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The Independent Armchair Theatre is one of the most important and longstanding live music venues in South Africa. After opening its doors in 1998 The Armchair soon became a corner-stone of the Cape Town live music industry and has gone on to become a well known and respected landmark on the national landscape. The venue, with its special ability to host many different forms of live entertainment, has over the past six years played host to the best musicians South Africa has to offer as well as providing a platform for comedians, film festivals, plays, exhibitions and more.
I knew as soon as I got to the Armchair at 8.30 pm that this was going to be a special gig. There was something in the air. Something electric. I had come to see Babu – Reza Khota, Kesivan Naidoo, Ronan Skillen and Shane Cooper. They play this amazing jazz with Indian Classical mixed in. Last night Buddy Wells played as their guest.
Which you would think would be very intellectual, but they opened with such an upbeat song that I wanted to get up and dance. And most of the set was like that. We were all packed in (there was a queue, for a jazz gig) like sardines in a train, wending on well-oiled wheels. We went past a camel caravan in the desert, a little boy shaking his to impress the strangers, a busy trafficky city, at one stage a whole bunch of political protesters got on board and shook the train from side-to-side on its tracks. The last song was a hollywood/bollywood musical ending. The train stopped and out poured a carnival of people, with umbrellas and horns, and shiny bright clothing. And the audience were even clapping along.
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The gig last night at the armchair was like my friend Monique’s handbag. They’ve just painted the inside a gorgeous burgundy colour which is almost exactly the shade of the bag. And the classy vibe it gives definitely reminds me of that plush velvet, pink silk-lined, capacious item.
The music was also like the bag – beautiful, well-crafted, easy and comfortable. Loud, only in its brightness and fullness of colour. And so sweet that it felt like slipping your hand down the inside lining, running over the pink silk… Ivan plays beautiful, warm jazz, from be-pop to smooth jazz, with a Dollar Brand remake added in. Darryl Andrews and Ivan Bell kept a solid rhythm and bass that was completely effortless and the keyboard player (whose name I didn't quite catch, Carlos?) was firing on all cylinders, keeping the conversation going with Mazuze: who rips out notes at a rate of knots, with the relaxed attitude of someone sitting in a swing.
I’ve never wondered before what it would be like to sit in Monique’s bag, but last night I found out. It was warm and comfortable, with a sensory feast.
Last night's Armchair Headset featured the Rus Nerwich project. Once again the Armchair outdid themselves by showcasing another of the really fine acts currently performing in Cape Town. This was the first time I have heard this particular project and also the my first experience of Rus Nerwich. Three of the songs played last night are from the Rus Nerwich Album Mantras 4 Modern Man, which I am fortunate enough to be listening to as I write this.
The band is a real experience, which takes you on a journey of beautiful catchy melodies and captivating rhythms which all combined together have a very mystical air about them. The band is made up of Kevin Gibson(drums), Ronan Skillen(tabla & percussion), Marc Buchanan(Guitar), Wesley Rustin(Double Bass), Andre Petersen(Keys) and Rus Nerwich (tenor sax).
As they played, my body was forced to move uncontrollably as the rhythm built and the melodies lifted my heart and soul up and took me to places I have never been, drifting, floating further and further, to places you can’t see with your eyes but only experience in feeling. Submitting to the energy and allowing it to take me wherever it wanted.
Apart from Rus, I have heard all of the musicians in different contexts playing in other projects and yet in each of the projects you get to experience different sides to these wonderful musicians. Andre Petersen was definitely playing in a way that I have never heard him before, make no mistake, it's always a pleasure to listen to him play whatever it is he's doing but last night's performance was the most free I have yet heard him, performing the most wonderful solos. Just when I thought it was impossible for him to go any further in the direction he was moving, his intensity continued to increase.
I could go on about each of the musicians’ individual performances but that would end up taking me all day.
