www.theblisspages.com - notes inegales
www.theblisspages.com - notes inegalesI was sent an invite by Murray Lachlan Young to this event based around Miles Davis, William Blake, and the proverbs of Hell at the Studio Theatre, Union Chapel, Islington N1 2XD, so it would have been churlish not to attend. The evening was a bit of a departure for Murray in this collaboration with notes inégales. It was on Tuesday, 29th November 2005.
I nearly didn't make it however, as I stupidly left my invitation on my desk. Luckily, I managed to find the venue, and in plenty of time to bag a place at the front. After buying a glass of wine - a bargain at £2.50, I settled back to listen and enjoy.
The first piece was introduced by Murray's rolling, resonant, voice. 'Drive your cart and plough over the bones of the dead' was interesting. I've never enjoyed jazz before, but this was growing on me. The sound of the keyboard - a Nord Electro 2 - grated on me though. It was distorted, and sounded cheap at times - even though it's not, but I do have to say that the musicianship of all the players was superb.
Next was 'Spanish Key', from Miles Davis' classic Bitches Brew album, reworked by Peter Wiegold and Martin Butler. Starting with an understated beat on the drum, joined by the double-bass and other instruments, this piece started slowly, and then accelerated. There was discordancy, with a good use of dynamics, and touches that somehow, inexplicably, reminded me of a jazzy King Crimson.
Then the title track from the same album, and the track of the evening I least liked. Brought in by dominant double-bass and violent chords on keyboard and trumpet, 'Bitches Brew' then seemed to meander along in no particular direction, punctuated by occasional violent discords heralding the xylophone - though nearly drowned out by the keyboard. I nearly lost the will to live during this interminable piece.
During the interval, I rushed to the bar to replenish my glass of red wine, but missed the first couple of minutes of 'What is Hell?', an amusing monologue from Murray with help from Corin Long on the double-bass.
To see a short excerpt, click on Hell (2 mb). I'm afraid it's a little muffled. Windows Media Player is required to view the video.
If the video doesn't play on your system, you can download it free from the Microsoft web site:
'Infernal Airs' by Rameau was arranged by Martin Butler. Baroque in style, it was my favourite musical piece of the evening, though vastly too short.
I generally enjoyed works that combined the talents of notes inégales and Murray, and the next piece from Peter Wiegold's 'Damn braces', 'Listen to the fool's reproach! it is a kingly title!' was no exception. Introduced by glockenspiel and Murray and interspersed with his irreverent commentary, his voice was occasionally drowned out by the music, which otherwise complemented it well.
Murray warned me that the next piece was seriously weird, but I quite enjoyed the anarchy of Donatoni's 'Hot', a virtuosi concerto for saxophone and ensemble, evoking 1950s jazz with the solo saxophone combined with muted trumpet and trombone, pizzicato bass, Thelonius Monk-like piano and percussion. At times it set my teeth on edge, but it had plenty of energy, and most importantly - no keyboard, Peter Wiegold instead conducting.
In the middle, it became very self-indulgent, but then - just in time - gathered up its energy and excitement to a triumphant conclusion.
It was an interesting evening, opening me up to a new world of sound. The only other live jazz I've ever heard was Bheki Mseleku's Celebration, at the Royal Festival Hall, which I hated, so this was a breakthrough. I wish Murray Lachlan Young and notes inégales the best.
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