Clive Bell unties some new historical knots binding centuries-old Celtic chants, Mediterranean piping, and more
Jennifer Walshe's Aisteach Foundation fakes a history of Irish avant garde activity to cover for the lack of a real one. By Clive Bell
Wagakki Band deploy traditional Japanese instruments at dazzling speed to stay ahead of the future, says Clive Bell
"This foreigner has taken us to a beautiful place but he hasn’t bought us lunch yet". Clive Bell looks at the endangered music of southeast Asian hilltribes and John Moore's Indigenius label
"In the very early days, when all film came from the US, benshi could explain the projection technology and also mediate strange western customs to the Japanese audience." Clive Bell on the narration of silent cinema in Japan, the Burmese record industry and Ugandan Video Jokers
"Is there some synergistic link between UK improv and comedy? To the headphone-clad listener deeply immersed in an AMM album, the answer might be no. To the audience chuckling at an Alan Tomlinson trombone solo, it’s clearly yes."
Clive Bell ponders the fragmented London music audience
You read correctly: the sage Mr Bell buffs his crystal ball (well, his laptop screen), peers into the fogs of 2015 and sees double
Clive Bell on plunging one's head into a brazier of burning coals, playing for the angels and the legacy of Ostad Elahi, reclusive tanbour master
Clive Bell muses on the biwa as vehicle for Japanese epic, and finds parallels in Irish folk ballads and beyond
Clive Bell on the recent furore over Sam Callow's accompaniments to traditional British folk singers.
“That musician really gets up my nose”. Like a bloodhound, Mr Bell picks up on the scent of a new musical accompaniment and asks whether it's gesamtkunstwerk or gimmick.
Clive Bell wonders about the fate of the musician-instrument relationship in the age of the laptop.
Clive Bells laces up his travellin' shoes and goes for a wander through the clips, clops and squeaks of footwear in music.
Clive Bell looks at the resurgent interest in near forgotten 1960s Cambodian pop music, before the Khmer Rouge came to power.