I was reminded at the weekend that it’s been about 9 months since I updated here. But what better time to update than this week, when Sam Jackson’s Drawing Hands album that we recorded back in spring has finally seen the light of day in form of an release through a new Leeds-based jazz label (James Hamilton’s aptly-titled New Jazz Records). Sam writes really beautiful music and there’s a really nice vibe to the whole session (all recorded live in the crypt of Christ Church, Liversedge), so go and check it out here on Bandcamp, or at the bottom of this post, if I’ve managed to work out how to make the internet do things. Special mention to Benjamin Saville for the excellent artwork. I’ve never met him, but I really like it.
In other news, the People Poems EP that I’ve been promising people since January finally has a release date set next month (the 6th Nov, if you’re interested). That’ll be available, similarly to the Drawing Hands record, via Bandcamp for whatever price you’re willing to pay. The reason/s for the massive delay are sort of a long story, but are broadly to do with an abortive attempt to solve the problems with equal temperament, an experiment that predictably failed. I should have known – better men than I have been trying to find the most usable tuning system for hundreds of years, and equal temperament was what they arrived at. But what I learned was interesting, and maybe a fairly straight-forward anecdotal way of explaining the problem to others, so I might write a very geeky post about it sometime soon. But probably not, knowing me.
I had a great time towards the end of the summer playing as part of Balbir Singh’s Roundness of 12 project, a work initially commissioned as a celebration of the Tour de France, but equally interesting and enjoyable in it’s own right. It was a pleasure to work with MD Jesse Bannister, and a few other really lovely musicians, here’s hoping we all get the chance to take the work round some more venues.
Earlier this year Kassledown Quintet had a run of great gigs around the north, and are currently in hibernation ahead of an album recording in January, keep your eyes peeled for more on that.
I got my hands on the two Stranahan/Zaleski/Rosato records, which are just great, particularly Limitless. The compositions are lovely and Colin Stranahan’s drumming never fails to put a smile on my face, have a listen to those. I’d love to comment on the Blue debate, but I’m not sure there’s anything I could say that hasn’t already been said. I’ll just say that I really like that it exists, and I think it brings up some really interesting questions, most of which are alluded to in this interview with Moppa Elliott, have a read.