Archive
Nellie McKay is adorable
This comes from Pop Matters. #15 is classic Nellie quirkiness…
>>>>>>
Singer, songwriter, actor and activist Nellie Mckay calls her music ‘schizophrenic voodoo’. Schizophrenic because she jumps genres – from Tin Pan Alley pop and cabaret to reggae, rap and jazz—voodoo because these elements mysteriously gel with her evocative, playful, and bold lyrics. The fictional character most like her? A mix of Lassie, Scarlett O’Hara, Godzilla and Nancy Drew. These and other reveling facets of her character are discussed with PopMatters 20 Questions.
A contributor to The Onion and The New York Times Book Review, McKay won a Theatre World Award for her portrayal of Polly Peachum in the Broadway production of The Threepenny Opera. She’s written the music and lyrics for the film adaptation of Katherine Arnoldi’s The Amazing True Story of a Teenage Single Mom, and is currently creating the Broadway musical version of the book and movie, Election.
1. The latest book or movie that made you cry?
Richard LaGravenese’s P.S. I Love You – for all the wrong reasons
2. The fictional character most like you?
I’m sort of a mix of Lassie, Scarlett O’Hara, Godzilla and Nancy Drew.
3. The greatest album, ever?
Anything by Toby Keith.
4. Star Trek or Star Wars?
A Star is Born (the first one).
5. Your ideal brain food?
When politics intersect with art.
6. You’re proud of this accomplishment, but why?
Dropping out of college: freethinking sustained by action.
7. You want to be remembered for…?
Being a great guy.
8. Of those who’ve come before, the most inspirational are?
The renegade Jews.
9. The creative masterpiece you wish bore your signature?
Rejuvenate! (It’s Never Too Late) by Eartha Kitt.
10. Your hidden talents…?
I can get really angry and no one can tell.
11. The best piece of advice you actually followed?
Please yourself.
12. The best thing you ever bought, stole, or borrowed?
A typewriter, a house, an idea.
13. You feel best in Armani or Levis or…?
A tent.
14. Your dinner guest at the Ritz would be?
Charo.
15. Time travel: where, when and why?
I wouldn’t want to ruin my illusions, but I would love to live sometime between the ‘20s and the ‘40s in New York, to have an icebox and two roommates, one sassy, with a one-syllable name, and one brainy (me and the sassy one would work on getting the brainy one out of the house, and me and the brainy one would work on the sassy one’s failed relationships with no-good sailors).
All three making a go of it in showbiz, running around from auditions to night club jobs and stopping for a nickel coffee and circling the theatrical ads, and communing at delis and drugstores with my fellow creative types, all of whom would go on to great renown, and maybe stand outside the theater
in the rain and get Lotte Lenya’s autograph, and be given a huge creamy bubble coat from a stage door Johnny who wouldn’t expect anything in return but to take me to dinner (according to Oscar Levant, that was often all they asked). And once in a while our gang would go to Woolworth’s for a big splurge, and we’d sit at the counter and order all the French fries and malts we could manage (these being politically unaware times with regard to animal products, but at least there were no factory farms).
During the holidays we would all troop over to a friend who had an office job and we would have the merriest time at their Christmas party on the 25th floor of some mogul’s extravagant tower, and later we would entertain ourselves just wandering around the Village in the falling snow, and sneaking to the top of the Washington Square arch where we would declare martial law throughout the city and set about writing a brief constitution that we would subsequently tear to bits and sprinkle down on the cops amassing below.
We would be dreadfully hung over the next morning, but we’d be all right because we still had a little orange juice, bread and celery in the icebox and that would tide us over until the next big payday, which was certain to be right around the corner.
That or…I would live in the 1960s and work part time for the national anti-vivisection society while attending marches and student meetings in all my spare time. I would wear a burnt orange/camel colored waistcoat and an old paisley dress and dark stockings with my granny shoes, and carry an old carpet bag which I would cram with flyers, books of poetry and calls to revolution. Long hours would be spent over spaghetti and wine designing our future utopia in which all the pitfalls of the human condition could be avoided with a little foresight and much compassion and forward-thinking.
The problem with evil, we decided, was in its naïveté; if Hitler had realized the Holocaust would not solve all his personal problems, he never would have felt compelled to make it happen. Our future must be grounded in the reality of existence, not over-compensating for miracles that had not and could not occur, or the basic injustice of life, never more obvious than at these meetings themselves, where the pretty people were deified as much if not more than in conventional society.
I would attend every be-in, every concert, absorb every opportunity to learn and grow that I could, all the while wearing my vulnerability with pride, an ability to be hurt not intrinsic to my femaleness but my humanity, not just to my humanity but my status as a living being, as comparable to a blade of grass as to a president.
Eventually I would meet a nice SDS member and raise him up like a puppy, teaching him the tenets of my burgeoning feminism and raising a family in the most organic, honest way possible. This leads to my eventual and complete fulfillment.
16. Stress management: hit man, spa vacation or Prozac?
Ovaltine with Prozac.
17. Essential to life: coffee, vodka, cigarettes, chocolate, or…?
Parcheesi.
18. Environ of choice: city or country, and where on the map?
Doesn’t matter, polluted’s good. It’s over.
19. What do you want to say to the leader of your country?
What leader?
20. Last but certainly not least, what are you working on, now?
Bringing it all back home.
~Dan – np: Sigur Rós – Með suð í eyrum við spilum endalaust
REVIEW: Branford Marsalis & Philarmonia Brasileira @ Hult Center (Eugene, OR – – 10/2/08)
I first got into (Grammy Award-winning saxophonist) Branford Marsalis when I sat through the 10-disc (20 hour) Ken Burns JAZZ documentary that I got from the University of Oregon Library. Let’s just say that I spent a lot of rainy spring weekends watching these discs and getting more into the roots of jazz when there wasn’t anything to do outside. Prior to this, my jazz experience was more on the avant-garde side of things (with John Zorn), with occasional listenings of Charlie Parker, John Coltrane, Miles Davis, Charles Mingus, Thelonious Monk, Ornette Coleman, et cetera. The JAZZ documentary series opened my eyes to many more beautiful jazz greats, both past on as well as those still alive and kicking.
