Cahalen Morrison & Eli West are to appear at the Blue Lamp, Wednesday 6th May.
With thanks to Martin Raitt.
Cahalen Morrison & Eli West are, simply put, two of the most innovative and subtle roots musicians around. Their music draws from old folk sources, but it sounds vibrantly alive.
Cahalen Morrison writes songs that sound like a Cormac McCarthy novel: simple, beautifully crafted, and seemingly formed from raw natural elements.
Eli West brings jagged, angular arrangements based in bluegrass and old-time, but refracted through a 21st century lens.
Like Ansel Adams’ photography, their music is instantly accessible and built from the simplest materials, but at the same time seems to transcend its base fundamentals. Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen’s vocals reflect the warm glow of Eli’s voice, it’s clear that this duo was made to sing together.
He became a star student at one of America’s most prestigious music schools but Alan Benzie, who returns to the Blue Lamp on Thursday, May 7, was in demand as a jazz pianist while he was still at school here in Scotland.
Now twenty-five, Benzie was a pupil at St Mary’s music school in Edinburgh, where he originally studied violin, when the owner of the Jazz Bar in the capital, Bill Kyle, used to phone him, sometimes at the last minute, to come over and play with some of the best musicians on the touring circuit.
“I remember once getting a call just after I’d gone to bed,” says Benzie.
“It was Bill, phoning to say that the pianist he’d booked hadn’t turned up and asking if I could deputise. So I got up, had a quick shower, got dressed, dashed over to Chambers Street, and played the gig.”
His experiences at the award-winning venue were not always quite so impromptu. As a teenager who had shown considerable promise, he had been asked to play the Saturday afternoon slot regularly and he would later go on to play residencies at the club with musicians including the Russian trumpeter Valery Ponomarev and American vibes player Joe Locke.
Once he arrived at Berklee, after winning the inaugural Young Scottish Jazz Musician of the Year competition in 2007, Benzie played with other notable musicians including saxophonists Jerry Bergonzi and Joshua Redman. He also won the college’s Jazz Performance Award in 2008, the Alex Ulanowski Award for outstanding composition in 2009 and 2010, and the Billboard Magazine Endowed Scholarship, which is given to the year’s outstanding student, in 2010.
Such achievements couldn’t have been further from Benzie’s mind when he began studying violin at St Mary’s. He enjoyed playing the instrument and sat in on the school’s monthly jazz classes but when he heard Swedish pianist Esbjörn Svensson, whose trio EST enjoyed huge worldwide popularity in the early 2000s, he decided he had to become a pianist.
Svensson, who died in a diving accident aged forty-four in 2008, became a mentor to Benzie as the pair had long conversations about music on EST’s frequent visits to Scotland.
Now Benzie is leading his own trio, featuring Edinburgh-born, London-based Andrew Robb (bass) and Hungarian drummer Marton Juhasz, and releases his first album, Traveller’s Tales, this month. It features music inspired by his own travels.
“I’ve been lucky enough to spend time in different places and this has had a big impact on the way I look at the world and how I write music. I also love a good yarn,” he says.
“All of the tunes on the album have a story behind them, some of longer ones being like diary entries and the shorter ones more like capturing an image.”
And although his travels have taken him to play at some of the world’s best known venues and festivals, he still has a soft spot for the Blue Lamp, where he last appeared two years ago.
“Speak to musicians in London and from places further afield and if they discover you’re from Scotland, they almost inevitably mention the Lampie, as everyone seems to know it,” he says.
“It’s a great room with a special atmosphere and I’m really looking forward to being back there.”
Lemon Tree 26 April 2015; it’s been snowing, most people are cancelling their plans to stay home and be warm. The result is an audience size below what was expected for Wire. But completely undaunted and unphased, they air their new album Wire to Aberdeen’s hardcore, devoted live music fans. Suzanne Kelly reports. Pictures by Dod Morrison.
I wish I’d stayed until the end. I wish I’d stayed until the end. Having to leave this show early is a huge regret a week later.
