Quarter#6

Contents Page

Introduction

Inside the 6th issue of the Quarter....

03 04 05 06 07

No Quarter: Broken Window to the World

Xantoné Blacq Presents

Indigo Live

Jazz at Karamel

Tricoolore

We’re already firmly in to 2015, and things seem to be going pretty well! The sun’s been shining, the birds have been tweeting, and we here at the Quarter have so much we’re dying to tell you. In the coming months, we’re launching two exciting new nights; one will be bringing you the eclectic best of world music with a modern twist. Yet another will promise such incredible talents as the one and only master of modern British soul, Omar, with whom we’ve managed to score an interview for you lucky people! We’re also gearing up to present even more in the way of Jazz at Karamel, which is now a weekly party, and yet another season of fantastic performances from Karousel Music, zer0Classikal, the Karamel Kids gang, and more.

On top of that, we’ve also been speaking with the many talented Graeme Messer about his fascinating and witty solo show at Karamel, which has already succeeding in delivering a healthy dose of discourse online and off, and is really not to be missed. We also managed to catch up with writer/director Yousaf Ali Khan for an update on the progress of Fatima’s Journey, from Kabul to London and back. There’s all this and more inside, so go forth, enjoy, and, as always, please feel free to let us know your thoughts on all the usual outlets. Here comes the summer!

Created and distributed by Collage Arts

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Graeme Messer Interview

Yousaf Ali Khan

Kids at Karamel

zer0classikal

Karamel Music Club

www.collage-arts.org

Editorial Team

Andreas Stylianou Manoj Ambasna Preeti Dasgupta

Design

Evelyn Ofosu

Contributors

Xantoné Blacq Stu Butterfield Rosie Chomet Unnati Dasgupta

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Talent Match London

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Crouch End Open Studios

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Chocolate Factory Artists News

Kabaret at Karamel

Mountview

Haringey Literature Live

Frank Hutson Rebecca Pakdel Kate Pemberton Hardial Rai Chris Sheehan Talent Match Team Louise Wallis Jordan Williamson

For any comments or enquiries, or to suggest an article: andreas@collage-arts.org or 0208 829 1318

Front Cover Image : Graeme Messer

The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

Illustration: Rosie Chomet

No Quarter : Broken window to the world

What will we think of when we look back at the last year and a bit of our lives? Really what will we think of? It would be all too easy to list atrocities here, so we’ll respectfully skip that, but, suffice to say, it was a great year for fans of geopolitical upheaval, social injustice, and a spot of the good old ultraviolence. When we turned on our TVs and tablets in 2014, it was regularly a pretty grim spectacle, one which left us all with a lot of questions. Now, alongside the eternally unanswerable ‘Why is this happening?’ another equally pertinent one keeps arising; ‘Why are we seeing this?’

Even in the drawn out rigmarole surrounding the televised parliamentary debates, the issue of how much credence something is given by its continued exposure is one that constantly comes up. In theory, we are responsible adult humans, with the capability of making our own informed decisions, who should be given the opportunity to do so, even if that means having to suffer Nick Griffin’s childish rhetoric. But somewhere between steely resolve and ghoulish rubbernecking we’ve become stalled in a sensationalist mire, one that the media we consume is happy to keep adding to.

Sadly, most of us have come to accept that mainstream media’s priority is not to inform or represent us, but surely that can’t be right? Are we really living in a culture where major news networks have no qualms

about publishing a video of a man BEING SET ON FIRE, but the BBC won’t let Jools Holland’s audience hear FKA Twigs say ‘thighs’? What exactly are we supposed to be protected from, beneath the blanket of 24/7 fundamentalism and Farage that’s being presented?

Early this year in Paris, thousands gathered in support of freedom of speech after something horrible took place. All over the world people joined in solidarity for the right to create satire, no matter how irresponsible, or asinine, or frankly smug that may be.

Also in early 2015, Benedict Cumberbatch, speaking to PBS anchor Tavis Smiley in the US, made a very poor choice of words.

As glib as it may seem to compare the two events, there is one vital underlying concept that unites them: empathy. All throughout the coverage of the Charlie Hebdo aftermath, we were reminded that the paper operates in the grand French tradition of shruggedshouldered indifference. They don’t care if you think their cartoons are racist, or immature, or whatever. You wouldn’t understand, and they aren’t likely to explain it either. Outside of France, our empathy was key in creating a movement, ensuring their continued existence and sale of millions of copies, but many definitely felt that more was needed from their editorial team by way of rationale in reward, mais non? As for Sherlock, he said something stupid,

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

apologised unreservedly, and happened to spark a pretty valuable dialogue about the language we use when discussing race and why. But, crucially, in the outrage that followed, his intended point (one of empathy for his fellow actors) was lost. While nobody is suggesting all discourse should be a free-for-all of controversial words and ideas, what’s the point in censoring ourselves if all we are doing is impeding communication on the platforms we’ve struggled to create? Why can’t we have these conversations without someone having to transgress, and when we do, why are we so quick to judge?

One thing seems unfortunately clear; that in five decades of globalisation, we haven’t really gotten any better at understanding each other through those platforms. We seem quicker than ever to express disgust all over the web, but when it comes to explaining why things affect us, we’re still painfully slow and ineloquent. It shouldn’t be this hard to find that middle ground where our reactions are the catalyst for the change we desperately need, rather than the blockades we’ve spent years trying to remove. Be offended, express your anger.

It’s important that you do. But when we’re being spoken down to, it’s just as important that we don’t speak over each other.

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Xantoné Blacq Presents: Ed Riches’ Local Authority + Omar 10th June Ed Riches is a guitarist who is quickly building a stellar reputation. Within his music you will hear influences from John Martyn to Herbie Hancock, and from Ian Carr to Peter Green. He has a busy international touring schedule and regularly performs with awardwinning Jazz and Soul luminaries such as Bilal, Zara McFarlane, Marsha Ambrosius, N’Dambi, Beth Rowley, Ntjam Rosie & Ayanna Witter Johnson.

Performing with Ed on this special show will be Soul supremo Omar (MBE) who you can read our interview with below.

Expect a show filled with heartfelt Soul, Jazz, Funk and onstage chemistry! ‘ Ed Riches has a refined technique, a unique tone, a deep grasp of harmony and an instinct for melody’ The Financial Times ‘A cross between Seventies jazz, Eighties soul, Nineties RnB and Noughties electro’ MTV Omar Lye Fook is a musical renaissance man; a singer, songwriter, multi-instrumentalist, and music producer. His music has influenced and been noted by celebrated artists including Erykah Badu and Roy Hargrove and amongst his list of many awards is one from Her Majesty the Queen, an MBE. He plays at Karamel as a special guest with Ed Riches’ Local Authority on 10th June.

We know that you have released your 7th album, ‘The Man’. What have you been up to recently that we should know about?

I have also been performing a one man play by Ché Walker called Lovesong and I have just finished filming a TV programme called, ‘The Javone Prince Show’ which will appear on BBC2 in May. I am also touring internationally and in the studio writing.

Very busy! If you look at the musical landscape of today versus the musical landscape when you first started in music, is there one main thing that you would say has massively changed?

The obvious answer is the internet which has made it easier for people to access their music directly. It’s now easier for people to make their own tracks, downloads are now the way for many people to access music.

It has a really good side because now we don’t have the constraints that we used to face with just one radio platform, one TV platform etc. It’s made things a lot more interesting and people no longer have to toe the line and do what they are told. The downside is that there are millions of people putting out tracks and there is a lot of questionable quality. Still, it’s better to be free than to be constrained!

like playing smaller venue gigs like ours?

I prefer the smaller venues because the intimacy is there and the sound is generally better. Also you can really engage with the audience which is ideal.

As a Guildhall School of Music graduate as well as a Principal Percussionist in the Kent Youth Orchestra, you’ve obviously experienced a lot of orchestral music.