Do yourself a favor and catch them live and then buy Mantras 4 Modern Man, it’s like the warmth
This whatsonsa guy is a real chop! Slating ryghard like that and then posting some half arsed semi retraction bullshit. FYI: Avant garde guitar playing relies on sounds outside of the box. While it may not contain the scholarly wit of 'real jazz' it contains all the rule breaking attitude which makes for exiting music. When boundaries are being pushed it can often be a painful experience and it's those golden moments when it all comes together that makes it all worth while. I would apologise to Ryghard on whatsonsa's behalf BUT i don't speak for peolple that clearly have an over developed ability to speak for themselves.
After the gig I inexplicably found myself humming "Take Five" by the Dave Brubeck Quartet. Inexplicably because the Riff Clichard Wedding Band didn't play any jazz. There were plenty of riffs and a whole lot of glitch, but no jazz...
It may not have been jazz, but the Headset delivered again on its promise of cutting edge stuff.
The musicians were playing guitar, drums and samplers, and the two guitarists played drumkit as well. They were relaxed and completely in tune with each other. You could see that they were enjoying playing.
Major Kudos to the Armchair and to Lee Thompson for creating a platform for musicians to play what they want to play, not necessarily what they have to play for cash.
Highlights: a phat, phunky groove they hit that made me think I would go off my head, a cameo by Lee Thompson that was as shweet as it was unexpected, and three drummers on stage playing layered, complex, accessible music.
Lowlights: two girls, who - shame, they were from Joburg - didn't realise that we came to the gig to listen to the music, not their scintillating conversation.
Closet Snare's gig at the armchair last night was a real experience. 5 really brilliant and innovative musicians on stage with most mind-blowing compositions and improvisation. Marc Buchanan on Guitar, Sean Ou Tim-Bass, Kesivan Naidoo-Drums, Sibot-Machines, Lee Thomson-Trumpet and Flugelhorn.
Sibot on machines was a real experience, I have seen and heard a number of talented people using electronic gadgets to make music but this was definitely the most impressive use of them I have yet experienced. Lee Thompson plays his trumpet through a wahwah and octave pedal in this project very effectively, with very simple runs, taking his horn to another level of audio sensations. Marc Buchanan plays very sparse guitar with a few rip roaring guitar solos. Sean Ou Tim's bass driving away in the background and Kesivan Naidoo, as always, the dazzling glue that binds it all together.
The night also featured a very talented visual artist, Inka Kendzia. She had a white backdrop and then projected images onto the stage, through the band and onto the back wall. Apart from all of the interesting images projected on the backdrop it also created wonderful shadows of the musicians, it definitely worth trying to see some of her work if you can.
The sound, supplied by Hellfire and engineered by Ian Watson was very professional; these guys are well worth using if you need top class sound.
Closet Snare are doing another performance tonight (Friday 21st), so if you can try and catch this gig and also look out for their live album which will be released in due course, it is an album I definitely want to have as part of my collection. You can listen to one of their live tracks at http://www.myspace.com/closetsnare, you will also find links there to Lee Thompson and Sibot's MySpace profiles.
Thanks again to the Armchair for hosting so many interesting musicians.
Last night's Armchair Headset - The Restless Natives Ok, we start off with Chantel Willey, Buddy Wells and Kesivan Naidoo on stage, Mmmm, so how is this going to be any different from the Buddy Wells project we saw a few weeks back, throw in Lee Thomson on trumpet and Jason Reolon on keys and some Restless Natives compositions and the stage is set for an awesome performance. Each of these musicians could quite easily take up the entire stage on there own and have the audience eating out of their hands.
The 2nd last no# they played was a tune called Adam's Apple by Wayne Shorter, probably one of the best renditions of this tune I have yet heard, with Lee Thomson squeezing the most tender sounds out of his instrument, in any major city, on any night of the week, you can listen to a trumpeter churning out thousands of notes with absolute precision and then on the rare occasion you get to hear someone who can let go of technique and lighting fast chops and just play it.
