The first time Sian and I were going to see this group was at the Big Sheep but the schedule slipped and our energies ran out, thanks to over doing it to the rhythms of the Destroyers and we went home. (See Review for 22nd July 2009) This time winter ill’s nearly kept us in the warm but as it turned out we had the best winter warmer and tonic combined with these five musicians ( yes and they really are) and their wide range of evocative tunes drawn from a broad sweep of European musical traditions. These include Ashkenazi, Balkan, Klesmer, Sephardic, Spanish and Arabic influences with a bit of the Americas thrown in for good measure. Classical, Folk Latin, Asian and Celtic influences can all be detected. All this combines to create a life affirming mixture of feelings in the listener. Politics so often seeks to divide while this sort of music naturally unites.
At the centre down stage sits the percussionist, Guy Nicholson, surrounded by a range of drums. The Darabuka is one drum among many, including the ever versatile Cajon alongside cymbals and bells. Behind is the double bass played by Mario Caribe using the full techniques possible which add both depth and texture. Mario also contributes on the ukulele and cavaquinho. A triangle and the occasional tapping on the shoulder of the ‘bull fiddle’ added a further to the percussive range. Although originally a klesmer influenced band is present, the clarinet is not. Instead this lead role is met by Greg Lawson on violin with a staggeringly varied mixture of sounds. At either side of the stage the piano accordion presence is made known.
On the left hand side of the stage however an accordian serves to add additional colour as its player Phil Alexander is mainly occupied bringing out the wonderful breadth of a grand piano well played. He also manages to make a contribution on a professional melodica, or ‘wind piano’ as you will see it described in some catalogues. On the opposite wing is Pete Garnett on lead accordion whose sustained presence underpins so many pieces as well as representing melody throughout. Although there are only five of them there is so much going on that the visual impact becomes as entertaining as the ever changing music. When we told someone we were thinking of buying tickets we were told in no uncertain terms to go as the live performance was such an important added attraction to this talented group.
And the music itself? Rarely have we attended a concert with so few musicians but with so much evocation of so many images whether they were of dark rainy street from pre-war Eastern Europe or New York, or the dry airs of North Africa or the damp flatness of Lincolnshire. At times the appearance of a haunting melody would nudge us into a Stephen Poliakov film. It is very hard to choose a favourite from such a repertoire, a task made no easier by the purchase of all three of their CDs during the interval. At the moment we are listening to Si Verias, a Sephardi melody, which was just one of the many new musical journeys that were on offer during the evening.
Phil Alexander can claim credit for many of the compositions but it can be seen from the sleeve notes that he is not the lone composer or arranger within the group. All in all this was both a surprising and uplifting musical experience which not only makes one want to play and listen to music but to dive back into history books to explore so many lines of enquiry into the musical heritage of several continents. If ever get the chance to see Moishe’s Bagel, follow the advice we were given ‘Go!’
Dacier
