Kettering Rocks

I've been away... I'm back. A lot of time was taken up arranging the KettStock festival, son of the eight-year-old Tootstock festival.

KettStock in Kettering recreated the spirit of south London's Tootstock – and then some. We had a bigger venue, an audience twice the size, and we raised four times the amount for charity.

So, a major success and a night packed with poignancy, emotion and good music.

And as with all good things... everyone wants to do it again.

Many thanks to Russ Payne and Unison Bends, the Shark Dentists, Bill Deacon, Pete Derbyshire, Mez, Mark Turner, Olli Turner, Dave Part and Nevada Summerley, the musicians who made KettStock happen.

Now, who wants to play at KettStock 2?

In Very Good Company

It was sad to hear a few days ago of the passing away of James Cotton – a name synonymous with the blues harmonica. Cotton wailed with the greats – Howlin' Wolf and Muddy Waters – and played on countless recordings and gigs.

Playing the blues harp is as much about raw emotion as it is about technique. I occasionally get the chance to put down my sticks and play harmonica with Russ Payne and Unison Bends, and much as I love the drums, I always leap at a chance to try to emulate the likes of masters such as Cotton, Little Walter, Sonny Boy Williamson, Paul Jones and Bob Dylan.

It was also quite a big kick to find that a track from our new album, 'Liquor and Iron', was going to get big exposure from being on the playlist at Digital Blues this week – alongside a couple of tracks by James Cotton. Now that is a real musical honour...

Complimentary Medicine

The last time I played drums on an album – 'In Love With Trouble' by the Shark Dentists – the reviewer in Blues Matters magazine complimented me... on my harmonica playing. That was, of course, welcome – although the drums are my first instrument, I do like to contribute a bit of blues harp on the side.

But it was good to find my drumming has finally been noted by Blues Matters, in its review of the new album 'Liquor And Iron' from Russ Payne and Unison Bends. (I did also play four bars of wistful harmonica to set the scene for the epic track 'Heading Out East' but, understandably, that didn't get a mention.)

Anyway, we're all grateful for the positive comments about our work. So here is the full review:

RUSS PAYNE AND THE UNISON BENDS

LIQUOR AND IRON

(Thousand Smiles Records)

The album opens brightly with the funky This Life (Gonna Be The Death Of Me), Russ Payne’s vocals and guitar riffs distinctive and engaging. Nigel Summerley’s infectious rhythmic drumming on Saskia’s Got A Gun provides the perfect backcloth to the conversational vocals and clipped guitar style. The pace slows with the balladic It Could Have Been Me; the textured vocal harmonies, Saal Seniveratne’s fluent keyboard skills and Payne’s soulful guitar interludes create mood-inducing crescendos. The clever tempo changes on All Talk add to the atmosphere of another good original song. The slower burning Waiting At The Gate, Certain Tears and the title track showcase the versatility of Russ and confirms his status as a very fine singer, songwriter and guitarist. Bassist Bill Keller and drummer Summerley maintain the high-energy grooves of Sometimes and Oughta Know By Now in the tradition of great, explosive power trios. Payne’s searing guitar solo and vocal harmonies with Jake Rousham stand out on the catchy, up tempo Good Luck. An impressive album, Liquor and Iron proves that the gap between relative unknown bands and those at the forefront of the current UK blues explosion is very narrow indeed.

Drumming Without Your Kit

I've been away... I'm back. And I haven't been drumming for a while, following the successful release and launch of the Unison Bends' album 'Liquor And Iron' at the end of November. As forecast, it was a night to remember, particularly as the amazing Alex Patterson graced the album launch with her vocals.

So no drumming for a week or two, apart from in my head. Which leads on perfectly to 'Inside Out', the brilliantly challenging book by drummer Billy Ward that does exactly what it says: explores the mental aspects of drumming.

Apart from making the oft-neglected point that drummers are musicians and have brains, Ward also looks with great honesty at the fact we are also human and beset with all sorts of failings.

There are almost no drum exercises in this book – it's all about you, your musicianship, your strengths and weaknesses, and how you get the best out of yourself in any situation.

When I get back to the practice studio, I know I'm going to be a better drummer – just from reading this collection of perceptive essays.

That's The Way To Say Goodbye

Russ Payne and Unison Bends shared the bill with Leonard Cohen at the weekend – courtesy of DJ Paul Mansell and Marlow FM radio. Paul – who has a John-Peelish quality about him – invited us to play a 'live' set from our new album 'Liquor and Iron' on his eclectic Magic Bus show.

But with Cohen having just departed, it was inevitable that Paul would lace the programme with some of his greatest songs So we kind of alternated.

