Chico Hamilton - Peregrinations

Chico Hamilton was a jazz drummer and bandleader who came to prominence in the 1950s. Initially he played West Coast jazz, but throughout the Sixties and Seventies his music continued to evolve and move with times. In the 1970s he came to embrace the fusion sound that had emerged at the beginning of the decade.

That's where we find Chico Hamilton on 1975s Peregrinations.

 

• Chico Hamilton's discography
• Chico Hamilton obituary

Herbie Mann - Stone Flute

Jazz flutist Herbie Mann had a lot of pop hits over his career. But on Stone Flute there's more of a progressive vibe like he's playing the quieter moments of Miles' Bitches Brew.

Don Cherry - Organic Music Society

Don Cherry was always one of the most adventurous musicians throughout his career. During the 1970s he started to explore African, Middle Eastern and Asian music. And one of the best examples of this genre fusion can be heard on Organic Music Society.

Stephen O'Malley + Steve Nobel | Marcio Mattos - Cafe Oto, London, 18 August 2010

In a record shop I like to frequent they have a section labelled 'Pretentious Art Metal'. It's here that you'll find albums by Stephen O'Malley's Sunn O))) and other bands on the Southern Lord or Hydra Head roster.

Whilst record shop staff are notorious for their snobbery, the instructive part of this tale is that nothing fails as awkwardly as a project with delusions of grandeur. So the two night residency of O'Malley and jazz drummer Steve Nobel is either going to be a triumph or something a long way short of that.

Before I can pass verdict we are treated to a solo cello performance by Marcio Mattos. He swiftyly switches between bowing and plucking in the staccato, jerky, style I can only, for the lack of the correct musical terminology, describe as modern classical. It's spellbinding and within a few minutes Mattos has even silenced the crowd by the bar.

He's also rigged his cello so that he can manipulate the sounds he creates with some additional sonic effects. My distant position in the audience prevents me from seeing how he does this. This allows Mattos to introduce spacey noises like a 1970s computer before he drops in a heavy bass 'whoom', a completely unexpected noise from a cello.

Steve Nobel immediately launches in to a rapid fire, schizophrenic, drumming. He flits across his kit in a hyper kinetic way, all energy and blur. O'Malley meanwhile seems to be trying to work out a chord based puzzle on his guitar. Deploying sluggish riffs in a way which provides tonal colour.

I wait for the performance to coalesce, but it never does. Nobel works his kit furiously, the variety and dexterity of his playing is something to witness. However, O'Malley's sonor ping riffs come across for the most part as if he is trying to tune his guitar.

Fundamentally this pairing doesn't work. Which is a little odd given that they have both played together in Aethenor. But in this setting they simply don't mesh. Nobel's drumming requires a more active guitarist, someone more able to duel and spar, or take the lead. While O'Malley needs a less intrusive percussionist, someone who can give his guitar playing more space to unfold and expand.

Preferred drink: Kernel's London Porter.

Ikue Mori | Chris Cutler | John Butcher - Cafe Oto, London, 14 August 2010

The last time I saw Ikue Mori playing Kim Gordon was wrapped in foil and writhing around at the front of the stage. I’d consider myself fortunate if I saw something half as memorable.

This is the last night of 3-day residency by Mori. Her collaborators have changed from night to night. This evening she is joined by percussionist Chris Cutler and saxophonist John Butcher.

The first set consists of three duos involving all the players.

Mori is uses a laptop. Triggering samples of science fiction inspired bleeps and whooshes. Butcher plays submerged sax squeals. Muting the power of the instrument and firing intermittent clusters of notes.

Cutler has customised his drum kit. Leads and wires run off to a table next to him. It’s covered in percussive ephemera and electrical gear, allowing Cutler to produce a simply extraordinary range of tones and textures.

For all these musicians skill, they sadly don’t play with enough volume for the venue to feel they can keep the bar open during sets. My failure to obtain a drink it the only low point.

The most effective performances are Mori’s duos. The interaction and responsiveness between the musicians seems particularly high.

In the second set they play as trio. Something about this grouping doesn’t quite work for me. It’s a set of moments. There will be a wonderful passage, but then whatever alchemy that had occurred will disappear.

At the end of the gig I too should disappear. Unfortunately, I have stock-piled beer a little too effectively, and as the venue empties I have to stay behind and finish my work.

Preferred drink: Kernel's London Porter.

Zs | Temperatures - Whitechapel Gallery, London, 1 August 2010

The Whitechapel Gallery is a tiny space. Tucked away up an easy to miss alley. Gigs here have a secretive feel.

Temperatures are a duo. Bass guitar and drums. The drummer also has a massive block of electronics which looks like it last used by NASA in the 1960s. The two-piece have a hyper dense sound. Dense bass fiddling battles with percussive drum rumble. I struggle to work out what the electronics are adding. Definitely something. The bass work is murky, thick, intense. Meanwhile the drums clatter away like a box of pots and pans thrown downstairs. In a good way.

The lights are turned off for Zs set. Random patterns and colours are projected onto the band. The effect is like an epileptic lava lamp. Zs set begins with a guitar duet. Complex, math-y, playing. They stop. Then saxophone adds dry note runs and squiggles. The drummer, playing without cymbals, taps gently. The guitars come back in playing an angular riff. They all lock-in. Repeating the malfunctioning riff while the plays muted squeals. They break out of the groove for some flashy playing, but they always return.

They play a shorter second song. Beginning with a syncopated handclap. Over which the guitarists add a quiet metallic twanging. Then they erupt sax jizzle, hard drumming and guitar riffs.

It’s jazz, rock, and prog. It’s also none of these things. I am at least sure that it’s good.