Dan Redding - Bandeokee 2015

Max Luthert - Kiss to a rose

It is that time of year again, the highlight of the music calendar and still one of London's undiscovered gems. Glastonbury started on the day after Jimi Hendrix died while Bandeokee celebrates fellow guitarist Dan Redding who still hasn't quite managed to kick the bucket and reach the same Hall of Fame. In 2013 as a birthday present to himself he invited a fine crop of London's Jazz musicians and made them sing 80's power ballads in what was then called The Festival of Awfulness. Despite a change of name Bandeokee still tries to reach the lowest possible excellence in the music industry and humiliate its participants.

Paul Jordanous

Firstly as in every year I must add a few supporting comments to the review and sketches that follow. The musicians and press-ganged cast who stand in front of the microphone are much braver than I. They park their talent at the door of the Old Moot House in Kingston (11/04/2015) performing way out of their comfort zone and incidentally ours too. So what you read here is written with affection and respect with tongue firmly in cheek.

Dan Redding - Elvis

Dan Redding is a man of character, a leader, the sort of man you see on a poster (although possibly tacked to walls of a barber's shop). His lush wavy hair gives him the air of King Charles and our royal highness traditionally kicks off proceedings with the opening song of the evening. It was a manly performance of Elvis' 'Caught in a trap' and less of the Vegas years and more of the Hound Dog as Redding sported his spaniel perm with pride.

Bob McKay -
Minute by minute

The Statesman of the night sat calmly behind the piano, Bob McKay is the man many look up to on the Jazz circuit and not just because of his long legs. His seamless rendition of the Doobie Brothers 'Minute by minute' might have more to do the calming effects of the doobies in the air rather than any brotherly love from his fellow musicians.



Duncan Eagles
Bump N' Grind

Duncan Eagles as every young clubber on the dance floors of Pryzm, The Hippodrome and McCluskys knows can reel in young ladies with the smallest gyration of his hips. It is his boyish looks that lure many a moth to his flame and here at Bandeokee it was no different. Eagles' 'Bump N' Grind' (R Kelly) possessed such politeness that it reminded us of a Tiffin schoolboy propositioning his teacher at a school disco. Don't be mislead, for that is his power, under that veneer of respectability Duncan Eagles can let loose his grind like a rodeo star unleashing a lasso.

Helen Mayson

The pinnacle of the night came early as Helen Mayson proved the most beautiful and competent singer of the evening. This may indeed be the most dubious of compliments in light of the company she keeps. The spirit of Bandeokee dictates that Mayson is far too competent to achieve the highest accolade of Bandeokee, her performance neither humiliated nor embarrassed, in fact it was first class.

In this current age of enlightenment Bandeokee flies the flag for equal rights and it was heartening to see an all male version of 'Summer Nights' from hit musical Grease. I unfortunately didn't get a sketch of Andy or Vib and neither did I spot what colour of hanky was in their back pockets.

Piers Green

Little did we realise we were watching history in the making for here in 2015 we witnessed the return of the Castrati. Once the singing superstars of the 18 Century they dwindled into decline because of the barbaric act of castrating young men to preserve their child sized vocal cords rather than their testicles. There is no doubt that Piers Green owns cojones of manly proportions so it was with surprise that he hit the highest of notes during his performance of R Kelly's 'I believe I can fly'. Our resident heartthrob has been the 'nearly man' on previous years with both 'Careless Whisper' and 'Baker Street' earning him mentions in dispatches. It was the pick of the night because of its juxtaposition of deadpan delivery and high note bravado like a group of chipmunks singing a funeral march.

Joel Prime
Drums

Max Luthert earned the respect of his fellow musicians with the complex 'Kiss to a rose' originally by Seal. Usually the rose between the two thorns of fellow Partikel members Duncan Eagles and Eric Ford it was refreshing to see the languid bassman blossom in the limelight.

David Horden - Perfect Day

There is always one performer who takes you by surprise because of their theatre craft and David Horden was the man. The Sylvia Young training never leaves you and the murmur in the crowd was that Horden was a child star of Milky Bar Kid fame. These rumours remain unconfirmed but his performance of Lou Reed's 'Perfect Day' was strong and tough, we all suspected there was something stronger than milk in his glass.