Is that why we hear less orthodox instruments like Bass Clarinet in your music?

Definitely. I am very much influenced by my surroundings and the main thing is that I grew up playing in a lot of different types of groups. From orchestras, brass bands, percussion ensembles, choirs to Jazz quartets. I love the sound of muted strings, harps; all those different sounds move me and hopefully they will move the listener too.

What is your earliest memory?

I lived in Canada when I was 2 years old and I remember my cousins going hunting for snakes. They took the baby with them and all I remember hearing was somebody saying, “RUN, there’s a snake!” and then “Oh no! You forgot the baby!” I was the baby!!

When were you happiest?

I am happiest when my music is performed the way I like it performed; when you do a good show and everybody is having a great time. Of course playing with my children also makes me very happy.

How do you recover from a bad gig or performance?

I just roll with the punches and try to learn something from the experience. I know some people dwell on it but I feel that is a waste of time. Dust yourself off and move on.

What is your most treasured possession? Your children don’t count!

You just took away my answer! Well, other than my kids, one is my car cos it’s a one-off; fat wheels, special engine and lowered! Also, my recording studio.

How do you relax?

I don’t think that’s legal!

What keeps you awake at night?

I also don’t think that’s legal!

What one thing would you say you owe your parents?

I learned integrity from my Mum and my Dad taught me how to produce music.

I didn’t know that your Dad was also musical.

In West London he was more famous than I was. He was a drummer and played with Doris Troy, Bob Andy, Marcia Griffiths and was a friend of Bob Marley. He was at the studio recording of Lively Up Yourself.

Which living person do you most admire and why?

Orin Lewis and Beverley De-Gale. Their son Daniel passed away from a rare form of blood cancer. They’ve been tireless in their efforts to raise awareness in the Black community so that people get themselves on the register to be donors. Every time that I see them, they are out working really hard so I have lots of love and respect for them.

Which single thing changed your life?

Definitely my daughters. It gives you a different purpose in life but aside from that I have never really changed as a person.

What did you want to be when you were growing up?

I always wanted to do music. I knew from when I was in primary school and I would tell all my friends that musicians earn £250 an hour!

Interview by Xantoné Blacq.

Ben Odei Trio + Special Guest 8th July Ben Odei’s first love is piano! An accomplished and sought after Jazz / Soul pianist, he has shared the stage with music luminaries including Stevie Wonder, Seal and Mary J Blige. He is also an internationally sought after session musician having worked with Jocelyn Brown and leading Saxophonist Tony Kofi. Ben’s music is a mix of Soul, Jazz and Funk and his performances are well known for the great sense of humour that he displays. Expect to be entertained, surprised and treated to an evening of incredible music with a surprise Special Guest!

You are playing at a variety of international venues, some large, some small. The Xantoné Blacq Presents event that you will be playing at is a smaller event aimed at allowing the local community to access world class musicians like yourself without paying world class prices. Do you

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The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

Indigo Live

“Impressive musicianship” - London Evening Standard Radio International by Kefaya Wed 29th April 2015

Fresh from their successful India tour, Kefaya are coming to the Karamel Club in London on April 29th and will be performing songs from their highly anticipated album “Radio International”.

Radio International is Kefaya’s debut album although each musician within the international collective has years of performing and solo album in their portfolio. Kefaya was founded by London-based musicians and producers, Giuliano Modarelli and Al MacSween. Using recordings collected over years of travelling and collaborating with musicians across the globe, Radio International is the soundtrack to a journey across musical and geographical boundaries. Kefaya organically combine electronic production with virtuosic improvisation, with influences spanning across India, Europe and Africa to the Caribbean and the Middle East.

Tuned-in to the struggle for equality and liberation, Radio International broadcasts stories of migration, tales of musical encounters and sounds of resistance.

“Ridiculously good” - Washington Post

“A unique voice” - Nitin Sawhney

Find Kefaya on Youtube

Jon Sterckx - Drumscapes + Arhai Wed 27th May 2015

Jon Sterckx is an innovative world music percussionist equally at home with traditional & contemporary music forms. Jon plays a range of percussion instruments and has worked across a wide range of musical styles, from Indian classical music to contemporary experimental & ‘fusion’ styles, theatre & dance collaborations, and his solo multi-percussion Live Sampling / Live Looping performances - Drumscapes.

In his solo Drumscapes performances, Jon creates multi layered, highly energised rhythmic soundscapes. He skillfully brings traditional instruments and rhythms from around the world together with 21st Century performance tools, live audio processing and sound manipulation in a truly unique and innovative delivery.

All instruments are played, sampled, mixed & processed live on stage in a synthesis of traditional musicianship and live electronics.

The result is a unique blend of rhythmic soundscapes, bouncy world rhythms & high energy drumming As well as performing at venues, festivals, melas and cultural events across the UK, Jon’s Drumscapes performances have been profiled and featured by major music software company Ableton and have also been included in the global conference foundation, TED, with a performance at TEDxWarwick in 2012. Jon’s performance of Dhaginatak at TEDxWarwick was selected for their Global Music Project - “In the spirit of Ideas worth spreading, the TEDx Global Music Project will compile and share the best musical performances from the over 5000 TEDx events around the world.” Jon’s Drumscapes performance is one of just 10 performances selected within the Worldbeats category “Jon provides a unique journey through all quarters of the world built around his inter-continental range of drums: tablas, riq, darabuka, vocal percussion, and much more!

He is the creator of magnificent soundscapes that will transport you into an unmissable musical nirvana!”

– DJ Ritu - DJ, radio presenter, world music pioneer

Indigo Soul by Unnati Wed 24th June 2015

Unnati literally means “progress” in Hindi. Unnati was blessed to be surrounded by the gift of music from a young age. Her father was the late Nitai Dasgupta, a versatile Indian Classical vocalist & teacher of Indian Music. Unnati’s first public performance was at the tender age of 4 years old in front of an audience of 3,000 people singing for Janmashtami (Krishna’s Birthday). Unnati released her debut album “Vishwa – The Universe of Music” in India with a 6 City tour of Mumbai, Pune, Hyderabad, Chennai, Bangalore & Coorg in 2002. In 2005, Unnati was one of six semi finalists of the Glastonbury Unsigned Artistes Jazz World heat and her track “Baarish Mein – In the Rain” released on “The Glastonbury Unsigned Artistes of 2005” compilation album.

Unnati has performed extensively at prestigious venues and festivals around the world including Kala Ghoda Arts Festival in India, Mexico’s Cervantino Festival & Boubou’s Music Festival in the Caribbean. More recently, Unnati has been involved in a music, dance & audio-visual production of Tagore’s Gitanjali directed by Sangeeta Datta (Life Goes On, Raincoat, Brick Lane) which has been touring UK at Alchemy Festival, Southbank Centre, London’s prestigious Royal Albert Hall as support act to Bollywood Music Trio Shankar-Ehsaan-Loy and Tagore’s Festival in Dartington. Unnati has also collaborated and co-written tracks for producer Shammi Pithia and has performed as guest vocalist at Indigo O2 Centre, Purcell Room, Southbank Centre and London Mela as part of this project.

Unnati is currently releasing & touring her forthcoming solo album “Indigo Soul” which combines a unique blend of global music encompassing Jazz, Hindi contemporary, Indian Classical, Folk & Spiritual influences, which reflect Unnati’s international background.

Find Unnati on Youtube

Jyotsna Srikanth’s Carnatic Nomad Wed 29th July Carnatic Nomad is a South Indian classical crossover project. Jyostna Srikanth is an Indian violinist in Europe and composer known for her versatility and ability to collaborate with different genres seamlessly and with ease. She is intensely rooted in south Indian classical music alongside having formal Western Classical music education.

