: This is probably the most important step for Haiti’s long term future. Read a little bit about Haiti from books or online, so that you can understand where the people are coming from, and what they have been going through.

1. Make a donation: This is probably the most important step for Haiti’s short term future. I will be making my cash donations through www.dec.org.uk and www.yele.org , and there are a number of other organisations who are accepting both cash donations and physical goods (Whoever you choose to partner with, please check for a registered company number and/or a registered charity number before you donate your money or goods).

Thanks very much for your support, past present and future.

"And the World Stood Still and Prayed" Song by Pinestone Music. Photo by Tom Hurley.

Mr Taylor

Editor in Chief

Jazzreloaded.com

Bernie Grant 1944 - 2000

So here it is, late in terms of the new year, but still early in terms of the new decade,   the review of the NYE gigs at the Bernie Grant Arts Centre in Tottenham. The ones that I was involved in anyway. We were away in Germany for a day in between gigs,  and so I missed Yolanda Brown’s set again, and also that of Soweto Kinch, he of the golden alto and mercurial tongue. Although he did make a nice cameo appearance on New Years Eve on the tune AfroPean, a high tempo floor filler penned by Courtney Pine, based on rhythms for the African township of Soweto, as deftly nuanced by Black Star drummer Robert Fordjour and Dominican guitar maestro Cameron Pierre.  but more on that later.

Robert Fordjour. Photo by Richard Kaby

Cameron Pierre. © Helena Dornellas

The rest of the line up: Oscar Martinez joins his Cuban compatriot for the introductory set, and  his steady congas provide the true latin pulse as we play music From There to Here, the title of Omars debut album. People did not wait until Omar’s second appearance of the night – as a member of Courtney’s band – to mob him for CDs.

Omar Puente, Oscar Martinez, and rhythm section

The usual suspects Maxine Gilmore, Sahan Satis and Steve Reece, sound engineers par excellence, struggled with another below par PA system. ( I had to do the gig without a monitor, but as usual my trusty Mark Bass 2×10 Traveller and Little Mark II was up to the task. Zoe Rahman finally made her appearance at the Bernie Grant Arts Centre, after being much feted by one the programme managers at its opening a little over two years ago, but found that the piano hasn’t arrived. And when it did turn up, it was far from the concert Steinway Robert Mitchell might now reasonbly expect – it was an upright piano that I think Chas and Dave would have reasonably turned their noses up at!

Zoe Rahman with NYE Party poppers at the ready. © Helena Dornellas

As the soundcheck overran, tempers got frayed and people started losing interest, it gave me cause to reflect on the reason why the event was staged in the first place; the commemoration of the 10^th year since the Rt Honourable Bernie Grant - MP for Tottenham, after whom the Arts centre is named – passed from the mortal plane. I wondered to myself, as I’m sure others did, what sort of a tribute was this for the first ever AfroPean head of a Local Authority in EUROPE, let alone the UK?

Bernie Grant MP (right)

It turned out to be an excellent tribute. As the people of Tottenham have learned from Bernie’s example, it’s not about getting it all right; it’s about getting it going. And that’s not a wishy washy way of excusing a lack of prior preparation. It’s a way of saying that, like true Tottenhamites, Bernie was never held hostage to incompetence, apathy, neglect. He didn’t hang around waiting for people to make things perfect for him before deciding whether he should give his community 100% effort. He knew that detractors were waiting for him to give up, fall, or fade away. But Bernie could see the bigger picture, could roll his sleeves up, could get involved.

And that’s exactly what promoter Ray Hendricks and Centre Manager Juliet Alexander did in daring to arrange “Jazzmthology” the first of three nights of International AfroPean music from the likes of Yolanda Brown, Soweto Kinch Omar Puente and Courtney Pine CBE , which got the audiences dancing into the new decade, and celebrating the achievements through his “International Performing Arts Centre” as he had envisioned.

Bernie Grant Arts Centre, main hall.

The Bernie Grant Arts Centre is in Tottenham.  Tottenham is in Haringey, the most multicultural borough in Europe; it’s a place of high migrant populations accompanied by low social expectations. Having lived here all my life, I understand that I’ve inherited the local tradition of living and working in defiance of those low expectations every day, in everything I do. Now I have heard – and continue to hear - all sorts of comments – some from people in low places, but perhaps more surprisingly from some people in high places – bemoaning white elephants and inherent (institutional) failures in the system, and berating that which can or can’t be done in North London because of the same.

Courtney Pine brings power to the people. © Richard Kaby

When I hear these things, I can only smile, secure in the knowledge that if Bernie Grant - a single politician - had given up hope for North London after two years, the cultural landscape of Britain would look very different. If people like Bernie had hidden when things looked a little grey, it would have been that much harder for you to be sat here reading this now.  The free local IT courses and music education grants that Bernie pushed for would have been scrapped, or never introduced. Similarly,  without an African rebel like Bernie working back stage back in the day, would it have been possible to help incubate an exceptional North Londoner like Courtney Pine CBE? Without Bernie’s trieless campaigning for equality, would it have been possible for two-time MOBO award winner Yolanda Brown to also get fledgeling restaurant business and live venue off the ground? When the bean counters come, it’s difficult to precisely measure the benefit of preserving Grant’s vision , but without the support of people like him it’s all too easy to calculate the cost of a divided society.

