Thursday, March 15

ONE OUT COME THE FREAKS
Dan Franklin at Jonathan Cape kindly sent me a copy of A Hero for High Times, Ian Marchant’s new book. Its subtitle describes it pretty succinctly: A Young Reader’s Guide to the Beats, Hippies, Freaks, Punks, Ravers, New-Age Travellers and Dog-on-a-Rope Brew Crew Crusties of the British Isles, 1956–1994. Whew! It’s a hefty book, and I’m a third of the way in – it’s vivid, engaging and somewhat eccentric, much like its subject Bob Rowberry. In a good way.

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How could I not love a book that has a Jonny Hannah cover (finished and delivered a good few years ago, Jonny – above in his Darktown Taxi – tells me), a long section on Studio 51 (the Ken Colyer Club) and an Afterword page with the line, aimed at his Younger Readers, “Now you need a Ginsberg and a Ken Colyer and an Elvis of your own.” There’s also this fine shout-out to Dan in the Acknowledgements…to my editor, Dan Franklin, without whose work over thirty years or so, there would be no history of the counterculture”. Highly recommended.

TWO RADIO PROGRAMME OF THE WEEK
In a similar vein, a wonderful R3 documentary on Val Wilmer, jazz writer and photographer, and brave explorer of free jazz. Discover how a young girl made such an impression on several decades of black musicians. “I started out interviewing musicians when I was very young and I was really just a fan and I didn’t really know I could do it. I really didn’t know what to ask people and so therefore I didn’t ask complicated questions. I asked Where did you get your first instrument, why did you have a saxophone, who did you play with, and who did you play with next? People enlarge on things, and, if they feel relaxed with you, then they will talk more. I enabled people to speak freely and therefore they did. And sometimes they spoke very freely indeed, much to my astonishment…” It was a programme that did Val’s extraordinary life justice.

THREE CONCERT OF THE WEEK
David Rodigan and the Outlook Orchestra, Royal Festival Hall. On the Day of Great Snow Kwok and I grab something to eat at Five Guys before the gig and I ponder the fact that he I and I have been eating burgers in London since the time when there was only one burger joint in London, the Hard Rock. Where Kwok became night grill chef while still a student on the Fine Art course at Chelsea School of Art, before being poached to run the kitchen at a new Hard Rock in Frankfurt. So I value his opinion, and we’ve spent the intervening forty years of searching for the best hamburger in town. Five Guys gets a okay 5/10.

The other thing that Kwok was into at Chelsea was reggae, and has listened to Rodigan’s Rockers, the show being celebrated tonight, since the 70s. So we couldn’t not go to the Festival Hall show, even though we had no idea what it would consist of. It turned out to be a very formal-looking Rodigan (dead ringer for George of Gilbert and George, three-piece suit and tie) entertainingly leading us through a history of Jamaican music while the orchestra played the requisite songs for each segment (Bluebeat, Rock Steady, Lover’s Rock et al) with guest vocalists.

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The atmosphere was fervid, closer to a boxing match than a concert. People were leaping around and giving a standing ovation before Rodigan’s feet even touched the stage. When he arrived, the crowd sat down for a few notes then all got back on their feet for the next two hours, even those in the boxes ranged along the sides of the hall. I haven’t witnessed a concert explode into a dancing mass like this ªexcept, maybe, the end of Paolo Conte’s Barbican show). There’s a lot of shouting. Each new tune draws another round of exclamations hurled at the stage: “Respec’! Respec’!” “Boooooooooom!” “RodiGan!”.

The arrangements sat on the shoulders of some fantastic rhythm work. Rock steady and rock solid, the bassist locked in with the two drummers and a percussionist to give the whole evening a deep thump and a hypnotic sway. I’ve searched online for the line up of the Orchestra, but have found almost no information, so I can’t credit them, or the fine horn section and backing singers. The line up of singers – half of them flown in from Jamaica and New York for tonight’s show – was impressive, Bitty McLean, Horace Andy, Maxi Priest, Tippa Irie, Ali Campbell among them. Highlights were conductor and arranger Tommy Evans’ cool dancing, Maverick Sabre’s gorgeous grainy voice, and Horace Andy’s slick patent leather outfit. Most amusing moment goes to Tippa Irie and his least necessary stage-leaving announcement of “I’m Tippa Irie”. We’d spent the previous ten minutes chanting his name – I say “Tipper” you say “IRIE!”, I say “David”, you say “Rodigan”!

FOUR VIDEO OF THE WEEK 1
A collaboration with the Detroit School of Arts, featuring the Vocal Jazz Ensemble and teacher Ms V. for David Byrne’s Reasons to be Cheerful Project (we need this man, right here, right now!) It’s a rocking rendition of “Everybody’s Coming To My House” from his new American Utopia album.

FIVE VIDEO OF THE WEEK 2
Humble Pie “For Your Love”. I can’t even quite remember the path to stumbling across this, but (at least for the first half of its seven minutes) it’s great.

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Comments

  1. I second your endorsement of Ian Marchant’s book. I picked up a copy from a slush pile a few weeks ago and thoroughly enjoyed it even if it did make me feel like I was a million years old at times.

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