REVIEWS
Global Junction / 23 July 2004
RHYTHM MAGAZINE
Review by Nick Cohen
The mood lighting shows an array of percussion instruments. Tabla,
darabuka, a Trilok-esque drum kit, bongos, various cymbals and shakers
and electronic gadgetry are all used to stunning effect throughout the
evening. Prior to one duo piece written in 7, flautist
Ronu Majumdar praises Pete Lockett on his depth of knowledge and prowess on the tabla.
What follows is a masterful display by both. Pete further enthrals us
with a couple of solo numbers including one where he plays an intricate
5 against 7 pattern on some bells, and triggers loops over which he
solos, while vocalising rhythms.Joining Pete for the evening are
guitarist Antonio Forcione and bassist
Davide Mantovani. Both are
excellent musicians in their own right. The performances have everything
from the subtle intimacy of the beginning raga Sunrise to the explosive Zawinul
flavoured closing piece. Pete’s strapline reads:
Percussion
you’ll never forget. How very very true……
TOTAL MUSIC MAGAZINE
Review by David Davies
The result of just three days rehearsal, Global Junction
– an ad hoc
ensemble featuring percussionist Pete Lockett, guitarist
Antonio Forcione, flautist
Ronu Majumdar and bassist
Davide Mantovani - will
surely be remembered as one of the highlights of this year’s Rhythm
Sticks Festival. A formidably talented four-piece playing in numerous
different formations, Global Junction covered all bases from full
Indo-Classical pieces to propulsive acoustic jazz. Best of all, the open
format allowed each player the chance to shine. The animated
Forcione on
his own piece, Knock on Wood, Majumdar during a hypnotic solo interlude,
Mantovani whose physical resemblance to the late
Jaco Pastorius was
paralleled by stunning capacity for fretboard defying sonic trauma, and
Lockett, who was inventive throughout, was a vital anchor for the
diverse ensemble pieces. Top honours, however, go to an explosive jazzy
segment featuring Lockett, Forcione and Mantovani where they hit an
infectious groove reminiscent of John McLaughlin’s
trio work.
Accompanied throughout by the elaborate video of the
Yeast films – who
combined the fast cutting of live onstage filming with a series of
imaginative pre-recorded segments – Global Junction showed just what can
be achieved when gifted musicians leave themselves open to new
influences.
MIKE DOLBEAR.COM
Review by Ed Stern
If it’s Friday, it must be Pete Lockett…I’d never heard
Pete Lockett
play live before. I knew he’s played with and for pretty much everyone
else on almost everything. I knew he can play pretty much anything, and
in any style. Believe me, I was itching to find fault with something,
anything. It was not to be. It is no surprise whatsoever that Pete
Lockett is Britain’s first-call “ethnic percussion” player. He’s an
absolute monster. Looking back on it, I’m sure there were some
instruments he didn’t play. But he was frighteningly virtuosic on
tabla,
drumkit, electronics, cajon, bongos…even a shaker attached to a
foot pedal. And it wasn’t just flash licks and “here’s one I made
earlier” chops, it was living breathing music. Lockett’s excellent band
(including Indian classical flautist Ronu Majumdar and the fantastic
Antonio Forcione on guitar) played totally in the moment. I don’t think
I’ve ever seen a band listen so hard to each other. Admittedly, they’d
only been together for three days (!) but I can’t imagine that their
virtuosity and streams of musical ideas will ever overwhelm their
sensitivity. I tells ya, bands like this are in danger of giving fusion
a good name.In an all-star band, Pete Lockett outshone the rest. It’s
hard to know what aspect of his playing was most impressive. Just how he
manages to mic all his instruments up, I fear I’ll never fully
comprehend (I remember when lightweight piezo mics became available in
the 80’s, some percussionists just mic’d their wrists rather than each
instrument. This worked fine, as long as they didn’t have to sneeze).
I’ve rarely heard anything as funky as him playing a box. OK, it was a
cajon (an amazing beast of a cajon which looked like a 30’s wireless),
but it sounded way better than I’ve ever sounded on any instrument. I
was nearly going to forgive him for this when he effortlessly
transferred his immaculate tabla technique on to a tamborim (like a
tambourine only without the jingles). At this point I just gave up and
sulked.It wasn’t just a hand-drummer’s treat. What looked like wooden
timbales to Pete’s left turned out to be a wonderful stand-up minikit.
Right hand played closed x-hats and snare, left hand played vertical
bass drum, left foot played that rarest of beasts a low-hat mounting two
bell-like and the right foot was for standing on. Even laying down the
heaviest of funk grooves, Pete remained perfectly centred and balanced,
with no need to cross his hands or arms. The drum kit is always
changing; as new technologies come in and mass production drives costs
down, I wonder if we’ll see such unorthodox kits become a little less
unusual. Anyhow, it was an inspirational gig, and a great end to a
fantastic festival.
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