Monbiot on Eco-comsumerism…

Once again, the wonderful George Monbiot has hit the nail on the head in this article for the Guardian, in which he addresses the false notion that the future of the planet can be assured by doing business as usual with a coat of green paint – keep buying all the same old shit, just make sure it’s the ‘green’ version. Keep flying all over the place, just ‘carbon off-set’, keep driving the huge car, just get the bio-diesel version. At least then you won’t have to mix with the plebs on public transport.

The three Rs of the eco-movement, as told to us by Jack Johnson are Reduce Reuse Recycle. there’s a reason why Reduce is the first. Cutting our consumption is by the far the most important of these. It’d be great if we didn’t need to recycle stuff because we could reuse, and even better if we weren’t using it in the first place.

The biggest fallacy in all of this is the carbon-offsetting thing – what started out as a well-meaning and vaguely scientific way of introducing some balance into our carbon producing actions has now become a cheap way to assuage the guilt of the middle classes, so that instead of flying less or driving less or using less, they can just buy themselves a licence to pollute. Plant a few trees, keep the hummer, fly to Manchester instead of taking the train? no problem, just sprout a conifer or two and all is forgiven. Bollocks. Utter bollocks. Carbon-offsetting is a great idea to help to minimise the impact of UNAVOIDABLE carbon-useage. it’s a great reminder of our need to consume less. It doesn’t, never can and never will repair the damage we’re doing. If we are still fostering a culture of cheap domestic flights and allowing politicians to get away with airport expansion, we’re screwed. That all needs to change, both on a political level and a personal one.

And as always, I say this as someone who uses planes, who hates it every time I HAVE to and will avoid them wherever possible.

There are loads of great things you can do, lots of the stuff that the style mags write about – using shopping bags instead of plastic ones, eating organic, shopping local, buying at farmers markets, driving hybrids, catching trains instead of driving, recycling, but the bottom line is that we need to CONSUME LESS. The seemingly sad news is that there isn’t a way to maintain the level of consumption and waste that we’re currently at in the UK and even more so the US. There isn’t a ‘green version’ of that. It’s going to affect our lifestyles.

The good news, however, is that cutting back will give us that which we can’t buy. Time. Time for people, for hobbies, for reading, for music, art, cooking – stuff that doesn’t require endless stuff being fed into it to keep it going (OK, musicians need strings, plectrums, reeds etc. and artists need paint/clay etc but it hardly compares with helicopter rides or Branson’s domestic space program in terms of the consumption…) I’m pretty confident that the world can be a much better place AND a place of drastically reduced consumption in time to save it all. It just won’t be the same, and it certainly won’t be normal, thank God. After all, we all know that the trouble with normal is it always gets worse.

not really one for the U2 obsessives…

Here’s a clip from Ross Noble’s Randomist DVD – without doubt two of the funniest hours of comedy I’ve ever seen, and the bit in this clip where he starts going on about Bono made me cry the first time I heard it. Mike Radcliffe, you’re really not going to like this… ;o)

Tony Levin – international man of myth-stories…

Went up to Hitchin to see/hear Tony Levin play and talk this evening. I’ve met Tony a number of times (the first being when I interviewed him for Bassist magazine back in the late 90s, and was introduced to the ideas behind the free improv of the King Crimson crowd by him and Trey Gunn, which directly shaped the ideas for the Recycle Collective so many years later…)

Anyway, it was lovely to see Tony and catch up a little without the din of NAMM or some aftershow party going on, and was even better to hear him talk about his career, his music and the people he’s played with. There’s this assumption that bass clinics are all about clever playing, but there are certain guys – Tony, Lee Sklar, Anthony Jackson, Chuck Rainey, and a bunch of others, who have so much experience, have seen so much – and no doubt made lots of mistakes along the way – that hearing them speak is of at least as much value as hearing them play. In Tony’s case, he’s also a fascinating composer, so it’s great that he played a couple of things, as well as demonstrating some Peter Gabriel lines, but hearing him talk about what happens on sessions, what it’s like working with certain people etc. – it’s an insight into the workings of the industry that few of the people there would get on a regular basis. All in all a fab evening, and an audience full of old friends, acquaintances and audience members, with quite a few people coming up and saying they’d seen me play with Michael the last couple of times he was over… all good stuff.

All change!

….bass strings, that is! It’s been two years since I changed the strings on my fretless 6, so today was the day for a change. And while I was at it, I took the flatwound strings off my fretted 6, and put roundwounds on. The reason? Due to my having been on tour for 18 weeks of this year so far with nothing but a 6 string fretless bass, I can now play all the stuff I do on the fretted on the fretless. I’ve got a live recording of Jimmy James (probably the single hardest part to play on the fretless of all my tunes) that we recorded in Nebraska that’ll be on the live album, and it sounds great.

