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MUSIC AND CDs
Guitarist Derek Bailey made his last UK appearance with saxophonist Tony Bevan's Bruise, playing at London's 291 Gallery in August 2004. In his final years, Bailey had settled in Barcelona, making trips to his old haunts much scarcer. Band member Ashley Wales (also of Spring Heel Jack) recorded the occasion, and Bevan has released the results on his own label. Orphy Robinson is becoming increasingly interested in hardcore improvisation, but he and Wales are here for environmental sculpting reasons, with bassist John Edwards and drummer Mark Sanders the next in sonic line below the compulsively bullying Bevan and Bailey. The three extended pieces are "Search", "Locate" and "Destroy", which was apparently Bailey's motto. Bevan specializes in the bass saxophone, a rarely-sighted beast, due to its unwieldy size. As the first section opens, he clacks antlers with the cranked-up Bailey. The venue has a uniquely industrial acoustic, and this informs the sonic texturing that ensues. The enlarged reverb imposes an exciting sense of loading-bay bleakness, creaking and groaning with a taut suspension of stark minimalism. Reviewer: M. Langley
Speake (for those who don't know him) is an eclectic alto saxophonist, equally at home with cross-cultural projects with classical Indian musicians, reinterpreting the music of Charlie Parker or sessioneering with the Style Council. This band features pianist Bobo Stenson, bassist Mick Hutton and drummer Paul Motian and had its genesis in a Cheltenham festival commission and tour back in 2000. ECM finally put them in the studio in 2002 but it's taken another four years to get this album out, during which time Motian has ceased to tour outside the US and Hutton is sadly no longer able to play due to injury. So while a reunion looks unlikely, this is a rewarding, if muted souvenir of the band's existence. Only one piece is taken at speed; the rest is typically sepulchral ECM fare, injected with various degrees of freedom and powered (if that's the word) by Motian's trademark pattering. Speake has a clear, luminous tone and a penchant for meandering, aching melodies; his pairing with Stenson works effortlessly. Hutton is assured, warm and inventive; this set is a reminder of what a great player we've lost. One for the ECM devotees, perhaps, but lasting pleasures are to be had within. Reviewer. P. March
With coals already on the fire for her fourth studio album, Beverley Knight has taken a step back with Voice: The Best of Beverley Knight to review her body of work from the past decade.
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Comprised of 11 top 40 hits, the record is a worthwhile and deeply impressive retrospective. Fans of Knight's impeccable soul-gospel vocals will note the remarkable variety of styles here, from the exuberant and impossibly catchy pop of "Keep This Fire Burning", a standout track, to the smooth soul of "Gold" and rock-posturing of "Come As You Are", the biggest top 10 hit from her last album. The album also includes club hit "Flavour Of The Old Skool", billed here as "Flava", the single which marked Knight's debut onto the UK urban scene in 1995. Since then she's proved hard to pigeonhole, but we can safely expect more great things to come. Reviewer: L. Haynes
Today's pop market is very different to the one in which P!nk was unleashed on the world. Then, she was a breath of fresh air, bringing rebellious attitudes to a world filled with Swedish pop svengali Max Martin's bubblegum productions. Now, "Cuz I Can", the standout track on this album with its oddball 'We All Want Ice Cream' chorus is produced by non other than Mr. Martin himself. The scathing "Stupid Girls" certainly shows that P!nk feels more alternative than she actually is. It's not only that though. Today, charts are peppered with rock-chicks and while most tracks on I'm not Dead are radio friendly, songs like "Leave Me Alone" and "Long Way to Happy" go too far down that route, lacking P!nk's individuality, and positively oozing Hilary Fuff -ness. One thing is clear though: Kelly Clarkson has taken over as chart's rock queen and nothing on I'm Not Dead begins to match up to "Since You Been Gone". Reviewer: T. Kranes.
For most British music fans, the word Gospel conjures up images of Aretha Franklin and Sam Cooke emerging from the churches of black America to invent soul. But that was 50 years ago, and for those who may have lost touch with subsequent developments, this double-CD provides a helpful round-up of the current state of play. And the tradition clearly remains active if a little confused. The superstars of the movement, sisterly duo Mary Mary, top and tail the collection: their US hit "Shackles (Praise You)" is a solid piece of R'n'B but, like many of the tracks, is indistinguishable from mainstream pop-soul. Programmed rhythms and over-production all but drown out the messages of hope and praise, and even when the messages do appear, they're often bland rather than inspirational: Keep the faith, stay positive, stay away from the negative' urges hip-hop artist Seven. Standout track is dancehall reggae singer Chevelle Franklyn (as heard on Shabba Rank's "Mr. Loverman"), whose "Salvation" is both infectious and devotional - would that the rest of the album had such depth. Reviewer. Alvina Turner
Admittedly, it was nostalgia that prompted me to check out Rick Springfield's latest release. And at least his photographs didn't disappoint. The hunky Aussie '80s singer and one-time soap star has aged astonishingly well. With his shaggy brown hair and lanky frame, Springfield's sexy looks belie his -- gasp -- 55 years. What's disappointing, however, is the music. The Day After Yesterday is a collection of covers that are favourites of Springfield. Tracks include 10cc's I'm Not In Love, Foreigner's Waiting For a Girl Like You, and Dream Academy's Life in a Northern Town. Most sound fine. (Although he shouldn't have touched John Lennon's Imagine, a reach for anyone.) And the idea of doing covers is great -- as long as they're improved upon rather than simply rehashed. While Springfield's raspy voice is tailor-made for solid pop songs like the ones he chooses for this collection, he does nothing special to make them his own. -Reviewer: Kim Curtes CONTINUES ON P73
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Bruise
Martin Speake,
Change of Heart
Beverley Knight,
Voice: The Best of Beverley Knight
P!nk,
I'm Not Dead
Various Artists,
The New Sound Of Gospel
The
Day After Yesterday