Adding on to this, she has flourished as a performer and composer, exploring lush ground in the crossover between Indian music and a variety of world music & contemporary flavours. Her violin playing has a nice blend of musical expression and emotion with good technique, a result of three ‘decades of experimentation’ as per a critic.

Ms. Srikanth is featured in many major global music events and venues like WOMAD - UK, Red Violin Festival – Wales, BBC Proms, Royal Albert Hall, Wales Millenium Hall, Queen Elizabeth Hall & The Music Academy - Chennai.

Having played violin for nearly 200 Indian films, she is currently working on numerous large scale music experiments – in a way bringing communities together.

And dont miss the Indigo Sessions at Karamel on Wednesday 22nd July!

Jyotsna is also the Artistic Director of the London International Arts Festival.

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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JAZZ @ karamel

Following a spate of absolutely phenomenal bookings, we couldn’t resist expanding the ever wonderful Jazz at Karamel schedule.

Now featuring an extra two nights of magic per month, expect even more of the best players in London, performing compositions old and new.

23 Apr

2015

02 Apr

2015

PETE HURT BIG BAND

Pete Hurt, (leader, composer, arranger); John Barclay, Henry Lowther,

Robbie Robson,(trumpets); Nick Mills, Owen Dawson, (tmbs), Roger Williams, (b tmb) Jim Rattigan (fr horn), Dave Powell (tuba); Tori Freestone, Martin Hathaway, Josephine Davis, Mick Foster (reeds); Nick Costly-White (guitar), Alec Dankworth (bass), Jon Scott (drums) Apart from his great tenor saxophone playing, Pete Hurt is also recognised widely in the jazz community for his outstanding compositional and arranging skills. He arranged regularly for the BBC Big band and was invited to join the Anglo-American Living Time Orchestra under the direction of George Russell, which toured extensively throughout Europe and the USA. He has composed and arranged for the London Jazz Orchestra for many years.

Karamel is proud to present this stellar organisation prior to a forthcoming studio recording.

TROGON

Nick Smart (leader, trumpet), Kishon Khan (piano), Chris Montague (guitar), Denny “Jimmy” Martinez (bass), Dave Hamblett (drums), Javier Ginarte (percussion)

MAY

2015

ALAN BARNES (alt sax), JOHN CRITCHINSON (p), DAVE GREEN (b), STU BUTTERFIELD (d)

Alan is possibly Britain’s favourite and certainly one of its most ubiquitous jazz musicians.

“Alan plays it hard and fast and with the sort of flexibility and invention that ensures that he has his own sound and style” - Jazz Journal

11 JUN 2015

TWO OF A MIND: A TRIBUTE TO PAUL DESMOND AND GERRY MULLIGAN

Allison Neale (alt sax), Chris

Biscoe (bari sax), Colin Oxley (g), Jeremy Brown (b), Stu Butterfield (d) Exploring afresh the freewheeling, wonderfully melodic interpretations of standard material recorded by Paul Desmond and Gerry Mulligan, this new band promises to evoke the spirit of these classic recordings while giving free reign to the personalities of the five musicians.

6

Apr

Henry Lowther (trumpet), Jim Mullen (guitar), Dave Green (bass), Stu Butterfield, (drums) In existence since 1999, the band has two CDs on Trio Records, both shortlisted for UK Jazz Record of the Year.

2015

“A Quartet of formidable talents who mean everything they play .A definite contender for record of the year” - Mark Gardner - Jazz Journal.

“Played with all the poise and unity of purpose that makes for perfect small band jazz. Only the very best and most mature musicians can achieve this degree of simplicity, in which every nuance counts” - Dave Gelly - The Observer

30 Apr

2015

ORQUESTRA MAHATMA

Sonia Slany, scrapy things (violin), Stuart Hall, twangy things (guitar),

Alec Dankworth, plucky things (bass), Paul Clarvis, tappy and bangy things (percussion)

Named after the national bird of Cuba, Trogon makes full use of the cultural breadth of London’s rich musical landscape. Led by trumpeter, Nick Smart, Head of Jazz at the Royal Academy of Music, the group’s exciting mix of musical backgrounds is enriched by the propulsive rhythmic traditions of Afro-Cuban music and the rich harmonies of contemporary jazz. www.nicksmart.co.uk

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09

THE GREAT WEE BAND

21 MAY

An eclectic band which draws heavily on international music, including Spanish, French, Bulgarian, Macedonian and Latin American music as well as jazz influences.

“A little miracle of home grown British Jazz” - The Independent “Stirring and stunning experiments in Jazz without frontiers” - The Sunday Times

CHRIS LAURENCE QUARTET

Chris Laurence (b), Frank Ricotti (vibes), John Paricelli (g), Martin France (d)

2015

“This tremendously influential Quartet” - The Vortex “A superb album, initially easy on the ear, yet revealing fresh subtleties each time it’s played” - Chris Parker A collection of world class virtuosi, all four of these wonderful musicians operate in all forms of music, jazz, rock and pop, classical and film, and have appeared all over the world. John, Chris and Martin were, of course, the other three members of the late Kenny Wheeler’s much lauded Quartet.

28 MAY

DICK PEARCE (tpt), DAVE MITCHELL (ten sax), PETE WHITTAKER (organ), STU BUTTERFIELD (d) Butterfield (d)

Author, educator, and wonderfully lyrical trumpeter Dick Pearce is perhaps best known for his work in the Ronnie Scott Quintet from 1980 to1994. For some inexplicable reason he is still not as celebrated as he should be.

2015

“Tremendously talented - I called home to a couple of friends about him” - Oscar Peterson. Dick is joined by regular associate, the underrated Dave Mitchell on tenor sax, while the versatile and highly gifted Pete Whittaker on organ makes up the rhythm section with house drummer Stu Butterfield

16 Apr

2015

ART THEMEN, DON WELLER (tenor saxes), PETE WHITTAKER (organ), STU BUTTERFIELD (drums)

This is an exciting combination, featuring two of the great British tenor saxophonists. Art Themen has appeared with everyone, but his most long lasting gig (apart from his parallel career as an orthopaedic surgeon) is probably the 20 years or so he spent as a member of Stan Tracy’s Quartet.

Don Weller is also a household name; he also appeared regularly with Stan Tracy, led his band Major Surgery in the 70s and continues to lead his own Quartet and Big Band.

Pete Whittaker is a much in demand pianist and organist whose recent associates include Theo Travis, John Etheridge (Blue Spirits) and the Nigel Price Organ Trio. Stu Butterfield is the Karamel “House” drummer.

07 MAY

2015

ROBBIE ROBSON/ALEX GARNETT QUINTET Tribute to Phil Woods and Tom Harrell. Robbie Robson (tpt), Alex Garnett (alt sax),

John Turville (p), Ryan Trebilcock (b), Dave Hamblett (d) Choosing the very best material from the repertoire of the renowned Phil Woods/Tom Harrell Quintet, this new band features some of the finest young players on the scene. The music spans a wide range of styles from driving swing to delicately textured ballads. An exciting new Quintet, not to be missed!

04 JUN 2015

STAN SULZMANN (ten sax), KATE WILLIAMS (p), DAVE GREEN (b), STU BUTTERFIELD (d)

Stan is quite simply one of the great saxophone players, and Kate’s sensitive, lyrical accompaniment is the perfect match. What can one say about Dave Green? Karamel Jazz is always delighted to have him here, and his association with Stu in The Great Wee Band goes back 15 years or more.

18 jun

MARTIN SPEAKE TRIO

Martin Speake (alt sax), Mike Outram (g), Corrie Dick (d) “Martin Speake is one of the most interesting and rewarding alto saxophonists now playing jazz on any continent” - Jazz Times

2015

“There is no other musician with such complete control of the sounds coming out of a guitar as Mike Outram” - London Jazz Young Scottish Jazz Musician of the Year in 2013, much in demand drummer, Corrie Dick, completes the trio.

