FOLK BRITANNIA provides an idiosyncratic snapshot of British folk music in the 21st century.

A year ago, the festival Jazz Britannia was such a success that the Barbican along with BBC Four are bringing to us this year, a 3 day festival which celebrates the evolution of British folk music from the end of the Second World War right up to its modern day revival. From the 2nd to 4th February ‘06, the Barbican holds a series of live events encompassing three themed concerts, free music, films and talks. Tying in with the event is BBC Four’s very special three-part documentary series of the same title that engages with the disparate and sometimes argumentative elements of the contemporary folk scene.

To kick off on Thursday 2nd February, Which Side Are You On? is a night that features two of the biggest names in folk music of the British Isles and will be hosted by the force that is, Billy Bragg. The monumental Scottish firebrand singer-songwriter Dick Gaughan, will take to the Barbican Hall stage alongside Martin Carthy, a mainstay of the English folk scene.

Daughters of Albion on Friday 3rd February brings together some of England’s finest female folk artists and singer-songwriters in a themed concert to sing songs of experience. The set list places ancient folk ballads alongside West Country trip hop and 21st Century R’n’B. All performances will be accompanied by an ensemble featuring ex-Pogue and master multi-instrumentalist David Coulter, guitarist Neil MacColl and Van Morrison’s drummer Liam Bradley, all arranged by MD Kate St John. Artists include June Tabor, Sheila Chandra and Norma Waterson.

The final night, Into The Mystic celebrates the current resurgence of interest in the psychedelic, mystical, neo-folk of the late 1960s and early 1070s. It explores how this renewed interest has been reflected on a new generation of artists today. It will feature artists from pioneer bands such as Pentangle, The Incredible String Band, Donovan and Vashti Bunyan.

Meanwhile, the BBC 4 series will be divided into three one hour episodes which chronicles how the music was coerced into a revolutionary soundtrack by the Left in the 50s, how the hippie generation bent it into progressive folk-rock in the 60s and 70s only for punks like The Pogues and Billy Bragg to bring things back to basics in the 80s and 90s. The story of folk will be told by a stellar cast of musicians, live performances and archive footage and the debates that arise in its argumentative world will be discussed.

www.barbican.org.uk/music

Shakila Rajendra chats to the London collective who are determined to make a mark with their cross-genre brand of hip hop/funk music.

Let’s get one thing straight, Shorty aren’t an all singing all dancing group of (let’s be politically correct here) ‘vertically-challenged people’. Neither are they a girl band who named themselves so, out of devotion to 50 Cent and that infamous line from the song In Da Club. Far from that, Shorty are, with the exception of two band members, well over six foot tall and are, with the exception of vocalist Celeste, male. Shorty was just an aptly ironic name for a band whose members are often referred to as ‘trees’. As for 50 Cent and the reference to ‘fine women’ Shorty were around long before that. What the band Shorty can be referred to however, is a seven- piece hip hop/funk collective that thrive on the live scene who have already been establishing themselves as a force in UK hip hop to be reckoned with.

The beginnings of Shorty started in Leeds when bassist Dan French met guitarist Jim Reynolds and drummer Charlie Taylor at university. Later on in London, DJ Hudge along with MCs Ducane and Cisco filled in the gaps while vocalist Celeste completed the picture when they found her singing at a friend’s party. So what happens when you throw seven strong minded people together and ask them to produce a sound? The good news is, Shorty landed on the right side of the term ‘mish-mash’.

With seven people who are all massively into music, how does a band find their sound? Shorty have taken in a varied range of influences; from Led Zeppelin to Gangstarr, from Stevie Wonder and Lauryn Hill to A Tribe Called Quest and Fela Kuti. These influences have thus contributed to their producing a sound that can’t quite be placed into a genre as such. Celeste agrees that “it is a fantastic thing although it can be difficult to explain sometimes”. The reason it is a fantastic thing is because, Shorty have found a way to ‘smash it all down and mix it up’ and produce something that appeals. “When you look at people’s influences these days you find that they like a bit of rock and they like a bit of hip hop but they also might like a bit of jazz and a bit of soul. There aren’t necessarily too many bands that mix them all together. They find it refreshing as music genres aren’t so defined anymore. It appeals to a much broader section of people,” say the band.

Their sound is further emphasised by their lyrics which broach anything that needs calling to attention. The majority of lyrics are written by Cisco, DuCane and Celeste who say that their songs, “come from experiences or things in a particular moment that spark a creative process.” Shorty’s songwriting process is as organic as sitting in Celeste’s flat, looking out a window and finding inspiration from an average Brixton street nut.

