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UID:173@lewesconclub.com
DTSTART;TZID=Europe/London:20220623T190000
DTEND;TZID=Europe/London:20220623T220000
DTSTAMP:20220404T134629Z
URL:https://www.lewesconclub.com/events/ray-russell/
SUMMARY:Ray Russell
DESCRIPTION:We are pleased to present Ray Russell playing tracks from Fluid
  Architecture with Ian Palmer (Drums)\, George Baldwin (Bass) and Jim Wats
 on (Keyboards)\n\nTickets: www.wegottickets.com/event/543448\n\nBar from 5
 :00pm\, Doors 7:30pm start 8:00pm Unreserved Seating\n\n[embedyt] https://
 www.youtube.com/watch?v=r626JcLzf6I[/embedyt]\n\nGuitarist-composer Ray Ru
 ssell has enjoyed two distinct careers: one as an esteemed session player 
 and award-winning film and television composer\, another as an ingenious g
 uitar experimentalist and free-thinking collaborator. Russell made his pro
 fessional debut as Vic Flick’s replacement in the John Barry Seven\, wit
 h whom he twanged the famous James Bond theme in several Barry-scored film
 s\, beginning with 1962’s Dr. No. He went on to play a stew of jazz\, R&
 amp\;B\, and other styles with Georgie Fame and the Blue Flames\, the Grah
 am Bond Organisation\, and the Mike Gibbs Band\, where he worked alongside
  Chris Spedding and Jack Bruce. As an indefatigable session musician\, he 
 has recorded and/or toured with Lulu\, Paul McCartney\, Cat Stevens\, Van 
 Morrison\, Bryan Ferry\, David Bowie\, Phil Collins\, Scott Walker\, Art G
 arfunkel\, Marvin Gaye\, Heaven 17\, and Tina Turner (check out “Let’s
  Stay Together” on Private Dancer). His exquisite playing on TIME OF THE
  LAST PERSECUTION (1971) clinched Bill Fay’s position in the cult-folkie
  pantheon.\n\nRussell was also part of the vibrant London jazz scene that 
 revolved around Ronnie Scott’s club. His 1968 solo debut\, TURN CIRCLE\,
  was the first of a series of increasingly free-wheeling albums ripe for r
 ediscovery. DRAGON HILL (1969)\, RITES AND RITUALS (1971)\, JUNE 11TH 1971
 : LIVE AT THE ICA (1971)\, and SECRET ASYLUM (1973) burst at the seams wit
 h compositional invention\, soundscaping expertise (he’s reputedly the f
 irst English guitarist with a pedal-board setup)\, and a flair for collabo
 rative mind-melding. During the seventies he played with prog-rockers and/
 or fusioneers Mouse\, Nucleus\, and Rock Workshop.\n\nHe continued to reco
 rd in a jazz-fusion vein throughout the ’80s and ’90s\, employing long
 \, swooping tones\, lyrical meditations\, sudden mood changes\, Celtic fan
 tasias\, and old-fashioned shredding on albums like WHY NOT NOW (1988)\, T
 HIS SIDE UP (1989)\, and GUITARS FROM MARS (1990). Russell returned to his
  modernist roots on GOODBYE SVENGALI (2006)\, a tribute to Gil Evans\, wit
 h whom he’d played during the ’80s. NOW\, MORE THAN EVER (2013) offere
 d Russell’s restless\, bristling jazz-rock conceptions and set the stage
  for CELESTIAL SQUID (2016)\, a collaboration with California avant-guitar
 ist Henry Kaiser that marked a majestic return to Russell’s outer-limits
  sensibility. Russell joined Kaiser again for THE DUKES OF BEDFORD (2020)\
 , a spontaneous live adventure featuring guitar-daredevil kinsman John Rus
 sell and bassist Olie Brice.
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