Halloween Ode

versions: English and Polish / wersje: angielska i polska

Into this old house in South London I moved around two months ago. I am still discovering things about it: I listen to the sounds, take in the smells, observe light reflexes. There are so many new, but not always pleasant, things in my new place…

A few days before Halloween I was relaxing at home and reading a book in my bed. Unexpectedly, out of the corner of my eye, in the big mirror on the wall opposite, I saw a dark shape flitting from under the bed towards the washing machine. I stood up in one second and was just standing there completely frozen and staring. What’s going on? I whispered quietly, knocking on the washing machine. Suddenly I saw a fat, furry body running back, by pattering loudly with its small paws on the old wooden floor. It was like a transformation: superhuman power got into me and with one move I dragged the bed and moved it away (it’s a cheap one, light one and empty inside ;)). Before my eyes appeared a huge hole in the corner on the floor and some paper shreds around it. It looked like a work of more than just that one evening. I got closer. A small fly flew out of it towards my face. What a disgust, I thought, cuffing it away. I was alone at home and felt quite lost in this unexpected situation at around 2am. I went on social media and wrote ‘Mice!!! Heeeeeeelp!!!’. Mouse hole2People weren’t sleeping yet – so not alone, ufff! But the first reactions were… laughing! My friend, Larry seemed to have the most fun. I feared I’d break into tears. What could a lonely, horrified women do? But I still could think. Browsing the internet on my smartphone I found out that mice don’t like chamomile. At that point, thinking about my precious organic chamomile tea from Poland, I grabbed a long stick that I normally use to operate the ceiling window in the bathroom. Grasping it like an assegai I stuffed the hole with the chamomile tea bag. I put the bed back in its place and, even though I was shaking inside, decided to go to sleep. I turned off the light, but left the candle on.

Do you know the feeling when, even if you can’t see them, you know that somebody is staring at you? I opened my eyes. In the very middle of my creamy carpet, in the flattering, warm candle-light, in a position ‘ready to run’, was sitting THIS and goggling it’s eyes at me. Scream – this came next! I am not sure who was more horrified, but the little, fatty, furry creature was faster than me. It ran towards the entrance door and probably through the gap at the bottom left my house. I immediately blocked the gap with my red bath towel and took a slow, long breathe in. On the breath out I already was moving my bed again. The chamomile tea bag was mauled and taken out. Feeling shivers along my spine, I took my long spear again and repeated the action with the tea bag.

I couldn’t sleep after that. Sitting on the bed I looked suspiciously around. A feeling of a deep sadness made me think of what I had just done: giving a fright to a defenceless creature much smaller than me, I blocked its house and chased it away.

I was mice-ill for the next few days. The next day I talked to my neighbor. She said, she had it as well in her flat and it was bigger than a normal mause. That’s, what I thought too…

The worst story that I have been told as a consolation was Tony Kofi’s one. He, twenty years ago, apparently lived with mice too. One evening he came home hungry and already had planned his dinner. It was supposed to be made in the oven. He entered the kitchen, opened the oven and: ‘Kat, there were six mice in there!’. I have imagined a scenario that he is turning the oven on without opening it before… ‘But I was hungry and was lucky that I still could make something in the toaster. I put it on and, Kat! Three jumped out from there!’.F..k…’ I whined painfully into the phone and looked towards the hole behind my bed in the corner. ‘I went to the shop and bought nine traps. He continued. I put them on and only could hear: snap! snap! snap! The whole night. All of them got caught, but that was one of the worst nights of my life.’ He dedicated this song to me and advised to carefully listen to its words:

(Gosh, that’s about me! LOL)

Having mice in the flat, was a very new reality for me. I used to see some mice and rats around the town or on the underground tracks, but they always were far away from me. Once I witnessed mice dying in a bathroom. It was in one company in London that I worked in a few years ago. The mice used to bite the walls through to get in and then were running around the shop. To stop them, the manager put a tight wooden panelling around the toilet walls. The rodents in some way were falling into a space between the wall and wood and couldn’t get out. My work space unfortunately was close to that room. I heard the little poor creatures screaming, scratching and finally getting silent… That sometimes was going on for hours. That’s a truly disturbing memory.

Anyway that night Larry took care of my poor, horrified soul and with accuracy and consistency that he plays the double bass with, exactly instructed, what to do (by the way: thanks a lot!). It was not easy at all to convince the estate agency to get the pest sorted out. They have said that I was the one who should take care of, while the mice probably were more home in this old house than myself! But I already was well prepared, had a rich photo-gallery and passionately was sending emails with photos, contacting also the local administration. I have found another two holes in my little so called studio-flat and mice poops around. The estate agent, probably out of the rest of his human feelings, has sent a contractor. Jeremy had filled all the holes and gaps with the steel-wool and removed the excrement. My bed is back on its place, flat is tidy for now and my soul after a long perfumed bath feels clean and calm again. I hope for long enough to let me think about the next move.

But Jeremy said, mice will come back…

Thank you, Malcolm Sinclair, for the linguistic help!


PL

Oda Helołinowa

Przeprowadziłam się do tego starego domu w południowym Londynie około dwóch miesięcy temu. Ciągle jeszcze odkrywam jego tajemnice. Słucham dźwięków, wącham zapachy, obserwuje refleksy świetlne… Tak wiele tego i nie wszystko jest przyjemne w tym moim małym studio.

Kilka dni przed Halloween relaksowalam się w domu, czytając w łóżku książkę. Nieoczekiwanie, kątem oka w wielkim lustrze na ścianie po przeciwnej stronie pokoju, zauważyłam ciemny kształt, przemykający spod mojego łóżka w kierunku pralki. Stanęłam na baczność w ciągu sekundy. Stałam tak struchlała i gapiłam się. O co chodzi? wyszeptałam cicho, pukając w pralkę. Nagle ujrzałam tłuste, futrzane ciało, pędzące spowrotem, tupiąc głośno małymi łapkami w starą drewnianą podłogę. Wówczas doznałam transformacji: ponadludzka siła wstąpiła we mnie i jednym ruchem chwyciłam łóżko, odsuwając je.

Moim oczom ukazała się wielka dziura w rogu przy podłodze, otoczona strzępami papieru. Wyglądało mi to na robotę dłużą, niż tylko jednego wieczoru. Przybliżyłam się, by temu się przyjrzeć. Mała muszka owocówka wyleciała z dziury w kierunku mojej twarzy. Co za ohyda, pomyślałam I trzepnęłąm ją ręką. Byłam w domu sama i poczułam się trochę zagubiona. Była godzina około drugiej nad ranem. Otworzyłam portal socjalny i napisałam: ‘Myszy!!! Ratunkuuuuuu!!!’. Ludzie jeszczce nie spali – nie byłam sama, ufff! Ale pierwsze reakcje były… śmiejące się! Larry wydawał się mieć największy ubaw. Myślałam, że wybuchnę płaczem. Cóż mogłam zrobić w tej sytuacji?

