Monelise magic

Round & About

Oxfordshire

Visitors to the Thame Town Music Festival this month will be in for a treat as they listen to the haunting compositions of Monelise.

Her classically inspired soundscapes, which are truly twenty-first century tone poems blurring the lines, rather than crossing over between classical and contemporary, lyric and poetry, reality and dream. It was in an ethereal dream-like place, Iceland, she spent time last year as she recorded the video for her latest single The Flood which was released last month. You may be able to hear the single quite often as you shop, as the TopShop Group have signed an agreement for the song to be played in their stores during June and July,

Speaking of fashion, Monelise is pleased to return to Edinburgh earlier this year performing at the Alternative Fashion Week. Monelise was born in St Petersburg, she has lived in Russia, Houston Texas, Luxembourg and five years in Edinburgh. She is now living in London and studying for a Masters’ degree in Popular Music at Goldsmiths University as well as performing at some of London’s best kept secret haunts.

She gives her inspirations from across the musical spectrum including Kate Bush, Bjork, Michael Nyman, Yann Tiersen, Enrico Caruso, Frederic Chopin amongst others. If you are inspired to go and listen to her, then details of her performance and all the acts at the Thame Town Festival which is on at various locations across Thame on the 13th and 14th July can be found at www.thametownmusicfestival.org.

Homegrown heroes

Round & About

Oxfordshire

Henley Symphony Orchestra will take centre stage on Saturday, 14th July, at the Henley Festival which Round & About magazine is proud to sponsor this year

Featuring a programme of popular classics from around the world, Henley Symphony Orchestra will play an inaugural concert from 11.30am to 1.30pm, on the “floating stage” as part of Henley Festival.

This is the first of two special classical concerts over the festival weekend; the second being the English National Opera’s concert on Sunday evening.

The HSO, now in its 48th season, continues to attract a wide audience and soloists of the highest calibre. It has given performances in Henley’s twin towns of Leichlingen, Falaise and Bled. Most recently it performed to a full house at the Hexagon, Reading, with the inspirational young cellist Sheku Kanneh-Mason playing Elgar’s Cello Concerto.

July’s concert will feature the violinist Min Kym who has performed with many of the world’s leading orchestras and eminent conductors. She will be playing two showpieces with the orchestra; Massenet’s beautiful Meditation from Thais and Sarasate’s scintillating Zapateado.

Under the masterful command of conductor Ian Brown, the orchestra will also perform Dvorak, Gershwin, Marquez, Offenbach and Walton. Tchaikovsky’s iconic 1812 Overture, with its resounding bells and cannon fire – a fitting end to the concert!

Tickets for the concert on 14th are £20 (£10 for under-18s and students). For the full Henley Festival line-up visit www.henley-festival.co.uk

Military music

Round & About

Oxfordshire

Sarah Readings explains more about one of the lesser-known aspects of the Royal Air Force Music Service; the RAF Voluntary Band Association

Music is, and always has been, an important part of our nation’s military heritage. It has long played an essential role in military affairs, from the war carnyx that roused the ancient Celts to war, via the drums and trumpets of Roman Legions, to the bugle call that signals the lowering of the RAF ensign at sunset. Music lifts the spirits, helps keep a parade in step and encourages a sense of comradeship. Military music is a tradition in which the Voluntary Bands (VBs) of the Royal Air Force have proudly participated for a century.

In April 1918 when the Royal Air Force formed from the union of the Royal Naval Air Services and the Royal Flying Corps, musicians of the two services, augmented by fresh recruits, united to form the first RAFVBs. Funding emerged, including donations from officers. The men who flocked to volunteer came from a variety of musical traditions – brass bands, military bands, pipe bands and corps of drums – and their skills covered all manner of instruments. Some were experienced, others were hobbyists.

Soon after the Voluntary Bands began, the Air Ministry received a report calling for the inauguration of a School of Music to be staffed by a team of 50 band instructors. The Air Ministry agreed, only to reconsider when the dust of the Great War settled to reveal enormous debts. In 1920, amid loud arguments from the Army and the Navy that the RAF itself was no longer necessary, the infant RAF School of Music was disbanded. Happily, the RAF Central Band stepped in and supplied a succession of excellent Voluntary Band Instructors (VBIs).

In the 1920s and 1930s, VBs flourished: many RAF stations, both at home and overseas, had their own band and some of the larger ones worked with the RAF Central Band. Many more bands were established as the Second World War drew thousands more people into uniform and the number of RAF bases and personnel increased. A great number of new recruits of all trades had, in civilian life, been keen musicians, whether professional or amateur, and they rejoiced in the opportunity to continue banding while dressed in RAF blue. Even after the war ended, some of them stayed on in the Service and formed professional ensembles as part of the RAF Music Services.

