Dave Howell's Place

“Nobodies of Comedy”

2004-07-12T21:10:00.000-04:00

They’re nobodies, but somebody loved them. It was a thousand fans at the State Theatre for “Nobodies of Comedy”, a series of shows for experienced performers to become better known outside of the comedy circuit.

MC Eric Lyden opened with a formless twenty minutes that had some good one-liners, like the thoughts of Michael Jackson’s son as he was dangled from a balcony (“If you’re my Dad, just f—drop me.”). He also said he was a poor stalker (“After twenty minutes I knocked on her door and said that I’m going to take off.”)

Jamie Lissow did thirty minutes about his life, including remarks about his Jamaican paper boy (“The paper is always late, but it is rolled really well.”). The likeable comic avoided offense, even when talking about condoms or religion (“My priest was so dull, the statue of Jesus on the cross kept moving his arm to look at his watch.”)

Modi did an energetic twenty-five minutes that included new material about the war. His observations were mostly barbs, aimed at exercise classes, cruise ships, and (predictably) at the French

Mark Gross had a strong start to his thirty minutes, describing offbeat subjects like listening to a parrot speak Japanese. He drew upon what appeared to be years of partying, with remarks like, “If you win strip poker with waitresses from Denny’s, you still lose.”

Later in the set Gross became, well, a bit gross as he spoke about subjects like oral sex. His remarks were not out of line for the largely younger audience, but it was a shame to waste a theater appearance with material aimed at late night drinking crowds.

--Dave Howell, 3/03

(This article first appeared in The Morning Call newspaper.)

Interview: “Nobodies of Comedy”

2004-07-12T21:08:00.000-04:00

Everybody is somebody, even if you are a nobody. That seems to be the consensus of the comedians who are appearing in two touring shows this weekend: the “Nobodies of Comedy” at Easton’s State Theatre and the “Laughter Arts Festival” (LAF for short) at the Keswick Theatre near Philadelphia.

This Friday is the first ever “Nobodies of Comedy”. Michael Mills, whose Mills Entertainment produces both shows, hopes to use the series of “Nobodies” presentations to give exposure to seasoned comics who have not yet become household names. “The name ‘nobodies’ is actually tongue-in-cheek,” says Mills.

“They are more nobodies to people who don’t know anything about comedy,” says Jamie Lissow, a “nobody” who was the MC of last November’s State Theatre Laughter Arts Festival. All four comics who will be appearing at the State this Friday have many credits that include appearances on NBC’s “The Tonight Show”.

The name does not bother the performers. “I don’t like taking myself seriously, and I can see the humor in it,” says Eric Lyden. Lyden was requested to be on this Friday’s show after he did well opening for Joan Rivers at the State. “That was my first real theater gig,” he says.

“I know I’m somebody,” says Mark Gross. Gross says that many of the “nobodies” are writers who work behind the scenes. He adds, “There’re the best bunch of ‘nobodies’ that you will ever see.”

This is the fifth year for the Laughter Arts Festival, which rotates performers who generally have had a lot of television exposure. Each show presents three or four comics. Mills calls them “a comedy buffet.” “The number of comedy clubs have been declining,” he says, “and these shows are a way for people to see their favorite comedians doing the best of their material”.

Carie Karavas laughs that she should be a “nobody”, since she is not as well known as the other three LAF comics she will be appearing with. But she adds that after each show, “You are a somebody.”

The better known LAF comics are not resting on their laurels, however.
“I’m never a somebody. You can’t think of yourself like that. I just keep working to pay the bills,” says Kevin Meaney. “You never take it for granted,” says Dom Irrera. “You’re only as good as you are that night.”

Meaney says, “I’ve been doing this for twenty-three years, and it gets easier every year. But there are still horror shows. There’s always that one show that makes you think, ‘Why did I do this?’”

Comics are more focused on work than on fame. “Nobody” Modi says he headlined in New York clubs after doing comedy for only a year. But he also states that he works seven nights a week when he is in the city, performing at multiple clubs on the weekends. “It’s not an easy business,” he maintains. “There are a lot of disappointments.”

Irrera admits that becoming successful is a struggle. “Anything that involves fun and adventure is tough to do in life. It’s hard enough to get a shit job. You have to be talented.” Gross recalls that he often had to sleep in his car when he was starting out.

Most agreed that success comes gradually, and there is no such thing as an “overnight success” in the business. Irrera felt that he had made it when he did not have to work an outside job. “It’s a great feeling to not have to get up in the morning,” he says.

Karavas says, “Comedy is a craft that you have to really work at. No one is naturally that cool and polished on stage. It took me ten years to become natural.”

“Most comedians that are successful have been doing comedy forever,” she adds. She tells the story of one comic who had a family and had been doing comedy for fifteen or seventeen years. “He was always complaining that the young guys were getting all the breaks. Then four minutes on David Letterman made all the difference,” she says. That was Ray Romano, star of TV’s “Everybody Loves Raymond.”

All the performers agree that love of comedy overrides all concerns about success, money, or overwork. “It’s nothing but fun if you don’t have unrealistic expectations,” says Lissow. “I love to perform for all types of crowds, all over,” says Modi. “I’ve never been happier in my life,” says Lyden, a New York City resident who got his start in Philadelphia. “I’ve always loved the attention that went along with making people laugh.”

“Nobodies of Comedy”, March 28, 8 p.m. State Theatre, 453 Northampton Street, Easton, $20, 610-252-3132 or 1-800-999-STATE, 24 hour charge at 1-800-999-STATE, order online at www.statetheatre.org.

“Laughter Arts Festival ‘03”, March 28, 8 p.m., $32.50, Keswick Theatre, 291 Keswick Avenue, Glenside, PA, box office and 24 hour charge at 215-572-7650, order online at www.keswicktheatre.com.

--Dave Howell, 3/03

(This article first appeared in The Morning Call newspaper.)

“Anything’s Dream”

2004-07-12T21:03:00.000-04:00

If you don’t want to fight the crowds to see the new Harry Potter movie, Muhlenberg College is hosting a play that has fantasy to spare and more than its share of fantastic creatures. To be able to sit through “Anything’s Dream”, however, you will have to have the magical ability to put up with a show that is nearly incomprehensible.

The whole play seems to represent a dream or a combination of dreams, which means that there is no logical progression to the plot. Most of the characters are from Shakespeare’s “A Midsummer’s Night Dream”. Here, though, Puck (Stephen Soroka) has aligned with a group of wicked elves to overthrow the kingdom of Oberon (Phil Kimble) and Titania (Madeline Hoak), to begin a reign of chaos.

Adding to the chaos, this world is entered by changeling Nichole (Alison Hinks), a Muhlenberg undergraduate, and her more sensual alter ego (Jamie McKittrick). Nicole, for unexplained reasons, has been turned into a frilled green lizard. She is told that after giving her soul to Puck, she can return home in her true form by going to the middle of the woods and giving a hazelnut to Mad Daddy (Lance J. Bankerd).

Mad Daddy is Richard Dadd, a real-life Victorian painter who spent forty two years of his life in Bedlam for psychotic murders. While there, he painted a work called “The Fairy Feller’s Master Stroke”. The latter part of the hour-and-a-half play seems to show what would happen if the painting, which is Mad Daddy’s insane vision, were to come to life.

For the world premiere of his work, playwright Mac Wellman has tried to help the puzzled viewer with the play’s program, which includes a timeline of Richard Dadd and the Victorian Age and paragraphs that explain things like the symbolic meanings of hazelnuts.

However, this is not much of a guide for a play that is difficult to watch, since it lacks a coherent plot, sympathetic characters, or humor. The latter falls flat, particularly with “in” jokes that mix Lehigh Valley references with classical ones.

There are musical interludes, but the songs lack distinction, and the dance numbers begin and end without any connection to the narrative. Fortunately, the twelve or so elves are quite athletic; their portrayals and Liz Covey’s costumes accurately evoke the dark side of the Victorian faery world. A few are also good musicians, contributing solos on woodwinds and trumpet.

There is no lack of imagination in director Beth Schachter’s use of the Trexler Pavilion’s Black Box Theatre. There is no set, but the upper catwalk, staircase, and ladders are well used to keep the characters in motion. And you may find them crouching next to your seat from time to time.

Whether “Anything’s” is a fantastic dream or a nightmare depends on the viewer. About the only thing that you can be sure of here is that this ain’t Harry Potter.

''Anything's Dream,'' 8 p.m. Tuesday through Nov. 23. and 2 p.m. Nov. 24, Muhlenberg College, Trexler Pavilion for Theatre and Dance, Studio Theatre, 24th and Chew streets, Allentown. Tickets: $14. 484-664-3333, request but not purchase tickets at www.muhlenberg.edu/cultural/baker/request.htm.

--Dave Howell, 11/02

(This article first appeared in The Morning Call newspaper.)

Get Into The Act: Ace Decade

2004-07-12T21:01:00.000-04:00

Tim Smith won’t classify his band Ace Decade. “We never limit ourselves to a certain kind of music,” says the guitarist. He only refers to them as “modern rock” and as “a melting pot of music”, with wide ranging influences that include Nirvana, Van Halen, Stevie Ray Vaughan, reggae, and hip hop.

The group’s audiences also vary. “We get all kinds of people because we mix things up. If they don’t like a certain song, they’ll like another one later on.” Smith says They range from teenagers at all age shows to those in their forties who relate to elements of blues in the band’s songs.

Despite the fact that they often play heavy rock, the band does not cultivate that image, nor do they have day jobs that might be associated with it. “We’re all geeks,” laughs Smith.

Guitarist Todd Baldwin is a civil engineer, drummer Matt Yarema is an electronics engineer (he constructed the band’s website), and Smith is an electronics technician. Vocalist Lou Correa and bassist Steve Small are still in school.

The Lehigh Valley based band, which formed in late 1998, was named after a glam rocker in a Scooby-Doo cartoon. He turns out to be the villainous Disk Demon, who is after a song that spells out A-C-E-D-E-C-A-D-E in musical notes.

Smith estimates that Ace Decade does about eighty per cent original tunes in a typical set. All the band members write, with Correa penning most of the lyrics. With their diverging interests, Smith says, “we all bring something to the table.”

The only thing you are not likely to hear at an Ace Decade show are current songs on a rock station playlist. “I stopped listening to the radio,” says Smith. “There’s nothing there that sparks my interest.”

Ace Decade with Ovlo, Crocodile Rock Café, 520 West Hamilton Street, Allentown, tonight, $5 21 and over, $8 under 21, doors open at 7:30 p.m., 610-434-4600, website at www.acedecade.com.

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

The IMP (Illicks Mill Project) Storytellers

2004-07-12T20:59:00.000-04:00

Remembering eight entire years is difficult to do in one afternoon.
The IMP (Illicks Mill Project) Storytellers brought back the period from
1965 to 1973, when Bethlehem’s reconstructed mill was a center for
music.

The show was long at three and a half hours. Of course, the performers
had a lot to recall. And it was difficult to get so many musicians and
former hippies away from the free food buffet at intermission.

There were plenty of stories, as Tom Morganelli, Neal Neamand, and
Mary Faith Rhoads told of the beginnings of the Illicks Mill music and how
it was affected by sixties culture.

Neamand and Rhoads also contributed folk music of the type played in
the Mill’s early days. Frank Natassee did some tasty acoustic blues,
including “Crossroads” and “Rock Me Baby”.

Reflecting the later days of Mill concerts, there was an eclectic mix
of bands. Envibroment, a band of Liberty High students, even did some
pleasing jazz in the lobby before the show, as people gazed at mill
pictures of days past.

The Lee Daniels Jazz Trio provided two exciting John Coltrane
numbers, featuring Dave Smith on an unusual curved soprano sax (most
are shaped like a clarinet). Bob Hemmerly and the Glory Hounds saluted
rock with “Little Wing” and “Love Me Two Times”.

Steve Molchany ended with impressive vocals as he recreated the band Dooley, a Mill favorite. It included Dave and Wayne Smith, Wayne Maura, and Liberty High student Peter Fritz.

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

Interview: The Rock

2004-07-12T20:55:00.000-04:00

What you think Bethlehem is famous for depends on your age. Older folks might say the Moravians, and those of middle age might say Musikfest. Younger people know the true answer, however – it’s The Rock.

The Rock, born Dwayne Johnson, graduated from Freedom High School as an All American football player. He switched to wrestling to become a top star in the World Wrestling Federation. He is even better known for his role in the film “The Mummy Returns” and for starring in the highly lucrative film “The Scorpion King”.

This Sunday an episode of the VH-1 Channel’s series “Driven” will feature The Rock. “Driven” is a series that tells the stories behind successful celebrities with interviews, video clips, pictures, and background music, without interviewing the celebrities themselves.