Branford’s brother, trumpeter/band leader Wynton Marsalis, was prominently featured in that documentary as a historian of sorts as well as a leader in the current jazz movement. Branford also popped up in several spots. That set up my familiarity with the “Marsalis” name… then I started getting more into Wynton’s music, as well as picking up some Branford here and there. When I saw that Branford was coming to Eugene with a Brazilian music meets jazz concert – – well, I jumped at the tickets.
This was my first concert at the Hult Center (and thus the Silva Theater). I
t’s a very gorgeous facility, and I hope I can make it here for a Eugene Symphony Orchestra or other great show in the future. The Silva Theater at the Hult is similar to venues like the Aronoff in Cincinnati or the Palace in Columbus (i.e. – a great big, ornate concert hall). I also got to check out the Mayor’s Art Show at the Jacob Gallery. It had some great stuff in it, but alas, no jewelry art. I’m still wondering why my wife and her co-worker’s great pieces didn’t make it in the show.
The musical program for tonight was Branford and the Philarmonia Brasileira conducted by Gil Jardim, celebrating the music of Heitor Villa-Lobos 49 years after his death. It was Branford & the PB’s first show of the 40-day tour. They had met only the day (or two) prior. With that being said, it was unnoticeable. They were ON…
A Heitor Villa-Lobos celebration! Program
(the following was a change from the printed program – updates from the Hult Program Director)
- Philarmonia Brasileira only playing Abertura Concertante: dedicated to Aaron Copland (by Camargo Guarnieri)
- Philarmonia Brasileira joined by Branford Marsalis playing Fantasia for Saxophone (soprano) and piano or orchestra (1949 by Heitor Villa-Lobos) *a fave of the night*
i. Animé
ii. Lent
iii. Trés Animé
- La Creation du Monde, op 81 (1923 by Darius Mihaud)
i. Overture
ii. The Chaos Before Creation
iii. The slowly lifting darkness, the creation of trees, plants, insects, birds and beasts
iv. Man and woman created
v. The desire of man and woman
vi. The closing section (coda) the man and woman kiss
< < intermission > >
- Bachianas Brasileiras no 9 (1945 by Heitor Villa-Lobos)
i. Prelude: Vagaroso e mistico
ii. Fugue: Poco apressado - Scaramouche for Saxophone (alto) and Piano op. 165c (1937 by Darius Mihaud) *a fave of the night*
iii. Vif
iv. Modere
v. Brazileira - Bachianas Brasileiras no 5 (1938 by Heitor Villa-Lobos)
i. Aria (Cantilena)
ii. Dança (Martelo)
——————— - Encore #1 (title not given)
- Encore #2 (title not given)
The Philarmonia Brasileira was quite amazing. They swapped out members and instruments for each piece, and all 8 pieces of the night had a different feel. It was much more enjoyable than I was expecting (and I was expecting it to be quite enjoyable to start). Several of the pieces were a full orchestra, several were more string-oriented, some with piano & orchestra, one with just piano and Branford, and some with more of an exotica with Brazilian percussion. Branford was also quite great / amazing. This was definitely a more classical sax setting, but he did break loose in a more “jazz way” on the song with just him and piano. I hear he comes through often (from a Veg Club friend); so I hope to see him again in the future.
All in all = A-freakin-plus.
The Appropriate Linkage:
~Dan – np: Medeski Martin & Wood play John Zorn’s Masada Book Two – Zaebos
The Rest of the Branford Marsalis & Philarmonia Brasileira Tour
October 2008
03 – Seattle, WA – Benaroya Hall
05 – Stanford, CA – Stanford Memorial Hall
06 – Modesto, CA – Mary Stuart Rogers Theater
08 – San Bernardino, CA – Riverside Municipal Auditorium
09 – San Luis Obispo, CA – Christopher Cohan Center
10 – Los Angeles, CA – Royce Hall Auditorium/UCLA
11 – Orange County, CA – Segerstrom Concert Hall
13 – Santa Fe, NM – Lensic Theatre
14 – Albuquerque, NM – Popejoy Hall
16 – Lufkin, TX – Angelina Center for the Arts
18 – Fayetteville, AR – Walton Arts Center
19 – Overland Park, KS – Yardley Hall Carlsen Center
20 – Conway, AR – Reynolds Performance Hall
22 – Milwaukee, WI – The Kuttemperoor Auditorium
23 – Detroit, MI – Music Hall Center for the Performing Arts
24 – Wheaton, IL – Edman Memorial Chapel
25 – Minneapolis, MN – Orchestra Hall
26 – Winona, MN – Winona Middle School Auditorium
28 – Storrs, CT – Jorgensen Auditorium
30 – Ithaca, NY – Bailey Hall Auditorium/Cornell
November 2008
01 – Bronx, NY – Lehman Center for the Performing Arts
02 – Stony Brook, NY – Staller Center for the Arts
05 – Newport News, VA – Ferguson Center for the Arts
06 – Durham, NC – Page Auditorium/Duke
07 – Rockville, MD – Robert E. Parilla Performing Arts Center
09 – Birmingham, AL – Stephens Center for the Performing Arts
The Roster for the Philarmonia Brasileira
Conductor
Gil Jardim
Violin
Esdras Silva
Cinthia Zanco
Daniel Stein
Flavio Meyer
Gilberto Paganini
Maria Brandào Neto
Natalia Visona
Paula Vazquez
Pedro Gobeth
Viola
Glesse Colleti
Mariana Jelen
Cello
Marisa Silveira
Ji Shim
Doublebass
Neimar Dias
Flute
Maria Carvalho
Clarissa Andrade
Clarinet
Marcos Junior
Marcelo Silverio
Bassoon
Erick Ariga
Horn
Michael Alpert
Flavio Faria
Oboe
Alexandre Ficarelli
Trumpet
Wellington dos Santos
Ismael Brandào Neto
Trombone
Sidnei Borgani
Piano
Nahim Marun Fo
Percussion
Vinicius Barros
Glaucia Vidal philharmonic filharmonia brasil brazil brazilian brasilian
PDX Jazz is back…
As previously reported, PDZ Jazz (a not-for-profit responsible for bringing in a great Jazz Festival in the winter) was in a serious bleeding budget situation and shut down operations a little bit ago. Thanks to Alaska Airlines, the City of Portland, and others… well, here’s what JazzPDX said about it…
Today, the Portland Jazz Festival announced that it will return this February, despite recent concerns about sponsorship and funding. As of a couple of weeks ago, the festival was around $100,000 short of their required budget, but with help from Alaska Airlines, the City of Portland, and others, the festival will be able to return in full capacity on February 13th, 2009.
