Tuwhare journeys to Auckland
Tuwhare - reviewed by Jacqui Stanford.
The performers had reason to be particularly nervous ahead of the AK07 Festival show of Tuwhare, a musical tribute to the life of the much-loved New Zealand poet.
The poet himself made rare trip from his remote home in South Otago's rugged Kaka Point to see the tribute to his life and writing, news of which only reached them hours before the show. He was unable to attend the show's premiere in Wellington last year due to ill health. You could sense the tension at the knowledge he was in the room as each of the 12 artists performed, with his presence giving the show a renewed sense of importance.
The now 84-year-old's presence was also appreciated by the crowd. He was given a standing ovation from across the Civic Theatre as he wobbled his way to his seat, while many in the balcony craned forward hoping to catch a now rare glimpse of the aging New Zealand treasure.
As narrator Rawiri Paratene outlined in his commentary, glimpses of Hone Tuwhare were once far from rare. From readings and signings, to his stint as a local councillor to representing his fellow workers as a union leader and walking with Dame Whina Cooper in the 1975 land march, Hone Tuwhare has been a visible part of New Zealand history. And his writing is one of the nation's brightest treasures.
In Tuwhare his words are lent to some of the country's musical gems. His great loves, his great losses and heartaches, his humour and passion for justice were snatched and flung passionately across the theatre.
From Whirimako Black's hauntingly beautiful tones, to the honey-dripping voice of Dallas Tamaira and the rasps of Graham Brazier, each piece was beautiful. Even the offering from Te Kupu of Upper Hutt Posse fame, although his rap was a little offbeat and a somewhat off beat, he got a laugh and cheer from the crowd with his anti-America rhyme at the close.
Don McGlashan's take on perhaps Hone Tuwhares most famous poem Rain was dripping with beauty, with the piano keys almost transforming into raindrops, while Goldenhorse gave a punchy take to politically charged-poem O Africa.
Mahinarangi Tocker gave the most passionate performances. The emotion in her piece A Northland Heart-Scape reached every wall of the grand theatre. She also sang Strawpeople's take on the poem Covetous and led an impromptu waiata as the performers gathered on stage at the end, which brought tears to the eyes of the shows writer-director Charlotte Yates and many in the audience.
Yates deserves plaudits for honouring the work of a living treasure. With many of New Zealand's greatest already passed on, at least Tuwhare was able to see the appreciation and love many hold for him and his work. Her show premiered at the Wellington International Festival of the Arts in 2006 before coming to AK07 this year and hopefully its journey will continue. Paratene for one would like to see Tuwhare's life hit the big screen, yes it is the stuff of movies", he concluded. "And who do you think would be cast as the lead?" And to Tuwhare, in the audience "What do you reckon uncle!?"
Quite simply, Tuwhare the show is much like Tuwhare's poetry - inspired. And something which should be sampled by all New Zealanders.
Tuwhare CD Review
In 2000 Charlotte Yates directed the successful "Baxter" project, which saw contemporary New Zealand musicians putting song to the words of James K. Baxter. Now, commissioned by Toi Maori Aotearoa, she does the same thing with acclaimed poet and author Hone Tuwhare. With a new cast of artists (save Mahinarangi Tocker and Yates herself) including Don McGlashen (The Front Lawn, Muttonbirds), Te Kupu (Dean Hapata of Upper Hutt Posse), Strawpeople, WAI, Goldenhorse, Graham Brazier and more, Tuwhare's words are transformed into at times astounding lyrics for songs that cover different styles, from rock to electronica, Traditional Maori to Hip-hop and everything in between. It's probably not in the spirit of such a compilation to pick out highlights, but needless to say Dallas Tamaira (aka Fat Freddys Drop's Joe Dukie) never disappoints, and Goldenhorse make "O' Africa" sound like it would be right at home on their recent album. There are also some surprises from artists I wasn’t so familiar with; Whirimako Black's voice can almost bring tears to your eyes, while Yates turns Tuwhare's words into an effortless pop vocal hook in the almost Fur Patrol sounding "Mad". Te Kupu's "Speak to me, brother" shows how Tuwhare gets an often-poignant message across by using humour (something Te Kupu is familiar with himself); "Dominate? That's a big word, brother." I think if Hone Tuwhare had come along thirty years later, he could've been a talented MC. Like "Baxter" this album is a fantastic document of not only New Zealand music but also New Zealand art and culture. NZ music month should be more about albums like this.
smokecds.com 20 May, 2005
CD Review: by Julie Jacobson
plainsong by Charlotte Yates(Jayrem)
"Great Music –clear, sharp and perfectly formed"
Yates does this to me every time. A decade ago, it was her signature Red Letter. A week ago, it was Looked Like You.
There I am happily going about my business when I flick on the radio and wham- there’s this brilliant song and I’m singing along. Real loud.
plainsong was written during the Wellingtonian’s time as 2002 Artist-in Residence at Christchurch Arts Centre.
Sounds all very Bill Manhire. But we’re not talking esoteric or difficult or I’m-too-clever-by-half-ha-ha-here.
This is just great music – clear, sharp and perfectly formed – with Yates and her guitar going for broke.
Typically, the subject matter is personal be it bitter, bliss or snarl, but there’s some sneaky political stuff going on as well which shoots Yates even higher in my star takes.
All credit too to the backing line-up which includes local restaurateur and sometime Warratah Alan Norman on accordion and the fabulous neo-classic Janet Holborow on cello.
Talk about creative Capital…
Contact July 10, 2003
Review: Nick Bollinger The Sampler, National Radio, 24 May 2003
plainsong by Charlotte Yates
Charlotte Yates has a fistful of different musical identities, ranging from the sublime to the ridiculous. She was the conceptual brain behind the acclaimed Baxter album and stage show, and a third of the absurd When the Cat’s Been Spayed. But alongside these high profile projects, she’s been quietly building up a catalogue that makes one of this country’s most committed and consistent singer-songwriters, and she’s just released her fourth solo album.
