The Celebration Band Newsletter: latest news is at the top.
| 2005-04-19 |
| "A new world music documentary film featuring Trevor Watts" |
| Whistling Mule Productions is currently in pre-production for a new world music documentary film to be shot later this year. Working title "The Ever Winding Road" will follow British world music and rhythm legend Trevor Watts and his young percussionist Jamie Harris whilst on a world tour. Starting at the Roaring Hoofs Festival in Mongolia it will document their musical adventures as they work with musicians from all corners of the globe to put together a special world music collaboration tour in Europe 2006. www.theeverwindingroad.com |
| 2004-09-02 |
| "Trevor Watts - Jamie Harris Duo" |
| Trevor Watts (Alto & sop saxes/percussion) Jamie Harris (Percussion/Voice) About the group and music. Trevor and Jamie have been working together now since around 1999. This is approximately when Trevor formed his 8 piece Celebration Band. That group has been touring very successfully all around the World. 2003 was in the USA & Canada, and was a big hit both from the audience, critic\'s and promoters points of view. In 2005 the duo will be playing in Latin America, USA, New Zealand & Australia as well as Europe. The music of the duo has now become a distillation of the processes Trevor started to evolve originally through the innovations and development of \"free improvisation\" in the 60\'s alongside John Stevens, Evan Parker and Derek Bailey within the Spontaneous Music Ensemble right through to his multi cultural \"Afro/European\" Moire Music Drum Orchestra in the 80\'s & 90\'s and more recentely the Celebration Band. This smaller and more concise context has given Jamie and Trevor much more room for self expression. And a platform to experiment with clarity on all rhythmic/melodic ideas they wish to explore. The music uses similar principles as in all Watts\' main groups. Primarily that it is a rhythm based music, and melodies and improvisations are locked in together and develop out of each other. Influences range from Celtic, North and West African through to more freely played ideas. Strong rhythms and original ideas related to those rhythms are at the basis of it all. We feel we can be creative and expressive within a context that anyone can enjoy! We are aware of the problems of a unit this small, that it could possibly get boring & repetitive, but we have worked hard at the music in order to give it a wide variety of textures and colours. And also to keep ourselves as well as the audience, fully absorbed. We have gone for the \"big\" sound within the music, rather more than the intimate more reflective side. Although we touch on that also. Trevor is steeped in percussive related music having had his Drum Orchestra that featured 5 drummers from West Africa for about 16 years. Before then, rhythm was a major part of his studies in everything he did. Currently he plays in a Mexican based group called Urukungolo, and that features one of the World\'s best in Brasilian percussionist Cyro Baptista, who is currently based in New York. Trevor has also worked with top Djembe player Adama Drame from Burkina Faso. And played with a Traditional group of Sudanese musicians from the West of Sudan at the Khartoum Festival as well as his own previously mentioned Moire Drum Orchestra. Jamie has taken on the challenge of learning and developing as much as he can from this association and is emerging certainly as one of the best and most creative percussionists in Europe and a great singer as well! A very sympathetic and supportive player and totally dedicated to the music. Currently he is the perfect foil for Trevor! |
| 2004-03-05 |
| "ALL ABOUT JAZZ MAGAZINE - NEW YORK CITY, USA. MARCH 2004 ISSUE." |
|
A Life of Musical Integrity
by Trevor Watts
It's always been important for me to follow my muse, whatever that is. It
seems to manifest itself in a subconscious need to do something, change
something, explore something. Entwined with a feeling of staving off habit,
boredom and self satisfaction. The need to explore new avenues for oneself.
