CD reviews
[by Ken Hunt, London] With any selection of new Richard Thompson songs, there’s no knowing in whose company and in what straits listeners will be plunged. There might be a long-awaited cheap-suited estate agent or the borderline apocalyptic. 13 Rivers opens with the one of his finest recent songs, The Storm Won’t Come. He sings in bible-bashing fashion: “I am longing for a storm to blow through town/Blow these sad old buildings down/Fire to burn what fire may/Rain to wash it all away.”
Things soon curdling and souring splendidly. By the third track, Her Love Was Meant For Me, he jabs a middle finger up at that bugbear of his about lazy journalism banging on about doom-and-gloom. (At the beginning of my writing career, he took me aside and put me straight
7. 8. 2018 |
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[by Ken Hunt, London] Much of Shelter was composed, if not conceived, in the relative seclusion of a cottage on the North Yorkshire Moors. Its accent is on self-written songs. Like the songs here, the artwork photos capture rural English scenes, Roman antiquities – as if reflecting her Florence (Firenze) birthplace (and the song Roman Holiday) – and, as with the visual backdrop to A Tree Grows In Brooklyn, a smidgeon of citified ways. Conjuring a sense of solitude and her classical music training, the seventh track is an adaptation of the English composer Henry Purcell’s O Solitude to her plain-speaking guitar and Jordan Hunt’s violin accompaniment. Tapping into another sort of (defiant) loneliness, the Everly Brothers’ Long Time Gone (“…when I leave, I’ll be a long time gone..
7. 8. 2018 |
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[by Ken Hunt, London] This is an adapted article, based on a joint interview with Zoe and Idris Rahman that we did yards away from the Royal Festival Hall on London’s Southbank in 2008 for Jazzwise (a magazine I’ve written for since January 2001). The focus was the newly released Where Rivers Meet.
O, River also titled O nodi re opens Zoe and Idris Rahman’s Where Rivers Meet. It starts with a water ripple of piano. A consolidating flourish with shake-rattle percussion begins to purl beneath it. A reed takes up the watery melody. Melodic consolidations follow and the piano playing takes on a percussive guise – more cimbalom-like than santoor-like though. Then the sluice gates open and the ensemble pitches headlong into the melody. O, River ebbs and flows like a tidal river
11. 2. 2018 |
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[by Ken Hunt, London] These are five influential LPs of Indian classical music that captured the imagination of listeners in the early years of the post-war boom.
Ali Akbar Khan Music of India – Morning And Evening Râgas (His Master’s Voice ALPC 2, stereo, 1955)
Brother-in-law to Ravi Shankar, the musician Yehudi Menuhin considered the greatest on the planet, Ali Akbar Khan played sarod. In his celebrated jugalbandis (duets) with Shankar, this short-necked lute played the male role in conversations with the sitar’s female voice. Menuhin had met them in 1952 and was so enraptured that he finagled this album’s New York session – the first microgroove long-player dedicated to a principal Indian soloist. Menuhin is literally its master of ceremonies.
29. 8. 2017 |
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[by Ken Hunt, London] One of the most life-changing discoveries of my life was being handed a linguistic skeleton key in the spring of 1971. Turning 20 working in the print on the German-Danish border, every day it was Hochdeutsch to management and Plattdütsch or Low German to nearly everybody else. Plattdütsch is a working-class language that straddles the Schleswig-Holstein boundary between Germany and Denmark. It enables its speakers to hold a form of bilingual conversation as far west as Flanders and into Scots-speaking Scotland. It represents a whole world of cultural intergrades rarely spoken of. Koen, Hartwin and Ward Dhoore, collectively the brothers Trio Dhoore (sometimes with Elene Leibbrand calling at festivals), epitomise that in their music-making, too.
13. 12. 2016 |
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[by Ken Hunt, London] “How unseemly it is to follow anyone slavishly,” was ECM’s press release’s free (one suspects) translation for the title track in 2013. Performing Muhlis Akarsu’s Kula Kulluk Yakýîir Mı therefore could be perceived as a pointed choice since he died in a firebombing in 1993 aged 45 or so. He belonged to the Alevćlik (Alevi) sect. Within Islam, Alevism is seen as a Turkish- slash Turkish-diaspora-based Shia sect retaining Sufi colourings. Furthermore, Alevism espouses poetry, music and dance.
Erdal Erzincan plays the bağlama – the long-necked lute or saz anglicised as baglama while Kayhan Kalhor is the project’s kamancheh (spike fiddle) player. As
30. 11. 2015 |
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[by Ken Hunt, London] Back in New York, Seeger enthused about what he had seen and heard. Broadside, a publication with a tiny circulation – using, as Cunningham recalled, a hand-cranked mimeo machine “we had inherited when the American Labor Party branch closed in our neighbourhood” – became a vital conduit for song. Originally published fortnightly, very soon monthly, topicality was a major goal. It published its first issue in February 1962 and folded in 1988. By comparison Sing was launched on May Day 1954 and Sing Out! had first appeared in 1950. Unlike Sing Out! or Sing, Broadside did not interleaf traditional songs with its songs of struggle, diatribes on themes of social justice or political squibs
12. 5. 2013 |
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[by Ken Hunt, London] Originally written on the eve of London’s post-Valentine Peace March on 15 February 2003, this with little taken out or added.
Ace’s catalogue is a growing and contracting – call it pulsating – reminder to reinforce why I decided to specialise and limit my listening and writing habits for sanity’s sake.
6 It Was Just A Dream – Big Bill Broonzy with Albert Ammons
on Spirituals To Swing (169/71-2)
I was raised on jazz, swing jazz in particular, by my saxophone-tooting/toting father. Semi-pro at 14, he actively fought the Musicians’ Union last-ditch fuckwit prohibition of semi-pro musicians
16. 4. 2012 |
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[by Ken Hunt, London] Originally written on the eve of London’s post-Valentine Peace March on 15 February 2003 with little taken out or added.
Ace’s catalogue is a reminder why I decided to specialise and limit my listening but especially writing habits for sanity’s sake. Not all the people I wrote about in this piece are still alive, notably Ali Akbar Khan, one of my hugest musical influences.
1 Bass Strings – Country Joe and the Fish
on Electric Music For The Mind And Body – VMD 79244-2
Bass Strings bottles the essence of psychedelic music, a microcosm beside the cosmos of the Dead’s Dark Star>St. Stephen>The Eleven
2. 4. 2012 |
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[by Ken Hunt, London] It’s 2001. You open the paper at an article about the underground strike. Par for the course, the same old politicians are lip-synching the party line. Substitute the specific till the capitalist or metropolitanist becomes local to you. The London Underground is being turned into another public-private partnership. The workers are striking about compulsory redundancies, fears over safety, etc. You get incensed. Another sodding disruption. Another sodding protest. Another sodding privatisation gussied up, as London’s transport commissioner Bob Kiley – remember him, New Yorkers? – decries, to generate “the least expensive product or service at the highest price
4. 12. 2011 |
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