Luciana Lopez at the Oregonian offers more detailed coverage of the announcement. Click here for her article.
Yay!
~Dan – np: Damien Jurado – Caught in the Trees
Anakronic Electro Orkestra
OK, I love Jewish music. I didn’t know I loved it until early 2006, when I got into John Zorn’s Masada, a great mixture of composed, yet improvisationally free jazz, grounded in Jewish melodies.
(Dave Douglas & John Zorn of Masada, photo courtesy of volume12)
Masada led to discovering many more great Jewish, Klezmer, and Slavic/Balkan music artists on John Zorn’s Tzadik label (and other labels):
……Electric Masada / Masada String Trio / Bar Kokhba Sextet (splinter bands from the Masada Book), Steven Bernstein (of Sex Mob), Jon Madof’s Rashanim & CircuitBreaker, Bester Quartet (formerly the Cracow Klezmer Band), Daniel Zamir & Satlah, David Buchbinder’s Jewban (or Cubish) cultural mash-up Odessa/Havana (and the similar mashups from Irving Fields and Roberto Rodriguez), David Krakauer’s Klezmer Madness, Jamie Saft, So Called, Balkan Beat Box, Slavic Soul Party!, Davka, Eyol Moaz, Jennifer Charles & Oren Bloedow’s La Mar Enfortuna (both from Elysian Fields), Koby Israelite, Marc Ribot’s Jewish music, Paul Brody’s Sadawi, Talat, Yoshie Fruchter, Z’ev, Zakarya, Klez-Factor, the Tiptons Saxophone Quartet, the Lithuanian Empire, the Alexandria Kleztet, Alex Kontorovich, et cetera…
Anyway, after I got into more John Zorn, I also got into more jazz and more Jewish music. There are many cross-overs between the two worlds (jazz and klezmer). Around that time, I was also getting into podcasts… and the only podcast that focused on klezmer music (that wasn’t always heavy on the vocals) was/is Keith Wolzinger’s Klezmer Podcast.
Recently, Klezmer Podcast #38 (from 9/3/08) focused on French record label, Jumu Music… and then had some clips from the Anakronic Electro Orkestra.
Wow… Anakronic Electro Orkestra is really fresh Jewish music, with a fun rock-meets-klezmer feel – – complete with accordion & clarinet. They don’t have an album out yet, but they’re hoping to have an EP out later in 2008 and a full-length in 2009. Check out some of their music on the MySpaces (“Why Is It Funny” is my favorite):
- http://www.myspace.com/anakronicelectroorkestra
- http://www.myspace.com/jumumusic
- http://www.myspace.com/anakronic
- http://www.anakronic.com/
~Dan – np: George Carlin – It’s Bad For Ya
Oregon Donor Needed
Sad news. This came through on the jazzpdx RSS feed yesterday…
The Oregonian has just published a breaking story highlighting the uncertain future of the Portland Jazz Festival after sponsorship troubles. Here’s a clip from the article:
The Portland Jazz Festival, strapped for cash after losing its title sponsor in April, plans to stop operating as of Sept. 15. Barring a “miracle” infusion of about $100,000, the February 2009 festival — previously slated to be the exclusive 70th anniversary celebration for seminal jazz label Blue Note — won’t happen. Nor, most likely, will there be any festivals after that.
I got to see two great acts in one night (Ornette Coleman and the Dave Douglas/Joe Lovano-led SFJazz Collective) last year. I’m hopeful some large-and-in-charge bigwig can front a $100,000 check for a great cause.
Please? Pretty please? It’s doesn’t even need to be someone from Oregon… that was merely a play on words. California? Idaho? Washington? Rhode Island? Got any love for continuing the Portland jazz scene?
~Dan – np: Ornette Coleman & Prime Time – Tone Dialing
GOS Tour -and- MMW+Z
Japanese world-metal band God of Shamisen are making a run through the West Coast. I’ll be at the Eugene gig, fo’sheezy.
Sun Sept 7 – Seattle WA – Kevin Kmetz solo traditional performance @ ENMA 2008 Aki Matsuri
Mon Sept 8 – Seattle WA @ the Funhouse (with Diminished Men)
Tues Sept 9 – Portland OR @ Dunes (with SHAT)
Wed Sept 10 – Medford OR @ Johnny B’s
Thurs Sept 11 – Eugene OR @ Samurai Duck *yay*
Sat Sept 13 – Oakland CA @ the Fishtank
Sun Sept 14 – Glendale CA @ The Scene (with Foxycock)
Tues Sept 16 – Fresno CA @ Audie’s Olympic (with Foxycock & Brian Kenney Fresno)
Wed Sept 17 – Santa Cruz CA @ Blue Lagoon
Thurs Sept 18 – Mountain View CA Free in-store performance @ Rasputins Records
Fri Sept 19 – San Francisco CA @ Bottom of the Hill
http://godofshamisen.com/
http://www.myspace.com/gos
~*~*~*~*~*~*~*~*~*~
Three-degrees of separation (GOS’s Kevin Kmetz > Estradasphere > Secret Chiefs 3 > John Zorn), the Medeski Martin & Wood album of John Zorn’s Masada Book Two songs is now out on Tzadik Records. It’s called Zaebos (album cover & tracklist below). I haven’t had a chance to hear it yet (and probably won’t order it yet, as I’m moving in two weeks). But, I tell you what, once I’m moved, DMG‘s gettin’ a big order from me…
1. Zagzagel
2. Sefrial
3. Agmatia
4. Rifion
5. Chafriel
6. Ahaij
7. Asaliah
8. Vianuel
9. Jeduthun
10. Malach ha-Sopher
11. Tutrusa’i
Billy Martin: Drums
John Medeski: Keyboards
Chris Wood: Bass
all songs written by John Zorn
arranged by MMW
~Dan – np: Mike Patton’s Mondo Cane – Live in Holland
did he just say Masada Book THREE?