The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

25 JUN 2015

SIMON SPILLETT (ten sax), JOHN CRITCHINSON (p), ALEC DANKWORTH (b), STU BUTTERFIELD (d) Simon is not only a very fine musician, having won the tenor sax category of the British Jazz Awards

in 2011, but is also a renowned student of the music and a jazz journalist in his own right. He makes no secret of his love for the playing of the late Tubby Hayes and we are all looking forward to his biography of Tubby when it appears. Tonight he is joined by regular associates the wonderful John Critchinson at the piano and the highly gifted bassist, Alec Dankworth, a member of British Jazz’s “Royal Family.”

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STAN SULZMANN QUARTET

2015

A new quartet formed for a BBC broadcast from

JUL

Stan Sulzmann (ten sax), Nick Smart (tpt), Ross Stanley (organ), Tim Giles (d)

the London Jazz Festival 2013. Playing a mixture of Stan’s original tunes and cunning reworks of standards, the band puts a contemporary spin on the jazz tradition.

02 JUL

BRIGITTE BERAHA AND FRIENDS

Brigitte Beraha (vcls), Alcyona Mick (p), Dave Manington (b), Paul Clarvis (d)

2015

“A great musician, she uses her voice like an instrument in the tradition of people like Flora Purim, Tania Maria and Esperanza Spalding” - Julian Joseph, Jazz Line-Up “Brigitte is someone who concentrates on the music’s core values: imagination, individuality, improvisation” - Jazz Review Now recognised as one of the most versatile and exciting vocalists to emerge in the last decade, and with four albums to her credit, she makes her debut at Karamel with regular associates.

“Stan Sulzmann seems to sound more personal and hauntingly moving than ever” – John Fordham, Jazz UK “It simply doesn’t get any better than this” - John Kelman

23 JUL

2015

09 JUL

2015

PROFILES OF MINGUS

Chris Biscoe (alt sax, alt cl), Henry Lowther (tpt, fglhorn), Pete Hurt (ten sax), Malcolm Earle - Smith (tmb),

Kate Williams (p), Larry Bartley (b), Stu Butterfield (d) “Biscoe’s sparkling arrangements and splendid playing vividly capture Mingus’s sprawling, rumbustious energy, while giving the music a fresh twist” - Kenny Mathieson “The album’s almost worth it for Boogie Stop Shuffle alone, one of Mingus most deviously funky themes” John Fordham, The Guardian This band is the current incarnation of a Mingus Moves, a flexible workshop ensemble established by Chris Biscoe in 1996. Henry Lowther and Stu Butterfield were also founder members. When this band takes off, hold on to your seats!

END OF SEASON JAM

Pete Whittaker (p), Dave Green (b), Stu Butterfield (d) with a multitude of invited guests who have performed at Karamel during the year. The last gig of the season, before the August break, with the above rhythm section. Who can tell how many guests will turn up?

Jazz at Karamel will resume on Thursdays in September.

Explosive grooves meet nostalgic melodies that carry the flavour of tradition. Folk dance patterns combine with the African soul of New Orleans. A blending of musics of the world that creates a riot of colours and shades.

available through the band’s webpage (www.tricoolore.com) and other respected websites. This spring Tricoolore will be on a mini tour presenting their album in the following cities:

Balancing between the global sound of jazz and the maqams of the East, Tricoolore combine elements from different music styles to create a unique soundscape, where all sounds Greek in the end. Using special rhythmic forms and a strong element of improvisation and drawing inspiration from their Greek musical background, the three Nicosia-based musicians Angelos Doukas (piano & keys), Vasilis Vasiliou (drums & percussion) and Nikos Doukas (electric bass & loops) break away from music stereotypes and follow their personal musical paths to take over the stage.

OREGANO INFUSED Tricoolore on tour presenting Oregano Infused

World Jazz group Tricoolore presents its debut album “Oregano Infused” with a mini tour in Cyprus, Greece and the UK.

As a natural consequence of a series of successful appearances at major festivals in Cyprus and Greece, Tricoolore will release their debut album “Oregano Infused” on 13 April 2015. Nine original instrumental pieces composed by the members of the band feature on the album which will be physically and digitally

For more information on the band or other promo requests, please contact Elli Michael: Xtricoolore@gmail.com, +357 99 549141

Webpage: www.tricoolore.com | Facebook page: www.facebook.com/TRICOOLORE | Soundcloud: www.soundcloud.com/tricoolore | E-mail: tricoolore@gmail.com

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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Graeme Messer is a painter, a sculptor, an actor, director, writer, and puppeteer, but he’s also something of a magician. Oft overlooked everyday objects in Graeme’s hands become something other; a crucial part of a mixed media assemblage, redolent with childhood memories and candid wit. Broken televisions, doll parts, photos, and old furniture are all incorporated into his unconventional menagerie, forming a collection that is all at once playful, dark, refreshingly droll, and never short of intriguing. The Quarter joined Graeme in his Chocolate Factory studio for an insight into his fascinating solo show at Karamel, The Art of Love and How to Avoid It.

Graeme Messer Interview

As a multidisciplinary artist, how do you select the best avenue to express a particular idea or emotion?

What really happens is, I get a certain idea or feeling that I want to express, and then the medium might be film, it might be something that’s theatrical, like an object I wear, the medium sort of dictates itself. I’ve worked in so many areas - theatre, writing, painting, sculpting, so there’s a lot to draw from and I never really know what will take precedence. It’s the idea that leads me to the medium, more than the other way around. And as soon as I decide, which I‘d love to do, that this is the medium I want to work with, that changes.

So, is love something you’re trying to avoid? What gave you the idea for the title?

I guess it’s a joke, a bit of a pun. You know you get books such as “The art of love”, the art of this, the art of that. Its playing with that idea. It’s not really about how to avoid love as much as it’s about how we spend so much time running away from something that we really want. It’s a paradox, really.

The work in this exhibition touches on a lot of quite personal themes. When you start a piece, do you go in with the intention of creating something that addresses those themes, or is that something that comes out during the process?

A lot of my work is very autobiographical, I’ve got a history of working in theatre, I worked as a theatre director for 20 years, writing and directing plays. We used to work almost like Mike Leigh does - working with a very autobiographical process. We would work with people’s own history, their own... stuff and try to create plays and characters from that.

Whatever I’m dealing with in my life comes into the work.

It may be something like intimacy or the difficulties and struggles with intimacy. Things often lead me back to my childhood, a lot of my work is about the fact that what happens to us in childhood is often impacting on what happens to us later in life and the question “can you ever escape from those formative years?” Sometimes the memories can be rather funny or sometimes quite traumatic.

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I work a lot with found objects. What’s fantastic about being here in the Chocolate Factory, is that half of the stuff I have here is stuff I found in the skips; bits of metal, there’s a television that’s almost identical to this one (gay news) in a skip downstairs that I’m considering getting.

Very often I walk around to the junk shops, second hand shops and I find things, like I found some old bowls which reminded me my grandfather used to play bowls in South Africa, a very long time ago, so I built a whole piece around these objects about him. I’ll very rarely stand in front of a blank canvas and think ‘what am I going to paint? ‘I’m triggered much more by what’s around me.

plays written by other people to try and express myself and it never quite worked. It did with some productions, some that I wrote. But generally It felt like there was something missing, that I needed something more immediate, more personal.

I think what is quite interesting about what I am playing with now, is the idea that something can exist as a piece of art on a wall, but can also have a performance element to it. I think that if you can have those things working at the same time, as opposed to being purely about the performance or purely about the art, that’s very interesting.

Having all those elements must really add to the accessibility, which is something I know you’re interested in...

I think it is great when almost anybody who comes off the street can relate to the work. I think that’s probably also to do with my theatre background to some extent - wanting to communicate,

You mentioned South Africa there, how much influence would you say that has on your work?

