Martin Archer: Ghost Lily Cascade

It's just possible that I've heard Martin Archer play live more times than I've listened to his recordings, even though I have a handful of the latter. I'm sure I bought them all at his gigs. That's the best way to buy albums, direct from the performer — partly because they get a bigger share of the proceeds that way, but mainly because it's a way of saying thanks for a performance directly and with substance.

I can't listen to Martin's music without picturing him on stage, and particularly the idiosyncratic way in which he launches into some of his improvisations on saxophone on keyboard — like a spasm, with his eyes screwed up and his body wriggling like a tickled squirrel. All round he has an aura that is slightly awkward (in the best possible way: the world needs his eccentric kind of awkwardness to avoid slipping into flat banality) and even a bit intimidating to a shy person. Which is probably a trademark of a shyness on his own part. This is all working round to my excuse for the fact that — sharing at least Martin's shyness and possibly some of his other qualities, depending on your perspective — I've never got past the stage of nodding acquaintance with Martin, despite seeing him at small gigs throughout the sixteen years I lived in Sheffield.

I first saw Martin play as part of the Hornweb saxophone quartet in 1987. I could never keep track of the number of times I've seen him since, as there were so many different combinations of Sheffield (and visiting) improvisers playing under different names, but it must be over thirty.

I actually feel guilty that I didn't see him more times. You see, Martin became one of the cornerstones of the Sheffield improvising scene, and to this day he's the one sending out emails about upcoming gigs. And that's a thankless, if necessary, task. Many musicians aren't that comfortable with — ha! — blowing their own trumpet; improv isn't a popular genre; and consequently attendance was often on the light side. But the these gigs were one of the two most consistently interesting things happening culturally in Sheffield (the other being Forced Entertainment's shows), and I really should have gone to all of them.

When I started going, the gigs were known as the Foot and Mouth Club, and took place upstairs at The Hallamshire pub on West Street (inevitably the pub's been remodelled and renamed beyond recognition since). At some point the name changed to Other Music, and the venue moved to The Grapes — the same pub where the local improv scene started in the '60s with Derek Bailey, who died last month on Christmas Day — alternating with Mick Beck's back room, known as Over The Top. At the end of 2003 — I stayed on the email list, even though I was living in London by then — Martin sent out an email saying he and Mick were giving up the organisational work involved with Other Music "in the light of the need to consider fresh applications for financial support from the Arts Council and Jazz Services immediately in the New Year". This was after calls for new volunteers to take over. Nevertheless, a few more Other Music emails dribbled through from Martin in 2004, and then in March 2005 the new Notes and Sounds club/gigs/email list were launched, ostensibly reviving the work of the Foot and Mouth Club and Other Music (though I'm pretty sure Notes and Sounds had been used as a title before for a few 'side-project' gigs organised by John Jasnoch). So that's why I salute Martin's persistence.

Finally, then, the music on the album. It's a more diverse set of pieces than you'd get in any single Martin Archer gig, and consequently it shows off his versatility. It's very well balanced as an album, as well. I asked Lucy if she liked this music, and she said, "It's not my favourite; but it's better than that bloke who does fire-in-a-petshop music". By which she meant Albert Ayler. Better than Albert Ayler? I think Martin would like that.

Other things to say, quickly: Martin's second solo album; it came out in 1996, and I guess I bought it at a gig shortly afterwards; great artwork (smaller versions on this page don't do it full justice); and even greater track titles like Random axis, I'm not made of moonbeams but I'm standing in the orchard, Telecottage and I'll meet you at the centre of the sound.

Buy this album direct from Martin Archer for £5 including post and packing worldwide

MusicBrainz entry for this album

Comments

[Ross Lambert]

Good afternoon,
I found your site today when searching for the Godard ca vous chant record. Have been enjoying your posts and wondering who you are, as I must have seen you at the Foot and Mouth Club back then.

Best
Ross
www.myspace.com/rosslambertimprov

[David]

Hi Ross, Yes, we met and spoke a few times about 20 years ago -- I think we may even have shared a lift back from an Ornette gig in Manchester around 1987? I think you're on the Feetpackets CD I have, as well? Did you move to London about ten years ago? If so, I have now followed you down...

[Ross]

That was Prime Time. So we shared a lift, did we! Still rings no bells. Weren't Barry and John Thomps. in the car?

R

[David]

I think the only person I knew in the car was a guy called Pete. What happened was that Ornette ended up being due on stage much later than originally scheduled, and I actually negotiated a refund because I had to get the last train back to Sheffield and would miss nearly all the set. Then I saw Pete, and asked how he was getting home, and if I could cadge a lift too. I did the whole trip in the boot of the car, so I can't be sure who else was there. If Barry or John are the guys from Rare and Racy, yes, I think they might have been.

[Ferdi]

I bought "English Commonflowers" based on a review on the BBC's website (http://www.bbc.co.uk/music/reviews/2ncz). It was even better than the review led me to expect, and I've bought several more, hoping for more of the same. "Ghost Lily Cascade" came closest, I think, but nothing else matches it. I haven't made an all-time top-50 list in a long time, but "Commonflowers" would definitely be on it.

[David]

Ah, it's funny seeing what I wrote five years ago when I had a "handful" of Martin Archer recordings and "I bought them all at his gigs". No more gigs since then, sadly, but several more recordings. Thanks, Ferdi, for pointing out that one of the few I don't have is the best! Guess I'll have to put in another order before long.