Happy 8/8/8…
Jazz trumpeter/composer/bandleader Dave Douglas posted this on his Greenleaf Music blog today:
In the months since the “Final Acoustic Masada” appearances[1], there have been a number of developments in John Zorn’s presentation of the Masada material. This past week saw a few shows in Europe reflecting this new phase. John’s preference at this point seems to be exposing multiple facets of the Masada music in one night or over the course of a week: from solos to string trio or guitar trio, from various quartets up to sextets and larger, sometimes with electronics. It’s an approach that gets at the real variety and depth found in the book, showing not only how many different kinds of pieces are in it, but how many ways it can be played.
This week saw the first shows of what feels like a whole new band: the Masada acoustic quartet (John Zorn, Dave Douglas, Greg Cohen, Joey Baron), plus Uri Caine on piano and Cyro Baptista[2] on percussion. There was an incredible amount of electricity for what is essentially a totally acoustic band. The new tunes (Book 2, Book of Angels) drive the music in unexpected new directions and provoke unusual instrumental combinations. And the old tunes exploded into completely new territory, each one we played reinventing itself with new improvisational dimensions. At this point I’ve lost track of how many tunes there are. No matter, apparently there is a third book coming[3].
Hells yeah… I may get a chance to see Zorn/Douglas/Cohen/Baron + Caine/Baptista eventually… :D
~Dan – np: Elsiane – Hybrid
[1]– referring to the acoustic quartet, of which I got to see twice… once at Duke University, once at Lincoln Center in NYC.
[2]– Cyro’s a wicked good, fun percussionist.
[3]– um… fuck yeah…
Radiohead, Italian Mountain Jazz & Tagaq-Patton
Three unrelated music things that turned my crank (the good way) this week…
Radiohead‘s new, technologically-bitchin’* video for “House of Cards“:
*– that’s the technical term. The video was created without the use of a camera.. at all.
Update 7/19/08: The Radiohead video (above) is now downloadable for free from Radiohead’s Dead Air Space blog HERE.
~*~*~*~*~*~*~*~*~*~
Check out where jazz trio Dave Douglas, Donny McCaslin, and Luis Bonilla got to play (Rifugio Antermoia, Trentino, Italy – July 10, 2008 – photo by Max Bacchin):
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And now for a fun, experimental collaboration between art-noise rocker Mike Patton and Inuit throat singer Tanya Tagaq.
The song is called “Fire-Ikuma,” and it’s from Tagaq’s upcoming album, Auk~Blood. There was an external link to an mp3 sample of the songs… alas, it’s been removed. :( Anyway, it’s a good song… especially if you like experimental, world music with a throat music (or Mike Patton) slant.
Tagaq’s Official Page
Tagaq’s MySpace Page
~Dan – np: Radiohead – In Rainbows
Nellie McKay in PDX
Friday, August 15th… Nellie McKay at Portland’s Doug Fir Lounge. Tickets procured… woot!
We saw her last fall at The Shedd in Eugene… fantastic show (here’s the review). We’re totally looking forward to this show… she’s a veritable fireball of energy and wit – – equal parts virtuoso and silly.
http://nelliemckay.com/
http://www.myspace.com/prettylittlehead (official)
http://www.myspace.com/nelliemckay (fan)
~Dan – np: John Coltrane – Newport ’63
May & June Music
Here are 10 May & June CD releases that I’ve been digging… in approximate order of release…
King’s X – XV: While some people kinda nay-sayed it, I give this one a thorough three thumbs up. Of course, I’m a long-time KX fan, and while some of their albums don’t suit me well (um… Black Like Sunday), I think this album is pretty well rounded. I might’a chopped the opening track “Pray” (not normally a good sign to chop the lead-off), but I think the rest of the album does any King’s X fan well. It’s got the great bass rumble from Doug, and a great mix of lead vocals not just from Doug but also a handful from guitarist Ty Tabor… and even one from drummer Jerry Gaskill (only his 3rd or 4th lead vocal track for King’s X… yay!). I think this album will stack up well in their vast catalogue.
Bill Frisell – History, Mystery: Great double-disc from jazz guitar great Bill Frisell. He also brings along a few favorite players of mine… Bungle / Zorn / Secret Chief 3’s Eyvind Kang on viola and Sex Mob & Electric Masada drummer Kenny Wollesen. Also on the CD are Ron Miles (cornet), Hank Roberts (cello), Jenny Scheinman (violin), Tony Scherr (bass), and Greg Tardy (clarinet / tenor sax). I saw Bill Frisell, Eyvind Kang, and Rudy Royston last week in Eugene (review is here), and they played a few tracks from this record. Truly outstanding… and not like an uncashed check.
In other Bill Frisell May & June release news… the re-issue of the 1987 News for Lulu trio album with John Zorn & George Lewis is awesome. I think I was expecting more avant-garde music, but it’s really concise/interpretive takes of compositions by jazz historical figures Kenny Dorham, Hank Mobley, Freddie Redd, and Sonny Clark. It’s out on one of my favorite Swiss jazz labels, Hatology. More News for Lulu is due in Jan 2009.
Aimee Mann – @#%&*! Smilers: Heard about this record last fall, then forgot about it. I don’t know why I always forget about Aimee Mann, then she usually delivers more than I was expecting. @#%&*! Smilers starts out strong (my fav track is “Freeway”), and stays pretty consistently good throughout. I think it’s her strongest albums since Bachelor No. 2 (and Magnolia), even though Lost in Space and The Forgotten Arm were both strong efforts, too. I’m trying to forget about “the holiday album” (shiver / barf).