So does a band that so evidently know what it takes to produce good music ever think of using it as a tool to perhaps get political? Shorty acknowledge that “there are people who do the political thing really well and they should be commended, but we don’t want to jump on the bandwagon and do the political thing, just for the sake of doing politics.” They like to consider themselves more of a party band. That is not to say however, that they would ever sway in the direction of so many hip hop type bands that have started to jump into that other bandwagon of superficiality.

The superficiality here refers to the notion of sex, ‘bling’ and videos that feature ‘wall to wall ass shaking’ which more often than not, gets clumped into the urban culture scene. Shorty realise that they inevitably are representative of this scene and stress that they want no part of the trivial side of things. Says Celeste, “It’s a shame because there’s a whole generation of kids that are ‘plonked’ in front of MTV and there’s a whole generation growing up on this sort of degradation. It breeds ignorance and the more cynical that this generation gets, the more sex and porn that they have to sell to drag people in. There’s no aspect of our music that ever goes there and there never can be.” Shorty would rather stick to making quality music that is “slightly quirky and appeal to different people’s sense of humour.”

With attitude and their feet firmly stuck to the gravel, Shorty have been carving themselves a niche in the UK urban/hip hop scene. They’ve been dubbed the next big thing and have collected themselves the Diesel-U-Music Award for Hip Hop back in 2002. The band have worked with UK heavyweight producers, Blackbeard and have toured in Europe which included a Roots Manuva after show. Shorty reckon they would do well in the US as their brand of sound that blends different sorts of music has more of a niche there. However, for now, they are setting their sights on home ground. “There is a lot of talent and good music that hasn’t been given the chance and hopefully, we’ll be seen as a breath of fresh air,” says Hudge.

In the pipeline, is a mixed tape that they are in the process of producing for online release which will feature the best of five or six tracks that could sum up their sound and Shorty hope to be seen at the festivals of 2006. In the nearer future, they will be playing Cargo on 8th March 2006.

This band is set to make an impact. A tall order but one Shorty aren’t afraid to take on.

Cargo
83 Rivington St
Kingsland Viaduct
Shoreditch
London EC2A 3AY
www.cargo-london.com
www.shortyonline.co.uk

Having recently released “Power to the People and the Beats: Public Enemy’s Greatest Hits”, to document their immense and far-reaching legacy to the development of hip hop music, how did Public Enemy catalyse the transition of rap music from minority interest to establishment juggernaut?

Public Enemy have released a ‘Best of’ compilation of their music after near on twenty years of beats and rhymes, to consolidate a rich and pertinent legacy to the development of hip hop that helped to kick-start the whole Gangsta Rap sound and, indirectly, the co-option of hip hop by the music industry. In 1987, when Public Enemy’s impact was first heard with a resounding boom-bip, Rap music was a minority interest, either derided or patronised. Their sonic and verbal militancy caused a major shit-storm in the media, engendering the kind of outrage and moral panic that tends to surface on slow news days, and enabled hip hop music to carry the mantle of bête noire that it used so successfully to market itself beyond the urban streets to the callow youth of suburbia.

The concerns of hip hop music have now shifted from politicisation to accumulation; from rebel to label. Chuck D memorably coined rap music as the “Black C-N-N” whereas now it has become the “ghetto QVC” - from radical to superficial in twenty short years, leaving the once mighty PE irrelevant in its wake.

Hip hop music began in New York in the mid-to-late seventies when disco was still at its height and party music was the order of the day. (MC’s rapped over R&B music backdrops to create a feel-good vibe amongst the revellers, the music had many parallels with reggae toasting and indeed, may have been inspired by it). It was an underground, D.I.Y. music that was a world away from the mainstream.

Rappers Delight by the Sugarhill Gang changed everything. Released in 1979, probably as a novelty single, it became a surprise hit and is still a favourite of a lot of people (mostly blokes) who are obsessed with being able to recite it word-for-word throughout its fifteen minute running length. It was fun, funny but, most of all, it was funky and served notice to the hip hop music community that this kind of record could sell. The many early conquistadors of rap and hip hop music came, saw and conquered the shit out of the nascent form, introducing a number of innovations; Grandmaster Flash, Mantronix, Kurtis Blow, Afrika Baambaata, Kool Herc, Sugarhill Records, Whodini, Keith LeBlanc, Stetsasonic, Marley Marl, Eric B & Rakim, LL Cool J, Ice T and Run DMC all pushed hip hop forward in terms of lyrical form, cutting, scratching and sampling at a time when soul music was becoming increasingly mediocre.