Matthew Cox -
Not Unusual

Matthew Cox got the second set off to a swinging start with Tom Jones' 'Not Unusual'. Credit must go to the night's supporting band of Paul Jordanous (Keys), Holley Gray (Bass), Ross Ewart (guitar) and Joel Prime (drums) who sprinkled glitterdust on proceedings as though we listened in Las Vegas rather than the corner of Albert and London roads.



Sam Leak - My Way

That Vegas style still lingered in the air as Sam Leak took to the stage, the man that has been the hot favourite for the Bandeokee laurels every year since its conception. Leak resplendent in dinner jacket and with glass of whiskey in hand looked every inch the Rat Pack star. With hair brushed forward he even had a Napoleonic air such was his regal demeanour. Class is permanent, form is temporary, he always does it His Way, with panache.

Eric Guy is Tina Turner

The only man I have ever witnessed who could channel his inner Turner sang 'Simply the best'. Yes it was more JMW Turner than the Tina variety but still there was an authenticity and crowd pleasing edge that propelled Eric Guy into the higher echelons of Bandeokee. His inner woman ran rampant with such estrogen fuelled zeal that he also adopted the persona of Conchita Wurst too, although with slightly broader shoulders.

George Bone
Summer of 69

Two performers passed me by while refilling my glass but I was back in the saddle for George Bone's 'Summer of '69' which he shot from the hip like an ejaculating cowboy. Bone is your man in a gunfight such as this, never underestimate his denim demeanour.

Jonathan Lewis
is Billy Ocean

Expectations were high for last years hero Jonathan Lewis but he couldn't quite live up to his winning performance of 'Delilah'. 'When the going gets tough' was far too effete for a man of his alpha male status.

Holley Gray

Holley Gray proved he is the Beckham to Helen Mayson's Posh Spice, for they are the golden couple of Bandeokee. It was the high pitch of Beckham's voice which Gray emulated rather than the pitch of turf dreams.

The much maligned Leo Appleyard has at last found his oeuvre, his grunge groan of Nickleback's 'How you remind me' luckily didn't bring back the memory of past years but may thrust him to fame as the Cobain of Suburbia.

Leo Appleyard
Nickleback

We were treated to a grand finale with Paul Jordanous' 'Never gonna give you up'  followed by Jon Bird's heartfelt version of Harry Nilsson's 'Without You'. Bird gets better with age like a good wine but he may just need a few more years to reach the full maturity of a Chateau Mouton Rothschild 1945 rather than his Chateau Vimto of previous years. 2015 was a fine vintage and Piers Green proved that hitting the high notes may be the start of a new career as a eunuch as well as Bandeokee champion.

AL.

Jon Bird is Harry Nilsson

Ross Ewart
Guitar





Monday Hideaway Jazz Jam

Saint Duncan Eagles

This is just a short piece in recognition of Duncan Eagles and Max Luthert who have run the Jazz Jam at the Hideaway in Streatham since it opened in 2010. Before this they cranked the handle on the infamous Grey Horse Jam in Kingston-upon-Thames and it was here I first starting sketching jazz musicians. The rest is history as they say.

Max Luthert

The evening starts with a jazz workshop and this is where Eagles, Luthert, Eric Ford (drums) and Ralph Lewars (piano) share their knowledge of music and performance with a broad range of students. Many players have passed through their hands and most behave themselves but occasionally there are those who would test the patience of a saint. Despite some fraying times Eagles always keeps his cool and has earned many a musician's respect due to his cucumber cool demeanour.

Tom Marlow - piano

The workshop (7-8.30pm) is sponsored by the Dordogne Jazz Summer School and its main focus is learning how to play and phrase the melodies and how to tackle improvising over the changes. Vocalists are welcome and for tunes with lyrics please bring them with you. For tunes without lyrics, charts will be made for vocalists with vocal parts to sing along with. Time is spent at getting each song up to “gigging standard”. Eagles and Co show you how to perform the tunes, counting in the band, where and in what order solos are attempted and how to start/end the pieces.


Dave Storey - drums

After a light supper the Jam starts (9pm) and it's time for a bit more expression. Entry is free to this session and its a great way to experience jazz for both audience and players alike. It is informal and friendly, with the standard of playing unimpeachable. You couldn't find a better venue this side of the Thames for a night to ease yourself into the week ahead.