Hiromi – Beyond Standard: I hadn’t heard of Hiromi until sometime in late 2007 when I re-joined BMG for the brazillionth time. I needed to fill out a Jazz order, I heard some clips of her last one (Time Control), and it kicked my ass. I mean, piano jazz can be good (read: Thelonious Monk and early Herbie Hancock), but I tend to gravitate to brass (John Coltrane, Charlie Parker, Miles Davis, Dave Douglas, John Zorn). Anyway, Hiromi is somewhat of a prodigy. She’s blazing fast at times, gentle at times, and completely off the hook other times (in the good way, obviously). Her Sonicbloom band is just short of brilliant. I wish I was up in Seattle a few days ago for her multi-day run at the Triple Door.
Demians – Building an Empire: This was an impulse purchase, and I needed something to fill out my Opeth order. Demians are a progressive rock band from the UK. They are in the vein of Porcupine Tree (i.e.- good songs, non-lame vocals). Check ’em out if you get a chance. They’re the sleeper / sneaker-upper album of the year so far for me. Like Abigail’s Ghost for me last year, there always seems to be some good prog-rock that strikes my fancy, even if I’ve been generally tired of the genre as of late.
Opeth – Watershed: Pretty much everything Opeth has ever done is pretty good to me. They’re sort of not death metal, but not not death metal. Lush vocals, death metal growl, acoustic & thrash guitars, ethereal effects and drum blast beats. It’s a concoction that’s both powerful and beautiful. This album is one of their best produced albums since the Steven Wilson production days (SW’s just too busy, but still remains friends). And luckily this one sheds off the keyboards that I felt plagued their last one (Ghost Reveries). Quality death metal for the 21st century… SIDENOTE: Testament‘s new one (The Formation of Damnation) is also great metal for 2008.
Alanis Morissette – Flavors of Entanglement: This will probably come off as a horrible thing to say, and I mean nothing sexist about it (it could happen to a male artist, too), but Alanis’ music is soooo much better when she’s not happily in a relationship. Her long-time relationship (for entertainment standards) to Ryan Reynolds came to a halt recently, and what do you know? She turned out her best emotion-filled album in a LONG TIME. Her last two “new” efforts (So-Called Chaos & JLP Acoustic) were OK to me. This one is right back on track (even though I think “Straightjacket” and the b-side “On the Tequila”… um… don’t seem to fit). It’s sad that some people have to suffer for their art to be better. Again, nothing sexist about it – – I’m bettin’ the next Silverchair (or other Daniel Johns’ side-project) will be better as well… for similar reasons (even though the last 3+ Silverchair records have been amazing without relationship turmoil).
My Brightest Diamond – A Thousand Shark’s Teeth: Stringier and less rock than her previous outing… yet still artistically sinewy with lush vocal gravity and brilliance. Shara Worden doesn’t enlist Sufjan Stevens this time around, but brings in Inlets‘ multi-instrumentalist Sebastian Krueger and the Osso String Quartet to fill out her sound. This is a great record and a great addition to the AwRy / My Brightest Diamond catalogue. I look forward to seeing her live this year (if she hits the PacNW). The best explanation/description I have for her voice is… purely sublime.
For those who don’t know of Shara Worden (i.e.- My Brightest Diamond), here’s a live video from her last (gorgeous) album (a song called “Disappear“). Her voice is goosebump inducing (for me at least):
Thanks to Eithan‘s blog for the reminding me of that gorgeous performance / video.
Clodplay (aka Coldplay) – Viva la Vida or A Really Long Pretentious Title: I wasn’t gonna buy this right away… but the opening week sale was a good one. Clodplay seems to be taking what Radiohead did a decade ago (or U2 two decades ago) and simply watering it down (more and more). And they’re far more asshole-y about it (or at least Chris Martin). With that being said, I still like ’em. I just don’t ever really feel the need to see them live …EVER (too expensive… which is saying something coming from me). OK, I take that back. If they were touring with a reunited Faith No More (FNM opener or closer) or Pink Floyd (PF closer)… I’d go to that show.
But, anyway, good album. The sale price is still about $2 too much. My recommendation… get it used for cheap. Unless you’re a rabid Clodplay fan. I imagine it’ll grow on me, eventually… the last one didn’t though. Meh. PS- “Yes” (#6) is a fantastic track. They need more like that…
Sigur Rós – Með suð í eyrum við spilum endalaust: Technically not out until next week, the download version came early this week… I postponed my usual “front of the line” Smodcast listening for new Sigur Rós. Right off the bat, it’s more “accessible” than their previous (I thought/think people who said that about Takk were/are on… crakk). This one’s slightly more rocky and less atmospheric, but still very much a Sigur Rós record. Perhaps what I feel makes it more “accessible” is that the songs actually feel like songs to me — not just Hopelandic meanderings (which I also love). I’m only once through, but I really dig “Gobbledigook,” “Inní mér syngur vitleysingur,” “Við spilum endalaust,” “Festival,” and “Með suð í eyrum.”
Fav of the above? Opeth, My Brightest Diamond, Hiromi, and Sigur Rós are my current cream of the crop for the ones above… but they’re all pretty damn good. Regardless of my comments on Clodplay, too… it’s a good one. Even though they’re totally 2nd wave brit whine rock. ;)
Oh, and Secret Chiefs 3‘s Xaphan beats them all out for best album of the past 2 months (I guess that’s why it got its own blog).
