Sunday, 6 May 2018

African dreamworlds, driftwood harps and non-existent spaghetti western soundtracks - A round-up of some of the best world music you may not yet have discovered


Suku - Your Life Is Your Poem by Nils Kercher ... Driftwood Harp by Pippa Reid-Foster ... Innamorata by Andrea Terrano

German multi-instrumentalist Nils Kercher's second studio album is an international affair. His ensemble is made up of musicians from Mali, Finland, Martinique, Senegal and Australia. The result is an ambient soundscape infused with the music of West Africa but also betraying Kercher's classical orchestral background, (which predated his interest in drumming, the djembe and the kora.)

Accompanied by Oumar Barou Kouyaté on ngoni and guitar and Mariama Kouyaté, Kira Kaipainen and Sylvia Laubé on vocals, Kercher sings and plays kora and balafon, while violin, viola and cello add extra depth to the sound. This is particularly compelling on 'Tuuli Itkee', where the insistent pulse creates an effect almost like the music of Steve Reich.

Kercher studied kora with Djelemady Sissoko (brother of Ballaké Sissoko) and, if you like the fusion of kora and cello on Ballaké Sissoko and Vincent Segal's albums, you'll probably enjoy this. Kercher's music may lack the spontaneity of Sissoko and Segal or, for that matter, Ali Farka Touré and Toumani Diabaté's classic In the Heart of the Moon, but Suku - Your Life Is Your Poem offers a beautifully crafted dreamworld of shifting rhythms and many-layered voices and sounds.

Pippa Reid-Foster's debut CD is a set of original compositions and arrangements for the traditional Scottish harp (clarsach). The album has an uncluttered purity befitting the instrument, and is reminiscent of Alan Stivell's 1964 album Telenn Geltiek (Celtic Harp).

Pippa, a graduate of the Royal Conservatoire of Scotland, is based in the Argyll region on Scotland's west coast and Driftwood Harp draws upon the sights and sounds of the area, as well as on Celtic folklore. The rhythmically shifting opening track 'The Selkie' conjures up the mythical, half-seal, half-human creature while 'The Mermaid Song' is a delicate rendition of a traditional Gaelic song. Original tunes evoke scenes and landscapes. In 'Steam Boats on Crinan/The Herring Lassies of Argyll' Pippa shows that the harp can be both haunting and jaunty, and her virtuosity creates something akin to a rhythm guitar accompaniment for her complex melodic lines. 

There's plenty to please traditionalists here – such as the three jigs that make up 'Kilmartin Glen Campsite' – but I prefer the more ethereal quality of tracks like  'Elements 1' and the six minute finale, 'Deirdre in Dreams', which show Pippa's skill as a composer as well as a performer. 

The press release suggests Innamorata is 'a perfect companion for driving around the Ibizan hills.' Tunes like 'Heatwave' certainly evoke a sun-kissed, chilled-out Mediterranean mood. Italian guitarist Andrea Terrano's album is produced by Felix Buxton of Basement Jaxx. Fellow guitarist Rafa Marchante supports Andrea on a couple of tracks while elsewhere there are sympathetic touches of cello, violin and flute. 

'Sugar Rush', 'La Song Gaucho' and 'Autumn Symphony' (the latter driven along by Raul Terzi's drumming) offer a groovy kind of flamenco not unlike the flamenco jazz fusion of the likes of Eduardo Niebla.

The dramatic 'Our Story' is pure Ennio Morricone and the wittily-titled 'Braindrops' twists and turns pleasingly, while the closing track (or should I say end credits) 'Cinemotions' leaves us in no doubt that Andrea has ambitions to write film soundtracks and this could be another theme to a spaghetti western that never was.  Innamorata the title is Italian for 'lover' by the way – is a varied, uplifting collection of original tunes, played with verve and obvious enjoyment.


Friday, 30 March 2018

Sprains and strains and darkest hours


Keswick's Alhambra cinema
In my early twenties I visited the Alhambra – the fortified Moorish palace built between 1248 and 1354 near the Andalusian city of Granada. Of course, the grandeur and majesty of the place was impressive but my abiding memory of my visit was pain and exhaustion after climbing the hill in the heat with a swollen (or possibly sprained) ankle. I soaked a towel in a fountain to use as a cold compress for my foot as we rested up on the ancient ramparts.