I visited the Jazz Jam last week (02/02/2015) so that I could be captured on camera by filmmaker Dan Redding for a documentary he's just made about the 'Art Jazzed Up' project. This features the talents of Duncan Eagles, Max Luthert and this night's drummer, Dave Storey. Watch the film for some atmospheric shots of the Hideaway as well as the musicians themselves.



It goes without saying you'll see some well known faces from London's Jazz circuit but they'll always be a few surprises too. I added pianist Tom Marlow and guitarist David Warren to my portfolio of sketches. I will be keeping an eye out for both in the months ahead.

David Warren - guitar

AL.

Partikel - Theory of evolution

Eric Ford - drums

Partikel it seems are full of theories and last month (20/11/2014) at the EFG London Jazz Festival they gave us a taste of what has being bubbling away in their heads over the past year. Stripped back to their three man core of Duncan Eagles (saxophones), Max Luthert (bass) and Eric Ford (drums) they played tracks from their imminent 3rd album 'String Theory'. What we got in effect was the theory and not the strings as Benet McLean, David Le Page (violins), Carmen Flores (viola) and Matthew Sharp (cello) were practising their craft elsewhere.

Max Luthert - bass

The sound of the new album is full of layered beauty and epic vistas. It has the presence of a John Martin painting, full of details but takes the breath away with its power and depth. Here at 229 The Venue Partikel swapped these breathtaking sweeps for something much more angular and uncompromising. Still they retained the attention to detail which has made them in, Jazzwise's view, "one of the hottest young bands on the UK scene".

Before I distract you anymore, please take the time to watch the promo video for the new album by jazz filmmaker Daniel P Redding - https://www.youtube.com/watch?v=DQaz1GBJqtg

Partikel waded in with aggression on this night as Clash of the clans crashed into the London Jazz Festival audience. On the album the sound is tempered by the strings, here Eagles flashed into us with sporadic attacks while Eric Ford's loud assaults were only interrupted by his infamous cowbell (which took only 20 seconds to make its first appearance). At times the trio were inaccessible but soon they moved to gentler shores to give respite. Even though these quieter havens were a welcome break from the thrashing elements you always got the sense that Eric Ford was the man who operated the sluice gates, we expected the tide to rise at anytime.

Fellow drummer
Steve Gilbertson checks out
Mr Ford

Despite the trio coming at us in pulverising waves and with a stamp like a petulant child there has been an evolution in their sound since flirting with string quartets. Shimmer gave us the melody back and it was up to Max Luthert to hold the free expression of Eagles and Ford together. The new album sees a new version of The River from their debut album and it is worth the reawakening but here alone is how I prefer them. It will always be one of their strongest compositions. Eagles soprano saxophone was the fluidity and he excelled.

Duncan Eagles - Soprano
Saxophone

There is a maturity as you would expect from a trio who are on the verge of releasing their third album. The leap from their second to third album is more impressive than that from one to two. There are more systems at play, layers that hint at Glass and Nyman. Their string theory is not one of conformity nor an application of a mellower practice. This is a group that has evolved into the Cro-Magnon of their jazz species.

AL.

Dan Redding's Bandeokee 2014

Dan Redding - Power of Love

UNESCO's International Jazz Day is but an anti-climax in comparison with the annual event of Bandeokee in Kingston that I had the pleasure of attending earlier this month. It is the night when some of the finest musicians in the country emerge from the shadow of their talent, leaving their instruments at home and instead pick up a microphone and sing for their supper. It is an act of bravery, for not only are they exposing themselves in front of their contemporaries and peers but also sharing the stage with non-musicians who often outshine them in both style and purity of voice.

Bob McKay -
In the air tonight

The collective gleam of sweat that greeted me as I walked into The Cricketers pub on Good Friday (18/04/2014) was almost blinding, as musicians and non-musos alike awaited their turn to be called on stage. It is testament to the personality of guitarist Dan Redding that the room was filled with so many people willing to humiliate themselves, for this night was originally a birthday party but now has grown into a behemoth that will one day outstrip Glastonbury in its cult worship.

