"PIECES OF A MAN"- Brief notes on departed Gil Scott-Heron

Meeting the well known and famous has various sides. Could be fuelling the adulation and getting inspired. For me meeting Gil Scott Heron for the first time in 1987 (Bonn, Germany) then often when he came to London was not that dramatic. He was just a "regular" guy. Tall, self confident but very normal.
No airs, no innuendos...
I get this feeling whenever I meet extraordinarily gifted people in person. No intimidation, no awkwardness...because they are at ease with themselves. Any other tale tell signs would mean tilt the balance. They in turn inspire you like a good friend or favourite family member would.
It is like watching great footballers Lionel Messi and Zinedine Zidane. Totally comfortable with their genius...
Meeting Mwalimu Julius Nyerere in Rio in 1991 was similar. Nyerere was bigger than Mandela in his prime, but in person so, so easy going, like an old pal.
"We are not super stars..." Gil Scott Heron said seriously when I made a joke to the effect. This was manifest in the way he spoke. Always using the pronoun "we" instead of "I" or "me"...

Gil Scott-Heron performing with his Amnesia Express band @ Jazz Cafe, Camden Town, London, early 1999. Pic by F Macha

And this wasn't a modest gesture, Gil Scott-Heron did not see himself as some kind of celebrity; which he was and has been to us, his fans...
No wonder not many knew him and his music; despite being been labelled "Godfather of Rap"...Gil Scott Heron wasn't your usual mainstream musician; his style, his lyrics, his content had a purpose.A musician who is constantly saying truths and pointing melodic fingers and piano chops at our social political economic lies and injustice is hardly going to be mainstream. Honesty is rarely accepted worldwide.
I once asked him if he was not scared of those powerful who he is constantly chiding in his records.
"Only fear for those closely associated to me..."
He shrugged and reminded me of Bob Marley saying once: "My life is not important. The people are more important. Without the people my life has no meaning..."
These are individuals on a mission.
They want things to be better for all of us.
Gil Scott Heron's death left me gutted but at the same time I can feel sunshine on leaves, rooftops, cheeks and roads of this universe. Why? He left so many rich albums and said so much during his 62 years life. In other words he did his duty. Everyone has their destiny.
We have to contribute to Mother universe...

MUSIC MEMORIES: GIL SCOTT-HERON'S LONDON GIG TWELVE YEARS AGO...

Recalling Gil Scott-Heron's London gig in 1999...
Back then most of us weren't as active on the net as we are now. I have upgraded some of the info below:

Jazz Café, Camden Town, North West London, has been his favoured concert venue for years.
We have been told the event shall start 9 p.m. but 25 minutes are gone. To make things worse it is a “standing” gig. Half way through the concert some people (especially ladies)massage their lower backs. If you want to sit, you have to book a table upstairs “and eat” says the regulations. Many of us have come to see a great musician, not dine.

Gil Scott Heron (left) and the blogger after his gig at Jazz Cafe, 1999.
Photo by : Amita Tiwari Macha

Nobody announces him.
There is no hint, either. The funk music from more than four JBL speakers is still on. Sometimes James Brown; sometimes Chaka Khan…we are in African American territory here.
A man with a cotton hat slides quietly down the stairs- there are ropes – barriers …so he steps under like someone doing something forbidden. The “I don’t care vibe” is on- it will colour the gig from start to end.

JAZZ POETRY NIGHTS LONDON - St Patricks Day

Jazz Poetry Nights at the Pangea Project had an unusual edge to it. Plenty of intense surprises, wonderful performers and a loyal, sincere, attentive audience. The best thing about the Pangea Jazz Poetry Nights is the appreciative audience and a supportive club management.

