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spiralling arcs of melody climbing over and under each other. The captivating nature of such joyous and often frenetic forms spurs on the audience to become a participant in the music, not just a passive recipient of it; when they clap after a solo or a particularly impressive passage, this is not just the automatic response triggered by the concert situation (as it might be on a classical recording), but an actual outpouring of thanks and appreciation for the way the music has moved them. (DG) GIL SCOTT-HERON – I’M NEW HERE Label: XL Recordings Release Date: February 2010 Tracklist: On Coming From a Broken Home (Part 1); Me And The Devil; I’m New Here; Your Soul And Mine; Parents (Interlude); I’ll Take Care Of You; Being Blessed
(Interlude); Where Did The Night Go; I Was Guided (Interlude); New York Is Killing Me; Certain Things (Interlude); Running; The Crutch; I’ve Been Me (Interlude); On Coming From a Broken Home (Part 2) Personnel: Gil Scott-Heron: vocals; Damon Albarn: keyboards (track 2); Pat Sullivan: acoustic guitar (track 3); Christiana Liberis, Mary Jo Stilp, Mike Block, Una Tone: strings (tracks 4, 6, 13); Kim Jordan: piano (track 6), additional vocals (track 10); Michelle Hutcherson, Tiona Hall, Tyria Stokes: background vocals (track 10); Chris Cunningham: guitar, synthesizer (track 10); Richard Russell: production Gil Scott-Heron: vocals; Pat Sullivan: acoustic guitar; Richard Russell: production Let’s not talk about the release of this new album as an ‘event’, if we can help it. Yes, Gil Scott-Heron, ‘godfather of rap’, a hugely important voice in bringing socially-conscious messages to both black and white youth, has not recorded an album since 1994’s ‘Spirits’. Yes, he has been in and out of prison, has had plans for recordings and for books planned and then postponed, has made intermittent public appearances but been generally been shrouded in rumours of ill-health and personal breakdown. Yes, all this has happened – and the record’s title suggests a very specific engagement with the notion that Heron is a quote-unquote major artist who must add to his legacy, must teach us all once again, must justify his absence with another classic. Might it suggest that Heron is a new man, reborn, coming out of hard times with his head held high once more? And would that mean a return to the Heron of the old days, or would it mean a re-invented, re-invigorated artist, starting over just as strong but in a different place? These are all questions that Heron does not need to answer: he has done enough, whatever the critics may say about missed opportunities, not to have to make another statement if he does not wish to; his position is assured. But, as listeners, as critics, we cannot help but make them – we cannot pretend to listen in a vacuum. And so the comparisons begin almost as soon as we press play. First off, after we get past the spoken-word of the opening track, we’ll notice that Heron sounds less comfortable singing now (perhaps explaining the choice of Smog’s neo-folk acoustic number ‘I’m New Here’ to cover; in the original, Bill Callahan’s sung voice was always on the brink of shading over into laconic, spoken reflection, and here, Heron speaks most of the words, singing only the short, recurring chorus). His voice is now partially possessed of the ‘lived-in’ croak that characterises latter-day Dylan and Tom Waits. Though that has always been part of Waits’ cigarettes-and-alcohol mystique, and seems to have become an accentuation of Dylan’s famously less than smooth vocal stylings (albeit one so extreme that its burden must be borne by his status as a ‘living legend’ fondly canonised by both a generation of fading hippies and Professor Christopher Ricks), in Heron’s case, as his voice was quite mellifluous before, this may have necessitated a stylistic change, as it
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CONTENTS Editorial By David Grundy.
Page 5 and 6:
English Winter can be Real Bad The
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he held the receiver out and looked
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ottle comes flying right at him, sh
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which does not fall strictly within
Page 13 and 14: So it was, then, one warm July even
Page 15 and 16: And, like this insubstantial pagean
Page 17 and 18: aristocrats, relics of feudalism. T
Page 19 and 20: No such shame on Fingers and Passio
Page 21 and 22: GENDER & MUSIC: 'IN OUR DIFFERENT R
Page 23 and 24: woman, I had a period where I becam
Page 25 and 26: I have just come back from a wonder
Page 27 and 28: YOUTUBE WATCH Tania Chen/ Shabaka H
Page 29 and 30: Continuing to work in the ‘spirit
Page 31 and 32: This is footage of what looks to ha
Page 33 and 34: CD REVIEWS AIDA SEVERO - AIDA SEVER
Page 35 and 36: Though it might not be immediately
Page 37 and 38: Holoboer: piano & electric piano; M
Page 39 and 40: Label: ESP Disk Release Date: Novem
Page 41 and 42: Label: &records Release Date: 2008
Page 43 and 44: Bill Dixon’s most recent recordin
Page 45 and 46: to the brassy clarion of Evans’ t
Page 47 and 48: sketches and patterns which aren’
Page 49 and 50: everberations from the snare, which
Page 51 and 52: This is the first recording by Roy
Page 53 and 54: Label: Drip Audio Release Date: Oct
Page 55 and 56: ecomes an act, involving listening,
Page 57 and 58: date, Tony Wilson) allows the band
Page 59 and 60: atmosphere now takes predominance o
Page 61 and 62: absence of the harsh sonorities oft
Page 63: playing music; and they also play t
Page 67 and 68: familiar work, though the reference
Page 69 and 70: SKARABEE - TLÖN Label: fbox record
Page 71 and 72: Label: Cuneiform Records Release Da
Page 73 and 74: Smith’s piercing, mournful solo -
Page 75 and 76: this music quickly dispels this not
Page 77 and 78: as background - in much the same wa
Page 79 and 80: GHEDALIA TAZARTÈS - REPAS FROID La
Page 81 and 82: Label: Smalltown Superjazz Release
Page 83 and 84: A partial career retrospective so f
Page 85 and 86: electric guitar. In the face of suc
Page 87 and 88: performances, something which compl
Page 89 and 90: this approach to the long-form expl
Page 91 and 92: Label: Drip Audio Release Date: 200
Page 93 and 94: This was apparently Wozzeck’s fir
Page 95 and 96: her playing which marks her out as
Page 97 and 98: According to Unpop’s liner notes
Page 99 and 100: Label: ESP Disk Release Date: 2009
Page 101 and 102: The emphasis, as the listener might
Page 103 and 104: On ‘Exactemente’, a 1974 releas
Page 105 and 106: Label: ESP-Disk Release Date: 2009
Page 107 and 108: cello lines weave Charles Moffett
Page 109 and 110: Contents: Introduction; Into the Bl
Page 111 and 112: increasingly apparent, whether thes
Page 113 and 114: Publisher: SJR (Soul Jazz Records)
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names in the credits below the imag
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This is fantastic stuff. Of course,
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The collection’s different author
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Lives in the Bebop Business.’ Tud
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amplifiers, attention, inattention.
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So: why are so many of the artists
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culture.” (p.77) I’d agree that
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I’m not - necessarily - arguing t
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GIG REVIEWS GANNETS + PHIL WASCHMAN
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made it hard to remember what had g
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enough to be called riffs, rendered
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