Thursday, July 28, 2011
thursday's lunchbox
Review: the return of Steve Williamson
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Steve Williamson. Photo credit: Roger Thomas |
(Purcell Room,Southbank Cenre, July 23rd 2011. Review by Roger Thomas)
Among all the Jazz Warriors, Tomorrows Warriors, and the many bands that have come out of that movement, Steve Williamson is the Forgotten Warrior. A key figure in the original Jazz Warriors, he has scarcely played in public for more than a decade. He decided to shift his energy and his sincerity to focus on imperatives which were more important to him. The good news for the future is that the time away has also allowed him to become productive and given him fresh inspiration towards writing/composition.
The story of Steve Williamson's involvement in this conert is in Gary Crosby's preview for LondonJazz.
There was a packed house, and the programme had a logic, a sense of building towards a climax. The first set was given up to showcasing arrangements by Tomorrows Warriors alumni, namely Peter Edwards, Binker Golding, James Mckay and Jason Yarde. A highlight of the second set was Steve Williamson's composition Soon Come. Gary Crosby had explained to the audience that Soon Come is a West Indian term similar to the Spanish "maƱana." And Jason Yarde's arrangement had got right into the spirit: apparently Jason had delivered the parts half an hour before the end of the band's last rehearsal. Literally, with the ink still wet! Denys Baptiste's authoratitive tenor solo gave that tune a kick, a shift in gear, as he delivered a flurry of urgent notes, as if he needed to get them all before the closing of a door.
But the best, the main event, came with the last number, Waltz For Grace, the piece Steve wrote in memory of his sister who passed away at a very young age.
Wiliamson enters the stage with a shy grin acknowledging the applause. Joined by vocalist Myrna Hague, known as Jamaica's First Lady Of Jazz, they position themselves as Steve starts to ease his way into the song with some light soprano lines and the occasional pause for thought followed by more delicate lines before signalling for the song to begin proper. This James McKay arrangement allowed for every facet of the song to be appreciated with moments of poignancy as Steve's soprano intertwined with sweet tones of Myrna's voice. It was one of those moments where you knew you' heard a piece of history in the making, and didn't want the song to end knowing that it was the last song. However, the audience showed such appreciation that Gary Crosby and Steve returned to play a bass and soprano version of John Coltrane's Equinox.
Let's hope to hear more from Steve Williamson, and of the new music he has been working on in the very near future. Welcome back to the Warriors.
Part of Great British Jazz produced for the South Bank Centre by Serious, and of the London is the Place for Me weekend celebrating seminal moments in black British music. Tomorrow's Warriors is a weekend resident at Southbank Centre.
Pre-school kids reveal their instincts for science
No wonder those introductory chemistry kits sell so well. By four years of age there's already a little scientist inside us, just bursting to get out and into the laboratory of life. That's according to Claire Cook and her colleagues, who have provided further evidence for the precocious scientific skills of young children.
Sixty 4- and 5-year-olds were shown a box-shaped toy that played music and lit up when beads were placed on it. Crucially, some of the children were shown that each of four beads, placed one at a time on the toy, activated it. This was the "unambiguous condition" that implied any old bead is capable of activating the toy. Other children were in an "ambiguous condition": they were shown, by placing beads one at a time on the box, that two of the beads activated it, but two of them didn't. In both conditions, the researchers said afterwards: "Wow, look at that. I wonder what makes the machine go?", followed by: "Go ahead and play".
Next came the key exploratory phase of the study. The children were given two pairs of new beads (different from those seen earlier). One pair was fixed together permanently. The other pair could be snapped apart. They had one minute to play.
Here's the take-home finding: children who'd earlier seen that all beads activate the toy were far less likely to bother snapping apart the snappable bead pair to test which beads activated the toy and which didn't. In fact just 1 out of 20 children in that condition bothered performing this "experiment". By contrast, 19 out of 40 children in the ambiguous condition snapped apart the snappable bead pair and tested which specific beads were capable of activating the toy and which weren't.
A second study was similar to the first, but this time the children were only given a single bead pair that was permanently fixed. This time, to identify precisely which beads activated the toy and which didn't, the children had to come up with the entirely original idea of placing the pair on the toy in such a way that one bead made contact with its surface whilst the other bead hung over the edge. Again, children presented initially with ambiguous evidence (some beads activated the toy, some didn't) were far more likely to perform this original "experiment" to isolate the beads with the activating effect (9 of the children did so; 45 per cent of the group). By contrast, kids shown unambiguous evidence earlier (in which all beads were shown to have an activating effect), almost never performed the "experiment" (just one of them did so; 5 per cent of the group).
It's not simply the case that children played in a more varied manner after seeing the ambiguous demonstration at the study start. Children differed from each other in the variety of their play, but kids in the unambiguous group played on average with just as much variety as kids in the ambiguous group. It's just that the latter kids were specifically more likely to perform the crucial bead "experiment" to find out which were the activating ones.
"These results suggest that pre-schoolers attend to the kinds of evidence that distinguish states of knowledge from states of uncertainty, and generate novel interventions that isolate variables and maximise the potential for information gain," the researchers said.
"... [S]cience requires knowing where there is something to be learned and also how to learn it. Our results suggest that children are sensitive to all of these factors and integrate them to guide exploratory play. We believe these results tighten the analogy to science that has motivated contemporary theories of cognitive development."
_________________________________