Byłam jednak jeszcze w stanie myśleć. Chwyciłam za mojego smartfona i zaczęłam wertować internet. Przeczytałam, że myszy nie lubią rumianku. Wyciągnęłam z szafki mój bezcenny, polski, organiczny rumianek w torebkach i przyniosłam długi kij, który normalnie używam do obsługi okna sufitowego w łazience. Złapałam kij, jak dzidę i jednym z końców zapchałam dziurę torebką z rumiankiem. Przesunęłam łóżko na miejsce i, mimo wewnętrznego rozdydogatania, postanowiłam pójść spać. Zgasiłam światło, ale zostawiłam zapaloną świeczkę. Znasz to uczucie kiedy, nawet kogoś nie widząc, wiesz, że na ciebie patrzy? Otworzyłam oczy. Na samym środku mojego kremowego dywanu, w drżącym świetle świeczki siedziało TO i wyłupiało na mnie oczy! Wrzasnęłam.

Nie jestem pewna, kto był bardziej przerażony, ale ta mała, tłusta, futrzna kreatura była szybsza ode mnie. Rzuciła się w kierunku drzwi wejściowych i prawdopodobnie przez szparę pod nimi opuściła mój dom. Natychmiast zapchałam szparę moim czerwonym ręcznikiem kąpielowym i wzięłam długi, głęboki wdech. Na wydechu odsuwałam już moje łóżko ponownie. Torebka z rumiankiem była wywleczona z dziury i rozszarpana. Ciarki przebiegły mi po kregosłupie. Znów złapałam moją dzidę i zapychałam dziurę jeszcze raz.

Nie mogłam już zasnąć. Siedząc na łóżku, podejrzliwie rozglądałam się dookoła. Z uczuciem głębokiego smutku myślałam o tym, co właśnie zrobiłam: przeraziłam bezbronne, dużo mniejsze ode mnie stworzenie, zabarykadowałam mu dom i przepędziłam. Miałam mysią chorobę przez kolejnych kilka dni.

Najgorsza historia, jaką usłyszłam na pocieszenie była historia, która opowiedział mi Tony Kofi. On, twadzieścia lat temu, też mieszkał z myszami. Pewnego wieczoru wrócił do domu głodny z już zaplanowaną kolacją. Danie miało być przyrządzone w piekarniku. Wszedł do kuchni, otworzył piekarnik i: ‘Kat, sześć ich tam było!’ Wyobraziłam sobie scenariusz, w którym on włącza piekarnik bez otwierania go przedtem…’ Ale byłem głodny i miałem szczęście, że mogłem przygotować coś jeszcze w tosterze. Właczyłem go i, Kat! Trzy wyskoczyły stamtąd!’.F..k…’ – jęknęłam boleśnie do telefonu i spojrzałąm w kierunku dziury w rogu za łóżkiem. ‘Poszedłem do sklepu i kupiłem dziewięć łapek na myszy.’ – kontynuował Tony – Nastawiłem je i tylko słyszałem: trach! trach! trach! Przez całą noc. Złapały się wszystkie, ale to była jedna z najgorszych nocy w moim życiu’. Zadedykował mi utwór ‘Ode to Super’ (Jackie McLean, Gary Bartz) i polecił doładnie przysłuchać się tekstowi (link powyżej).

Axis, moja inna znajoma, też próbowała mnie pocieszyć: ‘Kiedyś miałam mysz w akademiku – opowiadała. Przygotowałam łapkę i, jak się mysz już złapała, musiałam się jej pozbyć. Jak ją wzięłam w rękę (na prawdę nie dociekałam, jak to zrobiła), jej futerko aż się ruszło od wesz!’. Tego było mi już za dużo. Prawdopodobnie, by wyczyścić moje własne myśli, chwyciłam butelkę z detergentem i zaczęłam intensywnie pryskać wokół dziury za moim łóżkiem. Zapach cytryny trochę mnie uspokoił.

Myszy w mieszkaniu były dla mnie czymś nowym. Czasem widywałam myszy i szczury w mieście, czy na szynach w metrze, ale one zawsze były daleko ode mnie. Zdarzyło mi się być świadkiem umierania myszy w łazience. To było w pewnej firmie w Londynie, w której pracowałam kilka lat temu. Myszy zwykły przegryzać się przez ścianę i potem biegały po sklepie. Żeby je zatrzymać, menadżerka założyła drewnianą boazerię na ścianach toalety. Gryzonie najwyraźniej jakoś wpadały pomiędzy ścianę i boazerię i nie mogły się stamtąd wydostać. Mój stół niestety stał w pobliżu tego pomieszczenia. Słyszałam, jak te biedne stworzenia krzyczały, drapały i w końcy całkiem milkły… Czasem trwało to godzinami. To prawdziwie druzgocące wspomnienie.

Ale wracając do bieżacej historii. Tamtej nocy Larry zadbał o moją biedną, przerażoną duszę. Z właściwą sobie akuratnością i konsekwencją, z jakimi gra na kontrabasie, poinstruował mnie, co mam zrobić (wielkie dzięki!). Nie było łatwo przekonać agencję, by rozwiązała problem szkodników. Ich odpowiedź była jednoznaczna – to ja musiałam załatwić tę sprawę is sprowadzić specjalistów, pokrywając koszty – możesz to sobie wyobrazic?! Ale ja już byłam przygotowna. Miałam galerię zdjeć, które wysyłałam mailami i już skontaktowałam się z urzędem mieszkaniowym. Znalazłam jeszcze dwie dziury w tym małym apartamencie i mysie kupy dookoła. Agencja złamała swój opór i wszystkie dziury i szpary zostały zaślepione stalową watą, a extrementy sprzątnięte. Moje łóżko stoi znów na dawnym miejscu, apartament jest czysty, a moja dusza, po długiej, pachnącej kąpieli, czuje się znów spokojna. Mam nadzieję, że na tak długo, jak długo zajmie mi przemyślenie następnego kroku.

Pan robotnik powiedział, że myszy wrócą…

ON STRIKE

8 March 2017, International Women’s Day

A strong reflection about masculinity and femininity hit me once in a coffee shop in Bahrain. I grew up in a communism influenced country with ideologically uniformed sexes. Women were driving tractors, drinking vodka, doing male jobs, and were free from many traditional stereotypes. At the same time we celebrated International Women’s Day, giving the man an opportunity to treat women as special, and for us women to accept that along with the regular red tulip and a box with elastic brown tights at work. It had some kind of charm. It was maybe twenty years ago. Today women are striking internationally.