With a new album to promote, long-running, ever-evolving punk/art/rock act Wire played a, well – sweet and strong set to an audience that loved it.
The Lemon Tree was not packed, but almost everyone I’d ever met in Aberdeen who loves music was there.
One proud fan had bought everything the merchandise stall had to offer. A beautiful silver foil on black poster, signed by Wire, was his prized possession.
The geometric graphic was composed of many smaller elements making a striking, elegant, strong overall design. And that’s kind of how I see their music as well. Complex, perfectly executed percussion layered with bass, guitar and vocals combine; and rock-solid, cohesive and compelling music is the result.
As another person who loved the show said:
“they’re artists; this is art.”
Wire formed around 1976 and today are Colin Newman (vocals, acoustic guitar , electric guitar, keyboards, and more); Graham Lewis (bass, effects, keyboards, vocals, backing vocals); Robert Grey (drums) and since 2012 or so Matt Simms (electric guitar, 12-string electric guitar, lap steel guitar, effects, keyboards)
Of this new album they’ve said:
“Their 13th studio album — simply titled ‘Wire’— comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording.
“The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a ’60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire’s idiosyncratic vocabulary but it has a remarkable freshness.” http://www.slicingupeyeballs.com/2015/02/12/wire-new-album-tour-dates/
The new guitarist Simms in particular seems to be enjoying himself and is smiling at his bandmates and the crowd; other than that the rest of the act seems focused on every note. I wonder how they’re feeling: it’s the end of the UK tour; it’s Sunday night; it’s snowing; they’re probably shattered. But they’re here and we’re glad of it.
A sound engineer is darting all over the place; some said as I left the vocals could have been higher in the mix and brighter, but I’ve no complaints myself.
No point in pretending I know what the new songs were or what the complete set list is. (If someone out there wants to share the set list, please do weigh in). What I did hear was infectious and beautifully delivered. Know the names of the songs? I wasn’t sure whether I was in the 1980s 90s or the future. But I liked it a lot.
If you want a sample, here is Joust & Jostle.
I’d not previewed the new album; this show was mainly dedicated to tracks from this their 13th album, the self-titled ‘Wire’. As my friend said later:
“They’ve finally put out an album named ‘Wire’ – its brilliant, it IS Wire.”
I find them crisp, smart, sharp; the drummer is absolutely amazing; at one point I’m not at all sure how Simms is getting his guitar to create the most amazing sounds; I’m a bit mesmerised by this and several other passages.
My phone’s SoundHound app didn’t recognise any of the new pieces, which I thought I’d try for a variety of reasons; but I was far too busy listening to them to worry about it. But I’m sure that once this album’s been properly launched, everyone, even SoundHound will be familiar with this impressive new material. Aside from the people who came and stood directly in front of me after the third song and didn’t’ stop talking once, it was a gripped and attentive audience.
By the time this review is out, the UK tour will have finished; the band will tour the US in May. If you can’t get there, I’d get the album.
Is it punk? Is it new wave? Is it PostPunk? Is it electronica? Is it rock? Yes. And I’d like more of it.
In another major coup for Martin Raitt of the city’s Almost Blue Promotions, Americana giant Mark Olson will grace The Blue Lamp stage on Sunday 26 April.
Olson is the founding member of pioneering country rock legends The Jayhawks, who are universally cited as being among the most influential bands from the 1990s with their albums Hollywood Town Hall and Tomorrow the Green Grass high on the must-have lists of Americana fans.
Olson’s new album, Goodbye Lizelle, is his first solo project for five years and features his Norwegian wife, Ingunn Ringvold on vocals.
It has been attracting hugely favourable reviews, and Mark’s visit to the city displays Alost Blue’s determination to bring the highest-quality acts to the NE, reflected in online interest and impressive ticket sales.