The Message by Grandmaster Flash and the Furious Five was another landmark, pushing the lyrical content further than any rap record had done so far. Released in 1982, and sounding like an electro update of Stevie Wonder’s Living for the City, it was a stone cold classic relaying, in forensic detail, the lives of society’s bottom-feeders, tingeing its stories with anger and despair. The delivery of the lyrics was by-and-large less bombastic than other rap records (excepting Melle Mel who could sound dramatic reading out a shopping list) with the rappers preferring to be downbeat, cementing its documentary realism with dense passages of pithy prose (”my son said, daddy I don’t wanna go to school ‘cos the teacher’s a jerk, he must think I’m a fool, and all the kids smoke reefer, I think it’d be cheaper if I just got a job, learned to be a street sweeper”) and still keeping the rhyming right on point. The Message lived up to its title, providing dancefloor beats for the head as well as the feet. hip hop had now begun to carry the torch of the socially conscious agenda of 70’s soul that had been blanded out by disco and bedroom R&B.

So, rap music was considered a novelty that occasionally spiced up the charts but was still expected to die out after having been assimilated. Constantly criticised for its apparent lack of musicality, hip hop continued to break through with minor hits until Run DMC officially staked rap’s ground in the mainstream with the extremely radio-friendly Walk this Way. It’s a record that I can barely stand to hear nowadays, because of its middle-of-the-road commercialism and the fact that it was played to death, but it created the first rap superstars (if you didn’t know who Run DMC were, you needed to check in to the nearest coma ward) and ensured that hip hop would continue to have a voice. That voice would continue to speak to the party hardy, but was also the voice of the street incorporating braggadocio, bedroom entreaties and stories from urban realities.

In 1987 rap found a revolutionary voice that laid the foundations for the golden age of hip hop. Rebel Without a Pause was a milestone, signalling its intent with its opening sample declaring “brothers and sisters, I don’t know what this world is coming to” before slamming into a squealing saxophone break over thunderous ‘funky drummer’ beats. This was the sound of hip hop entering its maturity, refusing to give a shit about mainstream sensibilities, the Public Enemy sound, as produced by the Bomb Squad, had an edge so sharp that it created an instant love-or-hate-it divide; blowing open Pandora’s Box for a whole generation of Black artists. The furious, dissonant mixture of beats and samples was dubbed “music’s worst nightmare” by Hank Shocklee of the Bomb Squad and as such, it played right into the hands of those who would decry Rap for its lack of musicality. Except their opinions didn’t matter anymore; the Bomb Squad’s confrontational sound created a rallying point for the future of Black music.

As shocking as the music was, it was matched by the emceeing of Chuck D; polemical, urgent and declamatory he took no prisoners as he cut a swathe through all the forces that would rail against him. He delivers the Public Enemy manifesto with his authoritative baritone, building thought upon thought and rhymes within rhymes, never looking back, never standing down.

Politically aligning himself with Louis Farrakhan and the Nation of Islam, the radicalism was there for anyone who would care to listen. It was an untamed new voice full of righteous anger and intelligence that delivered its message in tones reminiscent of Black political leaders from Malcolm X to Stokely Carmichael to Farrakhan himself. Through Chuck D, hip hop had found a political voice that was not only lucid but embraced the radical politics of the, decidedly non-mainstream, Black Power movement.

The album It Takes a Nation of Millions to Hold Us Back followed up the promise of Rebel Without a Pause covering the politics of the Black experience thoughtfully and uncompromisingly with practically every tune a classic. This was their second album - their first, Yo! Bum Rush The Show, released only a year earlier seems almost primitive in comparison, with its beats less furious and bragging emceeing reminiscent of LL Cool J - and is now considered the greatest hip hop album ever. Flavor Flav played the fool to Chuck D’s straight man, delivering off-the-wall material that felt in perfect counterpoint to the harsher realities of Chuck D but was still weird nonetheless, often spouting complete, almost surrealist, nonsense with his own inimitable enunciation - although Flavor Flav is probably as responsible for inspiring as many emcees as Chuck D - oddball rappers abounded in the years after Nation of Millions all the way to Eminem today. - They released the almost perfect Fight the Power in 1989 as part of the soundtrack to Spike Lee’s Do The Right Thing - containing what is probably their most famous lyric soundbite - “Elvis was a hero to most but he never meant shit to me” - before releasing the much anticipated Fear of a Black Planet. Flav came into his own on this album, delivering top-class tunes such as 911 is a Joke and Can’t Do Nuttin’ For Ya Man, while Chuck D pushed the manifesto message even further with tunes like Burn Hollywood Burn and Welcome to the Terrordome. The Bomb Squad, again, provided beats and samples that were pant-shittingly good.