The episode packs a lot of information into its one-hour time slot. There are films of a teenaged Johnson dancing and imitating Hulk Hogan. A good deal of time is devoted to his unsuccessful attempts at a football career, when he was sidelined by injuries and had to scratch out a living playing for the Calgary Stampeders of the Canadian Football League.

And anyone who knows the wrestling persona of the trash-talking Rock will be amazed by his early attempts to be a “babyface” (wrestling good guy) as the smiling, outlandishly costumed Rocky Maivia, whose geniality was quickly rejected by wrestling fans.

Many people were interviewed for the show, including Johnson’s mother Ata, his college sweetheart and wife Dany, and WWF impresario Vince McMahon. Among them were four people who knew The Rock from his Freedom High days.

Freelance producer Brad Bernstein brought a film crew to Allentown’s Hampton Inn last November 6 for interviews with football coach Jody Cwik, wrestling coach Jake Llewelyn, and friends Joe Gerencser and Nick Tsamoutaldis.

Bernstein says that this episode will differ from other “Driven” shows: “This will be only the second time that a non-music celebrity will be featured (the first was Halle Berry) and he will be the first athlete.”

Bernstein also says that while most of “Driven”’s subjects do not come from a celebrity background, “both Dwayne’s father and grandfather were famous wrestlers. There was so much pressure when he followed them.”

Not only did Johnson have to live up to the family wrestling name, but his father, who also ran a cleaning business in the Lehigh Valley, initially opposed his son’s desire to wrestle because of the uncertainty of its lifestyle. Before they settled in Bethlehem, the family had moved a great deal, and his father was not home very much.

Bernstein recalls that the four interviewees loved Johnson. “I couldn’t get them to say one bad thing about him.” Tsamoutaldis recalls that the crew tried to persuade him to say something negative to add a little “spice” to the show.

The producer says that the interviews gave him a different view of Johnson than the one he had in his mind after reading the autobiography “The Rock Says…” and doing background research.

He gives an example: “I thought that The Rock had quite a temper, but he seems to be more of a joker who likes to kid around. He likes to be the center of attention. And he is not afraid of anybody or of what they think.”

Gerencser and Tsamoutaldis confirm that the villain role is an act. “He was always joking around. He wants to put on a good show. He cranks it up, giving it that extra push.”

A few characteristics of The Rock were in place during high school. “I remember him walking down the hall doing the thing with his eyebrow,” says Gerencser. Tsamoutaldis remembers another Rock line from school: “I’m going to give you a beating, and there are two things that you can do. Number one, nothing, or number two, like it.”

The three spent much of their free time after school lifting weights, “three hours a night, six days a week.” Much of the remaining time was spent hanging out at El Greco’s Pizza. Strangely, Johnson did not wrestle in high school. He did not like it, since he was not allowed to use techniques like body slams and headlocks that he had learned from his father.

Bernstein also concludes that Johnson, “seems like a very genuine person and he is very loyal to the people that he grew up with. He knows his roots.” Gerencser says, “We still get together and we are still on the same wavelength. He’s just a little more protective of himself, as he has to be.” Tsamoutaldis says, “When he comes to town, he‘s not The Rock. He’s just Dwayne.”

Bernstein adds, “He cares a lot about his family, especially his mother.” The producer says that he was surprised to find that the six-foot-four, two hundred and seventy pound Rock “is actually a mama’s boy”.

The filmmakers were fortunate in having a wealth of material to use. “Dwayne was an only child, and his father was in entertainment, so there was a camera around all of the time,” says Bernstein. “There are films of him from his birth to the time he left home.”

The six and eleven p.m. showings will are scheduled to be before and after the WWF pay-for-view event “Royal Rumble”, which will not be on VH-1 and will not, unfortunately, feature The Rock.

“Driven: The Rock”, VH-1 TV channel, January 19, six and eleven p.m., www.vh1.com/shows/dyn/driven/62884/episode.jhtml.

--Dave Howell, 1/03

(This article first appeared in The Morning Call newspaper.)

“The Man Who Came to Dinner”

2004-07-12T20:51:00.000-04:00

“A Christmas Carol”. “The Nutcracker”. “Bah! Humbug!”. The latter is not a play, but it might be the way you feel about seeing the oft-repeated Christmas entertainment the Valley has to offer. If that is the case, consider visiting The Pennsylvania Playhouse for a Christmas show that has plenty of sophistication and laughs.

“The Man Who Came to Dinner” takes place at Christmas time, and an overweight man with a beard is the main character. In this case, though, it is Sheridan Whiteside, a role based on real-life author Alexander Woollcott. The story imagines what would happen if Woollcott/Whiteside was forced to stay in the home of a conservative Midwestern family.

The real-life Woollcott was famous for theater reviews, so it is only natural that Whiteside is egotistical, bad tempered, selfish, and seems to only find pleasure in eating and insulting nearly everyone in sight. Whiteside (Chip Rohrbach), recovering in a wheelchair from a fracture, bullies his way into the center of the Stanley residence, banishing the family to the upstairs and the back entrance.

His long-time secretary Maggie (Gretchen Klinedinst) is used to his behavior and eclectic group of friends, but she is unprepared when she falls in love with a young newspaperman (Andrew White). The involved plot also includes visits by grand thespians Lorraine Sheldon and Beverly Carlton (Seregon O’Dassey and Wayne Gmitter), a pair of convicts, a crate of penguins, a scientist with ten thousand caged cockroaches, a mummy case, and Harpo Marx (here called Banjo, played by Scott Laubner).

Director Robert Callan provides actors with strong characterizations and the split-second timing needed to make this show a success. Rohrbach at first seems a bit young for the part, but he soon makes it his own. His Whiteside alternately flatters, yells, and schemes to get his own way, but he is still believable when he drops his façade for some acts of kindness (the story takes place at Christmastime, after all).

O’Dassey and Gmitter are so good, their talents match their characters’s outside egos. And Laubner answers the old question, “What would Harpo Marx be like if you could see him talk?” Here he is non-stop energy, and as witty as Groucho, without the acerbic edge.

Tom Onushco is perfect as the straight-laced Mr. Stanley driven to distraction by Whiteside, as is Cheryl Bowman as the long suffering nurse Miss Prean (interestingly, Bowman is an actual nurse).

I wish I could individually mention each of the more than twenty cast members, who make this two-and-a-half hour play such a delight. Hey, I guess it must be getting close to Christmas!

“The Man Who Came To Dinner”, Pennsylvania Playhouse, Illicks Mill Road, Bethlehem, December 13, 14, 15, 20, 21, and 22, Fridays and Saturdays at 8 p.m., Sundays at 3 p.m., $15, seniors and children $13 Fridays and Sundays, 610-865-6665, www.paplayhouse.org.

--Dave Howell, 12/02

(This article first appeared in The Morning Call newspaper.)

“The Music Man”

2004-07-12T20:47:00.000-04:00

Last weekend, theatergoers in Bethlehem were able to see a performance of the country’s hottest new musical, before it is revived on Broadway and television. Eric McCormack, the star of TV’s “Will and Grace”, is playing the lead role on Broadway, and next month Matthew Broderick will star in an ABC made-for-TV movie.

The musical is Meredith Willson’s “The Music Man”, first presented on Broadway in 1957. Although it is a paean to small town life (River City is a fictional representation of Willson’s boyhood home of Mason City, Iowa), this show deserves the big production that Lehigh University gave it at the Zoellner Arts Center.

Baker Hall’s large stage held elaborate sets and backgrounds, like the town square composed of a number of individual storefronts. Scenes were instantly transformed by moving the front of a house or city hall onstage.

The cast of more than fifty, mostly Lehigh students, had wonderfully colorful Victorian costumes, whether they were dressed for everyday life, for an ice cream “sociable”, or in band uniforms. And topping the grandeur was the thirty-five piece orchestra led by Paul Hsun-Ling Chou, which gave a rich sound with less than seventy six trombones.

There was enough room for the elaborate dance numbers, too. And even if the dancing was not always Broadway quality, it was much better than what you could expect from a small town like River City.

The familiar story has traveling salesman/con artist “Professor” Harold Hill (Tyler Tate) arriving to sell instruments and uniforms before he skips town, leaving behind an empty promise to start a band. However, he unexpectedly becomes emotionally involved with the town librarian (Carolyn Shemwell). He is forced to choose between her and escaping the townpeople’s wrath.

Tate filled his role with the right touch of swagger, making Hill likeable despite his dishonesty. Shemwell had both a beautiful voice and an appealing aura of naivete. It did not hurt that both of them resembled younger versions of Robert Preston and Shirley Jones, who were the leads in the 1962 film (Preston also originated the role of Harold Hill on Broadway).

There are too many well done performances to list, but four standouts were the barbershop quartet: Brett Philpotts, Chris O’Dwyer, Terry McLaughlin, and Jonathan Havel. These undergraduates’ smoothly blended sound seemed as if they had been singing together for years.

The only flaw was the ending, where Hill is forced to conduct his “band” after being captured by the townspeople. It sounds terrible, but the twist is that the citizens think it is wonderful, since their children are members. The production did not make this clear, and the climax was too abrupt for the nearly three-hour show.

The appeal of the “good old days” of small town America, when the biggest trouble in town was the arrival of a pool table, offers a nostalgic escape from our anxious times. Director Dennis Razze has proved that an old fashioned love story can still be enthralling.

--Dave Howell, 1/03

(This article first appeared in The Morning Call newspaper.)

Interview: Brad Sherwood

2004-07-12T20:45:00.000-04:00

You may wonder about improvisational comedy, as seen on the popular TV show “Whose Line Is It, Anyway?” It might seem like an amazing art to you, or you might suspect that it is just various combinations of stock characters and material.

Brad Sherwood wants to prove to you that there is nothing fake about it. Sherwood is a regular on the popular “Whose Line?” where four comedians join host Drew Carey in instantly inventing sketches and songs from a few guidelines.

On Friday, January 31, Sherwood will be bringing what he calls a live version of “Whose Line” to Moravian College. He uses this description as a point of reference, to let people know that this will not be the usual standup comedy show. Here, you will be able to observe the creative process without any possibility of editing or retakes.

In a phone interview, he says, “Watching live improv is better. You get to see what it is based on. You can see your suggestions put to use. It is like a combination of a comedy and a magic act. People wonder, ‘How did he do that?’”

Sherwood and his partner Dave Bushnell will present a more interactive show than the one shown on TV. Many audience members will be called on stage. Sherwood does not find the uncertainty of working with unknown participants to be a problem. “It’s interesting for the audience to see how we deal with someone who may not be ideal,” he says.

His worst problems have occurred when he brought people up in a comedy club and then realized, “These people are REALLY drunk”.

Sherwood says that the original performances on the television show nearly always work out well. “Sometimes things get a little too risqué,” he says. “Then we can put it on a compilation show that runs later in prime time, maybe ten instead of eight o’clock,” he says.

There are two versions of “Whose Line?” currently being shown. Reruns of the British show, which ran from 1988 to 1998, is on Comedy Central. The currently running American version, often called by fans “Drew’s Line” after the host, began the same year that the British show ended.

Although Carey replaced British host Clive Anderson, most of the cast from the British show moved to the American one. Sherwood appeared regularly on both versions, which he said were similar. On the American version, there are three regular participants and a “fourth chair” that usually uses one of three different comics. Sherwood is one of the three.

He recalls, “The format was exactly the same on both, and the set was nearly identical. In Britain, the audience was a little more reserved. They like verbal, witty humor, while the American audiences like physical and big character things.”

The thirty-eight year old Sherwood was born in Chicago and grew up in Santa Fe. He began acting at the age of eight and continued throughout high school and college, graduating with a degree in acting from Wright State University in Ohio.

After moving to Los Angeles, he became involved in a West Coast workshop of the famed Second City improvisation group. He toured with the Second City Alumni troupe, where he was an understudy for Ryan Stiles. After Stiles joined the cast of the British “Whose Line”, he suggested that Sherwood audition.

An internet search on the phrase “Brad Sherwood” will bring you to a few sites that refer to the comedian with terms like “stud muffin”.

“I think it is funny,” he says. “I don’t agree, although my girlfriend might.” He points out that all the cast members of “Whose’s Line” have similar adulatory web sites dedicated to them.

Sherwood dismisses any fears that he will ever “freeze” on stage. “I’ve been doing it for long enough,” he says. “You just have to throw something out. Your mind goes into another zone.”

Brad Sherwood, Friday, January 31, 8 p.m., Moravian College North Campus, Johnston Hall, West Elizabeth Avenue, Bethlehem, $12 general admission, tickets at the bookstore in the Haupert Union Building, W. Locust and Monocacy Streets, or at 610-861-1499.

--Dave Howell, 1/03

(This article first appeared in The Morning Call newspaper.)

