WHAT IS TO COME?
Itay is now in Buenos Aires and we are full throttle looking for cash, Holocaust survivors and a German translator for a lunatic mission to the end of the Earth. We have CECILIA, Argentine filmmaker and possibly a top English sound technician who shall not be named until he fully plants his steiner of ale down on the project table. I cannot give you all the details now - I don't want to spoil it! I've told the fishermen not to say anything either.
Madcap project number one - What is to Come - has caused me to split my blog efforts. See the dedicated project blog at www.getjealous.com/whatistocome.
TWO MUSIC REVIEWS 1: FRANZ FERDINAND
'Too British' said Diego, 26 when I asked him if he had enjoyed the concert. What does that mean? 'Too perfect,' he replied. 'There was nothing missing, and I like things missing.'
We were outside the Luna Park in the aftermath of Franz Ferdinand's preliminary assault on Buenos Aires. Of course the real show for them would be supporting the mighty U2 in front of 100,000+ at the River Plate Stadium, but here was a chance to see the Archdukes of British pop-rock in a more intimate setting.
And the Luna Park, opened in 1934 as a boxing ring and thereafter scene of many a high profile gig, not least the final episode of Maradona's TV series, is just that. It's like a warm, friendly barn. But perhaps that was just the vibe of the crowd. Profile: vast majority in their 20s with a smattering of kids, older yuppies and the occasional old rocker; pockets of goths seasoned with a punk or two; a strong gay contingent and a healthy dash of extranjeros. Before the show people milled around chatting and smoking in a cocktail party atmosphere.
The band exploded onto the stage at 10 o'clock, a stylish and wonderful sight in front of a Lichtensteinesque pop art banner showing a woman, hand to mouth, calling out 'FRANZ FERDINAND' in a roomy speech bubble. The four, plus extras, were impeccably dressed, and each brought a very definite personality to the stage.
Alex Kapronos, lead singer and rhythm guitar, clad in tight red shirt and black velvet trousers with red pinstripes, appears a combination of David Bowie and a young Michael Caine. Straight-backed, tall and blond, he stalked around the stage imperiously. Nicholas McCarthy (lead guitar and piano) had a muppet-like zeal about him, while bassist Bob Hardy was like a fuzzy blond bear, a tranquil counterpoint to the frenetic energy of the other two. Drummer Paul Thompson was a Beatlesy mop of hair at the back bouncing around.
Also bouncing around were the crowd. In Britain serious 'moshing' is reserved for heavy metal concerts, but crashing around in a churning mass of headbangers holding up fists with first and fourth fingers extended in the Universal Rock Sign Language for 'Awesome', I realised that Argentina is truly a nation of rockers.
Kapronos tried 'Muchas Gracias' and 'Que Tal' and then resorted to English barely discernable even to the English speakers in the crowd. He introduced the band one by one halfway through over a thrumming groove, repeatedly bellowing 'Do – you – want – to – know – his – NAME?' until even the more reserved spectators were yelling 'YES! YES!' with childish glee.
When the inevitable global smash hit 'Take Me Out' was played on the hour mark, the backdrop changed to 4 stately pointillist portraits like Warhol in monochrome. The band really stepped up a gear. Warming up the crowd with an expert touch, they dipped their heads and guitars frequently into the ocean of grasping hands.
Franz Ferdinand are more a band of the groove than the virtuosic solo. At times they cut to one musician following the riff, to be joined one by one by the other band members until the whole unit thumped it out together. If there is one criticism it is that the sound was overloaded, so much so that at times the song was lost in distortion. But this might have been the effect they were going for, being a band of body music rather than head.
They played for a solid hour and a half with a ten minute break. The finale was a breathtaking odyssey of peaks and troughs. At one point no fewer than three people were drumming at the same kit, electrified by strobe lighting, while Kapronos and McCarthy raced around the stage holding their guitars aloft and standing up above the people urging them on. When they finally wound up the last number, the crowd were left panting while the band members performed a neat bow together. Visually arresting, entertaining, stylish and with body to boot. Too British perhaps, but can you really have too much of a good thing?
