{"id":20106,"date":"2024-03-24T07:00:00","date_gmt":"2024-03-24T07:00:00","guid":{"rendered":"https:\/\/aata.dev\/?p=20106"},"modified":"2024-03-24T13:11:54","modified_gmt":"2024-03-24T13:11:54","slug":"sidetracks-and-detours-present-pass-it-on-45-sunday-supplement-24th-march-2024","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2024\/03\/24\/sidetracks-and-detours-present-pass-it-on-45-sunday-supplement-24th-march-2024\/","title":{"rendered":"Sidetracks And Detours present PASS IT ON 45 Sunday supplement 24th March 2024"},"content":{"rendered":"\n

Sidetracks And Detours<\/strong><\/p>\n\n\n\n

present<\/strong><\/p>\n\n\n\n

PASS IT ON 45<\/strong><\/p>\n\n\n\n

Sunday supplement 24th March 2024<\/strong><\/p>\n\n\n\n

Hi. Thanks for turning to us in your search for arts-related news, previews, profiles, interviews and reviews. Today we look at how artists seek the right art space in which to create. We  preview an Easter Production of Jungle Book taking place close to such an art space in the UK. We also bring live jazz listings and news of Jazz on Air. We also bring news of live classical music events  as we include another informed and informative review from Graham Marshall of the latest Rochdale Music Society concert. We then look ahead to this summer\u00b4s Oxford Chichester Festival  which sounds like a programme of excellent events. Peter Pearson sheds a bright light on a great musician of lesser public acclaim than the great singer-writers of the Americana scene. We briefly mentioned Vince Bell in a recent Sidetracks and Detours edition, reviewing books by or about Texan song-writers. We have all come to respect Peter\u00b4s recommendations though, so I checked out his artist on Spotify and his work fully deserves more public acclaim. We then bring you more Island Insights from Lanzarote by reviewing a joyful concert of all Bach family music. A sublime event. We then report on the final open day event of the season from the very busy artist, Claudie, who will recommence her exhibitions in the summer.<\/p>\n\n\n\n

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CONTENTS<\/strong><\/p>\n\n\n\n

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CREATING ART<\/strong><\/p>\n\n\n\n

art space should be accessible to all<\/strong><\/p>\n\n\n\n

report from I Love Manchester newsletter<\/strong><\/p>\n\n\n\n

Live Art At Easter In Manchester<\/strong><\/p>\n\n\n\n

JUNGLE BOOK presented by Factory International<\/strong><\/p>\n\n\n\n

EASTER EGG PAINTING at Trafford Palazzo<\/a><\/strong><\/p>\n\n\n\n

previews by I love Manchester newsletter<\/strong><\/p>\n\n\n\n

Live Jazz<\/strong><\/p>\n\n\n\n

LEE GIBSON CONCERT POSTPONED<\/strong><\/p>\n\n\n\n

to Sunday 3 November 2024<\/strong><\/p>\n\n\n\n

Jazz On Air<\/strong><\/p>\n\n\n\n

HOT BISCUITS baked by Steve Bewick<\/strong><\/p>\n\n\n\n

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Live Music<\/strong><\/p>\n\n\n\n

OXFORD CHICHESTER MUSIC FESTIVAL<\/strong><\/p>\n\n\n\n

preview by OCMF newsletter<\/strong><\/p>\n\n\n\n

A Reader\u00b4s Perspective. All Points Forward<\/strong><\/p>\n\n\n\n

VINCE BEL<\/strong>L: SONGWRITER introduction by Peter Pearson<\/p>\n\n\n\n

Island Insights<\/p>\n\n\n\n

INVITED BY THE BACH FAMILY?<\/strong><\/p>\n\n\n\n

INVITED BY CLAUDIE<\/strong><\/p>\n\n\n\n

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CREATING ART<\/strong><\/p>\n\n\n\n

art space<\/strong> should be accessible to all<\/strong><\/p>\n\n\n\n

report from I Love Manchester newsletter<\/strong><\/p>\n\n\n\n

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Art is for everyone. We just need to create spaces for artists to thrive.<\/p>\n\n\n\n

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So say GRIT Art Studios, as they strive to place accessible art space within reach of all artists, no matter what discipline.<\/p>\n\n\n\n

In 2021, the team behind GRIT Art Studios (right) stumbled across an old, slightly rough around the edges building in Stockport.<\/p>\n\n\n\n

Little did co-founders Sophie and John know at the time, but it was the beginning of something special. While others may have seen the building\u2019s flaws, they saw sunlight streaming in from every angle, sturdy wooden floors begging for footsteps, and quirky staircases whispering potential.<\/p>\n\n\n\n

And in 2021, they opened up, on a mission to breathe life back into this forgotten space.<\/p>\n\n\n\n