These new avenues may not be so for others. But I have always been a great
believer in discovering for yourself. More fun that way, and who's to say
it's wrong? Probably comes from a background in the industrial North of
England in the 50's when there was very little "live" music around, and only
the prospect of a job in a factory for the rest of your life. (Trevor Watts is an English reedman who has played and toured internationally for 40 years (though never stepping foot inside New York City as a player for an inexcusable lack of invitations). For more information, visit trevorwatts.whistlingmule.com) |
| 2004-02-26 |
| "Trevor Watt`s 65th birthday gig featuring the Celebration Band" |
| The Vortex Club 139-141 Stoke Newington Church Street (close to High Street end |
| Thursday Feb 26th. Trevor Watt`s 65th birthday gig featuring the Celebration Band is at the Vortex Club Stoke Newington Church Street (close to High Street end) London. info@vortexjazz.co.uk Admission £8 (but there are concessions). |
| 2004-02-26 |
| "TREVOR WATTS AND THE CELEBRATION BAND THURSDAY FEBRUAURY 26TH 2004." |
| VORTEX CLUB STOKE NEWINGTON CHURCH STREET LONDON. |
| IT'S TREVORS BIRTHDAY! A RARE APPEARANCE IN LONDON BY TREVOR WATTS AND HIS 8 PIECE CELEBRATION BAND. THEY'LL BE PLAYING MATERIAL FROM THEIR FIRST CD, AND ALSO NEW MATERIAL FOR THE UP COMING CD "LIFE AND MUSIC". "this was the best show that Outre Music has put on in it's 5 year existence!! Thanks so much for coming!" - Michael Eisenberg, Chicago promoter 2003. "I want to tell you that your concert was one of the finest concerts I have heard in a long time. First class players, superb writing and arranging what more could you ask for". - Jacques Emond, Ottawa. Artistic director of Ottawa Jazz Festival 2003. |
| 2004-02-01 |
| "Check the Audio Video section for Trevor`s part in filmmaker Jorg Jeshel`s documentary "Lied von der Steppe"" |
| Check the Audio Video section for Trevor`s part in filmmaker Jorg Jeshel`s documentary "Lied von der Steppe" produced by Nachtaktivfilm ©2003 in Mongolia at the Roaring Hoofs festival. Windows media format .wmv |
| 2003-12-30 |
| "Interview by Marc Van der Voort of the Brabants Dagblad, Holland. " |
| *How did the Celebration Band start out? Did this band develop out of the
Moiré Music bands, or is it a new direction for you? ANSWER: 1) It's not an entirely new direction for me as I had large Moire ensembles (up to 14 pieces) in the late 80's. But it's a development from those types of groups, and also incorporating all the experience from my African Drum Orchestra of the 90's in terms of the rhythmic emphasis. I am not trying to play African music, or any other kind of music. But to put the music together as it comes up. So many influences are in the music. But I try to do it in an homogenous way, so that it sounds natural, and not like bits all put together. I think we achieve this because it's more like the music takes me to a place, rather than I take the music somewhere. In the end though, it's a bit of both. I like the band and music to be a continuing learning process for us all, and so far it has been that. So it's never a completely finished article. I think to be on the edge of that change is the creative area for the music. I am also experimenting a lot with the time signatures and rhythms and putting them together how I hear it. It's an exciting process for us all. The thing that this group has over a lot of other groups is that we're very much like a small community of good friends. And this is more important than just having a group of good musicians. They're good musicians also, but audiences can see and hear the togetherness of this group community very easily as it really comes across. *In the sixties/seventies you became one of the pioneers of the UK free jazz scene; do you still feel affinity with the free jazz scene? ANSWER; 2) I was an initiater of "free music" in the 60's along with Willem & Han from Holland, and Evan Parker & John Stevens and others over here. And of course at times we all played together. When I started to develop that music it was the right time in every way, socially, politically etc. It felt like a very creative time, an open time, and a time when artists and musicians of all kinds got together and experimented. Those experimentations have been consolidated now, and although there's some newish developments on that scene (i.e. laptops etc). It doesn't hold the same charm as it did for me. I do still play improvised music occasionally. Mainly with pianist Veryan Weston as a duo. Trouble is on that scene a lot of people were very particular as to how they liked their free music to sound. So I started to get disinterested when in Europe in the 70's you were definately out of the "inner circle" if you played rhythm or melody. As I'm mainly a rhythmic and melodic player, and these areas still fascinate me I drifted away. I enjoy