Jazz in April

The latest events calender is now available for Jazz fans living in the Bonn area. The Riverside Jazzmen, Papa Joes Jazzmen, the Fraser Gartshore trio and many more are playing at a venue near you.

For further details just click on the following link:

Jazz Calender March to find out exactly where and when.

Popularity: 12% [?]

Anne Haigis at the Harmonie 01.04.2011

Anne Haigis will be presenting both her new CD and a new music partner when she takes the stage on 1 April at the Harmonie.  The guitarist is Jan Laacks and her new CD is titled ‘Wanderlust’

Having seen Anne Haigis on a number of occasions I recommend catching the show.  She is a wonderful vocalist with an interesting repertoire of songs old and new.

Popularity: 11% [?]

Henrik Freischlader – Blues for Gary

It’s shortly after 6pm and I’ve just put Henrik Freischlader firmly on the spot.  Henrik got started in the Blues World after being inspired by Gary Moore.  We’d just spoken of  Moore’s tragic passing and I asked who would the present generation of music fans look to for similar inspiration, “besides yourself of course”.  He immediately blanched at the suggestion “Oh no, not me” he laughed emphatically.

Fast forward a little over three hours and Freischlader is at the end of a blinding show with his band.  On stageright he plugs in his cherry Gibson Les Paul on the back of which are the words ‘To Hendrik – with love Gary Moore’.  He dedicates the next number to the late genial Irish guitar God.  A blindingly evocative rendition of  Roy Buchanans ‘The Messiah’ follows that, like the guitar, has ‘Gary Moore’ veneered into its very core.  Outside of setting fire to the headstock and sending it via runners to Athens I don’t know how much plainer it can be that Henrik Freischlader is a torch carrier for the Jimi, Rory, Gary school of Rock Blues.

If you’re not from Germany you might be saying now ‘Henrik who?’ So it’s maybe good that the cover of Freischladers new CD makes much of a guest spot by Joe Bonamassa from a marketing perpective.  ‘Jolting Joes’ presence might well make a difference to sales of the CD  but it wouldn’t make a jot of difference to the actual music on it because the  musicianship from Henrik and band is top notc,h as it is on the Harmonie stage tonight.

Last years show here got a tentative thumbs up from me due to the sound quality.  This years show gets five stars on all fronts from the moment Freischlader switches on his guitar, steps up to play, and nothing comes out.  “What’s that then?” He exclaims.  “I know it was working just now when I soundchecked – So ein Ding!”.  You just can’t help but like the mans affable approach.  It’s all started by the flick of another switch and the Fender Strat roars into life.  “We have to finish very early, so I’ll leave out the talking and just play!” he announces to loud cheers.  “Or I could just keep on playing” to even louder cheers.

The new CD title track ‘Still Frame Replay’ is an early favourite, along with ‘The Bridge’ and Peter Green’s ‘She’s Gone’.  Etta James is a big influence on Freischlader and a soulful version of her ‘Rather Go Blind’ continues the quieter vain. As does ‘I’ve got it Good’  before getting back to Rocking with ‘Right Way’ and ‘Longer Days’ from the new disc, the latter in particular shows the band is as tight as a camels you know what in a sandstorm.  The main set finishes with a lengthy but mesmerising interplay between Freischlader’s guitar and Moritz Fuhrhop’s Hammond organ.  Top marks to the whole band in fact – This is early days on the tour but every man jack of them is bang on the beat.This being Sunday there’s only time for one encore before the 9.30pm (!) curfew.  It’s been a great show, but as the song says ‘You ain’t seen nuthin yet!’ and we were in for a musical treat.

First up was a new Hendrix cover.  Well, not so new if you’re familiar with Aynsley Lister in fact because it’s a frantic version of  Jimi’s ‘Cross Town Traffic’ played with such enthusiasm that ‘ooh ooh’s and Ah Aah’s soon echo from every corner of the crowded hall.  Then it was time for silence, a red guitar, a dedication and the lighting of a musical torch as the first gentle notes of ‘Messiah’ wafted into the hot humid air.  Henrik Freischlader – A man with a cap, a plan, and whether he likes it or not – a mission.

