Monday, 21 March 2016

Soft Machine - Bristol International Jazz Festival, The Lantern, Colston Hall, 20th March, 2016



Current Legacy

As part of the Bristol International Jazz Festival, Soft Machine [Legacy] played a stunning set last night at The Lantern, Colston Hall.

The current incarnation of the band – whose genealogy is expansive – is John Etheridge - guitar, John Marshall - drums, Roy Babbington - bass, and Theo Travis – saxophone, flute and synth. Marshall was ill so Nic France who has drummed with Nucleus filled the seat with aplomb.

From Wikipedia - click to read

I'm not a Soft Machine all-knower, which became quickly evident throughout the short set that did, however, embrace a broad range of SM’s oeuvre, so when former member Karl Jenkins was mentioned, I was surprised, not realising he had been an early-ish one. But that is all part of the glorious learning curve. Like many, I have Soft Machine Third [a vinyl copy too] which is a classic, but that is pretty much it, though I do have Soft Machine Legacy’s SML and Steam, the former playing now.

This ignorance means I do not recall the titles of most of the tracks played, so apologies to those who are in the know, but there was a lovely performance of Hugh Hopper’s Kings and Queens, with Travis playing sweet echoed flute; another Hopper song Facelift, as well as the band’s second number Bundles which ignited the venue. [This is an additional note: having now listened to the Soft Machine Legacy's Burden of Proof more carefully, I note the performance of Kings and Queens is from this album's cover version; and I recognise one other song played, the live pulsation of the pulsing Pump Room].

The Etheridge/Travis tandem riffs and runs were superb, and their individual soloings were always virtuoso contributions. There were two fine solo slots for Babbington and France, Babbington getting an intro from Etheridge that recalled, as exemplification for many of these, his once disgruntled departure from the band.

Babbington having returned to play his current part, this was jazz and fusion and rock at its finest.

Thursday, 17 March 2016

Peter Frampton - Acoustic Classics, album review



Properly Unplugged, and Brilliant

This is what ‘unplugged’ actually should be: completely acoustic and stripped to mainly guitar and vocal. The strummed chords are simply, perfectly done; the acoustic lead is crisp and controlled. There is some dobro, bass beneath the sublime guitar work on Do You Feel Like I Do, piano on beautiful closer I’m In You, and the only ‘effects' is the use of the talk box on Show Me the Way. Frampton’s vocal is tenderly high-pitched, not quite the vulnerability one might associate with getting older, but a confident naturalness. Former member of The Herd and Humble Pie, his solo album Frampton Comes Alive! sold over six million copies. Every song on this album is re-presented superbly, but there are no surprises that one glories in the renditions of Show Me The Way, Baby I Love Your Way and I’m In You. These aren’t like demos; these are History.

Wednesday, 16 March 2016

Heron Oblivion - Heron Oblivion, album review



Gorgeous Mania

Meg Baird of Espers provides the minimalist drumming for this 4-piece collective that hails from former acidfolkrock collectives, including Comets on Fire, and her 60s folk vocal is sublimely the major contribution she makes to these otherwise psychedelically guitar-ripped songs, wah wah and fuzz and volume scorching around her totally pure tones. 


Opener Beneath Fields actually tunes that wah wah to the honey of the singing, but next Oriar introduces the more consistent caustic guitar contrast. Rama is a 10 minute builder, slow and harmony-layered until the guitar raids. Seventeen Landscapes covers that myriad from the average trip, acoustic and electric ebbs and flows. I think it is gorgeously manic, like the ending to Your Hollows.