improvised music as much as anything else if I feel something that is being played has a truly creative spirit behind it, but then that goes for ALL kinds of music. So I enjoy all kinds of music, not for the style, but the way it's being played. Free music's been around a long time now, and most of it isn't any freer than anything else. You can't play the same way for 30 years and still be radical and free, and some of the musicians on that scene have done that. That's also o.k. as long as they don't claim the "high ground", but just play that way because that's what they enjoy. Some journalists and players on that scene try to claim that the music is intrinsically superior to other types, and in that they have something in common with the "be bop" players who feel that you have to play that first before doing anything else. Not to put too fine a point on it. That is a load of old bollocks!! *Non-western music, and African music in specific has become one of your biggest interests, especially in the Moiré Music groups. What attracted you as a composer in non-western, ethnic music? ANSWER; 3) What attracted me to non Western music was the repetitive, meditative and group aspects of the music. It wasn't just about being a great player, it was having an understanding of all the component parts of that music, and the higher state of concentration that that brings. I think a lot of Westerners misunderstand drones, tonic notes and repetitive rhythms etc, and think of them as boring. Well they are if you cannot get your head into it. But the feeling that comes from the collective of the seperate parts of rhythmic playing is very spiritual. I cannot think of a better word. The collective music making of a group can get you very "high". And I wanted to capture some of that feeling within the compositions. I think I'm getting there gradually with this group of people because we're all getting an understanding of what this way of playing is all about. At best, the playing starts to take you along. So it gets away from the conscious thinking process. If you go with it, it can make you feel very good. But one needs some patience for this also. Today everything is possible in terms of buying food, CD's clothes from everywhere, and people lose patience with things sometimes if it's not an instant buzz. I think the buzz lasts longer if you have to work for it a little, and with that work process you learn how to get there as an individual also. *The music of the Celebration band is sometimes compared to minimalist, repetitive music; is this trancelike aspect of your music a coincidence, or are you really influenced by these types of musical styles? ANSWER; 4) Regarding minimalist composers. No I wasn't into listening to them at all. However I can guess that they were listening to the same stuff as I was at the same time in the 60's. A lot of Indian music and music of other kinds. Ancient music that had all those aspects that minimalist composers picked up on. So I guess you could say that I have some of the minimalist composer in me. But remember I was coming up at the same time as these guys but on a different scene, and with less publicity to my name. And enjoying the traditional musics of the World. So there lay my true influences. I feel I have outgrown all of this now, and am putting music together the way I want without thinking about where the original idea for that type of rhythm etc, came from. Because I am not one of these "rhythm studiers" who learn a rhythm, then learn the name of that rhythm that some particular group of people use (it's bound to have another name for another group of people elsewhere anyway). In any case you'll get a modern African group like Baba Maal or something, and they're experimenting with the rhythms, then they'll give it a name. A bit of sales technique. Well I do the same with this group, but won't give it a name. In any case the area of rhythm is to be indulged in and enjoyed. Learning something and putting a name to it, and then saying "this is called this and should be played like this" does NOT interest me. I may be using a similar rhythm, but I'll put to it what comes up naturally for me. This means it's the way that it's done in Hastings if you like. I respect traditions, but I'm not in awe of them because I still believe in the individuals freedom to experiment with what's around. There lies the same spirit of the 60's in me. I haven't changed in that respect. *How do you create your musical material for the Celebration Band? Is it developed during improvisations, or do you have composed, written-out sections on which to improvise? ANSWER; 5) The music of the band is developed in many different ways. But in the main it'll be something like. I have a couple of time signatures I want a piece to be in. A recent one is 5 and 3. I then try to find the neutral ground rhythmically whereby it can be either one or