Kodo - One Earth Tour

Hall One, The Sage Gateshead, 15th October

Elevated on a platform bordered with glowing lanterns, the heavily-varnished o-daiko gleamed centre-stage. Magnificent in both size and design, its mere presence commanded respect from the eager audience that filled Hall One in The Sage Gateshead. Around it lay an array of Japanese drums in all shapes and sizes. The lights dimmed and a spot shone on the front nagado-daiko that rested on the floor. Its player entered, took position and, with the softest tap that managed to fill the whole room, began an evening of music like no other.

Founded in 1981, Kodo are based on the 'floating treasure chest' of traditional Japanese culture, Sado Island. The birthplace of Noh theatre and now also home to three varieties of puppet theatre, the island has for centuries been a centre for the arts in the Land of the Rising Sun. Today, its history and natural beauty provide fitting inspiration for Kodo to create rhythms of the most primal type – rhythms belonging to an ancient art that was almost lost forever during the Second World War but, thanks to the tireless work of veterans of the group, is now very much alive.

On stage, the large drum was being beaten faster and stronger. A scream of effort took its player to his knees and, after beating harder than seemed physically possible, another agonising scream brought him back to his feet. His body tense and his head shuddering to the rhythms, he somehow found the stamina to drum through two or three more distinct phrases before a final strike gave rise to a rapturous opening applause.

Lighter, more fun pieces followed. There were smiles all round when, led by the young Yoshie Sunahata, individuals of Kodo had the chance to show off their skills as they each took turns to entertain the audience and themselves with short solo impromptus. Later, a comic piece that demonstrated all the nuances and colours hand cymbals have to offer caused plenty of laughs from both those on- and off-stage. There was a growing sense, however, that many of us were waiting to hear just one thing – the grand o-daiko mounted on the platform.

But that would have to wait as entering the stage was a lady. Tied with a white knot, her beautiful red kimono was embroidered with two small butterflies just visible from these front rows and her black hair was tied up, decorated with a crimson flower. In white slippers, she shuffled towards a small mounted nagado-daiko and, with two delicate taps, began a plaintive duet with a male member of the ensemble drumming in a corner of the stage. Their music captivating and the lady's graceful movements bewitching, the pair told a melancholic tale of unfulfilled passion between two young lovers, separated by distance but united by the spirit of the drum.

It is believed that the sounds of the daiko resemble the very first rhythm experienced by us all – that of a mother's heartbeat in the womb. Indeed, its thunderous vibrations are often used to help lull a baby to sleep. “Heartbeat” is in fact one of two meanings of “Kodo”. The second, read in a different way, is “Children of the Drum”, a reflection of Kodo's desire to play their drums simply, with the heart of a child.

There was nothing simple, however, about one piece. Composed especially for Kodo in 1976 by the late Maki Ishii, 'Monochrome' was as thrilling to listen to as it was complex to play. Incorporating mainly small shime-daiko, it was possible to hear everything from the gentle sound of rain drops to a swarm of locusts drummed out at an unbearable volume. At such points, time would seemingly stand still before crashing back down to earth again with the mighty boom of a gong. With such sophisticated techniques used throughout the 22-minute composition and such masterly playing to match, this was a definite highlight of the evening.

Then, finally, the moment had arrived. The platform was wheeled to the front of the stage and, as a heralding song came to its close, the loin cloth-clad leader of Kodo, Yoshikazu Fujimoto, and his apprentice climbed on board. For a moment, silence filled the hall. Then the first tap to the black and white painted skin took its place, resonating in all directions, then the second, the third and fourth, quicker and quicker until a steady rhythm was maintained. Bouncing on his feet like a boxer in the ring, Fujimoto was putting his whole muscle-laden body behind each strike, attacking the o-daiko with his beaters like a wild beast. A change of rhythm, more variation this time, his painful gasping for air clearly audible whenever he had the chance. And as if the sight of his drumming and the sweat pouring down his bare neck and back hadn't transfixed every pair of eyes in the room, there was another visual element to the event: a giant shadow of Fujimoto's caused by the platform lanterns was flickering on the ceiling, evocative of spirits or silhouettes dancing in a cave. A mighty climactic beat lead to a deafening cheer before a final flurry of percussion by the entire cast brought about the end of the show.

