Foxes and Fossils revisited (2019)……


Three years ago (in 2016) I wrote a blog about a group I had discovered on YouTube, namely Foxes and Fossils. I had come across them doing a cover of Suite Judy Blue Eyes by Crosby, Still and Nash.

At the time I was of the opinion that no one could ever do justice to this song other than the original group, as it requires exceptionally good harmony singing. Well, as I was to discover I was completely wrong and was blown away by a live performance by the group in a small club.

What was even more remarkable was that the two young ladies singing with the group were just 15 and 16 years of age at the time but sang with such assurance and maturity.

I later discovered they subsequently left the group to continue their high school education and the personnel of the group changed on a number of occasions.

But joy of joys, I recently found another performance on YouTube of the group with the original young ladies back with the band and still singing wonderfully well. Moreover, they happen to be performing Harvest Moon by Neil Young, which just happens to be one of my favourite songs.

I think they have done a wonderful job with this, but give it a listen and make up your own mind.

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Douro Valley……….and Oporto

In November 2018 I attained the ripe old age of 70 and I explained to my family I did not want a party or any gifts, My request was for a quiet meal out with my wife, daughter and husband and my two grand children.

So off we went to El Gato Negro a will known Tapas Bistro in Manchester for an informal evening. As we were finishing our meal my daughter handed me what I thought was a birthday card. Instead it was a card with a photograph of the Six Senses Hotel in the Douro Vally in Portugal and she said casually, I have booked you into a luxury suite for 4 nights, there will be a special meal arranged for your last night and a taxi will collect you in Oporto to drive you to the hotel 120 kilometres along the Douro Valley, and then drive you back to the airport in Oporto at the end of your visit. This has been arranged for May 2019 and everything is paid for.

To say that I was taken aback would be an understatement, I was utterly speechless, and according to my daughter for the only time in my life.

We decided to make the most of the trip and booked an appartment in Oporto for three days so that we could see something of the city before our journey to our hotel in the Douro.

We tried to pack as much sightseeing in during the two full days in the city including a “port tasting tour”, a visit to the wonderful tiled railway station, a walk across the spectacular bridge plus a visit to the photography museum which is housed in an old prison but is quite beautiful architecturally.

Our taxi ride along the Douro Valley took in some spectacular scenery, stunning bridges before arriving at the Six Senses Hotel. Well, I have been to some up market hotels but nothing like on this scale. Our room was enormous and with a very large window overlooking the River Douro where we could sit and watch the boats going up and down the river. The hotel oozes luxury and the breakfasts have to bee seen to be believed.

During our stay we got a taxi up to the small town of Pinhao and then took a leisurely boat trip up the river past many of the vinyards and wonderful scenery.

We also managed to fit in a visit to the Quinta da Pacheca to do a tour of the winery and ended up tasting around six red wines plus a variety of Ports , including a stunning 40 year old one, courtesy of the wonderful Pedro who was our very knowledgeable guide on the tour.

I have visited around twenty five different countries in the world and there are some where you see sights that you say are beautiful, others you say quite breathtaking and others the response is stunning. But never have I visited anywhere where all these three comments could be made at once, but in the Douro valley this is certainly the case.

It was difficult to think how I could say thank you to my daughter for providing me with such a wonderful birthday gift, but on the last day my wife led me to the verandah overlooking the river and I thought we were going for afternoon tea. Imagine my shock as I opened the door to see my daughter sat there with her husband drinking a glass of wine. They had flown out to Portugal for one night to have dinner with us on our final night…………..such a beautiful end to a wonderful holiday.

Below are some of my photographs from the trip taking in Oporto and the trip down the valley.


Looking down to the boats on the river at Oporto


Riverside in Oporto


The magnificent tiled railway station in Oporto


The view from our bedroom at the Six Senses Hotel


Boat trip up the River Douro


One of the many vineyards along the Douro River


The Six Senses Hotel


Cellar at Quinta da Pacheca


Wine bar at the tiny station at Pinhao


The “little train” that travels along the valley

Photographs (c) Kindadukish 2019

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The Triana Ceramics Museum ………..


During our recent trip to Seville we set out one morning to just wander down the side of the river (on the west side) starting at Pasarela de la Cartuja bridge. After a while we came to the area known as Triana, once one of the less salubrious areas of the city and indeed was known as the “red light distrct” but all of that has changed now.


It is being redeveloped and rapidly moving upmarket (not dissimilar to Uzupis in Vilnius). It was here that we stumbled on the Triana Ceramicas Museum and decided to explore it. But first a little back ground history.


The Triana Ceramics Museum is the most recent chapter in the long history of the Fábrica de Cerámica Santa Ana (Ceramics Factory of Santa Ana), which has lent itself to the design, production, exhibition, and sale of ceramics for a long time. The new centre offers a space for interpretation in the heart of the historic quarter of Triana.


The workshop was in production up until the end of the 20th century, which permitted the preservation of many of the elements including: seven firing kilns, a well, pigment mills, workshops, and storerooms. An archaeological survey uncovered remains of another 8 kilns, the oldest of which were in use until end of the 16th Century.