~Dan – pp: Tiptons Saxophone Quartet – Live on KEXP Sonarchy Radio (podcast link)
np: Bill Frisell, Eyvind Kang, Rudy Royston – Live at the Shedd, Eugene-OR, 6/7/2008 (thanks Mike!)
whoa… lot of tags on this post. Eh, that’s what you get for a mega 10-album hustle. Oh, and yeah, “Clodplay” is the correct spelling of their name. ;)
“Jazz Snob: Eat Sh*t”
Some recent DIME torrents of old Naked City shows got me to wishing I could be nostalgic (even though I didn’t get into them until 3 or 4 years ago)…
Don’t have your speakers on too loud… here’s 28 seconds of delish jazz-core (mp3 link) from Naked City (a supergroup of misfits in John Zorn, Bill Frisell, Wayne Horvitz, Fred Frith, Joey Baron, Yamataka Eye).
from Torture Garden and Grand Guignol
Definitely not for everyone. The bleeding edge of art jazz…
~Dan – np: (oddly enough… not art jazz) Extreme‘s new song on MySpace called “Star” (it’s very Queen-y)
The Tango Saloon – Transylvania
The Tango Saloon has a new CD coming out entitled Transylvania… trouble is it’s only in Australia now. :(
Maybe Ipecac will get it for U.S. release? Their last one, Julian Curwin’s The Tango Saloon, was wicked good… spaghetti western, tango, jazz, off-kilter goodness. A song from it showed up on a fancy Mix CD I made a few years back…
http://www.myspace.com/manwiththebongos (Tango Saloon’s MySpace)
http://www.myspace.com/thefantasticterrificmunkle (precursor to Tango Saloon)
~Dan – np: Tango Saloon “Kiss of Death” on MySpace
REVIEW: Bill Frisell, Eyvind Kang & Rudy Royston @ the Shedd (Eugene, OR – – 6/7/08)
FYI… PHOTOS of the SHOW at the BOTTOM
Last night was my first time seeing all three gentlemen: Bill Frisell, Eyvind Kang, and Rudy Royston. I hope it is not my last.
I’m a big fan of Eyvind from his work with Secret Chiefs 3, Mr. Bungle, solo works on Tzadik & Ipecac (and other indie avant labels). On the upper right of every page on this blog, I have a quote attributed to Eyvind Kang: “I believe that music should be grown on trees, to be plucked like a fruit without the extravagance of harvest.” There’s just something about jazz (and the show last night) where this is most appropriate. Sure, much of Bill Frisell’s music is structured, melodic, and hinting at a modicum of “harvest,” as it were. However, it definitely lives and breathes and is open for exploration within the structure.
Probably the best proof of this with regards to last night’s show was that Eyvind (viola) and Rudy (drums) had only met 4 or 5 hours prior to the show. This was the world premiere of the Frisell/Kang/Royston trio. Judging by how they played so well together, I would have thought they met at least 7 hours prior. ;) No, seriously, they seemed like long-time jam partners. It was great to see the immediacy of the musical “fruit plucking.”
The trio played just over 90 minutes straight-through (with one short break prior to an encore piece), probably anywhere between 6 or 8 pieces. They started with 5 minutes or so of experimental flexing, bordering on avant-garde. By the next piece, Bill Frisell began laying down the melodies that worked well with this trio setting. Many times Eyvind and Bill mirrored each other’s melodies, but Eyvind still was able to cut loose on his own. Rudy knew how to play subtly, but he did let loose a few times as well, especially near the end of their set.
I just got Bill’s new one (History, Mystery); so I don’t know if the songs were from that or not, or just base melodies with improvisation. The set as a whole was very melodic, yet explorative. At several times, Bill pulled out what I thought was an e-bow, but it ended up being a music box that he was playing near his guitar pickup then through an echoplex-type looping device. Very harmonic tones… which would have been intriguing to have gotten from using guitar harmonic picking and an e-bow… alas, I was wrong.
Odd note: again, this was my first time seeing Bill Frisell. Does he always avoid facing the audience? He seemed to be facing towards Eyvind the whole night (so slightly away from the crowd). I never saw his hands or the front of the guitar all night. Odd, but at least the sound was sublime.
This was Bill’s fourth show at The John G. Shedd Institute for the Arts over the years. That’s a good indication that he’ll be back. To that I say, “yay!” I hope he brings Eyvind and Rudy with him.
The appropriate links:
- http://www.myspace.com/billfrisellofficial
- http://www.myspace.com/floratone (recent collab with Bill, Eyvind, Matt Chamberlain, Tucker Martine, et cetera)
- http://www.billfrisell.com/
- http://www.myspace.com/eyvindkangeyvind
- http://www.myspace.com/rudyroyston
- http://theshedd.org/
In completely unreleated to Frisell/Kang/Royston news, but posted here since I didn’t want to add another post to “the pile”… you can listen to Sigur Rós‘ upcoming album (Með suð í eyrum við spilum endalaust) streaming here before it comes out in a couple of weeks: medsud-dot
Enjoy!
~Dan – np: Ken Laster – Jazz & Beyond podcast (link)
FRISELL / KANG / ROYSTON PHOTOS
all pictures (cc) 2008 Daniel Temmesfeld,
you may use freely under a creative commons attribution
(click for larger)
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REVIEW: Stebmo & Skerik’s Maelstrom Trio @ Sam Bond’s Garage (Eugene, OR – – 5/31/08)
Well, last night started out with a stuffed helping of veg food from our mostly monthly Veggie Supper Club here in Eugene. No FBI agents were in attendance… or were they… hmmm… we made biscotti, sweet potato gnocchi with mondo bizarro sauce. They was also fine wine, eggplant tapenade, flatbread pizzas, a nice chard dish, polenta lasagna, and a freakin’ amazing chocolate dessert. Oh no, my stomach a’splode!
Anyway, I hobbled/waddled over to Sam Bond’s Garage for a night of jazz afterwards. Good thing I was full, too… Sam Bond’s got some killer veggie grub (surprisingly killer for bar food). Before the show I picked up Stebmo’s self-titled CD (with Eyvind Kang, Matt Chamberlain, Tucker Martine, Todd Sickafoose, etc) and one of Skerik’s CDs (with Eyvind Kang, Tim Young, etc). Skerik, running the merch at that time, noticed my Secret Chiefs 3 shirt. \m/
Stebmo (aka Steve Moore) started the night around 10pm. I had heard some of his samples from CDBaby; so I knew a little about his sound. Apparently he’s also played in recent live versions of Sunn O))) & worked with Sufjan Stevens & Bill Frisell… or so says his bio. Though he also plays trombone, his set was comprised of keyboards and electronics/loops. He played 40 minutes and had a good mix of experimental and groove-oriented pieces. Perhaps a bit like the organic/melodic elements of the Album Leaf mixed with the building nature of an Explosions in the Sky set mixed with a heaping handful of electronic jots & tittles like those that may have hit the Kid A cutting room floor. I found his set thoroughly enjoyable, as did most of the packed house (80-100 people is my guess).