“A Very Brady Murder”

2004-07-12T20:43:00.000-04:00

You might balk at paying to see The Brady Bunch. White Rose Productions makes a good case for it, though, with “A Very Brady Murder” mystery dinner theater at the Ramada Inn.

This play cleverly satirizes the TV series. It even brings in Monkee Davy Jones and Alice the maid’s boyfriend Sam the butcher (those two parts are both played by audience members who read from scripts).

The story takes place in the present, but the family still lives in the seventies. Mike Brady (Bob Falkenstein) still earnestly gives out advice like, “The names we call others are the names we call ourselves.”

Greg (Robert Callan) wants to be a rock star. At various times he approaches female audience members with the pickup line, “Hey, groovy chick, would you like to get a soda?” Goody-goody Marsha (Megan Bailey) is insufferable, driving neurotic Jan (Cheryl Lynn) to distraction as she competes for attention.

When Alice (Lisa Supping) gets murdered, dorky Peter (Troy Brokenshire) takes over the investigation using his detective kit. He is helped by younger brother Bobby (Rob Heller), who is like an imp from hell as he rounds up suspects.

In this strong cast, most of the actors have a reasonably close resemblance to their TV counterparts. Deena Simonelli looks a lot like Carol, and Xiomara DeJesus is short and perky enough to convincingly play youngest daughter Cindy.

One suspects that author Cheryl Lynn has seen nearly every episode of the late sixties and seventies TV series. That’s carrying research a bit too far for her own good, but it makes for some funny and shady Bradys.

“A Very Brady Murder”, Ramada Inn at the Malls, 1800 MacArthur Road, Whitehall, Fridays at 7:30 p.m. and Saturdays at 7 p.m. through June 7 (no show on June 6), $28 per person including dinner, group rates available, 610-439-1037.

--Dave Howell, 3/03

(This article first appeared in The Morning Call newspaper.)

"Medea"

2004-07-12T20:41:00.000-04:00

"Medea" was first produced in 431 B.C., but the Greek tragedy by Euripides offers a lot to today’s audiences with the tale of a woman so obsessed by revenge, she is willing to murder her own children. However, it can be difficult to make this one-act play successful on the contemporary stage.

As the play opens at Allentown’s Civic Theatre, a member of the chorus strides down the aisle chanting (in Hebrew, for some unknown reason). Then the Nurse (Trina Johnson-Brady) enters and delivers a monologue to explain what has happened so far. At the same time, offstage Medea is mourning her fate as the wife of a man who has spurned her to marry a younger woman.

Johnson-Brady’s angry ranting reaches an emotional peak not matched by the rest of the play. And Medea’s wailing from behind the set’s door makes her sound like a wounded moose, so much so that it is startling to see a composed woman when she finally appears on stage.

Emily Abruzzi’s Medea comes to life, full of scheming, hatred, duplicity, and seductiveness. She interprets Medea as a woman who has gone mad, instead of one who is intrinsically evil. This unusual approach works for her character, as she begins in a restrained fashion and lets her emotions build as the story progresses.

Matthew Stitzer, as Medea’s husband Jason, plays his part as if he were William Shatner in a remake of “Jason and the Argonauts”. His vain and studly Jason is wonderful in its own way, but his over-the-top performance does not mesh with Abruzzi’s classical approach.

He is not helped by his appearance, which seems to feature a low-priced Masters of the Universe Halloween costume and what appears to be a pair of galoshes. For some reason, all the women here are dressed like Classical Greeks, while the men wear modern footwear with varying mixtures of Ancient Greek and modern clothes.

Michael Combs gives a flat reading as the Tutor. Tom Onuschco is regal enough as King Kreon, father of Jason’s intended bride, who condescendingly gives Medea one more day before her banishment. Tony Kohl’s character seems a little modern, but he adds the necessary comic relief as the aged King Aigeus.

Shawn Salevsky is sufficiently dramatic as the Messenger describing the offstage results of Medea’s revenge, although his Jersey accent is a bit jarring. The nine young women in the chorus are fine individually, but sound overly strident when they recite their lines together.

The set for this hour and twenty minute tragedy is striking, featuring a floor that is a broken, tilted sphere, with infernal steam rising from a crack in the middle at dramatic moments. Unfortunately, there is so little sense of direction in this production that the various actors appear to be acting in different plays.

“Medea”, Civic Theatre, 527 North 19th Street, Allentown, March 12 through March 15, 8 p.m., Wednesday and Thursday $16, Friday and Saturday $18, $2 off for seniors and students except Saturday, 610-432-8943, www.civictheatre.com.

--Dave Howell, 3/03

(This article first appeared in The Morning Call newspaper.)

“The Trojan Women”

2004-07-12T20:39:00.000-04:00

There has been a recent mini-revival of “The Trojan Women”. Even though this play by Euripides dates from 415 B.C., its theme is topical. That is unfortunate in this case, since it deals with the anguish and destruction that war leaves in its wake.

As with all productions of Euripides, the performance at DeSales University last weekend is a modern interpretation. We can only guess how the music sounded, or how his works were actually presented. In any case, the text holds up remarkably well, again unhappily, since victims of war have existed for over two thousand years.

“The Trojan Women” is believed to be Euripides’s response to the historical destruction of the settlement of the island of Melos by Athens, as part of its on-going battle with Sparta in the Peloponnesian Wars. The play’s story uses the earlier Trojan War as an allegory, however.

Those familiar with the Iliad and the Odyssey would recognize many references in this work. Interestingly, many of the heroes of both books, including Odysseus, are villains instead of heroes in the eyes of the conquered women.

This version of the play opens as Hecuba (Elizabeth McLenigan), widow of King Priam, laments her future as a captive and slave by the victorious Greeks. She is joined onstage by the seven women of the chorus, who share a similar fate. McLenigan’s realistic performance as an older woman made it difficult to believe that she was a college student, as were the rest of the cast.

The set designed by Michael Smola for the Arena Stage of the Labuda Center, matched the bleakness of the action, showing ruins of mostly off white mixed with gray and brown. Costume designer Lisa M. Gosnell used the same colors, featuring the women dressed alike in brown rags.

The Greek herald Talthybius (Beni Artreche) knocks at the gate throughout the play bearing bad news. The first time he and his four soldiers drag out Hecuba’s daughter Cassandra (Megan A. Ziminisky), a priestess who has gone mad with grief and threatens revenge against the Greeks.

Ziminisky’s long monologues of rage and grief would have seemed over the top in a modern play, but her shattering emotions seemed appropriate here.

Talthybius and his men take Cassandra but return the second time to claim and kill Astyanax (Meredith Lipson), the young son of Andromache (Jessica L. Conrad). Conrad gave a restrained but compelling portrayal of a woman who wishes only to be dutiful and respected, but finds herself a victim of uncontrollable forces. Later the body of Astyanax, who has been killed offstage, is returned for burial.

On the next visit, Menelaus (Matthew Breiner) comes to claim his wife Helen (Mary Beth Menna), whose desertion caused the Trojan War. In a complex and powerful exchange, Menna defended Helen’s selfish behavior, and nearly made it seem justified. Breiner deftly showed the complex struggle of a man whose rage was tempered by an unresolved vestige of love (or lust) for his wife.

The inevitable ending has the characters witnessing the destruction of Troy by fire, and the women being taken to ships to be transported as spoils of war.

Director Anne Hagerty Lewis’s decision to cut the play to an hour length was appropriate (this version was complied from four or five different alternatives). For example, the opening argument among the Greek gods would have detracted from the immediacy of the drama.

What was left was an overall sense of how it feels to be caught in the grip of a senseless war beyond the control of its victims, a feeling that is as modern as it is despair-provoking.

--Dave Howell, 3/03

(This article first appeared in The Morning Call newspaper.)

“Jekyll & Hyde”

2004-07-12T20:38:00.000-04:00

“Jekyll & Hyde” retells a familiar tale, so the musical’s suspense might not be about the fate of Dr. Jekyll, but how the play will fare in its Lehigh Valley premiere. Fortunately in this experiment, unlike Dr. Jekyll’s, good triumphs.

Robert Louis Stevenson’s short story may not seem like an obvious source for a musical, but this work has the atmosphere of an old fashioned melodrama, and it includes incidental music that complements the gothic flavor.

The critics mostly panned “Jekyll & Hyde” when it was first presented in the early 1990s, but the public loved it. It is easy to see why. This may not be the best or most logical musical ever written, but it touches the emotions and is quite fun to watch.

This is a big production by MunOpCo Music Theater. It has a cast of nearly fifty and an excellent ten-piece orchestra. The first thing that commands attention as the curtain opens is the setting of Dr. Jekyll’s lab, which features an array of brightly colored liquids in various glass beakers and containers.

During the first song, “I Need To Know”, the set is transformed into the streets of London, where various social classes intermingle. There are a total of twenty-three different scenes.

This is less noteworthy, though, than the performances of the leading actors. Rob Clausnitzner as Jekyll/Hyde instantly captures your attention and does not let it go for the entire three-hour show. His Henry Jekyll radiates sincerity, but with an underlying tension that makes his later transformation into Edward Hyde believable.

His Hyde is evil, of course, but what is more important in this story, he really, really enjoys his wickedness. Besides all this, his voice has a power and range that is a joy to listen to.

In one pivotal scene, Clausnitzner has a dialogue with himself, as Jekyll and Hyde fight for control. Jekyll loftily points to the sky when he speaks, while Hyde turns the other way and menacingly crouches when he answers. Done badly, something like this might make you want to chuckle and hide. Done here, it is riveting.

Andrea Schneck radiates an obvious love as the ill-fated doctor’s fiancée. She also makes Emma just a little too proper and repressed, helping to explain her friend’s struggle (it does not seem like they are lovers yet, which makes Hyde’s wild pursuit of pleasure realistic).

Melissa Hensley may be a little too young and innocent to be hardened by the life of a prostitute, but she is definitely alluring. As her Lucy reaches out to the good doctor for friendship after their unexpected meeting, it is easy to see that he would have trouble resisting her even without the underlying presence of Hyde.

Both women are fine singers. Their duet “In His Eyes”, where both express their love for Jekyll, is a highlight of the show.

Russell George does a fine job as Jekyll’s loyal friend John Utterson, as does Matthew Geist as Simon Stride, Jekyll’s slimy rival for Emma’s affections. Actually Geist comes across as being as evil as Hyde. He just cannot do as much harm because of the fear and repression that come with his social position.

Unfortunately, some of the costumes are jarring. Many of the peripheral characters look as though they are dressed for Halloween instead of everyday life in Victorian England. In one notable exchange, the Bishop of Basingstoke is on the street dressed in full liturgical vestments as he pays a prostitute for her services.

The only weak scenes are at The Red Rat, where the entertainment by the ladies seems more fitting for Disney World than for a brothel. Luckily, the women get to redeem themselves (from an entertainment standpoint, anyway) during their beautiful singing on “Girls Of The Night”.

As an added bonus, many people get murdered in Act Two and there is a lot of suggestive sexual interaction. What more could you wish for? If you have been a good Dr. Jekyll at work all week, this show would be a great place to Hyde out this weekend.

“Jekyll and Hyde”, 8 p.m. Friday and Saturday, 2 p.m. Sunday, Scottish Rite Cathedral, 1533 Hamilton St., Allentown. Tickets: $15-$18. A dinner buffet is available at 6 p.m. before the Friday and Saturday performances ($20). Sunday buffet begins at 12:30 p.m.($12) Buffets are at the Scottish Rite Center, directly across the street from the cathedral. 610-437-2441.

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

"Tony and Tina's Wedding"

2004-07-12T20:33:00.000-04:00

For many of us, going to weddings is such a chore that it is hard to believe that anyone would pay money to attend one. But about two hundred people a night did from last Tuesday through Sunday, for the nuptials of Valentina Vitale (Denise Fennell) and Anthony Nunzio, Jr. (Scott Bielecky) in "Tony and Tina's Wedding". And it is doubtful that anyone regrets being a guest at their rowdy union.

This show, held in the State Theatre’s upstairs ballroom, was as much like an actual wedding and reception as possible. Instead of being greeted with a play program (they were handed out as people left), guests were directed to assigned tables. The three-hour event included an Italian buffet (although the ziti was made without prosciutto, as the bride brayed to attending guests), a champagne toast, and, of course, wedding cake.

The bride and groom came from families that were so Italian, they made the Sopranos look like they were from Mississippi. It was no surprise that the bride's cousin, Sister Terri (Katya Fitzpatrick), was about to take final vows to become a nun.

Sister Terri opened the proceedings with a choir practice sing-along of the Doobie Brothers's "Jesus is Just Alright with Me". Each guest sang from xeroxed lyric sheets, taking care not to intrude on Sister’s solo part.

The wedding went fairly smoothly, despite an obviously pregnant maid of honor (Denise Galasso), interruptions by the photographer, and the appearance of Michael Just (Thomas Kimpland, Jr.), the bride's unstable former beau who was newly back from rehab.

