Thursday 30th June 2016 8pm
Jazz Violinist Graham Clark
Support: The Lesley Anne Davies Trio
Tickets £7 from The Globe or www.wegottickets.com
Graham Clark has been working as an improvising violinist since 1982, when he played on the Bristol jazz scene with local luminaries such as Andy Sheppard and Tim Richards. Moving to London in '86 saw him exploring free music, as well as continuing to study the standards, doing a lot of busking on the Underground, and playing in a Mariarchi band. In '88, Clark joined forces with Daevid Allen, the charismatic leader of psychedelic jazz world music rock band, "Gong", and he continued to play and record in various combos with Daevid until 2014. He has had several broadcasts on Radio 3, as well as releasing two improvised albums on the GAS label.
Graham's musical partnership with Paul Kilvington sees him explore standards and jazz originals with one of the most powerful and inventive pianists in the country.
ReviewsOn his latest album "Improvisations Series One" -
"With a developed vocabulary from Bach to the present, violinists and pianists have a rich tradition to bring to free improvisation. On improvisations series one violinist Graham Clark and pianist Stephen Grew operate within a highly traditional definition of instrumental function and vocabulary. The style bridges high modernism and post-modernism, and you’d be excused for thinking at many points that you’d wandered into a recital devoted to newly discovered works by Bartok, Webern, and Stockhausen. That’s not the duo’s limitation but its character, a complex dialogue that makes little reference to the usual associations of improvised music. The 14 tracks are simply numbered, and there’s nothing here to suggest that Clark was once a member of the rock band Gong. When the two alternate percussive effects as accompaniment to one another on “No. 7,” or Grew uses some piano preparation on the “No. 13,” it actually comes as a surprise. What the music possesses is a narrow brilliance, by which I intend nothing negative. The numerous short tracks have the taut discipline and spiky clarity of etudes, while the nearly 20-minute “No. 9” extends that clarity of execution and design to a startlingly dense expressionism so purposefully executed that it sound like it’s being read very quickly. Grew’s work is new to me, but like Clark he’s an improviser of the first order." Point of Departure