| April 10th, 2004 07:33 PM |
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| Monkey Woman |
Beware, irony ahead 
But interesting for jazz fans & Charlie's followers. On a side note: Luis Jardim (vocals & percussions) also worked on some Jagger solo projects. And he's damn good.
http://www.thisislondon.co.uk/entertainment/music/articles/10132222?version=1
This is LONDON
07/04/04 - Music & clubs section
What Watts wants
By Jack Massarik, Evening Standard
Something thought-provoking occurred on this hallowed stage when, early in his opening set, Charlie Watts played a jazzedup version of a monotonous old dirge entitled You Can't Always Get What You Want. A touch of irony here, surely? After all, when you're a rock superstar pocketing up to £20 million per tour, what you want is exactly what you get.
Take your hobbies, for instance. Some go for vintage Bentleys. Others acquire private planes or small Carribbean islands. Charlie Watts got himself a jazz band, and no ordinary band, either, but one handpicked from the cream of London's professionals. Bit of a luxury, perhaps, but attractively low-maintenance. When it doesn't work, it doesn't get paid.
So as he sits at his prized vintage kit (a round-badge Gretsch, anoraks might note), drumming unobtrusively away, twice nightly for the next fortnight, Charlie is proudly surveying a dream team. It includes trumpeters Gerard Presencer and Henry Lowther, both bandleaders in their own right, vibraphonist Anthony Kerr and saxmen Peter King, Evan Parker, Julian Arguelles and Iain Dixon, illustrious soloists all.
Naturally Charlie's rhythm section mates, pianist Tom Cawley and bassist Dave Green, are both pollwinners. Last night, though, during the first of two longish sets, it was the unheralded percussionist Louis Jardim who sounded like his most valuable asset. While the front-liners were stretching out in their solo spots, it was Jardim's popping, galvanising hand-percussion fills that gave this large group the extra spark it needed. And it was his exuberant vocal which added the necessary touch of Hispanic spice to the old Dizzy Gillespie big-band favourite, Tin Tin Deo.
Altoist King sparkled on these bop changes, as he has been doing so magnificently for nearly half a century, and Lowther, another soloist of enormous experience, was at his Clifford Brown-ish best on a flugelhorn ballad feature, What's New.
Parker seemed a bit subdued apart from a characteristic touch of soprano-sax circular breathing, but Presencer (on Monk's classic, Epistrophy) and Arguelles made typically well-constructed contributions.
Earlier, the talented pianist and singer Gareth Williams sounded slightly bereft as he opened the show with a new-look trio, including drummer Ian Thomas and Fenderbassist Laurence Cottle.
A clash of dates meant that Williams's usual bass player, the world-class Mr Green, had been poached by the evening's main attraction. A tough break, Gareth, but money talks. And when it does, you can't always get what you want.
Until Saturday 17 April. Information: 020 7439 0747.
�2004 Associated New Media |
| April 11th, 2004 06:26 AM |
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| J.J.Flash |
Thank you Monkey Woman. BTW, thank you for all the articles you post.
I love when Charlie mentions names like Dizzie Gillespie, Thellonius Monk, Miles, and so on and so forth.... |
| April 12th, 2004 12:20 PM |
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| shakedhandswithkeith |
Thank you MW,
Jazz Rules!!! |
| April 12th, 2004 01:15 PM |
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| Joey |
quote:
Monkey Woman wrote:
Beware, irony ahead
But interesting for jazz fans & Charlie's followers. On a side note: Luis Jardim (vocals & percussions) also worked on some Jagger solo projects. And he's damn good.
http://www.thisislondon.co.uk/entertainment/music/articles/10132222?version=1
This is LONDON
07/04/04 - Music & clubs section
What Watts wants
By Jack Massarik, Evening Standard
Something thought-provoking occurred on this hallowed stage when, early in his opening set, Charlie Watts played a jazzedup version of a monotonous old dirge entitled You Can't Always Get What You Want. A touch of irony here, surely? After all, when you're a rock superstar pocketing up to £20 million per tour, what you want is exactly what you get.
Take your hobbies, for instance. Some go for vintage Bentleys. Others acquire private planes or small Carribbean islands. Charlie Watts got himself a jazz band, and no ordinary band, either, but one handpicked from the cream of London's professionals. Bit of a luxury, perhaps, but attractively low-maintenance. When it doesn't work, it doesn't get paid.
So as he sits at his prized vintage kit (a round-badge Gretsch, anoraks might note), drumming unobtrusively away, twice nightly for the next fortnight, Charlie is proudly surveying a dream team. It includes trumpeters Gerard Presencer and Henry Lowther, both bandleaders in their own right, vibraphonist Anthony Kerr and saxmen Peter King, Evan Parker, Julian Arguelles and Iain Dixon, illustrious soloists all.
Naturally Charlie's rhythm section mates, pianist Tom Cawley and bassist Dave Green, are both pollwinners. Last night, though, during the first of two longish sets, it was the unheralded percussionist Louis Jardim who sounded like his most valuable asset. While the front-liners were stretching out in their solo spots, it was Jardim's popping, galvanising hand-percussion fills that gave this large group the extra spark it needed. And it was his exuberant vocal which added the necessary touch of Hispanic spice to the old Dizzy Gillespie big-band favourite, Tin Tin Deo.
Altoist King sparkled on these bop changes, as he has been doing so magnificently for nearly half a century, and Lowther, another soloist of enormous experience, was at his Clifford Brown-ish best on a flugelhorn ballad feature, What's New.
Parker seemed a bit subdued apart from a characteristic touch of soprano-sax circular breathing, but Presencer (on Monk's classic, Epistrophy) and Arguelles made typically well-constructed contributions.
Earlier, the talented pianist and singer Gareth Williams sounded slightly bereft as he opened the show with a new-look trio, including drummer Ian Thomas and Fenderbassist Laurence Cottle.
A clash of dates meant that Williams's usual bass player, the world-class Mr Green, had been poached by the evening's main attraction. A tough break, Gareth, but money talks. And when it does, you can't always get what you want.
Until Saturday 17 April. Information: 020 7439 0747.
�2004 Associated New Media
A MASTERPIECE ...................................
( A Review by The Joey : Dateline April 12th , 2004 )
Monkey Woman's Manifesto : More than a post , its a battle cry , and a hammer of heartbeats -- for this latest effort by MW is a true Masterpiece -- sap flowing from the roots of her very creation .
MW's pen is her conductor's baton and general's staff . It shouts and cajoles and drenches us in sheets of sound -- and sometimes it has a touching , ethereal quality that is far , far removed from the tumult of a " Mods " vs. " Rockers " confrontation .
This recent posting demonstrates the kind of project that progressive British Rock is all about -- all the facilities , imagination and talent have always been there but rarely has one succeeded in distilling its essence and embracing a motif as convincingly as Monkey Woman on this most prodigious of message boards . Like Wagner's " Ring " cycle , it is exhausting , but richly rewarding .
I Thank You All For Your Time
The Joey , Established 1999 !
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