I grew up under apartheid in SA, I went to a government school, it was all about rugby and football. It was a very outdoors, macho environment....... I started to realise I was different, I had red hair, I felt strange, ...... and then later..... having feelings of maybe being gay. I needed to find a different way of showing my strengths and my abilities. So, I did art a lot, and I also used to do puppet shows and ventriloquism, I used to take my puppets to school and entertain the class, and I found my own little ways of competing... Anything that no one else was doing Actually I remember, at first I was the only person at school that did ventriloquism, but then someone else started to do it, and I kind of lost interest in it after that, because I wasn’t the only one anymore.

But you do still dabble in performance, though?

Yes there is actually quite a lot of performance in “The Art of Love”. Sometimes I use puppetry in my work and sometimes my physical theatre background come into play.

What made you want to move away from theatre and focus more on fine art?

I just never really felt like I had that much of a voice in theatre or was really able to express myself entirely. It felt, and this is not the case for everybody, that I was using

The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

wanting to hold people’s attention. I think with a lot of contemporary art, there’s an idea that if it doesn’t really communicate anything or if it’s a bit boring, that’s fine, whereas in a theatre, because you have people there for two hours or so, if it’s boring, if it’s not communicating anything, they just walk out. So I think there is that background sense of urgency for people to get what you’re saying and if they don’t they just walk away The competition piece seems to have sparked quite a lively debate on Pink News’ website, which you’ve been linking to through your twitter. What do you make of all that, particularly your ‘detractors’ if you like?

I sent out the article to a few places and they published it very quickly, and within seconds there were comments like ‘this is a load of rubbish’, or whatever. I’ve had some quite tough experiences in the theatre, but this just felt like, ‘wow, is this what it’s going to be like?’ It’s quite ironic actually because the whole point of the competition is to raise money to combat homophobic bullying in schools and this really felt like a bullying kind of attack that was quite abusive. First of all, you have to accept that the internet is what it is. These are anonymous people just immediately going on to a website and saying whatever they’re going to say, but actually it was really good because it sparked the debate and now there are about 20 or so really quite long posts defending my work and speaking against some of the nastier comments, which is great. But anyway, in the contemporary art world, it’s absolutely fine for someone to say ‘this is rubbish, I think this is junk’. And I think that argument is good, I think it’s a good thing to get people talking about something. And there will be people who look at a contemporary work of art, and think it’s not in a conventional sense what painting should be, you’re not representing something in an obvious way and that the time, or effort, or technique is not immediately on show.

Some people just don’t get that its more about ideas and concepts, it’s not for them, which, again, is fine.

It must have been surprising though, given the nature of the website, that there was such resistance?

I think you have to accept the fact that some people love what you do, and some people may hate it. It’s far more

interesting for that to be the case than everybody thinking it’s sort of ok.

How do you select the words you use in your work? Is it similar to your process with found objects, where phrases have a particular resonance, or is it more you want to express an idea and have to find the best way to do that?

I was working with objects when I suddenly realised I could put words on things, that made it come to life in a really different way.

But it’s quite tricky, people aren’t going to stand there for ages reading some long spiel, so it has to be quite punchy, it’s almost like an advert in a sense, and yet it also needs to be quite poetic. It very often sounds like I’m speaking, ‘my mother took my gay news rather well’ ‘I’ll do anything for love and approval. Anything.’ It’s almost like a play in a sense, like someone speaking directly to an audience.

The difficulty sometimes is how it fits onto the actual piece. I’ve never wanted to apologise for the writing, sometimes it takes up as much focus as the piece does, so it can be tricky, you have to fiddle around with it and rewrite it. It’s just a question of playing around with different words and phrases. I’m forever putting things on, taking them off and rewriting them. It’s a sort of alchemy, you have to find the balance of what works and, quite often- it doesn’t. So you have to fiddle around with it and do it again.

Are there any techniques or media you’re keen to try but haven’t yet?

Maybe some work with film, it’s very difficult to actually film a video of yourself, so I’d be interested in working with somebody. The other thing right now, is actually wanting to work quite big. It’s tricky, but I’d like to create large pieces that I could climb into or onto in some way, to paint them, then to be able to interact with them. I don’t know the way you’d go about it yet, you’d have to create quite a solid structure. It would have to be supported in some way that so I could get into or on top of it. Perhaps in the future.

Sounds fascinating, Graeme! We look forward to it.

www.graememesser.com 18th April - Private View / Performance

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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Yousaf Ali Khan

Update

Since we last spoke, Yousaf Ali Khan has been back to Afghanistan again to continue working towards the production of Fatima’s Journey, the story of one woman’s search for stability in a country in turmoil. We managed to catch up in a rare moment of quiet to find out how things are going with the lengthy but rewarding process…

What kind of stuff were you up to in your recent visit to Afghanistan?

The main reason for this trip was further development of the script, which is now 52 pages; not bad for a first draft. We also need to raise money so one of the main focuses of this trip has been doing a promotional video. So we shot that and the next step is editing it which I‘m hoping to start next week.

So that’s a trailer?

It’s really a fundraising video, so it’s asking for money with a very specific purpose and to be a part of the crowdfunding. So a lot of time was spent on that really, and a lot on developing the script. What was really good about doing the crowdfunding video was testing the crew and seeing how people respond in that environment, to see what we need and obviously there were certain things I learned in that process about what we need to actually achieve.

How’s the casting going?

We did a big casting call for the video, which was effectively where we could look at potential needs for the film. We found someone to play the old lady, that was probably what I thought I was going to find most difficult. What’s actually the hardest was the kids, largely because of support. You know, in order to get kids to do these roles, they need a support structure, and these kids that we’re looking to are often street kids. They don’t really have any support structure and if there is a parent at home, they are usually on gear. Once you start looking under the surface you see there’s all sorts of problems. In Afghanistan it’s much more difficult to get that support.

And that’s because of infrastructure?

Survival is really important over there. There is no safety net at all...for example, if you find a nice middleclass kid, then the parents will say, look do this, it‘s good for your future. But you know, you find a young lad on the streets, his dad is gonna say go and get as much money as you can off them. It’s a different vibe. And so, I want to work with children from those backgrounds, but there are issues.

How is raising the profile on social media going?

Well the facebook business goes from strength to strength. I think that we have probably about 12,000 regular page likes. We put a post up and had 80,000 people liking it so there is obviously quite a lot of interest. We‘re now at a point where we need to move forward and start concentrating on crowdfunding. It certainly is generating a lot of interest in the project and even when in casting, we did an online casting, and it went out to thousands of people. We realised that the communication media in Afghanstian is often very much through Facebook and then onto word of mouth. And that’s been a very successful approach.

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What’s the agenda from here on out?

In theory, the gameplan will be the exhibition at Arthouse Cinema in Crouch End with an introduction to what we’re doing with a small crowd, and then onto Cannes for fundraising, then launch a crowdfunding project on our return at the House of Commons, in one of their rooms.

There‘s a lot still to plan, but that’s the idea. And in the middle of this I have to do a production pack, I’ve got to finish off the script, generate things to do for the team and somehow keep my head afloat.

And Jawed and his team are still working on it in Afghanistan?

Well he needs to be developing and scheduling the budget. Once he’s got the budget in place, I need to then generate the script so he can then update it.

That’s the main task at the moment.

Going to Cannes must be a lot of work, too, and expensive?

Making films is an expensive game. So making films like this which you wouldn’t call a Hollywood Blockbuster, is very demanding and the money is much less than it would be to make a Blockbuster.

Sometimes, the small movies are more difficult. It‘ll cost around £100,000 to make this movie, which is a tenth of a low budget British feature film.

Was there anything that happened there that you found made you want to go in a different direction with the script?

I feel comfortable that the script is in the right direction.