Jonny Virgo raps and toasts backed by Ogmios (bells), Andre Mathurin (bass) and several other musicians, jamming and playing during this climaxing moment towards the end of the exciting night, Wednesday, 17th.
(Pic by Ursula T)



Ursula T the inicisive German poet, philosopher and writer works out one of her favourite pieces : "Sea Weed" backed by Stephano on guitar, host Freddy (piano) and Andre Mathurin (bass) not in picture.
(Pic by Antonio Mamede)

The evening began with an intro of Abiye biye (Supermodel) by Freddy and Andre on bass; then Ogmios whose deep poetry had the audience chuckling and cheering especially when he called out the most interesting point of the evening. An hour earlier an elderly Russian lady had walked into the club with two young friends and was especially attracted by the house piano.
"It is Russian and I am Russian," She said, proudly.
Her name was Elsa and we quickly found out she was an amazing pianist. Ogmios' lyrical wit, his hip hop delivery blended surrealistically with Elsa. It was even more interesting when she played these East European melodies to accompany Ogmios poem about Medieval times and modern specifics.
This is what Jazz is all about. Surprises and instant improvisation.


Tunes Under Fire.A powerful unusual duet: psychedelic jazz electric guitar by Doug Kinloch
and James Gilbert (Sax)....
Their set was assisted by house bassist, Andre Mathurin and Brother Niyi on percussion....
(Pic by David Green )

Brother Niyi, the local Stoke Newington writer, teacher and poet, is a veteran of the London performance poetry scene. He always brings something special to such occasions. On the said night he strolled in, huge heavy African drum on his shoulder and he did his many trademark things, one of which is that "wake up" call:
"Everybody say Yeah Yeah..."
Djembe beat, social, political, psychological lyrics and a reminder of the Nigerian, Afro cultural jazz background. He reminded us what
Afro Beat means ("go on google it...") by not forgetting to give tribute to one of his heroes the great Fela Anukulapo Kuti .

JAZZ POETRY NIGHTS LONDON

@
PANGEA PROJECT
72 Stamford Hill, Stoke Newington N16 6XS
Opposite Morrisons
8.30 pm – Midnight
Free entry

St Patrick's Day Wednesday, 17th March, 2010

1- Jonny Virgo: Hip hop artist- promoting his new CD.
3-Brother Niyi: Afro Beat poet and percussionist
4-Ogmios- Local Stoke Newington hip hop poet
5- Tunes Under Fire- Free jazz guitar and sax duo
6- Ursula T: German writer and performance poet

In -house musician ♫♫♫
André Mathurin on bass
And other surprises

Hosted by Freddy Macha- writer and musician

Info : +44-7961 833040
Email: kilimanjaro1967@hotmail.com

PICS FROM JAZZ POETRY NIGHTS-FEBRUARY 2010

Images from the 10th February Jazz Poetry Nights at Pangea Project, where we had fantastic music, spoken word and suprise guests. One of them was international photographer, David Green who took some of these pics:
JAZZ DUO- Tunes Under Fire

BURNT TOAST

BURNT TOAST -bass

JAZZMAN JOHN CLARKE - the fast lip
Jazzman John pic by Rob Kenyon

JJ OTIENO - Multi-instrumentalist


URSULA T.-Performance poet and writer


BURNT TOAST


ANDRE MATHURIN - on bass


FREDDY MACHA- host


We are now preparing for next Jazz Poetry Nights on St Patrick's Day March 17th. Expected acts include Italian jazz and R&B singer,
Ira Menin hip hop artists Jonny Virgo and Ogmios from Stoke Newington.
Check this space for more news...

JAZZ POETRY NIGHTS LONDON

Monthly Jazz Poetry Nights continue to shine at London's Pangea Project .
Despite a sinister cold night, on Wednesday February 10th we kept the same vibe of diverse, unique acts:
1-Jazzman John Clarke (UK) : dynamic, lively, bebop motor-mouth
2- J.J.Adamson (Kenya): Marimba, percussion, guitar and vocals
2-Burnt Toast (Canada/ UK) : Urban London; hip hop, music and words

Burnt Toast: special

3- Ursula T (Germany)- International lady read from her three collections
4-Graham Pollock (UK) : Dry humour, subtle delivery; strong message.
A typical Pollock poem:
Christmas card people . . .
We used to phone
Each other regularly.
Then it became
Occasionally,
And then very
Occasionally . . .
After a while
Our only contact
Was a card
At Christmas.

I don’t bother now.
I just don’t
See
The
Point . . . .


5- Freddy Macha (Tanzania): Afro jazz and lyrics (Host and MC)

Jazz bassist
Andre Mathurin (St Lucia)


Suprise guests
Free Jazz Musicians (UK) : Tunes Under Fire : James Gilbert (Sax) and Doug Kinloch (Guitar).

