Devon and Cornwall Tour – August/September 2018

It was mid afternoon on August Bank Holiday. Sun visors down, the two cars set out for Chico Chica’s Devon and Cornwall Tour. Double bassist Alison Rayner is driving her leather-seated Volvo, instruments in the back, me in the shotgun seat.

As the mobile world of leather rolls along the M4 I discover Alison, as a bandleader herself, is a useful source of advice and sympathy. After coffee at Newbury I enter a reflective mood.

Tours take a lot of time to organise. Fees are no higher then those that can be earned within our usual gigging radius. The added expenses of travel and accommodation make a serious dent in the earnings.

And yet…there’s something that compels a band to strike out into the unknown. It might be that no-man-is-a-prophet-in-his-own-land thing. Or wanderlust. Could it be, what in the corporate world they call, a team building experience? Perhaps we’re subconsciously inspired by the wandering troubadours of long ago. There seems to be a feeling that a band is not really a band unless it tours.

Our first stay was in a forest in deepest Devon. Using a star to guide us (it was actually a satellite which is a kind of star) we find our AirBnb destination. We drive along a rough forest path, passing piles of logs. Twilight adds to the general Hansel and Gretal/Blair Witch mood. We were greeted by Fred who is in the process of converting an abandoned mill compound into something habitable, one building at a time. Fred keeps birds that don’t fly much. Swans and ducks in the pond, a peacock which wanders around the yard who’s frankly a bit arrogant and a cock who does a proper crow at around 7 am and then again twenty minutes later as a kind of snooze alarm.

In the morning we head to The Bude Jazz Festival. Every band needs friends and champions. Chico Chica are lucky to have Rosie and Matt who come to the gig and treat us to pasties and whitebait at The Brendon Arms. We stroll to the beach and watch the waves, imagining what it would be like to surf them.

The set list for the tour is:

This is My Heart

Mon Oiseau C’est Enfui

Cuando Sali de Cuba

Casa Flamenco

Vanity

Cue the Cucumber

On Va au Bois

Private Hands

Final Safari

Cinderella

Falling, Falling

The Lizard

Quand Tu Me Touches

Son Tresor

Fingers in The Dark

C’est Ta Chanson

L’Abeille Dansante

Goodnight

The mainstay of the set is Chico Chica’s French collection which the band plans to record in the near future. There are a few old favourites from previous albums, others from a future flamenco project and one cover. Variety is key to the Chico Chica show: in singers, instrumentation, keys, feels, moods, tempos, languages and subject matter.

But would a Cornwall jazz festival audience accept such a radical departure from the usual mainstream jazz? Happily, the reaction is positive. The pattern here is set for the rest of the tour: surprisingly large audiences and CD sales.

After Bude the band drive to The George, South Molton. and then back to our forest den chez Fred. On the next day we motor west once more. Destination: Penzance. It is Chico Chica’s most westerly gig to date. Now there’s a fact you won’t find on Wikipedia.

On the following morning, on our way to Falmouth, I’m on BBC Radio Cornwall but the presenter has his interviewees muddled up and I am introduced as the man who has survived seven lightning strikes. While waiting for my time to speak I learn that Cornwall is England’s longest county.

A tour feels a little bit like a holiday but of course it isn’t. The schedule is tightly packed with little space for downtime. But it’s Devon and Cornwall in August so it’s hard not to feel like a holidaymaker and resist the urge to visit beaches. The picture shows Hilary and Barbara in front of the St Michael’s Mount which is Cornwall’s rather lacklustre answer to Brittany’s Mont St Michel.  

The 31st August is often regarded as the last day of summer. This year it coincides with caravan turnaround day and we celebrate it by travelling most of Cornwall’s fabled length, through Devon and into Somerset. The tedium of the traffic jams is mitigated by the spectacular scenery.

The last gig was St James Wine Vaults in Bath and from there we returned home to do a cluster of dates in London including the Bull’s Head which is a kind of homecoming gig for me.

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Birds – Chico Chica’s Third Album

Birds is Chico Chica’s third album and we have to say, we are inordinately proud of it.

Here is a sample:

 

You can buy downloads here: https://store.cdbaby.com/cd/chicochica5 and CDs here or else purchase a copy at one of our upcoming shows:

 

22nd-27th May 2017:  Brasserie Zedel, Sherwood Street, London W1
1st June 2017: Bull’s Head, Barnes.