Now I'm in my mid-fifties and, on a visit last month to the Lake District, I somehow managed to injure my knee at the start of a week's walking holiday. So, once again, I found myself nursing a sprain or strain of some sort at The Alhambra ...this time The Alhambra Cinema in Keswick, one of the few cinemas in the UK to have been in continuous operation for over 100 years, since it first opened in 1914.

We had gone to see The Darkest Hour (which has since deservedly won a couple of Oscars.) The film, in case it's passed you by, is about Winston Churchill, ineffectual government, the threat of invasion and the power of rhetoric. While the story is part-myth, part-fantasy, part-history, The Darkest Hour resonated with me because it feels we are once again living through dark times, contending with tyrannical forces threatening the world's tenuous hold on peace and freedom while our hapless politicians struggle to produce memorable soundbites, never mind speeches that might capture the mood of the nation.

Thomas Carlyle
Later, In the Oxfam bookshop in Keswick, I happen upon a Collins Illustrated Pocket Classic edition of Thomas Carlyle's 1841 book On Heroes, Hero Worship and the Heroic in History. Originally retailing for one shilling, I pick up my copy for a mere £2.99. I reference Carlyle – the Victorian philosopher and essayist – in my new book Creativity, Wellbeing and Mental Health Practice, in a chapter called Creative Approaches to Learning and Leadership. Carlyle is credited with creating the so-called Great Man Theory of leadership, of which Churchill is often cited as a classic example. If the idea that history provides great men to lead us in our darkest hours is a questionable one, it remains an attractive and compelling myth, from King Arthur's Camelot to The Darkest Hour. Yet, we all know it is the ordinary men and women, like the character of Churchill's secretary, Elizabeth Layton, and the passengers Churchill meets on the London Underground in The Darkest Hour, who help make peace and freedom possible.



Tuesday, 20 February 2018

Loopy, multi-layered guitar wizardry

Gordon Giltrap

Huntingdon Hall, Worcester
Saturday 13th January

People had been telling me for years that I should go and see Gordon Giltrap live. The publicity describes his show as one that "guarantees to enthral guitar aficionados, acoustic enthusiasts and music lovers in general" and there was no shortage of middle-aged men in the bar during the interval who could be overheard saying, "Yeah, well, I used to play a bit of guitar but, when I see Gordon, I think I may as well give up!"

We took our pews in Worcester's magnificent Huntingdon Hall – an 18th Century former Methodist church and surely the city's most atmospheric music venue. Sitting centre-stage surrounded by an array of guitars Giltrap worked his way through an impressive selection of tunes including the loopy, multi-layered 'The Dodo's Dream' and his homage to childhood seaside holidays 'On Camber Sands' with its rippling, dappled arpeggios. Complaining of temporary deafness in one ear due to a virus, he asked the audience to confirm that his favoured 'ping-pong' delay effect was working properly.

Some may think of Giltrap's music as slightly irrelevant, a remnant of the late 60s folk scene that wandered off the singer-songwriter route into the side-roads of 1970s instrumental prog-pop guitar wizardry. But he is a survivor and a reminder of that talented group of artists – and of that particular sound associated with the Transatlantic label, that included the likes of Bert Jansch, John Renbourn and Pentangle.

Not surprisingly, Giltrap saved 'Heartsong' (which made the top thirty in 1977) for the finale and encored with the dark, complex 'Lucifer's Cage', hopefully inspiring all those middle-aged lapsed guitarists to go home and dust off their instruments.


Friday, 29 December 2017

Ancient end-of-year traditions - Bonfires and Bongaloos



As the days grew shorter, darker and colder, we decided we would make one last trip away from home before settling down to Christmas and the New Year. Regular readers of this blog will know Rye in Sussex is a special destination for us and so, in November, we revisited the magical medieval town perched on a hill in time to witness its famous bonfire night.  Dating back several hundred years, ‘Rye Fawkes’ night predates the gunpowder plot and features not only the bonfire and fireworks associated with bonfire nights all over the UK but also burning boats, fire-breathing dragons and a spectacular procession of flaming torches through the town's streets. Its history is obscure but it seems to be less about Guy Fawkes & Co. and more about a curious mixture of disguise, revelry, smugglers, warding off the threat of invasion and ancient end-of-year traditions of banishing evil with flaming torches.

