Black Top
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Black Top

London, England, United Kingdom

London, England, United Kingdom
Band Jazz Avant-garde

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This band has not uploaded any videos
This band has not uploaded any videos

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"Black Top Go Live:"

Check URL to read the piece - Londo Jazz Blogspot - Roger Thomas


"Jazz In The Round - A Bit Late But A Quick Review"

Check URL to read piece - ancient to future


"Jazz In The Round - A Bit Late But A Quick Review"

Check URL to read piece - ancient to future


"Jazz In The Round _ Cockpit Theatre Jan 2012"

Check URL for story. - London Jazz Blogspt


"Black Top Something to Say"

Check piece via URL - The Weekly World


"Black Top #5, Café Oto An evening of surpassing invention and ambition at the London Jazz Festival from the remarkable five-piece"


An evening of surpassing invention and ambition at the London Jazz Festival from the remarkable five-piece
by Peter QuinnTuesday, 13 November 2012
Share
Charting completely new sonic territory: Black Top #5Roger Thomas

For the way it combined mercurial, on-the-fly interplay, seismic textural shifts and listening of the highest order, this gig was remarkable. In the space of two continuous sets there wasn't a longueur to be found, such was the incredible union of Black Top #5's boundary-pushing improv and fine-tuned musicianship.

Saxophonist Steve Williamson, trumpeter Byron Wallen and vocalist Cleveland Watkiss joined Black Top founders, pianist Pat Thomas and vibist/sampler Orphy Robinson, to explore the intersection of live instruments and the technology of dub, reggae and dance floor.

You would search in vain for a pigeon hole in which to place Black Top #5

Boldly plotting lines that embraced jazz past, present and future, from the very opening collage of live instruments, pre-recorded elements and programmed beats, the music was airborne and never in danger of touching the ground. The experience of hearing the kaleidoscopic textural shifts could be likened to viewing an ever-changing tapestry, as set one took us on a journey that embraced fractured grooves, looped vocals, snatches of dub reggae and slowly glissandoing synth sweeps.

It was amazing to hear how Watkiss picked up on some of the resulting patterns that slowly emerged from within the ensemble and then used them as thematic material. In a reciprocal gesture, the instrumentalists would then refashion Watkiss's refrains to their own artistic purpose. Coinciding with the singer's startling, brass-like incantations, a climactic unison riff swept everything before it.

Adding yet another layer to this already rich compound, at various points Watkiss recited excerpts from both The Angel Horn, the collected poems of the jazz musician and poet Ellsworth McGranahan “Shake” Keane (1927-1997), an erstwhile member of alto saxist Joe Harriott's band, and from a book of Jamaican proverbs.

Also featuring the stellar talents of vibist Corey Mwamba, the second set opened with sustained, bell-like tones coupled with Williamson's potent multiphonics, creating an almost oceanic feeling which was just about the closest the group came to referencing Miles Davis (circa In A Silent Way). As ever, we were soon thrust into completely new sonic territory as Watkiss unfurled some classic drum and bass beatboxing.

The sub-bass riff that Orphy Robinson (pictured right) then let loose from his sampling keyboard was of such an intensity that you felt it throughout your entire body. Add in Mwamba's moto perpetuo runs on vibes, some forceful euphonium from Byron Wallen and a full-bodied organ sample that threatened to loosen a few slates off the roof, and you had a vast, thick wall of sound that you could almost step inside of. The piano solo from Pat Thomas that followed was equally remarkable: a thunderously hammered out, descending ostinato in the left hand accompanied by incredible feats of prestidigitation in the right hand as the pianist released mighty torrents of notes. The sextet then brought it home with a final section that seemed to crystalise the evening's music-making, with yet more searing improv from all hands over heavy-duty club beats.

As the saxophonist and composer Wayne Shorter once famously remarked in a 1992 interview with Mel Martin, “The word 'jazz' means to me no category”. You would similarly search in vain for a pigeon hole in which to place Black Top #5. An evening of surpassing invention and ambition, there might be a more creative, more engaging and more inspiring gig at this year's London Jazz Festival. But I somehow doubt it.

The London Jazz Festival continues until 18 November - Arts Desk


"Black Top #5, Café Oto An evening of surpassing invention and ambition at the London Jazz Festival from the remarkable five-piece"


An evening of surpassing invention and ambition at the London Jazz Festival from the remarkable five-piece
by Peter QuinnTuesday, 13 November 2012
Share
Charting completely new sonic territory: Black Top #5Roger Thomas

For the way it combined mercurial, on-the-fly interplay, seismic textural shifts and listening of the highest order, this gig was remarkable. In the space of two continuous sets there wasn't a longueur to be found, such was the incredible union of Black Top #5's boundary-pushing improv and fine-tuned musicianship.