 

You should be able to listen on Spotify as well. And while you’re listening you may like to read these album notes:

 

Since the band’s inception in 2010, Barbara Snow and Tom Hannah have been diligently combining original song and spoken word with textures, sounds and rhythms from around the Western Hemisphere. Snow has a very direct approach to her composition, eschewing obscurity and aiming to please the public while maintaining a high degree of artistic integrity.

 

For this album, Chico Chica enlisted the help of an all-Brazilian rhythm section to help bring about a truly exceptional work. It marks a growing maturity in this song-writing partnership. Tom Hannah’s perceptive and well-crafted lyrics are the perfect companion to Barbara Snow’s beguiling melodies and arrangements.

 

Falling, Falling is a lament for the demise of what was once a soaring love affair. The creamy vocalising here is reminiscent of Sergio Mendes.

 

The idea for title song Birds came about after Barbara Snow had a period of convalescence. She was lying on a bed next to a garden window. It was May and she listened to birdsong all day. The song is about what birds already know and that is, the limitation of words. The song culminates in a ‘la la’ section alternating with instrumental solos including one on marimba by Rob Millett.

 

Ever Since You Found Me starts with bold percussive brushstrokes and leads on to catchy instrumental sections and a spirited flute solo from Hiilary Cameron. She and Barbara Snow share the lead vocal and this gives the song a soulful emphasis. The song is an expression of  anticipation and desire.

 

The Happy Pain of Love is a tightly arranged pop song is an expression of new love from the viewpoint of a world-weary realist. Barbara Snow sings the lead and plays a flugelhorn solo which is a model of pace, poise and energy.

 

Flauta Charona is a rare Chico Chica instrumental. The interplay between Carlos Straatman’s bass guitar and Hilary Cameron’s flute is the essence of this jaunty melody which sounds as if it could be a theme tune for a light-hearted children’s cartoon.

 

Words and music by Chico Chica

 

Chico Chica are:

 

Hilary Cameron – voice, piano, keyboard, flute
Tom Hannah – voice cavaquinho
Barbara Snow – voice, flugelhorn

 

Additional musicians:

 

Carlos Straatman – electric bass
Jansen Santana – percussion
Xande -Oliveira – drums
Rob Millett – marimba

 

Recorded at Porcupine Studios, London
Engineered, mixed and mastered by Nick Taylor with the help of Barbara Snow and Carlos Straatman.

 

Picture by Phil Bartle


Continue reading “Birds – Chico Chica’s Third Album”

Transformers

For last week’s Chico Chica gig at the Long Room Bar and Mitre Hotel, Tooting,  I arrived early and ordered the Cumberland sausages. The plate arrived and I was delighted to see how the three of them were arranged in a Mercedes Benz logo pattern. The sculptural qualities alone would make the dish worthy of the Fourth Plinth in Trafalgar Square. Instead they had to sate my more immediate appetite. Butchers in Cumbria are applying to have their bangers given Protected Geographical Status as is afforded to Champagne and Camembert, and I wholeheartedly support this. I’m not so keen on Richmond sausages and I am unaware of any pending PGS application from west London butchers. For drinks I decided to go for something locally sourced so chose the Wimbledon Lager, also very good.
I was giving my dinner more than usual attention in order to stop myself being distracted by the possibility of something going wrong. The little black box needed to power Hilary’s electric piano was missing so a replacement needed buying. Urgently.
Now this may sound conceited, but I do try to live the life of the artist which some people call ‘being lazy’. I am a long-term devotee to beditation which is basically having a lie-in without feeling guilty. This surfeit of free time means I get called on in emergencies. So I was despatched to Maplins to buy something which I wasn’t even sure what to call. Is it a power supply, an adaptor or a transformer? Hilary texted the specifications but, like a lot of artists who affect a lack of interest in the prosaic wiring behind a star-bursting performance, she and I were confused about the difference between an amp, a volt and a watt.  I chose something with multiple settings and sockets but left the shop wondering whether it would work.
Hilary is a Very Busy Woman which means she is sometimes late. This adds drama and tension to life as well as to her performances and I greatly appreciate that. But contractual obligations need to be honoured so we started the show while she was still trying to get her keyboard working.  I opened the singing with The Perfect Moment. This is a guitar-driven, slightly rocky arrangement so the piano wasn’t essential.
 The song starts with a metaphysical mood where the tense is ambiguous:.
‘The future and the past won’t exist’
I looked to Hilary to my left and her face was a picture of despairing concern mixed in with a hint of concerning despair.
‘Not if this moment we kissed’.
The negativity in the two opening lines was reflected in Hilary’s demeanour. In the final chorus I decided to channel my anxiety by making it more rousing than usual.  With an emotional quivering in my voice I sang:
‘The perfect moment is now’
I looked again and a magical, radiant, red light shone forth from the Technics SX-P30, evincing a properly functioning AC DC current, an input of  100-200VAC 50-60Hz
and the transformative power of transformers.