The 2014 edition of Rye Royal
The pageant of Rye bonfire provided the backdrop to Malcolm Saville's 1969 book Rye Royal. When the book was republished in 2014 (by Girls Gone By Publishers) I was privileged and delighted to be asked to write an introduction for the new edition. Of course, it is to the children's adventures of Saville that I owe my fascination with Rye and the surrounding area so it seemed appropriate that we should make the short journey from Rye to neighbouring Winchelsea, where Saville lived throughout the 1970s. He died in 1982 and his ashes are buried in the Garden of Remembrance at Winchelsea church (the Church of St Thomas.) We chatted with a local resident at the gates of the churchyard who said he knew Saville had lived in the town but didn't realise his ashes were buried there. He did, however, point out the grave of another famous former resident of Rye – Spike Milligan.  The already rather worn tombstone of Milligan (who died in 2002) famously bears the Irish epitaph "Dúirt mé leat go raibh mé breoite" ("I told you I was ill") – a last joke by the comedian.

I can remember a day, when I was at primary school, when the teacher read us some poetry by Spike Milligan.  I was completely captivated by lines such as:
"On the Ning Nang Nong
Where the Cows go Bong!
and the monkeys all say BOO!
There's a Nong Nang Ning
Where the trees go Ping!
And the teapots jibber jabber joo."

I raved about these poems to my sister Jan (who happened to work at Wildings bookshop in Shrewsbury) and she came home with a gift for me:  a yellow paperback copy of Milligan's Silly Verse for Kids. I read and memorised some of the poems, like Bongaloo:
"How strange is a Bongaloo, Daddy?"
"As strange as strange," I replied.
"When the sun's in the West
It appears in a vest
Sailing out with the noonday tide."

It may have been nonsense but it was poetry. Just as Saville's novels would later make me yearn for adventure, travel and loyal friendships (not to mention fostering a love of books and a desire to be an author) so Milligan's verse (with its wit, perfect rhythm, alliteration and assonance) was surely an excellent foundation for an aspiring songwriter with an appreciation of the surreal and the absurd.  Strange, then, that these two writers, so influential to me, should both be laid to rest in the grounds of the same church in Winchelsea.

Part of the charm of the sister towns of Rye and Winchelsea is that they are both a little lost in time. Some things have changed, though, since our last visit. The windmill where we stayed has new owners and, in Lion Street, buildings that were once a Victorian schoolhouse (and later a library) now house a wonderful state-of-the-art cinema – the Kino Rye. It's surely a hopeful sign that places can celebrate their long history and ancient traditions and still develop beautiful new venues for arts and entertainment.  I'd like to think both Saville and Milligan would approve.

Saville, in his Portrait of Rye, wrote:
"It is difficult to assess the magnetism of this historic little town. I have come to believe that in this unhappy age of standardization and mediocrity, Rye stands alone, sufficient to itself. It is not indifferent to the outside world but history has left its mark."

Milligan, in his book Puckoon, wrote:
“Life wasn't too bad. The trouble with Man was, even while he was having a good time, he didn't appreciate it. Why, thought Milligan, this very moment might be the happiest in me life. The very thought of it made him miserable.”
Happy New Year!

Friday, 27 October 2017

The Thief of DADGAD - Pierre Bensusan


Live at St Mary's Church, Alveley 

Saturday 14 October, 2017


It could have been a scene from days gone by ... more than a hundred people making their way to the village church on a dark, autumnal Saturday evening. But, this well-attended gathering was not for a religious service but for a concert. That's not to say it wasn't a spiritually-uplifting evening as the mellifluous music of the virtuoso French-Algerian guitarist Pierre Bensusan filled the beautiful 12th century building. That the internationally-renowned musician should make the former coal-mining village of Alveley in Shropshire the venue for one of only five dates on his 2017 UK tour is something of a surprise. I'm told one of the villagers is a Bensusan fan and persuaded the organisers of Music at St Mary's to contact the guitarist's management.

Bensusan's playing and ethereal vocalising benefited from the church's wonderful acoustics plus some judicious effects, controlled by a laptop (which he operated himself from the stage area.)  In between numbers, he would adjust the effects, joking at one point, "I'm sorry about this – I'm expecting an important email."

Highlights of the performance included the delicate Four A.M. (from the 1987 Spices album), L'Alchimiste and Intuite. From the 2010 studio album Vividly, Bensusan played Pas Sage and Dadgad Café, explaining that he always plays in the DADGAD guitar tuning because he is self-taught and no one told him the standard way to tune a guitar!  Le Voyage pour L'Irlande was introduced with a quip that it's not so difficult to translate the French titles into English. He also had a funny anecdote about an occasion when he took part in a pub session in Ireland.