Caterer Vinnie Black (Kevin Alexander) presented the food in grandiose style: the buffet tables were ceremoniously rolled out to the tune of “Thus Spake Zarathustra” (Elvis’s opening theme for his Vegas shows). Servers performed the not-ready-for-prime-time ballet “Dance of the Waiters”. Black spared no expense, although he was later seen going from table to table, pouring leftover champagne back into bottles using an oil-change funnel.

The wedding party took full advantage of the bar after dinner, producing the incongruous sight of the bride staggering from table to table holding a bottle of Bud. It did make for some lively dancing, as wedding party members dragged guests onto the crowded dance floor, however.

Among the many highlights were “Tina and the Slithering Wildcats” recreating their dance act first performed at Allentown’s Stonewall Bar, and Madeline Monroe (Denise Crawn) leading a conga line through the crowd in her short skin-tight gold lame dress. Vegas-smooth DJ Donny Dulce (Tony Lauria) also provided some solid vocals to his karaoke tapes.

During this show, you had to watch out of the corner of your eye as well as look straight ahead at the stage/dance floor. Couples, both gay and straight, disappeared and then re-emerged somewhat disheveled. A trip to the bathroom might enable you to see a food fight, or catch Father Mark (Jim Long) passing more and more under the influence of the grape as the evening progressed. And many characters visited your table for small talk and catty gossip throughout the evening.

Only four actors were members of the show’s touring company, but the local actors shone in their parts. I am still not convinced that Merry LaRue (bride’s crude mother), Lois B. Miller (groom’s tottering grandmother) or Donna Marsala and Danielle Miller (oversexed bridesmaids) are not one hundred per cent Italian.

And if I did not know that John Trembler (groom’s father) was the Managing Director of the State Theatre, I would be certain that he was an obnoxious drunk (now I’m just not sure).

It was a long, noisy, raucous evening, marred slightly by significant overcrowding at some tables, but after all, everyone was “famiglia”. It is well worth experiencing if this sold-out show returns to the Valley. After all, you don’t have to bring a gift to this wedding. You are giving yourself one by going to see it.

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

“Bicycles and Tricycles”, The Orb

2004-07-12T20:31:00.000-04:00

“Bicycles and Tricycles”, The Orb, Sanctuary, 2004

The Orb have been at the forefront of electronica since 1990, which gives them pioneer status in the genre. The current lineup of Alex Paterson, Simon Phillips, John Roome and various collaborators are nearly revered.

If you are an Orb fan, you will probably like this CD. Those new to their sound may not. It might be that what sounded great ten or so years ago seems dated now. “Bicycles and Tricycles” has great dance music on it, with heavy beats that don’t quit and imaginative frameworks. However, danceable music is not always listenable.

“Aftermath” has Soom-T rapping over the beats. “The Land of Green Ginger” and “Prime Evil” feature stories narrated by Neville Jason, the first a fairy tale and the second a sci-fi/horror concoction. Duncan Mackay adds trumpet to “Orb is (shopping version)” and “Hell’s Kitchen”. And a harmonica is added to “Tower twenty-three (spud v kreature mix)”.

Most of the eleven tracks follow the same pattern. There is a slow opening with synthesizer melodies, and then the beats come in. The beats here may not be standard ones, but they do not break any ground for originality. Too many of the tracks sound like Tangerine Dream Goes to a Disco. The angularity of the beats confines everything to repetitious four-four patterns.

The last two tracks, “Kompmaina (grooved ware mix)” and “Dilman” forgo the strong rhythms for nice ambiences that create an ethereal mood in their relatively short playing times.

--Dave Howell, 7/04

(This article first appeared in the FMSound music site.)

"Traditional Songs of Cossacks, Vol. 1", Ensemble Pesnokhorki

2004-07-12T20:29:00.000-04:00

"Traditional Songs of Cossacks, Vol. 1", Ensemble Pesnokhorki, Face Music Switzerland 1998

The Cossacks are peasants from areas south of Moscow and the Ukraine, who formed military units to serve the Russian empire. They are known more for fighting than music, although they did have a culture that included folk songs.

The booklet that accompanies this CD gives a pretty good history, although it is not written by a native speaker of English. It also describes each song and provides an English translation of the lyrics.

The songs included here are basically vocal, with occasional accompaniments with Russian fiddle, reed pipe, small wooden zither, tambourine, sleigh bell, ocarina, spoons, and accordion. All twenty-one on this CD are rather simple. They are sung by a chorus, with differing soloists.

Some tunes might remind listeners of something they might hear at a Renaissance Fair. The women’s voices are unusual. They sound rather harsh at times, and the harmonies sometimes sound out of tune to the Western ear.

This group of four men and three women has chosen songs on a variety of topics. Many are dance tunes. As might be expected, some celebrate war: “Out of the woods of spears and swords/there rides a contingent of a hundred Cossacks.” But there are also bridal songs, songs celebrating the Cossack life, and others that express the yearning of a traveler for the homeland (“Alas, my dear home country...”).

Although the subject matter varies, there is a sameness in the songs. All are sung in a variation of call and response, with a soloist beginning and others joining in with him. This is only one style of Cossack music. Perhaps other CDs by this troupe (this is called volume one) cover other types.

This is not something you will wish to pop into the CD for casual listening, but it is interesting for presenting a type of music rarely heard in the U.S.

--Dave Howell, 7/04

(This article first appeared in the Rambles books and music site.)

Interview: Tommy Castro

2004-07-12T20:27:00.000-04:00

Tommy Castro may be one of the best blues guitarists around today, but he’s not going to try to prove it July 16 at the Lehigh Valley Blues and Jazz Fest.

“We just like to have a good time. It’s not just about me playing the guitar. A lot of my contemporaries are only wrapped up in their playing, but we don’t make that a focus of the show,” he says in a phone interview from his home in the San Francisco Bay area.

“A combination of blues, soul, and rock and roll” is how Castro describes his upbeat music. He says it is based on his songs, which combines those influences. “Most of them have all three of those elements. We don’t classify each song so much. We try to take a song and play it as we would naturally.”

Where many guitarists seem to use their vocals just to fill in between instrumental solos, Castro tells a story with his singing, with a strong voice that is based in R&B and soul. His precise blues guitar playing, supported by his mastery of many different styles, uses elements of rock and other types of music. Sax player Keith Crossan can emulate both the horn parts of soul and the raucous honking of rock and roll in the band’s live gigs.

Castro shows his influences upfront on his new release “Gratitude” (Utr Music Group 2003), a tribute album to the artists who inspired him. “We’ve put out seven releases--mostly of our own material--of the kind of music we like to play,” he says. “I had an idea in the back of my head that I could play some of my favorites just like when I was learning as a kid. We could take a break from songwriting and the record label, since this was put out on our own label. And it could give our fans a little insight into where our music comes from.”

It is no surprise that a B.B. King number is included (“Bad Case Of Love”). Castro was overjoyed to be a member of King’s Festival Tour of 2001. “B.B. is one of the greatest individuals I ever met. It’s great when one of your heroes turns out to be genuine.”

Another cut on the CD is John Lee Hooker’s classic “It Serves You Right To Suffer.” Hooker’s last recording before he passed away in 2001 was for the title track of Castro’s “Guilty of Love” (33rd Street Records).

Three different songs on “Gratitude” were made famous by Wilson Pickett, Chuck Berry, and Sam and Dave. Curtis Salgado performs on all three, taking the second vocal on the Sam and Dave number “I Take What I Want.” In April, Salgado visited the Lehigh Valley for the first time for a show in Emmaus.

The forty-nine year old Castro calls himself a “late bloomer,” since it was many years before he took up music as a full-time career. “I thought it would be too good to be true,” he says. “I played on weekends, and I always had some kind of band. Eventually, I was getting better gigs and better at my craft, so I made the move from San Jose to San Francisco.”

Castro says that he learned a great deal from the Dynatones, a soul band that he toured with for a few years before returning to San Francisco. He worked as a street musician for a short time, but soon began leading his own band—and has been for the last twelve years.

“I took every gig I could get. My band had a reputation as the hardest working band in the area, doing 350 shows a year, sometimes two a day, working six or seven days a week.” Since then, Castro says he works a more modest 250 times a year.

Castro credits all of the work with helping him to develop his own style. Instead of listening to other performers’ records, he had to come up with his own ways of playing. “I ran out of time to practice,” he says. “I was out there working.”

The guitarist says he has never visited the Lehigh Valley before, and with an itinerary that includes trips to Europe and cruise ships, he may not return soon. This Friday may be the last chance to see him locally for quite a while.

Tommy Castro Band, Friday, July 16, Lehigh Valley Blues and Jazz Fest, 9:30 pm, $12 at gate, three day pass $34, festival hotline 610-261-2888, web site at www.lvbluesfest.com.

--Dave Howell, 7/04

(This article first appeared in The Morning Call newspaper.)

Get Into the Act... "Esme Montgomery"

2004-07-05T15:52:00.000-04:00

Esme Montgomery never quits when she sings.

She is constantly in motion during her shows. She pushes her arm away from her guitar as if she is ridding herself of a bad memory, or grimaces as she is captured by the spirit of a lyric. “I’m in the moment of what I’m doing, acting it out,” she says.

Montgomery mixes her own tunes with covers by artists ranging from John Lennon and Stevie Wonder to the Flaming Lips and Bjork. She has recorded her tunes on the self-released “A Single Thing.” The songs range from quiet, with only her girlish voice and guitar, to angry-sounding electric punk rock.

No matter what their format, all feature poetic lyrics. “I focus on lyrics a lot,” she says. “Something that’s in my head for a while will develop. There are a lot of personal reflections about how people relate to each other.”

Many of the songs on her CD are experimental, like “Fields,” which has her faraway sounding voice accompanied by a slow electric guitar. “That one was done at my apartment,” she says, “I put the microphone out of the window and used a lot of reverb.”

Montgomery has only lived in Bethlehem for three months since moving here from Manhattan. “This is a cool music scene,” she says. “It is too expensive to do music in Manhattan. Here I can actually have a practice room and a car.”

Montgomery is also the lead singer for the band Dark Sweet Cherries. Like Montgomery herself, the band has an eclectic sound that includes elements of garage, punk, and pop. This month they announced that they have finished recording a six-song EP.

Esme Montgomery will open for Astrograss, a Brooklyn-based bluegrass band, May 1 at the Mount Vernon Ale House, 542 Northampton Street, Easton, PA, 10 p.m., no cover, 610-559-5772.

--Dave Howell, 4/04

(This article first appeared in The Morning Call newspaper.)

Get Into the Act... "Dave Mell Blues Band"

2004-07-05T15:49:00.000-04:00

If it’s blues, the Dave Mell Blues Band plays it. “We touch on a lot of different styles,” says Mell, “British, Texas, Chicago, and Delta, and we do both electric and acoustic.” The band does nearly a hundred and twenty shows a year, including clubs, private parties, festivals, and carnivals. “We are even going to do our fourth Home Depot show,” he says.

The band also varies their tunes by having Mell, his wife Ellen, and bassist Tom Malafarina split the vocal chores about equally. When one sings lead, the other two often harmonize. Their gigs also feature drummer Stevie Vegas and a various harp players, usually Joe Stoebenau or Buddy Cleveland.

They often add horns, depending on the venue. Their CD “Live – Now That’s Cool” features the unusual addition of a trumpet, played by Bobby Savage. “That’s Cool” features seventeen tracks recorded in a club that puts you right in the middle of the action, since the recording mikes were in the middle of the audience.

The Reading-based Mell says that he only gets to the Lehigh Valley once or twice a month, but he likes the area. “The people there are a more aware of the blues than they are in Reading, largely because of the built in crowd based around the Lehigh Valley Blues Network.”

Dave Mell Blues Band, California Bar and Grill, Rt 724 and Mountain View Road, Grill, PA, 610-777-7224.

--Dave Howell, 5/04

(This article first appeared in The Morning Call newspaper.)

Get Into the Act... "Three Monks"

2004-07-05T15:43:00.000-04:00

You might call it lounge music for the twenty-first century. The Three Monks have a melodic sound that mixes instrumental solos with jazzy vocals. However, you are more likely to hear them do Stevie Wonder than Sinatra, or Pink Floyd instead of show tunes.

Vocalist Doug Hawk calls their music "soulful jazz, or borderline pop." Whether they are doing covers or one of their many originals, the trio offer songs that have more twists and turns than anything you will hear on the radio.

Keyboardist Dan DeChellis and drummer Rian Carr often take long stretches where they experiment with the melody, or even veer into free jazz. Then Hawk may scat sing, do vocal swoops, or change a standard by singing it in a minor key arrangement that makes it sound like a new composition.

“There’s a lot of open space in our songs,” says Hawk, who writes the lyrics. “We like to be in the moment and try to keep it fresh without sticking to things in a certain way.”