Another special presence was local Stoke Newington Photographer David Green whose snaps on the night will hopefully find their way here...

NEXT JAZZ POETRY NIGHT - 17th March...

JAZZ POETRY NIGHTS LONDON

Jazz Poetry Nights aims at promoting jazz music and poetry from all corners of the world in London.
This month we are at the Pangea Project in Hackney.

We began during the London Jazz Festival in November 2009. If you like jazz and music in general and would like to hear and see different performers of literature step in, entry is free.
For those looking to perform please email your queries to : kilimanjaro1967@hotmail.com
This is not a one off.
It aims to continue....

JAZZ MOSS… A YEAR LATER

For those who read this space last year…here is the end of a cycle that began in Greenwich flew all over the UK ...and ended in Greenwich... at Oliver’s Jazz Bar...
Yes... still in Greenwich, south London ….
Yup. We are talking Jazz again.
The best music class you can ever get …

The lady who wrote the songs, steered the music, organised the band is perched on a high stool. That's right. A year later Louisa Le Marchand is no longer a bag of nerves. She is relaxed and singing and we even get to hear her fantastic harmonica solo; leaving us, the audience gasping for more.
…And as usual she is so humble and so, so modest, it is almost embarrassing.
Always highlighting and praising the players.
“Please clap for the musicians after they solo…show them your appreciation.”

Louisa in action...

That is partly the spirit of Jazzmoss and Louisa’s character. Egos and showing off are completely out of bounds here. This is a character college, a free workshop in honesty; a rare trait in these days of greed, gluttony and bumptiousness.
...Lack of it presented us with the recently dreaded credit crunch.
Jazzmoss’s gig at Oliver Jazz Bar is a finale to an annual collaboration (in creation) between Singer-songwriter Louisa Le Marchand and Ugandan born multi-instrumentalist musician Kaz Kasozi.



She wrote the songs, he made the music; she sings he plays piano; she organises the gigs, band and flyers; he counts the beginning of the songs, making sure the texture and melody and rhythm is flowing like the wine at Oliver’s bar. She even gets time to offer a chocolate cake for the woman with black hair in the audience who celebrated her birthday on this autumn night of Sunday October 26th.


I have never seen so many children and young people at an adult gig. Probably some were family and friends of Global Fusion Music and Arts. But please give the event a pat on the back. What young people would stay and listen to music which is not rap, rave or hip hop?
Kids are extremely honest…

Young people offer flowers to the band...

There must be something in the very lovely duet between Gill and Louisa, who opened the concert.

Henry Lowther and Art Theman: excellent horn section.

Or the sublime yet powerful trumpet solo by Henry Lowther on “Some people like it hot”:
STORMY DAYS MAY HAPPEN
RAIN MAY BEAT ME DOWN
A SMILE IT COSTS ME NOTHING
WHY SHOULD I WEAR A FROWN…?
Or the lovely bass intro in “Topsy Turvy” by Israeli musician, Liran Dorin…
In this Halloween week such lyrics brought back the ghost of one of Bob Marley’s songs ...the Jamaican musician with a gift for making you feel positive.
In Jazzmoss the feeling is reincarnated; re-told in this repetitive mantra:
ONE DOOR OPENS AS ONE DOOR CLOSES
ONE DOOR OPENS AS ONE DOOR CLOSES…


Louisa, Gill Swann, Art Theman and Liran (partly hidden at the back)