So in my twenties, sitting in that coffee shop in the heart of Bahrain, I was starring at an Arabic couple and feeling that I would discover some universal truth (The topic of life of woman in Islam is very complex and difficult. There still will be time to discuss this). I was amazed by them portraying such strong femininity and such strong masculinity. Both completely different, harmonic and wonderful! In that moment I lost my certainty, who of us was more a victim of our own culture: She totally covered by the hijab or me, arrogantly uncovered, free woman. I could see only her beautiful eyes and feel the incredible feminine energy. Why does the women in the West need to be naked to be consider sexy? Pathetic. I had the feeling that I was missing something in my life…

Today I live in a democratic and liberal country. There is no religious or political restriction defining my place in the society – theoretically. Why do I have to state in the front of my name my private life situation by writing Ms, Mrs or Miss before my name? Why do men not have to do it? If you assertively say you don’t want to state it, you will be called rude or aggressive. Why do I have to keep quiet about? It feels humiliating to me. It feels depriving and makes me needing to cover myself, whatever it would be with, even a hijab.

Graffitti-3
Graffitti: ZABOU, Brick Lane, London

There was a viral video of one of the Polish politician in the European Parliament, going around the social media last week. Janusz Korwin Mikke was saying some sexist and misogynistic opinions that woman shall earn less than men, because they are weaker, smaller and less intelligent than men. How low in his self-esteem must he be to say something like this! This even sounds psychopathic to me – a poor little boy who is afraid of women. So the best way of making him feel good himself is to depreciate and instrumentalise her. I think it makes sense.

A friend of mine recently has been denied her professional promotion, because she didn’t want to go there through her boss’s bed. She is losing her job now. She lives in London, is Polish, very well educated, speaks more than one language fluently and she is leading in her work. Should one believe in what she is saying?

I believe. I had a meeting with a ‘guy in charge’ whom I was showing my portfolio towards collaboration with his serious creative institution that I was amazed by. My professional application apparently has been misunderstood and instead of the chance of making a contribution towards music and photography, developing myself and earning money, I got an offer of a night out.

On a different occasion, also applying for an office job within a company I love, another ‘guy in charge’ said: Why don’t you find yourself a normal job? What ‘normal job?’ I WAS applying for a normal job. But instead I have been suggested to apply as a waitress. I’ve been a waitress in the past, but then I was a young student, who earned her money to finance her university degree, to learn languages and secure her better job future.

But you know what, guys? Actually thank you for these challenges – They make me work harder and be stronger.

Women already have fought for their rights in the 19th and 20th century and the today world, with its political tendency, seems to go around a century or two back. But this is good – we obviously have to work on something once more. Today we know more than our predecessors and this time we will be wiser.

Don’t ask me if I am disturbed when I am single. Don’t tell me that I am rude or aggressive when I am just assertive. Don’t tell me what I shall wear. And don’t offer me sex when I am asking for work.

I am not a feminist, I am a phenomenal woman and I love men like crazy. But where are you? Work on yourself guys – I miss you!

Happy International Women’s Day!

Text and photo: Kat Pfeiffer

Linguistic editing: Malcolm Sinclair

Graffiti: ZABOU, Brick Lane, London

DO IT OR DIE

Al Jarreau, Master Class for Singers, Ronnie Scott’s Jazz Club, London, 11 July 2016

The sad news about the illness and death of Al Jarreau two weeks ago hit me all of a sudden. After all the great people that passed away in 2016, after the Brexit shock, and after Obama’s departure, I have started to feel really anxious about this world. It has been changing so quickly and so unexpectedly!

My friend Miyuki, a singer too, told me at the last minute about the Master Class that Al was holding at Ronnie Scott‘s last July. Perhaps because I miraculously purchased the very last ticket to that show, I understood that I probably got a job to do and cannot keep just for myself what I have in the notebook on my desk.

My flowered paper notebook, that I had with me that day, has been making me smile ever since. Not only because of the notes I took, but also because Al was reading his poetry from a spiral notebook too. He called it ‘My Blue Note Book’ and the whole audience laughed with him. He had a great sense of humour and an absolute command over the language he used. That’s the digital world of Al Jarreau, commented the laughing Ian Shaw, who compèred the event with Al and his great pianist Joe Turano.

Expecting some vocal technique tricks and exercises, advice about songwriting, and some professional tips, I had imagined myself close to the master, singing along with him, already jealous that others would be intruding on this intimacy with my idol. Instead, I had to find a space in the already packed audience, squeeze myself into the middle of the crowd, and stay humble. I could feel Miyuki, next to me, sitting still, and concentrating too.

Al Jarreau’s earliest inspirations and teachers were his parents: his father who had a great voice and could sing like an Irish tenor, and his mother who he sat next to in Church singing ‘Jesus wants me for a Sunbeam.’

AJ (Al Jarreau) I don’t think of myself as a poet. I consider Joni Mitchell to be this. She has such a respect for that as an approach to life and in saying things like who we are, where we are going and what we’d rather be doing. I write words for songs, she writes beautiful lyrics. I have always thought she is a great poet.

IS (Ian Shaw) When she wrote ‘Blue’, Kris Kristofferson said: oh Joni, you’ve opened a wound, you need not do that. ‘No, no, she said, this is about everyone’s feelings. I am just a conduit to that.’

AJ: This is exactly what we are talking about: being a conduit. The kids were given the Arts to learn about the sensitivity that is put into songs, dance, play, painting, into a sculpture, and they, looking at it, are trying to find out that somebody has conveyed an emotion. And the more we get sensitive to our emotions, the more sensitive we will be about war, and taking care of each other. That’s our job!

Here Al opened his Blue Note Book and read some of his poetry. His beautiful words about a dance Ian Shaw compared again to Joni Mitchell’s poems. Such characteristics like detail, references, obscurity…

AJ Tangential thinking! That takes the song in another direction, he said, and in appreciation of The Beatles he started to sing: Father McKenzie. Donning his socks in the night when there’s nobody there… Look at him working… All the lonely people… Ooooh God… That’s so wonderful! – he directed his words of delight upwards – Thank you for them! They changed our lives. Music changes our life, makes you happy when you’re down. [You are] enjoying every morning because you’ve heard the song that feels good. Oooo… Music, music, music… He laughed.

JT (Joe Turano) You are not afraid of saying something simple and it also is proper to the music – Joe’s words brought his attention back to the club.

AJ pondered on this and as an answer quietly started to sing: We’re In This Love Together… A simple song, he said.

IS Also, you are not afraid of singing ‘Summertime’ from Porgy and Bess by singing a story and making it sound completely different!

