The biggest musical event of the North Eastern calendar Evolution festival which straddles the Tyne is now more expensive and more full of pre-pubescent drunkards than ever before due its strategic occurrence right in the middle of university exams...still don’t let that put you off, the line up was varied to say the least with fantastic dance heavy acts dominating the Blatic stage on the Sunday and chilled folk on Monday up at the Ballast hill stage. In case you were forced into confinement due to exam guilt or couldn’t face the possibility of having to listen to Tynchy Strider, here’s what you missed:
How to sum up the initial atmosphere of Evolution 2010....well, the ticket queues were a mile long, full of underdressed underage girls/overdressed orange women with stilettos (yes at a festival) and hyped up boys determined to smoke as much as possible to convince everyone around them they were actually old enough to do so. By 4pm the younger festival goers were mainly covered in the own vomit, passed out on the way back to the Baltic stage, or whirling around in mosh pits, formed regardless of the musical genre of the performers.
But enough moaning, Beardyman was his usual ingenious and charismatic self, mixing and beatboxing tracks completely new tracks live with irreverent comments on the Newcastle sun thrown in for good measure. Filthy Dukes provided a decent DJ set with remixes and old favourites, though certain tracks did seem to crop up all too often across the artists who played the Baltic stage...Scratch Perverts provided a refreshing change of tone with their dub style remixes and Doorly’s set was dancey and fun, but it was Fake Blood that most people were waiting for. Despite the man himself (Theo Keating) being typically elusive and refusing to give NSR a mini interview/vox pop as he just doesn’t do interviews, photos and all that jazz he played a crowd pleasing set of heavy electro/house, getting everyone bopping up and down in frenzy as really how many people can actually dance properly to house? Stand out track was “I Think I Like It” though sadly Theo ignored requests for the incredible “Mars”. All in all an energetic day.
Monday: Ahh the Ballast Hill stage, an oasis of calm, circus skills, ice cream and actual grass. This is where I spent most of my day to watch the folky acts perform inside their red and yellow tent. Arrived part way through talented Illinois singer Lissie’s set, I’d never heard her stuff before but her powerful husky voice successfully carried her band’s mix of slightly country infused rock, acoustic balladry and soul. If the small crowd of newly converted fans clustering around the backstage fence are anything to go by good things are going to happen for Lissie this year- like supporting the incredible Local Natives on their current tour.
I was slightly worried at the severe lack of people in the tent before Slow Club’s set and their ridiculously early time slot- they really should’ve been headlining the day. The lovable Sheffield duo blustered on to the stage to a suddenly bustling tent, and their first song collapsed into giggles as drum fell over and beer was spilt much to the consternation of Rebecca, apparently poor old artists performing at Evolution are only entitled to one free pint! They pulled it all together though and delivered a heart warming, beautiful performance, showcasing many new tracks from the upcoming (and yet to be recorded) second album, all with characteristically poignant lyrics though often with a darker underside and more driving percussion. Rebecca asked for requests then rejected the ones she deemed naff before making every male audience member’s heart leap when she professed that if she thought the Geordie accent the best for a boyfriend! Old favourites like “Because We’re Dead”, “It Doesn’t Have To Be Beautiful” and “Giving Up On Love” were rapturously received and the haunting “Wild Blue Milk” was an apt set closer.
Caught some of local band Brilliant Mind’s enthusiastic set at the Unsigned stage, enjoyable indie pop at its best, a blast of noise from Dananananaykroyd’s final song at Spiller’s stage then back up to Ballast Hill for Danny and the Champions of the World. The folky troupe completely filled the stage with a total of eight members toting anything from a bango to a fiddle to a harmonica. The songs were lovely laid back old fashioned country/folk but got gradually more repetitious as their set went on, my musician friend with me at the time declared that they needed “better arrangement”. Briefly saw De La Soul for a bit of old school hip hop, though apparently their set was a tad disappointing including none of their most famous tracks. Then it was gothy London outfit The Horrors turn to impress, something they failed miserably to do. The band assembled themselves in their twiggy-legged way, but what was that I could see? Colour?? Oh yes one of the Horrors had decided to break the mould of conformity and was brazenly sporting a patterned shirt! They started up a murky dirge of looped chords as the crowd eagerly anticipated Faris’s arrival. Ten minutes later, the music was still the same boring fuzz and when the frontman finally decided to make his not so fashionably late entrance he couldn’t even sing! His voice was cracked and could barely be heard over the guitars, which some wise sound engineer when hearing his wrecked vocals had turned up. What can I say? Yes the second album is pretty good but CD rather than live listening is advisable.