Chris Nickolls -
Born in the USA

The first tune is reserved for Redding himself for he knows that the earlier you get the monkey off your back and sing your song, then the quicker you can relax and enjoy yourself. He performed 'Power of Love' and in keeping with the mid eighties period had bouffed his hair to BIG proportions.



Marc Le Guerrannic

Not only do we, the audience, enjoy the spectacle but it seems the band does too, with a core of Paul Jordanous (Keys), Holley Gray (Bass), Marc Le Guerrannic (guitar) and Cem Andre (drums) who gently giggled away in the background. As well as being a terrific night of entertainment it is also a night of speed sketching on my part, with only one tune per performer you have to throw yourself into your work. Hence I have not drawn everyone, and apologies to those I have missed.

Leo Appleyard -
My Everything

After our host, came Bob McKay who is no stranger to the big stage, I remember settling down to watch a heady session of Songs of Praise one Sunday only to be confronted by Mr McKay and his piccolo in full flow. This night he sung Phil Collins' 'In the air tonight' in the style of Leonard Cohen and he was impressive with his soft sensitive drawl. The bar had been raised high.



David Horden -
Easy like Sunday morning

Chris Nickolls didn't knock the bar from it's teetering height either, and the normally shy drummer of Shez Raja fame puffed out his chest and gave it his all. I think he has the right idea, if in doubt belt it out, and he sang his lyrics as though he were Springsteen himself in a stadium rather than the more modest Cricketers.

Jonathan Bird -
It's raining men

Despite Leo Appleyard's lambasting at last year's Bandeokee gig he came back for more, foolish or courageous you have to admire the man. With those boyish good looks and heartbreaker eyes you would have thought he had the voice of an angel. Unfortunately Appleyard does not have all of God's gifts bestowed upon him, although his rendition of Barry White's 'My Everything' hinted that his prowess in the bedroom shouldn't be underestimated.

Bill Mudge - Keys

Now here is where I missed a sketch. The next performer was Steve Gilbertson who couldn't keep still longer than a second and ended up spread-eagled on top of Cem Andre's drum kit by the end of 'Dancing on the ceiling' where he was less Lionel Ritchie and more Roger Daltrey in his destructiveness. I did capture yoga champion and trombone supremo David Horden who continued the Ritchie vibe with 'Easy like Sunday morning'. I suspect that the way Horden was bolstering himself with Dutch courage that Sunday morning would have been the moment he cast off his Good Friday hangover.

Piers Green -
Baker Street

Paul Jordanous gave his Big Band leader Jonathan Bird his very best on the camp anthem 'It's raining men'. Bird's performance was one of contradictions, he played his trump card, a handsome face like a young Marlon Brando but it wasn't quite enough to convince even his most ardent groupies. Similar to his legendary jokes there was a squirm factor in his performance just like watching David Cameron dance the Macarena.

Sam Leak -
Purple Rain

Piers Green galvanised a team effort around him for Gerry Rafferty's 'Baker Street' with Bill Mudge (Keys), a superb contribution from Le Guerrannic (Guitar) and a scintillating Bob McKay (Sax). The finger in the ear like David Coleman displayed how seriously he was taking his singing. Next was Lynsy with 'Don't you want me baby' which was theatrical so say the least, I assume that she is a thespian of some repute

Chris Southwell
Bitter Sweet Symphony

The second set was stolen by last year's hero Sam Leak, who downed a quick shot before taking to the stage. His 'Purple Rain' was both comparable to Prince himself in voice but also in curly dark looks and a swarthiness that could blunt a razor within 50 paces. A jealous voice in the crowd called out for a Stewards Enquiry. He was that good!

Tony Heiberg -
Norwegian Wood

A fine 'Bitter Sweet Symphony' from Chris Southwell could have left a pregnant pause after Leak proceeded him with such quality. To Southwell's credit he didn't let that phase him.

Kingston royalty was in the house with the arrival of Tony Heiberg on the dais and he inadvertently galvanised the crowd with his 'Norwegian Wood'. After the first verse his singing dropped away in preference to his beloved guitar and the sizeable crowd took up the reins.




Kate Reid & Gregor Ross -
Parklife

Despite the next tune being authentic mockney in delivery I assumed we had stumbled upon the set of 'Made in Chelsea' with two such beautiful people before us. Gregor Ross with bottle of beer in hand commanded the stage with his textured voice while Kate Reid gave us the thrust of Blur's Parklife, definitely more Park Lane than Skid Row.