AJ So the Gershwins, heh…? I saw a flash in his eyes as he started telling a story, illustrated by Turano’s keys. Emigrants… he stopped and let the tension grow. The crowd began to laugh into the silence with a knowing understanding (there was a big, socio-political, post-Brexit discussion about migrants in the UK going on at the time). Such a richness of culture and beauty, he continued, that they were able to write about the children of slaves who were living in the Carolinas and to understand the feeling… Here Turano hit a very minor, jarring chord that said more than any word could do. Yeah… They have been there before… He vocalised this slowly, in a very low voice… They came out of Russia…  Have they… Pain and anxiety… The black slaves… They lived in that community and they wrote about… His story together with the music slowly transformed into a beautiful version of ‘Summertime’.

Al wrote his first song when he was 16. That day at Ronnie’s he joked about himself back then thinking that he was a songwriter. He laughed about it, but then immediately got serious, telling us about the importance of the story that everyone has to tell. He directed his words to the audience:

AJ And if you come from there, from the other side of the track, you have a story to tell that nobody else has. Even a guy born with a silver spoon can’t do it [tell YOUR story]! But it’s the story that we need on this planet. And you can get up and do stuff. Even if you’re born over there, whole black and ugly …

Connection to people was for him the key.

AJ I am imagining you when I am writing – he directed his response to a young woman, an artist, in the audience – you provide the fire. Singing for you and making things together provides the fire. Get it from anticipating it! THIS is connection and it’s so deliciously important for us to keep sensitive and to keep our humanity. Things are changing in such a way – he sighed – that we have to remember!

IS Do you think, as we get older, that we want to connect more with people? The arrogance of youth… Did you ever notice it? I know that I wouldn’t be able to to this [Interview]15 years ago . There was a barrier between a lot of artists. But people like Al and Joe are breaking them and making this possible…

AJ When we are strong and youthful, we think we are indestructible and that the world is ours. But something happens when you find yourself with a pain. It opens up other stuff. And watch the struggle, watch the struggle… He added: If you’re born into a body to live on this planet, there are problems you have to deal with.

That Master Class attracted quite a few celebrities. It was very inspiring listening to the great jazz singer Claire Martin asking Al about how his voice has changed over the years, how he was maintaining it and how his musical approach has changed.

AJ If you live long enough, he said, your voice gets old. And then the worst thing for a vocalist is to become a professional singer. Work too much, travel too much. Voice is a very delicate thing. Some of it has to do with faith and a belief that you can. Visualise what you want, see it and walk towards it. Sometimes it’s just a little difference, but now this is a very important thing that you, kids, do: dream, dream, dream… that’s how it happens!

JT Never stop finding the joy in what you are doing. It’s not only about a technique and a structure of voice. It’s more about spirit and belief system.

AJ You gotta love it […] and you will sing or die – that’s the kind of love!

A question about the message for the young singers entering the business has been expressed best in Joe Turano’s words, quoting Oscar Wilde: Be yourself. Everyone else is taken.

al-jarreau
Al Jarreau

I snapped this picture quickly like a thief. In my head I could hear a voice of Benjamin Amure, one of the Ronnie Scott’s photographers, talking about the light and love to put into the shot. His picture would be much, much better than mine, but he always soothed my doubts, saying: Do you like your shot? So it must be good! He passed away around three weeks before this Master Class. I miss him very much.

‘Take Five’ came at the end. Somebody from the audience asked just for a couple of bars. Al sang the whole song.

R.I.P. lovely Al Jarreau.

© Text and photo Kat Pfeiffer

Linguistic editing: Malcolm Sinclair

Pokemon

Brixton, London, Sunday early morning

Still moving in the rhythms, I was dancing to for a few hours before, I was on my way home. At 3am Brixton usually doesn’t sleep yet. People are everywhere – partying, walking around, sitting on the streets, playing music, dancing, laughing and some already in their after-party mood catching up with the reality. Generally: friendly.

Waving in the middle of all this, through the Windrush Square, then along the Acre Lane, passing by the big Tesco, some crash knocked me out of my positive vibe. I went numb for a moment and looked to the right. The noise came from a car that was parked on the side of the road, between two other cars. Inside apparently two people were fighting. I couldn’t see it exactly, because the windows were completely steamed up. She was screaming and kicking around, he was beating her up and didn’t want to let her out. The whole car was shaking and only in the light reflexes I could identify two tussling humans.

brixton The opposite side of the street, in the front of the bar, was crowded with partying happy people. Some of them were glancing, some didn’t see or did pretend not to see. But this couldn’t be unnoticeable! Then I got spotted from the other side of the road by a shaking young woman on the phone, who gave me a sign with her hand that she already had contacted the police. I quickly took a picture of the number plate on the car and joined her. With a squeezed throat and trembling voice she was answering the police questions. The other one in the car was screaming, that idiot was continuing beating her up and the crowd next to us was continuing their party. The young woman suddenly shouted into her phone: ‘You need to come quickly! He is going to kill her!’ In that moment appeared Superman. A huge bouncer came out of the bar and for a moment was staring at the car. Here I couldn’t stand it any longer and yelled at him: ‘Do something!’. He took off his yellow vest and slowly, but sturdily, moved towards the car. That idiot inside might have realised that something was happening and the victim, probably using a moment of his doubt, kicked out the door and jumped out. What a relief! Bouncer managed to take over the situation and I decided to leave.

I personally consider Brixton a safer place than many others in the Greater London area. It could have happen everywhere and to anybody.  Shocking to me is fact that there were so many people around and only one person has reacted and called the police. What causes this kind of (non-)awareness? Will the same people trample me on the street to get to the tube station on Monday morning? Will the same people not notice me, while being lost in their smartphone realities? Will the same people be around when I might need help?

And guess what! As I was already heading home, that young woman was still standing there and kept answering the police questions on the phone… KP

* * *

Pokemon (PL)

Brixton, Londyn, niedziela wcześnie rano

Poruszając się jeszcze w rytmach, do których tańczyłam przez kilka godzin wcześniej, byłam w drodze do domu. O trzeciej nad ranem Brixton zwykle jeszcze nie śpi. Ludzie są wszędzie – bawią się, spacerują, siedzą na ulicach, grają muzykę, tańczą, śmieją się, a nietórzy już w nastrojach poimprezowych dochodzą do siebie. Ogólnie przyjażnie.

Kiedy tak falowałam pośród tego wszystkiego przez Windrush Square, potem wzdłuż Acre Lane, mijając duże Tesco, jakiś huk wytrącił mnie z moich pozytywnych wibracji. Zdętwiałam na moment i spojrzałam w prawo. Hałas dobiegł z samochodu zaparkowanego z boku mdzy dwoma innymi. Wewnątrz najwyraźniej toczyła się walka. Nie widziałam dokładnie, bo szyby były kompletnie zaparowane. Ona krzyczała i kopała dookoła a on nie chciał jej wypuścić. Całe auto trzęsło się i tylko refleksy światła pozwoliły mi dostrzec dwoje szamoczących się ludzi.