Saxophonist Steve Williamson, trumpeter Byron Wallen and vocalist Cleveland Watkiss joined Black Top founders, pianist Pat Thomas and vibist/sampler Orphy Robinson, to explore the intersection of live instruments and the technology of dub, reggae and dance floor.

You would search in vain for a pigeon hole in which to place Black Top #5

Boldly plotting lines that embraced jazz past, present and future, from the very opening collage of live instruments, pre-recorded elements and programmed beats, the music was airborne and never in danger of touching the ground. The experience of hearing the kaleidoscopic textural shifts could be likened to viewing an ever-changing tapestry, as set one took us on a journey that embraced fractured grooves, looped vocals, snatches of dub reggae and slowly glissandoing synth sweeps.

It was amazing to hear how Watkiss picked up on some of the resulting patterns that slowly emerged from within the ensemble and then used them as thematic material. In a reciprocal gesture, the instrumentalists would then refashion Watkiss's refrains to their own artistic purpose. Coinciding with the singer's startling, brass-like incantations, a climactic unison riff swept everything before it.

Adding yet another layer to this already rich compound, at various points Watkiss recited excerpts from both The Angel Horn, the collected poems of the jazz musician and poet Ellsworth McGranahan “Shake” Keane (1927-1997), an erstwhile member of alto saxist Joe Harriott's band, and from a book of Jamaican proverbs.

Also featuring the stellar talents of vibist Corey Mwamba, the second set opened with sustained, bell-like tones coupled with Williamson's potent multiphonics, creating an almost oceanic feeling which was just about the closest the group came to referencing Miles Davis (circa In A Silent Way). As ever, we were soon thrust into completely new sonic territory as Watkiss unfurled some classic drum and bass beatboxing.

The sub-bass riff that Orphy Robinson (pictured right) then let loose from his sampling keyboard was of such an intensity that you felt it throughout your entire body. Add in Mwamba's moto perpetuo runs on vibes, some forceful euphonium from Byron Wallen and a full-bodied organ sample that threatened to loosen a few slates off the roof, and you had a vast, thick wall of sound that you could almost step inside of. The piano solo from Pat Thomas that followed was equally remarkable: a thunderously hammered out, descending ostinato in the left hand accompanied by incredible feats of prestidigitation in the right hand as the pianist released mighty torrents of notes. The sextet then brought it home with a final section that seemed to crystalise the evening's music-making, with yet more searing improv from all hands over heavy-duty club beats.

As the saxophonist and composer Wayne Shorter once famously remarked in a 1992 interview with Mel Martin, “The word 'jazz' means to me no category”. You would similarly search in vain for a pigeon hole in which to place Black Top #5. An evening of surpassing invention and ambition, there might be a more creative, more engaging and more inspiring gig at this year's London Jazz Festival. But I somehow doubt it.

The London Jazz Festival continues until 18 November - Arts Desk


"ON THE FESTIVAL FRINGE…. BLACK TOP RISES IN DALSTON"

Monday night and our destination is improv central – Cafe Oto – Dalston on the East side. We have gathered to hear BLACK TOP who, on this night, will feature six homegrown Master Musicians that continue to shape this thing called “jazz” in our own inner city.


Over on the Southbank the London Jazz Festival is hosting two highly anticipated and sold out sessions. The legend that is Herbie Hancock is poised to deliver Plugged In: A Set Solo Explorations while Bill Frissell’s quartet is premiering, The Great Flood, an 85 minute soundtrack to a film inspired by the most destructive river flood America ever experienced. As Black Top didn’t even score as a “Festival Pick” in the Jazz Festival newspaper we should have felt adrift, lost in the Festival’s oversubscribed margins but the session is sold out and there’s a real sense of anticipation in the air.

Cafe Oto has provided a home for four previous Black Top sessions and it’s DIY ambience succeeds in recreating what I imagine to have been the the vibe in Sam and Bea Rivers’ legendary New York Loft sessions. Black Top is vibes-master Orphy Robinson and the bear like experimental pianist Pat Thomas. The duo then extend an invitations to a like -minded fellow musician like saxophonists Steve Williamson and Jason Yarde, vocalist Cleveland Watkiss or trumpet player Byron Wallen to collaborate.

So, just to get this right. On this night. We have not one guest but four! Onstage we have Orphy Robinson – original Jazz warrior who tours the world with virtuoso violist Nigel Kennedy; Pat Thomas – an Oxford based master improviser with a legendary reputation across Europe; Cleveland Watkiss – an original Jazz warrior and one-time member of the Metalheadz crew; Steve Williamson – an original Jazz Warrior and the most innovative saxophonist of his generation; Byron Wallen – a trumpet player who plays with Jack De Johnette, Andrew Hill and Mulatu Astatke and whose knowledge of global musics is Deep!and finally, a new generation marimba master, Corey Mwamba.