Oh dear, another let down was the rather tragic self-important performance of Donovan, allegedly a great singer from the 60s/70s, though judging by the quality of his twee poppy songs it was hard to see why. He enlightened his audience with gems of name dropping crap (“The Beach Boys, Beatles, oh yes I knew all of them”), constantly trying to enhance his own prestige but failing to back it up with any credibility. *disclaimer- this seems to be an entirely subjective opinion as he had a large audience of attentive fans old and young, I just discovered I really wasn’t one of them!*
Evolution headliners Delphic just couldn’t compete with the noise restrictions hampering the Baltic stage and gave a bit of a lack lustre set, but the festival was an entertaining mix of artists, styles and events, at times very very good and at others very very bad.
3.5/5
Tuesday, 15 June 2010
Thursday, 6 May 2010
Mystery Jets – Chevrolet Spark Unscheduled Tour @ Dean Street car park
29th May 2010
Reviewed by Rob Sellars
Ok, consider this: you have Mystery Jets, finally making their return to the world after a short break following their second studio album, Twenty One. Then you have a multi-storey car park located in the heart of Newcastle upon Tyne. And finally you have a load of Chevrolet’s turned on their sides in all sorts of abstract angles. This is indeed the Chevrolet Spark Unscheduled Tour, completely free and featuring the marvellous return of Mystery Jets. The idea behind the tour is to host a series of pop-up gigs around the country, where each week residents of selected cities are given the chance to vote for their city to be the next on the tour. They then get to decide where in their fair city the gig will take place, with the only pre-requisite being that it has to be out of the norm. And it is under that condition that tonight we have all landed on the top deck of Dean Street Car Park. With a small stage at one end, and the new Chevrolet Spark’s the only vehicles in sight, it almost seems regular that gigs should be taking place in car parks these days. The much appreciated free Red Stripe does its bit towards this as well of course.
A small and intimate crowd welcome out the band, who return this July with their third studio album, Serotonin, two years after Twenty-One. With single Flash A Hungry Smile being released to test the water, reactions are positive and tonight’s expectations are high. Safe to say they far from disappoint. Speaking to the band earlier in the day, guitarist William declared that their new tunes are more quintessentially Mystery Jets, suggesting that with this album they have captured their own unique sound more than ever before. And with a healthy smattering of new songs in their set, it is easy to see what they mean, as they build on the 80’s electro sound of their second album, to create something altogether more polished and epic, inherently British, but with a massive dose of Americana infusing their sound.
The set is a crowd pleasing balance between past hits, including ‘Two Doors Down’ and ‘Young Love’, fan favourites, including a staggering rendition of ‘Behind the Bunhouse’, and samples from the new album, which suggest perhaps their third release will be the one to finally propel them to the success they so evidently deserve. Gigs such as this offer the music fan a chance to experience their live music a little differently, and tonight, thanks to Mystery Jets and Chevrolet, other bands and venues alike maybe have a little catching up to do.
Reviewed by Rob Sellars
Ok, consider this: you have Mystery Jets, finally making their return to the world after a short break following their second studio album, Twenty One. Then you have a multi-storey car park located in the heart of Newcastle upon Tyne. And finally you have a load of Chevrolet’s turned on their sides in all sorts of abstract angles. This is indeed the Chevrolet Spark Unscheduled Tour, completely free and featuring the marvellous return of Mystery Jets. The idea behind the tour is to host a series of pop-up gigs around the country, where each week residents of selected cities are given the chance to vote for their city to be the next on the tour. They then get to decide where in their fair city the gig will take place, with the only pre-requisite being that it has to be out of the norm. And it is under that condition that tonight we have all landed on the top deck of Dean Street Car Park. With a small stage at one end, and the new Chevrolet Spark’s the only vehicles in sight, it almost seems regular that gigs should be taking place in car parks these days. The much appreciated free Red Stripe does its bit towards this as well of course.
A small and intimate crowd welcome out the band, who return this July with their third studio album, Serotonin, two years after Twenty-One. With single Flash A Hungry Smile being released to test the water, reactions are positive and tonight’s expectations are high. Safe to say they far from disappoint. Speaking to the band earlier in the day, guitarist William declared that their new tunes are more quintessentially Mystery Jets, suggesting that with this album they have captured their own unique sound more than ever before. And with a healthy smattering of new songs in their set, it is easy to see what they mean, as they build on the 80’s electro sound of their second album, to create something altogether more polished and epic, inherently British, but with a massive dose of Americana infusing their sound.