For one man to keep an audience entertained with just an acoustic guitar (in one tuning) for a couple of hours on a Saturday night takes remarkable skill and talent. Thankfully the transcendent, adventurous thief of DADGAD has what it takes.

Friday, 1 September 2017

Mounting the air at Shrewsbury Folk Festival

Shrewsbury Folk Festival 2017 -Sunday 27 August 2017


It's two years since we were last at the Shrewsbury Folk Festival, back in September 2015, when Catrin Finch and Seckou Keita performed on a typical rain-drenched English Bank Holiday weekend. This year we were blessed with a warm and dry day, though the atmosphere was perhaps a little subdued, the festival mourning the loss of founder and co-director Alan Surtees, who established the event twenty years ago and sadly died in June.

We came for the Sunday only, mainly to see our old favourites The Unthanks and Seth Lakeman. Before this, though, we witnessed an unexpected highlight in the Pengwern Marquee in the form of the fantastic - but alas ephemeral - National Youth Folk Ensemble. This group of teenagers had spent just four weeks learning a dazzling set of tunes which they played with great confidence, skill and obvious enjoyment.

After an early evening lull in the music we gathered in the Bellstone Marquee where The Unthanks performed, as the end-of-summer sunset seeped through the entrances and exits. With songs like 'Magpie', 'Mount the Air' and 'What Can a Song Do to You?' – and augmented by trumpet, string quartet, drums and bass – they delighted and thrilled as always. 

Loudon Wainwright III is an acquired taste (and one I'm afraid I still haven't acquired), but he offered up his trademark mixture of irreverent, cynical songs and anecdotes on guitar, piano and ukulele, ending his set with 'The Swimming Song'.  


Finally, for us, Seth Lakeman gave a breathless and blistering show, the lights perfectly synchronised with his mesmerising fiddle playing, while his amazingly talented band managed to keep pace, looking like a bunch of delighted kids on a musical roller-coaster ride. Folk music can sometimes be surprisingly loud, surprisingly fast and very exciting indeed. 

Wednesday, 23 August 2017

Meteors, eclipses and a sense of perspective from the night skies

Things astronomical have dominated the news recently. Earlier this month there was the spectacle of the Perseid meteor shower, sometimes referred to poetically as the 'tears of Saint Lawrence'. And then the US witnessed the 'Great American Eclipse' – a total solar eclipse visible across the entire United States, from the Pacific to the Atlantic. So it seemed appropriate that I should be reading a thought-provoking book by Adam Ford called 'Galileo and the art of ageing mindfully'. Subtitled 'Wisdom from the night skies', this little volume is one of a series of slim hardbacks produced by Leaping Hare Press which deal, in a very entertaining and often rather tangential way, with mindfulness. (Other titles available include 'Einstein and the Art of Mindful Cycling' and 'The Art of Mindful Baking'.)

Adam Ford (who has written a number of the books in the Leaping Hare series, is an ordained Anglican priest, but there are more references to Buddhism than to Christianity in this philosophical reflection on what we can learn from astronomy. In a chapter called 'Time Tunnels and Eternity', Ford explains the speed of light and what it means to us. He points out how, if we look up at Orion in December we see Sirius (the brightest star in our sky):
"Like the sound of the woodcutter's axe delayed when seen from the far side of a field, the light of Sirius is somehow delayed by its speed, so we do not see it as it is now but as it was eight and a half years ago. What we see in our present moment is something happening eight and half years ago in our past. What were we doing then?"

Ford goes on to consider that, because of the time taken for light to travel, using light years as a measure of distance, when we look at Betelgeuse for example (450 light years away) "we see it now as it was in the past, in the first Elizabethan era." While the three stars of Orion's belt "are seen even further back in history, for they shine to us from hundreds of years ago before the days of William the Conqueror."


I, with little knowledge of astronomy and still less of Galileo, had never contemplated how, because of the speed of light, when we look at the stars we are looking into the past – a kind of everyday, interstellar time-travel that might help us maintain a healthy sense of perspective when we reflect on our place and time in the world.

About me

My photo
Tony Gillam is Senior Lecturer in Mental Health Nursing at the University of Wolverhampton, a freelance writer, trainer and musician. He is the author of 'Reflections on Community Psychiatric Nursing' (2002) and 'Creativity, Wellbeing and Mental Health Practice' (2018).