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.
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
From the time we started Latitudes, we’ve held a secret wish list of bands that we intended to lure into our studio. We’ve cut a major notch in our bedpost by finally scoring with Arbouretum, a band that meets universal approval at Latitudes HQ.
Arbouretum offer up four cover versions of the brilliant Gordon Lightfoot, the oft-overlooked Canadian singer-songwriter who helped define the folk-rock sound of the Sixties and Seventies. The highlight of the session is unsurprisingly the song that Lightfoot considers to be his finest work, the ballad telling the tale of the doomed cargo ship the Edmond Fitzgerald, which sank in Lake Superior in 1975, taking 29 crew to their watery graves.
Available as an edition of 1000 hand packaged CDs in foil blocked envelope style folder with colour insert, and 1000 LPs – 500 on 180g black vinyl and 500 on 180g gold vinyl with die cut custom sleeves, foil blocked inner liners and colour insert. Also available is a limited edition shirt with the cover art.
from the liner notes:
On the surface, Gordon Lightfoot might seem an odd choice for potential interpretation. Despite mass appeal and a long career, he never really received the critical acclaim of his contemporaries, and I’ve always felt his songwriting eclipsed the performances and often insimpatico production of his albums. Trust Arbouretum to really unearth the essence of his spirit. Their main tool is the diversity of mood and approach: from the gravitas of the aforementioned Wreck through the upbeat breezy Carefree Highway, the furrowed brow of Protocol and finally the ecstatic meditative Early Morning Rain. These are exactly what cover songs should sound like – immediately familiar, reverent yet fresh and worthy. (Tony Sylvester)
- The Wreck Of The Edmond Fitzgerald
- Carefree Highway
- Early Morning Rain
Now available to pre-order from our web shop.