I suppose one thing that really struck me was the need

for more heads of department and that obviously has cost implications. But it really is about what you offer, because we are making a film in Afghanistan and part of the remit of the film is training and bringing people forward in their careers. To do that we need quality training, so you do need good heads of departments.

In terms of the authority figures in Afghanistan, do you feel like you‘re making more headway there with community leaders?

Afghanistan has been funded largely by the international community over the last 13 years. We‘re now in a situation where the main military presences are withdrawn, they‘re gone and with that a very large number of NGOs. So suddenly Afghanistan is now surviving on what income is left from its industries.You can imagine the drawdown of income in Afghanistan is masSive. So the idea of raising money from Afghanistan is very difficult. Eventually when they start to see things happening and that there is an industry like in the UK, they‘ll start paying attention to it. But I doubt they‘ll be interested for a while. I did some teaching at the university while I was over there and the Americans have built a media centre. So it’s American Aid with lectures there. That was interesting, but again it was an internationally funded project.. it’s still very much a poor country.

Were you suprised at the kind of stuff that they were doing with technology that had been left behind?

Yes. It’s good stuff, it’s all very new, and there is a lot of space for development there. But it’s good to do a workshop and I got the message that they enjoyed it. www.facebook.com/fatimasjourney

The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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ZeroClassikal The basement sessions

April 15th Spring of Percussion

Sarathy Korwar

Sarathy’s percussive rhythms explore to find the perfect balance in a hierarchical context of Indian classical music. The gifted percussionist brings issues of equality and accessibility through performance paradigms of the percussive instruments.

Promises to be electric!

May 20th

Stringed

Stringed Internationally acclaimed guitarist Giuliano takes us through a journey of pure classical to the contemporary. From classical music to the contemporary, how does the role of Guitar change?

Adesh + The Conspirators of Music

June 17th The Social Network Project

Society is becoming more social through the development of networks, yet in a Carnatic concert the performer separates himself from the audience.

Adesh brings a more interactive approach to musical performance in a short burst – something that is not expected of a Carnatic musician.

Conspirators of Music collect broken sitars and make music with them. How eclectic can you get?

July 15th One

Mithila Sama

Each individual instrument has it’s own tonal quality, style and timbre; so can an ensemble work with just the Veena? In this experiment, Mithila explores and expands the limits of this beautiful and ancient instrument to illustrate that sometimes, just one is enough

www.zeroclassikal.org.uk

Karamel Music CLub The next few months with Karousel Music at the Karamel Music Club see us teaming up with some real giants of the industry. First up, there is our continuing involvement with PledgeMusic. PledgeMusic are the industry leaders at direct-to-fan marketing. More and more emerging and established acts are joining forces with them to raise the money needed to get great new music into the world, by way of us - the fans. In May, we’re also teaming up with Time Out, no less. Keep your eyes peeled on www. karouselmusic.com for more info on that.

April 1st sees the mercurial ‘Magic Lantern’ bringing his classy, wonder-weave of songwriting to N22. In the words of the Guardian - “Intriguing, compelling and exceptional.

A man to watch…” Lauren Laverne on BBC 6 Music declaring that he is “very, very special…”. We think you’ll agree - he is nothing less than top drawer - cerebral, intelligent, insightful and heartfelt. He is joined by a young man the industry is currently going nuts about, Scottish singer-songwriter Rory Butler. Currently in the midst of his debut album with Crispin Hunt (Longpigs) who has himself in the last couple of years worked with the likes of Ellie Goulding and Jake Bugg. He knows talent when he sees it, and so do we - Rory is like a glitch in time taking you back to the absolute best of 1970-something. Guitar playing you can’t believe, and a voice that is like a lump of Green & Blacks slowly dissolving into a 25-year-old single malt. They’ll be joined by a special guest courtesy of Pledge - you don’t want to miss this.

May 6th with Time Out sees our old friend Tom Baxter returning to Karamel (to be confirmed at time of going to press - check the website). With a number one record in Ireland, two top ten records in the UK, and a performance at the BBC Electric Proms on stage with Dame Shirley Bassey under his belt (performing a song he wrote for her), Tom is rightly considered to be one of those artists who has now entered the next room of UK songwriters.

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And what a performer! We last saw him play for us about 18 months ago, and it was a performance somewhere between Jeff Buckley and Thom Yorke - he really is a five star act. One night a few summers back, he was playing a gig in Ireland when a girl was so moved, she proposed to him! He’ll be joined by the adorable, endearing, brilliant writer and artist Little Rach. Described variously as “…a wee folkie with a punk spirit…” and “Like Joni Mitchell meets Pam Ayres, via Johnny Cash”. Rach and Tom will be joined by a PledgeMusic act, to be confirmed. And June, well, we’re still planning that - but one act returning will be house favourites Arcelia.

Arcelia’s Simon Foster is no stranger to the music business, with a CV that includes some serious company – George Michael, Zucchero, Natalie Imbruglia and Geri Halliwell – and of course, The Flying Pickets – of whom he has been a member since 2004. He has a voice that can in one syllable be Vesuvius, the next a gentle mountain spring; a voice that

led to one London promoter describing him as being like “Joe Cocker and Van Morrison gloriously bellowing into the horn of Valhalla, while Peter Gabriel hums along...”

Chief songwriter Gavin Alexander has had his brushes with the big boys too. It was his knack for crafting Paul Simon-like numbers that led to Chris Difford (of Squeeze fame) inviting him to join a host of named writers and take part in his annual songwriting retreat - a relationship that soon flowered into some supports with Chris, and ultimately to Arcelia joining the likes of The Strypes and Steve Nieve (The Attractions) in playing at Chris’s wedding. Add to this Teresa’s voice, a gently spun thread that might have been borrowed from Clannad or The Corrs. A silk scarf between the glorious merino wool of the other two, and you know you’re in for a treat.

As ever, all Karousel nights in Wood Green are free, with contributions going to the acts… See you soon!

For more info see www.karouselmusic.com or www.facebook.com/karouselmusic

The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

the Job Centre Plus, mean that Talent Match London’s model is a complete approach to offering the best assistance possible. Going forward, Talent Match is hoping to expand its reach and influence with new partnerships added to the network and continue to forge pathways into employment and education, with a real focus on listening to young people and providing the guidance they actually need!

2014 was a momentous start for Collage Arts and the Talent Match London delivery partnership in North London that saw 24 young people supported all the way into valuable positive outcomes, whether they were further training opportunities, university places, or, for many, full time paid work. Now entering the second year, that amazing energy shows no signs of waning, and already in 2015, 8 participants have successfully gained employment in their preferred field.

Through one-to-one training sessions and intensive workshops, to aid with presentation and preparation, to Q & As with established business development consultants, Talent Match is committed to delivering a programme of activity and support which not only builds skills but confidence and awareness, too.

Partnerships with other training organisations such as KORI and Rinova, as well as essential collaborations with Enterprise Enfield, Metropolitan Housing, and

Are you aged 18-24, not working full-time or studying over a year? Live in Haringey, Enfield and Waltham Forest? Join us and see how we can help!

Contact Taz or Toby on 0208 829 8984, or e-mail talentmatchhub@gmail.com

MEET OUR TALENT MATCH YOUTH BOARD!...

Lateisha I have been working for Talent Match since January 2015 and I am currently on the Talent Match Youth Board. This has given me the opportunity to start a Creative Literature Club which is for people who are interested in creative writing such as poetry, short stories, journalism, and much more, which will be launched at the end of March. Some of my interests are reading, reading and writing poetry, photo editing, and movies. Currently I am volunteering at a community centre for children and young people where I hope to work, train, and do courses to be able to become a youth worker.

Umi After signing up to the Talent Match programme I was instantly assisted in finding employment as a social media assistant, for Journey Films, by their friendly and effective team. They later presented me with the amazing opportunity to work with their bright and highly competent Youth Board team; together with whom we have initiated a campaign of free clubs, courses and classes aimed at involving, educating, and giving young unemployed people the opportunities they deserve.