When Louisa mumbled about these being tough economic times, Art Theman’s Sax Solo was like a soothing breeze. Yes the wine and the chocolate cake tasted better and better.
Oh,Yeah … the youngsters stayed throughout the four hour gig.
More of Liran’s bass intro. Always grooving harmonically with Kaz’s keys.
ON with songs and chit chatting…. conversational manner of the lead singer as she presented the two set repertoire: “Soul Gipsy”, “I Sip your Lips”, and “Duality”…the philosophical “Illusory Mirror”… Ying and Yang… life and death.
THOUGH THE PATHWAY MAY BE NARROW, OUR COMPANIONS WITH US TRAVEL
THEY MAY WALK A WHILE BESIDE US, HELP OR HEAL OR SIMPLY GUIDE US.
And through these turns and sounds, Trevor Tomkins, the master kit drummer struck his subtly timed brushes….like the rest of the Jazzmoss band he is such an under-player…never ever fighting, never challenging Liran’s bass, the singer or Kaz’s piano chops. And when his turn to solo came at the end did we suddenly noticed him. This exemplary mastery of an instrument is what should be taught in all art schools.
To be soft (yet hard and effective)…shining when you have to, like the sun.
Besides Trevor Tomkins everyone else had his sun too. Kaz’s cameo piano-vocal scat. Louisa’s harmonica, which I mentioned earlier… Even when Gill Swan the backing vocalist, was reluctant to give a vocal solo, she still hobbled, brightly for ten seconds…I don’t know …I don’t know...
Jazzmoss… is a unique project.

Krawl films the special event...

Where will it go? Their last song asked.
After a year of gigs, wine, chocolate and cool jazz what next?
Better tune in to their website for forthcoming news and events; and buy the album… if I may quote their year’s theme:
IF YOU LOVE JAZZ YOU WILL LOVE JAZZMOSS.

Jazzmoss on tour in the South West seaside area this summer.

RECALLING -MUSICIAN GIL SCOTT HERON, London 1999

Jazz Café, Camden Town, North West London, has been his favoured concert venue for a couple of years now.
We have been told the gig shall start 9 p.m. but 25 minutes are gone. To make things worse it is a “standing” gig. Half way through the concert some people (especially ladies)massage their lower backs. If you want to sit, you have to book a table upstairs “and eat” says the regulations. Many of us have come to see a great musician, not dine.

photo credits : Amita M.

Nobody announces him.
There is no hint, either. The funk music from more than four JBL speakers is still on. Sometimes James Brown; sometimes Chaka Khan…we are in African American territory here.
A man with a cotton hat slides quietly down the stairs- there are ropes – barriers sort of…so he steps under like someone doing something forbidden. The “I don’t care vibe” is here- it will colour the gig from start to end.
Gil Scott Heron sits behind his “Rhodes” keyboards and is talking intimately to us, as though each of us is a pal in his living room...
Tall, lanky,free spirit, his hair has shades of grey ( 50 this year);the teeth seem cracked in some places; tennis shoes, a black jacket. I haven’t seen him for a couple of years ; physically he has aged, but the vigour, intellect and wit has gotten fresher and better.
We are more than 200, mostly whites, trickles of blacks here and there-an Indian woman (tells me she is from Delhi), a Greek who says he lives in New Zealand; but Caucasians dominate this eager audience. Most of us are drinking and listening…
“Good evening…”
His voice booms, a bass; very familiar to those acquainted with his records.
I have been listening to Gil Scott Heron since 1982. That first time an African American expatriate (and former Black Panther member) had introduced me to his work in Arusha, north Tanzania. I especially loved “Grandma Hands” and “Inner City Blues” both also recorded by Bill Withers and Marvin Gaye. I met him after his concert in Bonn, Germany back in 1987. We had a chat and I published an interview in the "African Interpreter" in Cologne months later. (You should read the 1987 interview soon. Check this space)….
Gil Scott Heron’s work has always inspired me as an artist because I can relate to him hundred percent. I am not talking of his personal life style here.
He is an accomplished writer and skilled musician. The struggle of my life has been to try and reach a balance between good music and good writing: verse and melody; rhythm and meaning; entertainment and subject matter and Gil Scott Heron is one of a few artists I know who is able to balance great art form and intelligent conscious content. No wonder, he is regarded as the father of rap and hip hop.
No art for art's sake.
INSPIRATIONAL.
Brings to mind other similarly inclined artists.
Brazilians Gilberto Gil and Caetano Veloso or Jamaica's Bob Marley.
Can you name more?
2
So?
Jazz Café, London, April 1999.
Gil Scott Heron is talking about the end of the 20th Century.
“This is the decade of allergies” (his own brand is “blues allergies”) meaning the feel. It is he adds , “your last chance to feel it. Next century will be information. Everything will be about information…”
Music is oozing through his fingers as he plays the "Rhodes" keys while talking and soon is joined by flute and piano player ( Brian Jackson) thru one of his best numbers :"Pieces of a Man." (“The secret is I don’t play piano…” is he joking?) But he is playing. So what is this supposed to mean? Humility? Modesty?
“I saw the thunder and heard the lighting
And felt the burden of his shame..."