It was the first time I heard Jason Reolon play, this too was a treat, he's definitely someone to look out for. At times it felt like the only thing holding it all together was the rock steady drumming of Kesivan Naidoo as the musicians all weaved the most amazing tapestry of sounds. There's not much I can say about Chantel Willey, Buddy Wells and Kesivan Naidoo that hasn't already been said, the kind of musicians you just expect to be brilliant no matter what they do.
The sound and lighting was provided by Ian Watson from Hellfire, which was of a very high and professional standard. Thanks to the Armchair for yet another stunning night of fine music.
So his surname must be "Cherry" then. I met him after the gig and said "Oh Mr Eagle Eye, Thank you... What is your name?" He said "Eagle Eye". And I was embarassed for being such a silly editor and said like "no" and he was like "blame my parents" and I was like "no ways that rocks".
From arrival to climax and in the conversations littering the pavement in front of 14 Hope Street at Sunday midnight in dead-winter Cape Town, the vibe was thriving. Every Tom, Dick and Koos was getting his freak on with an elevated appreciation for a superstar who hasn't sold out. As far as I am concerned, we should be thankful. But not only that... we should be claiming Cape Town as one of the best world wide destinations for true musicians. The appreciation levels down here are unfounded. But mind-blowing.
I mean take Jose Gonzales earlier this year for instance. Same venue, same vibe. Semi-underground (just the way we like it) and celebrated. Only it was Jamesons instead of Miller's branding and no where near as popular a bar. And there were chairs. I arrived late. Last song. Oh my god. He walks off stage. Boom boom, an encore call begins. Not the kind you're used to. Feet stomping. Every darn right foot in that old synagogue thumping the wooden floor like it's an Alien Safari. Chanting "Jose! Jose!" And he returns with a smile and the whole room shakes with mirth. And gentle as can be, the man says "Ok that deserves two [encores]". And in the silence just before he begins a wise crack pipes up "THREE!" And he gave it to us. Pure beauty.
But we're not there. We're here. At Eagle Eye Cherry. Live in South Africa. World Tour. Courtesy of The Independent Armchair Theatre. The world is waking up. And Cape Town has set the alarm. We are ready.
For the full review, go to lovecapetown.blogspot.com
Getting a drink is like voting in 1994. Eventually we settle for 5 warm beers each (stocked up for the night) because - for five snakes - we are not going to stand there one more minute watching the barman pull up his pants whilst trying to remember the PLU code for a Peroni. And we descend into the sitting crowd. A bunch of adimant fans scrunched up towards the stage, sitting cross-legged on the floor. "We WILL get a good view," they are thinking. Eventually Gil steps up and introduces a night to be remembered. And then Cassette emerge. Great. I can't for one second imagine what a SAMA means, because this is not much more to me than a failed attempt at Oasis. I can give them some credit though. He came right out with it and asked the crowd to show some respect and stop talking during his contralto's. I would have obliged if it was not for the fact that he reminded me so much of Elton John. My fellow concert-goers had to know about this. And he did manage to make us all clap to his beat, which is a rare thing these days. But I think it was because he couldn't hear the drums and was hoping we could be the rythm section. I heard a great comment: "Perhaps Cassette should put on a CD." All this said, would it be hypocrisy to still say that I enjoyed their performance? Well I suppose I am a hypocrite.
And we waited.
And waited.
And the anxiety-stricken crowd turned into a thronging mass of Eagle Eye fans. The anticipation was ruthless.
And he delivered. The end.
No, not the end. I wouldn't do that to you. Although that is all you essentially need to know. I was blown away by his velvet voice. We discussed the values that make him such a world-wide performer and I came up with the conclusion that his performance contained integrity. Because, I don't know about you, but I'm really sick of one-hit wonders. I mean, our local market is a massive supporter of say, for instance, Robbie Williams. And we sell more Queen a
So his surname must be "Cherry" then. I met him after the gig and said "Oh Mr Eagle Eye, Thank you... What is your name?" He said "Eagle Eye". And I was embarassed for being such a silly editor and said like "no" and he was like "blame my parents" and I was like "no ways that rocks".