Opening the show is Stonehaven loon Colin Clyne, now back in the NE after a 10 year stay in Southern California where he built a sizeable following. Clyne combines Scottish influences with his love of American music, and has been recorded and produced by Grammy award winning Engineer Alan Sanderson, best known for his work with The Rolling Stones and Burt Bacharach.
Almost Blue’s May gig will feature Cahalen Morrison and Eli West, no strangers to the NE, but who seem to love coming here and putting on ever more skilful and uplifting shows.
Simply put, they are two of the most innovative and subtle roots musicians touring and recording today.
Their music draws from old folk sources, but it sounds vibrantly alive.
Cahalen Morrison writes songs that sound like a Cormac McCarthy novel, simple, beautifully-crafted, and giving the impression that they’ve been formed from raw natural elements.
Eli West brings jagged, angular arrangements based in bluegrass and old-time, but refracted through a 21st century lens. Like Ansel Adams’ photography, their music is instantly accessible and built from the simplest materials, but at the same time seems to transcend its base fundamentals.
Together, Cahalen and Eli tap the root of the old country and bluegrass duets. As the sparse landscapes of Cahalen’s vocals reflect the warm glow of Eli’s voice, it’s clear that this duo was made to sing together.
Then Seasick Steve, supported superbly by My Baby, delighted the Music Hall audience last weekend.
Graham Robertson of Blues Rock Aberdeen is keen to point out that the blues action continues, with the Stevie Nimmo Trio booked to play an afternoon show at The Tunnels on Sunday 3 May at 1500, a perfect way to celebrate the May Day weekend.
As one half of Scotland’s highly respected Nimmo Brothers, Stevie Nimmo has built a deserved reputation over 15 years of touring and recording, and is a well-respected musician throughout the blues and rock scene.
Following a successful Nimmo Brothers gig in Aberdeen in 2014, Stevie now brings his trio line up to the Granite City for a full-on electric gig.
Stevie’s critically-acclaimed Wynds Of Life solo album in 2010 featured top Texas musicians, and now the first Trio album is on release to coincide with the tour. Songs previewed live during 2014 received great audience reaction.
The Moorings continues to bring acts to Aberdeen which command attention. Joe Lynn Turner’s not-to-be missed acoustic evening was something else again. Suzanne Kelly reports; photos by Still Burning – aka Julie Thompson and George Mackie.
If you were of a certain age, and living in the US, you loved rock and metal. Particularly English metal.
Every guy wanted to be in a band; some great musicians came out of the 70s in the US. UK bands filled giant arenas and played to capacity crowds. Led Zeppelin reigned supreme (and for many of us still does, not least with the re-release of Physical Graffiti on its 40th anniversary – but I digress).
If you worked at it long and hard, you became a halfway credible guitarist.
If nature had particularly gifted you and you worked at it, you could sing passably. If you could play remarkably well, had a perfect voice for rock, and could write, then you could only be Joe Lynn Turner.
This was the guy from New Jersey who joined Ritchie Blackmore’s Rainbow for much of the 80s and was on Deep Purple’s Slaves & Masters.
This guy from New Jersey who played to tens of thousands in stadiums invited us to have a nice, warm intimate show at the Moorings. And we loved it.
JLT is touring; it’s an acoustic show with two other guitarists. Being able to hear music stripped down to an acoustic essence is a good way to figure out if you’re just listening to someone who can deliver a few power chords via some distorting electronics or someone who can play with some subtlety and skill.
I dare say he’d won us over before he was through the first few measures of his opening piece ‘Stone Cold.’ He finishes, tells us he ‘looks like a criminal’ under the bright lights, and asks us to just shout out any questions as he goes along.
He then tells us about a recurring dream and a face that haunted him – and ‘Street of Dreams’ is next. People have brought along their treasured memorabilia; he promises to sign these later. Soon he mentions Ronnie James Dio and sings Catch The Rainbow.
He’s doing material that showcases his considerable gifts. He’s taken tracks from Slaves & Masters; he’s covered the Beatles’ Blackbird and When I Saw Her Standing There; he’s done Van Morrison.