Granville Works in Stockport was the genesis of creating a space for Manchester\u2019s grafters and crafters to thrive. The building, which had been derelict for ten years, wasn\u2019t exactly what you\u2019d have in mind as a flourishing art studio for Manchester\u2019s next generation of artists. But it has been a huge success, growing in reputation and even allowing the GRIT team to branch out into the Great Northern Warehouse<\/a>. And according to co-founder\/owner, Sophie, they aren\u2019t done yet.<\/p>\n\n\n\n

“We want to put a GRIT studio in every borough in Manchester. That\u2019s the dream”.<\/p>\n\n\n\n

“A lot of young artists don\u2019t have the space to work, and it means they miss out. Manchester is such a fertile place for art, be it music, theatre or anything. These spaces are vital.\u201d<\/p>\n\n\n\n

Unwittingly, by creating a space for artistic expression, GRIT studios have been a great boon for people to improve their mental health.<\/p>\n\n\n\n

In our interview with Anxiety Josh<\/a>, who is writing about the life of a therapist, GRIT Art Studios and Talk About It Mate<\/a> got a huge shout-out for their great work in Manchester.<\/p>\n\n\n\n

\u201cIt\u2019s an unusual one as we don\u2019t position ourselves as an \u2018Arts for Mental Health\u2019 organisation, but we seem to have inadvertently become involved with lots of people\u2019s mental health journeys”.<\/p>\n\n\n\n

\u201cI worked for years in NHS Mental Health services before leaving to set up GRIT, so I\u2019ve seen how scarce community services are. It has been lovely to set up a space and a community that supports each other.\u201d<\/p>\n\n\n\n

The studios are a melange of people from all parts of the art world. The rich blend of talent breeds innovation, fosters expression and allows people to grow their craft. At GRIT Art Studios, collaboration isn\u2019t just encouraged. It\u2019s celebrated.<\/p>\n\n\n\n

Artists from all walks of life come together to share ideas, inspiration, and resources.<\/p>\n\n\n\n

\u201cWe need to reconsider how we collaborate with artists,\u201d Sophie continued: \u201cThere\u2019s a shortage of creative resources nationwide, especially in Manchester. When we explored options for a space, we found limited opportunities. However, we stumbled upon a building nearby. Over the next few years, we\u2019ll be working on it. It was neglected, with no interest from residential developers or others. Despite its run-down appearance, it had charming windows and wooden floors”.<\/p>\n\n\n\n

“We recognized its potential, so we decided to purchase it. We rewired, refurbished, and reinforced the structure, inadvertently engaging the creative community in the process”.<\/p>\n\n\n\n

“GRIT focuses on community, rather than isolation, as artists can often cut isolated figures when they are creating.”<\/p>\n\n\n\n

“In our space, each artist rents a corner, tailored to their craft. Some specialise in jewellery making, others in painting, or textiles. Newcomers are always welcome. Instead of individual isolation, we promote a sense of community. People rent their spaces, overseen by a coordinator, addressing a common concern within the creative community \u2013 the tendency towards solitary work.”<\/p>\n\n\n\n

“Even with individual studios, we aim to foster a collaborative environment. Ideas bounce about between artists and that helps everyone. We actively promote collaboration among artists, believing it\u2019s crucial to support one another in our projects. Whether it\u2019s pooling resources for larger endeavours or offering assistance with proposals, we strive to lift each other up.\u201d<\/p>\n\n\n\n

As GRIT Studios continues to grow, Sophie and John have their sights set on a bold vision \u2013 to expand their reach beyond Stockport and into every borough of Manchester. Their dream is to provide budding artists with the space, support, and opportunities they need to thrive, ensuring that Manchester remains a happy hub of artistic innovation for generations to come.<\/p>\n\n\n\n

You can find GRIT studios here: GRIT Studios CIC, Canal Street, Stockport, SK1 3BZ<\/p>\n\n\n\n

This sounds like a great initiative and Sidetracks and Detours hope it is one that has been, or is being, or will be applied in several cities across the UK. If you are aware of such plans why not PASS IT ON<\/strong> to us at<\/em><\/p>\n\n\n\n

normanwarwick55@gamail.com<\/a><\/p>\n\n\n\n

as we would be pleased to bring it to our readers\u00b4 attention<\/em>.<\/p>\n\n\n\n

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Live Art At Easter In Manchester<\/strong><\/p>\n\n\n\n

JUNGLE BOOK presented by Factory International<\/strong><\/p>\n\n\n\n

27 – 31 MAR 2024<\/strong> THE HALL, AVIVA STUDIOS, MANCHESTER, M3 4JQ<\/strong><\/p>\n\n\n\n

previewed by I Love Manchester newsletter<\/strong><\/p>\n\n\n\n

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The Jungle Book cast and crew )<\/em><\/strong> swings into town in a spellbinding stage production (right)<\/em><\/strong> from visionary director Robert Wilson with original live music from CocoRosie.<\/p>\n\n\n\n