Following up the work started by Public Enemy, a group emerged in 1988 called Niggaz Wit Attitude (or N.W.A. to give them their less provocative acronym) who displayed their anti-authoritarian rage with the release of their single Fuck Tha Police. This was as incendiary a statement of intent as has ever been delivered in music and N.W.A.’s notoriety was assured. Although they were less politically astute, their tales of urban resentment were still cloaked in Black Power rhetoric, warning of the consequences of creating a large Black underclass whilst revelling in the lurid violence and misogyny of their position. Gangsta rap was born and set out to hijack the mainstream through its explicit and shocking imagery both on wax and on the streets.

Hip hop’s greatest creative period followed, with several hip hop legends-in-the-making beginning their careers. The diversity of acts that came in the wake of Public Enemy was immense with a new act born practically every week. The roll-call of artists coming up out of this period (from 1987 to 1997) included Big Daddy Kane, Young MC, De La Soul, A Tribe Called Quest, The Jungle Brothers, KRS-1, Gang Starr, Naughty By Nature, Cypress Hill, House of Pain, EPMD, Pete Rock, The Pharcyde, Black Moon, Mobb Deep, Jeru The Damaja, The Roots, Xzibit, Outkast and The Wu-Tang Clan. Many of these records were commercially successful and hip hop fashions were changing constantly. The various political agendas of these groups tended to revolve around the notion of Black Power and the disaffected underclass, whereas the more explicitly political groups took the liberal high-ground. The voice of rap was being dissipated amongst a multitude of talented individuals, each with their own take on society and their place therein.

However, the one dominant voice during this time was that of Gangsta Rap with its East Coast-West Coast beefs and explicit lyrics providing the better stories, and which sound-tracked the racial unrest in America that ignited 1992’s LA riots. Its leading exponents were Ice T, Ice Cube and Dr. Dre -the latter two embarking on solo careers, having once been part of N.W.A. - but while the Ices were embroiled in the business of authority baiting, Dr. Dre took his old George Clinton records to put together The Chronic, a hip hop masterpiece, on which the main guest rapper was Snoop Doggy Dogg. The Chronic sold extremely well and created a real anticipation for Snoop Doggy Dogg’s solo project which, when Doggystyle was released in 1993, went stratospheric. The future was here and it was wearing a bubble-perm. In the post Doggystyle years, hip hop gained wider acceptance and progressively wore the mantle of mainstream mediocrity (niggas, bitches, violence, sex and bling).

Public Enemy’s output continued (Apocalypse 91: the Enemy Strikes Black, Greatest Misses, Muse Sick N Hour Mess Age, Chuck D’s masterly solo album The Autobiography of Mistachuck, He Got Game, There’s A Poison Going On, and Revolverlution) but the Bomb Squad were no longer taking complete control over production duties and, while the deeper and bassier production was anticipating the West Coast sound, the edge was being lost as hip hop moved on at breakneck pace. Chuck and Flav were still magnificent but were becoming increasingly irrelevant as the acts that came after them commanded more of the attention. Having put rap at the forefront of innovation, Public Enemy found they were falling behind in terms of a public that was constantly searching for the next new thing; they also lacked the killer tune that might have put them back into the limelight. At the time when hip hop was joining the mainstream, Public Enemy quit their record company and began releasing records independently, thereby leaving them without the money and marketing that might have led to a successful reinvention - their brand of agitation and polemic was no longer useful to an industry that was becoming as apolitical and bland as soul had become in the eighties.

John McLaughlin, quite simply, is an eloquent. A guitarist whose musical vocabulary is both fluent and succinct; a musician who has proved he can work on equal terms with players from around the world and in any context. The language of music has rarely been expressed better.

He is also the guitar hero’s guitar hero; admired by Johnny Marr, Jeff Beck and Robert Fripp amongst many others - there are very few serious guitar players who cannot have been influenced by his virtuoso technique. John is currently recording a new album, with a group of invited musicians, which will incorporate ideas from Asian underground music that originated here in the U.K.

“Asian music and culture have played a pivotal role in my life, whether from a musical or philosophical/spiritual viewpoint. About 12-15 years ago, Jungle music appeared and coincided with a very strong retrospective movement in Jazz. I was never a fan of retrospective music, and I became intrigued by Jungle only to find out that it had its roots in Jazz-Rock, Reggae and Indian music. Drum ‘n Bass is a derivative of Jungle, but for my ears Jungle is more unpredictable and consequently more enjoyable.

“Asian Dub Foundation, Nitin Sawhney, and Talvin Singh have experimented with either Jungle or Drum ‘n Bass, and in addition have introduced a vast array of Indian percussion with it and Indian vocalists. I’ve even heard Shakti influences in some of their recordings.