Michael Kew -
Easy Lover

I recognised one of last year performers with his shock of blonde hair and sailor suit stripes, Michael Kew cut quite a figure, musically he hit the highest of notes amongst the his fellow male voices. It is with regret that I didn't capture his fellow 'Easy Lover' Tom Woerndal as they would have made quite a couple. Although Woerndal, with his arran sweater looked like he had just come of the set of a Scandinavian Murder drama so perhaps it is better I kept my pen sheathed.



Jenna -
Blurred Lines

The night hit an upward curve at this point (or maybe the amount of alcohol had dulled the senses) and Matthew Cox steered the safe route through Kenny Loggin's 'Danger Zone' before a duet between Sam Gusson and Jenna brought the crowd to the peak of excitement. Jenna it seems is much like Cher, Lulu and Beyoncé in only needing one name to advertise her wares.

Jonathan Lewis -
Delilah

It seems Sam Leak had less than an hour to bask in his Number One status before it was cruelly snatched away from him in an audacious and powerful counter attack by Jonathan Lewis. His performance was so theatrical that it felt like we were watching a scene from Carmen rather than a Tom Jones pastiche of 'Delilah'. Yet Lewis is no imitation or parody, here is a man who has shorn his locks but unlike Samson shows no lack of strength or virility because of his shiny pate.

George Bone -
Use Me

Before I lost all ability to hold a pen and quite possibly the dexterity to get myself to the toilet without my wife's help later in the night I danced a little jig to George Bone and Bill Withers' 'Use Me'.

Matthew Cox -
Danger Zone

Another fantastic night was topped off by Helen Mayson with Skee Lo's 'I wish'. It wouldn't be too much to ask the genie next time I rub his lamp if we could have another Bandeokee next year. For my other two wishes I will ask for a 'Rhythm Stick' to help me perform a passable Ian Dury and the courage for me to step up on stage like the other brave singers.

AL.

Helen Mayson -
I Wish

Sam Gusson -
Blurred Lines

String Theory - Recording Partikel's 3rd Album

Duncan Eagles - Tenor Saxophone

Partikel are back and they are embarking upon a new venture. This is a third album with a difference for the London based trio who have made a name for themselves with their spikey brand of barebones Jazz. I was luckily enough to be invited to the Real World Studio near Bath to experience this latest incarnation. The step up for the Trio was the result of hard graft from tenacious frontman Duncan Eagles alongside the generous support of Arts Council Funding and their record label Whirlwind Recordings.

Shirley Smart -
Cello

Over the past 18 months Partikel have started to experiment with Strings. At first is was the Cello in private but soon they 'came out' with a very strong public performance at the Queen Elizabeth Hall Foyer last June. Now it seems this addiction has taken over, not only a cello greeted me at the studio when I arrived on the 4th February 2014 but also a viola and 2 violins. The Jazz trio had fallen for the String Quartet and their lovechild was soon to be born.

Jose Tomaz Gomes

Real World is a much larger studio than the cosy Clown Pocket variety that Partikel are used to and they spread out accordingly. A massive horseshoe mixing desk occupies half of the Big Room, which is like a crepuscular cavern. Red light, square dots, blue, green and Venetian red dials, large whites with black rings, some jump left some right, 4 banks of zeros, 11 sets of ones, 2 twos, 6 threes and at the end of the desk another lonely zero. The engineer in control of this spaceship console is José Tomaz Gomes. A dark and gentle figure who will be our guide for the next two days.



Max Luthert - Bass

Max Luthert sets the early bass bounce on first tune 'Wray Common' with a triple trot and I feel the old pathos running through me, they are back! The meadow richness is not just present in the view from the studio window across Peter Gabriel's land but also in Eagles' tenor tone that opens up a musical panorama. These glimpses of gentle colour are truncated as we glimpse the saxophone's vistas from between rocks or gaptoothed  trees. This is followed by a gentle decent, past the warm bass undergrowth, as downy as Luthert's beard. There is the merest scent of a wild animal in these woods as the Quartet's strings run like veins across this landscape, with a dark taint they ooze a bone meal overflow. Duncan Eagles is freewheeling now as he rattles downhill and reaches the bottom with a final expulsion of breath.