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Step into the enchanting world of the Jungle Book.<\/em> See the timeless tale of mancub Mowgli and friends transformed by the extraordinary imagination of director Robert Wilson<\/strong> \u2013 a creator of unmissable theatre experiences who\u2019s known world over for his distinctive style.<\/p>\n\n\n\n

A thrilling piece of theatre perfect for school-aged children and adults alike, this retelling of the classic story shines a light on tolerance, friendship and humanity \u2013 celebrating childhood and all things wild and wonderful.<\/p>\n\n\n\n

See Mowgli, Baloo, Bagheera and pals come to life through stunning set designs, dazzling costumes and a dreamy new soundtrack.<\/p>\n\n\n\n

Co-produced by Factory International, Jungle Book<\/em> has already wowed audiences of all ages in Paris, Florence and Antwerp, before arriving in Manchester for its very first shows in English. Soundtracked live by original music from CocoRosie<\/strong>, director Robert Wilson has crafted a magical show set to delight both children and adults.<\/p>\n\n\n\n

Ready to roar with laughter and let your imagination run wild? Welcome to the Jungle Book<\/em><\/p>\n\n\n\n

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Live Art At Easter in Manchester<\/strong><\/p>\n\n\n\n

EASTER EGG PAINTING at <\/strong>Trafford Palazzo<\/a><\/strong><\/p>\n\n\n\n

preview by I love Manchester newsletter<\/strong><\/p>\n\n\n\n

Hoppity hop down to Trafford Palazzo for an Easter filled with family fun and creativity.<\/p>\n\n\n\n

From Easter bonnet and egg making workshops to Spring crafts and a digital Easter egg hunt with exciting prizes up for grabs there\u2019s oodles of fun for you little bunnies to enjoy. And the best bit? It\u2019s all FREE!<\/p>\n\n\n\n

Don\u2019t miss your chance to battle, bowl, build and discover at Nerf AX, King Pins, LEGOLAND\u00ae Discovery Centre and SEA LIFE. Plus delicious food when tums start rumbling and our fabulous Primark for Spring shopping.<\/p>\n\n\n\n

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LEE GIBSON CONCERT POSTPONED<\/strong><\/p>\n\n\n\n

to Sunday 3 November 2024<\/strong><\/p>\n\n\n\n

news from Jazz In Reading<\/strong><\/p>\n\n\n\n

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I am afraid that we have had to postpone the April concert with Lee Gibson as we have suffered a series of logistical challenges in being able to host the event.<\/p>\n\n\n\n

Lee has been extremely gracious and understanding and we are pleased that we have been able to reorganise the gig for Sunday 3rd<\/sup> November.<\/p>\n\n\n\n

Details of the re-scheduled gig and all forthcoming events have been updated on our website.<\/p>\n\n\n\n

Tickets purchased will be carried forward to the new date.  Refunds are also available if the date is not convenient. Skiddle will be contacting ticket holders but if there is any problem you could contact<\/p>\n\n\n\n

 Brian.greene@gigajam.com<\/a>
 
I am sorry for the inconvenience and disappointment.<\/p>\n\n\n\n

Our next gig will be on<\/p>\n\n\n\n

Sunday 5th<\/sup> May featuring STUAR T HENDERSON<\/strong><\/p>\n\n\n\n

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Jazz On Air<\/strong><\/p>\n\n\n\n

HOT BISCUITS baked by Steve Bewick<\/strong><\/p>\n\n\n\n

With Easter Monday next week Gary Heywood-Everett<\/a> and myself bring you the sounds of spring time with our very own Easter Parade. Our personal selection of bonnets, eggs and general foolery will include music from Ella and Louis Armstrong, The Easy Rollers and Stan Getz. Share the word, PASS IT ON and tune in 24\/07 at www.mixcloud.com\/stevebewick\/<\/a> <\/p>\n\n\n\n

After a short break we shall return with a new show on 14th April 24. Have a fun Easter\/Spring.<\/p>\n\n\n\n

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OXFORD CHICHESTER MUSIC FESTIVAL<\/strong> 6th July 2024 Summer Concert and Party<\/strong><\/p>\n\n\n\n

preview by OCMF newsletter<\/strong><\/p>\n\n\n\n

Come and join us for our annual Summer Concert and Party at Christ Church Cathedral, Oxford. Tickets will be released in the coming weeks through our social media and mailing lists, so watch this space!<\/p>\n\n\n\n