Vis a vis przed barem stał tłum bawiących się ludzi. Niektórzy spoglądali, niektórzy nie widzieli, lub udawali, że nie widzą. Ale tej akcji nie można było nie zauważyć! Zostałam dostrzeżona natomiast ja przez trzęsącą się młodą kobietę przy telefonie po drugiej strony ulicy. Dała mi znak ręką, że już skontaktowała się z policją. Zrobiłam szybko zdjęcie rejestracji samochodu i dołączyłam do niej. Ze ściśniętym gardłem i drżącym głosem dziewczyna odpowiadała na pytania policji. Tamta w samochodzie ciągle się darła,  idiota ciągle okładał, a tłum kontynuował zabawę. Młoda kobieta nagle krzyknęła do telefonu: ‘Musicie przyjechać szybko! On ją zabije!’. W tym momencie pojawił się Superman. Z baru wyszedł wielki bramkarz i przez moment gapił się na samochód. Tutaj ja nie wytrzymałam i wrzasnęłam na całe gardło: ‘Zrób coś!’. On zdjął swą żółtą komizelkę i powoli, lecz zdecydowanym krokiem, ruszył w stronę samochodu. Idiota w aucie pewnie zauważył, że coś się dzieje i ofiara najwyraźniej wykorzystując chwilę jego zwątpienia, wykopała drzwi i wyskoczyła. Co za ulga! Bramkarz przejął kontrolę nad sytuacją i ja zdecydowałam, że już pójdę.

Osobiście uważam, ze Brixton jest bezpieczniejszy, niż wiele innych okoilic w obrębie Londynu. To mogło się przydarzyć wszędzie i każdemu. Szokujący dla mnie jest fakt, że było tam tyle ludzi, a tylko jedna osoba zareagowała. Co powoduje ten rodzaj (nie-)świadomości? Czy to ci sami ludzie bedą deptać po mnie w poniedziałek rano, spiesząc do stacji metra? Czy ci sami nie zauważą mnie, będąc pochłonięci przez rzeczywistości swoich smartfonów? Będą ci sami wokół, kiedy ja będę potrzebować pomocy?

I wiecie co? Kiedy ja już szłam do domu, tamta dziewczyna ciagle jeszcze tam stała i przez telefon odpowiadała na pytania policji. Kto wie, co by było, gdyby nie ten Superman… KP

Views in 3D

I am closing my eyes and seeing seaside, skies, fields, trees, flowers, feeling the breeze, feeling love and melancholy… The amazing harmonies make me think of the wicked Kenny Wheeler – I always have to listen to him in a 3D mental setting. Arcieri as a composer seems to use the sounds as colors and the silence as her canvas. Her beautiful, gossamer delicate voice sings, among of others, Evans, Waldron, Silver and some Latin tunes in fantastic Portuguese. Look at the line-up – is killing! That’s an incredibly beautiful album. KP

Stefania Arcieri – voice and compositions, Gareth Lockrane – flutes, Nathaniel Facey – alto sax, Sandro Zerafa – guitar, Barry Green – piano, Dario Di Lecce – bass, Shane Forbes – drums.

Views

“Views. Shapes and Hues of Some Impressions”, Stefania Arcieri Ensamble, Out Front Records, 2016.

 

Speed, Friends & Bella Italia

21 July 2015, Wednesday night, Soho, London. 

It is weird to write about a gig that never happened, but let me compose something – it shall be about some composers as well and it will be about two gigs: one from the future and one from the past.

The jazz singer Stefania Arcieri with her trio I was supposed to see at the Cable Caffe in Oval in the afternoon. At the last moment I got a message saying that she had horrible bronchitis and would miss the gig. The trio, who were supposed to play without her, are amazing, but I decided to come back, when Stefania is on form. When she is on form, the air vibrates – she scats like no one I have seen live in a while. I never saw the great Urszula Dudziak live, and can only listen to her recordings, but there is something about Stefania that reminds me of her. Stefania’s scatting makes you listen with an open mouth. She draws your attention toward herself with her sweet voice and takes you into the right place with her precisely hit pitches.

I have to mention at this point about an incident while I was attending a groovy choir ‘The Kenningtones’ a year ago. Cerys Hogg – our conductor and a great composer brought the ‘Gentle Piece’ by Kenny Wheeler one evening. Imagine, the choir composed almost mainly from amateur singers, divided in 4 voices, having learned this beautiful music piece by ear – note by note… I usually sang alto, but joined the soprano part for this one. I sang and I cried. It was such a strong and deeply intimate experience that I haven’t spoken with people about it. I then simply started by myself to explore more about Wheeler’s harmonies.

Since meeting Stefania around a year ago, we occasionally meet at gigs or jams just to listen to the great London cats. I always liked to chat about music with her. She is able to express her opinions, using such descriptions that make me want to extend my hand and to touch the shapes created by her words. I told her about my experience with Wheeler’s music and she got me straight away! As a result I got to know about her graduation work from a Conservatory in Italy on Kenny Wheeler’s and Norma Winston’s creative output. I was amazed. Now I am not only curious of every her live performance of the jazz standarts whetter Latin or bebop. I also am already waiting for her new CD.

Arcieri is a singer, but also a composer. She recently recorded her own compositions along with a couple of Latin standards. Among those working with her, are some of London’s best musicians which include Barry Green on piano, Dario di Lecce on double base, Shane Forbes on drums, Gareth Lockrane on flutes, Nathaniel Facey on alto saxophone and Sandro Zerafa on classical guitar. I am very curious to see how many dimensions her new recording will unveil.

All these thoughts were accompanying me that evening, as I made my way to Ronnie Scott’s Jazz Club. The late show was late. All musicians were waiting opposite the club at the legendary Bar Italia, drinking espressos and chatting about music and not-music. A warm midnight breeze, the smell of coffee and an unusually large number of guitarists milling around. Mamma mia, what a Mediterranean night! Alessandro Chiappetta was in the middle of all that – so I found him waving at me that evening.

I met Alessandro last Summer on the stage at the Pizza Express Jazz Club in Soho. Saxophonist Matt Telfer regulary ran a very nice Friday jam at that time. It was my favourite one. On one of the evenings Alessandro joined me on the stage with his guitar, in the beautiful song ‘You Must Believe in Spring’ by Michel Legrand. We both liked this piece and then we also liked each other (for the onlookers: not in any romantic way). We started to go to jams together.