DeChellis, who writes the band’s music, has released twenty-one CDs on his Sachimay Records label, eight of which are his solo works or his collaborations with other artists. Carr is also the drummer for the group Spirit Island. Hawk sang with the group Rhino Campground, which has just played its last show at Bethlehem’s RiverFusion.

For their appearance at Mayfair, opening for the Blessed Union of Souls, the group will add guitarist Jake Heck and electric upright bassist Erik Unsworth. The trio plans to record a CD in the next few months.

Three Monks, May 29, Cabaret Central, 7 to 7:45 p.m., Mayfair Festival of the Arts, Cedar Beach Park, Allentown, free, Saturday, June 5, 9 p.m., WhichBrew Pub and Restaurant, 665 Northampton Street, Easton, no cover, band website at www.threemonks.net.

--Dave Howell, 5/04

(This article first appeared in The Morning Call newspaper.)

“Crossing the Invisible Line”, Buddahead

2004-07-05T15:40:00.000-04:00

“Crossing the Invisible Line”, Buddahead, Sanctuary Records, 2004

Buddahead is a guy named Raman Kia, not a band. At the first listening, you might mistake this CD for a band project, however. Each of the eleven tracks has elaborate arrangements.

The first cut, the radio friendly “When I Fall”, is backed by lush strings approximating a whole orchestra. “Holding Me Back” has a rock ballad arrangement, overlaid with electric and acoustic guitars. Others, like “Chains,” “How Does It Feel?”, and “Turn Away” begin with just Kia’s voice and acoustic guitar, before electric instruments and drums come in.

Many of the songs are of the singer/songwriter type, with poignant and meaningful lyrics. It is produced like a rock CD, though. Producer Don Gilmore has also worked with Linkin Park, Eve 6, and Sugar Ray. The combination works well.

On songs like “Broken,” Kia’s vocal wails sound dramatic against electric instruments; they might have seemed overdone with just an acoustic background. His rich voice sounds even better against strings, as on “Take It All Away.” Gilmore even makes John “listen to how fast I can play” Popper’s harmonica sound tasteful on “Invisible.”

Some listeners may feel that the production overwhelms the songs, particularly when the lyrics are difficult to understand. On the other hand, the production fills out songs that are a bit slight, like “Turn Away.”

But Kia, who was raised in Iran, sings with conviction and heart throughout this CD. The production may be elaborate at times for songs written on acoustic guitar, but it always complements Kia’s feelings, never overwhelming them. Despite its title, this CD stays well within the lines of good music that has something to say.

--Dave Howell, 5/04

(This article first appeared in the FMSound music site.)

Jimmy Johnson

2004-07-05T15:39:00.000-04:00

The real Chicago blues is something you hear about but rarely experience anymore. A packed crowd at Mayfair’s Lakeside Meadows saw Jimmy Johnson deliver the genuine article last Friday night. Johnson, sounding and looking at least twenty years younger than his age of seventy-five, made the familiar 12-bar style from the Windy City fresh and vibrant.

Johnson’s style has him trading off his high-pitched, powerful vocals with quick, string-bending guitar runs. Most of his songs were his own compositions, with a few exceptions like the opening “Born Under a Bad Sign.” His show was over an hour, not including a short opening set by his band.

Johnson’s band was a strange, but effective, cross between a blues band and a rock power trio. Guitarist Chico Banks is a recording artist and bandleader under his own name. He is based in Jimi Hendrix as well as the blues, with his use of lightning fast runs and wah-wah pedal.

Bassist Jesse “Slim” Cross played his bass like a lead instrument, unusual in the blues. He and Big Ray on drums provided a dense, propulsive sound behind Johnson’s expressive playing and singing.

At one point Johnson said, “If you are born looking like me, you have one strike against you.” This led to a heartfelt plea for young people to get an education and avoid drugs, saying that these strikes cannot be overcome.

Tad Robinson opened with an hour of soul blues. His well developed falsetto was featured as he vocally swooped through his songs, many from his latest CD “Did You Ever Wonder?” (Severn 2004). The animated singer also played harp on a few numbers.

Alex Schultz led Robinson’s band that also included keyboards, bass, and drums, using a number of different guitar styles that complemented the musical stories.

--Dave Howell, 5/04

(This article first appeared in The Morning Call newspaper.)

“The Philadelphia Story”

2004-07-05T15:35:00.000-04:00

“The Philadelphia Story” is number fifty-one on the American Film Institute’s list of the best U.S. films. It contains much of the dialogue of the original play by Philip Barry, which was brought to life by Cary Grant, Katherine Hepburn, and James Stewart.

The play itself is dated, however, with its story of high society. In fact, the film “High Society” is a musical remake of this play. It still has its moments as a light romantic comedy, harking back to the days when love brought everyone together and you could discover your true self by simply getting drunk.

The plot, which you have probably forgotten unless you recently saw the film, has Tracy Lord (Jennifer Ebert) preparing to wed straight-laced George Kittredge (KevinWinter-Deely). For this event, her prominent family is invaded by reporter Mike Connor (Pat Kelly) and photographer Liz Imbrie (Kelli Eberlein).

The duo was invited by Tracy’s former husband C.K. Dexter Haven (Russ Morris), who has not forgotten her. As the plot thickens, Connor and Tracy also grow close to each other. Of course, everything works out in the end. It turns out that the rich have problems just like you and I, with a lot more cash to soften the blows.

Ebert, brightly playing the Katherine Hepburn role, keeps the “poor little rich girl” plot interesting, and she is quite appealing as she gradually reveals a wish for love hidden behind an outer sophistication. Courtney Cook’s spunkiness as Tracy’s sister Dinah is also a big help in keeping up the energy.

Ralph Schwalm as Uncle Willie and Paul C. Bonnici as the butler are terrific, using the over-the-top characterizations that this play needs. Sandy Reagan and Nelson Rabenold (Tracy’s parents) and Eberlein as Liz add to the mix with their nods towards MGM character acting.

Kelly, in the Jimmy Stewart part, seems too old to play a romantic interest for Tracy. Still, their “too much champagne” scene together, where he breaks through Tracy’s reserved exterior, is a high point. Morris is no Cary Grant, lacking vulnerability behind his haughty self-assurance.

It may not compare to the film, but director Clair Freeman keeps things moving quickly enough in this nearly two-and-a-half hour play (including two intermissions) to make it a diverting evening. And anyway, it sure beats driving all the way to Philadelphia.

“The Philadelphia Story”, June 11,12,18,19, 8 p.m., June 13 and 20 3 p.m., Pennsylvania Playhouse, Illicks Mill Road, Bethlehem, adults $18, seniors and children $15 Fridays and Sundays only, tickets 610-865-6665 or by mail with order at web site http://www.paplayhouse.org.

--Dave Howell, 6/04

(This article first appeared in The Morning Call newspaper.)

"Smarten Up", Taxi Chain

2004-07-05T14:44:00.000-04:00

"Smarten Up", Taxi Chain, NorthernBlues, 2004

Part Celtic, part blues, part country, featuring bagpipes and sax plus some other influences thrown in -- you cannot fault Taxi Chain for not being eclectic. And at their best they are quite interesting and fun.

Taxi Chain is two different bands, one when Grier Coppins is playing bagpipes on instrumentals, and the other when he sings. The instrumentals are catchy, as might be expected with the mixture of Coppins' Highland pipes and Jim Bish on sax. Neither Coppins, Bish, nor guitarist Ayron Mortley are virtuosos, but Bish can at least play the four major types of saxophone and even piccolo to add variety.

They are joined on most of these cuts by a fiddler and/or keyboard player. Titles like "James Brown Ate My Bagpipe" give you a hint at the way R&B is stirred in with jazz and world music to create mixes that are surprisingly seamless. "Tandoori Mustache," with Mortley on mandolin and tenor banjo, even visits Indian music without using any Eastern instruments.

Coppins also sings his own tunes, which are the Americana/swing/novelty genre. Coppins is not a great lyricist, as the opening lyrics to "Cut Me a Key" might indicate: "She like sugar in her tea/She like ice cream/but she don't like me/Good God I'm free." What's worse, he recites instead of sings the lyrics on "It's Your Birthday."

Still, "Memphis," which opens the CD (and closes it with a refrain) is not a bad country tune, and neither is the slightly quirky "Buck a Joy."

Overall, Taxi Chain keeps the meter running on this one.

--Dave Howell, 4/04

(This article first appeared in the Rambles books and music site.)

"My America", Jim Self

2004-07-05T14:35:00.000-04:00

"My America", Jim Self, Basset Hound, 2002

"My America" is a CD of classic American tunes such as "Turkey in the Straw" and "America the Beautiful" -- featuring the tuba and related instruments. This alone would not make this CD appealing, except that Jim Self is both a top studio musician and, along with producer Kim Scharnberg, quite creative. Self has many credits, listed at www.bassethoundmusic.com, along with interesting pictures of his many low brass instruments.

Seven of the 16 cuts feature Self playing the fluba, his own hybrid instrument. This tuba-sized flugelhorn has a range a little higher than the tuba. Self shows that this horn and standard tubas can be used as lead instruments. On tunes including "Tennessee Waltz" and "Old Homes," a Stephen Foster medley, Self plays beautifully melodic tuba with only a pianist for accompaniment.

Many of the cuts have a Dixieland feel. Self's various sidemen include those playing trumpet, trombone, sax, violin, cello, tenor banjo and percussion. The interesting "Sousa, Phone Home!" has only a drummer with Self playing bass parts and quotes from famous marches on eight sousaphones.

There are a few humorous arrangements, including a cartoonish one of "Camptown Races" and "Pennsylvania 6-5000 Polka," where the eight musicians pause at various points to yell out the phone number in the title. "Juba Plays the Fluba in Aruba," which features a "Dukes of Hazzard" narration and dog howls, tries too hard and is Self-indulgent instead of funny.

This CD will not be to everyone's taste. But anyone who enjoys old-time American popular tunes should find My America a wonderful collection.

--Dave Howell, 1/04

(This article first appeared in the Rambles books and music site.)

"Orthodox Chants from Russia", The Optina Pustyn Male Choir of St. Petersburg

2004-07-05T14:32:00.000-04:00

"Orthodox Chants from Russia", The Optina Pustyn Male Choir of St. Petersburg, ARC, 2003

The buzz over the release of the 1994 CD Chant has died down, but interest in this type of music has persisted. The "chants" on this CD are much different than the Gregorian type that listeners may be familiar with. The music here ranges from what could be called ancient to 19th century.

This CD is unusual because it presents music that is used today inside Orthodox monasteries instead of the usual recordings of parish liturgies. It does not attempt to approximate an entire service, since services in monasteries are sometimes several hours long. However, the musical director does not hesitate to include some of the longer chants (for instance, two sets of psalms that weigh in at over eight minutes each) that create the atmosphere of a monastic service.

Since the chants are from different periods, some are sung with the voices in unison and others use polyphony. One vesper hymn, "Now Lettest Thou Thy Servant Depart," sounds much like 19th-century romantic choral music.

The Optina Pustyn Male Choir consists of six to nine professional musicians trained at the St. Petersburg Conservatory. The choir tours and has produced five CDs to date, but they are also part of the regular monastic choir at the Optina Pustyn Monastery in St. Petersburg.

Many of the chants are led by solo cantors. This role is taken by different choir members at different times. In some of the cuts, they sing a line of a psalm, which is then repeated by the choir. At other points, the cantor will chant verses of a psalm or prayer, while the others sing a repeating phrase such as "hallelujah." The choir also sings together without a cantor.

"The Great Litany," a prayer which begins all Orthodox services, features responsorial chant, with the choir answering "Lord, have mercy" to the cantor's petitions. Some chants feature a rumbling basso profundo ... a typically Slavic deep bass voice.

The purpose of this music is to quiet the mind and remove extraneous thoughts so that the listener can draw closer to God. The effect will not be as intense for a home listener who is not surrounded by candles, icons and clouds of incense, but this music does have a calming effect. It communicates a sense of mystery since it is in Old Church Slavonic, much as the old Latin words of the Mass did for Catholics. And the music, which offers a greater variation than CDs that only feature one type of chant, can be appreciated simply for its beauty.

"Orthodox Chants from Russia" recorded in Our Lady's Assumption Cathedral is the real thing ... not just a concert performance.

-Dave Howell (with assistance from Laura Howell), 4/04

(This article first appeared in the Rambles books and music site.)

"Parlour Music", New Harmony Indiana

2004-07-05T14:30:00.000-04:00

"Parlour Music", New Harmony Indiana, Box Office Poison, 2003

Sometimes listening to indie music is as difficult as trying to find a decent song on commercial radio. It's the gems you discover that make the search worthwhile. For me, Parlour Music is one of those gems.