Ravel’s magical sonata for Violin and Cello was written between 1920 and 1922. He dedicated it to Claude Debussy, who had died in 1918. It is one of the great masterpieces for both instruments and is in turn dreamy, ferocious, humorous and incredibly evocative. Brahms completed his Piano Trio no. 1 in January 1854, when the composer was only twenty years old. It is the only one of his works which appears in two published versions, as he revised it in 1889, though it is usually the revised version which is performed today. It is considered one of the greatest piano trios ever written.<\/p>\n\n\n\n

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7.15pm Reception, 8pm Concert<\/p>\n\n\n\n

Artists<\/strong>
Claude Frochaux, cello
Priya Mitchell, violin
Guy Johnston, cello
Emmanuel Despax, piano<\/p>\n\n\n\n

Programme<\/strong>
Ravel Sonata for violin and cello
Priya Mitchell and Claude Frochaux<\/p>\n\n\n\n

Brahms Trio No. 1 in B major, Opus 8
Emmanuel Despax, Priya Mitchell and Guy Johnston<\/p>\n\n\n\n

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23-28 September 2024 ‘These Enchanted Isles’<\/strong>
OCMF24 is going to take us on a joyful adventure of nostalgia and discovery through an intriguing variety of our native musical landscapes. September\u2019s concerts, lectures and events again feature outstanding artists that include Quatuor \u00c9b\u00e8ne, Elisabeth Leonskaja, O\/Modernt Chamber Orchestra, Hugo Ticciati, Natalie Clein, Julius Drake<\/strong> and other distinguished performers in a programme exploring a spectrum of musical expression through the centuries. Please save the dates and we look forward to sharing with you what the press call<\/p>\n\n\n\n

‘Truly festive, different and distinctive, a closely guarded secret with exhilarating atmosphere & artistry.’<\/strong><\/p>\n\n\n\n

The Daily Telegraph<\/em><\/p>\n\n\n\n

‘No. 1 unmissable event.’<\/strong><\/p>\n\n\n\n

BBC Music Magazine<\/em><\/p>\n\n\n\n

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Rochdale Music Society: TIM KLIPHUIS TRIO<\/strong><\/p>\n\n\n\n

Review by Graham Marshall<\/strong><\/p>\n\n\n\n

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It\u2019s not all that often that a jazz Trio with a worldwide reputation for such excellence as the Tim Kliphuis Trio has finds itself doing a gig in a parish church like St. Michael\u2019s, Bamford. But that is how it was on this occasion thanks to the enterprising promotion policy of the Rochdale Music Society, which has been bringing great music of all kinds to the borough of Rochdale in the form of its annual Concert Series ever since 1980. Those of us who came together to experience the Tim Kliphuis Trio\u2019s unbelievable artistry were truly privileged to do so. It was an evening of consummate musical delight.<\/p>\n\n\n\n

Jazz has some of the greatest musical experiences to offer when presented and performed by the likes of classically trained Dutch violin virtuoso, Tim Kliphuis, and the two Scotsmen, Nigel Clark (Guitar) and Roy Percy (Double Bass) both of whom are equally instrumental virtuosos. As contemporary exponents of the art of jazz they bring to their performances a depth of artistic understanding and appreciation of what music alone can express which many a performer of traditional \u2018classical\u2019 music might well envy and do well to emulate.<\/p>\n\n\n\n

The evening\u2019s programme was in two distinct parts, the first of which consisted of Tim Kliphuis\u2019s recently compiled commentary on \u2018Pictures at an Exhibition\u2019 by the 19th century Russian composer, Musorgsky. Earlier in the 2023-24 Concert Series the original masterpiece for solo piano had been wonderfully performed by Michael Shiu, but this jazz take on such pictures as Gnomus and Great Wave added considerable colour and excitement to their musical viewing. There were also entirely fresh additions to the gallery composed by Tim Kliphuis himself, among them Klimt\u2019s Kiss and O\u2019Keeffe\u2019s Ritz Tower, both of which revealed Tim\u2019s vivid musical imagination and wide-ranging creative invention.<\/p>\n\n\n\n

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The second part of the programme featured some more traditional (mid-20th century jazz classic) \u2018songs\u2019 to which the Trio brought their individual insights and spectacular skills within the scope of a Trio. Moments of extreme ecstasy and the most intense tranquillity punctuated their projection of melodic ideas and harmonic progressions, which were always firmly recognisable as the inspiration behind the ingenious and technically demanding challenges which the musicians presented themselves with and to which they responded with aplomb.<\/p>\n\n\n\n

Such a musical evening proves that live music making is still in great demand by those of us who value the immediacy and vitality of being there where and when the music is being made. It also illustrates the fact that over the last century or so the various jazz movements over the pond and here at home in the UK have made a vital contribution to the sensible progress of musical composition at a time when it could have been the case that discernible melody and harmony were in for the chop. So, I for one take my hat off to Tim and his fellow musicians for remaining true to the proper development of music as an inclusive and life-enhancing art which all can appreciate and enjoy without having to apologise for it.<\/p>\n\n\n\n

