The last ever show of Penny Rimbaud’s Last Amendment will take place in London at the Vortex Jazz Club on Wednesday 4th December.
Tiring, as he does, of any form of permanence, Penny is renaming his operations.
‘L’ACADÉMIE DES VANITÉS’ as, if nothing else, a reflection of his heart – ‘the poetry of jazz and the jazz of poetry’. The band’s stellar line up will remain – Penny Rimbaud/voice, Eve Libertine/voice, Louise Elliot/sax & flute, Kate Shortt/cello, Jennifer Maidman/guitars, with visual additions by Mick Duffield and Gee Vaucher plus occasional guest artists.
Of their recent show in Paris, Delphine Delaby wrote – ‘a special atmosphere that combines tension and power with serenity. The words and music blend to perfection. One of the best concerts I’ve ever seen at the Cite de la Musique’.
Penny and the band will be taking a quarterly residency at the Vortex in the coming year.
Vortex 11 Gillet Square. London (Dalston Kingsland Station) www.vortexjazz.co.uk
While we’re on the subject, here is an excellent full length performance by Penny and cohorts earlier this year in Japan.
Little Annie (the artist formerly known as Annie Anxiety) has been a part of the extended Southern family from the very beginning. Having encountered Crass in NYC at the fag-end of the Seventies, she was entranced enough by Steve Ignorant’s tales of life in the communal Crass home of Dial House that she upped sticks to move across the pond and become part of their clan – gigging with them and writing lyrics for some of their songs including the seminal feminist punk anthem “Shaved Women”. (Read part of the story here.)
A decade or so later she was living in the garden of On-U Sound mastermind Adrian Sherwood’s East Ham home and making records with the On-U posse. In 1992 she released the album Short And Sweet on the On-U Sound label. It included this song, “Bless Those” aka “Little Annie’s Prayer”, in which Annie bestows benedictions upon all of society’s outcasts – the ad men and jazz men, boxers and bankers, the glamourous, dangerous formless and spineless…
If the tune sounds familiar, it may be because it was notably recorded by Living Colour (whose ranks included On-U compadre Doug Wimbish, a co-writer of the song).
We still prefer Annie’s version, and the hint of mischief in her voice when she croons “…and those that could go either way”.
You can pick up the remastered reissue of Short And Sweet in our web shop, and enjoy a 33% discount on any of Little Annie’s CDs if you enter the code “Annielovesme” at check-out. (Valid until 31 October 2013.) Be sure to stop by Annie’s Facebook page to thank her if you do!
This Wednesday 14th August at the Vortex Jazz Club in Dalston, London, Penny Rimbaud’s Last Amendment will be performing a very special piece. Here’s the details from the man himself.
On Wednesday 14th, I’m doing a gig at the Vortex, Dalston, with Eve Libertine, Christine Tobin, Louise Elliott, Jennifer Maidman, Phil Robson and Chas Weber. The second half will be an experiment with free time based around an electronic piece that I created for our recent gig in Tokyo. For want of a better description, the piece, which employs progressive time stretches, ‘represents’ a nuclear meltdown, or perhaps merely the slow erosion of all and any technological or/and social system. It’s another attempt to move out beyond the confines of time/space which so bind so much of our lives. It’d be nice if you were there to share the experience.
Love, blessings and joy,
We had to share this one. In the rumble-tumble world of music, we have become (sadly) accustomed to being bootlegged, having our hard work distributed for free by total strangers, generally being ripped off and not ever earning a proper wage for anything. That’s just the world we live in, no need to cry in our soup.
But this is a new low. A well respected label (we all have many of their ace releases in our collections – paid for with real money and everything!) and a well respected author (ditto, our cash = his pockets). And yet this is how they want to do “business”. Not a “how’s your father?” or a polite “we’d like to use your artwork to sell our book and not actually pay you for it, may we please?”. Oh no, and entirely new approach: we’ve put your artwork in our book and you have 14 days to stop us. Nice.
Needless to say we wrote to them and told them NO YOU DO NOT HAVE OUR PERMISSION. Jokers.
Subject : PUNK 45s Sleeve Artwork Permission
Message Body : Hi – I’m writing from Soul Jazz Books in London – we are planning to publish a book towards the end of this year to be called “PUNK 45 The Singles Cover Art of Punk 1975-82″, edited by Jon Savage and Stuart Baker. The book will feature cover art from hundreds of Punk singles from this period, along with contributions and interviews etc. from artists, writers, designers and other key figures. We would very much like to include in this book artwork taken from the following Crass Records singles: CRASS – NAGASAKI NIGHTMARE HONEY BANE – YOU CAN BE YOU If you have object to our using the artwork listed above I’d be grateful if you could let me know within the next 14 days, in order that we can remove the artwork from the book. Thanks & all best wishes, Steve