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The next LUME Lab is almost upon us, and this month’s artist is Leeds-based experimental guitarist Craig Scott of the excellent Wasp Millionaire Records. You can reserve your place at his performance on 19th April at IKLECTIK, by purchasing an advance ticket from the Luminous Bandcamp site. Craig has been away working on his music at a retreat in the Yorkshire Dales, and writes:

First of all I would like to say thank you to LUME for this opportunity; having the funding to take the time out to write music for a specific purpose is not something I get to do very often.

I chose to write this new set of material for the Gastric Band, which is the same group of musicians that have been performing my Lobotomy material live. The band also consists of the entirety of Shatner’s Bassoon – a band that I have been making music with for a long time now- with the addition of ‘psychedelic father of two’ Sam Bell on percussion.

Oliver Dover clarinets / saxophones
Michael Bardon standing upright on electric bass
Johnny Richards keyboards
Sam Bell percussion
Myself guitar and electronics. I spent the majority of January writing for this commission. I started off with making a list of considerations as to what I consider the strengths/possibilities/identifying characteristics of both my recorded/studio work under the Lobotomy name and of this band (as a unit and individuals). I tried to keep all the individual parts as simple as possible and always trying to make the sum of the parts to something more complex for the purposes of both ease of rehearsal and to make all the material as malleable as possible for elaboration through improvisation.

Some of the aspects of the music that I wanted to exploit included:

A disparate collection of subliminal musical influences probably include Joseph Shillinger, Sanjo, Gagaku, The Melvins, Thelonious Monk, Maurice Ravel, Captain Beefheart, Trevor Wishart, Duke Ellington, Ornette Coleman, Bela Bartok, Gnawa, Shellac, Seben, Lazaro Ros, Maquam, Blues for dads. (Make of that what you will, but it probably gives a clearer picture of what the music actually sounds like than all the pomp above.)

I spent a lot of time thinking about how to transfer some of the aesthetic and functions of the post production techniques that have become part of my palette working on the recorded Lobotomy material to a live setting. This manifested itself both in how I wrote for the band and in the development of a new live sampling and processing setup.

I’ve been wanting to do this for some time now. A while ago my dear friend and long term partner in crimes against music Oliver Dover found a broken mixing desk in a skip outside a school he was working at. I managed to get it working again: recycling/making/repurposing/bending old audio gear has become quite a large part of the Lobotomy aesthetic. So, paired with some of my home-made microphones, circuit bent cassette and reel to reel delays and some samplers I had a setup that I could use live which greatly extending the palette of the band and gave me some sort of illusion of control over the band in more macro sense.

Alongside the four new pieces I wrote specifically for this, I also decided to include one of the pieces I had written and recorded for the new Lobotomy EP that I’m currently working on. (Coming soon!)

Between conceiving the pieces throughout January and rehearsing them in late March they started to feel more and more like a fictitious fairytale I had told myself about possible musical situations. So, it was very satisfying to finally actually hear the pieces vibrating the air molecules around me when the rehearsal residency rolled round! We spent the first week of March together in relative isolation in a farmhouse in the Yorkshire Dales, rehearsing and recording this new material. It is becoming rarer and rarer nowadays to have the luxury of this amount of  dedicated time to rehearse new material with a group. For this opportunity I am most grateful. It really gave us time to work into the material and explore the different ideas and ways of  implementing the pre conceived material.

Having the ability to record the whole residency (the first time I’ve had the chance to hear my home-made microphone setup in action!) and the distance this provides – being able to listen from an outside view – has also been very useful in determining changes that need to be made to the pieces especially when it comes to decisions being made regarding form on a macro scale.

I am very much looking forward to performing this new material for the first on the 19th of April at IKLECTIK, I hope you can join us! (Tickets here)

I’d also like to say thank you once again to Cath and Dee at LUME for giving me this opportunity! For our next gig at the Vortex we are excited to present two new collaborations! Come and hear some fresh new original and improvised music…


The debut performance of a new group featuring four highly creative improvisers who have appeared at LUME in other projects, but have never played all together. Tom Ward and Adam Fairhall had their names drawn out of the hat at our randomised free improvisation night last Summer, and following this initial encounter (a toy piano and bass clarinet duo) they decided to get a band together. The quartet will play new music by the bandmembers, starting from a few common reference points. The band will employ a flexible approach to harmony and form, including investigating negative harmony and stretching out with extended improvisations. Influences include the Greg Osby ‘Banned In New York’ album with Jason Moran, the ‘Monk’s Casino’ album with Alexander von Schlippenbach and Rudi Mahall, and Fieldwork with Steve Lehman, Vijay Iyer and Tyshawn Sorey.