The set is a crowd pleasing balance between past hits, including ‘Two Doors Down’ and ‘Young Love’, fan favourites, including a staggering rendition of ‘Behind the Bunhouse’, and samples from the new album, which suggest perhaps their third release will be the one to finally propel them to the success they so evidently deserve. Gigs such as this offer the music fan a chance to experience their live music a little differently, and tonight, thanks to Mystery Jets and Chevrolet, other bands and venues alike maybe have a little catching up to do.
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.
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.
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.
Friday, 23 April 2010
Love Music Hate Racism @ The Cluny, Tuesday 16th March
Reviewed by George Sorley
Nestled in the heart of the Ouseburn valley, the Cluny is recognised as one of the most important music venues in Newcastle and is the ideal place for music lovers to watch new talent and local heroes. The Love Music/Hate Racism gig organised by NSR’s very own Louise Morris fitted the bill perfectly.
Opening the bill were The Components led by energetic Camilla Summerskill who through everything into the performance. Indeed the rest of the band was all whirling guitars and fantastic noise, so much, so that the band ripped through their set at blistering speed much to the delight of the growing crowds. Behind Camilla’s dancing lay a tight organised band that enjoys the spotlight of the stage. Nile Amos’ guitar simmered along, Jim McCarthy’s bass created the pace and Ross Richardson’s drumming some how kept this bundle energy in time. The perfect opener to the gig.
Possibly the stars of the show were Kate Agerskow, fronted by Kate Edwards from local band Brilliant Minds. Stepping away from that band into this band may have been difficult but Kate took it in her stride and supplied the crowd with a magical set which saw her showcase her talent for guitar and keyboard and a nod to prog-rock group Supertramp as Kate performed a few fantastic keyboard solos. As for the rest of the band, a lush live cello performance from Miriam, Jonathon’s hypnotic drumming added to the amazing spectacle- although whether Tom’s guitar was plugged in or to high in the mix to be heard, it did add to the magic these four talented musicians created.
Gig closer, Liam Frost carried on the folk feeling with a set packed with songs from his latest album, We Ain’t Got No Money, Honey, But We Got Rain, and crowd favorites. Standing with just his guitar and harmonica strapped to him, he looked every inch the British singer-song writer and was a fitting end to a brilliant night of music and love.
Whether it was booking the venue, putting together the line up or street selling tickets, none of the magic that happened tonight could have happened with Louise Morris’s hard work- a roaring success all round.
Nestled in the heart of the Ouseburn valley, the Cluny is recognised as one of the most important music venues in Newcastle and is the ideal place for music lovers to watch new talent and local heroes. The Love Music/Hate Racism gig organised by NSR’s very own Louise Morris fitted the bill perfectly.
Opening the bill were The Components led by energetic Camilla Summerskill who through everything into the performance. Indeed the rest of the band was all whirling guitars and fantastic noise, so much, so that the band ripped through their set at blistering speed much to the delight of the growing crowds. Behind Camilla’s dancing lay a tight organised band that enjoys the spotlight of the stage. Nile Amos’ guitar simmered along, Jim McCarthy’s bass created the pace and Ross Richardson’s drumming some how kept this bundle energy in time. The perfect opener to the gig.
Possibly the stars of the show were Kate Agerskow, fronted by Kate Edwards from local band Brilliant Minds. Stepping away from that band into this band may have been difficult but Kate took it in her stride and supplied the crowd with a magical set which saw her showcase her talent for guitar and keyboard and a nod to prog-rock group Supertramp as Kate performed a few fantastic keyboard solos. As for the rest of the band, a lush live cello performance from Miriam, Jonathon’s hypnotic drumming added to the amazing spectacle- although whether Tom’s guitar was plugged in or to high in the mix to be heard, it did add to the magic these four talented musicians created.
Gig closer, Liam Frost carried on the folk feeling with a set packed with songs from his latest album, We Ain’t Got No Money, Honey, But We Got Rain, and crowd favorites. Standing with just his guitar and harmonica strapped to him, he looked every inch the British singer-song writer and was a fitting end to a brilliant night of music and love.
Whether it was booking the venue, putting together the line up or street selling tickets, none of the magic that happened tonight could have happened with Louise Morris’s hard work- a roaring success all round.
Thursday, 11 March 2010
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
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
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
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