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Here’s a photograph taken at the end of the evening of the recent Rochdale Music Society jazz concert given by the Tim Kliphuis Trio. It was a resounding success, as you may well imagine from what I have said. The photograph was taken with Tim in the centre, Roy to the left as you look – and Nigel is to the right!<\/p>\n\n\n\n

The Rochdale Music Society\u2019s Concert series continues at St. Michael\u2019s, Bamford, at 7.30pm on Saturday, 20y April, when French pianist, Patrick Hemmerl\u00e9, will play original keyboard music by J.S.Bach, Maurice Emmanuel, Kapustin and virtuoso arrangements of music from operas by Mozart, Bizet, Wagner and Richard Strauss.<\/p>\n\n\n\n

Full details can found on the Society\u2019s website: www.rochdalemusicsociety.org.<\/a><\/p>\n\n\n\n

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A Reader\u00b4s Perspective. All Points Forward<\/strong><\/p>\n\n\n\n

VINCE BELL: SONGWRTER<\/strong><\/p>\n\n\n\n

introduction by Peter Pearson<\/strong>.<\/p>\n\n\n\n

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Vince Bell (left)<\/em><\/strong> is a Texas singer songwriter. Born in 1951 his songs have been recorded by Nanci Griffith, Lyle Lovett, Little Feat and many others. His song Woman of the Phoenix featured on Nanci Griffith’s Other Voices album and The Sun, Moon and Stars on her Late Night Grand Hotel album.He has also released a number of his own albums to critical acclaim.<\/p>\n\n\n\n

As a singer songwriter he has shared a stage with Townes Van Zandt and Guy Clark and is highly regarded by his peers. But it is his courage and tenacity in the face of extreme adversity that sets him apart from most.<\/p>\n\n\n\n

His story is chronicled in his biographical book: One Man’s Music:The Life and Times of Texas Songwriter Vince Bell.<\/p>\n\n\n\n

During the 70’s he started to carve out a performing and writing career and along with his contemporaries Nanci Griffith, Lucinda Williams, Eric Taylor and Lyle Lovett he appeared regularly at Houston venues like Anderson Fair and The Old Quarter. He wrote the song The Sun, Moon and Stars in 1977 and by the start of the 80’s was gaining a reputation that placed him up there with best of the Texas singer songwriters.<\/p>\n\n\n\n

Then tragedy struck.<\/p>\n\n\n\n

On December 21, 1982, he had completed a day of recording his debut album with Stevie Ray Vaughan and Eric Johnson in Austin, Texas. He was driving home when he was hit by a drunk driver going in excess of 65 mph. Thrown over 60 feet from his car, he suffered multiple lacerations to his liver, embedded glass, broken ribs, a mangled right forearm, and a severe traumatic brain injury. Not only was his debut album waylaid for a dozen years, life as he\u2019d known it would never be the same.<\/p>\n\n\n\n

Thanks to the crackerjack response of the Emergency Medical Service Team his life was saved but that did not stop the early misreporting which circulated around the Austin musical community that he had died in the accident. The surgeons were planning to amputate his arm but hesitated to do so after his family implored them not to do so, explaining that he was a musician and would not survive if his arm was amputated.<\/p>\n\n\n\n

The arm was saved but required a metal plate to hold together what was left and he was in a coma for a month in intensive care. For the next decade, he worked to overcome his brain injury as he retaught himself to walk, talk, and play the guitar and also earned a commercial art degree.<\/p>\n\n\n\n

He had a paralysed vocal chord and required speech therapy in addition to extensive physical and mental rehabilitation.<\/p>\n\n\n\n

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Two years after the accident in 1984 he enrolled at Austin Community College to study commercial art with a view to establishing a back-up in the event his music career was finished. He was however determined to return to music as a career. Each early morning at home before Art School he began to teach himself again to play guitar and piano. He called these sessions attending Music School. Eventually he was able to sing and play Dylan’s I Shall Be Released. However, at the age of 35 he found himself seeking work outside music. He worked in stores sweeping floors, stacking boxes and cleaning windows.<\/p>\n\n\n\n

The desire to return to music as a career never left him and his struggles to succeed documented in his book will make you cry. Succeed he did though.<\/p>\n\n\n\n

In 1993 Nanci Griffith covered his song The Sun, Moon and Stars on her Other Voices Album and this helped to remind people that he was still around.<\/p>\n\n\n\n

Meanwhile 12 years after the accident Vince was able to complete his previously aborted first album titled Phoenix.<\/p>\n\n\n\n