More musicians join in.
We hear “Peace” ( T-shirts are on sale with the tour’s mantra: “Everybody got a job to do, lets work for peace.”)
THE ONLY REASON WE CANNOT HAVE PEACE; IS BECAUSE YOU CANNOT MAKE MONEY WITH PEACE…
WAR MEANS MONEY.
What a line. What a line. Reminds of John Pilger’s take on war... as a dirty money business.
Follows other great tunes. “Winter in America” an amazing jazz-bluesy metaphorical song :
“Its winter in America, and all the healers done be killed or put in jail.”
Somewhere along the way the microphone does him tricks.
His clumsiness, he says is “I just cant handle these things.” One member of the audience helps.
“There are kind guys and kind ladies here. Thanks for your help.”
You might think he is strolling down a confessional road but later after the break he makes a serious comment about the drinks offered by the venue.
“We have been given lots of orange juice. They gave us this juice in a box. A square thing. And they got…so fucking stupid. In a stupid box. All natural. This should be all orange. No Preservatives. Valid June the first. If there are no preservatives it should be valid until today or now…”
3
After the break the performance is terrific. There is melodic backing vocals from rest of band. The pendulum of strong words and great music is swinging; such decorous balance means more instrumentation. Like when Gil Scott Heron gets off stage to let, Larry MacDonalds the percussionist play expertly and long.
Backstage he keeps praising the band using WE instead of I.
“It is because they are such good musicians.” He explains, modestly.
The fans explain the mood better.
Inga Clark, from the Caribbean celebrating her 25th birthday:
“I knew television won’t be televised. I like jazz but never seen him live. I wanted to come here with my friends to see something mellow and educational. I would like to see him again. He is very natural and spontaneous.”
Inga’s friend, Deepa Moodgal (also 25)is a teacher for ex-offenders:
“Show was inspirational. Spiritual. I have heard his records, but first time I have seen him live. I cannot specify which song I liked best – he speaks to everyone and everything.”
Two guys.
Film editor, Alistair Waterson (27):
“My expectations were all surpassed. My favourite is Winter in America…although I like all his music....”
Damon Mangos (27)of New Zealand, graphic designer:
“He is just amazing. Brilliant. He takes personal appreciation of things and gives a general comment like peace.”
4
Backstage.
Other musicians chill out with women and fans. Don Mcgriggs, (bass player) admits he is Gil’s anchor man.
“ I am close to him musically. We play well together, all kinds of music.”
Gil Scott Heron takes my hand after remembering the article I did back in 1987. We go into a quieter room, where two characters join us.
The first, a cab driver, says he knows the musician for 19 years now; they are the same age.
“Gil is a survivor. He has done almost 20 albums, but you cannot find them. He is a legend.”
The other man agrees immediately.
“But he is not that known. Which is good because it has not spoiled his image. If he had got too famous, he would be something different. He keeps the intimacy.”
Is Gil Scott Heron worried about his safety?
“Well not. I am more worried of friends and family who associate themselves with me.”
Is he watched? Like …a terrorist would?
“Of course. But I would rather do what I do – take a position of responsibility than stand on a corner. I would rather do something.”
Yes, this is a A man who has really lived.

Learning to Enjoy the Moments...

Jazzmoss album and lessons on The art of Being Here and Now.
Too many times we do activities thinking of other stuff. I do it all the time. I am in the thick of things; my mind wanders away, pondering over what I “should be” doing. I am chatting to someone over the phone; thoughts slither away to the dinner am going to have, a movie I shall be watching next week. We have to constantly remind ourselves to live the second, the instant, enjoy the moment. Zen.
This life.











And that was the lesson of Jazzmoss album release party. So many years have passed since I experienced so much harmony and tranquillity. Everything was so blessed and in sync that Sunday afternoon on October 14th 2007...
You come in through the quiet driveway past small trees and shrubs straight to Charlton House. Charlton is of course part of Greenwich, and for those overseas, we are talking of London’s Greenwich Meridian Time; the district.