Popularity: 13% [?]

Folk Club – Pipes, drums and much more!

Thirteen and not out – as cricket afficianados might describe the Bonn Folk Club this March.

In fact the club has gone from strength to strength and despite the pull of Karneval ‘Sitzungen’ throughout the City, this months ‘Pipes & Drums’ meet had a large and enthusiastic audience for John & Barry to keep under control.

The best way to keep people from rioting (or at least making a noise at the bar!) is of course to get their attention.  John certainly did that with a sprightly ‘LADIES & GENTLEMEN!’

Whose volume proved how superfluous a microphone can be in the right hands – or in this case, lungs.

A fresh and folkified version of ‘Motherless Child’ got the evening off of it’s musical starting blocks and the Mance Lipscomb classic ‘Silver City’ aided by Paolo on blues harp got it well round the first bend.  A good time to add that this is also a track from John’s 2000 cd ‘Blues to make your ice water’ which is rather a nice cd for blues fans everywhere and as far as I know isn’t available anywhere – which is a shame.*

Anyway, time only to say that you owe me a pint now for the plug John, and we’re into the straight with Barry joining in on knee slaps for ‘If I had a hammer’.  They certainly had everyone clapping along enthusiastically.  Was Paulo’s harp and Barry’s knees the ‘pipe and drum’ for the evening though?

Still no sign of either instrument when Ulli Langenscheidt took the stage.  Despite the ever growing request for floorspots at the Club John Harrison is determined to keep the ‘Walk-on’ tradition of British Folk Clubs alive, and how can you tell someone to come back next month when they are a walk-in from Chicago?  Ulli repaid her short notice addition to the bill with three excellent self-penned numbersThe third of which, ‘Live your dreams’? was my favourite, but all were delivered with a clean and light vocal style – I wasn’t surprised when speaking to her later that a CD is in the pipeline.  As a former Bonn resident, She was over here to visit friends, so we can only hope she visits them regularly from now on!

Eva Martinez Salgado and daughter Ana were next up and saved the day carrying as they did a Pipe (Galician) and a drum.  This is the kind of music that proves the validity of John’s ‘no amps’ rule. It’s always a pleasure to hear traditional instruments and without electricity we actually can hear the instruments themselves.  The same is true for Thomas Kanmacher who’s Uilean Pipes are a hypnotic pleasure to both hear and watch.  I notice numerous heads crane forward to look closefully at his fingers coaxing sweet notes out of what looks just like a roomy leather handbag with a pipe sticking out.  So hypnotic was his music that the request to ‘tell a short story’ at evenings end was enthusiastically recieved even when ten minutes later it was still ‘in the telling’.  Thomas knows not just the notes on his Uileans but also their history and the history of the music they play.  A man you don’t meet every day indeed – which was fortunate,since there was no time left for the song of that name which customarily closes the evening.

So here I am at the finishing line of my review and I’ve missed out on so many ‘baton carriers’ along the way.  Lothar Heinrich with some gentle acoustic standards, Claudia’s lovely vocals alongside Werner on guitar, The proud merries with their own compositions,

Andreas who got everyone tapping their feet alongside his own to ‘Honky Tonk Women’ and “ooh, oohing!” to ‘Death of a Clown’.  There was also ‘Clare to Here’, a track from my folk hero Ralph McTell sung by Thomas Steffens, with a better Irish accent than that used by Ralph himself and beating even Thomas’s Scottish ‘Donald where’s yer trousers’ Glaswegian from last year.

Well, you’ll have guessed from my pot pourri of a review that this was really a ‘pot pourri’ of a show.  Not surprisingly it’s getting harder every month to get a spot to play or a seat to sit in.  My advice  – come early, but come along!

MORE PHOTOS
HERE

*Note: I have since discovered that the John Harrison CD is available here

Popularity: 13% [?]