Gig On The Coast

Last summer, Chico Chica played a function gig in Folkestone, Kent. Barbara and I, as we walked along the Sandgate Esplanade to where her car was parked, noticed that the Sandgate Hotel hosted live music on Sundays. So we popped in and left a card. The result of that small action was a gig yesterday.

It was Remembrance Sunday and Barbara had a Last Post to play in the morning. Walking to Shepherd’s Bush station with my guitar and cavaquinho, I stopped to watch the remembrance parade. There was a brass band to my right and a bagpiper to my left and I wished one of them would stop. To avoid offence I won’t say which one.

 

The Sandgate overlooks the English Channel. When we arrived, the westering sun was to our right and we looked out at the sea. That’s what people do when they travel to the coast. For some reason I thought of the Russian aircraft carrier which had passed a couple of weeks ago on its way to Syria and wondered if the great plume of black smoke emitting from its funnel  had been visible form Sandgate. Probably not.

 

But we were pushed for time so quickly set the PA up, ordered two glasses of water (one still, one fizzy) and, after ensuring all the cables were in the right sockets and the knobs at the right levels, started playing. The room overlooked the channel and we had our backs to France. There was a log fire and a warm appreciative audience. As the evening progressed the drinkers became drunker and louder and one man wanted to play Barbara’s bongo drums. We ploughed on through the Chico Chica set because that’s what we do. The journeyman musician is often tempted to change according to the room and in the past I would have done this. But Chico Chica is different – we do what we do and that’s it.

 

The show finished at 6pm by which time I was hungry and began to think about what I’d eaten that day – one bowl of porridge and a service station tuna sandwich plus coffees but they don’t count.  There was no rider at the gig so we went in search of fish and chips which I only ever eat when I’m at the seaside. We drove slowly and found a shop. We ordered a portion. Barbara had the fish and I had the chips which reminded me of Mr and Mrs Spratt. We ate in the car and it was a most satisfying repast.

 

Driving back to London after distant gigs gives us an excellent chance to talk and reflect. We chat about our families and then move on to Chico Chica – how to improve the performance, the best way to deal with drunks who want to play the bongos, business matters and the overall artistic direction. On this occasion we decided that getting signed to a record label is our highest priority and we resolved to approach certain individuals over this.

 

But the journey was long and at around the Maidstone turn-off, the conversation lulled. On these occasions I talk about the book I’m reading which happens to be The Story of O by Pauline Reage. I bought a copy the previous day. It was in the Romance section at Foyles, a shelf which I usually ignore.  The story is indeed about love , at least it is so far – I have read ninety pages.  I started describing the story and quickly realised it could prove embarrassing and awkward. It’s not the kind of book to bring up in conversation and I was thankful the M25 junction came into view and we had to concentrate on reading road signs instead. We fell silent again and I reflected on The Story of O and how suffering can be an expression of love and how Christianity and indeed Western civilisation are based on that very idea. And then we discussed next week’s mixing session at Porcupine Studio.

 

Chico Chica’s next show is at Bull’s Head, Barnes, 8.30pm, Thursday 17th November 2016.

Nice Guy With an Edge

There’s something compelling about an article consisting of ‘do’s and don’ts’. A couple of years ago, I saw one about online dating and being a complete sucker with too much time on his hands, I clicked it. The reader was told not to describe himself as a ‘nice guy with an edge’, presumably because the phrase was too common and it’s important to stand out. The phrase gave me the idea of a setting a fictionalised online dating profile to music. The result is Nice Guy With an Edge, track three of Chico Chica’s album The Glow of Havana released earlier in the year.

 

 

I has absolutely no hand in the either writing or performing the music. Barbara Snow was the composer and she even translated my choruses into Spanish, albeit with the help of bass player Andres Lafone. When performing the song I put the guitar down – I feel I can get a closer connection with the audience when I’m not hiding behind my instrument. 