In 1949, the RAF School of Music reopened and offered a bandmaster’s course which produced some marvellous VBIs, mainly Warrant Officers and Flight Sergeants, who guided the various bands for another three decades. By the mid-1970s, 24 bandmaster posts existed at RAF stations both in the UK and overseas.

Today’s RAF Voluntary Bands are led by fully qualified, experienced bandmasters who are the only paid members of the VBs: all other bandsmen and women are willing volunteers.

One of the welcome results of the formation of the RAFVBA is increasing collaboration among the bands. Over the past few years a number of prestigious massed band events have been staged, highlights being a concert at Symphony Hall in Birmingham in 2008 to celebrate 90 years of the Royal Air Force; a commemoration of the 75th anniversary of the Spitfire in Leicester in 2011 and a showcase concert in Cardiff in 2016. For amateur musicians these massed band events are an opportunity to participate in high-profile and prestigious concerts and enhance our feelings of pride in the Voluntary Band Association and its place in the modern music service.

Now for a more personal perspective – as a proud member of RAF Halton Area Voluntary Band, I have enhanced my musical life and improved my musical skills. I have strong links to the Armed Forces; both of my grandfathers served in WWI in the Australian and British Armies, my father served in the Australian Army in WWII and two of my brothers served in the British Army for years. I married into an RAF family; my mother-in-law was ex-WRAF and my father-in-law a Squadron Leader in the RAF. After his death my mother-in-law remarried a Wing Commander in the RAF. I have a nephew serving at RAF Benson as Puma ground support and another nephew has recently left the Royal Marines after many years’ service, including Iraq and several tours of Afghanistan.

Military tradition and its ethos of service and dedication has formed a backdrop to my life and in a very small way I am able to continue that. As a mature amateur musician, who came late to playing a brass instrument, I was able to learn a new skill and gain an insight into the world of military music. For me, a particular highlight is our participation in the annual Service of Remembrance held by the War Widows Association of Great Britain in Whitehall on the Saturday preceding Armistice Sunday. There is no greater sense of pride than marching to our national memorial, the Cenotaph, and participating in this moving event and supporting women who have suffered the ultimate loss in the protection of our country.

There are advantages to being a civilian member – I for one never thought I would learn to stand on a drill square and start working out my left foot and right foot and then be expected to march, play, stay in step, follow the right direction and not end up facing the opposite way to my comrades in the band. In conclusion, while membership of an RAF Voluntary Band does require commitment and either an understanding of, or a willingness to learn and embrace service discipline, in return you are part of an organisation that can widen your musical experience much more than is usually possible in a civilian alternative.

For more information, please visit www.haltonvoluntaryband.co.uk

It will be pilots on parade this month, as the RAF100 Roadshow reaches Horse Guards Parade, 6th – 9th July as part of the centenary year. On display will be aircraft from all through their history, including; Royal Aircraft Factory BE2c Biplane, Supermarine Spitfire MkXVI, Gloster Meteor F4 (the actual aircraft that captured the world air speed record of 616 mph in 1946), Harrier GR3, Tornado GR1, DC3 Dakota and a Chinook Helicopter. As well as the past, the RAF will also be looking to the future with an interactive STEM/Techno Zone and learn more about how they’re creating the next generation Air Force. After the Roadshow at Horse Guards there will also be a flypast and parade on 10th July. Visit www.raf.mod.uk

With grateful thanks to Mrs Mary Mackie, for her assistance with this article and her research into and words on the history of the RAF VBA. Mrs Mary Mackie, Author & Speaker, Kings Lynn, Norfolk.

Driving force

Round & About

Oxfordshire

Oxford teacher David Johnson has a racing start with his art, catching the eyes of his driving heroes Sir Stirling Moss and Sir Jackie Stewart

Even from a young age David has always had a fascination of Formula One. After initially watching the sport on television, David attended his first Grand Prix at Silverstone in 1997. What began as an interest evolved into a true passion.

As a child he was always found tinkering in the garage with his granddad, building and restoring all types of products. This hands-on approach built the foundations for an enjoyable journey under the umbrella of design and technology at school. St Augustine’s in Oxford provided many exciting opportunities for students to take part in D&T projects. Under the eyes of his teachers, Mr Rose and Mr Humphreys, David remained drawn to F1 and was encouraged to get closer to the sport. His fondest memory is of the Formula Schools club that saw a team of students design, build, and race a remote control car around a small track at Silverstone.