There is no plan, just a few potential lift-off points for the journey that we are about follow. All onstage are of African descent. Four have roots in Jamaica and out the buzz and crackle of Orphy’s electronic devices emerges the ghostly sounds of Count Ossie and the Mystic Revelation of Rastafari and a narration by Sam Brown. Pat Thomas concentrates on his electronic pulses and shards of sound and Steve Williamson stalks the left hand side of the stage in his macintosh wafting melodies from his tenor that Cleveland picks up and feeds into his own electronic devices.

The interplay between these musicians is respectful. Filled with awareness of each others potential they nudge, play with, cajole a riff or a fleeting melody. It’s almost leisurely and and then without warning they lift it skywards, filling the room with sound until it builds and fractures only to find another elusive pulse to settle on. Cleveland delivers a Jamaican proverb. The singer is resplendent in a red silk scarf and shirt and he regularly dips into the poetic works of Shake Keane – a trumpeter, a forefather. The tradition continues and respect is paid. Shake Keane!

It feels like Orphy, who remains in the shadows, is the helmsman on his JX3P keyboard. There are smiles all round as he delivers his inspired choice of voice recordings (that have you straining to connect with and decipher) and Studio One classics… ‘You better run, run, run, as fast as you can…”. He even pays tribute the Dalston’s reggae infused past with Rupie Edwards’ ‘Irie Feelings’… ‘Skanga.. .Skanga… Skanga…’

In the second set Corey Mwamba steps in on marimba which Orphy has largely ingnored so far. They enjoy a racey duet that lifts the whole room but in the blink of an eye Orphy slips back into the shadows to work his mischief. Steve Williamson soprano slung round his neck opts for blasts on the tenor. He is caught between Pat’s insistent electronic riffs and a constant electronic buzz from Orphy behind him. He needs more in the monitors and it pressures him to take his solos up a couple of notches.

The force field generated by Steve Willamson’s explorations are taken up by Byron Wallen who dazzles with lyrical free flowing passages and solos with wild piercing blast of sound. He has complete control of that trumpet and his breathing is amazing. When he picks up an instrument that’s a cross between a flugel horn and a euphonium we are only left to marvel at the fluidity of his statements and the blasts of sound he can conjure up.

What’s compelling about Black Top? They groove. I find it hard to stand still when they’re playing. Cleveland is schooled in the art of beat boxing. He has lived through the junglist nights of rolling bass lines and waves of drum beats and on the mic he effortlessly carves out and crafts his own grooves. On this night, there are wordless African songs – maybe echoes of what he heard on a recent trip to Ghana. There are more poems - ancient to future


"LIVE REPORT: London Jazz Festival"

"While Jazz In The New Europe is being celebrated at venues across town, the best of the diverse British scene is also well represented. One of the many clashes over the week saw us miss the great Manchester saxophonist Nat Birchall who along with Matthew Halsall is part of a quiet little movement of spiritual jazz in the North of England. British jazz does provide us with the most creative set of the week however, in the form of the heavy London improv collective Black Top. Originally planned as a trio performance at Café Oto with vibes/steel pan player Orphy Robinson, keyboardist Pat Thomas, and saxophonist Steve Williamson, the collective actually debuted at the Dalston venue as a duet when Thomas had to pull out of the gig. They have since returned to Oto as a trio with trumpeter Byron Wallen, but tonight's performance of this occasional project promises to be the heaviest yet, with all the aforementioned players alongside ex Metalheadz jazz/improv vocalist Cleveland Watkiss and Corey Mwamba on vibes.

It proves to be an incredibly powerful yet eloquent session, exploring the interaction of live instrumentation and technology in jazz improvisation from a Black British perspective. There is no set plan for tonight; the band relying instead on a freeform intuition gained not only from the members' grounding in the hugely influential Jazz Warriors but also through their shared Jamaican roots. This foundation in reggae as well as jazz is evident both in the use of echo and effects, but also the ethereal samples of roots classics that permeate the set. This is a band deeply respectful of their heritage, and when Watkiss takes a break from improvising with beat box and electronics, it's to read a poem from the great British Caribbean trumpeter Shake Keane. When the power of the ensemble subsides after 90 exhilarating minutes, those lucky enough to witness this gathering are left with no doubt that free can also certainly be funky. " - The Quietus


"LIVE REPORT: London Jazz Festival"

