i i . workshops are to be taken by Atsimewu of Pan-African Arts Scotland. Involvement by The Strathclyde Special Needs Orchestra, with three-quarters of its members disabled in some way. is being organised.
It is hOped that the acts scheduled to appear in the evening will come along to the workshops to join in. ‘Join in’ being the operative phrase. ‘The emphasis,’ explains Orton. ‘is on sharing and jamming. not being taught.‘
The Paris Africa Club runs at Tramway, Glasgow from Wed 25—Tue 1. See Listings/0r details.
Art on a G-string‘
Aiter ion-odd years, Muss’orgsky’s Pictures at an Exhibition is well enough known to most at us. But what about suzani needlework irom Soviet Central Asia at an exhibition? Perhaps it doesn't have quite the same ring to it, but the music/paintings link so vividly brought oh by Mussorgsky is taken a stage iurther this summer in a series oi recitals at Glasgow's Burrell Collection. Eight concerts will be given, by a variety oi musicians, including such distinguished singers as Sarah Walker and Benjamin Luxon, with each programme specially chosen to tie in with the exhibition showing alongside it.
Behind the idea is the Burrell’s Nick Pearce, Assistant Keeper at Oriental Art and Music Co-ordinator. ‘When we knew we had quite a comprehensive programme ior1990’, he explains, ‘l thought it would be marvellous to complement the various exhibitions with music related to them. The French song recitals on 8 May and 5 June, ior instance, are oi music oi the period at the Pissarro exhibition, irom the late 19th and early 20th centuries. It’s not just thematic, but stylistic as well.’
The musicians themselves have responded very positively to the idea.
Eddie Gomez has been one oi the most sought-aiter bass players in jazz tor the best part oi 20 years now, especially in partnership with drummer Steve Gadd, but is not really thought oi as a leader in his own right, which makes the visit at the Eddie Gomez Group an intriguing one.
Born in Puerto Rico, Gomez grew up in New York, and made an early impact in jazz circles, joining the Newport Jazz Festival Youth Band as a 14 year old in 1959. A series oi gigs in the lirst hali ol the 60s, with a variety oi jazz artists irom mainstream singer Marion McPartland to iree jazz with Paul Bley, established his reputation on the scene.
In 1966, he stepped into the Bill Evans Trio, possibly because his melodic, upper-register playing reminded Evans oi the ground-breaking Scott LaFaro, tragically killed in 1961, and remained there untll1977. Gomez’s ability to take an equal part in the three-way interchange oi musical voices so crucial to the Evans Trio marked him out as a natural successor, and signalled that he was no ordinary bass player.
‘Luxon was very enthusiastic because he’s a keen collector oi paintings, and they're all very excited about the idea oi doing music in a museum environment.’
On 21 Julythe Paragon Ensemble periorm a Stravinsky programme opening with his ‘Renard' to link in with the Renard illustrations oiJoseph Crawhall. First though is a song recital by soprano Marilyn ﬂees, in which all the songs have been chosen as a perfect match tor the Hanging Gardens at Central Asia exhibition at needlework. (Carol Main)
Music at the Burrell - 24 Apr, 8 May, 5 Jun, 12 Jun, 21 Jul, 24 Jul and 21 Aug. The Burrell Collection, Pollok Park. 7.30pm. Doors open ior viewing at 6pm. See Classical Listings.
Following a short stint with Charles Mingus, Gomez began to show an interest in iusion, and became a iounder member oi the highly successlul Steps (later Steps Ahead) outiit in 1979. It was his interest in moving beyond the coniines oi jazz which brought the bass player together with Steve Gadd, and sealed a partnership which continues today in the iusion-oriented The Gadd Gang, in Gomez’s own new band, and on countless sessions.
‘Steve’s depth is extraordinary,’ Gomez says. ‘Part oi what makes him so unusual is what he doesn’t play as much as what he does play. He simpiilies things and makes them very clear. '
The band which Eddie brings to Edinburgh ieatures Gadd on drums, alongside Bandy Brecker on trumpet, Dick Oatts on saxophone, and pianist Kenny Werner. Their music is likely to possess the energy and polish associated with the Brecker brothers, capturing Gomez wearing his high-powered, super-slick modern jazz hat.
‘My approach to playing the bass is pretty much the same in everything I do. The whole point is to make the music happen, to make sure the grooves are there, and to hook up with the drummer. For me, whether I'm doing a straight-ahead jazz thing or playing classical music or doing a tuslon thing, it just means adapting myseli to the language involved.‘ (Kenny Mathieson)
The Eddie Gomez Group, Queen’s Hall, Edinburgh, 20 Apr, 8.30pm.
Zt' 'IVOISSV'IO ll? )HOi 68 NW 98 X308
l v SINGLES
personnel like (‘olourbox.
Barry Adamson. Robin from The Cocteau Twins and Marcia from The Fall backing the former Cramp. perhaps too much was being made of it. But. happily. it‘s a pulsing. snarling brute. destined instead to dwell all year long on the dancefloors of indie clubs.
I Avo-8: Out at My Mind (Cherry Red) You want hooks? Avo-8 got 'cm. The latest communique from a band whose talent for turning out cleverly catchy singles is a source of some wonder. Radio One beckons (again). (AM)
I The Katy Dids: Lights Out
(Read My Lips) (WEA) A brief ﬂurry of pleasure from what sounds like a
slightly cmasculated indie
band. Nick Lowe's
production lends a burst of
smooth appeal. but ‘Lights ()ut‘ retains enough of a cobbled-together flavour togive Katy Didsa forceful leg-up into the world ofstardom. Pleasing as punch. ((‘ McL)
I Five Guys Named Moe: Seltish Days (RCA) This is the name that's been on everylmdy‘s (well. both my friends) lips furyonks
now. because. apparently.
Five Guys are rather fine. And lo! they are. ‘Selfish Days' is the song born to be called ‘sprightly'; the B-side is the song born to be called ‘Finnish‘.
Daffodils. blossom. bunny
wabits. springtime; this is Five (iuys‘ natural home. (C Mel.)
; v ALBUMS
i I STEVE WILLIAMSON: A
; Waltz For Grace (Verve)
Although he‘s been a leading light on the British jazz scene for the past few
Williamson has taken his
! time in releasing his debut
album. and the results
here certainly display the fruitfulnessofsuch
(.‘o-produced by [$8 sax innovator Steve Coleman. and with premier vocalist
I Abbey Lincoln guesting
onthclovelytitletune. this is a rewarding set that displays to its fullest
’ advantage Steve's
i playingolfagainst a variety of rhythmic
contexts. ('l‘revor Johnston)
The—List 20 April — 3 May 1990 31