A powerful performance, primal and earthly in many ways, Kodo's 'One Earth' was both of a forgotten age and timeless. Executed with true Japanese precision and incredible energy, we were all privileged to be a part of this concert given by the very best in their field.

Hedd Thomas

Rokia Traoré and Sweet Billy Pilgrim @ The Sage

Previewed by Hedd Thomas

Concert date: Sunday 2nd May
Venue: Hall One, The Sage Gateshead
Tickets: £19.50


Rokia Traoré has come a long way and changed directions many times in her colourful career. Born into a long history of Malian musicians, the singer-songwriter and multi-instrumentalist has consistently delighted the public and critics alike for her rich and varying styles.

Releasing her first album Mouneïssa in 1997, it was musically traditional featuring such instruments as the ngoni and balafon. Three years later her album Wanita, entirely self-written, gained her worldwide attention before her 2003 album Bowmboï, featuring two tracks recorded with the Kronos Quartet, earned her the prestigious Critics Award in the BBC Radio 3 Awards for World Music 2004 as well as a spot on stage at WOMAD and a tour of North America. Her latest album Tchamantché, with which Traoré was awarded Winner of the Best Artist category in the inaugural Songlines Music Awards in 2009, features infectious afrobeat rhythms mixed with fresh guitar and vocal melodies.

Indeed, the pleasure she takes (and gives) from melding sounds from different regions and genres has given Traoré the title of Ethnomusicologist's Nightmare. As Ian Anderson wrote in fRoots, Traoré's music “is living proof of how, in the hands of an individual with real sensitivity, vision and naked talent, the result can be far greater than the sum of its parts.”

In this concert Traoré will continue this exploration of sounds by combining forces with Sweet Billy Pilgrim. Often compared to England's Radiohead and Icelandic post-rock group Sigur Rós, Sweet Billy Pilgrim comprises singer-songwriter Tim Elsenburg, bassist and bajo player Anthony Bishop and drummer Alistair Hamer. Nominated for the Mercury Music Prise in 2009, their latest album Twice Born Men has received critical acclaim on the English rock scene.

This concert is set up to be a fascinating encounter between a Malian star and an upcoming English rock group. Whether or not the combination will be a success is yet to be seen. But if there's one musician who has the talent to tackle the challenge it is Rokia Traoré.

Tango Siempre with special guests Victor Villena and Guillermo Rozenthuler

Previewed by Hedd Thomas

Concert date: Friday 7th May
Venue: Hall Two, The Sage Gateshead
Tickets: £10 - £14.50


Possibly the UK's leading Tango company, Tango Siempre will be presenting their final “Malandras del Tango” show in the Sage Gateshead this Friday evening. Featuring Gotan Project's virtuoso Bandoneon player Victor Villena as well as highly-rated vocalist Guillermo Rozenthuler as special guests, the Guardian writes that Tango Siempre combine “Passion, drama, melancholy beauty and sentimentality.” Just what you want on a Friday night!

Formed in 1998, Tango Siempre began primarily by covering Piazzolla classics. But while the septet are still undeniably influenced by that great composer they have, with their two most recent albums 'Only Human' and 'Tangents', created an identifiable sound of their own – a largely meditative, meandering one with moments of adventure and originality.

Guest staring will be vocalist Guillermo Rozenthuler. Born in Argentina, he moved to London, where he immersed himself in the melting pot of European, African and Asian influences that define the musical landscape of the city. Since then he has become a significant voice on the UK tango scene, working regularly with such bands as La Portatil, Mala Pinda and Los Mareados.

The show is likely to be stolen, however, by the evening's other special guest. Since winning first prize at Argentina's Cosquín Festival 1997, widely regarded as the most important folk festival in all Latin America, Victor Vellena has toured the world, wowing audiences with his bandoneon playing of the highest calibre. A previous member of multi-award-winning Gotan Project, this evening will provide a rare opportunity to listen to a true master in action.

Hannabiell & Midnight Blue @ The Basement, Newcastle Student Union, Newcastle upon Tyne

Afrobeat/Jazz fusion

19th February 2009

Reviewed by Hedd Thomas

Within weeks of the devastating earthquake striking Haiti there were various fundraising gigs. Some were rehearsed and well-organised, others less so. But if there was event that was sure to find the right balance of reflection and support for the relief effort with enjoyable, danceable music, this was it.