Rockin all over the Harmonie – Sunny Skies

We Brits love a bit of tradition.  Queens speech on Xmas Day and all that.  Maybe that’s why I always look forward to Sunny Skies playing the Harmonie.  The first show of the year for the band, and a chance for the many fans to hear what’s caught their musical attention in the preceding year.   February 2011was no different, as Rope Schmitz took his merry men and women  onstage for the bands 39^th year.  The songs may have changed along the way, but the bands aim of playing good music with a smile hasn’t changed a jot.

Rope was concerned that my previous reports suggested his musical heart was still in SanFrancisco, or somewhere else evocative of the 60’s.  In fact, he actually enjoys the heavier sound of the modern Sunny Skies set-up.  A good thing too on this evenings performance, especially in part two where 70’s & 80’s rock ruled.  The gauntlet was set down from the start as vocalist Alex took the stage to the  hard rocking riff of Deep Purples ‘Perfect Strangers’.  Things lightened up a little when Nadine bounded on and fairly bounced from one stage side to the other like she was on springs.  Was all this talk of not being well she gave me before the show really true?  Heaven help the floorboards when she’s fully fit.

Highlight of Nadine’s set was one of the new numbers: Beth Ditto’s  ‘Heavy Cross’ which proved perfectly suited to her style, slotting in well with Natasha Bedingfields brooding ‘Incompatible’ and Alanis Morrisette’s ‘Ironic’.

Alex Krienke was clearly back to his barnstorming best after last years time-out in hosptal.  Looking as unlike Freddie Mercury as anyone could possibly look, he still delivers Queens ‘Hammer to Fall’ with Freddies swagger and bravado.

For longtime Skies fans there were the bands classic covers – ‘Son of a preacher man’, ‘Miami 2017’ – and of course (could there be a Skies show without it?) ‘Little help from my friends’ The Harmonie stage has been extended this year and while it looked spacious for quartets like Oli Brown and Aynsley Lister it still looked like the queue for a bus in Oxford Street rush hour at times this evening.  One of those times was of course ‘Son of a preacher man’ and whenever the full horn section was onstage you wondered whether Tobias Flerus would be able to open the slide on his trombone without anyone having to leave the stage.

It seemed oddly prophetic that the first part ended with older band classics.  Like closing a chapter before the hard rock of part two got underway.  Outside of Alex’s wonderful Freddie Mercury tribute ‘Too much love will kill you’ and Martin’s Gary Moore tribute with an emotion charged ‘Still got the Blues’solo the mood was all out rock.  More Deep Purple with ‘Black Night’ and ‘Smoke on the Water’ as well as a new rock anthem in the shape of UFO’s ‘Only you can rock me’ – announced David Coverdale-like with “Here’s one for ya”. Status Quo’s ‘Rocking all over the world’ sounded almost poppy by comparison.  Coming up to it’s 40^th year of existence, the list of hard rock gems leaves no doubt where the heart of Sunny Skies lies musically.

I rather missed the acoustic duo set with Martin and Alex playing ‘Stairway to heaven’ and ‘Dead or Alive’.  If you missed playing them too guys, my colleague John Harrison at Bonn Folk Club will happily add you to a future bill – just say the word!

A packed out Harmonie says the band is doing it right with the current choice of material, so it’s not just Rope and myself that like to rock!     As long as they continue to mix rock classics with modern gems like ‘Ironic’ and ‘Heavy Cross’ the Harmonie shows of Sunny Skies will continue to be a tradition to savour every year.  Give me The Queen at Christmas, and the band that covers Freddie Mercury’s Queen so well every year as an early concert treat each year, and consider me happy.  Long may one reign, and the other rock!

Popularity: 12% [?]