This is quite a low-key effort. Upright bassist Matt Krajewski's vocals are understated, as are the instruments of Joe Vent (guitar, banjo and lap steel) and Jeff Krajewski (drums and percussion), the background vocals of Stephanie Dosen and those of various other players including fiddle and keyboards.

Spooky is an appropriate word, not in the sense of gothic, but because some of the songs are in the minor keys and have mysterious lyrics. Many of the titles reinforce this; for example, "Stigmata," "I'm Not Afraid of You," "Scars" and "I'm Troubled."

As is often true of the best indie work, this CD is not easy to classify, and different listeners will hear different things. I would disagree with the band's website calling it "an exhilarating mix of Latin dance, industrial jazz, moaning hillbilly ballads and a few pop-rock tunes." I think that the CD IS exhilarating, but not because of its high energy. The only song that seems to fit the genres in the above list is "Waterin' Hole," and even that is quite far from anything you would ever hear at a bluegrass festival.

I could imagine these atmospheric songs sung in French, in a smoky Paris back-alley bistro. Matt Krajewski's accordion on a few cuts brings out this flavor. Only four other words come to mind -- quirky, beautiful and highly recommended.

--Dave Howell, 1/04

(This article first appeared in the Rambles books and music site.)

"Vessel", Modern Groove Syndicate

2004-07-05T14:26:00.000-04:00

"Vessel", Modern Groove Syndicate, Courthouse, 2004

These guys do hit the groove. Actually, it's more like they attack it. Vessel starts off with high energy and never loses it. The groove here is mostly funk, but the rhythm section of Joel DeNunzio on drums and Todd Herrington on bass provides far more than the standard beats.

Daniel Clarke on keyboards and J.C Kuhl on sax add dimension with the use of electronics without sounding gimmicky. Clarke effortlessly goes from synthesizer to jazz organ workouts and plays a solid electric piano on "Sasquatch," while Kuhl can sound like an entire horn section.

Although Clarke and Kuhl take many interesting tangents, the 13 cuts are tightly arranged. There are no needlessly extended ones, nor is there the aimless noodling that detracts from the sound of many jam bands. All the solos are tight and crisp, and make sense within the context of each composition.

The tunes that feature guest stars are among the most interesting. The smooth "Bojungeles" and "Mo' Time" have Susanna Klein on violin and Molly Sharp on viola, while the cartoonish but still funky "Scloop M'Dooby" features John Winn on bass clarinet.

The MGS have a contemporary sound without being, god forbid, "smooth," and are even a bit experimental at times, like early Weather Report, without veering too far off to be enjoyable.

--Dave Howell, 2/04

(This article first appeared in the Rambles books and music site.)

"Rhythms of the World", Ken Kaufman

2004-07-05T14:24:00.000-04:00

"Rhythms of the World", Ken Kaufman, Relax with Swann, 2002

This CD is decidedly for relaxation. It is so new age, it makes George Winston sound like Jerry Lee Lewis. It would be excellent for yoga, massage or guided meditations.

There are four cuts ranging from 11 to 18 minutes long, described, in order, as Native American, American, Oriental and Tropical. Each cut also reflects one of the seasons ("Autumn of Tranquility" and so on).

It is keyboard-based, mostly piano, with background instruments that include harp, recorder, oboe, temple bells, xylophone, flute, bass and guitar. Piano/keyboard triplets maintain a soothing background while the other instruments provide the "international" flavor. More information is available at the website.

There is not much else to say, and anyway I am really starting to relax ... a lot ... just let me type my name....

-Dave Howell, 6/04

(This article first appeared in the Rambles books and music site.)

"Imbizo", Sharon Katz & the Peace Train

2004-07-05T14:19:00.000-04:00

"Imbizo", Sharon Katz & the Peace Train, Appleseed, 2002

Sharon Katz is a singer-songwriter dedicated to the music of South Africa. The fact that she tours the United States may make the music more accessible to American audiences. She does not soften the message, though. Katz was born and grew up in South Africa during Apartheid. Since she is Jewish, she has shared at least some of the feelings of being an outsider that native Africans felt in their own country.

Both the message and the music here are generally upbeat, as it is with much African music. There are about 70 musicians on the 12 cuts, both from Africa and the United States. The lyrics are not full of platitudes, however. Throughout the CD Katz sings descriptions of African life, mentions the AIDS epidemic and tells stories about war and violence. There is also a tribute to Nelson Mandela and "Sanalwami," a traditional Zulu song.

There is some similarity among the various melodies to the songs, but Katz adds variety with different instrumentation on each cut. Even the guitarists, bassists and drummers vary. Many tracks have horns and backing vocals, and of course there is a wide variety of African percussion.

Most of the songs feature many musicians and gentle rhythms. Some that stand out are the hard rocking "Peace Train," the funk-based "Sweet Rhythms" and the thoughtful "Simple Things in Life." The latter has only Katz's voice and guitar with Matt Cappy on trumpet.

Imbizo (pronounced "im-BEE-zo") is a Zulu word that means a cultural gathering of hearts and minds. The CD has been nominated for a Grammy for Best World Music Album. I'm not surprised.

--Dave Howell, 6/04

(This article first appeared in the Rambles books and music site.)

"The Live One", Dave Hole

2004-07-05T14:13:00.000-04:00

"The Live One", Dave Hole, Alligator, 2003

Slide guitar tends to be a novelty in the blues world. It seems the most common use is when a flashy guitarist slips a slide onto his finger to play a song that recycles the standard riff of "Dust My Broom."

Dave Hole plays slide guitar exclusively, however, and his career of more than 30 years has proven that it can be used in most blues styles. The Live One also shows that it can be an exciting way to play in front of an audience.

There is careful attention to the sound on this CD, which might be expected. Bruce Iglauer, who co-produced the album with Hole, started Alligator Records with recordings of famed slideman Hound Dog Taylor. It actually sounds a bit too good for a live show, with perfectly balanced sound and an audience that is only audible a few times.

Luckily, the mix is "hot," without the over-equalization that dampens many modern blues productions. Hole's vocals and guitar are upfront. Roy Daniel on bass, Bob Patient on keyboards and J. Mattes and Ric Eastman alternating on drums provide a solid, elementary backup to Hole's pyrotechnics.

Hole never runs out of ideas from the boogie opening of "Jenny Lee" to the closing 12-minute showcase "Bullfrog Blues." The only questionable moments are "Purple Haze" (Hole does not have to prove himself with yet another Hendrix cover) and "Take Me to Chicago," which reprises the "Dust My Broom" riff once again.

Hole, who comes from Australia, does not tour as relentlessly in the U.S. as many blues artists. That is a shame, because this CD, his first live one, indicates that he is a unique talent.

--Dave Howell, 11/03

(This article first appeared in the Rambles books and music site.)

"Down to the Bone", Cellar Funk

2004-07-05T14:05:00.000-04:00

"Down to the Bone", Cellar Funk, Narada, 2004

Although this CD is on the Narada Jazz label, the leader of Cellar Funk does not play any musical instruments. Instead, Stuart Wade brings together musicians from the United Kingdom and mixes their sounds to form his dance-oriented pieces.

The beat, with the bass and drums upfront in the mix, is the defining element here. Although the previous CD From Manhattan to Staten scored highly on smooth jazz charts, Cellar Funk seems to be more a dance project with jazz elements. This entire CD has the "chunkiness" of sampling, with its related repetition.

The four funk cuts, two of which begin the CD, are the weakest, lacking originality and having the feel of the '70s revisited.

Wade gets into more varied and interesting beats in the middle of the CD. Many tracks have the feel of Latin jazz, with different percussion instruments weaving in and out and the occasional use of horn sections.

The best cuts are those with vocals: "The Flow," which does have more flow as Wade lets the musicians have a bit more space to solo, and "Dancing to a Samba," where the scat singing adds a Brazilian flavor.

If you are a fan of dance music, this might be your type of CD. If you are a jazz purist opposed to sampling, don't touch this one.

--Dave Howell, 12/03

(This article first appeared in the Rambles books and music site.)

Interview: Peter Graves and the Jaco Pastorius Big Band

2004-07-04T21:55:00.000-04:00

For the jazz trumpet it’s Miles Davis, for the sax it’s Charlie Parker, and for the electric bass it’s Jaco Pastorius. Pastorius was largely responsible for making the electric bass a lead instrument in jazz, and for popularizing the fretless bass.

Although he passed away in 1987, you can hear his influence as the Jaco Pastorius Big Band plays this Saturday at the Berks Jazz Fest. The band is a side project of the Peter Graves Orchestra, with the addition of bassists Gerald Veasley and Victor Wooten. Wooten has been a frequent visitor to the Valley as the bassist for Bela Fleck and the Flecktones.

Graves recalled Pastorius in a phone interview from his home in Florida. After he began the orchestra in 1969, he hired the young bassist in 1971 as Pastorius had just left Wayne Cochran and the C.C. Riders. Graves felt that he could bring in fresh influences, including R&B and rock. Pastorius did more than that, as he began to write arrangements.

“In the five years that he was with me, it was like a laboratory,” recalls Graves. “He had a unique approach to orchestration. His work has a linear style with a steady background. He learned a lot of unconventional techniques. He had a very powerful means of getting his message across.”

Pastorius’s legend grew for his personal style as well as his playing. He was like a rock star on stage, often playing with his shirt off and doing Hendrix-like manipulations with his bass.

Graves saw some of this when Jaco worked for him. “That was Jaco. It was just very natural. He was always a bit flamboyant. He was self-assured even as a nineteen year old.”

Pastorius played on Pat Metheny’s “Bright Size Life” after he left Graves. In 1976 he released a self titled solo album and joined the jazz group Weather Report. While in Weather Report he continued his solo projects. Graves played trombone on one of them in 1981, a big band album called “Word of Mouth.”

Last year Graves did a CD called “Word of Mouth Revisited,” with ten bassists substituting for Pastorius, including Jaco’s nephew David Pastorius. This project led to the new Pastorius Big Band. “A lot of Jaco’s music was reworked for a large ensemble setting, so there is a lot of freshness,” says Graves.

One of those bassists was Philadelphia-based Gerald Veasley. Veasley says in a phone conversation from Reading, “I was on the same label, Heads Up, that was doing the project. I also had a Jaco connection, in that we had both worked with Joe Zawinul, Jaco in Weather Report while I was in Joe’s later band, the Zawinul Syndicate. I was also blown away by the artistry when I first heard Jaco’s solo CD and his work with Weather Report.”

Veasley says he enjoys playing behind what he calls the “wall of sound” of the fourteen piece Pastorius Big Band. “It’s like riding a big wave,” he says. :”The band also has good elements of a small group. It is elastic and nimble. It never sounds the same from night to night.”

“Working with Peter Graves is awesome,” he adds. “He’s worked with everyone from Frank Sinatra to Jackie Gleason to Jaco. He’s a fantastic arranger, and he knows how to pull the best out of his players.”

Graves says that he will continue the Pastorius Big Band as long as there is interest in it, and says that a second “Revisited” CD is possible.

Jaco Pastorius Big Band with special guests Gerald Veasley, Victor Wooten, and Jeff Carswell, Berks Jazz Fest, Lincoln Plaza Hotel Ballroom, Reading, Saturday, March 13, 10 pm, $32 reserved seating, Gerald Veasley will appear in the All-Star Jazz Night March 18 at the Sheraton Reading Hotel Ballroom, sold out, tickets at 610-868-7298 or at http://www.berksjazzfest.com/store/purchasetickets.asp.

--Dave Howell, 3/04

(This article first appeared in The Morning Call newspaper.)

"Buy Indie Music Compilation Vol. 1", Various Artists

2004-07-04T21:49:00.000-04:00

"Buy Indie Music Compilation Vol. 1", Various Artists, Black Dog Promotions, 2004

The songs in this compilation cover a lot of ground, so I will take them one by one:

"Unseen Forces" by Timothy Dark is an in-your-face hip hop number about "the demon in you" with a dark sound along with Dark's vocals.

"Is It a Sin" by the Shade is a mid tempo Country ballad that mixes electric and acoustic guitars.

"Wrap Me In Your Love" by Emmett North, Jr. is a hip hop number that begins with just North's voice and percussion before going into pop romance mode. It has interesting beats, but is too long at seven and a half minutes.

"Always the Bridesmaid" by Ariel Aparico is a dramatic rock ballad. Aparico sings in a low voice, goes to a high range, and then recites some of the lyrics. So offbeat, it makes you want to hear more of this guy.

"Playaz's Anthem" by Heat is called R&B on the CD, but it sounds more like hip-hop with a romantic theme. Interesting in that it mixes African-American and Latin voices.

“Crutch” by Informer is a hard rock song that sounds typical of the genre.

“Speak So Loud” by 4th Plane Jaiant is called modern rock. Not ahead of its time, but is sounds just different enough to be interesting, combining a heavy beat with excellent vocals and an unusual melody.

