m2- merm- fil‘h'rlr‘hns 1 Part time

Making a welcome return to Scotland this autumn is the Estonian conductor lleeme .larvl, the Conductor laureate ,, a of the RSllO. It is not, however, with -. x . , them that he appears but with the Gothenburg Symphony Orchestra from Sweden, at which he currently holds the position oi Principal Conductor. , in a programme presented as part oi Glasgow Royal Concert Hall’s International Series, the Swedish/Estonian links are well to the lore. Two trumpet concertos by Estonian composers Arvo Part and Eino Tamberg are given their UK premieres by the brilliant Swedish

Guy Barker trumpeter llakan ilardenberger, who, . . _ . like Jarvi, is also received here with "aka" "a'd‘m’e'gfl

Assembly .D'm‘ Whey 2 open arms. Part’s ‘Concerto piccolo irom the Baroque. ii German of attempting not only to . . . present mm bu, also to . on B-rl-c-ll tor trumpet, strings, . terminology is used, each of the develop and culmmc l harpsichord and prano’ Is essentially a letters of Bach’s name can be put to a them is already paying reworking oi an earlier piece, which note and a musical theme emerges, a dividends in the case of has been made especially for the theme which is or central importance trumpeter Guy Barker. lt , combined forces or Hardenberger, the to the piece. Tamberg, more or less arguably began when he Gothenburg Symphony and Jarvi. It contemporary with Part, is less well was 35k“, ‘9 We Pf‘” ”‘ g was in the early 19605 that Part known in Britain, but a major figure in m“ “"""““"°” “'h‘Ch i started to introduce the concept oi Estonia. His ‘Trumpet Concerto’ was brought together Tommy I . . . . . . . 3mm“ “2.6116”, 56m, ; collage, a mixing oi compositional written tn 1972 and with llakan (which ,3 SC, for a mum '. styles, into his music. One oi the Hardenberger as soloist both the to the recording studio at products oi that period was ‘Collage Tamberg and Part are sure to be heard the end of the year). but BACH’, the work from which the at their best. (Carol Main) look a huge slcP forward current piece originates. So 20th The Gothenburg Symphony Orchestra when he formed 3 him“ 1 century twelve-tone techniques are play Glasgow Boyal Concert Hall on ff" ihc Kmd. Of 31”“ t interwoven with textures and toms Thurs 3. lestival earlier this year.

That was the first time he had led his own band m in a major concert here. but the success of the D I venture has now led to an . early return fora Scottish IOUF. “0 chose Icelandic at its three incarnations, and it “"0 Saxophoni“ 5‘8? Scottish-based musicians still Flosason and Portugese

constitute the bulk oi the programme, the quality at this year’s visitors is the best yet. Guests like the innovative

ian-iolk quintet Lammas, saxophonist Iain Ballamy, pianist llikki lies, the I

Jean Toussaint Ouartet and the s Kimbara Brothers all help to spice up I an already agreeable helping of home-

produced music, but special attention should be given to the presence of

pianist Bernardo Sassetti. as well as his regular collaborator Alec Dankworth on bass. but the in-demand lrish drummer Conor Guilfoyle has given way to Ralph Salmins.

Barker himself is rarely short of lucrative session offers. but is adamant that

my hum definitely “C, in trumpeter Harry Beckett, it only . A Cocteau Twins and thejazz work. and l have because we hear him so seldom In freak who had no often turned down these Dam.

Beckett was born and brought up in songs Ol hCI‘ 0W1] When Barbados, but came to London as a She Signed a record deal nineteen-year old in 1954, and soon . . established himseli on the jazz scene bUt 501d "1 mllllon 3“ the there. lie became a crucial figure in same? Yep indeed, and, as the development or more experimental , - 3, .3 . iazz styles in the 60s and 70s, working Cf‘ug MCLL‘m ILp01 t5, with the likes of Graham Collier, John Sarah McLachlan is now Sunnan, Mike Westbrook and Chris . ., 3 . Menage“ among many 0mm, and set to do the same over has led his own groups tor many years. here. i Whatever the setting, though, Beckett is a lyrical, authoritative improviser, For over a year now. Sarah McLachlan

sessions to play jazz. even when i may have needed the money. Having my own band has always been a very exciting priority for me. and this group has allowed me to take a fresh approach. and play with some different faces.‘ Barker has written a lot of new material for the band. but also encourages ' ' other members to contribute their own tunes " i to the pot. and even on Jean mussaim


32 The List 2i October-3 November l994

-- ' y . s . . and a major talent. has been on the road. playing her giggly‘gigniflg mum The? 3'3 mth 3"“95 it" It would be wrong, though, to sideline shows. selling her albums and ageing together superbly. With a leStwaISt but "hue the mall" gvents the home contingent. Martin Taylor’s her soul. Ageing her soul'.’ Such is the t major label record deal struggle “Nd” dimcuu linanc'al exuberant Spirit ot Ojango and fraught lot of the emotionally-bare and apparently imminent. constraints, some 0i the Mia"er Suzanne Bonnar both headline at the intensely-honest sitiger-songwriter things seem to be lilovlllg events have found a more modest Queen’s Hall, while other names to forced to take their closgqumcr along nicely for a highly niche for themselves. Ounoon has lOOk Ollt l0? lnClu‘le Nigel Clark: confessionals out and about. then out (Simgpcgntflent. (Kenny been a conspicuous success in that Russell Cowieson, Brian KGIIOCK, Phil and about some more. Forced. by J The City Bur/m- Qumm [993”! and," mm!" be 90“ m 589 3300",", Flonna ""3103": “339' professional mores and financial l p/uv ur the Citv Hull, ' the lesma' “mde 'ellef'ed am" slums and 3‘3be w'Shan- (Kenny necessity. to offer tip their innermost l Girlxgmt' on Thurs 3, and the complei'on 0' the ongma' ""88. "athlesonl traumas and turmoils in neat. package- 1 I The QllL’L’Il '3' [{(lll, yea' periOd m9nu‘0 I . Dunno" Jazz Festival "Ins 'rom Fri [ourcd‘ [ichnixcd‘ p()p-rhyyncd‘ flinhurg/t (m Fri 4. i The event has built steadily Ill each 21—3.". 23, wundchcckcd soundbin A 1