After a bit of a hiatus I enjoyed the sunshine by doing another one of the excellent walks by Robert Wright that I started many years ago. Today was Deptford, following the beat of an old bobby in 1899.
Not a lot of pics but the walk was fascinating and took me back onto the Thames path briefly which I have followed previously when training for the Walk for Life.
Unfortunately Robert Wright’s websites are no longer working so I can’t link to them.
Finally got my photo’s sorted, here are some highlights from the Lumiere London Festival this year
Wednesday 22nd of February – Sadlers Wells
Well. Not one for the purists. As we trooped in to the small and intimate Lilian Bayliss studio we were greeted by the site of a piano and a drum kit. a piano! No no this won’t do, this won’t do at all, what does Santiago Lara think he’s playing at. Flamenco with all it’s heart wrenching emotional power and jazz, whose where-on-earth-is-it-going-to-go-next rhythms are the epitome of life itself, I can’t see this working. Indeed, after the first song Lara gracefully acknowledges the audience by saying good night, it doesn’t seem quite right.
Well. One standing ovation later, to the sounds of whooping and hollering and other more traditional Spanish noises, I can honestly say that this was some of the most beautiful guitar playing I have ever heard. Lara’s playing was masterful on every song, sometimes driving flamenco power, sometimes light jazzy flourishes that were ably accompanied by the piano (which deliberately or not seemed much quieter in the mix) and drums.
Even with jazz rhythms and breaks, the guitar playing was unmistakably flamenco and it perfectly skipped over the top or drove through the accompaniment with joyful results
Mercedes Ruiz came out for a couple of songs, and perfectly complimented the jazz infused music with some powerfully elegant dancing, that reconfirmed my feelings from the night before, that Flamenco is one of the most sensual dances in the world. Mix it with Jazz however, and that is something beautifully different.
Tuesday 21st Feb at Sadlers Wells
This was a slow burner. Mercedes Ruiz in all her pomp, starting with fingers clicking, her arms swaying hypnotically or even at times snapping with the music, an unflamenco touch that suited the night, that built up into a virtuouso performance with Flamenco elegance and passionate power . The accompanying guitar was soft, the voices and clapping audible but meant to underline the dancing, not distract from it.
Watching Ruiz early on I was mesmerised as usual by the movement, trying to think of the right word for Flamenco. But I couldn’t come up with just one. There is power, there is passion, but as I watched the arms, fingers the body strut and sway, it was the dress that caught my eye. For an instant it reminded me of a snake, but a snake as a temptation of something good.the dress slid with a languid uncoiling around those stomping feet, but there was nothing dark, it was altogether sensual.
At other times, arms raised like a bull, there was sheer power in Ruiz’s performance, she clearly commanded the floor, strutting like a bird with prize plumage through each song.
One of the costume changes saw Ruiz appear in a red suit, that she owned as well as an many male flamenco dancer would hope to do. It was wonderful, the power slipped into elegance, as the trousers allowed the audience to see the technical side of the woman’s dance, normally so well concealed underneath the traditional dress.
As usual the guitar and accompanying singers had their own moments, but it was Ruiz herself that powered the show and at the end, she rightly drew the appreciation of the packed hall that burned with more than a little Flamenco fever.
Another walk from the old London Walks podcast, around Harrow on the Hill.
An all singing, all dancing revue of Michael Jackson’s music career, It couldn’t be Bad could it? Sorry.
Sitting somewhere between a tribute act and a Top of the Pops MJ special, Thriller live delivered the greatest hits of the King of Pop in his unique and thrilling style across the stage of a packed Lyric Theatre.
Starting with the Jackson 5, through to the Jacksons before concentrating on Thriller and Bad, a variety of singers, from the young Kyle Johnson to the fantastic Trenyce Cobbins, who performed a brilliant version of The Way You Make Me Feel, one of my favourite MJ tracks, belted out hit after hit while the dancers performed in homage to the classic videos and choreography of the man himself. From ABC, I’ll be there, Can you feel it, Beat It, She’s out of my life, to Man in the Mirror, Dangerous and Dirty Diana, the costumes, voices and dancers all screamed Michael.
Smooth Criminal was perfectly recreated on the stage, MJ in his white suited, trilby wearing glory as he kicked, whirled, and crotch grabbed his way through the bar. Thriller and Billie Jean were, as expected, highlights and finally got the sluggish Friday night crowd out of their seats.
A couple of songs failed to hit the bar though, Don’t stop till you get enough and Wanna be starting something didn’t quite sound as good, and I left with the feeling that there could have been more. But on reflection perhaps not, Michael’s personal life was under intense scrutiny while he was alive and for once it was enough to sit back and enjoy his legacy as one of the greatest performers of our time, and an inspiration to countless numbers of people around the world, and no, it wasn’t Bad at all.