Trios - Cardiff

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Cardiff, where our Jazz Trio performs

Towns, cities and regions have an influence on the style of music, whether it is the 'English Countryside' feel of Vaughan Williams, the strength of Elgar's Victorian Malvern, or the skirl of Northumbrian Pipe tune.

Of Cardiff, has been said:-

"  "Cardiff began with a Roman fort. About 50 AD the Romans invaded Wales and about 55 AD they built a fort on the site of Cardiff. In the late 1st century the fort was reduced in size as Wales was now at peace. However in the mid-3rd century the fort was rebuilt and strengthened to defend South Wales against Irish raiders. In the fourth century Roman civilisation declined. The fort was abandoned towards the end of the century. The town of Cardiff was founded when the Normans conquered Glamorgan. A Norman called Robert Fitz Hamon conquered the area. He built a wooden castle within the walls of the old Roman fort. (It was rebuilt in stone in the early 12th century). Soon a little town grew up in the shadow of the castle. That often happened in the Middle Ages as the castle garrison provided a market for the goods made by the craftsmen of the town. Cardiff had a population of between 1,500 and 2,000 in the Middle Ages. Towns were very small in those days, especially Welsh towns. In Cardiff there were weekly markets. After 1340 there were 2 annual fairs. The fairs were like markets but they were held only once a year and they lasted a fortnight. Buyers and sellers would come from all over Glamorgan to attend a Cardiff fair. In Cardiff there were the same craftsmen you would find in any medieval town like butchers, bakers, brewers, carpenters and blacksmiths. There were also leather workers, shoemakers and glovers. Cardiff was also a busy port. Ships were loaded and unloaded at a town quay. In the early 12th century a wooden pallisade was erected around Cardiff to protect it. In the late 13th century this was replaced by a stone wall. "

'James Carter might erupt in screams even on a ballad or a medium-tempo groove tune, his rhythm section suspending the beat as it pummels its instruments into cacophony. This lends an element of unpredictability to Carter's solos, but the problem is that his solos are always unpredictable in exactly the same way. I suspect that even those listeners who shun what used to be called free jazz for fear of just such episodes willingly go along with Carter because they know his paroxysms will be short-lived. Minus the thematic development that is possible in free improvisation, his farrago-like solos reduce thirty years of sonic exploration to a handy vocabulary of stock effects not much different from the honks and screams of the average rhythm-and-blues saxophonist of the 1950s.'

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