24th-25th October 2020 - Albagnano Healing Meditation Centre

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Guru Yoga - guided Guru Puja meditation and recitation

Pre-order both the single and the new album now from www.the-unthanks.com
Two years in the making and four years since their last studio album, Mount The Air is the new record by The Unthanks, and the title track is the first single from it - an arresting revision of the ten minute opening piece, that marks their return in audacious and scintillating style. 

When The Unthanks released Last in 2011, Uncut wrote that “The Unthanks seem to regard folk music the same way Miles Davis regarded jazz: as a launch pad for exploring the wider possibilities”. The Unthanks have taken that analogy a step further on Mount The Air, with a beautiful opening title track and single that has echoes of Miles Davis and Gill Evans in their Sketches of Spain period, and climaxes with a euphoria reminiscent of Arcade Fire or Elbow, but without guitars, creating power instead with breathtaking musical colour and beauty.

Written by pianist and producer and husband of Rachel Unthank, Adrian McNally, Mount the Air is based on the themes of a one-verse traditional ditty, found in a book of Dorset songs in Cecil Sharp House by Becky Unthank, who co-writes some of the words with McNally. The piece features the playing of the world-class trumpet player, Tom Arthurs; a former BBC New Generation Artist and Elysian Quartet collaborator, now immersed in the Berlin improv scene.

Released Monday 8th Dec 2014	
Pre-Orders available from Tuesday 11th Nov 2014
Limited Edition (500 copies) 10 Inch Vinyl available from band website only

Mount The Air (Single Version)

From Vaucanson's Muse
https://not-applicable.bandcamp.com/album/vaucansons-muse

Irina Piperin - Tom Arthurs and Isambard Khroustaliov

O'ROURKE

Beat Botoxing

Song of the Unquietness composed by Dine Doneff
Tom Arthurs trumpet
Dine Doneff double bass
a live recording April 23, 2015
in Claus Nageler atelier, Percha, Bavaria
photo by lamp (Fotini Potamia)

Song of the Unquietness - Arthurs/Doneff Duo

Excerpts from 'Evergreens' - from the forthcoming album 'One Year' (Ozella Music 2018).  With Tom Arthurs (trumpet), Richard Fairhurst (piano) and Markku Ounaskari (drums).

One Year

Excerpts from 'One Year' - Evergreens

This was a very special night, and you're invited to experience it. This 20 minute segment is from a recent concert at FMC in Jonquierre, QC with my lovely band... Tom Arthurs, Benoit Delbecq and Thom Gossage. Love these guys... what can I say? It's nothing short of a privilege to make music with them.

It is streamable, but also a free download if you want to save it for later.

Daniel Coté wrote this article in LA PRESSE about the concert, which sets the scene nicely. (Scroll down for a terrible english translation) http://www.lapresse.ca/le-quotidien/arts-spectacles/201205/18/01-4526537-des-trames-delicates-bien-tricotees.php

And if you enjoy this, please do visit www.milesperkin.bandcamp.com to pick up a copy of our album. Happy listening. 
Miles

Des trames délicates bien tricotées
Daniel Coté LA PRESSE 18 Mai 2012
(JONQUIÈRE) Il y a des jours où un concert n'est pas seulement un concert, où les musiciens peuvent être assimilés à de grands prêtres appelés à présider une cérémonie païenne. Tel est le rôle qu'ont assumé les membres du Miles Perkin Quartet, hier, à la Salle Pierrette-Gaudreault de Jonquière, lors de la soirée d'ouverture du Festival des musiques de création.
La 21e édition de l'événement est la première qui se déroule en l'absence de son fondateur, Pierre Dumont. Lui qui l'a porté sur les fonds baptismaux, qui a veillé au choix des artistes invités, autant qu'à la bonne marche des activités, a laissé un grand vide à la suite de son décès survenu il y a un an.
La présence d'une bonne foule faisait donc plaisir à voir, tandis que le petit mot prononcé par son successeur, Sébastien Maltais, a mis en lumière l'esprit dans lequel le festival amorce une nouvelle phase de son histoire. La notion de continuité a été évoquée, elle qui est incarnée par plusieurs des musiciens intégrés à la programmation 2012.
«Ce qu'on voit ce soir et ce qu'on verra plus tard, dans bien des cas, a été songé par l'ancien directeur artistique, Pierre Dumont. Un festival comme celui-ci se prépare longtemps d'avance et c'est pour ça que cette année, de même que dans les prochaines éditions, vous continuerez à sentir sa présence», a annoncé Sébastien Maltais, dont les propos ont été chaudement applaudis.
Premier à se jeter à l'eau, le Miles Perkin Quartet a proposé des compositions qui, pour audacieuses qu'elles soient, ont su rallier les profanes, au même titre que les purs et durs de la musique d'avant-garde. Dès sa première intervention, qui empruntait parfois des tonalités classiques, on a pu jauger son degré d'inventivité.
D'entrée, le piano du Français Benoit Delbecq a produit des sons assimilables à celui que font des gouttes d'eau. La contrebasse de Miles Perkin a grondé doucement, en parallèle, pendant que Thom Gossage frottait ses cymbales. Ils ont brossé un tableau élégant, très lisse, jusqu'à ce que le flugelhorn de Tom Arthurs ne vienne brouiller l'image à petites touches.
Ce fut une belle introduction pour ceux qui découvraient la formation. Elle aime tricoter des trames délicates, comme dans Salinas, son hommage à l'auteur américain John Steinbeck. Ce titre qui s'est ouvert sur des notes éparses, tant au piano qu'à la trompette, est riche en évocations. On pense à un paysage aride, ou encore à la levée du jour, avant que la musique ne se mette à trembler. Atmosphères. Atmosphères.
Expérimentations
L'autre versant du quatuor réside dans ses expérimentations. À cet égard, on retiendra une pièce assez ludique, pendant laquelle le piano a produit des sons semblables à ceux qu'émettent les percussions traditionnelles de Thaïlande. Simultanément, la contrebasse reposait sur le plancher et Miles Perkin tapait dessus avec des baguettes, alors que la trompette s'agitait de manière syncopée.
C'est après ce voyage au champ gauche que le leader de la formation a ramené tout le monde à la case départ, celle où s'était tenu Sébastien Maltais, un peu plus tôt. «Ce soir, c'est un spectacle spécial pour moi. Année après année, une personne nous a invités, mais aujourd'hui, elle n'est pas ici. Nous dédions ce concert à Pierre Dumont», a lancé Miles Perkin dans un français joliment cassé.
Non seulement l'a-t-on applaudi, mais des sifflets et des cris sont montés de la salle, où l'émotion était palpable. Autant d'hommages au disparu, dont l'héritage n'a pas fini de résonner dans la nuit saguenéenne.