The evening started with a true West African flair courtesy of drumming by Tony Spencer and others, followed by a brief talk with musical examples from Haiti given by ethnomusicologist Nanette de Jong. Then came some more popular music with James Bligh performing on solo guitar, followed by an energetic set by The Din before a political flavour was injected into the evening's mix by the up-and-coming rapper and guitarist Greg Genre.

It was the main act, though, that everyone had come to see. Formed in 2003, Hannabiell & Midnight Blue have come a long way from their experimental beginnings in New Jersey, USA, growing into an ensemble capable of fusing different genres and cultures into one unique, uplifting style of music.

Nate Shaw on piano, John Pope on bass and George Magrath on drums all performed well, managing to successfully weaving their way through the different styles of playing and techniques the music demanded. Thuli Mazwi's voice added serenity to the combination, illustrated best in 'Ndlovukazi', sung in Zimbabwe's Ndebele language, while Yilis Suriel provided powerful, polished percussion. But it was Hannabiell Sauders who excelled. As well as singing and playing percussion, bass trombone and mbira, she masterfully led the group, keeping the rhythms tight and the music both hip and soulful.

A definite highlight of their set was 'With Us', a beautifully calming call-and-response for voices and mbiras. The lyrics included the repeated phrase “Peace be with us now,” serving as a poignant reminder as to why we were all there and where our entrance fee was headed. Another highlight was 'Tyler's Line', which gave the small but appreciative crowd the chance to hear not only each one on stage shine but also the bass trombone at its fullest and funkiest, bringing to a fitting end their impressive performance.

Rating: 4/5

Raga – Soul of Indian Music @ Neville Hall, Newcastle upon Tyne

Hindustani Classical Music

20th February 2009

Reviewed by Hedd Thomas

After a year in the making, the stage was set. With carpets laid ready to welcome the musicians in the mahogany-walled Neville Hall, the small but eager audience would have been forgiven for thinking they'd stepped back in time to when the world was bigger and India conjured images of mysticism.

Coming all the way from Germany for the performance was Ashraf Sharif Khan. Trained in the uniquely expressive Poonch Gharana tradition established by his grandfather, he has been giving concert performances on the sitar since the age of 10. Khan was joined by Dr Vijay Rajput, the acclaimed Hindustani vocalist and Guruji, as well as Shahbaz Hussain, hailed as “one of the most promising young artists of Tabla in the UK,” both based in Newcastle upon Tyne. Finally, the honour of playing tanpura was given to Newcastle University's David Clarke, a professor whose principal research area is the life and works of Michael Tippet but who has been a student of Hindustani classical music for over 20 years.

Starting the evening's programme was Raga Yaman, a meditative, romantic evening raga about enjoying the moment. With eyes shut and broad smiles by Khan and Rajput they each toyed with their melismas as the gentle free rhythms picked up pace. There were calls of “bravo” as Hussein entered with an array of rhythms on tabla, showing off the talent he has become known for. As the raga progressed further the interaction between the three masters intensified. Sudden vigour would come from the tablas, allowing the raga to flourish, before Khan's confident fingers darted up and down the neck of his sitar in bold scales. The audience was loving it and showed it with their first mid-performance applause soon followed by another and another. Rajput looked by now like a man possessed, eyes wide open and hands mimicking the contour of his powerful melismas, while Hussein's furious hands were unbelievably clear and precise up until the climactic end. It was obvious they knew on stage it had gone well, while audible remarks of “amazing” and “I've never seen anything like that before” came from all around the room.

The second half began with a solo raga for the sitar. With gentle tones that Khan let fade to nothingness, this most famous of Indian instruments sounded like it was wailing in this sorrowful, romantic piece. The later techniques used to play a high riff and melody simultaneously were breathtaking both to watch and hear, giving Rajput a hard act to follow. That he did, however, with his Spring Raga. Using his powerful voice, this accomplished singer expertly managed the intricate phrases and subtle microtones while also managing to get the story of the song across in its original ancient language.

