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Band Member Diaries Sat., Aug 26, 2006 10.10 Hotel Acceptable, Tallinn. Morning View I…
II...  III...  The Noise Pollution Unit at breakfast was set to 1950s ballads. At one point this abruptly changed to latin va-va-voom before being dumped, also abruptly, for ballads of the simpering variety. We have a lobby call for 13.30. Tartu is c. 180 kms. from Tallinn. 23.35 Today’s performance was in the Jaani Kirik, Tartu, formerly a brick church for the German community (I was told) and recently restored I…
II...
III...
V...
VI...
A feature of the church is the terracotta figures, both inside & outside… 
… and some of which have been removed for restoration… John Sinks, designer of the Solar Voyager… 
From the Guitarist’s Stool… 
Altar… 
At 18.55 the performance was introduced by Dr. Margus Laidre to an exceptionally generous audience that included all ages who filled the church to capacity, and gave a standing ovation. The longest performance of this week at c. 75 minutes, this was a very hard show for me. But, I trust the process, hold focus & keep pedalling. As has been customary at these performances, after the first c. 20 minutes of playing, grateful thanks were given to… The pastor, worshipping community & custodians of the church, noting the privilege of being allowed to play music within a sacred space;
Dr. Margus Laidre, the ambassador of the sovereign Republic of Estonia to the UK, for inviting Churchscapes to Estonia; my Wife for encouraging me to accept the invitation; and Mrs. Anne Erm & her associates at Jazzkaar for organising the tour; John Sinks, who designed the Solar Voyager, for travelling from the US to set up the rig & the sound; the audience, for attending, and listening to music that is not always easy on pews as hard as English pews.
This particular pointed stick is now completed. Fan Reviews
Many times listening to Soundscapes I had deep associations with the Renaissance music (especially Franco-Flemish composer I have recently heard, Guillame Dufay). Not only because of the sacral character of his music, but also in terms of polyphonically constructed compositions which create a specific sonic cosmos, so evident in pieces like Bringing Down The Light and almost every part of Evensong. This particularly refers to Churchscapes. Since the performances in London and Salisbury on June 2006, the tone of Soundscapes has changed into more rough, yet very organic sound which in a sense resembles to me human voices. It seems to be in fact a farther exploration of a sound presented by RF at the WTC performances and later during December Suite shows along with characteristic for Soundscapes rich, orchestral tones. (Although it’s easy to recognize it already on That Which Passes album, in the piece On Triumph). It’s also interesting that RF adds to some of the improvisations clear guitar tone, creating slow loops of gentle themes appearing in the counterpoint, just like in the final composition from Tartu, Time Quartet. The central piece for me here however is Evensong, beautiful yet contemplative in its emotions rather that straightforward brings brightness and peace amongst dark colors of the whole music. |
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