When leaving school, as a hobby, David started to create paintings depicting some of Formula One’s greats. His first was of Jim Clark racing at Silverstone. Curiously, David decided to sell the painting that gained much interest and realised he could be on to something. As time passed this hobby grew, as did his career. He was now a teacher at St Gregory the Great Catholic School. Always aiming to get closer to the sport, he ran many exciting extra-curricular trips and activities, including Formula Schools which gained much success and recognition. He also organised trips to Formula One events and even took a group of students to Sir Stirling Moss’s home to meet the legend himself.

Throughout this time he strived to apply more focus on artwork and developing his style. It was at this point he contacted Sir Stirling Moss.

Back in 2008 he had sent a letter to Sir Stirling Moss, explaining the desire to create a painting of one of Sir Stirling’s favourite cars, with the hope he would sign the prints. In just a matter of days he received an envelope through the post with the initials SM on the reverse! On the response Moss showed a keen interest having viewed David’s previous artwork, and was happy to discuss his favourite racing cars over the phone.

With the decision of which scene to paint made, David began working on the 1956 Monaco Grand Prix with Sir Stirling Moss leading the pack in his Maserati 250F, holding off Juan Manuel Fangio to secure his first victory at the Principality. In just over a month, he had completed this art piece and it was ready to print. It was then one of David’s proudest moments, as he had journeyed to the home of the personality he’d read about and admired as one of his favourite drivers. Sir Stirling Moss hand signed a number of limited-edition prints and posed for a photograph, and the sense of achievement was great.

From this point he was on the motor sport map. He was approached by motoring publications asking to display his work and exhibited at a number of shows. As he continued to still develop and perfect his skills he had worked with other racing greats along the way including John Surtees, Jody Scheckter and Sir Jackie Stewart, just to name a few. He found himself returning to see Sir Stirling Moss regularly for the breakfast signing slot. Sir Stirling could also see David’s talents grow and wrote to him encouraging him to always follow his passion.

David has started a clean chapter with a new challenge; the palette knife. He has swapped his fine grade brushes with great success and has applied a fresh new look, still with an eye for detail. This modern approach has drawn great interest through social media, and will see him attending the Grand Prix Ball and British Grand Prix where he will be exhibiting and live-painting.

Driver signings continue. In April of this year David proudly met once again Sir Jackie Stewart, this time with a palette knife painting for signing. This was unlike anything Sir Jackie had seen before on canvas as he was astonished by the artwork. The painting is now due to be auctioned in Monaco to raise funds for Race Against Dementia.

David continues to develop his skills with a focus on capturing the excitement and atmosphere of the race. Through his art he hopes to meet and work with many more drivers in the future and leave a lasting impact on the artwork within the motor sport sector.

Please visit David’s website to view more of his work at www.formulaart.co.uk

Good truck

Liz Nicholls

Oxfordshire

Liz Nicholls chats to musician and dad Gaz Coombes, 42, whose acclaimed new album World’s Strongest Man is out now and appears at Truck festival in Steventon in July

Q. Hello Gaz, I love your new album! Are you most proud of this one?
“Thanks! It’s difficult to compare albums, y’know, like children! This album is still new and fresh, but I feel really good about it. The last three or four years have been the most creative of my life; it’s been a lot of fun.”

Q. Do you get recognised a lot when out and about?
“In Oxford, I’m just not a big deal, wandering along Cowley Road! I moved back just after my mum died to be closer to my dad and we haven’t looked back. I’m so at home here.”

Q. Where are your fave hang-outs?
“Jericho – I love The Harcourt Arms. We’re out in a village now, but when we were living on Cowley Road and my wife was in Banbury Road, Jericho was central and it’s cropped up in my lyrics! Last weekend Jools and I got a babysitter and went on a bit of a pub crawl with walks around Port Meadow – a magical place.”

Q. Oxford is a guitar music powerhouse, starting in your Supergrass days. Do you guys all hang out?
“Well yes! Loz and I hang out as he plays drums in my live band, when he’s not with Ride, and I see Mark Gardener [also of Ride]. When I was at Courtyard Studio recording this album, Colin Greenwood [of Radiohead] came by, for a cuppa and ended up playing bass on Oxygen Mask. He’s a fab guy, is Colin. The guys in my band are all local – I feel lucky that I’ve picked the cream of Oxford players. So yeah, it’s all subtley incestuous!”

