Rowley Gallery Blog
A is for Apple. B is for Bike. C is for Cat. All three of these are in my new ABC book, ‘Fast Cars & Ukuleles’, but not where you’d expect them. The apple is under F. For the bike, look at V. And the cat is on an endpaper. I’ve always loved alphabet books. Continue reading “Fast Cars & Ukuleles”
Jake Long (drums), Nubya Garcia (saxophone/flute), Shirley Tetteh (guitar), Amané Suganami (piano/wurlitzer), Twm Dylan (double bass) and Tim Doyle (percussion) stretching out at the Boiler Room in June 2017. They’ve gone from strength to strength, and in November 2018 they released their long-awaited first album, There Is A Place, a beautifully uplifting collection of songs that recalls the music of some of the pioneers of spiritual jazz. I hear echoes of Pharaoh Sanders, Alice Coltrane, Gato Barbieri and Don Cherry. I can’t stop playing it. It’s my record of the year – There Is A Place.
I found this video on Boxing Day at a fascinating website I just discovered called Arbutus Yarns, a great treasure house of Irish music built by Myles O’Reilly and furnished with all the gorgeous first-hand unadulterated musical beauty he can find. I think I’ll be visiting him again – Arbutus Yarns.
Brazilian dance ensemble Grupo Corpo performing their 1997 piece Parabelo, choreographed by Rodrigo Pederneiras with music by Tom Zé and Zé Miguel Wisnik. “From working and devotional chants, from the memory of the rhythmic baião and from the exuberant and an ever present, entangled, rhythmic points and counterpoints, emerges choreography full of hip swaying and feet stamping. It’s a ravishing statement of maturity and of the expressive teachings, developed throughout many years, by the maker of Missa do Orfanato and Sete ou Oito Peças para um Ballet.”
Brazilian dance ensemble Grupo Corpo performing their 1996 piece Bach, (“it’s like a game between what one hears and what one sees”), choreographed by Rodrigo Pederneiras with music by Marco Antônio Guimarães (channelling J.S.Bach).
Cello Suite no. 6 in D major, performed by Sergey Malov on a violoncello da spalla (shoulder cello) at the Gashouder of the Westergasfabriek in Amsterdam.
In this last suite, which is also the longest, Bach makes the instrument ascend to heaven. He does so by using an extra fifth string – ‘a cinq cordes’, as Anna Magdalena Bach described it in the manuscript. The fifth string lies a fifth above the A string, which is usually the highest. You might even argue that Bach allows the cellist to transcend their own instrument.
Recorded for All of Bach, a project by the Netherlands Bach Society.
Here’s a lovely thing. A video by Tilda Swinton featuring her dogs, five Springer Spaniels, Rosy, Dora, Louis, Dot and Snowbear, frolicking on a Scottish beach, set to an aria by George Frideric Handel sung beautifully by countertenor Anthony Roth Costanzo. Six minutes of pure joy.
Returning home from a family gathering in the North West we took a detour from our usual route, and despite the dark clouds and pouring rain and the warnings of queuing traffic and closed roads we found our way over the Pennines to the Yorkshire Sculpture Park. It was our first visit and it was long overdue. The way was slow and wet and windy, but as we approached the sky cleared and by the time we left the sun was shining again. And in between the park was a revelation. Continue reading “Yorkshire Sculpture Park”
A surprise package turned up in the post recently. This box was inside. It was a box of tricks. A silent music box awaiting the kiss of life. A limited edition Red Hornet ukulele kit from Jonny Hannah. Continue reading “Darlin Ukelele”
Tom Waits and Marc Ribot and an anti-fascist Italian folk song for the Trump era. Goodbye Beautiful.
“Bella ciao” (“Goodbye beautiful”) is an Italian folk song that was adopted as an anthem of the anti-fascist resistance. It was used by the Italian partisans during the Italian Civil War between 1943 and 1945 in their struggle against the fascist Italian Social Republic and its Nazi German allies. “Bella ciao” is used worldwide as an anti-fascist hymn of freedom and resistance. The song has much older origins though in the hardships of the mondina women, the paddy field workers in the late 19th century who sang it as a protest against harsh working conditions in the paddy fields in North Italy.