March Folk Club

In March, on Friday, 04.03.11 The Bonn Folk Club in Grauerheindorf will be having a “SINGERS’ NIGHT “, with “featured instruments.” This time hopefully it will not be only virtual, but also with real “Pipes and Drums”. We will not reveal more for the moment, but suffice to say that bagpipes are not only native to Scotland.  Since it takes place right in the middle of carnival, fancy dress/costumes are indeed allowed, but are not mandatory.
John Harrison & Barry L. Roshto et al.
-Folk Club Bonn-

For details of when and where visit: ” http://folk-club-bonn.blogspot.com/

PS Attention! – traffic flow changes in the Estermannstraße -Important traffic information for motorists coming from the south and east of Bonn:

(For Google Maps click either in this e-mail on   Estermannstraße 109 or click the top right of the Folk Club Bonn Blog Page)   http://folk-club-bonn.blogspot.com/
Previously, one could come from the centre of Bonn and go straight past the Beethovenhalle on the right, heading due north parallel to the Rhine, as the Romans did two thousand years ago, as they established the main road between Bonna and Colonia to the north. This old and trusted road led you, without let or hindrance right through directly to the front door of the folk club in the Gaststätte zum Schützenhaus at Estermanstaße 109 in Graurheindorf. I suppose that was really just too good to be true.
One can still drive from the Römerstraße into the Estermannstraße, but for folk clubbers it no longer makes any rational sense. By the time you get halfway to the Kranenweg, at the second junction to the left at the Mühlenweg, you will find a large red sign with a white line through it denoting  ”No Entry”. Rien ne va plus. To avoid unnecessary cussing and cursing, and indeed three-point-turns and/or long distance reversing, because it would just be your luck, that while you are doing that, the very last seats are being taken by someone else in the folk club. So we offer two options:

PLAN A: instead of pointlessly driving into the Estermanstraße, instead turn right from the Römerstraße into the Werftstraße, and just before the container port entrance, take the first turn to the left into Karl-Legion-Straße and proceed parallel to the Rhine and parallel to the Estermannstraße, until you reach the Kranenweg, turn left here and in no time you are back onto the Estermannstraße and you can now drive to the right, without further let or hindrance. The folk club in the Gastätte zum Schützenhaus, is then there where it used to be on the left hand side. You can drive past and take the next left into “An der Rheindorfer Burg” street, where there are adequate parking spaces.
Advantage: simple and clear, but if one happens to be driving the 7 tonne Gigbus, you had better look on Google Street View if the entrance into the Estermannstraße from the Kranenweg is negotiable for such a large vehicle.

PLAN B: at the entrance to the Estemannstraße, do not enter but turn to the left coming from the Römerstraße into the Werftstraße in a westerly direction and continue straight on past the traffic light onto the road called ” auf der Josefshöhe”, now the tram runs in the middle of the road, and then drive into a small street on the right called “auf der Rheindorfer Burg”. Drive slowly and carefully because there are some “sleeping policemen” on the street. Drive on past H aus Stumpfenmühle on the right hand side and continue until you come to a fork in the road, both possibilities are called “auf der Rheindorfer Burg”  so that won’t help you much. Bear to the right and continue along this road and proceed until you find parking, first on the right hand side and then on the left at the side of the road in the vicinity of the childrens’ playground. Park here and then walk right into the Estermannstraße and after two minutes walk one is at the folk club.  Advantage: it is slightly longer, but pleasant countryside and you arrive at the end very conveniently at the parking area.
Full details in German of how a surreal one way street works here :http://www.bonn-graurheindorf.de/verkehr2011.pdf See the diagram Abb.1for Plan A follow the green arrows to the east of the Estermannstraße and for Plan B follow the green arrows to the west of the Estermannstraße
For car drivers from the north and west, nothing changes, they can still drive on the Kölnerstraße/ Kopenhagenerstraße, then turn right into  ”"auf der Rheindorfer Burg”  just as before.
For people who travel on shank’s pony, by bike or by bus, nothing changes at all, except when you arrive at the folk club, you might wonder what other people are discussing so vehemently!

The people who come along on this Friday to the Carnival “Ghost Train/ Geisterzug”, will perhaps be a little disoriented and confused,by the new traffic flow, but the Graurheindorfer residents, seem to be “enthusiastic” about the resulting peace and quiet of the new “Ordnung”.