Bernie Grant Centre's NYE crowd. © Richard Kaby

As the clock counted down to the dawn of a(nother) new age, we counted his success in terms of the length and grace of the human conga, of all nations and hues, dancing around the band, singing South Africa’s blues.  I’ve noticed that every ten or so years, we look (back!) to Jazz to at least reflect on life’s problems, if not to try to solve them. It can definitely soothe the chakras, but sometimes the roots to change run a little deeper. Rest In Peace Bernie. You did not live to see it, but in the last ten years, things have gotten a little better for jazz musicians in North London any case. And the other artisans are starting to see the bigger picture.

Courtney Pine and Soweto Kinch © Richard Kaby

Article by Taylor,

When I got asked if I was interested in doing a review on the Ladies Unplugged, I said yes immediately because I am all about women empowerment and I believe the 21^st century is all about women. I remember checking the line up and I just knew I could not miss it, plus I heard lots of positives about the event and the ladies.

Up and coming artist SHEZAR opened the show with a brilliant mic check. What made it brilliant was the fact that she got to show off her powerful melodious voice and she still kept it together during her performance. She is a natural born performer, singer, song writer, she can dance and boy… the girl has style! What I liked about Shezar is that she is confident and comfortable, she enjoys being on stage and she’s not afraid to put out her crazy but cool personality out there.  www.myspace.com/shezar1

Second artist to take the stage was another up and coming artist; she goes by the name KATY B, also known as the First ‘Lady of Funky House’. I am not really a funky house fan but I was amazed with her voice and her ability to deliver such high notes for such a tiny person; that was just the icing on top of the cake. I found myself nodding my head to her music and if there was a dance floor, I’d probably be the first one up there.

www.myspace.com/katyblondon

YOLANDA BROWN… Wow!!!!!! This had to be the most memorable introductions I’ve ever seen. There was a cluster of thick pink smoke, red and white lights, the theatre lights dimmed and there she was; in the middle of the pink smoke. We could barely see her but saw the outline of her figure. She stepped out like a diva. I was blown away with her performance because it is very rare to see a woman playing instruments, women either sing or dance. I really enjoyed this performance. It was soulful, relaxing and even though she wasn’t singing, I could feel what she was trying to say. The smoke was too much, she could barely see the audience but the day was saved thanks to a lady in the audience who threw a packet of tissue on stage; two ladies had to fight- not physically- with eachother for Yolanda’s attention. It just goes to show that no matter how famous you are, you are still human at the end of the day because you’d expect her entourage to help her out but she still needs the support of her fans.

www.myspace.com/yolandabrown

MS DYNAMITE nicknamed ‘The First Lady’ because every guy needs one. I really enjoyed her performance, she sang reggae and reggae is my thing. She brought back the smash hit ‘Dy-na-mi-tee’ and made the audience dreams come true by performing an unrehearsed ‘Boo’ which was requested by the audience. ‘Bad Gyal’ was dedicated to the independent women out there. What I like about Ms Dynamite is that she speaks about real issues. One of the songs she sang ‘Pop off’ was about gun violence. Nowadays, teenagers are dying because of gun violence and knife crimes; and I think the only way these issues could be dealt with is if we talk about it and stop being ignorant. It’s real; it’s happening… so let’s all come together and take a stand against gun and knife violence. Together we can stop it from happening. She had an encore… the first encore of the night but couldn’t come back on stage.

 www.myspace.com/msdynamiteuk

The last performance of the night was SHOLA AMA. I got a chance to see her perform at London Stand Up, an event hosted by dv8 students and I happened to be back stage so I got a good glimpse of her. She is one of the best singers the UK has to offer and once again she managed to pull out an outstanding performance.  Her first song choice ‘Dj Play’ got the audience moving their shoulders left to right in their seats and some weren’t afraid to stand up and dance. Her last song, the song that first made her famous ‘You might need somebody’ had a good response with the crowd; not one person in the audience didn’t know the lyrics to the song. I found myself singing along as well.

www.myspace.com/sholaama

Ladies Unplugged was definitely a night to remember because it was all about the ladies and they made me really proud to be one. If there is another Lady Unplugged next year, I know it’s going to be bigger and better, and hopefully I get to review it again (hint hint…)

 - Talisa du-Pont -

Tuesday 29 December 2009

Courtney Pine Band supported by Omar Puente Band

Virtuoso Courtney Pine with superb band showcasing new album

‘Transition in Tradition’

7.00pm – 12 midnight

Tickets £25

Wednesday 30 December 2009

Soweto Kinch Band and YolanDa Brown Band

Charismatic Freestyle Hip Hop Jazz innovator shares the headline with Mobo 

award-winning saxophonist, who is arguably the face of modern urban Jazz. 

7.00pm – 12 midnight 

Thursday 31 December - New Year’s Eve,

Courtney Pine Band with Soweto Kinch, supported by The Omar Puente Band, DJ Kevin Legendre.

The ultimate New Year’s Eve Celebration, The JazzMen Cometh!

7.00pm – 2.00am 

Tickets £40

Tickets £25