The title of this disc is plainsong, but the songs are anything but plain. In fact, Yates has gone to some lengths to keep things musically interesting and varied, and she slips easily from a riff-based rocker like that opening track (Joan of Arc), to a country waltz complete with accordion from the Warratahs’ Alan Norman. (The Ruins of Love)
Or perhaps your tastes lean more towards reggae, in which case you’ll appreciate where this track is coming from. (The Things I Said)
But whatever the groove, Yates’s subject matter seldom swerves from that staple of the singer-songwriter’s menu, the love song. And though Yates is capable of writing the odd ode to romantic bliss, she’s inevitably at her most poignant when love goes wrong. (Throwaway).
plainsong is predominantly personal but Yates ventures into the world of politics for the album’s final track. Titled They Never Listen, it’s not quite a protest song but it does offer a wry view of the world’s leaders, and perhaps puts its finger on why you never see politicians dancing.
Mahinarangi Tocker and Charlotte Yates
@The Boathouse, Nelson
Take two women, two incredible voices, a stage and a few guitars, and you have yourself a piece of magic.
Charlotte Yates and Mahinarangi Tocker had the crowd at the Boathouse baying for more after a magnificent performance last night. The two veteran New Zealand solo songstresses have teamed up for a national tour and the result is a gorgeous, touching show.
Tocker is a respected singer and composer who has toured overseas and written songs for other New Zealand composers. Her incredibly mellifluous voice and trademark syncopated rhythms create the musical equivalent of a bubbling brook.
Yates leans more towards pop and blues tunes, combined with intriguingly inventive lyrics, and a tendency to rockout. Recently, she was acclaimed for devising and directing the Baxter album, a compilation of New Zealand musician's takes on James K Baxter's poetry.
Although both Tocker and Yates are established in their own right, the combination is a fantastic match, providing a polished, professional and assured performance, that left the audience in no doubt of their talent. Most impressive was the way the pair's voices blended, creating a gorgeous, fullness that resonated around the room....
...Despite all society's advances and women's liberation, it's still unusual to see two talented women who know their way around a guitar on stage, singing songs they've written themselves. Perhaps that accounts for the very appreciative audience at the Boathouse last night. If you want to talk about girl power, this is the real thing.
Jane O'Loughlin Nelson Mail November 9 2002
Charlotte Yates live at Breaker Bay Hall.
11 November 2006 Photo by Di McMillan.
smokecds.com review
One of New Zealand's unheralded singer songwriters (although with this album this state of affairs must surely change), this is the fourth solo album from Charlotte Yates, and it is a beaut. Recorded, mixed and mastered at Wellington's Inca Studios by Mike Gibson (TrinityRoots, Fur Patrol, Barry Saunders, the upcoming Phoenix Foundation album) 'Plainsong' has a dynamic cohesive quality, with Yates showing real development both as a musician/arranger and particularly as a songwriter. The resulting album is easily addictive and will appeal to fans of great NZ songwriters such as Neil Finn, Bic Runga, Anika Moa and the like. Surely stardom cannot be far away. Recommended.
Concert:
Dead
Fish Live
Charlotte Yates: Bodega, Wellington
What's
your image of a singer-songwriter? A sensitive guy or gal with acoustic
guitar? Well, maybe. I have three criteria: their name is on the CD cover,
whether or not there's band; the vocals are upfront in the mix, spotlighting
the lyrics; and when they play live, the audience doesn't dance or mosh,
it sits and listens. Julia Deans was a singer-songwriter before Fur Patrol,
but I'm not sure anyone calls her that now. Charlotte Yates, though -
on the evidence of her Wellington gig, and the recently released Dead
Fish Beach - remains comfortably within the definition.
At Bodega, that laidback
front lounge of Wellington's live music scene, Yates wielded both electro-acoustic
and Telecaster guitars with guts, but never at the cost of lyrics and
melody. Even though the bar was vastly better lit than the stage, she
easily held her audience through two sets featuring her trademark mix
of wry humour and yearning, lyrics intriguing enough to stand repeated
listening and any number of good hooks. Bass player Tim Robertson and
drummer Darren Mathiassen helped Yates to produce a full well-knit sound
-not always easy with a three-piece. Both the delicate ("Remember")
and more rocky ("Religion") numbers benefited
from the energy of live performance and, although the second set rocked
a little harder than the first, it still left room for the subtle atmospherics
of songs such as "Skin".
Yates has a strong but relaxed stage presence, with just a little ironic
hair-tossing in the second half paying homage to the rock-chick persona.
Not surprisingly, her audience included a high number of women over 30
who clearly appreciated her bittersweet take of adult relationships. Live,
she's the closest thing we've got to sharp-tongued Australian songwriting
diva Deborah Conway.
I remember hearing "Red Letter" (from Queen
Charlotte Sounds) on student radio a decade ago, and the delight
of discovering that it was local product. It sounded like potential hit
material, as do several tracks from Dead Fish Beach,
Yates's third solo recording in a career that's also included stints in
arts administration, publicity, When the Cat's Been Spayed and bringing
together the Baxter CD.
Ironically, the better you are at doing the other jobs that enable you
to survive as a musician, the more your music will suffer and somehow
Yates hasn't yet fully connected with the grown-up audience she deserves.
Here's the perfect example of why we need a music quota. Given the chance,
and perhaps the right producer, she's very capable of helping herself.
Now, if someone would finally prop that window of opportunity open.
By
Chris Price -
The Listener 15 December 2001