the other. The plan then is not to let either time signature take over completely. So it achieves that ambiguous feeling of a lot of rhythmic music. African music is complex in this way, except they wouldn't put it together like I do. However, the idea for us is that we understand fully the way we put it together. Then the game is to stretch it as much and as far as possible. Ultimately I'd be looking for the "feel" and away from the mathematics. But the mathematics sometimes comes in useful for Westerners. It also can be a hindrance, so another problem to solve is always when the maths is positive, and when negative. But it's the "feel" at the end of it all, no matter how we get there, that is KIng or Queen. This is one way. And I think this piece which I call "5 & 3" we'll initiate in Holland. Just a short version as we're still getting to grips with this. Originally I discovered this feel in the 80's and brought it out again to develop it properly this time round. Other compositions I'll write pretty fully out. But no matter how it's done, the important thing is that we are all open for any new developments or ideas that may come up. So the pieces are constantly evolving. This helps to retain the musicians interest. As we go along and stay together I am gradually more and more understanding how to get the best out of the musicians, and they me. *Are you now working on some new material for the Celebration Band, and will you present some of it during the Dutch tour? ANSWER; 6) I think I already answered this question. |
| 2003-10-07 |
| "NORTH AMERICAN TOUR SEPT/OCT 2003" |
| USA and Canada |
| We played Eight Concerts in Twelve days. Arriving in Edmonton, Alberta on the 24th we had a three day wait and relax until our first gig at The Yard Bird Suite on the 26th. Completely bushed after travelling most of us retired early on the first night. That is until the hotel fire alarm went off at 11:30pm and we suddenly found our selves bleary eyed standing in the cold Alberta air across the street from the hotel. Never wishing to miss an opportunity we found a local bar and stayed there till well after the all clear was sounded. Next stop was Portland, Oregon. We arrived at 5pm by plane via Seattle. The temperature was up around 35C. in contrast to the average 12C. or so we had been experiencing in Edmonton. The gig was at the Fez Ballroom, part of a complex of night clubs and venues contained in the same building and all owned by the same person. The Fez is a really cool space done up kind of North African/Bohemian style, with a good sized stage up front. We finished the gig around 10:30pm. the last of us must have left the club around 2am. That morning at 5am we were up again and being ferried to the airport. This was the start of a five flight, twenty one hour (including eight hours spent hanging around at Edmonton Airport) journey to Ottawa, Ontario. We went Portland to Seattle to Edmonton to Calgary to Hamilton, arriving Ottawa 8am on the morning of our gig day the 29th. After a further day spent hanging out in Ottawa we hit the road, driving down to Rochester, NY. Over the next five days we would face a road trip every day of between six and eleven hours. Tom Cohen who owns the famous "Bop Shop" record store put us on in Rochester. The Bop Shop is an Alladins cave for any body who's interested in Music which isn't Brittany Spears or Michael Jackson. Apparently members of Sonic Youth travel up from New York to shop there. After Rochester we went on to Ann Arbour, Michigan to play two dates at "EdgeFest," the towns celebration of new Jazz Music. Our first date on 2nd Oct at "The Firefly Club" was billed as a "small groups concert." Meaning that the Celebration band members split into smaller configurations to present variously their compositions and improvisations. Trevor and Jamie started the proceedings playing three of Trevor's tunes. Then Marcus and Trevor improvised a piece on sopranos. Roger and G. P improvised together before being joined by Rob. To finalise the evening the whole band performed "In The Street" taken from our usual set. Before playing our full band concert in Ann Arbour we travelled back East to perform in Erie, Pennsylvania at "The Erie Art Museum." The crowd was a good size. As the venue room is next door to actual gallery, during intermission the audiences are invited next door to check out the art. The following night we played our main gig at the EdgeFest in "the Ex St Nicholas Greek Church" The audiences at EdgeFest where always conscientious and greatly appreciative. A real pleasure to play to. The organisers are really in to what's going on with the music which makes for a really great energy. The next morning we headed off to Chicago for our last gig of the Tour at "The Schubas Club." The room wasn't full. Probably The Chicago Cubs playing the last game of the Pennant series against The Atlanta Braves and winning