“Some of the recordings they have done are very interesting from the conceptual point of view, and the sometimes very tasteful use of synthesizers.

“With these artists, there are some really interesting groups such as D Note and Lemon D, who have also made some excellent recordings.

“Now while the music might not be as ‘rich’ as jazz music, for me, some of them are more interesting musically.

“The other aspect of ‘Underground’ is the world we live in, insofar as it is now extremely industrialised. We live surrounded by the sound of industry, and my idea is to incorporate this ‘industrial music’ into new forms of music. That’s the tricky part. The other part is putting together some of the world’s finest musicians, from East and West, and placing them in a musical situation where their particular musical conventions might not work. In other words it makes them think in different ways, and then putting all of this together.”

Born in Yorkshire on January the 4th 1942, John McLaughlin grew up in a musical family but was essentially self-taught as a guitarist and took on various influences from blues, flamenco, jazz and classical music. His love of music informed his dedication and has led him to being one of the foremost talents in the world today.

“On my iPod I have a selection from:- Miles (early & late period), Coltrane (early & late period), Bill Evans, Charles Lloyd, Cannonball Adderly, Joshua Redman, Brad Meldhau, Sly and the Family Stone, D Note, Lemon D and other UK ‘underground’ groups, Bluth, Gonzalo Rubalcaba, Nusrat Fateh Ali Khan, Vinnie Colaiuta, Massive Attack. The list is endless.”

He emerged publicly during the British blues revival of the Sixties, featuring in bands such as Georgie Fame and the Blue Flames and the Graham Bond Organisation, before cementing his reputation in avant-garde jazz with the similarly brilliant John Surman and Dave Holland. Drumming legend, Tony Williams picked John to play in his group Lifetime, with Jack Bruce and Larry Young, after hearing a tape of his playing and soon after Miles Davis came a’ calling. Miles was moving into his Jazz-Fusion period and was sweeping up the cream of young musical talent to join him; even though Miles risked alienating Tony Williams, a man he respected and admired, by asking John to join him on the recording of In A Silent Way, his move was vindicated by John’s beautiful, soulful playing on what has now become a landmark recording. John continued to perform with Williams and Davis but soon formed his own band, The Mahavishnu Orchestra, playing jazz-rock fusion that was by turns muscular and contemplative. John’s career since then has found him in varied musical environments with a succession of dazzlingly accomplished partners from the screaming jazz-rock of his work with Carlos Santana to the exhilarating indo-jazz of Shakti to the exuberant flamenco work-out of his trio guitar work with Paco DeLucia and Al DiMeola. John gives the impression that, like Miles, he never wants to sit on his laurels.

“My first band was formed while I was still at school. After that I became a kind of permanent side-man until 1970. I had just played a gig with Miles and we were speaking together in the band room. All of a sudden he said ‘John, now’s the time to form your own band’. Since he was the most honest man I’d ever met, and my hero since the age of 15, I had to justify his faith in me, even though at that time I didn’t feel ready to be a leader. Since then I haven’t stopped. As far as ‘feeling comfortable’ is concerned, I love all great musicians and great music wherever they may come from so I’m delighted to play with Spanish, Indian, Western musicians, whatever. However, in a way I am against being ‘comfortable’ in music. I need to be provoked in music, and of course I also provoke in my turn. For me, it is somewhat dangerous to be too comfortable in music. Human nature quickly becomes indolent.”

The list of partners that John has chosen to collaborate with has been a catalogue of the world’s best and most innovative artists: Billy Cobham, Jerry Goodman, Zakir Hussain, L. Shankar, Hariprasad Chaurasia, Jan Gabarek, Trilok Gurtu, Kai Eckhardt, Joey DeFrancesco as well as the aforementioned Carlos Santana, Paco DeLucia and Al DiMeola. Also, John’s work as a “side-man” has enabled him to work with the last great Miles-influenced generation of jazz legends (or “Miles’ Boys”) including Chick Corea, Herbie Hancock, Joe Zawinul, Wayne Shorter, Tony Williams, Dave Holland, Keith Jarrett, Jack DeJohnette, and Airto Moreira.

“Music is a communicative art: firstly amongst the musicians performing, and secondly with the audience. One of my main criticisms of the ‘Retrospective’ Jazz I spoke about earlier, was the lack of interactionbetween musicians which is to me one of the principal criteria in good Jazz, or good music in general. Jazz and Indian music are essentially collaborative or interactive musics because improvisation plays such an important role - the most important role. What this means is spontaneity, but there’s no spontaneity without other humans to be spontaneous with.