This night is more like hanging around with your friend who plays guitar, as you talk.
I’d never imagined this would turn out to be such a warm, friendly, down-to-earth evening – but it gets even more so.
We wind our way to the last few songs. Deep Purple’s Hush is near the end; and by now most of us are singing. But as the show nears its end, we get the extraordinary treat of an acoustic Smoke On The Water. I’ve seen Flash in the room; he’s grinning from ear to ear. I think that every single person was singing along. Remembering this moment makes me want to sing it aloud again now.
He’s off; he explains the band have an early plane to catch. All I can say is thanks for a great evening, and if you find out that Joe Lynn Turner is heading your way, I’d suggest you get there.
On a personal note.
I never thought I’d see a show quite like this; JLT virtually made a friend of everyone there. When he mentioned Ronnie James Dio, I was catapulted back to the late 70s when groups like Elf, The Rods and The Numbers were swelling up in Dio’s hometown, and the impression they made on me then which lingers.
Somewhere I have an old cassette tape (is there any other kind?) of Dio singing before he broke big. I must find that tape.
Jennifer Shaw, as Dolly Parton, wins ‘Inverurie Stars in their Eyes 2015’ at Inverurie Town Hall.
As the dust settles on Inverurie Stars in their Eyes 2015, Dan Greavey and colleague Alison Sandison of Right Here Productions put out a big thank you to everyone who helped out in any way whatsoever!
The acts, sponsors, bar staff, judges, technical, John the hall-keeper, the dancers and last but not least the audience members were, they said “magnificent” this year.
The Archie Foundation, the Junior Diabetes Research Fund, Westhill SensationAll and Gaitherin 2015 will all benefit to the combined tune of well over £2649-50.
Judges Callum Bell, Leigh Ryrie and and Keith Ross plus almost the entire studio audience voted Dolly Parton outright winner at the Easter Saturday sell out event. In the guise of 26 year old Jennifer Shaw, Dolly easily beat off stiff competition from the likes of Elvis and David Bowie.
The Garioch’s very own genuine Elvis Presley (Stuart Faskin), Kintore’s favourite Jarvis Cocker (James Allan), Dyce born virtuoso Norah Jones (Cath McPherson), phantom singer Sarah Brightman (Valerie Chapman) and the unequivocal star man David Bowie (James Pritchard) – goodness that was a mouthful – simply weren’t up to the famously busty winners standard as Dolly’s 1974 country hit ‘Jolene’ almost literally brought the house down.
There wasn’t a dry eye in the house and as the raffle tickets ran out and the bar ran dry, a guid’ night was had by one and all.
At least that’s what they told me to write.
In truth of course this was a charity fundraiser like no other.
As last years winner Will Young (Jordon Abberly) said towards the end “And it feels like jealousy, and it feels like I can’t breathe, and I’m down on my knees, and it feels like jealousy, can I get my cheque now please?”
Inverurie’s very own Stars In Your Eyes Master of Ceremonies Mathew Kelly, known locally as Dan Greavey will be – ahem – “sending out the cheques shortly.”
South Carolina natives, Heyrocco will be bringing their infectious mix of grunge-pop to Aberdeen Lemon Tree on the 15th April ahead of the release of their upcoming debut album.
After making waves at home and abroad last year, Heyrocco continue to win fans on both sides of the pond the band are now set to unleash their stunning debut album ‘Teenage Movie Soundtrack’ on June 8th, via Vital Music Group.
The album is a perfect marriage of grungy angst and bubblegum pop. ‘Teenage Movie Soundtrack’ lends itself as much to the A-List radio airwaves as it does to the grimy basements in which these tracks were written.
