Autumn 1996

'The drum machine plays the battlemarch of consumerism.'
'If Mama Cass had invited Karen Carpenter to dinner more often, they might both be alive today.'
Billy Jenkins

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Babel - The Language of Neo-music

Over its two years and 15 releases, the Babel label has built up a clear 'identity', or at least so we've been told. But, while it is possible to say that all line-ups fit easily within the label's catalogue and reflect, for better or worse, a certain strand of British 'jazz' , it certainly can't be easily analysed stylistically: there is everything from wedding music from Bulgaria to wedding music from Barnet, from rock-tinged grooves to a 'classic' quartet line-up. Perhaps it should be renamed 'neo -music'?
In looking for clues amongst critical reviews, the sort of descriptions which sprang off the page are words such as 'imaginative', 'quirky', 'humorous', 'passionate', 'iconoclastic', 'courageous'. The identity of this neo-music appears to be more related to how the musicians perform and why: the manner of communicating with the audience. There is a danger, a willingness to take musical risks. As musicians, they operate at the limits, in the same way as mountaineers and white-water rafters - but with infinitely less risk to human life. They possess a freshness and a passion in what they do. They have a technical competence which most would die for. And the audience should be prepared to smile.....
This wide-ranging language of neo-music is used to create a response in their audience, which can be varied - excitement, joy, exhilaration, entertainment, anger, involvement. Certainly not a quiet night out hearing standards down at the local wine bar! Such an approach to performance and communication can be extended to the artists, whether Steve Noble, Christine Tobin, Billy Jenkins or John Donaldson.
Adapted from article by Oliver Weindling in 'Vortex newsletter' for September 1996

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