Aug 7 2011

Westminster To Introduce Evening & Weekend Parking Charges: A Rant

Many of you, especially musicians, will already be aware of Westminster Council’s plans to introduce evening and Sunday parking charges in London’s West End later this year. This simply cannot be allowed to happen.

Until now there has always been free meter and single yellow spaces after 6.30pm and on Sundays. Like there are all around the country. Westminster Council proposes to scrap the free parking period until midnight during the week and up to 6.30pm on Sundays. They also plan to put the hourly parking rate up to a preposterous £5.00 an hour.

There has already been strong protest from local businesses, musicians and Westminster churchgoers, many of whom travel from outside the parish to attend services on a Sunday morning. I first heard talk of these proposals at the beginning of the year and assumed the plans had since been quashed but yesterday I learnt the plans were still being pushed through to be implemented towards the end of the year.

In these times of cutbacks in arts funding these measures will have serious impact on the currently thriving music and theatre scene in London’s West End. Many Londoners (especially the elderly) visiting the West End of an evening need to travel by car in order to get home at the end of the night as public transport link shut down and a taxi proves prohibitively expensive, not to mention those who live out of town.

Musicians like myself will find gigs in town (and we’re talking specifically about Soho, Covent Garden and Marylebone here) are no longer financially viable. The average common-or-garden jazz gig in town will pay between £40 and £80 per night. The extended parking charges would cost me an extra £20-£25 per night, not to mention the dreaded Congestion Charge if the soundcheck was before 6pm. Many London gigs would simply be wiped out as musicians and patrons are priced out of the West End by the sheer expense of the visit. I have no choice but to drive to gigs with all the large and heavy equipment I need to carry, plus the fact that I live out of town and have no easy access to public transport. I’m sure the last thing Westminster Council wants is for me to rock up at tube stations with a double bass and an amp. Not to mention the drummers… And at the end of the night when the tube and train services have stopped running, how are we meant to get home safely?

Dave Webster, of the Musicians’ Union, says

Musicians are often required to work unsociable hours and carry heavy and valuable instruments and equipment that makes it difficult and risky to use public transport.

Many of our members are self-employed and are not sufficiently well-paid to be able to afford the proposed extended parking charges.

Westminster Council have justified these planned measures by stating that it will keep traffic flowing through the capitol and raise up to 7 million pounds in additional revenue. They also state that many of the West End’s NCP carparks are empty of an evening. They obviously don’t know how much it costs to park there for a few hours. The amount of available spaces of an evening when you remove the single yellow spots from the equation simply do not add up. The whole plan smacks of money-grabbing with little or no regard for the visitors and workers that make that part of our city thrive of an evening.

This simply cannot be allowed to go through. I trust the Musicians Union and local businesses are doing all they can to prevent the charges coming into force before it’s too late.

The plans are currently set to go into place in December for an 18 month trial period. Just long enough to kill the West End…


Jul 6 2011

Interview from All About Jazz

Today the fantastic All About Jazz website published an interview with me, so I thought I’d re-post it here for you to check out. The original interview can be viewed here, where you can comment on the post.

Meet Simon Little: I’m a session bassist living in London.

I was born in London and started learning the double bass at school in Dorset with Barry Glynn. I went on to study at The Guildhall School of Music & Drama in London (1999-2003) receiving tuition from Kevin Rundell, Jeff Clyne and Steve Watts. I first picked up an electric bass aged 15 and have never looked back…

Most people know me as the bassist with The Divine Comedy and Duke Special. I also tour regularly with Clare Teal and Maggie Reilly. As a jazz bassist I usually play with singers. Most notably Kate Eden, Lea DeLaria, Ian Shaw, and Nina Ferro. I’ve also played and recorded with Nick Cave & Warren Ellis, A Girl Called Eddy, Chris Difford, Jamie Cullum, Liane Carroll, Beth Rowley, Ben Folds, Norma Winstone, Claire Martin, Pee Wee Ellis, Alan Barnes, Polly Gibbons, Newton Faulkner and The Ronnie Scott’s Allstars amongst others.