When Paul took some time to enlarge on the genesis of the Cohen classic 'Suzanne', I was inevitably reminded of my first year at university in London; I lived in a hall of residence with cardboard-thin walls and a neighbour who had just one album, 'The Songs Of Leonard Cohen', which he played through the night. I more or less knew 'Suzanne' off by heart.

On the odd occasions when I saw my Cohen-obsessed fellow student, he looked wan and miserable. Perhaps no great surprise there. Cohen at that time had a reputation for being relentlessly doomy, but he went on to show he was at his best when combining darkness with light, and gloom with a wicked humour. At that, he proved to be the master.

Dream Gig

It seems that some rock 'n' roll dreams do come true... Alex KP, the remarkable singer-songwriter, mentioned on this blog in the summer, was not only persuaded to add her spine-tingling voice to tracks on our new Russ Payne and Unison Bends album, 'Liquor And Iron', but she has agreed to perform with the band at our 'live' album launch in Brighton on November 26.

It promises to be the most exciting gig that the band has done. I wouldn't want to miss it.

Tools Of The Trades

Only just seen this picture which was snatched at the Levellers' Metway Studios in Brighton, during the recording of the Unison Bends album 'Liquor And Iron'. This and more are on the UBs' website. 

It's the only time I think I've been captured with the tools of both my trades to hand – the one for writing and the one for playing.

The laptop and the drums. I can't imagine life without them both!

Complimentary Medicine

There were a couple of nice moments for me during the recent Unison Bends recording sessions at the Levellers' Metway Studios in Brighton – oh ok, ego-stroking moments.

One came in the control room when engineer Jake Rousham was playing back one of our tracks from the first day. "Do I hear Ginger Baker?" he asked, nodding towards my drumming.

"Yes, I'm channelling him from his deathbed," I said, extremely pleased at what I took to be a compliment, but knowing that I will always be many miles behind Mr Baker. *

Then, on the final day, I had to overdub a few bars of harmonica  on an epic Russ Payne song with a touch of the Westerns about it. I only did one take and wasn't at all happy with it.

"Can I do it again?" I asked.

"No, it's good," said Russ.

"I don't think so..." I began to argue.

"It's very Bob," said Jake.

And that was the end of that discussion. I was more than happy.

* For the record, Mr Baker isn't on his deathbed. According to his website, he's had heart surgery and is recovering and may even play drums again.

Seeing A Star

Photo by JACK PASCO

One of the highlights of the recent Unison Bends album sessions in Brighton was getting out into the city after 10-hour days in the studio and checking out the local music scene.

A night out at the Greys pub proved revelatory. Four singer/songwriters were on the bill, and each of them was excellent: interesting songs, great voices and out-of-the-ordinary instrumentation.

But one stood out so far ahead of the others that it was almost unreal. Alex KP sings her truly original material accompanied by her own immaculate guitar and the beautiful playing of her cellist. But what stunned the place into complete attentive silence was her voice, an instrument of passion that leaps from sweet to gruffly bluesy in an instant or two.

She is in the same league as John Martyn and Joni Mitchell (while not being a copy of either one). In short: she is a star.

The Full Kit

Not more drum porn... but the view that I had for three days at the most excellent Metway Studios in Brighton which is owned by the Levellers.

I had the privilege of playing drums for the new album, Liquor And Iron, by Russ Payne and Unison Bends... and working with engineer Jake Rousham, whose CV includes the likes of Nick Cave, Fatboy Slim, Roger Daltrey and Wilko Johnson.

I think we made some great music... and yes, I did have the chance to set up and play the full kit – a pleasure that is so often denied in the small venues that we tend to play.

The Brighton sessions were memorable in many ways and I'll write more about this soon...

Whole Lotta Love And Theft

It's not entirely surprising that it's being claimed someone who wrote the basis of the music for a Led Zeppelin song was not onboard the Zep.

It's alleged that a significant part of 'Stairway To Heaven' was lifted from a song by Spirit.

There are fine lines between inspiration, paying tribute and stealing. Bob Dylan knowingly entitled an album which seemed to borrow musically and lyrically from a variety of sources 'Love And Theft'.

But he didn't credit Muddy Waters for his own take on 'Rollin' and Tumblin'' – although on a later album he did feel obliged to credit Willie Dixon for the Chicago blues riffing of 'My Wife's Home Town'.

Led Zep have previously been found out for lifting chunks of their classic 'Whole Lotta Love' from elsewhere. And one of their best-known vehicles, 'The Lemon Song', with its single-entendre stuff about squeezing lemons, was obviously taken from Robert Johnson's 'Travelling Riverside Blues'.

But then, where did Johnson get it from?

