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- Music Weekly podcast: Wire and Clinc's Ade Blackburn
Colin Newman and Graham Lewis from Wire on their mutually antagonistic relationship with their audience, and their ever changing sound over the last 30 years. Plus Ade Blackburn from Clinic plays some tracks that have changed his life. Plus Alexis Petridis, Rosie Swash and Rob Fitzpatrick review tracks by Kurt Vile, About Group and Katy B.
Leave your reviews of those tracks and any other comments below, or on our Facebook page or by getting in touch with us on Twittter.
Переслать - Nominate your favourite artists at SXSW 2011
It's nearly time for Texas' annual new music conference. Let us know who you rate from this year's lineup
Переслать - New music: Spoek Mathambo – Control
A 'darkwave township house' cover of Joy Division's classic paean to dancing to a bleaker beat. Grim – but very good
Control – a "darkwave township house" cover of the Joy Division classic She's Lost Control – is the fourth single to be taken from South African producer/DJ Spoek Mathambo's latest album, Mshini Wam. With an eerily distorted vocal and one of those "wamp wamp" basslines everyone's using, Control maintains the original's ability to make you want to dance while fully aware that the song itself is best accompanied by a dark depression. The incredible video – premiered on Dazed Digital – was shot in Langa, Cape Town and is directed by respected photographer Pieter Hugo, who used a cast made up mainly of kids from the local dance troupe, Happy Feet. Also, if someone could follow the DD link and tell us what that weird creature thing is at the beginning that would be great.
guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Great moments in jazz: Weather Report and the orchestration of fusion
Readers' input has been invaluable to the progression of 50 great moments. With only a handful left in the series, we turn to 1970s fusionists Weather Report
Catching the editor of this newspaper discussing the changing nature of journalism on the BBC's Newsnight this week set me reflecting on this jazz series and how invaluable the stimulation from readers has been.
The role of the critic (a term I've never much liked, though my preferred "reporter" is regarded by some as a bit of a cop out) is in a process of substantial transformation, as digital dialogue with readers makes the relationship much more of a two-way street. It's crucial, of course, to keep on valuing the wider perspective that specialist knowledge and long experience brings, but only the most opinionated or paranoid of professionals would scorn the fresh insights enthusiastic and informed readers provide.
I've certainly encountered plenty of the latter during the writing of this series – though perhaps the informality of the jazz environment, with its encouragement of leaning-on-the-bar dialogue between the fans and the "expert", has been useful training. But if there have been too many of those revelatory moments over the great moments series to thank the providers individually for, I'd like to take the opportunity to do that collectively now.
Which brings me to some recent comments, particularly in relation to Keith Jarrett's The Köln Concert. I was intrigued by regular correspondent nilpferd's references to McCoy Tyner in relation to pianists' use of hook-like repeating patterns, a reminder that though this series hasn't addressed Tyner specifically, he's been a powerful influence on piano jazz and on the form in general. I'm also grateful for the connections correspondents have suggested to other contemporary pianists, notably Brad Mehldau, John Taylor, Robert Glasper, Aaron Parks, Vijay Iyer, Bobo Stenson, and the young German player Julia Hülsmann.Bix2bop's tracing of a line from Leonard Bernstein's 1944 Some Other Time through Bill Evans's Peace Piece and Flamenco Sketches intro and on up to Jarrett was fascinating, as were the same commenter's references to John Adams's Gershwin book on the influences of European late-Romantic harmony on show music and jazz standards.
Lastly, abahachi asks how many more episodes we have to go. I'm mortified to remind myself that since the plan was for 50, the answer is six, including today's – and that somehow in that sequence there ought to be mentions of European innovators such as Jan Garbarek, Eberhard Weber or the late Edward Vesala, Anthony Braxton's 80s music (yep, richardri, he was on the list), Wynton Marsalis, Steve Coleman, John Zorn/Dave Douglas and more. We've also considered throwing a post-series one-off blog open to readers, to suggest your own greatest moments or correct those glaring omissions that have probably been driving you nuts for months. So watch this space.
And so to Weather Report, an iconic influence on the development of jazz-rock fusion, originally formed as a quintet in 1970. Its core partnership of saxophonist Wayne Shorter and keyboardist Joe Zawinul brought together influences from the dazzling 60s postbop-to-fusion groups of Miles Davis (Shorter had been the saxist and a significant composer in those bands) and the unique classical-music-to-gospel sensibility of Austrian expat Zawinul, a conservatoire-trained player/composer who had wound up working in Cannonball Adderley's soul- and R&B-inflected groups. Shorter originally emerged at time when John Coltrane's sound dominated a sax-player's soundscape, but the younger man had both a distinctive compositional voice and a capacity for brusque, tellingly fragmented, jaggedly phrased solos that represented his own personal signature.
While working on the classic Miles Davis early fusion album In a Silent Way, the Shorter-Zawinul partnership flourished. Zawinul was using the synthesiser to create both a vibrant solo-improvising voice and a dazzling range of texture and coloration that would transform the nature of jazz composing and arranging, give a jazz band a more invitingly contemporary sound for audiences raised on rock, and enable a small ensemble to mimic a much bigger one. Weather Report made a string of successful and very attractive albums over the next 14 years, with frequently changing lineups (including the late electric-bass genius Jaco Pastorius) but always built around Shorter and Zawinul.
Perhaps the best-known, most inspirationally composed and best-balanced in terms of the band's capacity for both lyricism and jubilant grooving is 1973-4's Mysterious Traveller. Here's Nubian Sundance, which opens that memorable album. Countless bands across the idioms were to be inspired by this exultant sound, and still are.
guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать
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