Samira I am part of the Talent Match North London Youth Board. I currently attend meetings to help my peers on the Youth Board come up with new ideas to help engage young people. Outside of Talent Match Youth Board, I am an apprentice at a company called Rinova.

Rinova is a partner on the Talent Match London project and I work alongside one of the project managers as an assistant. I help organise events and meetings as well as, work on the financial claims for Talent Match.

Meliz After completing a media apprenticeship in March 2014, I gained a position on the Talent Match Youth Board a couple of months later. Having previously been a young person struggling to find a job, I was excited to be able to get the chance to help others who were in my position.

Alongside working part-time as a PA for the managing director of fashion company Cabaret, using my ambition to be a film director, I get to run a Film Club for Talent Match every fortnight for like-minded young people on the program, where we use the space to develop our knowledge as well as our confidence. It’s a great way for us to learn about the film industry as well as building our portfolios and connecting with our peers.

Agit As a Talent Match participant I grew to love the programme. I then met the London Youth team who designed the programme, this enabled me to understand how it works and I grew to love it more. Now I work at Collage Arts as a Web Designer as well as a Youth Board member at London Youth and Collage Arts. Does what it says on the tin! They matched my talents to various opportunities, but most importantly, the programme gave me the opportunity to enhance my skills and network with incredible people.

My passion for technology, self-development, and martial arts gives me the motivation to use my skills to support young people on their journey of success.

Sarah I am currently a set designer, with an Art and Design background. And yes I’m on Talent Match and have been since November of last year. I shuffled in with the assumption I would be given a gentle push into the loving arms of an employer, instead I have been responsible on the Youth Board for rearing the artists on Talent Match through a Creative Practitioners Club which will skill up and inject confidence into the fresh-faced lot. I also have been injected with said confidence through the support Talent Match offers, and with the support of TM, will be starting a business with my sister. Talent Match is like a warm grandparent, slipping Werthers Originals into your pocket.

Dowa My name is Dowa and I’ve been working on the youth board in North London for just over a year now. It’s been a really great experience interacting with other young people. I am currently heading a Business Club and Breakfast Club for young people on the programme. Both clubs aim to help the individuals grow in confidence, punctuality and with core interpersonal skills.

The Business Club is more focused on helping aspiring entrepreneurs get some hands on experience with starting up a business!

Throughout the year I have seen a great improvement within myself also, this programme is excellent for those that are part of the programme and also those that help deliver it! Looking forward to the outcomes of year 2. :)

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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Chocolate Factory Artists News Sue Thompson Born

Carol Tarn

The Chocolate Factory’s own Carol Tarn has found herself on the shortlist of the Ashurst Emerging Artist Prize 2015, for her engrossing and wonderfully human portraits in oil.

The prize is a collaboration between international law firm Ashurst, and London gallery Tiger & Oaktree which was created to help nurture artistic talents, and offers a solo show at the gallery to the eventual winners, along with a substantial cash prize! The shortlisted pieces will be on display at Tiger & Oaktree in April, May and June, with an overall winner to be announced in May. You can find out more about Carol and her painterly, yet realistic work at www.chocolatefactoryartists.co.uk, and at www.caroltarn.co.uk

Following on from Graeme Messer’s brilliant The Art of Love and How to Avoid It, which you can read all about on pages 8 and 9, Karamel will be proudly hosting Sue Thompson Born’s dramatic and provocative painting works. As Sue herself says: My paintings and sculpture work with the physical materiality of the medium to explore context and concept.

There is an underlying theme of loss running through all of my work. This presents itself as a transformative process, not necessarily negative, which encompasses the personal, the political, and the universal.

Bryan Kneale

Presenting work created over five decades, Royal Academician Bryan Kneale’s sculptures and works on paper will be exhibited at the Pangolin London from 25th March to 2nd May. Kneale’s work began at the easel creating thick and spiky paintings with palette knifes, painting the portraits of Michael Redgrave, Richard Attenborough, and Norman Parkinson to name but a few. However, an innate fear of repetition led to him looking to sculpture, learning to forge and weld, working with brass, steel, copper, and aluminium.

As the first abstract sculptor to be elected RA in 1974, this showed clearly his work was not the traditional sculpture of carving, casting and modelling. This exhibition definitely underlines his importance in the development of 20th Century British sculpture. A full illustrated catalogue with an essay by Professor Brian Catling will accompany the exhibition.

So expect a varied and rich exhibition, at times tranquil, and at times tumultuous, with plenty to mull over after. You can see more of Sue’s arresting oils on www.chocolatefactoryartists.co.uk

To quote Bryan Kneale; “(the point of making sculpture) is to try and discover in some way the meaning of your own life, to clarify in your own mind those capabilities, or abilities, to see things achieve an existence independent of yourself.”

Studio 306 Collective CIC Textiles Workshops Starting on 16th April 2015, Studio 306 are offering a chance for you to learn to…

Thread the sewing machine, Experiment with different stitch patterns and sew straight seams, Choose and cut out fabric, Follow a template or pattern, Use a rotary cutter, Over locking, Buttonholes, Insert a zip, Patchwork and quilting, Applique Clean and maintain the sewing machine.

At the end of this course, you will have completed a cushion cover, tote bag and/or apron. If you wish to continue further, you will be able to make a patchwork quilt, various soft furnishings, hand bags, and revamp your wardrobe! 5 week course £150, If you pay for 10 weeks in advance £270 – you get 1 week free. Each Course is tailored to suit each individual’s capability. Material & Thread will be supplied, although you are able to use your own material if you prefer.

Please check www.studioc306.com for more information.Studio 306 Collective CIC Studio C306, The Chocolate Factory, 5 Clarendon Road, Wood Green, London, N22 6XJ 306collective@btconnect.com If you wish to pay by cash, please call us on 020 8365 8477 to arrange a time and date that is suitable. We hope to see you there! Courses from 2pm till 5pm or 6pm till 9pm

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The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

@ karamel Six months ago Kabaret@Karamel hit the ground running when we took over Karamel Restaurant and expanded the live events programme in collaboration with our partners Collage Arts. There have been so many great acts performing that it would be impossible to list them all. Besides, that’s the past and what matters now is the future, and we are very excited by our forthcoming programme.

Highlights Include:

Afrobase

Gabriel Moreno Presents...

A night of poetry and live music hosted by our charismatic Poet in Residence, Gabriel Moreno. Gabriel is a published poet and singer songwriter from Gibraltar, fusing Mediterranean rhythms with Indie/folk arpeggios on classical guitar. Based on his literary publications, he explores lyrics of love, loss and desire, transmitted in sheer emotional nakedness. Gabriel now presents his solo acoustic project called “Songs of Love and Decadence.” The night includes an Open Mic section so if you’re a poet or singer-songwriter and interested in performing, please email Gabriel: gabrielangelmoreno@gmail.com Second Friday of every month. www.gabrielmoreno.co.uk

Society of Imaginary Friends Secret Soiree

The Wibbley Brothers Go Weird

A monthly night of African dance music run by DJ & Producer Guy Morley, the founder and Director of No Nation. Having worked for over 10 years as a promoter and programmer at national venues including The Brighton Dome & Festival, Band in the Wall (Manchester), and The Big Chill Festival, Guy has booked some of the biggest musical talents on the planet including Lou Reed and Leonard Cohen. Recognised as a specialist in African music he has researched and written extensively on East Africa for the British Council. He co-hosts the long-running radio show AfroBase for totallyradio, the UK’s longest running internet radio station, and has recorded and produced music across Africa and the UK. He is currently working with Grace Jones on her new Afrobeat-influenced album. Guy and guest DJs will be spinning the very best in African music. Last Friday of the month. FREE entry. www.no-nation.com

The Wibbley Brothers album Go Weird has acquired cult status since its original release with copies trading at over £100 on eBay, thanks to its mixture of humour, early electronica and sheer oddness. “Although it’s very funny, this record defies classification,” said original coproducer Guy Jackson. “The songs cover an eclectic range of styles yet it still hangs together as a whole. If you were looking for a left-field missing link between the Bonzos and Half Man Half Biscuit, this could be it.” Remastered for this reissue the album retains the original and eye-catching cover artwork, which originally stopped record store browsers in their tracks. Catch the Album Launch and live gig on Friday 17th April. www.trubshawsastonishingrecords.co.uk

Warhouse

Aldwin Johnson Performs a soulful, Ibiza style chill out set every Friday lunchtime from 1pm

And finally, should you be wanting food with your entertainment, the Kabaret kitchen is open until 10pm. We pride ourselves on providing fresh, quality World Food (that just happens to be vegan) at a reasonable price, with authentic dishes from the Mediterranean, Mexico, Italy, Africa, India and beyond ….. We also have a well-stocked Bar of Craft Beers from award-winning breweries, fine Organic wines, and classic cocktails.