“I will never be able to repay my debt to Miles for his ‘influence’. Since the age of 15 he has been influencing me in the most marvellous way musically. Being able to play and record with him was critical for me in being able to learn his way of playing and leading, recording, whatever. His way was simply masterly. ‘My Goals Beyond’ half of which contains several, quite exceptional, acoustic guitar pieces was an exception to what I’ve just written, but of course, there is always room for the ’solo’ artist to produce great works. Since this was the only ’solo’ recording I ever made in my life, this is indicative of my interest in solo work.”

The work for which John may be most fondly remembered, certainly on the Indian Sub-Continent, is his collaboration with Indian classical maestros who formed the heart of Shakti. John found himself in conversation with the powerhouse talents of L. Shankar, Zakir Hussain, and T.H. Vinayakram (and later, the sublime Hariprasad Chaurasia) and was completely at ease in this exalted company. The Shakti recordings sum up everything that is good about music; the breadth, subtlety and shades of emotion that are contained within are, quite simply, breathtaking. Shakti are the only Indo-jazz fusion group that has gained widespread acceptance in India and is a testament to the universality of the musical language that exists with great musicians and to John’s musical honesty that he immersed himself entirely within an idiom that other western musicians find difficult to engage with except on a superficial level.

“My relationship with Asia in general, and India in particular has been very long and until now, a wonderful adventure. My life, and as a consequence, my work also, would be dramatically different without these influences. Actually unthinkable!

I don’t agree entirely that western musicians engage superficially with Indian classical music. Yes it’s true that lots of the new ‘World Musicians’ use the sounds of Asia simply for effect and to add colour. This is unfortunate, but then again, there are lots of people who want to hear this kind of music, whether for ambient sound or otherwise. It’s not at all demanding. Joe Harriott was certainly an exception. To say clearly what drew me to Indian music or to Indian culture for that matter, is unknown to me.

“However, from a musical point of view, there is a deep connection between jazz and Indian music. They are the only two schools of developed rhythmic improvisation on the planet. The foundations are different since the western way is harmonic, but since the advent of modal music by the late 1950’s (Miles again), and the outstanding work done subsequently by John Coltrane in modal music, we have even more in common.

“My work with Shakti is not to learn how to play Indian music, (though I have studied it seriously for many years), my work with Shakti is simply the desire to play with these absolutely fantastic musicians. I am first and foremost a western musician, but I have benefited in countless ways from my association with these musicians.”

John’s relationship with Eastern philosophy began in the early 70’s, when he became a disciple of Sri Chinmoy Kumar Ghosh (Sri Chinmoy gave John the name Mahavishnu), and John’s spirituality can be felt quite clearly in his work. Music has always been able to express emotion with more fecundity and nuance than the spoken word will ever be able to bear or, to put it another way, a jazz musician’s job will always be to make a tune sound not like itself but himself. Like Miles, Coltrane, Rollins, Bill Evans and all the other greats too numerous to mention, John expresses a profound emotional resonance and beauty through the notes he plays that is served by his astounding technique rather than enslaved by it; he has never reduced himself to the empty verbosity that technical expertise can engender in less articulate musical linguists.

“We may think that music operates only on the emotional, spiritual and aesthetic levels, but politics and the intellect are there all the time. The reverse is also true insofar as the world’s politicians are concerned only with the economic and political ramifications of their actions. As a result, they forget, or are unconscious, of the corrosive influence they have generally on the hearts and minds of people by ignoring these essential aspects of human existence.”

John McLaughlin has been at the peak of his creative powers for over 30 years and a generation of guitarists are beholden to him in demonstrating the splendour that lies at the heart of the instrument and an indefatigable spirit that keeps him moving forward.

“There is so much left to do, and I really don’t know what keeps me going creatively. Passion???”

Jazz guitar legend John McLaughlin has recently released an educational box-set about improvisation called This is the Way I Do It.

Born in Algiers, Algeria, Yazid Fentazi composes in his own words “a blend of traditional with modern music.” It is a uniquely clever and contemporary style of North African fusion, coming from a long tradition of absorbing influences, be they Algerian, Kurdish, Berber, Arabic, Egyptian, Spanish, Indian and many more.

The Guardian has described Fentazis’ compositions as having “breadth and atmosphere, and his oud soloing, which recalls the drive and dynamism of world oud star Anouar Brahem, is often stunning,”.

Having played music almost all his adult life, Fentazi recalls how as a young boy he didn’t have the means to buy any musical instruments’, he resorted instead to “buy music and listen, which was good because I started to develop my musical ear. Then slowly, slowly I bought my first guitar in 1980.”