Helen Sanders-Hewett
Viola

A big nod of the head sees the musicians tumble into 'Midnight Mass', Max Luthert desperately clings to the melody, his eyes as dark as chocolate minstrels and his left hand is like a claw. It is a cascading dancing tune with strokes of soporific beauty. Luthert is what we cling to, a grip on the bedstead before the last rattling call before the song ends. I hear the voice of Helen Sanders-Hewett (viola) through my headphones as she just says the word 'lush'.

Benet Mclean
Violin

The strings start to make their presence known, and amongst the quartet is a familiar face with an unfamiliar instrument in his hands. Benet Mclean is a polymath. We know Mclean as the dexterous piano player, composer and singer but it seems he is a violinist of some talent too. In fact over our dinner meal he tells me of his love of cricket and his prowess as a bowler/batsman for Middlesex youth sides. An all-rounder in every sense of the word he wasn't afraid to go it alone with a spirited solo on the next tune. This time I hear Shirley Smart's (Cello) voice in the post performance lull.
"Burning!"

Left to right
Benet Mclean, Max Luthert, Duncan Eagles, Shirley Smart & Helen Sanders-Hewett

'One in Five' is the tune of the day so far. Benet Mclean was both imposing in my headphones and in reality, with his brooding intense demeanour you sometime you feel you are in the presence of an off duty Lenin. His solo was a tightrope walk, cutting and gritty while Duncan Eagles was flighty and fluid on Soprano saxophone. The tune starts with deep footsteps and then a fantastic twist like a child on a swing who has entwined the chain-linked ropes together in a centrifugal dare of vomit inducing proportions. The overall effect is one of a fable, a narrative where the musicians are characters in a adventure book, a world of building dams in streams and then knocking them down in the twilight before bedtime.



Richard Jones - Violin

I hear Mclean in upbeat mood, he shouts out "Lets go! give me the downbeat bro" as we wade into the next tune and the hours of twilight.  If you think you've heard 'The River' before you are not alone. It was one of the tracks on their debut album and here it was being given the full 'strings 'treatment'. It now has a full slide of green variegated shoots to accompany it and yet it still flows in those curled sweeps where the current takes you under the overhanging trees, through the deathly shadows and out the other side. With the accompanying strings there now exists a dragonfly that swoops above the water, alone at first but then joined by its own reflection. A parallel ballet with swoops and plummeting where the insect dances with its life. This is now a tussle between wind, water and Fate.

Dan Redding

Not everything was flowing smoothly it seems. I noticed Duncan Eagles shake his head in tiredness and frustration. In the early days of the collaboration between Partikel and their strings Eagles admits he was on a very steep learning curve. He has written all but one of the tunes on Partikel's three albums, but the addition of strings alongside saxophone, bass and drums was step into the unknown. Since then he has honed this skill and expectations have risen. As we entered the late hours it appeared that the results of the collaboration weren't reaching their intended pinnacle. He shook his head, looked at me and said "It's taking too long."

The arrival of the jazz filmmaker Dan Redding pepped up the troops and he regaled us all with anecdotes and witty quips before overdosing on red wine and eventually petering out.

Eric Ford - Drums

To wake oneself up you have to enter the lions den and I sketched Partikel's idiosyncratic drummer Eric Ford for the final recorded tune, 'Shimmer'. My attention was first taken by Max Luthert who danced a little jig throughout the recording, beating time from one foot to the other. He was a like a Eadweard Muybridge horse, with both feet in the air simultaneously but impossible to prove that fact unless you captured him photographically.

It was another impressive compositional performance from Duncan Eagles with Eric Ford providing the trotting and galloping rhythms. The sentiments 'Shimmer' evoked were far from the drizzling reality outside in the west country landscape. Here was a positivity, a modern anthem, a jazz folk equivalent to Butch Cassidy and the Sundance Kid. I felt like taking Eric Ford out on a carousel of English Country dances along the Mendip Hills, arm in arm we would square dance until the sun came up. Luckily I though better of it, after all I was sharing a mezzanine floor with Ford tonight and I didn't want him to get the wrong idea.

AL.

I will be writing up Day 2 of the recording shortly....