Already being compared to the likes of Nirvana, Pavement, The Cure and Mudhoney, the album is packed to the rafters with gargantuan choruses, sludgy guitar hooks, and boasts stellar made-for-radio melodies
From the slushy, yet happy Weezer-esque opener ‘Loser Denial’, to the sleazy, chugs of ‘Melt’ and ‘Mom Jeans’, to the grunge-laden tracks ‘Virgin’ and ‘Happy’, right down to the more laid-back sounds of ‘Allison’ and ‘Santa Fe (Stupid Lovesong)’, Heyrocco have produced a work of undeniable sonic gratification, with an abundance of mucky guitars and the vocals of singer Nathan Jake Merli, sound-tracking the voice of disheveled youth.
Nathan (Guitar and Vocals), along with Chris Cool (Bass, and yes, that’s real name) and Tanner ‘Taco’ Cooper first plugged-in the amps in their parents’ garages five years ago in South Carolina and were soon touring across the United States in their beaten up old van.
Their first UK tour at the end of last year brought their explosive live show to a rabid audience, including a sold out show in front of 1,400 people for Club NME @ KOKO. They also have been lighting up the radio airwaves with support from Zane Lowe, Huw Stephens and Phil Taggart at Radio 1, alongside XFM & Kerrang Radio.
The band are set to hit UK shores in April with a 12-date tour in support to The Xcerts, stopping off at The Borderline in London. Following this, Heyrocco will embark on a series of their own headline dates.
“Cue the light wash denim jeans and tattoo chokers because Heyrocco’s new single launches us right into 90’s teenage movie nostalgia. Like these Southern sweethearts, we admittedly might not have been the coolest kids in high school—but at least we can pretend like we were while listening to some 90’s inspired rock and roll.” – NYLON
“‘Virgin’ mimics the angst-ridden grunge of Nirvana, while flecks of Pavement ensure a distinctly nostalgic flavour to these guitar heroes” – NME
“Set in high school, with its corrosive mixture of The Cure and Mudhoney conjuring up all manner of adolescent fury” – Clash
APRIL TOUR – SUPPORTING THE XCERTS
10th – Guildford, Boiler Room
11th – Tunbridge Wells, Forum
13th – York, Duchess
14th – Hull, Fruit 15th – Aberdeen, Lemon Tree
16th – Inverness, Ironworks
17th – Edinburgh, Mash House
19th – Birmingham, Rainbow
20th – London, The Borderline
21st – Cambridge, Portland Arms
22nd – Northampton, Roadmenders
23rd – Exeter, Cavern
HEADLINE DATES
28th April – London, Seabright Arms
29th April – Chelmsford, Undertone
It was clearly only a matter of time before this tale of missing trousers came to the Aberdeen stage.
Is it a mere tribute to the film, or is the stage production of Simon Beaufoy’s award-winning screenplay breaking new ground?
The story explores the issues faced by a group of laid-off steelworkers. The steel mill has closed and the de-skilled men have been chucked on the scrap heap.
The government of the day has little to offer other than the so called Job Club. Impotence, poverty and despair are central themes.
Even suicide by hanging is an option, and in a slapstick but shocking scene the audience are forced to make a decision as to whether to laugh or cry!
Of course it’s all metaphorical. The shedding of clothes in the Chippendale scenes reflects the claiming back of dignity and the casting off of the impotence of mass unemployment. The hanging scene where Bobby Schofield’s Lomper is first rescued, then abandoned, before being taken into the fold reflects on issues to do with the uncertainties of celibacy.
The spectre of a female peeing up against a wall not only challenges gender beliefs, but also further emasculates the jobless men. She has a role to play and they don’t.
At points the lampooning of Thatcherite Britain resembles a Donald McGill seaside postcard and there were cracks. Kate Wood’s Linda was a case in point. Despite her best efforts, the characterisation appeared slightly wooden, and the dialogue disappointingly sparse. Kate’s high spirited Bee and Annie more than made up for this.
In the big scheme of things however this is a superb production. Beside the political moralising the entertainment value shines through. With feelgood galore, plus one of the funniest hanging scenes ever performed on an Aberdeen stage, this hilarious tale of willy waggling in the industrial heartland of England had the audience in stitches from start to finish.
