Kings Place
Heidi Goldsmith
Mari Kvien Brunvoll - Norwegian improviser, singer and composer - enters the Kings Place stage more like a pianist's page-turner than the night's sole performer, and sits cross-legged at her pedals. Dressed in a neutral dark grey, she doesn't seek applause so instead we are left silently watching her adjust a microphone and untie a little red book. Her methodical calm creates a patient audience, intrigued enough to find her subtle actions compelling. Without a word she begins singing a rhythmic melody, as if a phrase of Indian classical recitation had been uttered, and traveled from the Read more ...
geoff brown
Teetering on the edge of a Steve Reich weekend, Friday’s concert in the Minimalism Unwrapped series at Kings Place gave us a very mixed grill called “Pulses: Steve Reich and his Influences”. In the process it didn’t offer all that much of the concert’s organisers, the Aurora Orchestra – two flutes, two clarinets, two vibraphones, two pianos, two violins and cellos, and we were done. Still, Reich has never been at his best writing for conventional orchestral forces. And besides, Nicholas Collon, Aurora’s boss, is currently engaged with the Ulster Orchestra. Can’t be in two places at the same Read more ...
geoff brown
There’s nothing like Terry Riley’s In C to reawaken a past epoch. Of variable length, built from 53 melodic fragments, this minimalist construct of 1964 was almost designed to be performed and experienced lying on cushions in a marijuana haze – though a state somewhat ruptured by the home listener’s need to stir and turn over the vinyl LP in order to hear the other side. There was also the problem, at least in Britain, of the original LP’s inner sleeve, incongruously plastered with ads for the honeyed voice of easy-listening balladeer Andy Williams. As if…At Kings Place last night, I smelt no Read more ...
Matthew Wright
Who knew the human spirit needed such bureaucratic care? The celebration of International Jazz Day, founded by UNESCO in 2011, at King’s Place last night was nothing if not well cared-for. Sponsored SGI-UK, an arm of the global Buddhist movement, who were raising funds for UNICEF, proceedings are guided globally by legendary pianist Herbie Hancock, a UNESCO Ambassador for Intercultural Dialogue and Chairman of the Thelonious Monk Institute of Jazz. It bore the warning signs of art designed to appease a committee, and that’s a very different thing from making the spirit leap and the heart Read more ...
Matthew Sharp
Shakespeare's ubiquitous “planetary influence” is well-documented. As Stephen Marche points out in How Shakespeare Changed Everything, not much from our sex lives to the assassination of Lincoln remains untouched. And, of course, there's the language. You may think that what you are reading has more rhyme than reason, be madness (though there is method in it) or amount to nothing more than a wild goose chase. It may be Greek to you, make your hair stand on end or set your teeth on edge. It goes without saying that brevity is the soul of wit and that comparisons are odious, so why does he lay Read more ...
Matthew Wright
Pianist Ivo Neame, whose quintet gave a masterclass in the more reflective, concept-driven variety of contemporary jazz at Kings Place last night, is one of the lynchpins of the London scene. As well as leading and composing for this, his own group, he’s also a member of the LOOP Collective, supertrio Phronesis, and Marius Neset’s Golden Xplosion. Playing a mixture of new originals and a couple of pieces from their last album, Yatra, Neame’s quintet demonstrated both the highest collective technique and a winsome sense of wit and whimsy.With an instrumental line-up of piano/accordion, double Read more ...
Matthew Wright
John Coltrane’s extravagant, trance-like saxophone-playing is often considered the pinnacle of jazz technique, but for Evan Parker, who celebrated his 70th birthday with a concert at Kings Place last night, it was only the starting point. In an immensely distinguished international career, Parker has taken Coltrane’s hard-scrabbling virtuosity into the realms of abstraction, experimenting with split notes and circular breathing, and leaving behind even the barest bones of traditional key changes and melodic variation to create a brave new world of spontaneously improvised sound.If this sounds Read more ...
Matthew Wright
Gwilym Simcock, pianist, composer, and jazz-classical crossover specialist, is releasing two albums this year, and at Kings Place last night, the audience had a taste of both. An evening billed as the launch of Instrumation, Simcock’s new album of original suites, became a kind of Simcock tasting menu. He played half of Instrumation, which was officially launched, and sections from his second album of 2014, Reverie at Schloss Elmau.There was also a first set from Simcock’s trio with French saxophonist Celine Bonacina and bassist Michel Benita, which was technically and musically intricate and Read more ...
David Nice
May this be a New Year sign and a symbol of a revitalized concert scene to come: an eclectic programme of dazzling range to draw in the new pick-and-mix generation, full of segues that worked and executed with the right balance of poetry and in-your-face exuberance by a crack team of young players. The Aurora Orchestra’s American “Road Trip” nearly drove into a ditch with Kentucky singer-songwriter Dawn Landes on board, but even one or two of her numbers were fascinating and in any case the purely instrumental sequences were rich enough to make up a concert in themselves.So let’s get the dips Read more ...
David Nice
Nothing tests small-hall acoustics better than that most exuberant of holies, the Sanctus from Bach’s B minor Mass. After one of the year’s big disappointments, the blowsy sound coming from chamber ensembles in the Barbican/Guildhall School’s new Milton Court – a surprise miscalculation from Arup acousticians - it seemed imperative to get back to Kings Place’s Hall One, which feels bigger but is some 200 seats smaller (420 to Milton Court’s 608). And oh, the clarion cries of the 32 young Cambridge choral singers! The piercing but never ear-splitting beauty of perhaps the greatest Read more ...
Matthew Wright
Hungarian composer Bela Bartók’s analytical rigour and folk-inspired voice have established his position as one of the most original voices of the twentieth century, but he still represented a bold choice for the opening event of the 2013 Kings Place Festival. Aurora Orchestra principals Thomas Gould (violin), Timothy Orpen (clarinet) and John Reid (piano) performed his Contrasts trio for violin, clarinet and piano with lyrical intelligence in the beautifully balanced acoustic of Hall One.Contrasts was commissioned in 1938 by jazz and swing clarinettist Benny Goodman, and the clarinet Read more ...
Matthew Wright
Some people have all the luck. Listening to John Etheridge’s self-deprecating description of how his career has progressed (in interviews such as Radio 3‘s Jazz Library, or at a gig, when he is a disarmingly open host), you would think he had stumbled upon Stephane Grapelli and Nigel Kennedy (to name merely the most famous of his many stellar collaborators) while out for a pint of milk. What sounds like luck is of course talent, and last week, during his annual Pizza Express residency, he showed exactly why he is one of the most skilful and versatile guitarists of his generation.Soft Machine Read more ...