They all ended with a melodious raga with lots of interplay between the instruments. Rajput maintained a clear timbre throughout his impressive range, Hussein's firm rhythms provided a great sense of direction and Khan lived up to his reputation as one of the most expressive sitarists around. The result was a standing ovation with cheers and smiles all round. In parts simple and sensual while in others fast-paced and virtuosic, this was an concert of intimate music in intimate surroundings. And while its complexity might have been beyond some in the audience its immersive ability was undeniable, providing for what was truly a magical evening.

Rating: 5/5

Music of the Ashigs from Azerbaijan at The Sage

Reviewed by Hedd Thomas

“Oh, how very ethnic,” reacted a gentleman when I told him of this concert I'd be attending. If by “ethnic” he was referring to the 14th Century origins of the music and poetry then he was right; if, however, he was expecting something simple in both its music and its following then eyeing the smart suits and ties of the performers even before hearing their enticing sounds would confirm that this is a high art form indeed.

The evening was the result of a partnership between the Pakistan Cultural Society based here in Newcastle and the Asian Music Circuit, London. They aimed to showcase two musical traditions of Azerbaijan. The first was the art of the ashig, literally “falling in love” - bardic musicians who sing everything from epic songs and sagas to serenades and ballads. They accompany themselves on the eight- or ten-stringed plucked saz. The second was the mugham, the indigenous modal classical music of Azerbaijan. Characterised by a large degree of improvisation, mughams feature a singer accompanied by two instrumentalists playing tar (long-necked lute) and kamancha (spike-fiddle). Seven musicians were due to perform, many with international reputations.

There is something very satisfying about watching a performer make seemingly impossible music look easy. The fingers of Azer Maharramov danced from one saz fret to another with ease, showing off his instrument's capabilities while contentedly smiling to himself throughout; Ramin Qarayev's huge melismas flowed out with no trouble at all. The bright, cheerful songs of Qalandar Zeynalov proved why he's one of the most popular ashigs in Azerbaijan; and while Aytekin Akbarova's saz skills weren't quite as equal as her male counterparts her main talent as an author and performer of poems shone, portraying the story with much conviction. Some, like Akbarova, sung outwardly to the audience, about half of which were members of the local Arezi-Turkish-Iranian community, while Zeyalov was singing up close to his saz and others like Maharramov sung with his eyes closed, lost in his own world. If it weren't for the disappointing lay out in the Northern Rock Foundation Hall and the cold lighting this could have been a very intimate first half indeed.

Elshan Mansurov started the second half with a kamancha solo. A recent graduate from one of Azerbaijan's conservatoires, his inexperience showed at times by the look of concentration focused on his fingers. What he lacked in expression, however, was more than made up for in his great tone and phrasing. The following song, translated as “Blonde Bride,” is a favourite amongst Azeris and gave the soloist Gochaq Askarov the perfect opportunity to demonstrates his strong but unforced high-pitched voice with an incredibly melancholic melody. The wailing melismas in the second mugham presented him with equally good chances to prove his skill. It was the very experienced tar player Malik Mansurov, however, that was the highlight of the half. A teacher at Azerbaijan's top conservatoires, he is a virtuoso when it comes to technique, playing with lots of dynamic variation, darting fingers and great attention to detail; he played with such feeling that he succeeded in telling the story more effectively then even the singer himself.

“It's great music and it's really good to hear my mother tongue,” said one Azeri member of the audience who grew up in Iran and now lives in Newcastle, “I only get to hear Azeri these days when I'm on the phone to my mum!” This summed up the evening. It was great music for those familiar with it and fascinating for those less so; and although every performer was a good musician in their own right it was their love for the music and the passion with which they delivered it that made the concert so worthwhile.

4/5

For more information about the Pakistan Cultural Society and to check out their future concerts, go to: www.pakistanculturalsociety.co.uk

For more information about the Asian Music Circuit and to check out their future concerts, go to: www.amc.org.uk

Simon Thacker and the Nava Rasa Ensemble – Inner Octaves @ Hall Two, The Sage Gateshead

Indian-Western Classical Fusion

3.11.09

Reviewed by Hedd Thomas

As a showcase of how Indian and Western music can influence each other, this night was a resounding success. It also, however, showed that when musicians from different backgrounds and disciplines come together their respective styles of performing can be somewhat conflicting.