The project develops on an old pottery complex, an exhibition centre of ceramics, an interpretative centre on different tourist routes in the quarter of Triana, as well as different areas for the commercial and productive activities of the Santa Ana Pottery Factory.


As you wander through the various rooms you get a real feel of the extent of the industry and many of the artefacts on display are stunningly beautiful, and if you are the least interested in tiles and how they were used to create artistic masterpieces, then this is a place you must visit.


I realise that many would shake their head at the idea of visiting a tile museum, but this place is about history, industry and the creative arts and has excellent and tasteful displays. The video showing the work of the hand painters is worth the entrance fee alone, the skill factor is amazing and shows what a lost art it has become.

Photographs (C) Kindadukish 2018


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Flamenco, Street Style in Seville…………………………….

On my recent visit to Seville in Southern Spain I spent many happy hours wandering the streets of the city as well as those in Cadiz, Cordoba and Jerez de la Frontera. With trusty Pentax K50 camera (with 18 – 250 Sigma lens) in hand I set about shooting all the things that interested me.

My favourite photographs from my visit were the ones I took late one afternoon in Seville and near the cathedral. In a square there was a camera crew shooting a video featuring a young woman who was dancing traditional flamenco. It was a bit of a stop, start affair as the cameraman kept asking for certain moves to be repeated.

The young lady in question looked absolutely stunning in her long black dress as she practiced her dance moves. I tried to get up close to try and take some photographs but was warned off by one of the “minders” for the shoot. However, as more and more people got out their phones to take photographs I think he just gave up, so I was able to get reasonably close to get some shots.

I have no idea what the video was about but it did feature quite a number of Japanese participants, so perhaps it was to advertise something back in Japan e.g. more tourism, although I have to say there was no shortage of Japanese tourists in the city whilst I was there.

I hope the photographs posted capture the spectacular dancing and also the stunning dress.

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Photographs (C) Kindadukish 2018


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The Greatest Jazz Pianist……………………….

I have been listening to jazz music for the best part of fifty odd years and have developed a love of most genres of the music from early New Orleans to the Avant Garde, although I have to confess that I still cannot get to grips with Be Bop, despite spending many hours trying.

During my listening lifetime I have developed a love of pianists and my favourites are wide and varied. I think the first real jazz pianist I heard was Oscar Peterson playing “Night Train” on a Verve LP I bought back in the 1960s. I loved how Peterson took a melody then created a whole new musical world with his improvisations, often displaying phenomenal technique that was reminiscent of Art Tatum at his finest.

In more recent years I have become a Keith Jarrett acolyte, even forgiving (partly) his outrageous and intolerant behaviour towards audiences. In the early part of his career Jarrett played with Miles Davis and was part of the jazz / rock scene of the late 60s and early 70s. Much later he moved towards playing solo concerts of which the iconic “The Koln Concert” is probably the best known. My own personal favourite is the “Vienna Concert” which contains improvised melodies that Rachmaninoff or Tchaikovsky would have been proud of.

The man who shook the piano world up was Cecil Taylor; he was classically trained and was one of the pioneers of free jazz.  His music is characterized by an energetic, physical approach, resulting in complex improvisations often involving ne clusters and intricate polyrhythms. His technique has been compared to percussion.  I remember buying the LPs “Conquistador” and “Unit Structures” back in the 60s and being assaulted by music that I found difficult to comprehend. Extensive listening (and perseverance) enabled me to work out what Taylor was trying to do with his music. An undeniable genius but not easy listening.

I must also mention the godfather, namely Duke Ellington, who I still believe is extremely under rated as a pianist, primarily because he focused on composing and arranging for his band but would play the occasional solo with the band. The LP Money Jungle made by Ellington with a rhythm section of Max Roach and Charlie Mingus gives some indication of what he was capable of. Moreover, there is a video on YouTube of him playing a solo concert, which is simply magical.

Other pianists I would throw in for consideration are Bill Evans, Thelonius Monk, Stan Tracy, John Taylor, Michael Garrick, Kenny Barron, Brad Mehldau, Hank Jones and Count Basie. My own personal choice is quite easy and here is the reason why. During the late 60s I was a regular visitor to the old Free Trade Hall in Manchester where I saw a number of great jazz artists, Basie, Gillespie, MJQ, Earl Hines, Budd Johnson amongst others. I became inspired hearing such good music that I had serious thoughts about learning to play the piano.

Shortly after this I went to another concert in Manchester and managed to get a seat a few rows from the front of the stage so I could see the performers up close. For close on two hours I sat and watched Oscar Peterson give a performance of such technical virtuosity and musical creativity it was difficult to comprehend at times.

I came out of the concert hall shaking my head and thinking “forget the piano lessons, you aren’t ever going to get close to playing like that.” So for me Oscar Peterson is the finest jazz pianist and I have posted a video of him playing one of his own compositions from the Canadiana Suite.