Skerik’s Maelstrom Trio is Skerik on tenor sax (from Seattle), Brian Coogan on Hammond B-3 Organ & Simon Lott on drums/trumpet (both from Baton Rouge). I’ve heard of Skerik many times via various NYC downtown scene musicians. The Trio went on around 11pm… I stayed for over an hour of their set (12:15am or so). I wish I could have stayed, but I was BEAT.
Anyway, they started out in the experimental / free jazz realm, but didn’t stay there the whole night. Their set was a plethora of sounds… much of it very groove oriented (probably due to the Hammond B-3 throughout). They seemed to be having fun playing together, too – – which ain’t bad to see. :)
Simon (on drums) was fun to watch… he worked well in both the groove and grooveless/experimental compositions. He also pulled out a tiny trumpet for one of the songs which mixed well with Skerik’s sax. Skerik’s sax sound was nice a full (I guess I’m more familiar with alto sax), and he (again) played a good mix of groove and free jazz. On one of the songs he played what I think was a talk box through his sax which was unique to my concert going experiences thus far. Many a guitar talk box, but nary a sax talk box. Fun stuff…
(not from last night’s show)
Great show! I’m glad they stopped by, and I hope they stop by again in some form or another.
Where they’re heading next?
Jun 3 2008 Lion’s Lair [Stebmo opens] Denver, Colorado
Jun 4 2008 Trilogy Wine Bar [Stebmo opens] Boulder, Colorado
Jun 5 2008 Aggie Theatre [Stebmo opens] Fort Collins, Colorado
Jun 6 2008 Telluride Jazz Festival (Fly Me to the Moon Saloon) Telluride, Colorado
Jun 7 2008 Telluride Jazz Festival (McCoy Tyner Stage) Telluride, Colorado
Jun 7 2008 Telluride Jazz Festival (Fly Me to the Moon Saloon) Telluride, Colorado
Jun 10 2008 The Mint [opening for Rebirth Brass Band] Los Angeles, California
Jun 11 2008 The Mint [opening for Rebirth Brass Band] Los Angeles, California
Jun 12 2008 Kuumbwa Jazz Center [Stebmo/Trey Spruance (Secret Chiefs 3) also on bill] Santa Cruz, California
Jun 13 2008 Boom Boom Room [Stebmo opens] San Francisco, California
Jun 14 2008 Hopmonk Brewery [Stebmo opens] Sebastopol, California
Jun 15 2008 Red Fox Tavern [Stebmo opens] Eureka, California
The appropriate linkage:
- http://www.myspace.com/43304272 (Skerik)
- http://www.myspace.com/maelstromtrio
- http://www.myspace.com/syncopatedtaint
- http://crittersbuggin.com/
- http://www.myspace.com/stebmo
- http://www.stebmo.com/
- http://sambonds.com/
Upcoming shows: Or Not to Be (Hamlet Zombies), Jude Christodal in PDX, Bill Frisell/Eyvind Kang/Royston in Eugene… and maybe a JoFederigo jazz show (I’ve got a free dessert coupon; so why not?)…
~Dan – pp: The Book Show – Episode 14 with Richard Dawkins
np: Bar Kokhba Sextet – Masada Book Two: Lucifer
PS- this was posted to Skerik’s MySpace:
“Kickin it with Origami Barack Mandela!! from Tomo in Eugene!!“
mini-REVIEW: Midnight Serenaders @ Cuthbert Amphitheater (Eugene, OR – – 5/18/08)
It was a little bit cooler today than yesterday… so I decided to head out for some FREE music at the Willamette Valley Music Festival at Cuthbert Amphitheater (near Autzen Stadium & Alton Baker Park in Eugene, OR).
I was really going to see one band… I had heard them previously on their MySpace page, and they struck my fancy… they were Midnight Serenaders from Portland. They’re a hoppin’ sextet made up of ukulele/vocals, guitar/vocals, hawaiian steel slide guitar, upright bass, trumpet, and clarinet/saxophone.
They played about 45 minutes of ’20s & ’30s speakeasy-type tunes (some covers / some originals). Fun stuff, kinda like the Ditty Bops (to give you a frame of reference). Songs I know they played…
- Dirt Dishin’ Daisy
- Everybody Loves My Baby
- You Gotta Give Me Some
- The World’s Jazz Crazy
Some of the songs were kinda naughty… teehee… the little kids in the audience probably were wondering why the lady kept going to the butcher to get some more of his meat… oh my.
Anyway, they put on an enjoyable set… great fun tunes and great musicianship. I hope they come through here again soon!
Check ’em out…
http://www.midnightserenaders.com/
http://www.myspace.com/midnightserenaders
http://cdbaby.com/cd/mserenaders
~Dan – np: Richard Dawkins – The Lava Lizard’s Tale
meaty Reptet, naked Raquy, and Gratuitous French Fries
REPTET. Great jazz band that lives about 4.5 hours too far away from me. Alas, they’ve been down this way (Eugene) from their way (Seattle) once lately (see review here). Great improvisors, great songwriters, great musicians. They’ve got a new album out. It’s great. It’s called Chicken or Beef?. My ears aren’t vegetarians. It’s quite delicious.
email “reptet @ hotmail (.) com” to see how to get ahold of a copy of Chicken or Beef?