Once, after having seen him playing at The Hippodrome (That was a great jam as well and unfortunately doesn’t continue anymore), I said: ‘Alessandro, your playing velocity is amazing!’. ‘I don’t sleep, Kat…’ he answered. I laugh every time I am thinking about this. He had spent three months and half in London by then, going to jams every night, playing gigs and falling asleep, sitting with the guitar on the sofa. Finally his girlfriend Ivana came from Italy to collect him. Otherwise he would have stopped sleeping and eating altogether!

He lives in Torino now and is a part of the international, based in London, Enzo Zirilli’s ZiroBop. He flew over to the UK especially for this gig, which let me see him on the Ronnie’s stage along with the others. The other guitarist in this band is the very talented Rob Luft; Misha Mullov-Abado plays the double bass and of course the leader – Enzo Zirilli on drums.

ZiroBop. From the left: Misha Mullov-Abado – double base, Enzo Zirilli – drums, Rob Luft – guitar, Alessandro Chiappetta – guitar.
ZiroBop.
From the left: Misha Mullov-Abado – double base, Enzo Zirilli – drums, Rob Luft – guitar, Alessandro Chiappetta – guitar.

They had just finished recording their music. The album ‘ZiroBop’ (same title as the band name) has been recorded in Torino and will be released in the first half of August this year. Every one of the musicians has contributed to this record with their own beautiful compositions – This was what they mainly played at that Tuesday Ronnie Scott’s Late Show. I loved the ballads and the Latin rhythms! Enzo Zirilli also arranged a very interesting medley, composed from Monk’s ‘I Mean You’ and ‘Bye-Ya’, calling it ‘Thank you very Monk!’ It sounded good and will be on the CD as well. ZiroBop is already preparing to gig in Italy, starting in Milan, and then they will be back to play in London. Great night – Come back soon, guys!

Kat Pfeiffer

Thank you for the linguistic advice, Benjamin Amure and Andrew Chamberlain.


Winning Sequence

London, Hackney 23 Sep 2014
Newton Dunbar – DJ Ace, East London legend, creator and director of the legendary Four Aces Club (later the rave club Labirynth)* is sitting next to me at the Picture House in Hackney. We are drinking coffee, chatting about life, passing clouds and the good energy that makes things move…

Kat Pfeiffer: Do you remember? We actually met here…

Newton Dunbar: You were sitting right in this corner that we are sitting in now and I was playing over there, in the entrance area. Then you came over and asked “What is this here?” Then you looked up in your computer and the next was: “Yes, it’s him!” (laughs)

K: (laugh) It’s true! It was maybe three years ago…N10

N: More than that… My friend Debbie was managing this establishment. She had a set and she asked me to join in with her; I did it, of course, and started playing here, Reggae Tunes on Sundays. It seemed to work very well. Then my friend left and of course I went as well but I started playing in other places.

K: I remember, it was such a funny silver spacey console that drew my attention. You played your vinyls on it…

N: It was Debbie’s own design! But music was what was supposed to come through in this particular place. And it worked! I was acknowledged even by people that didn’t come to hear music at all. They started taking photos, asking me where I was playing apart from here. That was very good feedback for me. I have moved on since and I have played in other places, gigging quite regularly, sometimes three or four times a week. I also run my own radio show: I play every Tuesday from 4pm to 6pm for haggerstonradio.com. It’s been a year since I’ve been doing it and there is another one coming up: NTS Radio – a terrestrial radio station. Things are moving on. Not only age-wise but career-wise too!

K: How do you select your records?

N: A lot of records I play are vinyls and I also choose a lot of CD’s. A friend of mine gave me an essential pair of vinyls and the rest I have chosen because of my knowledge of music. Of course running the Four Aces Club, music was the main thing that I have arranged to produce and that knowledge inspired the selection I play today. As far as I know this is OK. I have played for such prestigious places as Victoria & Albert Museum, Ace Hotel and the next on the list in this category will be Hackney Empire. Every time I play I get acknowledged.

K: What is your favorite venue?

N: Oh… I have played at the Ace Hotel already maybe six times – not only in the basement bar but also in the lobby upstairs. I like this lobby very much, because people are moving there , travel-wise. They don’t know me, don’t know my musical input, but as I play there they like it! Even though I am basically meant to play reggae, I also pick up from the audience what they would like to listen to. I was initially asked to play from 6 till 11 and then I wasasked to play till 1.30am!

K: But this is not the only nightclub you have been playing in…

N: I have a residency at Charlie Wrights in Pitfield Street in Hoxton every Thursday night. My basic repertoire there is old school reggae, but I also play soul and funk, which Charlie Wrights actually is about.

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K: When did you start to be a DJ?

N: In 2008. I played at Eastern Curve Garden, which was then called The Mill, and the whole construct was an art installation by architect Nicolas Henninger. At the beginning as the garden was being constructed I played there – Nick that particular night had a fantastic turnover. There were around 300 people. They were listening to my music and then asked me to play longer. In effect I was playing until midnight and at the end got applauded by around the 200 that were still left. That was quite something! And I still play there in that garden, weather permitting, on Sundays.

K: This garden is very close to the place where your club stood – exactly across Dalston Lane. Isn’t it painful playing there?

N: Not really (laughs). I now enjoy life as it is. Reinvented myself. Things are moving on.

K: But there is still your energy moving around this place…

N: Yes, well… I played in the square next to the Dalston Library something like eighteen months ago. While I was playing the glass in the building next to the library started cracking up, jumping out of frames and there was not really an explanation to it. It was initially said it was the sound, but my sound was facing the opposite direction… I was familiar with that particular place because that was where the club was situated. Somebody said “The energy recognizes you” and because there was not another explanation, I accepted that (laughs). I don’t know what that energy was going to do or say but definitely it had a financial impact because the replacement of this glass was expensive. In this area too is a building named after me – I suppose: my name is there. I didn’t have anything to do with that, apart from being there and observing what was happening.

K: How does it feel being a gallery piece?

N: I am also a garden and museum piece! (laughs)N9a

K: Indeed! I saw pictures of you as part of an exhibition in Hackney Museum, interviews with you have been cataloged there; I saw you playing at the V&A with a shield with your description next to you. It looks like you already have been archived…

N: It doesn’t feel any different to just being normal. This is a very historical place and a lot of people look at history as a very prominent part of England. So… I think I have moved to this category of Hackney’s history. In the sense that the club that Iorganized or actually brought to Hackney was the first club in this area and now Hackney is club land – in fact some kind of competition with the West End – a very significant clubbing place. Hackney enjoyed my club from 1967 until 1998. It was active as a reggae club and for its last 10 years as the acid club Labyrinth.