 

 
The Glow of Havana is an unusual fusion of spoken word with an English sensibility and salsa, complete with percussion, horns and Spanish coros. The album was recorded at Cowshed Studio, London by Joe Leech. Joe has since moved to Western Australia with his family so it is likely to be the last of that happy and fruitful relationship. It can be purchased here

 

Chico Chica will be appearing as a trio at Sicily Restaurant, 2a Elizabeth St, London SW1W 9RB 8pm, Friday 11th November. Roberto, the owner, is really committed to live music and Sicily has now become a key component in the London jazz scene.

 

 I personally will be back at the Nova Restaurant, Chiswick High Rd 1pm tomorrow Sunday 30th October. 

Marimba

Marimbist Rob Millett has just delivered his tracks for the new Chico Chica album. Rob plays tuned percussion and recorded the marimba for the song Birds. The marimba (a wooden xylophone of African origin) is no longer the obscure instrument it once was. In fact we hear it several times a day in the default ringtone for the iPhone . I fell in love with the sound of the  marimba on Donald Fagan’s The Goodbye Look  When I made up the demo for Birds, I, for no obvious reason,  put a steel drum sound on the keyboard. Barbara liked it but we didn’t know any steel drummers so we decided to go for marimba instead. Hilary recommended Rob Millett. She works with Rob in Big Band Metheney. Marimbas are large and unwieldy so Rob recorded at home. We loved what he did and look forward to working with it at the second and final mixing day this Friday 21st October at Porcupine Studio.
Last Wednesday I saw Luna Cohen at the 606 Club, Chelsea. Chico Chica’s percussionist Jansen Santana plays with her so it was interesting for me to hear him play in another band. Luna has a warm expressive voice and presented us with a selection of original songs, some from her album November Sky as well as a few she hadn’t written and which I didn’t recognise. The guitarist was Robert Loft whom I hadn’t heard before but made a good impression on the audience – his style involves repeated parking of his plectrum in his lips even for the shortest of phrases.   Christian Brewer played some alto saxophone and I had a brief chat with Christian. We tried, unsuccessfully, to pinpoint the year we last worked together. I have tremendous respect for Christian – an absolute jazz pro – never sacrificing his principles and always playing with honesty and integrity.
It’s also good to seek inspiration from outside one’s genre. So the following night I went to see The Kaiserchiefs at Kingston Hippodrome. Friends had a spare ticket and I thought what the hell, why not. I didn’t know the music because I never listen to indy rock. And I’d never heard of the Kingston Hippodrome. Before the show, security men were working their way down the queue asking for names and ID.  Only under 25s carry ID so we couldn’t provide any. Then they asked to photograph our bank cards. Naturally we refused – but still got in to see the show. It was good fun. If I started a Kaiserchiefs tribute band, and please don’t leave any snotty comments about this,  I’d call it The Handkerchiefs.

Mixing

People constituting an organisation are apt to give themselves pompous titles. Well a band is an organisation so there’s no reason we can’t join in the fun.

My role in Chico Chica is a combination of Project Manager or Artistic Director and the other band members are happy to indulge my deluded vanity. It’s generally down to me to push the band forward – booking recording and live dates. But I also do fun stuff like choosing the setlist and this, crucially,  defines the band’s character and direction. And there’s the small matter of writing words so in publicity blurb  I’m usually referred to as the lyricist.

 By contrast, my colleague Barbara Snow looks after the actual music – composing the songs, choosing instrumentation, personnel and studio and overseeing sessions. So she’s what is what you could call the Musical Director.
Last Friday we were in the studio for the first day of mixing our latest batch of songs. We have been recording at Porcupine Studios, Mottingham, London SE9 with engineer Nick Taylor and we returned there to prepare the music for release. Barbara’s keen ears, which picked up all the errors in time and pitch during the recording, were now needed to help Nick blend the sounds to form a coherent whole. Particular attention was paid to the voices and lines where the flugelhorn and flute were playing together. Such is the mysterious art of mixing.
  It was interesting to listen back. We recorded last June which now seems ages ago. The material is heavily samba-influenced. We had a Brazilian rhythm section in for the day: Carlos Straatman, Jansen Santana and Xande Oliveira. Instead of the usual guitar,  I played cavaquinho throughout. Of the five tracks, four were songs and one an instrumental. The songs are tightly arranged and unlike our last album, there is no spoken word. There’s some excellent playing and I’m looking forward to hearing how the overall sound will be wrought. It’s going to be a huge contrast to The Glow of Havana.
  I arrived for the session early to make sure everything was okay, and drank an excellent coffee which Nick made from his cappuccino machine, but left soon after because there really wasn’t anything for me to do. You could say mixing is not part of my job description.