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Press Release: Cardiff-born musician launches all or nothing bid for debut album

29.03.17 

For immediate release

Cardiff-born musician launches all or nothing bid for debut album

 

Pianist and Royal Academy of Music jazz graduate, Peter Lee, is crowdsourcing his debut album for five piece band and string quartet through Kickstarter in an all or nothing bid to create ‘The Velvet Rage’. 

Inspired by Alan Downs’ book of the same title, the album expresses the highs and lows of Lee’s personal experience as a musician. Downs worked as a psychologist in America, offering counselling to gay men and he has become familiar with their most common personal battles. Towards the end of the book he offers wisdom and guidance towards a goal he names ‘authentic validation’. Lee’s debut is tribute to this sentiment, showcasing compositions Lee has written over the last 10 years, drawing from his educational, professional and personal journey.

Lee commented: “Gay men and women have been granted the opportunity to marry in so much of the western world; we can walk through the streets hand-in-hand and yet it would be naïve to think that personal struggles related to sexuality aren’t still going on. Attacks on the LGBTQ community still happen, but we’ve seen our communities respond with an unprejudiced sense of unity. I’m so grateful that I live in an age where I can be out and proud and express my perspective through the medium of music.”

Cardiff-born and London-based, Lee received his undergraduate degree from Leeds College of Music and his campaign to raise £5,000 has attracted support from across the country with over 55% raised at the halfway mark.

For such a qualified musician, Lee’s story is one of humour and determination. His first gig with his band prompted an official complaint from the examiner-in-chief at the Royal Academy of Music. It was his final recital for his masters in jazz piano, but Lee went in with a band full of pop musicians. The audience whooped and cheered so raucously that a formal email was sent to all students about ‘appropriate’ exam conditions.

While touring with Alice Zawadzki, Lee worked with the Manchester-based “Amika” String Quartet whose stunning playing led him to arrange his music for strings, and invite them to a week-long recording session in the Autumn of 2016. From there, the album progressed into an offering that spans a decade of work with an authentic and highly talented group of musicians.

Lee needs to raise the full £5,000 by midnight on Tuesday 11 April and would welcome support from all corners. Visit www.bit.ly/petelee to join this exciting new project.

 – End –

For further information, contact:

 

Leah Thomas @ Blue Flamingo

Notes to editors:

The Musicians

Lee recorded for five days in Fieldgate studio in Cardiff.  The musicians involved are: Pete Lee (piano/compositions), Josh Arcoleo (sax), Alex Munk (guitar), Huw Foster (bass), Ali Thynne (drums), and the “Amika” Strings: Laura Senior (violin), Rich Jones (violin) Lucy Nolan (viola) and Peggy Nolan (cello). The session was recorded by Andy Lawson, Alex Killpatrick & Matt Williams at Fieldgate Studios in South Wales. Matt Roberts produced the album.

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The Importance of Feeding Musicians….

Feed musician band hire blue flamingoWe’re not talking about ‘feeding’ them as if they’re pigeons.  More like, why it’s a great idea to feed them if you’ve hired them. Sometimes, people forget and they get a little sad. And grumpy.

A few things to remember…

1. If they’re playing an evening set, that’s dinner time. They’ve been setting up since 15:00. They’re on at 21:00 and it’s 19:00. They’ll be hungry.

2. Hot meals make people way happier than sandwiches. (You know that’s true.)

3. We have learned that: fed musicians = happy musician = epic music.

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Review: Riot Ensemble @ MeWe360 30.01.2015

Riot Ensemble, Blue Flamingo, Harry Cameron-Penny MeWe360 Aaron Holloway-Nahum Blue Flamingo Kate Walter Adam Swayne

With an evening out in Soho, you never know what to expect. Sat in MeWe360 it was a surprisingly traditional urban setting.  It is a ‘modern office’, but this space with its sofas, random chairs and a piano made a great setting for chamber music – a genre as old as music itself.  It’s rare to be sitting on the floor listening to great contemporary music in such intimate surroundings and as Riot Ensemble‘s Artistic Director Aaron Holloway-Nahum  introduced the evening we knew we were in for a great night.

The programme started with Felipe Lara‘s, “Livro dos Sonhos” (Book of Dreams) a song for clarinet with piano.  Angular angry unisons began the piece which was full of timbral contrasts. Moments of diatonic melody spattered this sound world of harmonics, accents and frights with masterful clarinet control by clarinettist Harry Cameron-Penny.  Adam Swayne on Piano played with precision and the pair play very well together.