"While Jazz In The New Europe is being celebrated at venues across town, the best of the diverse British scene is also well represented. One of the many clashes over the week saw us miss the great Manchester saxophonist Nat Birchall who along with Matthew Halsall is part of a quiet little movement of spiritual jazz in the North of England. British jazz does provide us with the most creative set of the week however, in the form of the heavy London improv collective Black Top. Originally planned as a trio performance at Café Oto with vibes/steel pan player Orphy Robinson, keyboardist Pat Thomas, and saxophonist Steve Williamson, the collective actually debuted at the Dalston venue as a duet when Thomas had to pull out of the gig. They have since returned to Oto as a trio with trumpeter Byron Wallen, but tonight's performance of this occasional project promises to be the heaviest yet, with all the aforementioned players alongside ex Metalheadz jazz/improv vocalist Cleveland Watkiss and Corey Mwamba on vibes.

It proves to be an incredibly powerful yet eloquent session, exploring the interaction of live instrumentation and technology in jazz improvisation from a Black British perspective. There is no set plan for tonight; the band relying instead on a freeform intuition gained not only from the members' grounding in the hugely influential Jazz Warriors but also through their shared Jamaican roots. This foundation in reggae as well as jazz is evident both in the use of echo and effects, but also the ethereal samples of roots classics that permeate the set. This is a band deeply respectful of their heritage, and when Watkiss takes a break from improvising with beat box and electronics, it's to read a poem from the great British Caribbean trumpeter Shake Keane. When the power of the ensemble subsides after 90 exhilarating minutes, those lucky enough to witness this gathering are left with no doubt that free can also certainly be funky. " - The Quietus


Discography

HOT NEWS: Black Top will release a live album via Babel records in June. It was recorded at Jez Nelson's Jazz In The Round at the Cockpit Theatre and on the album Pat and Orphy are joined by special guest, stellar saxophonist Steve Williamson.

Steaming of live recordings from other concerts is imminent via soundcloud.

Photos

Bio

BLACK TOP: The Journey So Far
Black Top was initiated in the latter part of 2011 by Jazz Warrior and multi-instrumental Orphy Robinson and pianist / sound sculptor Pat Thomas. Conceived as a shape shifting ensemble, Black Top explores the intersection between live instruments and lo-fi technology. They combine twisted loops, samples, dub-effects that draw on their Afro-Caribbean roots and with the spirit of pure improvisation which is rooted in the free jazz experiments of NYC musicians like Sam Rivers. The result is always a journey that conjures evocative and dramatic soundscapes which mirror Black Tops expansive global world view.
The ensemble made its debut at Dalstons innovative and prestigious Caf Oto and in doing so found a regular home for their excursions. While Orphy and Pat throw around random phrases like Archaic Nubian Step Dub this meeting of musical minds is dedicated to developing working relationships with virtuoso musicians from across the cultural and generational spectrum who can match their own technical dexterity and handle the element of surprise.
In 2012 Black Top performed at The Gateshead Festival at the Sage and at the Jazzfestival Konfrontationen in Nikelsdorf, Austria where they ended up performing in their own right and with The Necks. They started the year with a dynamic set at Jez Nelsons (BBC Radio Jazz on 3) Jazz In The Round and then introduced varying combinations into the Cage Oto setting. From trio sets that included saxophonists Steve Williamson, Shabaka Hutchens and Jason Yarde, the ensemble began to expand embracing the vocals of Cleveland Watkiss, the flugel horn of Claude Deppa, the harmonica of a youthful Philip Achille (who they encountered busking on the tube) and the trumpet of Byron Wallen. The latter also appeared as part of Big Black Top a sextet which featured the words of Shake Keane and the drums of the Mystic Revelation of Rastafari.

Future sound explorations will see Black Top uniting with violinist Satoko Fukuda, Nigerian vocalist Fumi Okiji, Caroline Kraabel (alto) and South African master drummer Louis Moholo. A two day residency, with guest musicians (inc. former Ornette Coleman bassist Jamaaladeen Tacuma), is scheduled to take place at Caf Oto during this years London Jazz Festival.

Future Black Top Sessions:
April 2013: Cafe Oto - Black Top inc. SATOKO FUKUDA / violin + FUMI OKIJI / voice.
July 2913 : Cafe Oto: Black Top inc. Caroline Kraabel /alto sax + Phillip Achille /Harmonica
Sept 2013: Cafe Oto - Black Top (line up to be confirmed)
Nov 2013: London jazz Festival - Cafe Oto 2 day Residency feat Jamaaladeen Tacuma
MORE INFO: https://www.facebook.com/Blacktopia?fref=ts

Band Members