The good news is: the drive out from Graurheindorf back home to the south can be completed along the entire length of  Estermannstraße without further let or hindrance or any other restrictions. This is known apparantly in German as an “unechte Einbahnstraße”, an unreal one way street. It sounds a bit surreal to me, but nethertheless it will greatly facilitate your, hopefully, safe and speedy journey back home after another pleasant evening at  the folk club, so enjoy the easy ride home and sorry if the initial trip to the folk club was somewhat more tedious than you have been used to up until now, and we’re sure you’ll soon get used to it, if needs be !

Popularity: 9% [?]

Bonafide will fill your head with rock

So who are Bonafide? “They’re top of the Swedish charts this week” the Tourmanager told me enthusiastically as I surveyed the back of a cd in the Harmonie foyer.  Ah, but which chart? I enquired.  Certainly these Swedes are not the new Abba – as my post gig ringing ears reminded me. As it turned out we were talking Heavy Metal, a scene I lost sight of around the fall of the wall – the Pink Floyd version that is.

“If it’s too loud, you’re too old” as a certain record shop Manager reminded me.  I would have agreed with that in 1980 when I joined all the other ‘headbangers’ shouting “Turn it up!” as Sammy Hagar blasted through his heavy metal anthem ‘Red’ at Portsmouth Guildhall.  Now though it’s 2011, and I’m at an age where leather is for sofas rather than jackets;  and heads need hats (preferably warm ones) rather than banging.  Sad I know.

But still, straight into Swedens Hard Rock chart (and mid-price LP Chart) at number one deserves respect – and these lads are billed as Swedens ACDC.   Two very good reasons to shake out the dandruff, arm myself with industrial strength earplugs, a vintage 70’s ‘air guitar’, and prepare to rock.

Which brings a surprise – guitar solos, or lack thereof.  This actually has repercussions as the music is fast and furious and – as Shakespeare would have observed had he been a Metalhead – “Tis here, tis gone!” Lkewise, following a barnstorming version of   The Who classic ‘Can’t Explain’ the band are also ‘here and gone’ by 10pm.

There was plenty for hardrock fans to enjoy in the meantime though.  A major strength of Bonafide is that, like all the best Hard Rock/Metal outfits, they have an ear for a good rock tune, which is refreshing amongst the metalheads who see only speed and volume and forget that stalwart of all classic rock songs – THE STICK IN THE HEAD RIFF!   Prime examples being their homage to the UK’s Humble Pie in ‘Don’t need no Doctor’ and their own headbanging anthem ‘Fill your head with rock’.  Or ‘Nice Boys don’t play rock n roll’ with a Motörheady style chorus and Lemmy-like vocal.  There was even a short nod to the roots of it all with a grunged up  version of Jimmy Reed’s ‘Big Bossman’ which gave the classic a fresh coat of paint (a coat of grunge?!).

As the saying goes “Live long enough, see everything” but in this case “hear everything” could equally apply.  I’ve heard everything on offer here before,  but  for those youngsters (under 40) who never got to see Bon Scott and the original wave of Heavy Metal and also missed the NWOBHM (New Wave of British Heavy Metal) These guys will be very welcome, and rightly so.  Vocalist Pontus Snibb, a long haired version of Han Solo, jokingly said he loved Bonn as the home of ‘Bonn’ Scott and Jason ‘Bonn’ham  so the band themselves are still in spitting distance of the originals.  But in the event that one day – rather like Welsh – Heavy Metal is in danger of being forgotten, Bonafide will ensure the kids are alright for at least another generation that wants to rock hard.

Thanks to Mr Music for arranging the show at Bonn Harmonie.

MORE PHOTOS

Popularity: 14% [?]

Dana Fuchs – ‘Mama Music’ takes over

According to Dana Fuchs’ bio she was in a black Baptist Church when she received the advice from a ‘beautiful black woman’ to “Let Mama Music take over”.  On Wednesday I was on the recieving end of that advice as a beautiful white woman truly did let the music take her over – and she took the whole audience over too with a mesmerizing vocal tour de force.