So, that means I can try something different on the fretted bass, so I’ve put twangy roundwound strings on (still Bass Centre Elites – I’ve been using the same brand of strings for about 14 or 15 years now…) and it sounds and feels really different.. and great! Should be fun seeing what comes out when I start writing for it…

Need to do the four string fretted tomorrow, when I can find the strings for it in amongst the craziness of my room…

Two gigs that didn't really live up to their billing.

I’ve been to two ‘cool’ gigs in the last week – I’m not really one for cool gigs, preferring to avoid things that are either a) over-hyped or b) feature drums (the latter being due to my deep loathing of overly loud music…)

Anyway, last week I went to see Mogwai at Somerset House, and on Monday to see Squarepusher AKA Tom Jenkinson with Evan Parker at the QEH.

the Mogwai gig was OK. just OK. They played well, Somerset House is a great place for a gig, but… but none of it really went anywhere – I REALLY want to love Mogwai. There are bits about what they do that I really like. I love the big guitar sounds, I enjoy the fiddling around with odd time signatures and displaced beats etc. But it seems like their fear of turning into some sort of post-rock answer to Pink Floyd stops them from adding any BIG tunes to their stuff. So you get a handful of notes played over the wall of guitars on keyboard, or heavily processed voice, but it never goes stratospheric… or rather is very rarely does – the last two tunes they did before the Encore were getting there. Some great moments in those. So a good gig, but as they say on the interwebs it was all a bit ‘meh’.

And then to the QEH – I must preface this by saying that Squarepusher is without doubt one of the most interesting, iconoclastic and influential electronic artists in the UK, if not the world – his records are full of amazing compositions, incredible production, fascinating harmony and the maddest most sublime rhythmic programming you’ve ever heard. AND, most importantly in this context, some breathtaking bass playing. Really really amazing bass playing. Crazy fast funky magical bass playing.

This gig was, unbeknownst to me, a ‘solo bass gig’. The first set was just Tom and a 6 string bass. Before it started, I REALLY wanted to like it, I was hoping it was going to blow me away. But half way through the set, I was already drafting this blog and trawling through what he was doing desperately trying to find something positive to drag from it to contrast with the overwhelming impression that it was utter nonsense. A load of largely poor executed arpeggios – a range of techniques, few of them done particularly well, rattled off like a NAMM show demo by a kid with ADD.

I genuinely have no idea what Tom was aiming for. I have no idea what part of his strange and wonderful and clearly at times baffling musical world he was exploring with this, but one thing I’ve heard him say in interviews was writ large over the whole gig – he claims he doesn’t listen to much other music, avoids influence. And in the case of this gig, that’s exactly why he sounded like a solo bassist of about 15-20 years ago, making all the same overly twiddly ‘we can be as fast and wanky as guitarists’ mistakes that everyone else made back then, without attaching anything musical to it. Perhaps if he’d allowed himself to listen to Michael Manring or Jonas Hellborg, Trip Wamsley or Victor Wooten, it might have given him insight into some other musical paradigm possible with solo bass. But it really did absolutely nothing for me at all. I would LOVE to know what he thought of it. The audience – possibly the friendliest crowd I’ve ever come across – gave him a rapturous reception, to my utter amazement. Were they huge Squarepusher fans that would have applauded if he’s just taken a dump on the stage? Were they bass players easily impressed by a bunch of fairly sloppy overly fast arpeggiated chords? Or did they love it? Did I completely miss what he was trying to do? I’m guessing not, given that I’m pretty much slap bang in the middle of his target audience – a huge fan of his usual output, and someone who’s been interested in and exploring the whole idea of solo bass for nearly 20 years.

So the second half? Well, it started with out of the most remarkable bits of soprano sax playing I’ve ever heard, from Evan Parker – Evan has been a mainstay (and driving force behind) the UK free improv scene for 40 something years. A true giant of the instrument. And tonight he proved why. The piece was a technical, sonic and mesmerising tour de force, making a completely unprocessed soprano sax sound like at least four instruments intertwined. unbelievable.

And the evening finished with a free duo between the two of them, which was much better than the first half – Tom delved deep into the canon of well used free improv techniques, but that’s a good thing – he’d done his homework for sure, and created some lovely textures and interesting rhythms, whilst listening to and reacting to Evan’s glorious sax playing. It rescued the bass part of the evening for me, but I’m still baffled as to what on earth the first half was about…

Today on the tube, I put on his album ‘Go Plastic’ on the iPod. Yup, it’s incredible. Amazing stuff. He really is a genius. I then listened to the London Sinfonietta playing one or two of his pieces, and that too was great.