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“China’s First Emperor and the Terracotta Warriors”- Liverpool


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Last week I went to view the exhibition currently in situ at the World Museum in Liverpool, namely “China’s First Emperor and the Terracotta Warriors”. I wasn’t really sure what to expect so went with an open mind, fully cognizant that the exhibition had been sold out for some considerable time and thus extremely popular.


So a little background to the exhibition:- “For over 2,000 years, an underground army of life-sized terracotta warriors secretly guarded the tomb of China’s First Emperor, Qin Shi Huang, until a chance discovery in 1974 unlocked the mysteries of a vanished empire.


Showcasing objects from one of the world’s greatest archaeological discoveries, this exhibition spans almost 1,000 years of Chinese history; from the conflicts and chaos of the Warring States period, to the achievements and legacy of the Qin and Han dynasties.


The exhibition includes a number of objects that have never been on show in the UK before including material from museums and institutes from across Shaanxi Province, excavated over the last 40 years from the Imperial Mausoleum and selected tombs.


These spectacular artifacts shed light on the Emperor’s pursuit of immortality and show how he prepared for the afterlife, as well as help us to understand more about everyday life in China more than two thousand years ago.


This exhibition was organised by National Museums Liverpool, United Kingdom and the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum (Shaanxi Cultural Heritage Promotion Centre), People’s Republic of China.”


I have visited many museums in many countries and one thing many seem to get wrong is the idea that they should “bung as many exhibits on display as possible”. What impresses about this exhibition was the limited amount on display, and I have to say it is one of the most beautiful exhibitions I have ever been to.


The rooms are tastefully lit, not ideal for us photographers but one can understand the need for this, some of the images are breathtaking. The warriors on display are utterly magnificent and you can only stand back and admire the incredible workmanship that went into creating the figures.


Additionally there are other artifacts e.g. a golden horse, coins with Greek script, cooking pots and my personal favourite, the utterly magnificent wine jar.


What are incredibly helpful to the viewer are the various explanations and maps relating to the history and background of the Emperor and the creation of the warriors.


After about two hours I emerged into daylight from the exhibition, still trying to take in the full beauty of what I had just seen.


So, well done to the organisers and in particular those who designed and created the exhibition………..simply stunning.


Photographs © Kindadukish 2018

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The Creation, CBSO/Mirga Gražinytė-Tyla

For the last few years I have followed the career of the Lithuanian conductor Mirga Grazinyte-Tyla with considerable interest. She was the “shock” appointment as Musical Director of the City of Birmingham Symphony Orchestra after Andris Nelsons departed for the Boston Symphony Orchestra. Having established her credentials in her first season with the orchestra she has now embarked upon her second season and kicked off with a performance of the The Creation by Haydn (it should be remembered that much of her early career was conducting choirs). Below is a the Daily Telegraphs music critics review of the performance. The CBSO seem to have chosen wisely in their appointment.


The Creation CBSO/Gražinytė-Tyla Symphony Hall, Birmingham ★★★★★

As links go between the most unloved English towns and greatest composers, there is nothing more unlikely than Haydn’s visit to Slough in the 1790s. He went there to see the astronomer William Herschel and his celebrated observatory, and it would be nice to think that the experience gave him inspiration (“The heavens are telling the glory of God”) for The Creation, set to an anonymous libretto based on Milton’s Paradise Lost. The famous symphonist certainly returned to Vienna with the idea of writing a work in the form English audiences venerated most: the oratorio.

Still known as everything from “father of the symphony” to “Papa Haydn”, the composer may be venerated as a musicians’ musician, but too many orchestras and conductors today pay lip service rather than make him central to their programming. Not so the City of Birmingham Symphony Orchestra: its former music director Simon Rattle has long been something of a Haydn specialist, and conducted The Creation in Birmingham many times and recorded it with the CBSO. Having already stamped her mark on Haydn symphonies in Birmingham, the CBSO’s exciting new music director Mirga Gražinytė-Tyla has now opened her second season with this choral masterpiece.

Right from the opening “Representation of Chaos”, Gražinytė-Tyla coaxed urgent detail from the score with mercurial flicks of the baton. Taking consistent delight in the music, she was an energising force in a period-conscious performance where the strings played without vibrato and the orchestra included natural trumpets and a fortepiano. Hearing this was like seeing an old Biblical painting restored, its layers of accrued varnish removed by a loving curator; there was nothing of the traditional piety here, just the freshness of the Creation story. But then this truly is music that breathes the spirit of the Enlightenment, and Gražinytė-Tyla showed how much it has in common with Mozart’s almost contemporaneous opera The Magic Flute.

The CBSO had a fine line-up of singers. Lydia Teuscher sounded dewy-fresh in the soprano solos, Thomas Hobbs’s gleaming tenor had natural delivery, and Matthew Brooks brought story-telling warmth to the bass-baritone roles. Best of all, I have never heard the choruses sound better. Simon Halsey had drilled the CBSO Chorus to sing with incisive power, and Gražinytė-Tyla’s own background in choral conducting was felt too. Let’s hope she adds The Magic Flute to her plans for operas in concert in Birmingham. John Allison

  • I am indebted to the Daily Telegraph for the above review.
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