From arrival to climax and in the conversations littering the pavement in front of 14 Hope Street at Sunday midnight in dead-winter Cape Town, the vibe was thriving. Every Tom, Dick and Koos was getting his freak on with an elevated appreciation for a superstar who hasn't sold out. As far as I am concerned, we should be thankful. But not only that... we should be claiming Cape Town as one of the best world wide destinations for true musicians. The appreciation levels down here are unfounded. But mind-blowing.
I mean take Jose Gonzales earlier this year for instance. Same venue, same vibe. Semi-underground (just the way we like it) and celebrated. Only it was Jamesons instead of Miller's branding and no where near as popular a bar. And there were chairs. I arrived late. Last song. Oh my god. He walks off stage. Boom boom, an encore call begins. Not the kind you're used to. Feet stomping. Every darn right foot in that old synagogue thumping the wooden floor like it's an Alien Safari. Chanting "Jose! Jose!" And he returns with a smile and the whole room shakes with mirth. And gentle as can be, the man says "Ok that deserves two [encores]". And in the silence just before he begins a wise crack pipes up "THREE!" And he gave it to us. Pure beauty.
But we're not there. We're here. At Eagle Eye Cherry. Live in South Africa. World Tour. Courtesy of The Independent Armchair Theatre. The world is waking up. And Cape Town has set the alarm. We are ready.
So Armchair gets the gig and they decide to rent a bigger venue. 14 Hope Street. Full of hope we all que up. Getting a dr
thanks you for the afterthoughts, whatsonSA, the sentiments are appreciated. pertaining to the review itself, i do feel that an out and out averse reaction is more valuable than some half-witted platitude in the name of amicability. and i prefer that the mess i throw out there be judged on face value, without recourse to this tradition or that tradition. so whether it was a case of being out of context, or just being plain awful, it didn't work for you, and i appreciate you vocalising that opinion.
All of these thoughts led me to thinking about what my website stands for "WhatsOnSA Promoting South African Creativity". Ok, so what does that mean and at what point do you draw the line. This led me to re-evaluate what I had said, for my personal tastes, Righard Kapp doesn't work at all. On the other hand, he is a guy who really has balls, he is doing what he needs to do to follow his creative process. Making his own kind of music in his own way, for that, I take my hat off to him as he is not doing what he thinks will necessarily please others but rather following the path his creativity leads him to. Even though it may not be everyone's taste, he is true to himself and what he did was probably some of the most creative stuff I have yet heard. I wish I could have even half of the guts he has to do what he's doing. Wednesday night's gig was a tough one, a solo set in a venue where the audience is expecting top class jazz.
If only we all could be as free with our creativity, whether other people liked it or not. I have also taken the trouble to go to his myspace profile and listen to some of his tracks there. All of the tracks he has on his play list are pretty off the wall, one is something that I could even listen to, "I'm gonna learn to". "Edge of wrong extract" is more or less the type of stuff he was doing on Wednesday night, which just about drove me up the wall but that's just my personal opinion and I'm sure that there are many people out there who may appreciate it. You take a listen and decide for yourself. http://www.myspace.com/righardkapp
Righard Kapp Yesterday I posted a bit of a review on this Wednesday's Armchair Theatre Headset gig. In the posting I slated Righard Kapp. This led to me spend a lot of my time yesterday thinking about it. My first instinct was to delete the post or alternately edit out the bits about him. I felt really bad about it as I never ever thought that I would be one of those people who feel the need to say something bad, "if it's not positive, don't say anything at all".
Last night was yet another superb Armchair Headset. The original advertising for Headset was that there would be cutting edge music, and tonight’s gig delivered on that promise.
Righard Kapp opened – he plays trippy, spaced-out music, using only his guitar and his electric boxes. So he’d play something, loop it, and play over that – everything from distortion to plucking the strings way up by the tuning keys. I was quite close to sleep in places, but particularly enjoyed the parts where he was playing his instrument in the more traditional way – just because it's easier for me to process sounds that are familiar.