Next up was the UK premiere of Marco Momi‘s ‘Reloading Vanishing’ for solo flute.   Kate Walter played this so very engagingly. The piece calls for vocalisation, gasps, emotive outbursts as well as simultaneous flute playing. Walter’s character brought the piece alive.  A Riot Ensemble trademark is to use other media in their work (see our previous review here). This evening they had a screen with information, most interestingly a preview of the score. Thus in ‘Reloading Vanishing’ it was intriguing to read the instruction ‘confidentially’ at the top of the score, getting a glimpse of the composer’s ‘intention’.*

Amy Beth Kirsten‘s ‘Speak to Me’ for pianist finished the first half, with Holloway-Nahum introducing Kirsten’s composition style as a ‘physical not intellectual’ activity.  Swayne absolutely owned this piece – which is based on the myth of Echo, Narcissus and Juno – and eloquently (and helpfully) reminded the audience of the story.  The music has three parts.  Firstly Echo talking incessantly to distract Juno, her adulterous husband, secondly Juno cursing Echo and finally Echo frustrated that she can no longer speak.  Kirsten is just a great writer.  Her improvisational influences are so evident.  The first section is great stream-of-consciousness for pianist in which Swayne both sings/speaks and plays.  The cursing is dark and repetitive – a migraine of intensity of a curse and Swayne’s quite remarkable skill as an actor emerged as he spoke with harsh intensity.  Finally when Echo is trapped and can no longer speak, the music recalls what was once spoken and Swayne (consciously or not) realised the pain on his face. Someone had taken away his power to speak.  Echo tries to recall the music but can’t assert herself.  This is an epic piece of music by Kirsten.  The end is heartbreaking, a requiem for a voice that has been lost and a soul destroyed.

The second half  opened with Augusta Read Thomas‘ ‘Capricci’ (Hummingbird Romance) a piece inspired by New Orleans jazz improvisation.  It was a great dance for flute and clarinet and showed Thomas’ clear and intimate understanding of these instruments.  This duet was great to observe. Cameron-Penny and Walter moved together as they played demonstrating flawless technique and great virtuosity.  At moments the tonalities echoed Schoenberg just as he was beginning his 12-tone experimentation.

‘Invocation to Ate’ by Arne Gieshoff was next up, a piece focussing on obsession.  Once more the range of the flute’s colours was superbly demonstrated by Walter’s excellent technique and performance.

The night finished with two trios, the first being Jose Manuel Serrano‘s ‘Espantajo de Resca’.  Holloway-Nahum once more told the work’s story: music evoking the ghostly figures left on the sand and bark as the flood recedes from Serrano’s hometown.  This piece is an echo of an image with haunting breezes of melody.  Once again Swayne at the piano uses his voice in the work – but the eery sounds don’t add human reality to the work, rather they take it away, creating an even darker, beautiful sound.  The rich sounds from Walter and Cameron-Penny developed Serrano’s world into a beautiful soundscape.

The evening’s title piece ‘The Riot’ by Jonathan Harvey finished the night, a work designed to show the (as Holloway-Nahum put it) ‘sheer virtuosity’ of the musicians and how it was ‘utterly clear how hard’ it is to play.  This is a mayhem of a piece.  Moments of utter diatonicism (cycle of fifths, major thirds) were interspersed with exclamation and madness.   It’s actually great to hear a composer who’s not afraid to use even pulse and functional harmony every now and again – jazz influences too were clear.

It was a great concert with phenomenal music and well thought out programme. The setting was intimate and this made a big change to how the music was received:  sitting comfortably with a drink in your hand is an inviting setting.  It is a new (and yet so old) way to hear the music.  Holloway-Nahum’s great insight into the composer’s ideas and thoughts (Harvey’s daughter Anna and Gieshoff himself were present too)  made the music much more tangible and thought-provoking.

Check out the Riot Ensemble’s upcoming performances here.  Well worth it for this breath of fresh contemporary musical air.

 

Musicians
Clarinet – Harry Cameron-Penny
Piano –  Adam Swayne
Flute – Kate Walter

Full Programme
1) Felipe Lara ‘Livro dos Sonhos’ (Book of Dreams)
2) Marco Momi ‘Reloading Vanishing’
3) Amy Beth Kirsten ‘Speak to Me’

Interval

4) Augusta Read Thomas – ‘Capricci’ (Hummingbird Romance)
5) Arne Gieshoff  – ‘Invocation to Ate’
6) Jose Manuel Serrano – ‘Espantajo de Resca’
7) Jonathan Harvey – ‘The Riot’

 

*there is no way on earth we are going to get into a discussion on the realisation of the composer’s intention and whether or not it is a valid idea.  This is just a review.  Hence the quotation marks.  The end.  ~BF

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Musicalife: Recording

One of our groups (Jasper & Ruby) recently recorded at Resident Studios (Willesden Green, North London).

Resident Studios were great – booking a Studio via online chat at 10pm has to be the most musician-friendly thing ever – and studio day was easy.  We bought cheap parking permits for the whole day, unloaded easily and they had no qualms with us eating the pizza we called out for in the studio.

Resident have a number of options available – either hiring rehearsal spaces or recording studios.   We decided to bring in our own engineer/gear with the fabulous Ali Thynne.  We used Studio 1 (pictured), recorded the rhythm section live with ghost vocals and then added horns, synth layers and vocals later in the day.

What do you prefer?  To get your own engineers and gear in, or to use what’s available at Recording Studios?  Do you prefer recording live, or just multi-tracking completely separately?   How many ears do you get to listen to a track before you’re happy, or is it just you?

We’re listening to and mastering the mixes – and we’ll let you have them soon.  We’re hoping that another one of our groups, Down Street will be visiting Resident to do some recording in late August/early September.

Let us know if you’d like to contribute to our #musicalife blog, or if you have preferred ways of recording.

Jasper And Ruby Recording at Resident Studios, Quirky Eccentric Wedding Band, Book, Enquire, Listen

~BF