year with the launch of a new club, Dsobey. It'll be held upstairs at The Garage in North London once a month -and the aim is to provide a space for 'out' musics to meet and cross-fertilize, and perhapsto display approacheswhich are usually overlooked or glossed over because of the stories the 'normal' music press write them into. So, you might find Orbital doing an Ambient dub set on a huge analogue quad sound system in a cramped loft. The first Disobey will feature a rare visit to the UK by ~~0phoniStCharles Gayle (see interview page 12),Terry Edwards from Gallon Drunk and DJ The Beekeeper (aka Wir's Bruce Gilbert -who's taken to performingin a shed with a strobe). It's on 23 March and tickets are f 6; you can reserve one by calling 07 1 278 2094. Meanwhile,to grab some BF chattels, flip to page 74. . .
Jazz breakingout all over: plenty of interestingoddments throughout March. Like Silapha, a trio keeping the spirit of South African folk music alive, seen through a free jazz glass darkly, at London's Tenor Clef (24,071 729 2476); Gary Crosby's horn-fed Jazz Jamaica group at BlackheathConcert Halls (26,081 463 0100); Asian fusionist Nitin Sawhney launches his new album Spirit Dance (World Circuit)at Dingwalls in North London (8,071 267 1999);hardworking modal pianistTim Richards and Spirit Level at the Vortex (31, 071 254 65 16); Loverley, a world-wild eco-political lmprov sextet with vocalist Maggie Nicols, bassist Julia Doyle, and saxlclarinettist Paul Jolly in their company, at Norwich Arts Centre ( l 7,0603 660352); a short stint for guitarist Wayne Krantz and band at London'sJazz Cafe (2, 071 9 16 60001, Aberdeen Music Hall (3,0224 641 122)and Edinburgh Queen's Hall (4,031 668 2019).And, with our thoughts on the land north of Hadrian'sWall, let's hear it for The Cauld Blast Orchestra, an eclectic octet who appear to employ every instrument imaginable except bagpipes. Followingthe arrival of their new CD, Durga's Revenge, they appear at Aberdeen Music I Ha11(171, Edinburgh Queen's Hall (18) and Glasgow Old Atheneum (19,041 227 551l).Pureout there, by the way.
The Penguin Caf4 Orchestra, in sounding-off'sview, are the sound of pointlessoddity barking in the wrong salon; the compositiordpop crossover troupe it's OK not to like. But make up your own minds: Simon Jeffes's group are wrapping up a short tour with appearances at Leeds Irish Centre (2,0532 480887), London Palladium (introducedby Tarby? 3,07 1 494 5062),and Brighton Gardner Centre (4,0273 685861).
East London's China Pig Club (at the Rose And Crown, Hackney) offers a monthloadof indescribables once again, all group performances.Antlers (2) are a quartet with Julia Doyle (again), while Osmosis (9) feature the talents of club organiser Dave Draper. Echo City perform on 16, and By-Pass Now Open (23) are a trio who play alongside 'performance' by Suzie Kravitz. Finally, the club has scooped guitar-mangler Jim O'Rourke from the States to chime in with Conspiracy, the four-piece led by Nick Couldry and Andy Hammond (30).
Bristol's getting inhipshape. The South West's branch of Live
Some months ago a friend bought a copy, for the first time, of a high profile US pop culture mag and binned it hours later on the strength of just one 500 word article that didn't tell him what he wanted to m hear (this in a 120 page plus magazine).This u,, .,,,,,,, ,, , ,,,,2me case of reader feedback (naturally, he hasn't bought it since), but it highlighted the point that magazines are often charcterised by their more 'extreme' outcroppings.
Inside this issue of The Wireyou'll find coverage of artists as seemingly far flung from each other as Elvis Costello, the independent US film maker John Cassavetes and the extraordinary BeninIParis singer Angelique Kidjo. All these are figures more or less in the popular domain (for reasons of fashion, influence, commerce, etc). You will also find discussion of less obviously 'mainstream'areas: for instance, a portrait of the black free jazz saxophonist Charles Gayle and some illuminating talk on the historical use of radio as a medium for avant garde art
There is no obvious connection between any of these subjects, but at the same time there seems no obvious reason (outside of marketing) why they shouldn't be connected -whether in the pages of a magazine or via someone's integrated home entertainment system. It's a mixture ' - . .AL..@
that should tell you all you need to know about The Wire - such a .>:
broad, but selective, sweep of music and related subjects is the kind of thing i t has been pushing towards in order to become the most informative, accessible, comprehensive contemporary music mag on your news stand. Many agree it's got there already (as if the competition was up to much), yet there are still some who refuse to see it this way.
Some tell us that this magazine has a history (we can't argue with that - nor would we want to), and, far more insidious this, a 'reputation'. Some say that because of its history The Wire is a jazz-related magazine, and some say because of its insistence on giving music the same kind of in-depth coverage that is afforded to all other art forms in this country, from film to contemporary dance, it is 'intellectual' and 'high brow'. And this point is 'proved' because at the extremities of this Issue there is a jazz-related article, and some writing which deigns to take the (apparently pretentious) idea of avant garde radio seriously. Well, excuse me. A jazz magazine? Yeah, we cover jazz, but in the context of all the other music out there, because we don't feel one of the 20th century's greatest art forms should be ghettoised by a mono-dimensional media. As for intellectual and high brow, we prefer passionate and intelligent passionate about music, and insistent on unravelling some of the reasons why that passion exists and feels so important
This is my first issue as editor of The Wire (but my seventeenth as a member of its staff). All of the above, not to mention the following 70 odd pages, lay out the thinking behind the direction I want the magazine to take in the coming months. It looks like being an exciting ride. Now, how adventurous do you feel? TONY HERRINGTON
The Wire 5