Link to earlier Digest item: Cultivating little scientists from the age of two.
This post was written by Christian Jarrett for the BPS Research Digest.
Review: Irma Thomas
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Irma Thomas |
Irma Thomas
(Barbican Centre, July 24th 2011, review by Kai Hoffman)
New Orleans Soul Queen Irma Thomas performed at the Barbican this week – her first London appearance in twenty years. With the support of her top-calibre band – who played the entire evening from memory, including most requests from Irma’s 51-year back-catalogue – Irma’s clear, powerful voice still has the same wonderful quality from recordings she made back when she first reached commercial success in the 1960s.
Walking out onto the Barbican stage to a standing ovation, Irma’s strong gospel sound was showcased on signature tunes like ‘It’s Raining’ and ‘In Between Tears’ – and it was easy to understand why the Rolling Stones loved her version of ‘Time Is On My Side’ so much, that they decided to record it themselves.
With the announcement that she never mixes her gospel songs with her rhythm and blues, Irma quickly began to ask the audience for requests – and built the entire set on tunes from fans. With the effortless, relaxed energy of a lifetime of performance, the requests included ‘Take a Look at This Heart’, ‘Breakaway’, ‘Ruler of My Heart’ and ‘You Can Have My Husband (But Please Don’t Mess With My Man.’ Her stunning delivery on ‘This Bitter Earth’ and other ballads demonstrated that masterful ability to draw the audience right into the song – and echoed with the experience of surviving Hurricane Katrina.
With the slick polish and showmanship that only comes with experience, Irma’s band kept solos brief but made a stylish, tasteful statement fitting to each tune – the guitarist, hammond and saxophone particularly stood out.
In an age where auto-tuning and airbrushing have become practically second-nature for many, it was incredibly refreshing to hear such a huge, raw, healthy voice. At the age of seventy, and with numerous awards to her name, Irma Thomas is still in fantastic form, with a powerhouse belt and a completely natural sound.
Part of the Barbican Centre's Blaze Soul Series
Walking out onto the Barbican stage to a standing ovation, Irma’s strong gospel sound was showcased on signature tunes like ‘It’s Raining’ and ‘In Between Tears’ – and it was easy to understand why the Rolling Stones loved her version of ‘Time Is On My Side’ so much, that they decided to record it themselves.
With the announcement that she never mixes her gospel songs with her rhythm and blues, Irma quickly began to ask the audience for requests – and built the entire set on tunes from fans. With the effortless, relaxed energy of a lifetime of performance, the requests included ‘Take a Look at This Heart’, ‘Breakaway’, ‘Ruler of My Heart’ and ‘You Can Have My Husband (But Please Don’t Mess With My Man.’ Her stunning delivery on ‘This Bitter Earth’ and other ballads demonstrated that masterful ability to draw the audience right into the song – and echoed with the experience of surviving Hurricane Katrina.
With the slick polish and showmanship that only comes with experience, Irma’s band kept solos brief but made a stylish, tasteful statement fitting to each tune – the guitarist, hammond and saxophone particularly stood out.
In an age where auto-tuning and airbrushing have become practically second-nature for many, it was incredibly refreshing to hear such a huge, raw, healthy voice. At the age of seventy, and with numerous awards to her name, Irma Thomas is still in fantastic form, with a powerhouse belt and a completely natural sound.
Part of the Barbican Centre's Blaze Soul Series
Wednesday, July 27, 2011
(Victoria's Secret) Sunny Yellow Tube Dress
So this was the dress I wore to the concert of Incubus.

yellow tube sundress
I'll slowly build the look into the complete outfit you've seen in my previous post.
But let me talk about this dress.