Q. Anyone else you’d like to collaborate with?
“Ah, I heard something in my head a few months ago and contacted Nick Cave because I thought he’d be perfect. Unfortunately we couldn’t make any studio time work, but these things happen organically. I’d love to do some soundtracks…”

Q. Do you love vinyl?
“Yeah! It’s how I play music at home. I used to always pick some up on tour and don’t so much now, probably because of how accessible music is now on phones, it makes us lazy. But record releases are special – getting a box delivered, in classic Spinal Tap, style is so exciting.”

Q. Which new acts do you like?
“The band Shame are cool; honest rock ‘n’roll with depth. I also like Willie J Healey who’s a local boy, good and challenging. I’m always looking forward to what Goat are doing next – I’m a big fan of Goat.”

Q. What’s your fave gig venue?
“I’ve played some amazing venues over the years, like the Hollywood Bowl. But as a solo artist, I love the sound and space of The Forum in Kentish Town and Camden’s Roundhouse. I played a tiny basement club in Berlin last night and it was a great vibe.”

Q. What about festivals?
“Festival Number 6 is great; a real experience in a quirky, colourful town. And I always really enjoy Truck, nice and local!”

˜Truck festival is 20th-22nd July in Steventon, Oxfordshire. Visit www.truckfestival.com

Shore thing

Liz Nicholls

Oxfordshire

We talk to Cotswold artist Angie Hunt about family, motherhood and the lure of the sea ahead of her solo exhibition at her home studio this May.

Q: Hello Angie, thanks for talking to us! Can you tell how your art started?
“My childhood home was quite a creative one, with an art collector father who worked in advertising and a musical mother who writes and creates beautiful gardens and interiors. I grew up at the seaside, in the north-west of England, so the coast was a big part of our childhood, the sound of seagulls, sand in our shoes! I worked in TV production and advertising before deciding to go in to fine art professionally. I wanted to channel my creative energy in a more hands-on way, so enrolled on a fine art degree course in Banbury in 2007. Ten years later I have my own studio and it’s my full-time occupation… my family would say ‘obsession’!”

Q: What’s the inspiration behind the big themes?
“My big theme currently is family and relationships, probably because of the stage of life I’m at. I’m interested in the evolving generations, how we’re part of a continuum, and how our roles within this are constantly changing. This series of mixed media pieces explores these relationships, especially between mother and child, using abstracted forms as metaphors for the people in my life. The composition is deceptively simple, but I use collage, partially revealed words, drawn lines, charcoal and many layers of oil and acrylic paint to build up texture and depth.”

Q: Which artists have particularly inspired you?
“The 20th century modernists such as William Scott, Diebenkorn, Hilton and their generation appeal to me. I love the post-war period when they were part of rebuilding a fractured society, a fragile time when they were finding ways to express themselves with limited resources.”

Q: What is it about the sea that appeals to you?
“It’s the shoreline, where land meets sea, that I’m drawn to. There’s something about it that makes me feel at my happiest and most alive. My strongest childhood memories are of paddling in the waves, sea swimming and sailing. I’ve just finished a year-long programme at the St Ives School of Painting which has reinforced this.”

Q: Has the St Ives programme changed the way you approach your work?
“It’s been a chance to develop and question these themes through tutorials and workshops, within a small and supportive group of artists. My painting time has become a sort of therapy in a way, finding visual ways to work through feelings and changes.”

Q: You clearly have a strong interest in texture and unusual materials – tell us more!
“Yes, I love to make use of what I call ‘found objects’; cast-off bits and bobs that relate to my subject. As much as I love art shops, I’m totally bewildered by the choice and choose to use these items as a starting point. I have been given old sails which are full of wonderful details – zig-zag stitching, reinforced corners with eyelets and fixings, and a textured surface that is robust enough to withstand layers of paint to be piled on and re-worked, and this is a strong theme in my exhibition this May. That said, I am incredibly lucky to have the Cotswold Art Supplies in Stow on the Wold a couple of miles away for regular top-ups and they also handle all my bespoke framing.”

Q: Do you have any favourite galleries?
“I’m a big fan of Oxford Artweeks for discovering new art, though it is very big nowadays so quite a trawl to uncover real treasures. Modern Art Oxford has some really inspiring exhibitions, eg Lubaina Himid before she won the Turner Prize. I love the Stour Gallery in Shipston-on-Stour which has an emphasis on my favourite Cornish art and there’s always an exciting programme of contemporary British artists at Fosse Gallery in Stow-on-the-Wold. I like supporting new initiatives eg The Compton Gallery, an exhibition pop-up and event venue in the middle of stunning countryside.”

