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.

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Nina considers the musical language of jazz to be one of her greatest inspirations. Her exhibition, Jazz in the City is the culmination of a life’s work for this innovative and unique artist.

It also begins a tour featuring Nina as an artist in residence, to include The International Jazz Festival in Moscow, during which Nina’s work will be exhibited at the State Museum for Contemporary Art, Moscow.

Nina was born in the Russian city of St. Petersburg and obtained a Masters Degree from Moscow’s Gubkin Academy. In 1991 after

she moved to Germany, Nina started her career as an artist where she studied under teacher and artist Margarita Budini. From 1994 to 1998 she established her studio in The Netherlands and in 2000 she moved to London where she has been living and working as an artist. Now based in Richmond, Nina finds artistic inspiration for her paintings in music, poetry and philosophy. The powerful colours and dramatic shapes in her paintings reflect her own experience of living in different cultures, while still infused within her Russian heritage. Nina says of her traveling experience, “I have found the most success in London, because London is a cultural centre and a major port. Kinky-Kalinki Transrussian Express is a tribute to London’s art scene, to show how you can be poor and foreign in London and still be accepted.”

Kinky-Kalinki Transrussian Express is a documentary film charting London’s art, music and club scene from 2000 to 2005, the length of time that Nina has lived here. “I have focused on one east London club in this film,” says Nina, “Rhythm Factory on Whitechapel road where it is possible to have live music, art on the walls and a club night all in one. East London is a buzzing area, that’s not to say that Richmond where I am based is not buzzing, but East London has a modern and contemporary feel.”
Old Vinyl.

Nina has exhibited her work in both solo and group shows and has begun to exhibit her work across Europe and overseas. In December 2003 Nina represented the UK at The Florence Bienniale and in November 2004 was invited to be Artist in Residence for Black History Month at the National Opera Studios in London. Other artistic residencies include River Walk at The OXO Tower and The Players Theatre in The West End.

Carol Cordrey will be in conversation with Nina on the 22nd of September at the Glass House Gallery and comments, “Jazz was once the music of yesteryear. Now, it is growing in popularity in cities the world over. Its powerful rhythm and improvisation have always appealed to performers with strong characters. Using instruments or voices, passion or pathos, they have used jazz to stir the human spirit. Nina Gruschwitz has an expressive personality, loves jazz and imbues all her work with a plethora of emotions. With brushes for instruments, this artist reinforces the contemporary impact of jazz. It is now seen and not just heard.”

Nina Gruschwitz’s exploration of Jazz and its influence on her art is to be exhibited at the Glass House gallery from the 13th of September.

The Glass House Gallery
2-3 Bull’s Head Passage, Leadenhall Market, London EC3, 13 Sept – 9 Oct
In Conversation: Artist talk with Carol Cordrey: Thu. 22 Sept 6 – 8pm
Special event: Kinky-Kalinki Transrussian Express: Wed 21 Sept 8pm-midnight
Rhythm Factory
16-18 Whitechapel Rd, London E1 1EW
info@thecynthiacorbettgallery.com
www.thecynthiacorbettgallery.com

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East London Metropolitan Opera continues to bring together top professional musicians with members of the local community and children from Hackney schools accompanied by a full orchestra.

For those with more contemporary, independent tastes, a hip triple bill on the 13th July with Billy Childish and the Buff Medways, Ed Harcourt and Paul The Girl, is not to be missed. A cult figure in America, Europe and Japan, Billy Childish is arguably the most prolific painter, poet and songwriter of his generation. In a twenty-year period he has published 30 collections of his poetry, recorded over 90 full-length independent LP’s and produced over 2000 paintings. High praise comes from Alternative Press, USA, “Of all the ’70s punk survivors Childish is one of the select few who didn’t sell out, or end up sucking.” Whilst Time Out describes Billy as “terse, gutsy and powerfully humane.” Ed Harcourt, reviewed by the Observer Music Monthly, has been praised also, “the blissful sound of a besotted drunk in love…Harcourt retains a composer’s eye for detail which repays whatever attention you care to give it.” British artist, Paul The Girl is an admired and accomplished musician; The Guardian review wrote,”…on her own tiny label, Paul is making the most original music of any British artist, of either gender.” Spice festival goers will be spoilt for choice with the line-up of drama performances. From Cardboard Citizens; an clectic mix of theatre, circus and music developed and devised by This Way Up, the UK’s largest arts performance programme for homeless people, to Rajni Shah Theatres’ story of Queen Elizabeth I, a traditional Indian bride and according to the synopsis, “…the relationships we have to the land we live on, and the theatres we all invent.”

Let’s not forget the little people for whom the Movingstage Marionette Company bring double bill, Captain Grimy and The Three Little Pigs, a charming puppet show re-telling these familiar, timeless tales. Also presented by Spice Festival is Richard Pinner, Gold Star BAFTA award winner who will be performing, “excellent close-up magic,” as described by The Stage.

The diverse drama available includes internationally renowned theatre company Rotozaza presenting their unique and innovative acts without any rehearsal. Actors perform by following live instructions. ROMCOM or The Distance Love Can Be Maintained Between Any Two Fixed Points, by Glen Neath is performed by two unprepared actors with headphones telling them what to say and do. The Glasgow Herald likens it to,”…one of Godards movies…as well as comedy it’s a complex study of compatibility and communication.”