I hope he keeps going with solo bass, cos when he gets it right, I’m sure it’ll be amazing, and as with everything else he does, it’ll be unlike what anyone else has done with it. But on the strength of this show, I hope he does the rest of the exploration either behind closed doors or in a workshop setting…

How refreshing…

…that there’s a record that’s been at number one in the UK charts for 9 weeks that not only have I never heard but hadn’t even heard of until today! Hurrah! I feel willfully and blissfully out of touch with mainstream Britain, having not watched any of Big Brother this series, and not knowing that Bernard ‘no, really, I’m not a racist’ Manning had died until a month after the fact.

Wasn’t one of the royals in a car crash recently? Charles’ ex or something?

new track up on Myspace page… finally!

I know, I know – with all this talk of us touring and gigging across Europe and the US, y’all have been wanting to hear some of the duo-loveliness with Lobelia – well, there are now two tracks for you to listen to. Firstly on my myspace page there’s a track of L’s called ‘Happy’, which has been given the Stevie-loopage makeover. It’s a great song anyway, and suits my tinkering rather well..

The other is on L’s myspace page and is a version of Black Hole Sun – it’s the arrangement that Cleveland Watkiss and I first came up with ages ago, that Julie and I used at the Edinburgh Fringe Fest last year, and which L adds her own lovely flava to… Good work, fiddy!

Which all means we’ve got work to do on getting this live album together in the next couple of months…

Revisiting music not heard for a long time…

In the last couple of days I’ve listened to two albums i’ve not heard for YEARS, thanks to the wonders of my iPod – first one was ‘Different Class’ by Pulp, and the second was ‘Being There’ by Martyn Joseph. In both cases, I’d completely forgotten what exceptional albums they are. Common People by Pulp was always a song whose jaunty music belied the incredibly dark social tale in the lyrics (I remember the NME or Melody Maker describing it as a ‘tale of inter-class shagging’, which is a bit like calling Macbeth a story about some mad posh woman…) – the line where they are in the supermarket and he says ‘pretend you’ve got no money, she just laughed and said you’re so funny, I said yeah… but I don’t see anyone else laughing’ is astonishing. Photomonkey Steve, Lorna and I were talking about out-of-touch toffs this lunchtime over coffee, how amazing it is that so many hugely wealthy people have no idea at all how the vast majority of people live… And this song says that better than any number of newspaper articles or documentaries featuring Michael ‘man of the (rich) people’ Portillo… The rest of the album is cracking too, and brings back some wonderful memories.

And ‘Being There’ – Martyn Jospeh’s first album for Sony (he was dropped after the second album) – bizarrely, Sony were trying to market him as some kind of Chris DeBurgh figure, despite the fact that he (along with poet Stuart Henderson) wrote mainly impossibly dark songs about redundant miners and single mothers on the game… Real ‘Lady In Red’ territory there…!! Anyway, again, it’s a really moving album, with some razor sharp lyrics, and a whole load of righteous anger married slightly incongruously with the slick singer/songwriter sound… actually, it’s not incongruous, it just sugar’s the pill a little, in a good way. It’s a great sounding album, full of amazing songs… His next self titled album was equally fab, but Sony really had no idea what to do with him, dropped him, and he’s carried on making stunning records ever since with and without record label support, and acting as opening act to the stars – from cool people like Joan Armatrading to arena-filling shrieking harridans like Celine Dion, Martyn has warmed up the crowd with tales of marital unrest, injustice and exploitation the world over. Hurrah for Martyn. And for Pulp! Anyone heard Jarvis’ record? Is it any good?

Ronnie Scott's – keeping jazz away from the fans since 2006…

So today I went down to the marvellous Institute Of Contemporary Music Performance in Kilburn, to watch a masterclass by guitarist Mike Stern and bass legend Anthony Jackson. It was a mixture of stories, advice, practice tips and inspirational musings, as well as some amazing playing. Anthony was certainly the most animated I’ve ever seen him (which is not a huge amount, but more than just having seen him in magazines…) and was on rare form with his answers to questions.

All if which made me want to go and check them out at Ronnie Scott’s tonight or tomorrow. However, tickets are £36. For one set. And there’s no longer a reduction for MU members. None at all.

There was a time, not as long ago as you might think when it was – I gather – a pound to get into Ronnie’s with your MU card. That made it the defacto musician’s hang in central london. Given that it goes on a lot later than many other gigs in town, it was the place to go once your gig had finished – catch the second set, hang out with some other musos, get a drink, and give Ronnie’s the air of being THE place to be. It’s what Ronnie himself specifically intended for the club.

That all changed last year when the club changed hands. No more reductions, no more staying all night to watch both sets by an act you really love, and no more sensibly priced tickets. Now, I know Mike Stern is going to charge a pretty penny to come and play – he ain’t cheap, but he’s not sodding Coldplay either! Certainly nothing that forces the club to charge such high dollar ticket prices, or to split the evening so you can only go to half the gig. Add to that the disappearance of the best gig in the country which I’ve blogged about before (click the link), and you’ve got yourself one crappy cabaret night out for rich peoples.

Bollocks to Ronnie’s.

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