“Society of Imaginary Friends are, quite frankly, something completely different”, says Tasty fanzine, and “a glorious mix of orchestral sounding folk melodrama” adds The Sun. Fronted by composer Alfie Thomas and opera diva Louise Kleboe, the band have a monthly residency at Kabaret. “We try to avoid the rock / pop ghettos whenever possible, and prefer to play unusual venues and sites, creating an atmosphere of our own when we play. Hence our Secret Soirees….”. These infamous nights have become renowned for up-close, intimate guest appearances from acts who could fill the Barbican.

These have included William D. Drake of The Cardiacs, Eddie Tenpole Tudor, The Brodsky Quartet, and virtuoso Violinist Mike Thomas. A cornucopia of creative talent including bands, poets, comedians, DJs and award-winning filmmakers, the night weaves a spell … a magical experience. Last Saturday of the month. FREE entry. www.societyofimaginaryfriends.co.uk

Kabaret@Karamel is available for hire for birthday parties, weddings and private functions. For more info email: bookings@karamelrestaurant.com

You may not know this but nearly all the staff at Kabaret@Karamel are DJs, so we take a keen interest in other DJs who play the venue. One of these is DJ Uncle G, aka Gordon Ellington, who has consistently impressed with his wide-ranging sets. Gordon is a true Wood Greener having lived here all his life, and his Reunion nights (where he gets together with all his old school mates) are legendary. Gordon also manages Warhouse, the funkiest band we’ve ever heard and thoroughly recommended. So, to cut to the chase, put this event in your diary: Friday 5th June. Warhouse live, plus Uncle G and Tha 4orce on the decks is a match made in heaven, and not to be missed! FREE entry.

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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coming soon!

to the Karamel Club from

Mountview Academy of Theatre Arts

MARY SHELLEY by Helen Edmundson. Mountview’s final year Musical Theatre students present this theatrical biography of Mary Shelley, one of the UK’s most acclaimed female writers. The play charts Shelley’s childhood with esteemed parents William Godwin and Mary Wollstonecraft through to the writing of her masterpiece Frankenstein, her friendship with Lord Byron and marriage to Percy Bysshe Shelley.

DIRECTORS’ SEASON. Mountview’s Theatre Directing students present their final showcase pieces. A range of new writing and old classics will be performed in the Karamel Club studio theatre across three weeks. This is a fantastic opportunity to see the first public productions from the directing stars of tomorrow.

Dates and times will be announced soon. Please visit mountview.org.uk for details.

Our popular writing workshop series continues THE ART OF THE SHORT STORY

LIFE-WRITING TOGETHER

16th, 23rd, 30th April, 7th, 14th May 2015 10am - 12.30pm

4th, 11th, 18th, 25th June, 2nd July 2015 10am - 12.30pm

Workshop practitioner: Giovanna Iozzi

Workshop practitioner: Giovanna Iozzi

Short stories offer the reader tantalising miniature worlds; if crafted with skill and emotional truth they can have the power and resonance of novels. In these workshops we will be studying extracts from some of the great short writers, from Anton Chekhov and Katherine Mansfield to contemporary voices like Alice Munro, George Saunders and Kevin Barry. Inspired by what we read and through writing exercises we’ll start crafting our own stories, focusing on: beginnings and endings, story arc and structure, point of view, dialogue and characterisation. Students can expect to leave the course with a completed story, anything, up to 5,000 words.

Most people have dramatic moments in their lives. The trick for life-writers is to edit those moments into something compelling. Taking different forms, (memoir, autobiography, creative non-fiction, travel writing, confessional prose), life-writing is any text where the real-life narrator seems to be telling the truth. Together we’ll study writers including Blake Morrison, Lorna Sage, Tim Lott and Norwegian heavyweight Karl Ove Knausgaard. In each class we’ll use prompts and exercises as well as looking at literary devices in fiction writing to help us shape our own memories and experiences. Students will be able to share their work and receive useful, non-judgemental feedback from a supportive group.

Courses cost £75 in advance for a five - session course | Email: kate@collage-arts.org to book a place

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The Quarter | Issue 6 | Chocolate Factory Artists | Collage Arts

thanks to our sponsors

Connecting creative people in Haringey www.collage-arts.org

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9&10May 2015,12–6pm Taster exhibition 8th to 10th May 2015, 11am–7pm

www.crouchendopenstudios.co.uk

Crouch End Open Studios 2015 Venues open over the weekend 9th &10th May from 12pm–6pm This year 30 selected artists are exhibiting work in venues a short walk from the central landmarks of the Clocktower and the Hornsey Town Hall.

Now in its eleventh year, CEOS has become a firm fixture on Crouch End’s cultural calendar, providing art lovers with an opportunity to get to know local artists, view and buy their work.

Supporters make a date in their diary each year because... ... It’s a great day out – to walk about and take in a few studios ... It’s a chance to explore one of North London’s quirkiest and most loved villages. ... It’s uplifting to view original work in studios and houses and in some of the best coffee shops, pubs and independent retailers.

Preview work from each artist at our Taster Group Show in Hornsey Town Hall. See details in this leaflet for more information.

Special thanks to: Bistro Aix for their generous support and hospitality: 54 Topsfield Parade, Tottenham Lane N8 bistroaix@hotmail.co.uk

Cafe Blend for additional exhibition space throughout the month of May: 587 Green Lanes N8 0RG info@localblend.co.uk

Use this leaflet to plan your art trail. Link artists’ images with venue addresses, then find them on the map.

We look forward to welcoming you Check the website for up to date news of events www.crouchendopenstudios.org.uk

Designed by: Tattersall Hammarling & Silk Ltd Printed by: Duncan Print Group

Crouch End Open Studios – Saturday 9th and Sunday 10th May Crouch End Open Studios is approaching fast and this year Collage Arts is a major sponsor. This firm fixture in the Crouch End Cultural Calendar provides a great opportunity to meet local artists, see a huge variety of original art in interesting venues, and experience the weekend buzz of Crouch End; all a short distance from the Clocktower.

The Group Show ‘Taster’ exhibition is set to take place in the iconic Hornsey Town Hall. Each of the 30 artists has at least one work on show so you can check out the art, pick up a leaflet and plan your art trail. You can also grab the opportunity to see inside this iconic Grade II listed building, widely acknowledged to be one of the finest examples of Modernist architecture in the country.

The Karamel Jazz Quartet will be performing at the private view on 6th May 2015.

Group Show Taster Exhibition: 8 – 10th May 2015 11-7pm at Hornsey Town Hall Venues Open: 9 - 10th May 2015 12-6pm, visit www.crouchendopenstudios.org.uk for individual venues and addresses

Collage Arts | Chocolate Factory Artists | Issue 6 | The Quarter

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