Tom Ward alto sax, bass clarinet, flute
Adam Fairhall piano
Olie Brice double bass
Andrew Lisle drums Dee Byrne and Ed Riches met in 2008 and have collaborated in various projects such as improvising sextet Zonica (Gareth Lockrane, Xantone Blacq, Elliot Galvin, Tom McCredie, Pat Davey) and more recently as an improvising duo using electronics. Tonight they will be joined by drummer/percussionist Matt Fisher who plays in Dee’s band Entropi. Øyeblikk (‘moment’ in Norwegian) describes the ethos of the project: a spontaneous narrative of soundscapes, riffs and themes taking the listener on a cosmic, sonic adventure. The title Øyeblikk is a nod to the fact that both Ed and Dee have a connection with Scandinavia, Dee lived in Stockholm for seven years and Ed spent a part of his childhood in Norway.

Dee Byrne alto saxophone/electronics
Ed Riches guitar/electronics
Matt Fisher drums/percussion As usual, doors are at 7.30pm and the music will start at around 8pm. Tickets are on sale now from the Vortex website.

We’re excited to be back at the Vortex in 2016 with two fresh new ensembles playing their original compositions. This promises to be a great evening of music!


An exciting new collaboration bringing together four creative voices from across the UK scene. In their own words: ‘This is a brand new project of female musician/composers Laura Cole, Filomena Campus, Tori Handsley and Ruth Goller who are all band leaders in their own right. The ensemble, which celebrates women’s art and music, started more than a year ago. We often feel under-represented as women in the worlds of jazz and art, and in this project all compositions are inspired by a female artist (such as Frida Kahlo, Niki de Saint Phalle, Gertrude Stein, Franca Rame and many more) or written by a female composer. The name Njanas is an encounter between the gigantic sculptures called ‘Nanas’, created by painter and sculptor Niki de Saint Phalle, and ‘Janas’, ancient legendary female figures and fairies/witches that relate to the myth of the Sardinian Goddess-Mother.’



 
Following the critically acclaimed success of his ‘Far Reaching Dreams of Mortal Souls’ commission for large scale choir and jazz ensemble, multi-instrumentalist Pursglove debuts his fascinating new trio, featuring Percy on trumpet, Paul Clarvis (drums) and Ivo Neame (piano, accordion), with original music inspired by speeches and works of iconic historical figures.

‘Somehow Percy Pursglove created a completely whole musical world all of his own. That is a rare achievement’ Jazzwise


 As usual, doors are at 7.30pm and the music will start at around 8pm. Vortex Jazz Club, 11 Gillett Street, N16 8JH.




Award-winning vocalist Lauren Kinsella and her band bring us an evening of new music and improvisation.

Lauren Kinsella Quintet

Lauren Kinsella is a contemporary vocalist and composer based in London. Hailed as ‘a completely down to earth and exquisitely vivacious young Irish singer’ (Katie Bull The New York City Jazz Record), she has performed in venues across Ireland, the UK, Switzerland, Hungary, France, Germany, Portugal, Norway and India. She is the 2013 Kenny Wheeler Prize winner and performs in many groups including Thought-Fox, Blue-Eyed Hawk, The Bears and Alex Huber / Lauren Kinsella Duo . Her music regularly appears on BBC Radio 3, Jazz FM, RTE Lyric FM and BBC Radio Scotland and she has released albums on WideEar Records and Diatribe to critical acclaim.

Lauren Kinsella – vocals

Laura Jurd – trumpet

Dan Nicholls – keyboard

Conor Chaplin – bass

Simon Roth – drums As usual it’s doors at 8pm, with the music starting at 8.30pm, and £5 entry. Long White Cloud, 151 Hackney Road, E2 8JL…just around the corner from Hoxton overground station.

This week we have a great double bill: Joe Wright brings his quartet Nightjar, and Andre Canniere presents his new band Freeway. Both projects feature acclaimed vocalist Alice Zawadzki.


Saxophonist and composer Joe Wright’s totally hypnotic and individual band plays brooding, atmospheric songs. Nightjar creates a totally unique world of sound and colour, from blissed out, dreamy, ambient soundscapes to dark and dirty grooves, all tied together by Wright’s intense and lyrical improvising.

Joe Wright  saxophone / compositions / electronics

Alice Zawadzki  voice / violin

Jeff Spencer  bass

James Maddren   drums Andre Canniere’s Freeway

Andre Canniere is an acclaimed trumpet player, composer and educator currently based in London. Originally from rural Pennsylvania (USA), Canniere spent the first five years of his career in New York City where he worked with artists such as Maria Schneider, Bjorkestra, Ted Poor, Ingrid Jensen, Donny McCaslin and Darcy James Argue. He has toured widely throughout the United States and Europe with performances at Carnegie Hall, Birdland, the London Jazz Festival, The Hague Jazz Festival and the Rochester International Jazz Festival. Andre’s second album ‘Coalescence’ was released on Whirlwind Recordings in October 2013.