I ordered a few items from Victoria's Secret Online store and they came in a parcel in just two weeks time. I was super excited to try them on.
Concerts can be sweaty and crowded and one needs an outfit that allows you to breathe.
Despite being a rock concert, I wasn't in the mood for a edgy style so I opted something sweeter. A bright yellow sundress it was.

It's breezy, casual, cute, sweet and loud.

I love the cutting of this dress, most tube dress can be really unflattering on me, but this made me look skinny, accentuating my waist and puffing out my chest, AND hiding my heavy bottom.

And knowing that I would be attending a pre-cocktail event (more like pre-beer event), where there would be airconditioning, and it was the night, means the air could get a little chilly on the way there and back home; I decided to throw on an army jacket, from Victoria's Secret too.

It also helped made the look a bit edgier than just plain sweetness.


Some necklaces.
and some gladiator sandals.

And done!

too hot at that moment to wear the jacket. Feel free to use your imagination.
Tube Sundress: Victoria's Secret
Army Jacket: Victoria's Secret
Gladiator Sandals: Aldo
Necklaces: from Bangkok, bought at different visits.
Print Tote: reef
Bra: La Senza

yellow tube sundress
I'll slowly build the look into the complete outfit you've seen in my previous post.
But let me talk about this dress.

I ordered a few items from Victoria's Secret Online store and they came in a parcel in just two weeks time. I was super excited to try them on.
Concerts can be sweaty and crowded and one needs an outfit that allows you to breathe.
Despite being a rock concert, I wasn't in the mood for a edgy style so I opted something sweeter. A bright yellow sundress it was.

It's breezy, casual, cute, sweet and loud.

I love the cutting of this dress, most tube dress can be really unflattering on me, but this made me look skinny, accentuating my waist and puffing out my chest, AND hiding my heavy bottom.

And knowing that I would be attending a pre-cocktail event (more like pre-beer event), where there would be airconditioning, and it was the night, means the air could get a little chilly on the way there and back home; I decided to throw on an army jacket, from Victoria's Secret too.

It also helped made the look a bit edgier than just plain sweetness.


Some necklaces.
and some gladiator sandals.

And done!

too hot at that moment to wear the jacket. Feel free to use your imagination.
Tube Sundress: Victoria's Secret
Army Jacket: Victoria's Secret
Gladiator Sandals: Aldo
Necklaces: from Bangkok, bought at different visits.
Print Tote: reef
Bra: La Senza
wednesday's lunchbox
Annie's Mac & Cheese (with added mozzarella to make it exceptionally gooey) + orange pepper slices + lemonade AND Sha Sha Gingersnaps for treats + applesauce.
Jamie Cullum launches The Big Audition
Fran Hardcastle reports on the launch by Jamie Cullum of The Big Audition at Pizza Express Tuesday 26 July.
Pizza Express fully embraced every facet of modern technology last night to launch their nationwide talent contest, The Big Audition.
Not only was Pizza Express founder Peter Boizot there to watch Jamie Cullum launch the competition, the whole world was there too. Cullum performed not only to the room but to audiences watching on Facebook and Youtube with a set list determined by fan requests on Twitter.
Jamie's first gigs were at Pizza Express in Old Town in Swindon, earning £50, a pizza and a Peroni. His debut at Dean Street had A&R from Sony on one side of the room and Universal on the other. Cullum showed last night that, like all the major successes in music, he is a hugely entertaining showman. He and his band performed with a boundless contagious energy.
The Big Audition aims to find the next big thing in music, of all genres, holding auditions across the country for a prize of £5000 and gig at Pizza Express in Dean Street. Taking technology a step further, by advancing on the devices used in singing birthday cards, one of the more unusual prizes on offer is to become the music of the Pizza Express takeaway pizza box. I kid you not.
http://www.pizzaexpress.com/the-big-audition
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