After numerous Blues based shows in barely two weeks I really feared this was going to be where for many the money would run out.  Germany playing Italy didn’t help calm my fears either.  Obviously word had got out though. Following Dana’s excellent Harmonie set on Rockpalast last year, and her short but oh so sweet slot ahead of Joe Cocker at Museumsplatz, there was a sizeable crowd packed into the Harmonie and buzzing with anticipation.

The flashing twirling lights tell us this is a Rock show, and it’s central figure makes it clear from the word go that tonight she will be taking no prisoners.  ‘Love to Beg’ starts Dana’s new CD and also starts her set.  She may be a fox by name but the lady is a lion by nature.  She constantly stalks from one stage side to the other.  Stopping between songs to wave a shaggy mane of hair from big brown eyes.  She kneels down, sits down, even lays down onstage.  Never for long though.  Seemingly always restless as she roars out tales of love – be it love found, love lost or just misplaced.  Much of the evenings show is made up of new tracks.  No complaints about that though as the new CD is a real corker that might disappoint blues purists, but Thomas Ruf has pulled off a major coup in getting Dana’s signature on a contract and the songs on her first RUF release make for a powerful package.

The full tilt rock of ‘Nothings what I cry for’ and ‘Faster than we can’ – the latter already a Fuchs classic in my opinion.  They rock on the CD, but believe me they really ROCK onstage this evening.

There are some delightfully quirky numbers on offer too:  ‘Keep on Rollin’ is a ‘Streets of Laredo’ sort of ballad with a latenight barroom rythm perfectly timed by new drummer Tom Curiano.  ‘Superman’ which Dana sings as if she should be holding a mike in one hand and a Jack Daniels in the other is another Fuchs/Diamond classic.  “Superman left us at the voting booth” great stuff.

Bassist Walter Laituperissa is on hand to add a sobre melodic counterpoint to the hardrock sound of the band and although I would think it takes a while to adjust to playing beside the Force of Nature that is Dana Fuchs after touring so often with the famously laid back Snowy White, he stands like a rock to do the job at hand – one of those musicians worth their weight of adaptable gold.  Not forgetting Jon Diamond on guitar of course.   Diamond was recovering from food poisoning but put in some delicately crafted solos on his Telecaster. The song/music writing partnership of Fuchs/Diamond has already produced some gems and one of the best is in the set tonight in the form of ‘What You See’, a Stadium Rocker AC/DC style if ever there was one.

A favourite musician of Dana’s is Otis Redding and a long time favourite song is ‘Loving you too long’. “Finally” Dana admitted onstage, “I had the courage to record it”. It makes a break from the rock and proves not just a great vehicle for Dana’s vocal abilities but also for John Diamonds Telecaster as he lays down a magical solo. I can imagine Cocker singing this – but not better than Dana Fuchs does.

Any doubts about the power Dana has in her voice were dispelled when her microphone transmitter gave up trying to stay with it’s energetic owner and crashed to the floor “Sch**ss Technik!” as someone called out.  Unphased she sang ‘sans microphone’ and still carried her voice up to the balcony.  With everything plugged in and working the band could rip the roof off of a tank – as with the rocket fuelled encore ‘Helter Skelter’.

My ‘Rock n Roll Church of Love’ is how Dana Fuchs describes her concerts.  It’s not about selling us Buddha, Jesus or Scientology though.  To Dana it’s not WHO you believe in that counts, but that you believe in something.  It’s a creed that has helped her survive the suicide of a sister and the terminal illness of a brother.  The former was inspiration for sister Donna on one of Dana’s finest moments to date, the hauntingly melodic ‘Songbird’ which was played this evening and dedicated as always to a sister who shared Dana’s dream of singing to the world.   On tonights evidence the World will be eating out of Dana’s hands very soon.

‘Talent will Out’ as they say.  Just sit back and let ‘Mama Music’ take over.