Entrepreneurial from the start Fentazi tried to find a teacher to teach him, unsuccessful because he was ‘too old’ at 16 to learn the guitar, Fentazi taught himself. Now when he composes, Fentazi starts with the bass line, playing it on his guitar and later adding the melody. These days Fentazi prefers to play the oud, an ancient Arabic lute, “it is something different and people respond to the sound.” Other instruments Fentazi plays are flutes, percussion and the zorna. All these instruments, Fentazi has taught himself, “I don’t know how,” he says laughing. Renown for the compelling atmosphere Fentazi’s live performances evoke, he is acutely coy, “The best audiences? You can find them anywhere, but it depends how you perform. If you are happy and perform well then you create a good vibe and audience.”

Performances with other prominent musicians most notably include Robert Plant, Ali Slimani, Cheb Mami, Orchestra National de Barbes, and Natacha Atlas. Fentazi is laid back about the number of requests made for collaborations; always he insists “they contact me.” On working with Natacha Atlas, Fentazi is unfazed, “I have been propositioned by Natacha Atlas, who is a very, very nice person and extremely helpful, she said if I want to work together anytime, but I told her it is too late for this album, maybe next time.”

Mul Sheshe (The Turbaned One), Fantazias’ much anticipated second album is to be released this month by Harmonium Monday Records. The title song is “quite funny,” explains Fentazi, “it is about a guy who is confused. He comes from a traditional small village; from there he goes to a big very modern city. And he gets confused.

“Does he go left? Does he go right? Which way to go?”

Mul Sheshe is available from Harmonium Monday Records from July.
See Fantazia at Queen Elizabeth Hall on 9th July 2005

A hybrid of film festival and music festival, Optronica is a brand new five-day event focusing on the convergence of visuals and music.

The exquisite alchemy which takes place when music and visuals fuse has long been an underground phenomenon, inspired by early experimental film and developed through the nightclub and alternative art worlds.From acts who make both music and images, or who create live cinema, through to audio-synched visual mixes and animations, Optronica explores the growing sectors of live media and electronic music culture where performing and recording with both visuals and music are fast becoming the norm.

Optronica showcases both established and emerging talent, opening a new window on this blossoming genre of the arts and providing audiences with a rare opportunity to experience live experimental work in a cinema environment. Showing world premiere of Plaid (warp) & Bob Jaroc’s Greedy Baby UK premiere of DJ Spooky’s solo film remix Rebirth of a Nation AV spectacular from electronic music pioneer Karl Bartos and Addictive TV live on the roof of the National Theatre.

Highlights:
The Addictive TV guys (the organisers/curators of the festival), will be performing their new AV show at the festival, up on the roof of the National Theatre with huge projections on the side of the building that you’ll be able to see across the Thames.

The Plaid & Bob Jaroc’s new AV show - Plaid & Bob Jaroc will open the festival on Wednesday 20th July at the London IMAX cinema.

www.optronica.org

A. R. Rahman, having scored for over 75 movies and sold over 150 million albums, is almost worshipped as a god in some parts of India. However, despite his huge success he is ever the reluctant celebrity, preferring to let his work do the talking. Rahman will bring his Live, 3D Concert to Wembley Arena Pavilion on 30th July 2005.

If I told you of an artist whose albums have outsold Elvis, The Beatles and all of the Jackson clan added together, I wonder how you might respond?

Well, the artist in question is A. R. Rahman, dubbed “the Mozart of Madras”, whose tunes have mesmerised music lovers the world over. Having first made his name with numerous hit Bollywood soundtracks, he has since composed the Andrew Lloyd Webber musical Bombay Dreams. His next musical offering, the stage adaptation of J.R.R. Tolkien’s Lord Of The Rings trilogy, will open in Toronto later this year and, at a cool £10 million, it is the most expensive musical ever.

The good news for London though, is that, in July ‘05, A.R. is embarking on his first live UK tour. Expect magical musical soundscapes, stunning visuals and, for the first time in concert history, experience it all in 3D. The publicity release explains it like this: “…the audience will receive 3D glasses to transport them into a magical galaxy, where they will be able to ‘virtually’ reach out to their favourite stars…” Apart from A.R., the concert will feature the very best classically trained, Bollywood playback singers, all of whom are popular artists in their own right. These include Shankar Mahadevan, Hariharan and Sadhna Sargam, to name but a few.