POORLY TRANSLATED ENGLISH VERSION

Daniel Coté LA PRESS May 18, 2012
(JONQUIÈRE) There are days when a concert is not just a concert, where musicians can be thought of as high priests called to preside over a pagan ceremony. Such is the role that served as members of Miles Perkin Quartet yesterday at Salle Pierrette-Gaudreault Jonquière, during the opening night of the festival of creative music.
The 21st edition of the event is the first taking place in the absence of its founder, Pierre Dumont. He who wore the baptismal font, which oversaw the selection of guest artists, as well as to the conduct of activities, left a great void in the wake of his death a year ago.
The presence of a good crowd was so nice to see, while the little word uttered by his successor, Sébastien Maltais, highlighted the spirit in which the festival is entering a new phase in its history. The notion of continuity has been mentioned, it is represented by several musicians integrated programming in 2012.
"What you see tonight and that we will see later, in many cases, was considered by former artistic director, Pierre Dumont. A festival like this is prepared well in advance and this is why this year, as well as in future editions, you will still feel his presence, "said Sébastien Maltais, whose remarks were warmly applauded .
First to jump into the water, Miles Perkin Quartet proposed compositions for bold they are, have rallied the uninitiated, as well as the hardliners of the avant-garde. From his first sounds, which borrowed some classic tones, we could gauge his level of inventiveness.
On entry, the piano of French Benoit Delbecq produced sounds similar to that made by dripping water. Miles Perkin on bass boomed softly, in parallel, while Thom Gossage rubbed his cymbals. They painted a stylish, very smooth, until the flugelhorn of Tom Arthurs not come to blur the image touches.
It was a great introduction for those who discovered the formation. Knitting frames delicate, as in Salinas, his tribute to the American author John Steinbeck. This title, which opened on scattered notes, as well as the trumpet to the piano, is rich in evocations. One thinks of a barren landscape, or at daybreak, before the music starts to tremble. Atmospheres. Atmospheres.
Experiments
The other side of the quartet is in his experiments. In this regard, we note a fairly entertaining piece, during which the piano produces sounds similar to those emitted by traditional drums of Thailand. Simultaneously, the bass sitting on the floor and Miles Perkin banging on it with sticks, while the trumpet was so agitated syncopation.
It was after this trip to left field as the leader in training brought everyone to square one, where Sébastien Maltais had stood a little earlier. "Tonight is a special show for me. Year after year, someone invited us, but today it is not here. We dedicate this concert to Pierre Dumont, "commented Miles Perkin in a nicely broken French.
Not only has there been applause, but whistles and cries are mounted in the room where the emotion was palpable. So many tributes to the departed, whose legacy has not stopped ringing in the night in Saguenay.

Miles Perkin Quartet Live FMC

Here is an improvised piece from a recent trio concert at The Music Gallery in Toronto. Features Tom Arthurs on trumpet, Benoit Delbecq on piano and myself on bass. It was beautiful to play in this little church. I extend a big thank you to everyone at the Music Gallery for being such gracious hosts.

This concert was part of a CD release tour to support a new release from the Miles Perkin Quartet which can be purchased here: http://milesperkin.bandcamp.com/album/objects-in-mirror-are-closer-than-they-appear

Here's a recent review of the CD by Lawrence Joseph at the Montreal Mirror:

"Despite the line-up of trumpet (Tom Arthurs), piano (Benoît Delbecq), bass (Perkin) and drums (Thom Gossage), the textures borrow as much from contemporary classical, electroacoustic and gamelan music as they do jazz. The piano is often prepared, meshing with rustling percussion that rarely settles into a fixed beat. Low-key, sophisticated and ECM spacey, the slow tempos and contemplative mood shield a restless tension. A seamless blend of composition and improvisation, exotic and gracefully modern. 9/10"

Miles Perkin Trio @ Music Gallery, Toronto

Quartet / 9:44
Tom Arthurs - trumpet
Steve Beresford - piano
Phil Minton - voice
Eddie Prévost - percussion

Record 3 / Side A / Track 3

Just Not Cricket! - Quartet > Arthurs / Beresford / Minton / Prévost

British trumpeter and composer living in Berlin
www.tomarthurs.co.uk 

Profile picture by Remko Wieland, header by Lamp (Fotini Potamia)

Excerpts from 'One Year' - Evergreens

Tom Arthurs

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