Wednesday, June 25, 2014

Amazing Lefkada


“For me, Lefkada is the greatest place on Earth. It has the sea, the sun, mountains and snow, and all very close,” tells me my renter for the next couple of days. Indeed the Western Greek Ionian island has something for everyone, and little to envy to all the Cycladic islands.

Lefkada is a concentration of diverse heavenly landscapes and peaceful spots, beautiful hiking trails and little picturesque villages where you will easily be in touch with the local population. The Northern capital offers visits of its castle, museums and, just a few miles away, the ancient and first city of the island, Nirikos. But for those less prone to History, ballads along the port offer amazing views of the mountain just across the bridge, and little beaches are reachable nearby.

The island abounds with monasteries; hikes into the island's luxurious forest and up to the mountain village of Karia; beautiful sceneries mixing mountainscapes and seascapes all along the Western coast; the impressive cape of Lefkada “Cape White,” South of Vasiliki, where the female poet Sappho allegedly leapt to her death to escape her own
love for Phaon...

As many other Greek islands, Lefkada has been occupied many times: Mycenaeans, Corinthians, Romans, Venetians, Ottomans, British... something still felt in the island's plural architecture. It is notably during the occupation of the Corinthians that a bridge was built to link the island to continental Greece, which today has been replaced by a floating bridge, making it therefore very easy to come by bus or by car to this piece of paradise.

 

Arriving in the capital, Lefkas, I sink in a bit of history by visiting the beautiful ruins of its Venetian castle, Holy Black, just across the bridge. Enclosed within fortifications, it spreads on green grass with white-grey rocks making up a maze of demolished walls, stairs leading nowhere, almost undamaged battlements and series of open windows with a stunning sight on the mountains, and on the turquoise sea and thin white-sanded beaches.


There on a corner of what used to be the big central room, I notice the little Church of Αγίας Μαύρας, that gave its name to the castle by extension, and which was constructed in the Middle Ages by John Orsini, Count of Cephalonia. Inside, the dim golden pictures and humble wooden furniture agree with the simple beauty of the old forgotten rocks outside in broad daylight. I am even finding myself the only visitor there, adding to an irrepressible serene feeling of being alone in the world, swallowed up by the charm of the island's nature and the peacefulness of these centuries-old walls.

But the city center is also worth the walk, with its maze of sunbathed pedestrian streets, made up of typical Southern bright and warm colours and where you will meet a friendly wandering cat every ten minutes. Most of all, one can only feel the attractive general atmosphere of a tranquil life going on, on a background of televisions heard from within the homes mixed with the sound and smell of delicious spiced Mediterranean dishes being cooked.


 
Then I go only a dozen miles away to Kalamitsi, a typical Greek village on top of a hill with pretty little cobblestoned streets, tavernas where you can meet the residents, traditional coffee shops and small grocery stores. My renter there kindly proposes me to pick me up in Lefkas, and the car ride itself is worthwhile, passing by magnificent seascapes from the height of bushy hills, the sun glittering lightly on the clear water below. Arriving at the house on the very top of the village, he presents me to his grandmother who lives just underneath my room, a sweet Greek γιαγιά dressed all in black, who does not speak one word of English.


 
Hiking down and up the hill is a real treat: scented pines, olive trees fields with the occasional grazing donkey, a view of the never-ending sea just below... Down the hill a little white chapel stands on the side of the road among the olive trees' invading branches, facing the sea. Kalamitsi beach is definitely worth the trip. I have never seen a shade of blue so bright, even in ad campaigns.

At my return the grandmother greets me warmly; we exchange a few words and, visibly happy to have some company, she gives me four eggs from her own hens and a bottle of divine home-made olive oil that smells so good I would want to drink it all up at once. Back in my room, enjoying the last night on the island, I let the peacefulness of the place fill me before going back to work on the morrow.



This article was published in The National Herald's special
"Tourism in Greece" edition (bottom p.6), May 24, 2014


Tuesday, June 3, 2014

Matthew Halsall & The Gondwana Orchestra - When the World Was One


Here is another treasure from Gondwana Records, confirming Matthew Halsall’s talent. After his success with On The Go, winner of best jazz LP at Gilles Peterson’s Worldwide Awards 2011, When the World Was One is his latest album, released 16th June. Recorded at Halsall’s favourite studio, 80 Hertz in Manchester, it is engineered by Brendan Williams and George Atkins; here, Halsall’s Gondwana Orchestra features the exotic flavours of harp, koto and bansuri flute, which take us on a far-Eastern, world-music journey.

The Orchestra is composed of Nat Birchall on the saxophone, Gavin Barras on the bass, Rachael Gladwin on the harp and Taz Modi (of Submotion Orchestra) on piano. The Orchestra also features drummer Luke Flowers from Cinematic Orchestra, Japanese koto player Keiko Kitamura and flautist Lisa Mallett. Here, the koto and flute both bring the spiritual and Eastern shades dear to Halsall.

The album starts dynamically with the title track, ‘When the World Was One’ – a classic jazz tune. Birchall’s singular laser-like sound is instantly recognisable. Right from within that track, the piano enters into a whirlwind solo, contrasting with that of Halsall at the trumpet, beginning smoothly but assertively. ‘Patterns’ has a similar fast-paced vibe, with an interestingly wavy theme made up from the many appoggiaturas by the saxophone and an impassioned piano solo.

The second track, ‘A Far Away Place’, sets up a much more different tone, the opening harp asserting a dreamy and somehow almost Celtic feel to a more Alice Coltrane/Yusef Lateef background music. This strange mix actually works very well, accentuated by the flute’s use of Eastern scales. The fifth, ‘Kiyomizu-Dera’, inspired by Halsall’s travels in Japan and, in particular, his visit to the Buddhist temple of the same name, follows a similar dreamy and contemplative mode – with beautiful vibratos from the flute.

The third track ‘Falling Water’ starts with the bass on an uneven and hypnotic rhythm. Birchall manages a clear but warm sound, mixing spiritual jazz with the contemporary influences of Nostalgia 77 and Cinematic Orchestra. The rhythm alternates between restless bursts and sudden respites. Halsall, as always, takes his time during his trumpet solo, knowing when he is needed or not.

The sixth, ‘Sagano Bamboo Forest’, is a track named after another place that left a deep imprint on Halsall. A feeling of growing urgency can be felt, with the saxophone playing mainly in high-pitched tones. The melody here is both mysterious and attractive; and as usual Halsall does not rush into his solo, letting it flow naturally.

The album finally closes with the ‘Tribute to Alice Coltrane’, thus ending on a clever mix of a classic jazz bass lines and the work of Mallet on bansuri flute and harpist Gladwin. A calming final tribute, perfect to conclude this album – a spiritual and musical journey through Halsall’s mindset.



This article appeared on AAAmusic.co.uk.