Today I look at my work as special, because going through a lot of pain, disappointment, success and joy, I am bringing that all to what it is now. That’s a memory and only I know the full story and what went on. But I am still here, I passed on from the past, I reinvented myself as DJ Newton Ace, I play gigs, I run my own radio show, I am here and I am lucky. I have not only the learn ability but also the health and strength to carry it forward. This is not always about money but what I do is networking and it works anyway.

K: And don’t you think this is your big victory saying this now, sitting opposite the Hackney Town Hall – the place where the decision about shutting down your club was made and the Hackney Empire – where your name and image appear on a big poster?

N: I am doing a gig at Hackney Empire on 4th of October and I am looking forward to it! I was invited to do the show – it seems to fallow my path of success: Lenny Henry is appearing just before me and half an hour after he leaves the stage I will be doing my stuff. The first part of it as a DJ and afterwards I am supposed to do a talk of my past life as a clubber. After the show there will be The Four Aces Party Revisited, A Rudy’s Rare Records Post-Show Party from 10pm until 2am and I will be playing with other DJs: Mistah Brown and MC Champian. Everybody who likes reggae, ska, roots and dub will certainly have a great night!

Newton3aa

You say victory… People give a lot of significance to names and legends… but I don’t tie myself much to that. I am still me as a person. That’s what I say when I go to bed every night: I don’t have a problem sleeping with that person which is myself. I am very lucky because the environment could have frustrated me to do things in a different way. But I am not worrying about the things that I might have done in the past and I am also in the archives as a historical person now. I don’t pretend to be perfect, I am human like anybody else, but I have a line and I never crossed it and that’s probably why my good fortune doesn’t have to be forced too.


*The venue Four Aces was shut down in September 1998 as a result of the development of the Dalston Eastern Curve. One of the goals of developing of this area was the construction of the Overground station for the Olympics in 2012. In the area where the old theatre building stood are newly constructed high-rise residential buildings, Dalston Library and the Overground station infrastructure.


The title Winning Sequence has been taken from Newton’s statement about the four aces sequence in playng cards, from a documentary about the Four Aces Club: Legacy in the Dust: The Four Aces Story by Winstan Whitter. http://www.legacyinthedust.net/ . The four aces sequence was also a logo of the club. Thanks for the linguistic advice, Grahame Painting and Michael DeMarco!

The Milk-Trauma

08 Apr 2013, London, died Margaret Thatcher

Mag7 copyI learned about Margaret Thatcher’s death sitting with Newton Dunbar in his house in East London and sipping on afternoon coffee. We were watching a video of a musical from Hackney Emporium about a local multicultural story which contained a snippet about Newton’s famous  4ACES club in Dalston. Obviously, it was not only THE reggae and soul scene of East London, but also a place where the multiethnic community met up for music, dance and a good time.  At some point the DVD started to jump. Newton switched it off, saying: “Let’s see what the big screen says” and switched the TV on. “Baroness Thatcher died at the age of 87…”. The speaker informed about the circumstances of her death and listed out her numerous achievements for Great Britain. We were listening to it and I finally asked him “How did her politics actually affect your club?”. “Great! – he said with appreciation – she drummed up my business. She threw out the black from the West End and they came to me. She was a very clever and intellectual woman.”– He lifted his coffee cup and turned his attention back to the news.  I never know when he is serious and when he is not, but maybe one day he will tell me the truth (if that wasn’t). We are talking about the mid 70’s, characterised as a time of unemployment, racism and politics that forced black people to move into North, East or South London to find new places. Politics that increased the night time economy in London.

Magy2 copyI left Newton’s house, went to the tube station, grabbed the last edition of London Evening Standard and checked out the Guardian news. All the world seemed to be moved already:  “[…]and the real thing about Margaret Thatcher is that she didn’t just lead our country, she saved our country, and I believe she will go down as the greatest British peacetime prime minister.” – was Cameron’s quote. Obama said: “the world has lost one of the great champions of freedom and liberty, and America has lost a true friend.” The British queen was just sad.

“The bitch is dead” was the next phrase, that hit my eyes from a tree trunk in the middle of Windrush Square. I went directly to Brixton since the Guardian and Twitter were pointing in that direction for a different point of view. The piazza in the front of the Ritzy cinema looked like during a New Year’s party: with Mag5 copyflying soap bubbles and shiny streamers. People were laughing, dancing to the sound system, sharing champagne bottles, drinking beer and… milk. Dancing to the drums’s rhythm, the crowd sang: “Maggie, Maggie, Maggie – dead, dead, dead!”, “Egy, Shegy, Maggie – dead, dead, dead!” They were partying there since 5.30pm, completely peacefully but strongly against Thatcher‘s politics. They had come together with the same emotions as those angry unemployed Caribbean people who rioted in Brixton in the beginning of the 80’s but this time they had gathered for a different reason. However, at the Windrush Square I couldn’t see those actors from over thirty years ago. Clearly the people in the square were once those children from whom at the beginning of the 70’s the education secretary Margaret Thatcher took free school milk away and mainly the South European migrants. By the way, that action gave her the nickname Milk Snatcher for the rest of her career.  Another one of her country shaping reforms was cutting education. For that she was refused her honorary degree from Oxford University. Trying to understand this joy in the square I had to think about those Britons whose English grammar lessons were taken away from them…

Mag1aI also had to think about the London Riots back in 2011 and the conservative politicians’ comments that the youths’ families were responsible for the events. I thought that maybe partially yes, but from the sociological point of view, having reasonable education, they would be aware where their responsibilities begin and where they end. I also had to think about all those definitions which say that the family is the smallest cell of society. So the family is a component of a state organisation and that would mean there is another structure above carrying a responsibility for this group. But it may be that the Thatcheristic interpretation of the Social Contract is a bit different from Rousseau’s one. In the original concept the state is taking something from the citizen (his freedom) but also giving something back. Additionally the question about personal freedom stays disputable. The state can either leave you on your own (free) and let you have a go in this ‘forest’ or it can provide you with enough knowledge to give you an awareness of the world and of yourself and then offer you  freedom to make decisions about your own life.

Mag6acopy copyLiving on the continent at the beginning of the 80’s the news about the Falkland war always gave me a feeling of insecurity and the impression that there was something wrong with it. But this year, as the residents of this archipelago decided in the referendum to stay with the Great Britain, it gave me a different perspective on this conflict.

At that time Thatcher, indirectly supporting Michail Gorbachev, contributed to the end of the cold war. My generation was fascinated by Perestroika which positively changed many lives in Eastern Europe.

When such a significant personality leaves, there stay with us forever her concepts, thoughts and history. We are free to make a calculation of the good and of the bad, to make a balance of the past and to draw conclusions for the future. That somebody has gone is always an indication of a new beginning. Good bye Maggie.

text  & photos by Kat Pfeiffer

Sing big everybody!

