Queen’s Hall, Edinburgh, Fri 28 Sep; Tron Theatre, Glasgow, Sat 29 Sep; Lemon Tree, Aberdeen, Sun 30 Sep

By the time this issue hits the streets, trumpeter Guy Barker will know how he fared in this year’s Mercury Music Prize. Barker was nominated for his ambitious Soundtrack album, released in April on Colin Towns's excellent Provocateur label, and if he is likely to end up doing no better than his predecessors in what is seen as a token jazz presence in the shortlist, it is another recognition that his star is very much in the ascendant

Guy has been around for a long time on the UK jazz scene. Now in his mid-40$, he made his initial impact as a precocious teenager, and has played on countless film, television, rock and pop recording sessions. In between that busy workload, he developed a reputation as a top jazz improviser on his instrument, in settings ranging from duet to big band.

Gradually, his own music began to take a much higher profile within his schedule. He followed a couple of independent releases by signing to Verve Records in 1995, and turned out three finely crafted discs (the first, Into the Blue, also received a

to Provocateur last year.

His debut disc for the label raised his ambitions and particularly his composing ambitions to a new level, although he insists that the centrepiece of the disc, the film noir- inspired suite ‘Sounds in Black and White’, wasn’t really even intended to be on it.

‘I really wanted to launch my new band with the disc, and I had already written all the music l was going to use for the session. I ended up writing ‘Sounds in Black and White’ just through my love of film noir, and the work of the great craftsman film

This Guy knows the score

‘My idea was to write what was a kind of ‘film’ for the band, with a role for each instrument in the ‘story’. It was pure self-indulgence, and I didn’t even really plan to perform it, but I took the parts along to rehearsals, and everybody responded very positively. When Colin Towns heard it, he said it had to be on there.’

Barker leads his septet in a trio of Scottish dates. He is joined by Denys Baptiste and Rosario Giuliani on saxes, Barnaby Dickinson on trombone, Jim Watson playing piano and Hammond, Orlando Le Fleming on bass and Sebastiaan De Krom on

Mercury nomination) before moving composers.

THE PARKINSONS La Belle Angele, Edinburgh, Wed 25 Sep; King Tut‘s, Glasgow, Thu 26 Sep

Nervous orsocsrtc": '."-z~ :‘gra-z- as the Park "sons' can hear. punk reckwg in“: "e .:; "at ‘::r the easzly offended. lit a illtliT-ESKJOOIl “gr/e :2‘ 'rg "g hips and fans that

"|_l) all their clothes. the 're. s" ,. (lélESl‘N‘gl titrartet are heading out on the," first lieaol.“ "g '.’.f,.' :>‘ the UK and 3ea:l singer.

Ar‘or‘so l).".°.;2 exrt‘z‘w‘t: f"-’: ’Tl‘él‘f; i:a"‘e about.

lr,rstrate:: artir ;;i;-t::;:; " ’f 'Sz. l’”"...::a. l’rr‘to moved to Lor‘dc" ": :;.'.e:i r. ;_.'.::' ". 5'. ,r l' 'r‘ryr" a":: i;assst pezlr'o Xau, 'Sr"§rr"<i was .2: 2‘. r ix: ;:-:,-'~::-:,-.' 07".» ar.<:"s. '7'“. sad: ": ,.-':'. .'.-:,- '.T, 'r‘ake a tax: ;‘:"<l s"n "‘ funk; befc'e but I} gee rt 2 r r .2’ r ' ,' '. ::ori‘pletedtirelrne- " .l/ .:".-,-' :.:. ' ._; 2'.."'\ swger "‘orr‘ a beating as he '."-’:'1 '._, .2 :1: '.;, ."tagre [Dean 533,8. footage at the ICA. lite pe"t arid pur‘ki, "w"- a-rrw‘ A Lorre 2147}; to r‘v'ov.r.lier‘e.

