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Posts from the ‘Film’ Category

Mind on the Run

hidden-orchestraIt was with regret that I had to leave Hull after only 24 hours of Mind on the Run, the weekend festival celebrating the life and work of Basil Kirchin, the visionary composer who spent three decades in the city, working in complete obscurity until his death in 2005, aged 77.

When the Guardian asked me to write a piece about the event, the first call I made was to Brian Eno. I had introduced the two men in 1973, while preparing the release of the second volume of Basil’s World Within Worlds on Island’s HELP label. Eno immediately recognised the value of his work with manipulated tapes of organic sounds, and more than 40 years later he was happy to talk about the impression it made.

The festival, held in the City Hall as part of Hull’s 2017 UK City of Culture programme, was quite brilliantly curated to include contributions from Matthew Herbert, Goldfrapp’s Will Gregory (with a contingent of the BBC Concert Orchestra, conducted by Clark Rundell), Wilco’s Jim O’Rourke, Bob Stanley and Pete Wiggs of Saint Etienne, Evan Parker with Adam Linson and Matt Wright of his Electro-Acoustic Ensemble and Ashley Wales and John Coxon of Spring Heel Jack, and a DJ set of Kirchin’s library music by Jerry Dammers.

On the first evening I heard a spirited set by a local five-piece band led by DJ Revenu (Liam van Rijn), heavy on imaginative electronics. That was followed by the High Llamas’ Sean O’Hagan with a piece inspired by several of Basil’s themes and performed by an nonet — including the outstanding harpist Serafina Steer — in a style that made me think of what might happen were Steve Reich to get it into his head to reinterpret those miniature tone poems that Brian Wilson used to drop into mid-period Beach Boys albums: things like “Fall Breaks and Back to Winter” from Smiley Smile and the title track of Pet Sounds. O’Hagan’s music was minimalist, lyrical, unhurried and unrhetorical, with a fragile charm. (Just after it had finished I told a friend that I was particularly attracted to the way the music felt, even now and then, as though it might be about to fall apart; during a conversation an hour or so later O’Hagan mentioned, unprompted, that this was precisely the effect he’d been after.)

I enjoyed taking part in one of the panel discussions, alongside Bob Stanley and  Jonny Trunk, and listening to another that featured Matt Stephenson, co-director (with Alan Jones and Harriet Jones) of a 45-minute documentary film which did an excellent job of summarising Basil’s extraordinary life through interviews with those who had known him at various stages of his career. It also featured a wonderful film clip of the Ivor Kirchin Band in the early ’50s, with the leader’s young son as the featured drummer, from a time when dance band musicians wore cardigans and sensible slacks. (When someone in the audience likened Basil’s skin-pounding, cymbal-flaying antics to those of Animal from the Muppet Show, Matt was able to regale us with the priceless information that the real drummer of the Muppets had been the great session man Ronnie Verrell — who, in an earlier incarnation, had replaced the man who replaced Basil on the drum stool in Ivor’s band…)

Trunk, who has done so much over the past decade to create interest in Basil’s work, also mentioned that the handful of CDs released on his label represent no more than a glimpse of the tip of the iceberg. There is much more to come from the archive of Kirchin soundtracks and library music.

Among Basil’s credits was the score to The Abominable Dr Phibes, the truly bizarre 1971 British horror film in which Vincent Price played the eponymous villain, who celebrated his dreadful deeds by letting loose on a pipe organ. The film was screened on Friday night, with the figure of a caped Alexander Hawkins emerging through a gauze screen from time to time, playing the music live on the City Hall’s mighty organ: the third largest in England, it is said, and the possessor of a massive 64ft pipe which, if unleashed at full volume, would probably turn the Victorian building’s foundations to dust.

Before leaving Hull I also managed to creep into the soundcheck of Joe Acheson’s Hidden Orchestra (pictured above), and was beguiled by the grooves and textures of a band featuring two drummers, violin, cello, harp, trumpet and keyboards. If you want to know more about that performance, and others, read Tony Dudley-Evans’s report for the London Jazz News website.

It was interesting to discover how Hull, a victim first of the Luftwaffe and then of the Cod Wars, is making use of the opportunity to present a new face to those lured by the year of cultural events. There are five excellent Francis Bacons on temporary loan at the refurbished Ferens Gallery in the main square, which is dramatically spanned until March 18 by a 75-metre aluminium wind-turbine blade created by Nayan Kulkarni. An exhibition devoted to the story of COUM Transmissions, the renegade art collective founded in Hull in the early ’70s by Genesis P. Orridge, Cosey Fanni Tutti and others, is at the Humber Art Gallery in the streets of the former Fruit Market, where all sorts of hipster enterprises are springing up.

It’s not all great, of course. Take a bow, “Sir” Philip Green, for the vacant hulk of the striking early-’60s building until recently occupied by British Home Stores. But if you can imagine a cross between Copenhagen and Hoxton, that seems to be how Hull is attempting to reshape itself, and the audiences who flocked to Mind on the Run demonstrated the potential of this culture-led Humberside renaissance. I hadn’t been to the city since a single visit in 1965. Now I can’t wait to go back and do some more exploring.