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RAQUY and the Cavemen… tonight at Cozmic Pizza… look for a review tomorrow. Seen her and her band of misfits a few times in Cincinnati. They’re always a treat, plus they’ve put out 2 CDs since we last saw ’em… gather together in a cave and groove with a pict…
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Free French Fries are the opener for Peter Mulvey who is the opener for Patty Larkin… Thursday at WOW Hall. Peter Mulvey is one of my favorite singer-songwriters… ever. Great vocals, great guitarist (and his backing guitarist Goody is also wicked good, but not with him on this tour). Oh, and all you coupon haters can hate my cajun french fry fingers… foo! So, yeah, it’s all about literally free french fries via coupon (from The Vintage, who makes great cajun french fries & food and has great local beer on tap), not a band named Free French Fries. Though that would be cool in its own right… anyway, look for a review on Friday…
~Dan – np: Reptet – Chicken or Beef?
email “reptet @ hotmail (.) com” to see how to get ahold of a copy of Chicken or Beef?
Dave Douglas & Keystone – Live at the Jazz Standard
Dave Douglas & Keystone (who made one of my favorite CDs last year) is playing two sets each night for four nights at the Jazz Standard in NYC (April 10th to 13th). Sidenote: I went to the Jazz Standard in March of last year (to see Brian Bromberg‘s Upright All-stars when I was out that way on bidness).
Keystone is: Dave Douglas – trumpet, Marcus Strickland – tenor saxophone, Adam Benjamin – Fender Rhodes, Brad Jones – bass, Gene Lake – drums, and DJ Olive – turntables.
Anyway, eight sets of great jazz… and the cool thing is that Dave Douglas’ Greenleaf Music releases each show (of these special engagements) within 24 hours of the end of the set. So far, four sets and only one repeat song, too. Woot! 8 hours of new Dave Douglas coming my way…
OK, now back to studying…
~Dan – np: Dave Douglas & Keystone – Live at the Jazz Standard, 4/10/08 (early set)
mini-REVIEW: Slavic Soul Party! @ Cozmic Pizza (Eugene, OR – – 2/28/08)
well, in keeping with an unwritten “review the shows I see” pact… here’s a mini review…
Slavic Soul Party! at Cozmic Pizza on Thursday was fantastic. They went on shortly after 9:30, took a short break, and then started a 2nd set. I had to leave at 11pm (I was heading up to Seattle the next day for school). Anyway, I thoroughly enjoyed their music. They are a 9-piece instrumental band with an occassional singer on a little bit less than half of their songs (the singer was also fantastic). The nine-pieces: drum-mer, snare-drum-mer, tuba-er, trombone-r x 2, trumpet-er x 2, clarinet/saxophon-ist, and accordion-squeezer.
At one point, they invited musicians from UOregon to join them for a song (SSP! taught a ‘master’s class’ that day at the university). With UO musicians, they had 21 people playing a tune, complete with student and band member trumpet solos.
“gypsy funk balkan soul“… Fun stuff… check them out on the MySpaces: http://www.myspace.com/slavicsoulparty
~Dan – np: Osso plays Sufjan on WNYC
REVIEW: Peter Evans & Dave Swigart @ Cozmic Pizza (Eugene, OR – – 2/4/08)
Randomingly spotting of a picture of a guy with a trumpet in Eugene Weekly led to quite an enjoyable evening of music. I imagine I’ll be seeing a lot of artists at Cozmic Pizza over the coming years while I’m here in Eugene. I love the beer, pizza, and desserts. And they bring in some great musical talent, and quite frequently get good jazz artists in the door as well. Monday’s show was no different… pizza, beer and jazz.
Opener: Dave Swigart Collective / Quintet / Group / Whathaveyou put on a great set. Dave Swigart is a UO music student, and his ensemble, while young, has some great chops. The quintet (I didn’t write names down) was comprised of Dave Swigart on trumpet, and then a saxophonist, guitarist, upright bassist, and drummer. Dave’s got some MySpace profiles up (here – and here), and I hope to check him out again soon.
The group played for about an hour, playing some standards and originals: “In a Silent Way” (Miles Davis/Joe Zawinul), “The Fragile” (NIN), “Salad Song” (with some nice Zorn-y sax work), “Strange Day,” “Johnsburg, Illinois” (Tom Waits), “Grocery Shop, Funky? A Little?” (smooth), and “Dream Comes Play With Me” (Cuong Vu).
Peter Evans (MySpace – and here – and also here) came on around 10:20pm. I stayed until about 11pm… as he blasted his solo trumpet improv. Being a fan of the downtown (NYC) jazz scene, his experimental solo trumpet was right up my alley. It was a little loud at times (I was too close to a speaker), but luckily I had my Hearos—. He played one continuous onslaught that can best be described as this:
Great show all around… I wish I could have stayed longer, alas it was a school night…
~Dan – np: David Buchbinder – Odessa/Havana
Ornette Coleman -and- Dave Douglas (YAY!)
I may have a rare opportunity to see both free jazz pioneer Ornette Coleman and current compositional/improvisational personal favorite Dave Douglas (playing with the SF Jazz Collective) on the same day. The Portland Jazz Festival is next month. Woot! Now I gotta see if I can swing it with the wife. *crossing fingers*
Ornette Coleman is a revolutionary saxophonist and a major influence on one of my favorite musicians of all-time (John Zorn). Ornette’s 1959 release, The Shape of Jazz to Come, is remarkable.
Dave Douglas is a brilliant modern composer/horn player. My first exposure to him was with John Zorn’s composed, yet improvisational-driven, klez-jazz quartet Masada. I quick fell in love with his trumpet sounds. His solo work and groups as band leader (Keystone, DD Quintet, etc) are fantastic modern improvisation jazz.
Re: the PDX Jazz Fest… my wife and I are going to the Bela Fleck and the Flecktones show where they’re playing with the Oregon Symphony Orchestra near the end of the fest (Feb 23rd). That should be great (I saw a similar show in Columbus-OH with the BF&tF and the Promusica Chamber Orchestra). Jazz pianist Anat Cohen is playing that same day (but way earlier in the afternoon)… and I know I can’t work that into our schedule… sadly. She’s good…
~Dan – np: Ornette Coleman – The Shape of Jazz to Come
-Eyvind Kang
-Frank Zappa
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