2005 Events

Opera Gala Evening:
Hackney Empire:
Tuesday 12th July: 8pm, Tickets: £8, concessions £2.50

Billy Childish and The Buff Medways, Ed Harcourt, Paul The Girl:
Hackney Empire:
13 July: Doors 8.15pm Tickets: £10, conc. £7.50

Cardboard Citizens:
Acorn Theatre:
Thursday 21st July: 7.30pm

Rotozaza:
Hackney Empire:
17th July: 3pm: Tickets: £12/£8

Rajni Shah Theatre:
Acorn Theatre: Sunday 24th July: 4pm & 7.30pm: Tickets:£10/ £7

Movingstage Marionette Company:
Acorn Theatre:
16th July. 11am & 2pm: Tickets:£6, children £4.50.

Richard Pinner:
Bullion Theatre:
Sunday 24th July: 2.30pm: Tickets: £6 children, £4.50.

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“I want you to get an interview with Mike Leigh!” The assertion in my editor’s voice told me he wasn’t kidding. I should have realised then that I was in for a rough write, but buoyed by the confidence suddenly bestowed upon me, I naively skipped out of the office, only to be met head on by lightning, thunder and an unholy summer afternoon deluge that instantly killed the spring in my step, reducing not only my soddened sneakers but my enthusiasm for this assignment into an amorphous squelching mass.

After floating down Brick Lane I washed up inside the entrance of a dimly lit bohemian café and slumping onto an overripe leather sofa, not keen to be used as a nappy, I slurped through a strong, bitter cappuccino, murdered some lung cells with a crude roll-up, assessed my thoughts and when my lights finally switched themselves back on, I’d found I’d come up against a brick wall, and a damp one at that. I don’t think being in Brick Lane had any coincidence or connection.

To what extent the sobering rain, coffee and properties of smoked tobacco leaf, helped kick-start the luminous realisation that I hadn’t a chance in HELL of getting an interview with Mike Leigh, based on what knowledge I possessed of this British auteur, I’ll never know.

But I certainly know now. “He doesn’t do interviews and has told us, even, to respect his working methods during this period. In fact, he’s not even working in any of our rehearsal spaces…etc etc,” informed one of the marketing staff at the Royal National Theatre on London’s Southbank, where Leigh will, on the 15th September, present his dramatic piece, a full length play, something he hasn’t done in more than a decade. The natural process is to request a ‘press pack’ but I didn’t feel there was any point. The piece is currently billed as A New Play (working title only) by Mike Leigh, for the Cottesloe stage.

Leigh was once quoted as saying, “As long as I’m making movies I’m very happy to have nothing to do with the theatre. I find it boring and sterile.” What has revived his interest, I wonder. Intrigue arises then for anyone who is familiar with the clandestine modus operandi of this seemingly quiet and demur man, whose award winning films usually bellow with refreshing depth and imagination that belies his seniority of 62 years; films such as Secrets and Lies, Naked and most recently Vera Drake.

Born in Salford, Lancashire in 1943, Leigh was a doctors’ son of Russian origin, whose grandfather, a miniaturist painter had the name, Lieberman who then changed it to Leigh when he emigrated in 1902. The 40′s and 50′s saw Leigh’s interest develop on a diet of Hollywood and British films, then later the Royal Academy of Dramatic Art (for acting studies), served his purposes, as well as the Camberwell School of Art, London International School of Film Technique, the Central School of Art and Design and experimental theatre for the BBC in 1970.

We know that the characters of his play will be well rounded, with the creation of an atmosphere that really does exist, with everything to know about the characters and their lives, the key factor to this being extensive research and improvisation.

One can only imagine the rehearsal process Leigh is subjecting his actors to at the moment. The devising of a theatrical piece, any actor will tell you, is demanding, self-sacrificing and soul stripping. Here it could both be a blessing and a curse in the hands of a great director, some say the greatest living British director, and the third greatest of all time after Alfred Hitchcock and Michael Powell.

The pressure must be inconceivable even for Leigh himself who has to find the strength to establish trusting relationships with each individual cast member, then intuition and navigational dexterity to guide them as a newly formed family back to shore from a monstrous sea of words and ideas laden with the sumptuous treasure of a story to tell. The cast are: John Burgess, Ben Caplan, Allan Corduner, Adam Godley, Caroline Gruber, Nitzan Sharron, Samantha Spiro, Alexis Zegerman

Past treasures include Abigail’s Party, a slice of 70′s suburban boredom, also made for TV starring Alison Steadman. Other plays include A Great Big Shame, Greek Tragedy, Smelling A Rat, Goose Pimples, Stacy, Silent Majority, Babies Grow Old and Bleak Moments. The Royal National Theatre eagerly and protectively awaits the title and production of Mike Leigh’s new play, as do we, excited by the mystery and fascination of it all. Will it cause a tempest, flooding the South Bank venue with honour or derision? Either way, more rain is coming.

And if my story seems to have an aqueous resonance to it, maybe I’m still waterlogged from the elemental deluge I encountered, but if Leigh’s work is anything to go by we are in for a treat like a good fresh bitter cappuccino, something to stir the senses and light up our conscience.

The Play runs at the Cottesloe Theatre until 31st January 2006.

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