A line in a Summerley/Derbyshire song by our old band Shark Dentists, called 'Murakami's Blues', included the line 'All the lonely people, where do they all come from?' If it had become a major hit (it hasn't yet), then Paul McCartney might have complained to us... although the words have a different melody to that of 'Eleanor Rigby' and were deliberately used in this tribute to author Haruki Murakami to reference the importance that he has always placed on music and lyrics (as well as cats, sheep, wells and bizarre sex).

I'm not a devotee of Led Zeppelin (although whenever Russ Payne and Unison Bends play our version of 'Since I've Been Loving You', it always seems to go down rather well) nor am I a fan of 'Stairway To Heaven'.

The best version I ever heard of it was when I saw Frank Zappa do an epic and apparently amiable version of it on stage... then topping off the climax with the da-da-da-diddy-da-da-daaaah line from'Teddy Bears' Picnic'...

That seemed to say everything there was to say about 'Stairway'... whoever wrote it.

Ride On

I spent some time yesterday playing ride cymbal… two ride cymbals to be precise. One the new Bosphorus Antique Series model (pictured above) and one my old faithful Istanbul model.

I'd been semi-seduced by the sight and sound of the Bosphorus on a visit to the excellent Drumshack in south London. It's a beautiful and clever piece of work and has a variety of lovely, dry sounds. In short, I quite fancied it.

I thought it might cut through the high volume of the Unison Bends band better than my Istanbul. So I took my own ride into the store, set them both up and tried them out against each other.

What this proved was that they were two different instruments, and what I could have with one, I couldn't have with the other. And in terms of volume, they were about the same.

My decision was to stick with what I have. And at the gig tonight, I will appreciate my old ride cymbal having found that it stood up so well to the new kid on the block.

Practise, Practise, Practise...

Bassist Bill Keller and I tried to book a studio in Brighton for a Unison Bends rhythm section rehearsal - and gave up after the third one we tried was fully booked. And this was early evening and midweek.

There are obviously a lot of bands in Brighton. But it's more or less the same story everywhere. Unless you book well in advance, you won't get a rehearsal space.

So where are all these bands playing – apart from in rehearsal rooms? Are they actually gigging or just rehearsing?

The number of venues booking bands seems to be shrinking – and the number of bands seems to be increasing. It's always been tough to get gigs, but now it's getting even tougher.

You could be forgiven for asking: what are we all rehearsing for?

In The Presence Of Greatness

Russ Payne broke up the Shark Dentists a while ago and formed a new band with a fluid line-up called the Unison Bends. That band has been gigging regularly through 2015 across the M4 delta, from London to Bristol, and is now taking a break until December.

But I've carried on drumming. There's a solo percussion project called Moving Target, which should be completed in November, recorded with the invaluable help of the great Dr Simon Scardanelli. And there's been a bit of sitting in...

I had the good fortune to play at a London street festival with some excellent jazz musicians, including Yosi Marshall on sax, Funky Johnny P on bass and Caroline Cooper on keys. And it was Caroline who said I should call in at a Monday-night jam session at the Halfway House in Barnes... a suggestion that led to the resumption of this blog.

The night I finally made it there, Caroline was on keys, alongside the house rhythm section and some horn players. An endless procession of singers took the stage for some great, old-fashioned swing and ballads.

In the break, the house drummer said I was welcome to sit in... and that there was another drummer in the place who would also play.

This proved to be something of an understatement. When the second half kicked off, there was a man sitting at the drums who had palpable style and panache – even before he touched the kit. And when he played, he played with tremendous skill, subtlety and passion. His brush work was sublime and made me feel like I shouldn't be there. On a ballad, in which one over-ambitious singer began to lose the musical plot, the drummer held everything together and rescued singer and band from disaster.

"Do you want to go on next?" the house drummer asked me. "Yes," I lied. How on earth did I follow this guy?

It's ok, I told myself, just stay within your limits... it'll be a ballad or swing... you're not a jazz drummer, but you can do those.

Then as I settled behind the kit, the singer helpfully told us: "The next one's a rumba."

Well, I improvised and survived, and got away with it. And the next one after that was a welcome uptempo swing number.

It was only later that I discovered the identity of the master drummer who had excited and scared me in equal measures.

Like a real gentleman, he came over to me after the second set, introduced himself and said he'd like to talk. He was Brian Walkley, a veteran from the 1960s, who has played with everyone from Long John Baldry, Elton John and Keith Emerson to Sonny Boy Williamson, T-Bone Walker and Stevie Wonder.

Like all good drummers, he had a fund of anecdotes – like the night he was driving Ginger Baker home... but Ginger couldn't actually remember where home was.

If you are anywhere near the Halfway House, go there on a Monday night. It's great entertainment. And if Brian is playing, it will also be a great education in the art of the drummer.