Huge, ancient building that reminds you old is gold. Green mellow lawns. There is a lady outside checking her hat and she points at the door. You almost think you are in a church, a museum, a castle. Up there on stage Jazzmoss musicians are finishing off their sound check. Empty chairs. Gill is darting here and there making sure everything is alright. Gill Swan is part of Global Music Fusion and Arts an organisation that brings you dances, drama, music, arts and people of various colours and ages. Gill is one the friendliest person on earth. When the phrase, good woman was made, the creator had people like her in mind.


Gill also found time to sing with the band...

Her son, gentle, smart and immaculate as usual, is at the bar. Alex Swan is not only ready to serve wine and food, he will be taking photographs and filming. That is what Global Fusion is all about. M-u-l-t-i-f-a-c-e-t-e-d-n-e-s-s.
One hears that boring question all the time: “How do you do so many things?”
Global Fusion answers that question. Multi-tasking, multi-talented-ness is natural and normal here.

Kit-Drummer par excellence, Trevor Tomkins.

The tables are spread with bites, flowers and bottles of wine, ready for guests. The stalls behind are divided into two. One side is the almost ritual corner stacked with the sacred Jazzmoss album, photos of the musicians making it. People in labour. The labour of love. Other side? Racks of Global Fusion manuals, CD’s , leaflets, more photos and DVD’s. Global Fusion does it all.

The visuals, the sounds, the goods. They work in schools, with the neglected, in cultural centres; they run projects, make films and record albums. And like the word Global they are global. All races welcome here…whoa! Global Fusion compilation album, Global Fusion produced albums of songwriters like Algerian Rai musician Farid Adjazair.

Louisa and Kaz :their collaboration streered this album, with she writing the songs and him the music.

The band has finished sound checking and now each vanish, to have a drink, smoke or chat. Kaz Kasozithe Ugandan multi-instrumentalist musician, pianist and arranger of this album is now strolling around chatting to whoever in sight; calm and relaxed. This is microcosm of the music and the ebony genial musician embodies the spirit. Tito and his pal are fidgeting with the sound controls. The unknown but very appreciated pilots of music engineering. I have known Tito for years. Since the days of Bar Lorca, that Latin club.

Tito, Ghanaian musician and engineer, who has been on the London scene for ages.

Backstage, Louisa is a bag of nerves. Without Louisa Le Marchand our said event would not have been.
“I have been thinking about this album for thirty years.” She says her voice trembling with emotion.
Anyone who has done anything with passion; be it preparing a meal for friends, driving fast to reach a destination, rushing to meet a fresh date, starting a job, company or heading to a new country for the very first time, would recognise this feeling. If you are genuine you will be feeling apprehensive, concerned and anxious; words that describe honesty. Louisa is here not only as musician but producer and moment maker.

Mix and Henry from the dazzling wind section, which stands out brightly in the CD.

The band members are at the back too.
I can see Liran Donin, the jovial funky Israeli born bass player and Trevor Tomkins kit-drummer extraodinaire…there is also guitarist Michael Casswell in the company of Mix Amylo. He and her; she and him; him on strings, she on wind instruments help the melody section, steering Louisa’s singing and Kaz’s crisp piano.Henry Lowther trumpet player, is not absent either.
These guys are living legends of British jazz. Art Theman, for example, who is one of UK 's top Sax players has been playing since the 1950's and has worked with Jack Bruce, Alexis Korner as well Stan Tracey (best UK small group of 1995)not forgeting touring and recording with Charlie Parker's contemporaries, Red Rodney and Al Haig.

Art Theman in action while Henry Lowther waits for his turn...

Charlton House is suddenly filling up and the Sunday sunshine is painting the gardens and windows. Autumn leaves, October rhythm and blues, Champagne and Wine. Otis Redding must be smiling at us. Later when I say to people the wine was free, they go:
FREE WINE AND MUSIC?
Yes. Jazzmoss made it’s own quiet history, herstory.

Guitarist Michael Casswell here with Kaz after the fantastic gig.