Reviewing the album The Houston Chronicle wrote: \u201cPhoenix adroitly mixes elements of folk, blues, and country in an acoustic setting. But it\u2019s Bell\u2019s alternatingly oblique and soul-baring lyrics that make the album a captivating listen.\u201d<\/p>\n\n\n\n

In 2000 Austin City Limits (USA live music tv programme) broadcast a Lyle Lovett hosted episode featuring Texas music singer songwriters to celebrate 25 years of the programme. The artists featured were: Vince Bell, Eric Taylor, Robert Earl Keen, Guy Clark, Michael Murphey and Steven Fromholz. Vince played his song “Poetry Texas” from his album Texas Plates. He was in fine form and his comeback complete, with an entirely new picking style and modified vocals.<\/p>\n\n\n\n

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Vince Bell, Eric Taylor and Steven Fromholz appeared on the themed \u201cHouston Night\u201d \u2013 Sunday 30th May 2004 – during the annual Kerrville Folk Festival. Fromholz had suffered an initially debilitating stroke during April 2003, while Taylor suffered a heart attack during late January 2004. In conversation this trio of musical acquaintances decided to work together from time to time. Fromholz suggested the name Flatliners. The trio made its public debut over one weekend of appearances in Houston at Anderson Fair and in Austin at the Hyde Park Theatre during February 2005.<\/p>\n\n\n\n

In 2009 his book, One Man’s Music, was published and Vince premiered his one man show, based on his book, at the Brain Injury Association of Texas’ 25th Annual Conference.<\/p>\n\n\n\n

Continuing to tour, compose and issue albums, Phoenix was followed by Texas Plates (1999), Live in Texas (2001), Recado (2007), One Man\u2019s Music (2009) the DVD New Lamps For Old and in 2018 Ojo.<\/p>\n\n\n\n

In 2006 Vince published a second book, “Sixty Eight Twenty Eight”, which concentrates on his post re-hab recording and extensive touring life. The title comes from the name of his guitar which he continued to use from age 19 to 2006.<\/p>\n\n\n\n

Still touring, he recently played yet another gig at Anderson Fair. He gives regular lectures to Traumatic Brain Injury groups throughout the USA.<\/p>\n\n\n\n

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Island Insights<\/strong><\/p>\n\n\n\n

INVITED BY THE BACH FAMILY?<\/strong><\/p>\n\n\n\n

Mr. & Mrs. Warwick are pleased to accept<\/strong><\/p>\n\n\n\n

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You know how, back in the day, we used to receive gold \u2013 edged invitations in the post to a salubrious event. We would read it, make a mental note of the date, and then leave it behind the clock on the mantelpiece until nearer the event. Of course, by the time we came to look for it again, someone else in the family would have \u00b4tidied up\u00b4 and thrown away the papers stuffed behind the clock and chaos would ensue.<\/p>\n\n\n\n

The modern day equivalent of that scenario is that the invitation is published on Facebook so that anyone can attend the event, (in this case a performance of music created by JS Back and his widespread family). I noticed it about three weeks before the concert, as I was scrolling down my FB page, but by the time I reached the foot of the list and returned to nearer the top where I had seen it, the invitation had gone. I had noted some salient points (date, venue and the music) but couldn\u00b4t remember the time. As the date was only a few days away I began to panic that I might not be able to treat my wife to this (free) performance.<\/p>\n\n\n\n

Much arguing ensued of the you should have saved it immediately<\/em> \/ I thought you would \/ I didn\u00b4t see it<\/em> \/ oh it\u00b4s always my<\/strong> fault,\u2026. and it was only on the day itself, after frantic searches on Google and all other search engines available, and the theatre website of where the function was to be held, (all to no avail) that a mutual friend of ours and the performers posted out a reminder again on the facebook platform.<\/p>\n\n\n\n

Of course, we were in a state of mild panic by then and Casa Warwick was in turmoil, and we weren\u00b4t even sure if we were still on speaking terms or whether we were going to sit sulking in front of the tv.<\/p>\n\n\n\n

However, here on Lanzarote, arguments soon drift away over the mountains and out into the wild blue yonder, and at 3.15 we left home, hand in hand and skipped along the path to our car and set off on the 10k drive to Puerto Calero, where the yachts and the tall boats are moored, and where the water taxi calls to collect passengers who take a half hour boat ride round the headland to Puerto Del Carmen. We have made this trip before and we know that there is a fantastic restaurant at the end of the ride, only twenty yards from where our water taxi would pull up, or rather drop anchor. And only a further fifty yards further on is El Fondeadero, a building which houses a small theatre and several galleries and meeting rooms.<\/p>\n\n\n\n