"Soft" by Auratrona sounds hard instead of soft. Otherwise, not much there.

"I Am the One" by Shadow Pointe is more melodic rock, with a prog sound that is a bit mysterious. This song makes you want to hear more of them.

"Laugh (It's A Joke)” by Michael Hirsch shows that Michael can't sing that well when he is strumming an electric guitar with minimal backup. I agree with the title.

"The Future of People Anonymous" by Orsontrain has the singer repeating "whitewash and poppycock" or something like that. I guess this song is meaningful since it is called alternative rock.

"Fight the Good Fight" by 23 Red does just that in this ready for action cut.

"Waking Up" by Glister features a girrl singer in a pop/rock song that, well, wakes you up. Because it’s good.

"Pale Yellow Divine" by Alex Machine is anything but pale. The lead singer sounds mean and spits out "no one's gonna notice/no one's gonna care." Maybe not, but this cut rocks in an industrial way.

"Elevate" by Purge has a lead singer even meaner than the one on the last cut. I can't understand what he is singing, but he sure is pissed off. I'm afraid to ask. It's metal the way it should be. Hail Satan!

This CD is a good introduction to a lot of artists, although you will probably pick and choose certain songs to just sit down and listen to it.

Web site at http://www.buyindiemusic.com

--Dave Howell, 6/04

(This article first appeared in the SouthBound Beat music site.)

Interview: The Bad Plus

2004-07-04T21:36:00.000-04:00

Interview: The Bad Plus

If you despair that smooth jazz has crowded out other types, the Bad Plus are more than a ray of hope. They have a sound all their own, sometimes nearly traditional, but more often progressive, with an excitement that is all too often missing in modern jazz recordings.

In an E-mail interview, bassist Reid Anderson described the band's music as "instrumental, acoustic music that incorporates a wide range of influences, from jazz, to rock, classical, electronic, etc." He added, “We play with a lot of passion and with a dynamic range that covers the spectrum between very loud and very soft. We believe in clarity and a pop sensibility, but also fully embrace free improvisation and chaos."

As an acoustic group, their records are more immediate and realistic, without all the instruments smoothed out to the point of boredom. Their improvisation also adds excitement to the music. Anderson wrote, “The songs come to the band [in the studio] pretty much as they are, then they take on a life of their own as the band gets to live with them and everyone comes up with their own parts."

They are not afraid to do covers of rock songs, since gaining recognition for their versions of songs like Nirvana's "Smells Like Teen Spirit" and Blondie's "Heart of Glass." This might seem to be for novelty value, but as Anderson wrote, "The rock covers are completely serious. There is no irony intended. We play music that we like and we enjoy the process of deconstructing that music and trying to make it our own."

The Midwestern based group has been together since 1990. Last year their unusual approach paid off, as they broke out with a major label deal, "These Are the Vistas" on Sony, and gained increased critical and popular acceptance. Anderson: "We've been able to do what we do and be accepted for what it is. I think that when people hear our music they're not concerned with labels and categories."

The rest of the trio is David King on drums and Ethan Iverson on piano. Iverson does not use other keyboards. As Anderson wrote, "Ethan certainly does not feel limited by the piano in terms of expression and is not really interested in playing other keyboards."

Their latest CD "Give" (Sony 2004) reflects the band’s eclectic approach. There are lyrical passages, the "controlled chaos" of improvisation, and influences that range from Spanish to classical music. It also includes rock covers, like Black Sabbath's "Iron Man" in a version that radically reinterprets it.

The band's live shows reflect their recording work. Anderson: "We're improvisers, so all of our performances are different, although if you've heard the CDs you'll definitely recognize the music. We always play acoustic instruments and don't use any stage effects, unless you count the scale model of Mount Vesuvius that spews Cheetos. We get to play all kinds of venues: jazz clubs, rock clubs, theaters, outdoor stages. We really enjoy playing them all. If the sound is good and the audience is listening it's a great experience for us no matter where it is."

Anderson wrote of the band's future, “I see [our music] changing as part of a natural evolution. We're all constantly striving to grow as artists and bring new material and sensibilities to the band. I see us on a long trajectory and imagine that the evolution will continue."

--Dave Howell, 7/04

(This article first appeared in the FMSound music site.)

"Evita"

2004-07-04T15:23:00.000-04:00

"Evita" is the musical story of Eva "Evita" Peron, who rose from poverty to become the most powerful woman in Argentina's history before her death at age thirty-three.

It may have taken you a while to discern that if you had seen Munopco's production last Friday night, directed by Larry Williams. During the first three or so musical numbers, the audience hardly heard an articulate lyric.

The problem was more than just the sound mix, because when Daniel Petrovich began his fine performance as dictator Juan Peron, you could understand nearly every word he sang.

Both Irving Gonzalez as "Che" Guevara and Tammy Hutterer as Evita sang too fast to be generally understood, and were often drowned out by the blaring horns of the orchestra.

Since Gonzalez's character narrated the story throughout the two-hour show (Guevara originally came from Argentina), many of the scenes were incomprehensible to those unfamiliar with the musical by Tim Rice and Andrew Lloyd Webber.

The sets, usually a saving grace in Munopco's productions, were generally sparse and ugly. The choreography, which at one point featured cast members pushing their hands in the air and shaking their booty, was more likely to start a revolution than a celebration.

The show improved in the second half during quieter scenes. Gonzalez became less expansive, and Hutterer provided moving (and articulate) vocals during the scenes of Evita's decline and death.

Just as Eva Peron's image of benefactress to the poor threatened the underlying financial stability for her country, the attention to the elaborate costuming and lighting of her character seems to have overdrawn this production. Either way, it was enough to make Argentina cry.

''Evita,'' Oct. 3-5, performances at 8 p.m. Friday and Saturday; 2 p.m. Sunday, Scottish Rite Cathedral, 1533 Hamilton St., Allentown. Tickets: $25; $22, seniors and children. 610-437-2441.

--Dave Howell, 9/03

(This article first appeared in The Morning Call newspaper.)

“’Till Death Do Us Part”, Dirty South Georgia Boyz

2004-07-04T15:20:00.000-04:00

“’Till Death Do Us Part”, Dirty South Georgia Boyz, Universal Records 2003

The Down South Georgia Boyz make a strong case on “’Til Death Do Us Part” to become one of the leaders of the “Dirty South” rap genre.

This CD has a great beginning. While male voices repeat “D.S.G.B.” in a minor key dirge, others in front of the mix talk about “goin’ to war,” with a liberal use of the “n” and “mf” words. This theme is repeated at the middle of the CD.

Despite the inner sleeve’s pictures of rappers L’il Pete, Pin Head, and Black Out holding weapons, the CD is not all violent. “Sittin’ On Things,” featuring a guest called Delilah, is a soul concoction that would be radio friendly. Another cut, “Them Devils Trying,” proclaims “Our God is an awesome God/He reigns from heaven above,” a moving piece that contrasts with the CD’s images of urban conflict.

Of course, others like “King of the Hill,” contain warnings that “crackers” are welcome to buy this CD, but not to f*** with the four main rappers (Pastor Troy, the fourth, is the disc’s producer.) Most of the songs talk about tough street life over synthesized melodies and beats. Accompanied by the sound of sirens and guns, typical lyrics are: “And they wonder how I live on my block/Niggaz want to kill for five bucks”.

One might suspect that much of this is aimed at the white suburban kids who buy the majority of hip hop CDs. The constant repetition of the “n” word and about every profanity you could imagine seem to be calculated to disconcert parents, one of the main pleasures of teenage music.

Not that this is a bad CD. There is an exceptional amount of energy here. The beats accentuate the raps instead of being irritatingly overbearing. And the background keyboards are surprisingly melodic, making an interesting contrast with the many harsh themes.

The violence and profanity, after a while, seem cartoonish rather than offensive. For example, on “Who Down 2 Ride” the quartet’s threats make them sound like black WWF wrestlers.

With gangsta rap like this, the East and West coast might have to quit fighting and watch out for their Southern rivals. These “n”s are getting down with some “mf” tracks that make their Northern brothers look like “p”s.

--Dave Howell, 2/04

"Dennis Gruenling and Jump Time"

2004-07-04T15:18:00.000-04:00

Jump and swing music is supposed to get people to jump and swing. It’s no wonder Dennis Gruenling and Jump Time were surprised last Saturday night with a quiet audience of forty at Bethlehem’s Godfrey Daniels.

It was hard to resist the singing of Gina Fox on high-octane numbers like “Keep It Up” and “Your Cash Ain’t Nothin’ But Trash”. The guitar solos of her brother Chris Vitarello were high points of the evening, with their effortless mix of jazz, blues, and jive.

Gruenling mixed blues into the show with T-Bone Walker’s “Blues Is a Woman” and Junior Wells’ “Little By Little”, which gave him the chance to show off his considerable harp skills. Gruenling also played chromatic harmonica on many jump tunes, often weaving in and around the solos of tenor saxophonist Tom Buckelew.

Jump Time became looser and more swinging as their two and a half hour show progressed. Buckelew remained a little stiff, though, and looked as if he wished he were someplace else.

Steve Geller on standup bass and Felipe Torres on drums were a superior rhythm section, although Torres was a bit loud with miked drums in a venue as small as Godfrey’s.

There’s no doubt that the band won over the spectators, so word should get around about Jump Time for their next visit. There should be a bigger crowd ready to move, and there might even be a few people slipping shots into their chamomile tea.

--Dave Howell, 9/03

(This article first appeared in The Morning Call newspaper.)

Get Into the Act... "Duende"

2004-07-04T14:46:00.000-04:00

“‘Duende’ is an inner struggle between light and dark, something passionate and powerful that happens to people,” says Maria Woodford, explaining one of the many meanings of the word. That’s a good a description for the music of Woodford and Alex Radus.

For over four years the duo has performed what she calls “fusion folk”, an acoustic-based music that also incorporates elements of blues, jazz, and swing. Most of their time together was spent in constant touring. The results can be heard in their just-released second CD, “Peppers and Jelly”, which was recorded live in New York City.

“We have had so many requests for a live CD ever since we began performing,” says Woodford. “Being in front of an audience makes a huge difference for us. It brings out our passion and energy.”

Duende play very few songs that they have not written themselves. Many are about their travels and their lives as performers. “Peppers and Jelly” has serious tunes like the romantic “Indian Summer”, humorous ones like “More Bees Than I’ve Ever Seen in my Entire Life”, and the whimsical title song that Radus often expands to interject road stories.

A Duende show features both Woodford and Radus singing and playing acoustic guitars, with Radus often adding intricate solos. In the Lehigh Valley, they are usually joined by Mike Tarlazzi on electric bass, and many shows feature guest musicians. Radus also plays banjo, and Woodford plays mandolin, bass, and autoharp.

The two have created a following in the Easton area. “We get a broad spectrum of people,” says Woodford, “from people in their early twenties up to sixty and seventy.” They will be playing in the area more often, choosing to do shorter national tours in the future.

Duende, January 10, Porter’s Pub, 700 Northampton Street, Easton, 9 p.m., no cover, January 16, Which Brew, 665 Northampton Street, Easton, 9 p.m., no cover, January 17, Bluetone Café, 683 Walnut Street, Easton, 9 p.m., Duende website at www.duendeonline.com.

--Dave Howell, 12/03

(This article first appeared in The Morning Call newspaper.)

"Curtis Salgado"

2004-07-04T14:43:00.000-04:00

It would be hard to find a more low-key blues personality. He announced himself by saying, "I'm Curtis Salgado from Portland, Oregon," instead of reciting the usual, "How ya'll doin' out there?" And he was almost apologetic when he later introduced his fine harp playing, saying, "This looks like a crowd that likes harmonica."

But the power was there when he began to sing. You could feel the soul in Salgado's vocals, which were strong but never overdone. He's a storyteller instead of a screamer, singing about relationships as if he has lived through each one of them.

In a show unfortunately cut to an hour and a half due to time constraints, he went through Chicago blues, Louisiana music ("the land of red beans and slot machines"), rock and roll, and funk.

At times it seemed that at least half of the two hundred or so audience members were on the dance floor at Emmaus's Owl's Nest. It was hard to resist energetic numbers like "Wiggle Outta This," "I Feel So Good," and "Money Must Think I'm Dead," the latter from Salgado's new release "Strong Suspicion" (Shanachie 2004).

By the time Salgado ended with James Brown's "Sex Machine," the audience was ready to keep going, even though it was Sunday night and most were past their Party Machine years.

Before Salgado, three bands competed to represent the LVBN at the Blues Foundation's International Blues Competition. The Mary Hawkins Band won over Sarah's Blues Recipe and the Dave Mell Blues Band. As one of the judges, I can say that it was a tough call trying to choose between three fine female vocalists (Sarah Ayres and Ellen Mell in the latter two bands).

