My musical voyage began in the dwindling years of the fin de XXe siècle, when in the fire of my youth , I joined forces with a rag tag of troubled and radical musicians, to form the extraordinary Kreisler String Orchestra. It was a period, when young artists were challenging the conventions of concert giving. Appropiating the visual zeitgeist of the times, they came to epitomise the style and stance of the era. Dressing in black and with a red carnation on their chests, their full frontal choreographic layout pinned the audience to an inescapable wall of sound ! The intensity of their performances and the musical intent which they conveyed to those who dared to listen to them, became legendary. So much so, that an article in the Independent newspaper, highlighted their radical and unique approach to music making and self determination. This is where I honed my craft, in a crucible of musical and social dynamism. Toing and froing between ecstasy and agony!
No wonder then, during a trip to Belgrade on the off chance of winning a competition for string orchestras; it became apparent, that the ecstasy of winning was probably a thought too far and the agony of losing, very possible. So instead, we left the hall and settled into the warm evening air outside the Moscow Hotel, for a gentle night of revelry ! Later.... A young man appears , a bit like the Angel Gabriel . Proclaiming! "You've won" and then "You have to go back to the hall and play. " Pandemonium and hysteria ensue with the realisation...we really had won; and that the audience and TV cameras were expecting us. The rest is history !
This marks a crucial point, during a pivotal few years of my life. There were many embryonic musical strands that had taken root and were now shaping up nicely . A year earlier, I'd made my debut with The Carnival Band, at a gig in the upstairs room of the Market Porter pub, in Borough South London. Here was something that couldn't have been more different to the string orchestra. A group of convivial and gentlemanly musicians, who knocked out a smorgasbord of musical styles and genres! A case of, anything goes and let's see what happens! Consequently, we graduated to performing on the back of a lorry, followed swiftly by village halls, churches, concert halls, early music centres , festivals and cathedrals. The pub and the tea shop became the life blood of the band as we wended our merry way. Then one day, someone at the BBC had a brainwave; that these 'Jolly Chaps' should be teamed up with Her Majesty , Queen of Folk Music.... Ms Maddy Prior and so another musical path opened up before my eyes! Our first album together 'A Tapestry of Carols' is said to be something of a classic !
I've always loved dance and dancing; and much of the Carnival Band's output is dance related , either aristocratic or bucolic. Wild and cathartic post concert dancing, was also a feature of the string orchestra's life too. Then luckily for me, just before Belgrade, I was asked to work with London Contemporary Dance Theatre. Now this, was something else and a wholly revelatory experience. I hadn't encountered such sublime movement with this level of energy and athleticism before. Here was dance, writ large on a grand scale, in big theatres with evocative lighting! Unlike ballet, the dancers came in all shapes, sizes, hues and tones. Diversity and character were both cherished and celebrated. They performed to a fantastic panoply of classical, contemporary and electronic music. I loved it !
Sadly, the Arts Council pulled the plug on the company and I was aggrieved to have lost such an important part of my musical life. Then one day a few years ago, a friend rang and asked if I'd like to whip round the world on an autumn tour, with the Hofesh Shechter dance company. Powerful, visceral, urban, gritty, emotional and epic; the volume of this dance company is definitely turned up to eleven! All these qualities, were unequivocally evident in their shows at the Brixton Academy; and in this iconic space the company mounted the full version of Hofesh's brilliant work, Political Mother, to a young and wildly enthusiastic crowd! Here was epic dance and music, centre stage in a rock venue and worlds away from the more staid and considered Sadlers Wells.
During those pivotal years, there were many formative experiences. English National Opera was on a high and I got to play in Jonathan Miller's incredible version of Verdi's Rigoletto; then later, Wagner's Valkyrie with the acclaimed and revered conductor Reginald Goodall. Yet on the polar opposite extreme, I found myself in the bizarre world of Station House Opera, an experimental and surrealist theatre company. Their production of 'Cuckoo', had me serenading and improvising to the motions of the performers, as they nailed each other to chairs and the floor. Sawing up a wardrobe, was visually perfect for a musical accompaniment played on the double bass !
Then.....plunging out of a swirling grey sky one cold February, I thought I'd come to land on the moon. No, Iceland! Driving into Rekyavik, people demented from the endless night and freezing temperatures, challenged each other's toughness and craziness, by streaking naked from car to car, on their way to a Friday night out! This time, I'd come to play with the Indie Rock band, The Band Of Holy Joy. We were on a weekend outing, complete with the sort of shenanigans you'd expect from such a motley crew. I'd laid down some bass lines on the album ' Manic, Magic, Majestic' , which led the press to hail this outfit as worthy potential for future success. Sadly , those one million album sales never did materialise.