Our half hour on the ocean felt like we had rounded Cape Horn, as sung about in English Folk Songs, and although in fact our water taxi had hugged the coastline there was enough of a swell to have the stomachs of those with a nervous disposition turning somersaults. Such feelings, however, were soothed by a fabulous view across the water to see Fuerteventura disappearing round the bend and over the horizon and, to port or starboard, the mansion style houses standing proud and  prestigious along the horizon of the headland. We slowed into the harbour at Puerto Calero, surrounded by homes and restaurants and boules (pitches? lanes?).<\/p>\n\n\n\n

We stepped off the boat at 4.15, and so knew we could enjoy a lazy meal at La Valeta and by 4.15 and forty seconds we were seated at our favourite table looking out across the harbour. The staff here are prompt and polite and it is certainly a place that offers fine dining, but we ordered the less glamorous \u00a8Broken Eggs\u00a8 , which is actually two fried eggs and ham laid over a base, usually of chips, but here of delicate wafer thin potato slices. Even that is enhanced by the right amount of Tabasco sauce and a pint of beer or glass of wine by its side.. The apple tart and ice cream for dessert and an Americano and Cappuccino coffee completed what was just about as fine dining as we could wish for.<\/p>\n\n\n\n

We ambled across to the theatre, not quite sure in which part of the building the event would be held, but followed the crowd and took two seats near the front. The musicians and choristers were already in position and fine-tuning their act.<\/p>\n\n\n\n

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By the time the theatre was full, there was only just enough room left for the twenty five choristers, the ladies resplendent in all white, and musicians: a violinist, a flautist and musical director and keyboard player Marianne Whelpdale (left)<\/em><\/strong>, a ubiquitous figure at these kind of events  and the  subject of an interview and several reviews on these pages already.<\/p>\n\n\n\n

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She it was who welcomed the audience and introduced to us the choir of In Dulci Jubilo (right)<\/em><\/strong> explaining that tonight\u00b4s music would be a selection of that was built by JS Bach and other members of the Bach family,<\/p>\n\n\n\n

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The concert then opened with sounds, from a slightly raised platform behind the choir, of a recital of Sonata Number 1 para violin solo (Siciliana) composed by Johann Sebastion Bach.(1685 \u2013 1750). This was an enticing piece with which to lead us into a further exploration of Bach Family music, and was beautifully and gently delivered by Diego Bermudez.<\/p>\n\n\n\n

The next number brought us our first offering from In Dulci Jubilo. was got tut, das ist wohlgetana<\/em> and  had the choir supported by Marianna on piano and Diego again on violin and it was immediately obvious that that this was a robust and confident choir, and that was certainly confirmed throughout the rest of programme.<\/p>\n\n\n\n

So Oft Ich Meine. Tobackspfeifes bwv 515<\/em> was another composition by JS Bach. This was a recital by Marianne on piano and a male soloist from the choir. He sang, pipe in hand, and lent great character to the piece.<\/p>\n\n\n\n

Our next piece of music came courtesy Carl Philipp Emanuel Bach (1712 -1788). This dramatic delivery from the full choir, was conducted by  Marianne, who was also serving as compere, as she introduced each new piece of music.<\/p>\n\n\n\n

She introduced Violinsonata re Mayor, la movimiento moderato, telling us this was music by Johann Ernst Bach (1722-1775), and she then played a beautiful piano accompaniment to the solo violinist, and between them they delivered an enchanting piece.<\/p>\n\n\n\n

We returned to Johann Sebastian for the sixth piece of music, this being Wachel auf, ruft uns die Stummer. This piece was delivered by piano and violin and a male soloist singer. All three seemed of one accord and the timing of the piece was immaculate.<\/p>\n\n\n\n

Another of Johann Sebastian\u00b4s was next with Eins 1st<\/sup> Not. This was another full choral delivery and served to highlight some excellent female vocals over some deep base notes from the male section. This created a magnificent  sense of rise and fall to the piece.<\/p>\n\n\n\n

We listened next to a piece from Johann Michael Bach (1648 \u2013 1694). His Ich weiss, dass mein Eriosa lebt, was conducted by Hans-Victor Reuter, in his Bachalanian wig and lending some character to the performance that enabled us to hear some fine vocal sections by a lady in the choir with a floral head dress.<\/p>\n\n\n\n

The penultimate performance brought us the Cantata Burlesque, another work by Johann Sebastian. It was beautifully delivered by a male and female vocalist duo from the choir, Melanie Welunschek and Axel Mischewski. The two choristers were accompanied by piano and violin lending a secular tone to the work.<\/p>\n\n\n\n

The concert was brought to a premature end with Sonata Number One para violin solo, delivered presto. This lively offering brought great waves of applause from the audience and Marianne stepped forward and offered him her congratulations too, and then thanked us all for coming.<\/p>\n\n\n\n