on the same night had something to do with it! Those that were there professed to thoroughly enjoy the gig. We had originally planned to spend the night in Chicago staying with the promoter and friends but with the experience of travelling we already had under our belts it was decided that it would be better to start the longest road journey that we'd yet to under take; that between Chicago and Toronto airport a.s.a.p. after the gig. Saying goodbye to Chicago and our friends that we had been with so briefly there we set off at 2am lost an hour some where along the way and finally arrived in Toronto at 2pm. Most of the guys in the band hadn't been to America before let alone played there. The experience knocked us into further good shape as a unit. We have the hunger to do much further travelling and to play to people all around the globe. Certainly we will endeavour to get back to North America in the not too distant future. Certainly a buzz |
| 2003-09-12 |
| "Modal Show Case" |
| Lake Side Arts Centre |
| Nottingham |
| UK |
| The Celebration Band have been selected to take part In a nation wide Model show case of Contempary music bands , playing in front of a select conference audience of promotors and music organisers . |
| 2003-03-20 |
| "TREVOR WATTS AND THE CELEBRATION BAND TOUR - MACEDONIA MARCH 2003." |
| The British Council tour in Macedonia by the group Trevor Watts and the
Celebration Band was an outstanding success in every way, and not only from
the point of view of the band, but also that of the British Council in
Macedonia and local promoters, organisers & musicians of Macedonia. The workshops and concerts were very successful, and drew workshop participants and audience from all three communities, Roma, Albanian and Macedonian. There were many interviews for local and national media, TV, magazines etc. We were requested to do workshops with the goal of at least playing one piece of music together on the evening concert after an afternoon workshop of a few hours. This we achieved by incorporating the participants within a special piece of music we had developed for that purpose. Everyone's degree of co operation was very high, and we achieved this on all three occasions in Skopje, Kumanovo and Tetovo irrespective of who turned up with whatever instruments, we found a way of including them. We called this piece "The Friendship Ship", and the enthusiasm with which this collective piece was received was very gratifying on each occasion. This also was the piece chosen to be featured on a young persons National T.V. programme advertising the events. The full concert in Skopje will be broadcast at a later date. All members of the Celebration Band took part in the Workshops, and this gave us the possibility of being able to perform together in the evening with all workshop participants, as for instance the guitarist, drummer or bass guitarist in the Celebration Band would take charge of generally 4 or 5 players on these respective instruments, showing them what was required with regards to the performance, before we brought the piece all together. We would then make sure that we featured the Macedonian musicians on that particular piece on the evenings concerts. There were full attendances at all the concerts, averaging about 600 a time. I know there was some doubt beforehand as to how things would go, particularly in the areas like Tetovo & Kumanovo where certainly no British Council artistic activity had taken place at all since the conflict in that region. This proved to be very, very successful, and as said before, drew a good audience from members of every community. The Celebration Band members do have a really well developed sense of togetherness, and as well as being good young musicians, they are also very friendly and helpful people and willing to work hard to make that connection with the young Macedonian musicians taking part in the workshops. This mood was transferred to the audience also as well as workshop participants on every occasion, leading to a very high standard of working together, and through enjoying each others company finding a common goal to aim for. Music is an excellent medium for this in my opinion. The "icing on the cake" was the fact that the music of the Celebration Band was really enjoyed by all in Macedonia. For me it was one of the most successful tours I have taken part in, and in every way,and I've done many, many tours around the World. It was wonderful to be given this chance to make a difference in some small way. |
| 2003-02-20 |
| "South East Music Schemes" |
| The Celebration Band have passed an audition to be included in the Arts Council of England sponsored "South East Music Schemes" for the next couple of years. The SEMS work almost like a non exclusive agent and may be able to offer the band at subsidised rates within the UK |
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