and debut single Streets of l ondon hr'“. at the Parkinsons skills. but it's their dev an“. and neurononal .ve performances

that rea set therrr apart. ‘V<:.; sherfltl be scared because you dont know .vhat's gong; to rappei‘f exolarns Pinto. ‘You din"? kr":.'. “."Cfrx 5:. gr, "gr 2:; r. ss " year pint or if a

in <:r">t>lv:"e "-4 " it"‘e "earl. t's got nothing to do cr=th aggress or; .'.'-': Vast " r'."‘l (ii-f naked. There have been grgs .'."‘.-i:"-’: ream; :. ..: " '.' at us. and in .Japar‘ there was t" s Mack rig h'rr‘se't o" the bead arvl :gt.‘ n.) ‘ax-gv . '. .r .' ":<;"’.rol and out o‘

this ‘~.'ror:d. "a.-': tee" .'.;:"‘-:;,:_ (,‘arr‘ a Prat

I Sfr'eeZs of [.r)"(.‘<:'; rs so? :7: Race Panda.

Predictably unpredictable

drums. (Kenny Mathieson)

()l ASSlCAl

SCOTTISH CHAMBER ORCHESTRA Usher Hall, Edinburgh, Thu 3 Oct; City Hall, Glasgow, Fri 4 Oct

Beethoven is the chosen composer of the Scottish Chamber Orchestra to open their 2001/ ?()()1% season. With principal conductor .Joseph Swensen rprcturedr one of the best things to happen to the SCO in recent years the blockbuster Beethoven programme includes hrs (,‘r'rora/ Symphony no 5). the breathtaking Orosse lrrge and Overture. Consecr‘atron of the House.

Apart from Swensen. the orchestra also ‘.'.relcorne special guest solorstr‘ .Janrce Watson rsopr‘arro. .Jean llrgby llll(}//():. ,John Mark Ainsley Merton and Peter Rose rbassn. as well as their own award winning SCO Chorus.

Of the [0 concerts the 800 will perlor'm over the season. the Beethoven evening also marks the first in their late Masterpieces series. 'l'er some of the great composers] says the orchestra's Steve Watson. their last works are also their most profound." lhe live concert series gives audiences the opportunrt\,’ to hear the final works of live all trrne great composers. Joining Beethoven are Mo/art. Schubert. Brahms and Sibelius.

For audiences wondering what the SCIO xvrll do when its (:‘rlasgo‘.'r home of over Qt) years the (lily l lall at Candlerrggs closes for long overdue refurbishment in l ebruarv. it ‘.'.';|| be reassuring to know that plans are well in hand tor the orchestra to appear in some ol the crlvs other prime venues. Regular l rrday night concerts will continue at the Barony Hall. the rernarnrng tvxo I ate Masterpreces evenings will be at the Royal (Concert Hall and the llSAMD's Mall lhornson (Ioncert llall hosts the Adventurer concerts. r()ar‘ol Marni



1. i'iil‘.’llltl been .rway for some trrne these pop—misfits sell imposed exile is set to end. Both are appearing in new line-ups, both dramatically pared down from the big sounds of the past anything could happen. 2. Now that they're two drifting souls alone in the cosmic pop music other. they could do wrth the company. 3. There's alv-ravs the possibility they rnrght do an encore together -— seeing what could be the tallest and smallest sensitive singer.’ songwriters in the pop world share the same stage is an incongruous pairing too good to miss. 4. Despite the less than rapturous response to Regenerarron, Hannon remains a spr-Ectacula-rr live presence. Hrs gigs are always intimate and his banter \.vrnnrng. Even allowing for the departure of a few old hands. he's a showman. a poet and. of course. blessed with a magnificent voice. 5. You can't beat a good tune and this gig gives you two cracking songwriters for the price of one. Hannon and liolds know how to knock up great ones. and if you're in search of a melody that's not wracked in angst they're your

Bar/r )w/ar rr l. Glasgow. Tr re 1 Oct.

.‘ THE LIST 47