Yes; now the place is filling up. People of all sorts; women, girls, boys, men, old guys, young guys; middle aged mammas teachers, models, fellow musicians, voyeurs, painters, jazz lovers, they are all here. I can see André Mathurin, the bass player from St. Lucia with Farid Adjazair. They are always talking music these two.
I am almost thinking Miles Davis has risen from his grave when I realise it is none other than Henry Lowther blowing the place away on his trumpet. The concert is in motion and people are munching and sipping wine and the sun is singing with the occasion. Oh Yes. “I sip Your Lips.”

“I sip your lips, a taste divine
Heaven and earth, they are all mine
Your eyes shine bright, yes they do
Like crystal clear, excitement rides, happy tear.”
Reena (second left)with family and Gaz;their late brother Sukh, kit-drummer, amazing musician and fantastic person was a founder member of Global Fusion.
Alex Swan is busy filming; Kraw has just sauntered in, helping on camera as well. Kraw is the Capoeira artist, a young, robust cool, calm but energetic man from Uganda. His eyes spell danger and love at the same time; I am looking at him taking in the jazz with a stride. It reminds one of sun, jazz, coconuts, samba and bullets. (Capoeira, if you didn’t know, is a Brazilian martial art, disguised as a dance).

Kraw...

They are all here.
The music sifts in like dew drops. I have been present to newly released album promotion gigs and here and there you will hear people chatting, getting up to leave to the loo; things of the sort. Nobody leaves. They are all seated from intro to end. And encore. All I can compare this feeling is mornings. With it’s dew and wet grass sprinkling your sandals or bare feet. The best thing about Jazzmoss is it’s endless whimper, whisper, whim. Those musicians should advertise good wine. That drummer, Trevor Tomkins, should be watched by students and even experienced kit players with egos the size of mountains. Tomkins never fights with his kit, he is there to accompany the melody and rest of the team rather than fight or compete. What a team; what a day.


You can always tell which song went well with an audience. For Jazzmoss it is “Looking Back” which has the perfect combination: groove, mellowness as well as reflecting Louisa Le Marchand’s gift for song-wrtiting, poetry and prose. When she sings; the tension is gone, her bedroom, boardroom, living room, pecking soprano voice is a murmur; reminding us to always enjoy the moment.

“When I look back there are so many things
That I find hard to remember
Where has the time gone and where will it go?
Where has the time gone and where will it go?
Cause there is love and hate, happiness
Bad things turning to good
And there is the long road that’s hard and wide
And being misunderstood…”


Visit www.jazzmoss.com Or ring Global Fusion Music and Arts for bookings and music products. Tel +44-208 8589497
/Mob. +44-7976-941435

Jazzmoss CD launch this Sunday : WINE AND MUSIC for all...

"If you love jazz then you will love Jazzmoss..."
So says the flyer of this Free Lunchtime Jazz gig, Sunday 14th October from 1-3pm at Charlton House , Charlton Road, Charlon village, London SE3...
I am told the concert is open to all ages and families.
I have been listening to Jazzmoss, a creation of two heads and souls: singer songwriter, Louisa Le Marchand and piano player Kaz Kasozi; backed by a Six piece band.
Art Theman on Sax, Henry Lowther on Trumpet and Flugal, Trevor Thomkins on Drums,Mix Amylo on Clarinet and Sax, Liran Donin on bass and Gill Swan, backing vocals.
More details contact Hazel Brown of Global Fusion Music and Arts, Tel. (+44) 208 858 9497 0r (+44) 7976 941 435.
Like one of my favourite tracks on the album "Soul Gypsy" says:
"As I see death in the eyes of a stranger
And life from the light of the sun..."
This is a balanced album combining well written lyrics and cleverly crafted music. Very rare balance these days.

Afro Jazz Jam in London Every Sunday

This flyer has been sent by Wala Danga the Limpopo promoter and DJ who for more than two decades ran the live music scene at the legendary Africa Centre in London till 2002. The Centre, which was opened by former Zambian President Keneth Kaunda in 1963, remains todate the biggest music venue historically in Europe. Here many of today's hottest acts, including Baaba Maal and Salif Kaita first performed. South Africa remains the epitome of African jazz music with such well known names such as pianist-composer, Abdullah Ibrahim. If you have been missing African Jazz, want to jam or just chill out, there it is for free every Sunday.
The Leonards Club is at 42 Northampton Road, EC1

More details email Wala: wala.danga@blueyonder.co.uk