Led by the acclaimed Scottish guitarist Simon Thacker, the Nava Rasa Ensemble is an exciting new international group consisting of Carnatic violinist Jyotsna Srikanth, tabla master Sarvar Sabri, Brazilian bassist Mario Caribé, multi-percussionist Iain Sandilands and The Edinburgh Quartet. The concert would be a test of the musicians' ability to sound and look good whilst 'fusing' their approaches as the genre demands.

They succeeded in the first part of the challenge: the sound they created was very good. There was a beautiful tone coming from The Edinburgh Quartet's principal violinist, Tristan Gurney, in the first piece of the concert, a duet for violin and guitar by the farther of minimalism Terry Riley. The quality of Srikanth's and Sabri's playing in their following raga was “captivating and virtuosic,” as one member of the audience put it. When playing together they managed to create an array of moods to suit the music, from dark and eerie drones to bright and playful melodies, sounding, for the most part, as one unit. The Edinburgh Quartet managed the complicated rhythms well, ones which would be alien to their usual classical repertoire.

With regards to looking good, however, the Nava Rasa leave much to be desired. With most buried in their copies there seemed to be little interaction between any of the performers. Even when there was comic play in the music there was little of it on stage. Srikanth's encouraging smile implied she was the only musician enjoying herself. This was sadly reflected in the audience whose responses were apprehensive: there were no wild claps after virtuosic solo sections, there was no call for an encore.

But Inner Octaves is about how composers, rather than performers, approach their own music. Two brand new commissions were performed, the first by the British composer Nigel Osborne titled The Birth of Nacitekas for guitar concertante. Based on an ancient Indian myth that demonstrates the 10 basic skills for life, it is an impressive display of instrumentation and phrasing. With harmonics on cello and Tirlok Gurtu-esque percussion, the gradual build from a haunting, dormant rest to a lively awakening made the first half of this concerto a definite highlight of the night. The other highlight was the second movement of Shirish Korde's NADA-ANANDA (the joy of sound), which brought the ensemble together in an upbeat mood but which allowed space for the qualities of the different musicians to shine through.

Inner Octave's aim was to explore the confluences between Indian and Western music. This they did well while also inadvertently exposing the areas where they do not meet, which left the listener with the lasting impression that a studio recording would have been more rewarding than a concert. Yet the young Nava Rasa Ensemble have made their own unique sound and with experience on the world music circuit they will surely become an established crowd-pleaser.

Rating: 3/5

Simon Thacker and the Nava Rasa Ensemble will be concluding their tour this week with appearances in Aberdeen, Edinburgh and London. For tour details, see http://www.simonthacker.com/navarasa7.htm

Simon Thacker and the Nava Rasa Ensemble – Inner Octaves

Simon Thacker and the Nava Rasa Ensemble – Inner Octaves
Indian-Western Classical Fusion

Previewed by Hedd Thomas

Concert date: Tuesday 3rd November
Venue: Hall Two, The Sage Gateshead
Tickets: Student price £7.50, Full price £15


Acclaimed Scottish guitarist Simon Thacker leads an exciting new ensemble to explore the meeting of Asian and Western cultures in Inner Octaves at The Sage Gateshead this Tuesday. With two specially commissioned concerti by India's Shirish Korde and Edinburgh based Nigel Osborne as well as music by the minimalist composer Terry Riley, the programme promises to be both powerful and innovative.

Accomplished Carnatic (south Indian) violinist Jyotsna Srikanth and tabla master Sarvar Sabri are but two of the musicians that make up the Nava Rasa Ensemble which, together with Simon Thacker, includes Brazilian bassist Mario Caribé, multi-percussionist Iain Sandilands and The Edinburgh Quartet who's principal violinist, Tristan Gurney, may be familiar to some as he is also Head of Strings at Newcastle University.

Influenced by his Jazz, Indian and Western classical training, Shirish Korde also takes inspiration from other world music and computer technology. He has “created a poweful and communicative compositional language” (Computer Music Journal). Nigel Osborne has embraced music from non Western traditions, particularly Indian, and has made a name for himself as being able to effortlessly assimilate incorporate their tones and rhythms into large scale works, having recently collaborated with sarod player Wakahat Khan for Scottish Opera. He has pioneered the use of music in therapy and rehabilitation for children who are victims of conflict, particularly in the Balkans and Middle East.

This should be an entrancing concert with exciting new music performed by an international ensemble of some of the finest musicians in their field.