For this gig, Andre will bring his new ensemble ‘Freeway’, featuring a stella lineup of top London musicians.

Andre Canniere  trumpet, compositions

Alice Zawadzki  voice

Hannes Riepler  guitar

Max Luthert  bass

Ollie Howell  drums 

After a great duo set last month with Hannah Marshall, Alex Bonney returns to LUME this week with his own band. As LUME regulars will tell you, Alex is well-known on the London improv/jazz scene, co leading a variety of projects including Leverton Fox, Splice and BABs.  He has a critically acclaimed improvising duo with bassist Dave Kane and appears frequently as a sideman in several London based bands such as Brass Mask, Golden Age of Steam, World Sanguine Report, Nostalgia 77 and more. Joining him in the trio are Olie Brice (recently sighted at LUME in Stolen Project and playing duo with Fumi Okiji) and world-renowned drummer Jeff Williams.

Alex Bonney – cornet

Olie Brice – bass

Jeff Williams – drums

In the second set, the group will be joined by multi-instrumentalist and Golden Age Of Steam leader James Allsopp on bass clarinet. This promises to be an excellent night of original and improvised music! Doors 8pm, music 8.30pm, £5 entry. (Photo by Nagib El-Desouky)

We are delighted to welcome this high-calibre jazz quintet led by guitarist Ant Law, playing his compositions.

Ant Law Quintet

Guitarist Ant Law was a scholar at both Edinburgh University and Berklee College of Music until moving to London in 2008. He then picked up work with artists such as Tim Garland, Mica Paris, Gwilym Simcock, Leon Ware, Asaf Sirkis, Koby Israelite, Camille O’Sullivan, Britain’s Got Talent star Tony Laf, X-factor winner Steve Brookstein and Eileen Hunter, and members of Incognito and Level 42.

Ant’s debut album “Entanglement” was released on the 33Jazz record label in February 2013 to great critical acclaim. This project was awarded funding from the Jazz Services Recording Support Scheme. The album launch at Pizza Express Dean Street was sold out and the band then completed a 29-date UK tour, with further support from Jazz Services. Ant completed the second volume of compositions whilst on tour in Brazil this summer. The band are showcasing that music before recording the second album.

Ant Law – guitar

Michael Chillingworth – reeds

Rick Simpson – piano

Calum Gourlay – bass

Dave Hamblett – drums 

Our Own Decay

Nick Malcolm – trumpet

Corey Mwamba – vibraphone
 
Fumi Okiji – vocals 

We’re really looking forward to welcoming this high calibre trio this week. Get down to Long White Cloud early to make sure you get a seat!

Wolf Suit

Freely improvised jazz from this new trio, featuring award-winning reedsman James Allsopp, sought-after bassist Olie Brice and and the ever-impressive Tim Giles.  Between them the members of Wolf Suit have worked with leading musicians as diverse as Paul Dunmall, Django Bates, Ingrid Laubrock, Jeff Williams, Mark Sanders,Tom Rainey, Mark Lockheart, Julian Arguelles and Stan Sulzmann, among many others…

James Allsopp – reeds
Olie Brice – double bass
Tim Giles – drums

Doors 8pm, music starts 8.30pm, £5 entry. Long White Cloud, 151 Hackney Road, E2 8JL. This week we’ve got an exciting double bill of two improvising duos: Deemer, a collaboration between LUME’s own Dee Byrne and sound artist Merijn Royaards, and sax/bass duo Tom McCredie/Matt Herd. Come and sip a coffee, beer or glass of wine in our fantastic new venue and experience these complementary yet contrasting bands…


The brain-child of Merijn Royaards and Dee Byrne, Deemer started life in 2006 as a weekly improvisation/electronics session in a warehouse in Hackney Wick. The project has since evolved into an installation/performance based electro-acoustic ‘two-manned’ orchestra, whose aural narratives are created within fluid frameworks that map a trajectory in time, but leave the sonic textures and compositions entirely free and undetermined. Deemer employ, among other things, alto saxophone, drums, analogue electronics, tape, transducer microphones/speakers to instantly compose, activate space, and blur the boundaries between free jazz and sound installation. Tom McCredie/Matt Herd duo

Tom McCredie (bass) and Matt Herd (alto saxophone) are graduates of the Royal Academy of Music, up and coming on the London jazz scene. Through improvisation they explore moods and atmospheres drawing on their varied musical influences, from jazz to classical to folk and so on. They have been performing together for three years now and are hoping to release an EP by the end of this year.