SUBTE
The BA subway-metro-tube is called the Subte and is a bustling marketplace of blind people selling marker pens and demonstrating their use on a cd, little girls selling stickers that they place on every passenger's lap before coming back round to deal with any buyers, folklorica musicians from Salta playing tiny banjos and panpipes, at least one fantastic sax and piano (full size, don't ask me how) duo, beggars, wisecrackers, lone men selling Computer magazines, biographies of the Argentine Presidents, pharmaceuticals, glasses cases, marker pens, newspapers, cakes and biscuits, marker pens, keyrings pocket torches penknives batteries plug adaptors sweets chocolate school textbooks stickers with voices worn out through years of hawking to a stripped wooden gurgle that scrapes through the endless babbling mash of commuters.
TWO MUSIC REVIEWS 2: MEDESKI MARTIN AND WOOD
Groove Clawing, Pipe Squeaking and Tube Blowing – Jazz at its Freshest
The NY Jazz Trio stormed the Teatro Gran Rex for the Buenos Aires jazz festival showing us vibrant professionalism at its peak.
No-one was expecting this at a jazz gig. Ten minutes after the New York trio had finished their encore the floor lights were up in the Gran Rex but the capacity crowd had refused to disperse. They were very much still there, and producing an insane ruckus. Rhythmic clapping, whooping and the traditional Argentine crowd tune that is chanted in such situations and which can be roughly translated as 'Give us more! Give us more! Give us more!'.
How could they refuse? Medeski, Martin and Wood, contemporary jazz legends, came back on stage blinking in sincere surprise at the feral appreciation of the crowd. They took up their positions and started funking a flagship number when something truly extraordinary happened. Chris Wood, tall angular bassist, disconnected his double bass from its moorings and planted it on the lip of the stage plucking mikeless with his hands clawing a groove. Band leader Billy Martin was next, emerging from his fortress of a kit with his hand shoved up a bizarre percussive pipe that produced a variety of farmyard squeaking noises. Finally John Medeski appeared from behind his banks of keys with a handheld melodica keyboard that he powered through a long rubber tube curling into his mouth like a Arabian hookah pipe.
The crowd were trendily dressed and largely bearded and male. Jazz. The only beard on stage was of scraggly haired Billy Martin, who had managed barely more than 'Muchas Gracias' into the mike but sang in español for a Cuban salsa number, which was the first time Medeski played the baby grand piano at the back of the set. The mix was rich and full, coming principally from the range of keys that were occasionally used with a plucking jazz guitar sound. MMW did their lunatic versions of the mainstay styles and rhythms, touring through an organ drawl trip waltz that homaged Kind of Blue, Ray Charles-esque rhythm and blues, shuffling backbeats, breakbeat electronica and even a soft jazz version of Hendrix's Hey Joe, but each track held its atmospheric aesthetic intact, and their personality came through in their versatility. The show stopper was Chris Wood, who provided a more intense groove on electric but always impressed more with his acrobatics on the upright bass.
Having played for two hours in their respective zones of their stage, the unforeseen finale saw them in a row at the front of the stage, bobbing in unison. They played a cheery blues that with the thick bass, the squeaky whooping of the pipe and the tinny melodica sounded so fresh and divine that one would have liked to throw up two spoons, a cat and a toy car to see what they could come up with. This last feat felt like something they had improvised as a special treat for a particularly deserving audience, and the audience stood or sat, heads bobbing, mouths open at the compulsive synchrony of three musicians at the peak who are tight as they could be after fifteen years, without having lost any of the electricity that has deservedly made them into contemporary legends. It was breathtaking. The crowd were overawed, with those who could not contain their whooping (I confess) shushed angrily by those who puritanically wanted to hear every note. The roaring continued after the trio had left the stage, but when they came back on to bow a final farewell, everyone knew that they couldn't ask for one drop more.
(published in the Buenos Aires Herald)
DECISIONS
I have decided to miss the one year deadline to claim my return flight to London. This is not purely out of dedication to the travel blog. It is born out of a selection of good opportunities, madcap schemes, a raw animal fear of returning to the murky whirlpool of London, a wish to claim the irreality of 'travelling' as a species of real life.
I know that to all of you at home it must seem like I'm having such a good time that I am never going to come back. This is partly true - I am stimulated, growing stronger in my selected areas, freer perhaps, but- this does not change the fact that I love you and miss you all, family and friends. Painfully sometimes. Come and visit me. US$500 from Spain.
I also miss London, green and merrie Englande, seen now through soft focus. At times I feel like an alcoholic Catholic priest dying of malaria in one of Graham Greene's colonial outposts. And the roses just aren't the same. Here they are wild scraggly things, like dogs in a desert. Skin and bone. I deliriously recall the fat buttery things weighing down bushes in an English garden.