I have released two solo albums under my own name: Mandala (2010) and The Knowledge of Things To Come (2011)

Instrument(s):
Double Bass, Electric Bass, Sitar

Teachers and/or influences?
I’m influenced by a wide range of music and musicians. Probably my biggest influences as a bassist are Eberhard Weber, Stuart Zender, Scott LaFaro and Jaco Pastorius. At the moment I’m listening to a lot of Les Claypool. I like bass players with a really distinctive style and sound…

I knew I wanted to be a musician when…
I had a go on a bass guitar for the first time.

Your sound and approach to music:
I approach all music with an open mind. It’s important to know where you fit in as a sideman and what you can and can’t do in any given situation. This comes from playing with a wide variety of bands and singers. My sound as a solo artist is very distinctive. You can hear a lot of my influences in my improvisations.

Your teaching approach:
I train my students to teach themselves. I introduce a broad spectrum of learning skills and practice techniques so that students can claim ownership of their development and continue improving independently.

Your dream band:
I would love to play with Prince. I think most people would love to play with Prince…

Road story: Your best or worst experience:
On my 22nd birthday I played a sold out show at the Birmingham Academy with The Divine Comedy in front of about 1500 people. It was also the first time I played live on stage with Ben Folds; he is one of my idols and we played a version of Brick (one of my favourite songs). It was the best birthday ever…

Favorite venue:
The 606 in Chelsea. The best jazz club in the world. And the best sausage and mash you’ll ever have.

Your favorite recording in your discography and why?
Ian Shaw’s Drawn To All Things (2006). Ian and I are both massive Joni Mitchell fans and in 2006 we recorded an entire album of Joni songs with some fantastic arrangements by Janette Mason and Ian. There some great musicians on that record and the bass sounds great. My favorite track is our version of “A Case of You.” It’s my favorite song of all time and Ian and I play it as a duo. Lovely…

The first Jazz album I bought was:
8.30 by Weather Report.

What do you think is the most important thing you are contributing musically?
Personality and presence. I’d like to think you can hear me in whatever music I’m playing.

Did you know…
I play the sitar too. And the musical saw. I just recorded a track on the saw for Newton Faulkner’s new record…

CDs you are listening to now:
Les Claypool & The Holy Mackerel, Highball With The Devil
Marcus Miller, A Night In Monte-Carlo (Deuces/Dreyfus)
Bon Iver, Bon Iver (4AD)
James Blake, James Blake (Lindisfarne/Unluck)
Tom Waits, Orphans (ANTI-)

Desert Island picks:
Joni Mitchell, Hejira
Eberhard Weber, Pendulum
Jaco Pastorius, Jaco
Trilok Gurtu, Kathak
Erykah Badu, Baduizm Live

How would you describe the state of jazz today?
Generally in the UK, I would say the scene is struggling. I’ve been very lucky to have worked with some of the UK best jazz artists over the last ten years and those artists will always have a strong audience. I think it must be very tough for younger players coming through from all the colleges these days. A lot of the smaller venues in London are disappearing….

What are some of the essential requirements to keep jazz alive and growing?
The music needs to remain relevant. It should embrace other styles of music more openly. Jazz used to be pop music back in the day. The only thing that separates it from modern day pop music now is improvisation. You can blow over anything if you want to…

If the music was more relevant and more people connected with it, we wouldn’t need to worry so much about funding. Most of the people I play with would never need an Arts Council grant to go on tour…

What is in the near future?As well as maintaining a busy touring schedule with Clare Teal, I’m also currently working on a new duo project with drummer Steve Alexander called Little Alex. We are combining my live looping with Steve’s live drums and electronics. We should have an album out by the end of this year.Also am about to start working on a new production at The National Theatre with Ben Castle. This runs all through August and September so I’ve got a busy couple of months ahead!

If I weren’t a jazz musician, I would be a:
Writer.

Big thanks to everybody at All About Jazz for helping spread the word of the new album. Hoping to have the album reviewed by them at some point in the near future. In the meantime, you can check out the most recent review at eBurban.

 


May 24 2011

Video from This Morning with Clare Teal

Hello folks,

Thought I’d post this video of us playing on This Morning on the blog. It’s up on my videos page too just in case…

We had a fun morning over at ITV and were well looked after by the lovely crew there. And it’s always good to see Eamonn and Ruth.

Also think his is probably the only video i have of me playing The Beast. I shall have to rectify this soon. Thinking it might be time to film some live-looping stuff for you, especially now I’ve got my little Flipcam. I’ll get on the case and let you know when I have something good…