There were loud requests for more from the audience and we were given a selection of a handful of musical pieces linked in some way to Palestine. The opening piece was delivered by Andreus Sandermann on flute (beautifully ethereal) and a sprightly, dreamy piano. On the final piece of this encore the flute floated across a strong violin sound, in a perfect ending to what had been an absolutely excellent concert that, as Joni Mitchell would have had it, had been \u00b4played real good, for free\u00b4!<\/p>\n\n\n\n

We took a taxi back to our car at Puerto Calero and were back home by 9.30 pm, having enjoyed one of about 350 days a year that bring something like this on Lanzarote. No fuss, no bother, just a crowd of people sharing the enjoyment of the arts with mutual respect. We heard not one wrong word, at least not once our early morning argument was over. Everything was on time, everywhere was swept and cleaned and the sun was dropping diamonds down the coast.<\/p>\n\n\n\n

I hope this review serves as a fitting footnote to last week\u00b4s article on these pages about Supporting The Arts On Lanzarote, in which I praised the local and island government for their support of the arts and ensuring a number free to the public events throughout the year. What they do is invaluable.<\/p>\n\n\n\n

So, too, is the work of people like Marianne Whelpdale, and the director of the Yaiza Choir and the conductors of ensembles like Yaiza Municipal Band. Such people educate, encourage and facilitate those who love to sing and play.<\/p>\n\n\n\n

If you would like us to preview or review your public performances on these pages, drop me a line at normanwarwick55@gmail.com<\/a><\/p>\n\n\n\n

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Island Insights<\/strong><\/p>\n\n\n\n

INVITED BY CLAUDIE<\/strong><\/p>\n\n\n\n

accepted by Norman Warwick and Dutton The Button<\/strong><\/p>\n\n\n\n

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With our tiny island issuing a severe weather warning this weekend and postponing all planned outdoor events you might find it soothing to stroll around a beautiful home \/ art gallery in Orzola in the north of Lanzarote.<\/p>\n\n\n\n

These occasional openings of her home \/ gallery by Claudie, a busy and influential artist, are always calm and civilised events allowing you to browse the eclectic arts described on our poster image.<\/p>\n\n\n\n

Claudie is a gracious hostess offering a glass of cava as you wander round the various rooms. She never intrudes but is always delighted to explain how and why a particular piece came about or to generally discuss with her guests the state of the arts today.<\/p>\n\n\n\n

We have visited several times and now have several Claudie pieces in our home, from paintings to photographs to fridge magnets of unique style, and many examples of found objects sometimes known as the French ‘objet trouve’, an object which is retrieved or bought by an artist for its intriguing or aesthetic properties. Some artists have transformed found objects into works of art, while others have derived inspiration from collected items.<\/p>\n\n\n\n

Visitors are often amazed by Claudie\u00b4s keen eye and creativity and the vision that turns broken pieces of wood into works of art.<\/p>\n\n\n\n

I believe her work to affordable and accessable.<\/p>\n\n\n\n

Both Cluadie herself, and her creations, are willing to engage and to take their place in the real world. This was the last exhibition of the current season. She will re-commence her invitations to her arts in the summer and I have no doubt there will be new additions on display.<\/p>\n\n\n\n

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We are setting off down Sidetracks and Detours again tomorrow when we will be calling in at The Fete Of Britain on our crossing to America, where we will listen to Kacey Musgraves beside a Deeper Well. We will also take the time to listen to nine great albums selected by Matt Mitchell at Paste online magazine as being the best of all Grammy winning albums. We will then head back to Bolton, England, to see a production of Animal Farm at The Octagon (bringing back memories of a terrifying production of 1984 at The Royal Exchange Theatre in more than a decade ago in Manchester). We will return home with, of course, a copy of Animal Farm, for which we\u00b4ll have to continue to build a bigger bookcase. So, please drop into our daily not-for-profit blog bringing you new free-to-read arts related articles from Monday to Friday. And of course we will have another PASS IT ON  supplement next Sunday, too, and our easy to navigate archives of over 1,100 free articles are always open to you.<\/p>\n\n\n\n

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Thanks for turning to us in your search for arts- related news, previews, profiles, interviews and reviews. Today we look at how artists seek the right art space in which to create, We\u00a0 preview an Easter Production of Jungle Book taking place close to such an art space in the UK. We also bing live jazz lkistings and news of Jazz on Air. <\/p>\n","protected":false},"author":2,"featured_media":20123,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,13,45],"tags":[],"class_list":["post-20106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aata","category-literary","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/20106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=20106"}],"version-history":[{"count":10,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/20106\/revisions"}],"predecessor-version":[{"id":20173,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/20106\/revisions\/20173"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/20123"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=20106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=20106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=20106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}