Big Sing, gospel singing project with Audrey Mattis – well known on the British gospel scene, award-winning, living in Manchester choir director, 16-17th of March 2013, Barbican, London.

Nine songs in just five hours were arranged during the workshop last Saturday. The following day Audrey simply worked on putting the finishing touch into the tunes by practicing them. It seemed to be impossible to prepare a gig in such a short time. However…

grupa8aaa copyThe music as well as the lyrics were learned by ear. Most people didn’t know the songs, but they were allowed to look at the lyrics after having learned the tune by echo. No music sheets, but always in tune and no hoarseness. The only one male, we had among us, was able to sing really high. All songs we have learned and will perform them a cappella. Beautiful voices and such a beautiful sound! “Once people passed on the songs by ear. They learned and sang them without reading notes. Sometimes they wrote the music down using their own symbols, just as I did as a child. As I started to learn music, I was wondering why all notes look the same!”- says Audrey laughing. She is such a good director as a singer. She knew how to control the Big Sing people so that it was enough for her to only hum the beginning of the tune in order to get the 25 voices to follow her lead. Not only with the sound, but also with the help of a tambourine and vocal percussion was she able to put a pulse into those singing bodies making them wave, dance, stamp, click and clap. The songs chosen from the gospel repertoire have been arranged in harmonies, dynamic feel and laded with a big emotional charge. All of the tunes have an individual story. It was my first experience with Gospel. I was never engaged in the reality of slavery, racial segregation, suffering and hope for changes, better life and freedom like this time. To be able to sing about all that I had to dive in emotionally so that I could feel the spiritual unity of people which creates all this powerful essence of Gospel music.

grupa6a

Under Audrey’s direction we were able to reach such a point of unity in harmony and emphasis, that after having finished the song, we just had to leave the remaining silence on it’s own. Especially after “Wade in the water”. That’s my favorite song. Some sources say that this tune refers to the Old and New Testament and to the escape of Israelis from Egypt. It may be truth. However I felt moved reading the story of African slaves on the plantations, who were – through this song – communicating the best moment of the common escape. So it was a nice surprise for me, as Audrey mentioned this plot again. Under her arrangement of harmonies and the structure, this song became a three-dimensional work. It sounded impressive already on the rehearsal in one of the Barbican rooms. I’m wondering how it would sound in a big hall or a church! I always get the goosebumps from “Lily in the Valley” sang by John P. Kee & VIP Seminar Mass Choir and by myself too, so my feminine side loves to sing this tune as well as the spiritual sweet “Two Wings”. However, as my mischievous nature enjoys badly the groovy and funky Marvin Gave’s version of “I heard it through the Grapevines” I can’t wait to perform just this one. But it’s also a particular experience to sing the powerful freedom protest song, sang by African-American Civil Rights Moviments “Ain’t gonna let nobody”, and already known by The Sweet Honey In Rock. That are only a few of the titles we have in our repertoire.

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The Big Sing is a second educational event, organized by Serious, I took a part in. The previous one was a presentation about Jazz The way in to the way out with Alexander Hawkins and Corey Mwamba. This was announced as a lecture but in reality they made a fantastic educational show. I had heard a lot of interesting things that evening and additionally, what is not happening to me very often, get completely fascinated. With a big interest I signed up for the Big Sing project: two days workshop, a few hours of rehearsal and performing as an aperitif before the Grammy award-winning African American female a cappella group Sweet Honey in Rock concert at Barican, sounded absolutely attractive to me.

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To meet Audrey Mattis and to have the opportunity to work with her was a pleasure for all of us. Her positive attitude and communication talent, apart of all the musical advantages, certainly wins everybody over. Big Sing people would like to continue. Will it be a new choir? Well…
Come and see us on Saturday, March 23rd, at 6.30 pm, on the Barbican free stage in London!

text  & photos by Kat Pfeiffer

Feeling Changes

25 February 2013, Soweto Kinch at Ronnie Scott’s

The daily surprises seem to continue. As I yesterday went to the Ronnie Scott’s Jazz Club to see the jazz singer Monika Lidke in the bar upstairs, at the door I was kidnapped and ended up in the bar downstairs instead. For me this was the first time in this legendary bar in London’s Soho.

Soweto Kinch, a fantastic sax player with his band was on and there were still tickets available at the door. I invested 20 quid into my evening, buying the cheapest one. A very nice hostess lead me to an adequate place with a restricted view which in the end turned out to be perfect! I ordered a glass of red wine and felt truly jazzy. Even my unprepared look: t-shirt from Primani, red jeans and trekking shoes, seemed to adopt the character of the place. At the other side I could see women looking like gangster’s girl-friends, but I was sitting in the ‘cheap section’ and felt OK hearing my neighbor slurping out his drink from between the ice cubes for quite a long time.

Apparently Soweto Kinch belongs to this kind of artists they, expressing themselves, know how to connect their intellectual values with the music, dramaturgy of performance and the great sense of humor. In a Dizzy style. And if it’s true, what an American psychologist Rollo May says that the artists are the ‘emotional antennas of society’, Soweto is certainly one. My shortest definition of what I can hear him playing, would be: sophisticated, swingy bebop in free style, in a very flexible combination with simple romantic bits, rap and hip hop. Check out the tunes from his new double album “The Legend of Mike Smith” like the futuristic “Traffic Lights”, “A Restless Mind” and “Escape the Vomitorium”, spacial “Vacuum” or very romantic “Better Of Alone”. He gets emotional, singing the last one… And he speaks my language: In the 6th class of primary school I was already instinctively trying out melodic solutions, I’ve heard last night. I hated that patriotic song with its cheesy melody, which I had to learn and perform in front of the class. My music teacher obviously didn’t like my version of it and instead of showing me the way and letting me fly, she traumatized me. After years I understood, that I was already beboping! Not scatting and not hip hoping yet, however the groove I already had!

taken from facebook.com/ronniescottsclub courtesy of David Sinclair - jazzphotographs.com
Taken from facebook.com/ronniescottsclub, courtesy of David Sinclair – http://www.jazzphotographs.com

They say that Ronnie Scott’s isn’t the same as it used to be. Nothing stays the same though. I remember Mark Murphie saying in one of his interviews that being a jazz musician means to be flexible as a person and be able to adopt quickly to the changes in life firstly and play music secondly. Nice one. I quickly forgot that I wanted to see Monika that evening. However I never expected to go to Ronnie Scott’s and dance to hip hop, but I did. Together with all the others, being rocked by an amazing jazz musician Soweto Kinch, his great rhythm section and a laptop.

I’m sure, Monika’s gig with Renato D’Aiello in the bar upstairs was great and I felt really sorry for myself that there was only one of me that evening. But the show is going on and I’ll see you another time, guys! Yo, man!

Kat Pfeiffer

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