Next were Ronan Skillen and Reza Khota, half of Babu. They played guitar and tabla, and it is truly beautiful the way they render Indian Classical music in a jazz way. Ronan’s solo was amazing.
Kesivan Naidoo ended the evening with a drumkit solo. He is an amazing player. I think I enjoy him more when he’s playing in an ensemble and they’re all pushing each other, but his playing tonight was a superb display of the creative ways that you can use a drumkit.
These musicians are really questioning fundamental things about how music is played. From using a bow on a guitar, to playing drumkit with your hands, to using a Western guitar for Indian music. And it takes a fundamental understanding of music to rearrange such basic things, and come out with a clear musical narrative. It wouldn't be true to say it's never been done before, but it is not often that you get to hear this kind of music live.
At last night's Armchair Theatre Headset there were three sets, Righard Kapp, Reza Kota (guitar) and Ronan Skillen (tabla) and a solo set by Kesivan Naidoo (Drums).
Righard Kapp's set was probably the most painful musical experience I have yet had the misfortune of hearing, The best way I can describe it is if you take the most irritating sounds you can imagine and then loop them so that they keep repeating over and over. There were moments when he was what he was doing was vaguely musical but those were few and far between.
Maybe after swallowing a whole handful of acid I may have appreciated it, on the other hand, maybe he is just way ahead of his time, I'm just grateful that I won't be around when his time comes. If you really want to punish yourself, be sure to catch him. The only reason I didn't leave was because I really wanted to hear the other artists. There are some things that shouldn't be done in public and this is definitely one.
Reza Kota and Ronan Skillen's set was next. This came as an awesome relief and by the end of their first number, the previous set was only a bad memory. Reza Kota is a master guitarist who is an absolute pleasure to listen to, add to that the incredible Ronan Skillen and you have a blend of rhythm and melody that is absolutely captivating. Their set had a very eastern flavour with some original compositions and a cover of a composition by someone who's name I didn't get. These two talented musicians can be seen, together with Kesivan Naidoo in a band called Babu, currently playing around Cape Town.
Kesivan Naidoo played the third and final set as a drum solo. One of his own compositions which is a story about a plumber, Kesivan mentioned that all of his compositions are stories. He used a number of different things to bring out incredible sounds from his kit, including a bow (sorry, I have no idea of this spelling), plastic tubing, brushes and drum sticks, delivering an awesome performance which drew great applause from the audience. The only other time I have seen a solo performance on Drums was by Ginger Baker and this was just as awe inspiring. Kesivan must be one of the best drummers we have in this country and it's definitely worth seeing any act in which he is involved.
Armchair Headset with the Buddy Wells Quartet Continued ....................................... look out for these guys. They are as yet without a name, so if you can think of a good name, send them your idea. I'm quite big on "Nothing to Prove".
Last night's Armchair Theatre Headset featured the Buddy Wells Quartet. The band consists of some of some of SA's top and most sought after musicians: Buddy Wells on Saxes, Kesivan Naidoo on drums, Andre Petersen on keys, Chantel Willey on Double bass and Wayne Bosch on guitar.
The whole set for the night was only rehearsed for 4 days prior to the gig. This gave the music a special and possibly more vulnerable feel. The set was like a train journey with Kesivan's drums driving the whole set with his solid drumming. The journey took us through some extremely sharp curves, building up a lot of tension and a sense of not knowing what we were to expect around the next bend and over many blind rises. Drums and bass keeping the train going while different aspects of the sound came to the fore, keys, guitar and sax coming in at all the right places.
They played compositions by Wayne Bosch, Andre Petersen, Chantel Willey, Buddy Wells and then a few collaborated compositions and some incredible grooves. This was the first live performance of this project. I believe we will be seeing a lot more of this project and if they can all be in the same place at the same time they will end up at all of the top Jazz festivals. It felt like a coming together of musicians who have nothing to prove and could just get on with the music and make each note a perfect work of art. It has been quite some time since I have heard jazz of this calibre. If you weren't there, lo
