Monday 22 May 2017, 7.30pm
MAN FOREVER + TIGUE
After last summer’s release of the exceptional Skene on Sean McCann’s Recital Program, it’s a pleasure to share Matthew Sullivan’s set from March this year. A percussive motif threads together obscured narratives and Sullivan creates totally new landscapes from his field recordings and their manipulation. Whilst some of the sounds are recognisable, the position you hear them from is frighteningly isolated - a gong becomes as eerie as office lighting static, a demonic football crowd celebrates your exit. One of our standout shows from this year for sure. If you're interested in Michael Pisaro, James Rushford or Mark Vernon this is one for you.
1. Untitled - 15:34
Recorded live at Cafe OTO on Wednesday 22nd March by Shaun Crook. Mixed and mastered by Shaun Crook.
Matthew Sullivan - 22.3.17
On the phone:
What you doing Han?
I'm practising. Of course.
Listen Han, why don't you record something, post it and I'll play with it and I'll record something and you play with that and we'll see what we've got.
And this is what we got.
Derek Bailey / acoustic & electric guitar
Han Bennink / percussion
Recording & artwork uncredited. Han's notes from the CD insert below.
Derek Bailey & Han Bennink - Post Improvisation II - Air Mail Special
Strikingly sparse and meditative percussive duo from esteemed vocalist Julie Tippetts and Confront boss man, Mark Wastell. Both equipped with a wealth of percussion but perfectly restrained, the pair are near-still, bright and clear at first, until the surface of their glistening sound begins to prickle and rush with an unseen current. Tippett's voice effortlessly matches the bellows of the Wastell’s shruti box, and its gentle drone highlights her natural vocal warmth. Intimate, explorative and intuitive, each note struck or sung is turned over gently, explored, and put back down to rest - like a rare find in a rock pool. We hope to see this duo make a return to OTO soon!
Julie Tippetts / voice, Sri Lankan hand drums, bells, singing bowls, water bowls, thumb piano, seed pod shaker, Balinese mini xylophone, struck hand drum
Mark Wastell / tam tam, cracked ride cymbal, shruti box, chimes, hand drum, Indian temple bells, singing bowls
1. Unraveling the Waterfall - 30:55
Recorded live at Cafe OTO by James Dunn on Tuesday 17th of January 2017. Mixed and mastered by James Dunn.
Julie Tippetts & Mark Wastell - 17.1.17
Born in Bolgatanga in rural Ghana, King Ayisoba was a prodigy on the kologo, playing locally until he’d outgrown the possibilities of the area. Moving to Accra, the country’s biggest city, he eventually released the song “I Want To See You, My Father.” There was nothing modern about it. No hiplife rap, no electronic beats. But somehow it conquered the country and brought the tradition firmly into the mainstream.
“It was Song of the Year and Traditional Song of the Year,” says album producer Zea. “He also had a song called “Modern Ghanaians” that said we shouldn’t forget the tradition. Instead we should use it to fight modern problems.”
With that mantra, King Ayisoba became the unlikeliest star. His music was a strong weapon for Ghana’s traditions. What he wanted, though, was to play with a band, to bring what he called the “man-power” to give the full drive to his sound. On the album Wicked Leaders, with Zea producing, that’s exactly what he did.After that Ayisoba toured Europe together with Zea, opening up solo, providing guitar, vocals and live electronics on stage, and Francis Ayagama joined King Ayisoba’s band on djembe and bemne drums
Alone or with beats, ultimately the power that propels 1000 Can Die comes from the band itself, from the sense of history that forms every piece of music. It’s there in every musician. They all go home and farm. They’re connected to the land, and the songs are part of the harvest they bring from the fields and from their own families.“Ayisoba’s grandfather played the kologo,” Zea says. “But only in the house. He was a healer, a shaman. People would come and tell him their problems. He’d make a connection with the spirits, then play and start singing, and his stories would include solutions.”
On 1000 Can Die, King Ayisoba is digging a new future from Ghana’s soil.
King Ayisoba - 1000 Can Die LP
"More 1960s recordings of truly unique solo piano performances. Mariam Tsege Gebru is a true original - her playing is somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! All original compositions available for the first time on vinyl beyond the original early 1960s editions, which are completely impossible to find. Old school 'tip on' cover with gold foil printing. A must have master piece for anyone who needs some spiritual comfort."
TSEGE MARIAM GEBRU - Tsege Mariam Gebru LP
"Great songs form one of Ethiopia's most beloved singers - Talhoun Gessesse (English spelling varies). These recordings span from 1969 to 1975 and cover the range of Talhoun's styles and moods. Some mystical modal songs, some straight up rockers, and some ballads. All totally killer songs from the golden age of Ethiopian Soul Music. Talhoun's voice, alongside Mahmoud Ahmed's, is one of the strongest in the land. Don't miss out on this monstrously good LP."
Tlahoun Gessesse - Sima! LP