However, life has not always been so kind and, A.R.’s own meteoric rise to fame is itself the stuff of “Bombay Dreams”. Born in Chennai, India, A.R.’s earliest memories are of long periods spent sitting by his father’s hospital bedside - something he assumed that all children did. Following his father’s untimely death, A.R., aged just nine, felt the mantle of responsibility for his family pass onto his young shoulders. Aged eleven, he left home to become a touring musician, working with many eminent names, including the table maestro, Zakir Hussein. In time, the young Rahman earned a scholarship at Oxford University’s Trinity College, where he studied Western Classical Music. On returning to India he set up his studio, Panchathan Record Inn (now one of India’s most technologically advanced recording studios, housing one of the biggest and most comprehensive sonic libraries).

His big break, however, came in the form of maverick film director, Mani Ratnam, who offered A.R., then 26, the role of Music Director on his 1992 film Roja. The gamble was worth it, as the Roja soundtrack revolutionised the sound of Indian film music and went on to win every music award imaginable, including Best Music Director for A.R. Rahman, at the National Film Awards.
Since Roja, A.R. has provided the scores for most of Bollywood’s biggest blockbusters, including the Oscar-nominated Lagaan. His skills are in demand the world over and in 2003 he provided the score for the Chinese martial arts film Warriors of Heaven and Earth.

17 year old Nicola Benedetti, who became the first Scot to win the BBC Young Musician of 2004, released her debut album recently on one of the most prestigious classical labels in the music industry, Deutsche Grammophon (a subsidiary of Universal Music Group).

The album is regarded as one of the most anticipated recordings of recent times, which Nicola recorded with the London Symphony Orchestra. The recording was conducted by 29 year old Daniel Harding, who was recently appointed Principal Guest conductor of the London Symphony Orchestra, and Music Director of the Mahler Chamber Orchestra.

It has been a momentous year for the 17 year old violinist, since her triumph in the BBC Young Musician competition, debuting with some of the world’s most respected orchestras, playing for HM the Queen at the opening of the Scottish Parliament and then signing a six album deal with Universal Music.

The album features a selection of Concerti and violin repertoire, including the sophisticated Szymanowski Concerto No 1, which Nicola brought to the public’s attention last year. The recording will also feature a new Sir John Tavener work, entitled ‘Fragment for the Virgin’ that was especially written for Nicola. The album also features a special backing track of the Mèditation from Thais by Massenet which will give Nicola’s listeners the opportunity to play accompanied by the London Symphony Orchestra.

Nicola is playing at the Barbican
30 July at 7.30pm
Box office 0845 120 7500

Originating from the furthest reaches of Upper Egypt, the Musicians of the Nile have been journeying across Europe for the past 30 years. Performing on an array of traditional instruments including the rababeh (an instrument with strings of horsehair and a soundbox made of coconut shells and fish skin), mizmar (an oboe-like cornet), arghul (an Egyptian double clarinet) and tals (a huge drum held around the neck), they beat out entrancing cross-rhythms and dense waves of spontaneous sound, waving sticks in the air and dancing wildly to galvanising beats.

Queen Elizabeth Hall
16 July 2005 7.45pm
All tickets £17.50

Festival in Old Spitalfields Market and the Spitz. 16th July 2005

The Wired Women of Spitalfields festival will start with a day of free entertainment and activities in Old Spitalfields Market. Featuring live music on a free stage, an art installation in a disused shop unit, a jumble sale, knitting circles, puppets, a tombola, a treasure trove, a 50s gramophone DJ,’shop window’ art installation and a theremin workshop, it will be a great day out and an important event for the market. A Bagpuss-inspired window shop installation will be on display at the currently deserted shop. That’s all topped off in the Spitz Venue with an extraordinary night of live music, DJs, VJs and film screenings.

Free in daytime
Tickets for night-time event in the Spitz. £8 adv.

With performances from:
Angie Reed, Cranes, Piney Gir, Anat Ben-David, Motormark, Funsize Lions, Ten Minutes With My Dad, Radical Cheerleaders, Ninki V, Japanese Intelligence
Mind Control and Venus Fly Trap

Plus DJ sets from:
Val, Craft, Two Birds, The Schla La Las, Ninja Jen, Gemma, Anna Schulte

Not to mention:
VJs, an art installation, film screenings, a jumble sale, a knitting circle,a tombola, crafts with Ninja Jen (including “how to needlepoint”), a theremin workshop and general zapping till late at night…

12pm - 6pm
Free events in Old Spitalfields Market with live music from: Cranes + Funsize Lions + Ninki V + Japanese Intelligence Mind Control

5pm - 2am
Music, DJs, VJs and films in the Spitz venue with live music from: Angie Reed + Anat Ben-David (Chicks on Speed) + Piney Gir (Truck) +
Motormark + Ten Minutes With My Dad + Radical Cheerleaders + Venus Fly Trap

A comprehensive list of activities can be collected on the day from the Spitz terrace from 11am.