Artist: James Scholfield, Billy Hart
[bandcamp album=989159062 bgcol=FFFFFF linkcol=4285BB size=grande2]
James Scholfield born in Manchester, England and moved to South Africa in his childhood. After playing in all kind of different bands he was bitten by the Jazz-bug. That made him decide to study at the excellent Jazz school in Graz, Austria for several years, but South Africa eventually pulled him back. In Cape Town he met Dutch producer/bassplayer Hein Van de Geyn, who was visiting South Africa at that time. Hein immediately was impressed, not only by his excellent playing, but also by his prolific compositions. As you will hear yourself James’ music has a very personal signature, deeply rooted in the tradition, hints of the Cape, on the edge and above all original. Not too long after hearing James’ demo Hein bumped into Dutch hammond player Arno Krijger and he immediately realised that he should get these two wonderful musicians together at some point. The only thing they missed (according to Hein) was a great drummer. In his mind it couldn’t be anybody else than the amazing, exciting Billy Hart. And if it had to be, Billy was up to it and even better, going to be on tour. So now they had a tour and the possibility to record. The result of their wonderful week, of great music and good food can be heard on this CD. It’s strong, potent, gentle, sensitive, grooving, original, accesible and creative. And on top of all that recorded in the SACD format, which gives this music even more intensivety then a normal recording would do. So listen and enjoy!
Hein Van De Geyn
“Way Out South” – A journey into a world of sounds and space and hypnotic rhythms. The South is a spiritual place within as well as a physical reality without. A world of extremes where light and dark meet, where music heals and reconnects the spirit.
South African duo Natascha Roth and James Scholfield were lucky enough to borrow some particularly tasty gear for the making of this album, and they’ve made full use of it. Their sound layers arpeggiated guitars from Schofield with Emmylou Harris-style warbling from Roth, and since the overall feel is very gentle and downbeat, there is precious little room for bad sounds to hide. Happily, then, the playing, singing and recording are all excellent
“Sound On Sound”
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Review: Curtis Stigers, Dirty Martini, Edinburgh
Curtis Stigers, Dirty Martini, Edinburgh, Monday December 3rd *****
The four months which have passed since Curtis Stigers last walked off the stage at the Dirty Martini evaporated in a nanosecond on Monday night when he didn’t so much start a new residency in the opulent, and intimate venue – as pick up where he left off in the summer, greeting the packed audience like old pals, and engaging in the same sort of cosy, often confessorial, banter that had marked his July appearances and helped make them so enjoyable.
Stigers clearly thrives in this “Up Close and Personal” type of gig, accompanied by just guitarist James Scholfield. Not only is there the engagement with an adoring audience which hangs on his every word from an unusually close vantage point, but there’s an informality and looseness to the show, which allows Stigers’s dry sense of humour to flourish – and inspired him on Monday to play well beyond last bus time.
Anyone who heard Stigers in the summer knows that his repertoire spans his old pop hits, more recent singer-songwriter material, original songs and standards from the Great American Songbook. Only at a Stigers gig would you hear the sublime and rarely sung Rodgers and Hart ballad You Are Too Beautiful followed by the US biker drama Sons of Anarchy’s hard rock theme tune, on which Scholfield unleashed his inner Jimi Hendrix to memorable effect.
And the variety doesn’t end there: with his vocals, two saxes and acoustic guitar, plus Scholfield’s electric guitar, there is a rich palette of sounds for Stigers to work with. Consistent throughout, however, were his energy; his gutsy, emotionally honest and utterly mesmerising singing and the rapport between two like-minded, top-notch musicians. If you don’t catch them this week, it surely can’t be long until they’re back …
First published in The Scotsman on Wednesday, December 5th
February 23 2011 at 10:17am
In addition to ensuring the choice of listening to 40 bands on five stages, the festival’s organisers have put together four concept bands specifically assembled for the event.
Opting for a piano-guitar-bass format that resembles the definitive Oscar Peterson-Ray Brown-Herb Ellis trio, the three will dig deep into the late Canadian pianist’s swinging repertoire. MORE………
Rendezvous de la Musique, Morocco.
Morocco, 30th March-6th April
Ziel und Zweck ist die Kommunikation und der Austausch aller Kulturen auf musikalischer/tänzerischer und künstlerischer Ebene. Die Kommunikations- Plattform ist das „Rendezvous de la Musique“. Sie beinhaltet zwei Abende Kultur.
Der erste Abend ist ein privates Fest im Riad der Kasbah mit geladenen Gästen. Hier geht es um das sich Kennenlernen des anderen, sagen wir ein erstes Beschnuppern, Austausch durch Gespräche usw.
Der zweite Abend ist in der Stadt Asslim auf dem Platz vor der Moschee. Er ist für alle frei. An beiden Abenden spielen mindestens vier Gruppen. Doch soll dies nicht ein Maßstab sein.
Jede Gruppe oder Musiker/ Künstler bekommt hiermit die Möglichkeit, die traditionelle Kultur der Berber dieser Region zu erleben und daran teilzunehmen. Dies ist eine Plattform des Lernens. Der Möglichkeit an einer uns fremden Kultur teilzunehmen.
Das Ziel sind Aktivitäten der Gemeinsamkeit. Austausch von Wissen und „Know-how“. Austausch von Kontakten und Möglichkeiten. Die Abende enden mit einer Session von allen Musikern/ Künstlern. Das „Rendezvous de la Musique“ ist nicht kommerziell.
Das Rendezvous de la Musique wird jedes Jahr Mitte März im Riad der Kasbah Asslim und auf dem Platz der Moschee in Agdz ausgetragen. Das genaue Datum wird ein halbes Jahr vorher hier an dieser Stelle bekannt gegeben. Spätere Änderungen sind möglich.