From here on, I got to know more of the world , dipping in and out of countries and cultures, meeting indigenous musicians, performing in a multitude of exciting venues, experiencing the ecstasy of the new and agonising over the fleetingness of it all. But at the same time always enjoying the ride....and that voyage, on the spice boat named 'Variety'....continues to this day !
No wonder then, during a trip to Belgrade on the off chance of winning a competition for string orchestras; it became apparent, that the ecstasy of winning was probably a thought too far and the agony of losing, very possible. So instead, we left the hall and settled into the warm evening air outside the Moscow Hotel, for a gentle night of revelry ! Later.... A young man appears , a bit like the Angel Gabriel . Proclaiming! "You've won" and then "You have to go back to the hall and play. " Pandemonium and hysteria ensue with the realisation...we really had won; and that the audience and TV cameras were expecting us. The rest is history !
This marks a crucial point, during a pivotal few years of my life. There were many embryonic musical strands that had taken root and were now shaping up nicely . A year earlier, I'd made my debut with The Carnival Band, at a gig in the upstairs room of the Market Porter pub, in Borough South London. Here was something that couldn't have been more different to the string orchestra. A group of convivial and gentlemanly musicians, who knocked out a smorgasbord of musical styles and genres! A case of, anything goes and let's see what happens! Consequently, we graduated to performing on the back of a lorry, followed swiftly by village halls, churches, concert halls, early music centres , festivals and cathedrals. The pub and the tea shop became the life blood of the band as we wended our merry way. Then one day, someone at the BBC had a brainwave; that these 'Jolly Chaps' should be teamed up with Her Majesty , Queen of Folk Music.... Ms Maddy Prior and so another musical path opened up before my eyes! Our first album together 'A Tapestry of Carols' is said to be something of a classic !
I've always loved dance and dancing; and much of the Carnival Band's output is dance related , either aristocratic or bucolic. Wild and cathartic post concert dancing, was also a feature of the string orchestra's life too. Then luckily for me, just before Belgrade, I was asked to work with London Contemporary Dance Theatre. Now this, was something else and a wholly revelatory experience. I hadn't encountered such sublime movement with this level of energy and athleticism before. Here was dance, writ large on a grand scale, in big theatres with evocative lighting! Unlike ballet, the dancers came in all shapes, sizes, hues and tones. Diversity and character were both cherished and celebrated. They performed to a fantastic panoply of classical, contemporary and electronic music. I loved it !
Sadly, the Arts Council pulled the plug on the company and I was aggrieved to have lost such an important part of my musical life. Then one day a few years ago, a friend rang and asked if I'd like to whip round the world on an autumn tour, with the Hofesh Shechter dance company. Powerful, visceral, urban, gritty, emotional and epic; the volume of this dance company is definitely turned up to eleven! All these qualities, were unequivocally evident in their shows at the Brixton Academy; and in this iconic space the company mounted the full version of Hofesh's brilliant work, Political Mother, to a young and wildly enthusiastic crowd! Here was epic dance and music, centre stage in a rock venue and worlds away from the more staid and considered Sadlers Wells.
During those pivotal years, there were many formative experiences. English National Opera was on a high and I got to play in Jonathan Miller's incredible version of Verdi's Rigoletto; then later, Wagner's Valkyrie with the acclaimed and revered conductor Reginald Goodall. Yet on the polar opposite extreme, I found myself in the bizarre world of Station House Opera, an experimental and surrealist theatre company. Their production of 'Cuckoo', had me serenading and improvising to the motions of the performers, as they nailed each other to chairs and the floor. Sawing up a wardrobe, was visually perfect for a musical accompaniment played on the double bass !
Then.....plunging out of a swirling grey sky one cold February, I thought I'd come to land on the moon. No, Iceland! Driving into Rekyavik, people demented from the endless night and freezing temperatures, challenged each other's toughness and craziness, by streaking naked from car to car, on their way to a Friday night out! This time, I'd come to play with the Indie Rock band, The Band Of Holy Joy. We were on a weekend outing, complete with the sort of shenanigans you'd expect from such a motley crew. I'd laid down some bass lines on the album ' Manic, Magic, Majestic' , which led the press to hail this outfit as worthy potential for future success. Sadly , those one million album sales never did materialise.
From here on, I got to know more of the world , dipping in and out of countries and cultures, meeting indigenous musicians, performing in a multitude of exciting venues, experiencing the ecstasy of the new and agonising over the fleetingness of it all. But at the same time always enjoying the ride....and that voyage, on the spice boat named 'Variety'....continues to this day !
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