Q. What direction do you see your work going in next?
“Good question! I’m enjoying this current theme and looking at relationships between people in my own life, and also between objects within the composition. My work is becoming more and more abstract, with the forms of the boats and vessels gradually becoming more ambiguous and some starting to resemble domestic objects in a still life. A recent trip to Cuba has also given me inspiration – colours and textures I’m longing to incorporate.”

Q: Can you tell us a little about your studio?
“It’s such a happy place to be; it’s up the stone steps of a small restored coach house with north-facing skylights that bring the light in. It’s so peaceful and I spend hours and hours immersed in painting. We also run a little Airbnb in the studio at weekends, which makes for a bit of clearing up (!) but it is a unique place that I love to share.”

˜Angie’s Open Studio is 18th – 20th May in her Moreton in Marsh studio, near Stow-on-the-Wold. Visit www.angiehunt.co.uk and follow her on Instagram @angiehuntart – for more info.

True Colours

Liz Nicholls

Oxfordshire

Liz Nicholls chats to world-famous decorative painting expert and queen of chalk paint products, Annie Sloan, 69, who lives in Oxford.

Q. Lovely to chat to you, Annie! Is your house, like mine, a work in progress?
“Yes! I’m so busy it will never be finished. It looks good in parts – so long as I look in the right direction! Of course, it’s very colourful! I don’t have a favourite shade – for me, it’s all about combinations.”

Q. Which artist made a big impression on you as a child?
“Gauguin made a real impression; my father was a fan and we had a lot of prints around the house. I identified with him. His use of colour is pretty strong and he made me want to paint.”

Q. I’ve got to ask you about your music – your pre-punk proto-girl band The Moodies!
“Ah yes – that part of my life still follows me around! We’re talking 1971-74 and yet the band really resonated with people, still does. We had some great fans – Mick Jagger, David Bowie… I think back to those times and think ‘how weird!”

Q. Did you meet Bowie?
“Yes, amazingly. He came to see us play – it was at a cool bar in London called The Last Resort. I was keen to talk to him but it was difficult, I’m afraid, because that night he was looking for cocaine and quite out of it. This was in his gaunt, pale, skinny phase. But we did chat about art school and south London, where he was born and I used to live.”

Q. You’re a citizen of the world – born in Australia to a Scottish father and Fijian mother – do you still find inspiration on your travels?
“Yes; absolutely. I’ve just got back from Oregon and San Francisco. Portland is the coolest place ever! San Francisco used to be the place of flower power but now it’s one of the most expensive places in the world because Yahoo and Google are there; you’ve got these young girls and guys earning mega-bucks and lots of ‘normal’ people who can’t afford to live there, so the city’s a bit schizophrenic. It actually made Oxford look affordable! I always love travelling and seeing what the hipsters are up to. In Portland, there are lots of wooden Victorian painted houses painted in a gorgeous array of colours. I absorb inspiration from everywhere.”

Q. Do you visit a lot of galleries?
“We are so, so lucky to have two amazing galleries in Oxford – Modern Art Oxford and the Ashmolean. I don’t go to London as much as I used to; I used to go to them all. But whenever I travel I always try to see an exhibition; that feeds my soul hugely. I went to an amazing exhibition in America last week – celebrating 50 years since the summer of love – 1967. Haight-Ashbury, flowers in your hair, all that. It was superb.”

Q. Do you listen to much music?
“Yes, I listen to a lot; anything that relaxes me, any genre. I love Iggy Pop’s show [on BBC R6, Fridays]. He makes me laugh and I love his taste in music and that gravelly voice! My big love is also podcasts. This American Life and Radio Lab are my current faves.”

Q. You started your network of Annie Sloan shops and range of products has expanded hugely from humble beginnings – how does that make you feel?
“Having success in my business is nice – not just financially but I love to support the shops, the network of independent businesses – that’s very rewarding. We all work together. It’s hard in retail at the moment, particularly with the world the way it is.”

Q. Are you at the happiest point in your life, do you think?
“Really, I’ve always been quite happy and grounded. That’s why I moved away from the art scene proper early on – some of it really has a tendency to disappearing up its own bottom. People often tell me I’ve had an impact on their life and inspired them to paint or upcycle, which is fantastic as that’s what it’s all about. Life’s pleasures are often momentary – a good cup of tea, a great exhibition that makes you think ‘I want to create, I want to paint!” I’m happiest with a paintbrush in my hand. I have to find time to make sure I paint, paint, paint as that’s what makes me tick.”

Visit www.anniesloan.co.uk for details of Annie’s local shops and products, including the new stencil range.