‘Eight Days a Week’

beatles-eight-daysTowards the end of Eight Days a Week, Ron Howard’s Beatles new documentary, all reason and proportion briefly fled and I was overpowered by a sense of rage. Those bloody Americans: it was all their fault. With their idiotic 50,000-seater stadiums and their imbecilic urge to misconstrue a perfectly innocent remark about Christianity in a John Lennon interview, they ruined the whole thing.

Not entirely true, of course. The dream was always going to end sometime. But you can see very clearly, in a film that purports to concentrate on the group’s touring years, how the pressure exerted by their immoderate success in the US in particular drove them to fall out of love with what life on the road had come to represent, once the novelty faded. After 1963 they were never able to perform live in an environment that allowed them to show how good they were. All four of them felt that frustration. The Plastic Ono Band, Wings and George’s stint with Delaney and Bonnie were among the consequences.

It’s interesting to speculate what might have happened had America not taken to them. Beatlemania in the UK and Europe would have died down a little, perhaps enough to allow them to continue touring together in more helpful conditions. Would they have been able to spend so much time in the studio, concocting Sgt Pepper and the White Album? Probably so; that’s the way they were heading anyway.

There are many cherishable moments in the film, not least a version of “I Saw Her Standing There” that shows what a blazing little band they were. The picture above, which I’ve grabbed from the trailer, is from that sequence; it captures the feeling. And the final sequence of “Don’t Let Me Down” and “I Got a Feeling” from the concert on the roof of No 3, Savile Row on January 30, 1969 — the first time they’d played live together in public not wearing a band uniform since Brian Epstein became their manager, as well as being the last time they played live together in public at all — is, as ever, deeply sad for the same reason. Imagine if they’d had the sort of rock-concert facilities they lay just around the corner.

As for the film itself, it’s a shame Ron Howard hasn’t learnt the lesson of the great documentary director Asif Kapadia’s work on Senna and Amy: at all costs, avoid showing talking heads on the screen. They slow it down and clutter it up. Elvis Costello and Whoopi Goldberg (particularly) are among those who have genuine insights to impart, but we don’t need to see them when there’s such a richness of archive footage available. But, of course, Eight Days a Week is not to be missed.

Between the world and the Black Panthers

Out to LunchOthers will be better qualified to talk about the substance of The Black Panthers: Vanguard of the Revolution, Stanley Nelson’s documentary, which is currently showing in London. I found it extremely moving. There’s an initial sense of exhilaration at the spectacle of the human spirit responding to adversity with pride, resilience and creativity, only for that spirit to be crushed by the relentless efficiency of J. Edgar Hoover and his FBI.

Nelson modulates the tone of the film to match its narrative arc with great sensitivity, and that is where the soundtrack plays its part. At the start of the story we see the Chi-Lites singing “(For God’s Sake) Give More Power to the People” in ruffled costumes on Soul Train and hear Billy Paul’s “Am I Black Enough For You”, Philadelphia International’s most confrontational moment. These are reminders of how the ideas represented by the Panthers were able to gatecrash mainstream culture. Later the musical backdrop is supplied by the stripped-down street-funk of the early ’70s (“Express Yourself” by Charles Wright and the Watts 103rd Street Rhythm Band being a good example). At the close, with the Panthers’ unity and sense of purpose destroyed by police bullets (notably in the assassination of Fred Hampton, the eloquent, charismatic 21-year-old who Hoover feared would become the movement’s “messiah”) and internal rivalries (the post-prison Huey P. Newton versus the exiled Eldridge Cleaver), the profound darkening of the mood is expressed through the voice of Gil Scott-Heron, singing “Winter in America”.

I’ve been reading Ta-Nehisi Coates’s Between the World and Me, a recent best-seller which takes the form of a letter to his 15-year-old son, relating Coates’s own experiences as a black boy growing up in America. His grandfather was a research librarian at Howard University in Washington DC, with a profound love of books: “…all over the house, books about black people, by black people, for black people spilling off shelves and out of the living room…” His parents were radicals: “We would not stand for their anthems. We would not kneel before their God.” His father had been a captain in the Black Panther Party.

The book is a brilliant analysis of the journey taken by several generations of African Americans, always facing the same enemy. Coates was born in 1975: “To be black in the Baltimore of my youth,” he writes, “was to be naked before all the elements of the world, before all the guns, fists, knives, crack, rape, and disease.” He was 11 years old when another boy pulled a gun on him. His son’s reality is the Black Lives Matter movement.

Nelson’s film contains another music-related moment that made me catch my breath. We see photographs of the room in a Panther house on Chicago’s West Side where Fred Hampton was gunned down by police in December 1969, its layout revealed to them by an FBI informant. Amid the blood-spattered debris lying on the bedroom floor, it’s possible to glimpse the sleeve of Eric Dolphy’s Out to Lunch. On its appearance in 1964, Dolphy’s album represented a high point in the African American research project that jazz had become. It’s still being analysed and copied today. And to me it’s an affirmation of some sort that Out to Lunch was part of the soundtrack of that Panther household, and — or so we may infer — of Fred Hampton’s short life.