Directed by Roger Haines – Cabaret, Godspell and Driving Miss Daisy – and with choreography by Ian West – The Dog Ate My Homework and The Blues Brothers – this is writer Simon Beaufoy’s first foray into writing for the stage, and he freely admits having to learn a whole new set of skills to make his original screenplay work in a theatrical space.
Of particular note was Brook Exley as Nathan. I have to date yet to see another young lead deliver so many lines so faultlessly.
With a stage set worthy of Fritz Lang’s Metropolis and pounding numbers such as Hot Chocolate’s ‘You Sexy Thing’ and the Tom Jones classic ‘You Can Leave Your Hat On’ you’ll get good entertainment value from The Full Monty.
The Full Monty plays at HM Theatre Aberdeen until Saturday 4th April.
Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Bearing more than a passing resemblance to Akira Kurosawa’s 1961 epic screenplay Yojimbo, the plot of The Bodyguard – The Musical borrows heavily from the 1992 romantic cinematic thriller of the same name.
But does it deliver?
Ex-secret agent Frank Farmer – played by Stuart Reid – metaphorically wanders around the stage in pursuit of security work.
Having stumbled across the alien world of big time show business in the form of stalker threatened Rachel Marron (Alexandra Burke) he unwittingly tips the balance of power in Diva-land.
As the musical drama plays out on stage, this 21st century pistol toting samurai demonstrates both unyielding loyalty to his new show-biz employer and also a tender love interest towards her in a story line reminiscent of Yojimbo’s double edged game in Kurosawa’s post feudal Japan.
The dialogue scenes are cinematic both in perspective and in delivery and at times it is tempting to view the performance as simply a stage remake of Whitney Houston’s Academy Award winning Hollywood acting debut.
This is, after all, the musical of the film of the book and that in anyone’s script, is a hard place to be.
The fact that Lawrence Kasdan’s original screenplay had originally intended that Steve McQueen and Diana Ross co-star must make taking on the leading roles challenging at the very least. This combined with a thin script, in which the loyal but completely incompetent Frank exposes his charge to danger at every turn before finally taking a bullet for her, might well tempt even the most confident super-star to body swerve the production.
In many ways however, the plot is somewhat incidental and serves well as a vehicle for Alexandra Burke’s powerful delivery of the Whitney hits.
From the opening Queen of the Night to the curtain call I Wanna Dance With Somebody her richly silky contralto more than delivers. Unphased by those “big” songs it was clear even before she got to Dolly Parton’s I Will Always Love You that here was a star in the ascendancy. Add to this those glitzy costumes and commanding stage presence and you have a crowd-wower extraordinaire!
In sharp contrast, Stuart Reid’s aurally challenging singing performance in the karaoke-bar scene is intentionally painful. With an artistic pedigree including Mama Mia, Dancing at Lughnasa and Miracle on 34th Street he breezed through the humorously off-tune melody seamlessly.
Melissa James, as the sidelined sister Nicki Marron, neatly complements the successful, career- focused Rachel while The Stalker, played malevolently by Mike Denman, drew panto-like hisses from the audience almost as soon as he appeared on stage.
Young star Elliot Aubrey – Shine Like The Sun/Stanley Halls Theatre – shone as Fletcher. Delivering a strong and focused performance, he brought a genuine innocence to what is after all a dark and tragic tale.
With superb use of stage scenery and a host of spectacular special effects, The Bodyguard – The Musical looks as good as it sounds. Of particular note are the cleverly automated “camera shutter like” back drops. Musical Director Tom Gearing and the orchestra excelled.
Add into the mix an awesomely acrobatic dance ensemble worthy of Broadway and the audience really begins to rock!
All the classic numbers are here in one package which makes the musical a must see if you are a Whitney Houston fan and even more of a must see if you are a fan of Alexandra Burke.
The Bodyguard – The Musical plays at HM Theatre Aberdeen until Saturday 28th March.
Tickets from Aberdeen Performing Arts Tel: 01224- 641122