- Dave Howell, 6/04

(This article first appeared in The Morning Call newspaper.)

“A Comedy of Errors”

2004-07-04T14:41:00.000-04:00

Shakespeare backed by mambo music sounds like an error. And it is – “A Comedy of Errors” at the Pennsylvania Shakespeare Festival. Setting the play on a tropical island with the players wearing beachcombing costumes makes the play more of a farce than usual, and no doubt this is just what director Jack Young has in mind.

The Bard’s status makes us forget about the low humor and fart jokes in his work, but Young does not. He adds many sight and sound gags of his own. A clock tower makes animal noises and “boings” when it strikes the hour. There are a number of pratfalls, masters continually beat on their servants, and there is even an impromptu tango and a game of patty-cake.

One could make the case that a few of the gags are a bit too silly, but all of them help to move along this tale of mistaken identity involving two sets of identical twins with the same names: one set of masters (Raymond L. Chapman as Antipholus of Syracuse and Bill Zielinski as Antipholus of Ephesus) and another set that are their irrepressible servants (Michael Stewart Allen as Dromio of Syracuse and Dan Kenney as Dromio of Ephesus).

The portrayals are uniformly excellent. The play goes quickly in its two hours, but not so much that you miss any of the lines or the plot. The parts are broadly played, but each character is believable in the midst of their turmoil.

If you think that Shakespeare should be done only with gravitas and actors using stentorian tones, this is not the work for you. But if you like the Bard with a bit of his original burlesque and bawdiness, you’ll want to visit the tropics down in Center Valley.

“A Comedy of Errors”, through June 29, Wednesday to Saturday 8 p.m., $35 adults, $32 for seniors/students, matinees Saturday and Sunday 1:30 p.m., $30 adults, $26 seniors/students, subscription prices available, DeSales University, 2755 Station Avenue, Center Valley, box office phone 610-282-3192, ticket order form available at www.pashakespeare.org.

--Dave Howell, 6/03

(This article first appeared in The Morning Call newspaper.)

Big Jack Johnson

2004-07-04T14:27:00.000-04:00

You should know that Congress has declared 2003 as The Year of The Blues. Fans should also know that they have not fulfilled their yearly blues quota just by going to see B.B. King last month at the State Theatre. Last Friday, just a few blocks away at Easton’s Bluetone Café, Big Jack Johnson showed how great the blues can be in a club, in the type of atmosphere where the music grew up.

A big surprise that Valentine’s Day was the unadvertised addition of Lonnie Shields. Shields, a blues headliner in his own right, joined Johnson for the evening on guitar and vocals. The first set was a session of standards that included “Big Boss Man,” “Kansas City”, “My Babe”, and an instrumental version of Bill Withers’s “Ain’t No Sunshine”. It lasted for an incredible two hours. As guitarist Billy Baltera was overheard saying, “Once these guys get going, there’s no way you can stop them.”

Johnson sang and played lead on most of the songs, and Shields played rhythm and vocalized on a few tunes. Due to Shields’ status and his friendship with The Oil Man, his rhythm guitar was as loud as Johnson’s, instead of being in the background. The sound worked well, particularly on the many boogies and shuffles.

Although they were billed as The Oilers, the backup band had worked with both Johnson and Shields as headliners. Baltera, unfortunately, only had room to do a few tasty leads as the third guitar player, while bassist Jimmy Pritchard and drummer Chris Sherlock kept a rock-solid rhythm throughout the night.

Shields acknowledged Johnson to be the star, often asking the crowd to applaud for him. However, Shields was at the front of the performing area while Johnson played at the side, almost in the corner.

The Oil Man was still the center of attention, though, with smooth, high octave guitar leads and note bends and sustains that rivaled those of B.B. King.

The second set, lasting about an hour, was even more fun. Johnson did many genre-bending tunes unexpected in a blues show, including “The Twist”, “Rockin’ Robin’”, “Tequila”, and a version of “Baby, Please Don’t Go” that segued into “You Are My Sunshine” and “Comin’ Round The Mountain”.

Johnson ended with a wonderful tongue-in-cheek instrumental of “Sweet Home Chicago”, played on electric mandolin with a slide.

This show, along with a great dinner buffet, made for a perfect Valentine’s treat for couples, even those who could only get dates with their spouses.

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

B.B. King

2004-07-04T14:24:00.000-04:00

Congress has passed a proclamation making 2003 the Year of the Blues. In Easton, however, that is every year that B.B. King visits the State Theatre. King pegged the feeling of the hour-and-forty-five minute show with the first tune he sang, “Let The Good Times Roll”.

As is the custom in B.B. King shows, his band warmed up the crowd, this time with an extended instrumental that featured many solos, even one on flute. When King came on, he sat down, as he did during last year’s State Theatre appearance. He said, “At my age, my band said that I have the right to sit down if I wanna. And I wanna.”

King’s age of seventy-seven did not affect his playing or his voice. He alternated between grabbing the mike on one side of his chair and singing, and turning to the other side to play his guitar. His solos were short but expressive, with his trademark sustained notes and slides.

King paced himself by giving solo time to all of his eight backup musicians--time well spent. Band stalwarts like trumpeters James “Boogaloo” Bolden and Stanley Abernathy and sax players Melvin Jackson and Walter King (B.B.’s nephew) not only were allowed to do more than the usual backup riffs, but each even got to dance a little when introduced at the show’s end.

In the middle of the show the horns left the stage to King and his rhythm section, having his bass and second guitarist sit next to him. His booming voice was stronger at this point, as he belted out favorites like “Caledonia”, “How Blue Can You Get?”, and “Key to the Highway”. He also took time to give some less than serious, fatherly advice to the men in the audience about “Dr. V” (Viagra), urging them to use it if needed.

A man that can do no wrong can even play Christmas tunes a month after the season ends, and King did with an instrumental of “Auld Lang Syne” and a bluesy vocal of “Please Come Home For Christmas”. They were from his “A Christmas Celebration of Hope” (MCA 2001); nominated for this year’s Grammy Award for best Traditional Blues Album (“Auld Lang Syne” was also nominated as Best Pop Instrumental).

The nearly sold out audience of 1500 was composed of a wider range of ages than most State Theatre shows. A significant number of people were in their twenties. That’s a good sign for a music genre that tends towards middle-aged fans, guaranteeing that 2003 may be The Year of the Blues, but it won’t be The Last One.

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

“Arsenic and Old Lace”

2004-07-04T14:21:00.000-04:00

If you are the sort who goes to see plays, chances are you have seen “Arsenic and Old Lace” at least once, either on stage or the 1944 film that stars Cary Grant. The play never dies, although offstage many people do in this classic comedy about the Brewster family, whose eccentricities include an inclination to murder.

Since many people already know the plot, a good deal of the enjoyment comes from seeing how the play is produced, and how it differs from the way you remember it. If that’s the case, the current production at Bethlehem’s Pennsylvania Playhouse won’t kill your taste for another viewing.

There are fine characterizations. Diane Hriniak, as Abby, is cheerfully dithering, and constrasts well with Lois Ann Oakes as the seemingly more practical Martha. They are realistic both as sweet old ladies and as accomplished poisoners. And Richard Silvoy has the right amount of bluster as Teddy Brewster (who believes that he is Teddy Roosevelt).

The play starts a little slowly. The action is a bit stiff, beginning as if “Arsenic” were an old fashioned drawing room comedy. Bob Bennicoff as Mortimer Brewster and LeeAnne Incalcaterra do not create any sparks as a couple in love, and Mortimer seems more like an accountant than a sophisticated drama critic.

He comes to life, though, when he plays against his evil cousin Jonathan (Brandon Fogel), who shows up at the Brewster residence to hide out. The two seethe visibly as they scheme against each other.

Fogel is wonderfully hammy as he plays out his sinister intentions, but he always retains his sense of menace. His nefarious intention to use “The Melbourne Method” to torture Mortimer might stay in your mind for quite a while after the play is over.

Steve Betancourt is wonderful as Jonathan’s put-upon partner, Dr. Herman Einstein. His portrayal is based on that of Peter Lorre in the film version, but Betancourt adds funny physical touches, like when he bumps around in the dark attempting to move a body.

Jerry Brucker adds laughs as the O’Hara, the cop who aspires to be a playwright. Using a solid New Yawk accent, his sunny egotism makes his obtuseness both humorous and easy to believe.

As is the case in many Pennsylvania Playhouse productions, the elaborate set is charming, revealing a Victorian parlor that shows just a few touches of the Brooklyn of the forties, when the play takes place. There is also a staircase, where Teddy can yell “Charge!” whenever he ascends it (he imagines that he is going up San Juan Hill).

Director Nancy Homlish presents a play that is entertaining throughout its nearly two-and-a-half hour length (with two intermissions). If you have never seen “Arsenic and Old Lace”, and refuse to see it this time around, you should at least stop in at the Playhouse. I’m sure Abby and Martha will be glad to offer you a complementary glass of home-made elderberry wine.

“Arsenic and Old Lace”, February 21 and 22 at 8 p.m., February 23 at 3 p.m., Pennsylvania Playhouse, Illicks Mill Road, Bethlehem, $18 adults, $15 seniors and students (18 and under) Friday and Sunday only, 610-865-6665, www.paplayhouse.org

--Dave Howell, 2/03

(This article first appeared in The Morning Call newspaper.)

Weird Al Yankovic

2004-07-04T14:09:00.000-04:00

It seems that Weird Al Yankovic visits our area about once a year. Maybe that is why he did not even come close to filling the Allentown Fairgrounds, since many fans have gotten a recent Yankovic fix. Last Saturday, though, an enthusiastic crowd of a little over two thousand proved that the Lehigh Valley is definitely Weird Al territory. All ages cheered, sang along, and even recited the lines to the video of “Eat It”, one of Yankovic’s Michael Jackson parodies.

Yankovic, a consistently great performer, did not sacrifice any sound quality by playing outdoors. The only downside was that he began an hour late (perhaps he waited until it became dark so it was easier to see him and his videos).

In his two-hour show, Yankovic did nearly all the tunes from his new release “Poodle Hat” (Volcano, 2003), as well as a generous portion of earlier hits. He began with one of his standard features: a medley of current rock hits done polka style, called “Angry White Boy Polka” in this incarnation.

Yankovic’s shows follow a formula whereby he, and often his four bandmates, change costumes for various songs. They dressed in black with beards for “Amish Paradise”, emulated hip hop fashion for “Couch Potato” (a parody of Eminem’s “Lose Yourself”), and so on.
To make time for changes, a video screen above the stage showed various Al films and fake interviews. In the latter, Yankovic inserted himself asking questions of celebrities during other real interviews. Far from being filler, these were some of the show’s funniest moments. They revealed the less brilliant sides of Avril Lavigne, Celine Dion, and Eminem, without cutting too deep.

Only one thing seemed weird last Saturday: The place should have been sold out.

--Dave Howell, 7/03

(This article first appeared in The Morning Call newspaper.)

"The Afro-Brazilian Project", Ravi

2004-07-04T14:02:00.000-04:00

"The Afro-Brazilian Project", Ravi, ARC Music 2003

This is a wonderful CD. I mention that right away for those who are put off by “world fusion” projects. And this one is particularly unusual, featuring Brazilian music played by a multi-instrumentalist whose main instrument is an African harp.

The African harp is a kora, which looks more like a guitar, except that it has twenty-one strings with a gourd for a soundboard. It also sounds a bit more like a guitar than its Western counterpart, but overall it retains a light, ethereal sound.

The same can be said of Brazilian music, however, so despite the kora’s origins, it does not sound at all out of place here. It helps, of course, that it is played by Ravi. Since he is an Englishman, he is less bound to the instrument’s tradition that an African might be. It also helps that he has been playing the kora since 1985 and been involved with many multi-cultural recordings.

The most important thing, though, is that it is clear that Ravi loves Brazilian music. He captures the feel and the soul of the country with the help of many Brazilian instrumentalists, led by Roberto Marques on drums and percussion and Armando Marcal on percussion. Their polyrhythms are superb, and should be requiring listening for producers who ruin world music with programmed beats.

Without beautiful melodies it’s not Brazilian, and Ravi delivers them. On “The Twenty-One String Samba” Ravi also plays wooden flute (kavai) with Sameera adding the soft background vocals so characteristic of the music. On “Moino” he plays both guitar and kora, accompanied only by Eric Roche. Contributors to other songs include Paulo Moura on clarinet and Guta Menezes on harmonica.

“Bird of Paradise,” where Ravi sings, has lyrics that sound like they were translated from Portuguese: “Can you feel my fragile earth? Can you feel my heart disappearing?” That’s the way that they write them down there--the good ones, at least.

The ending four cuts, collectively called “Amazon Journey” are different in that they do not emulate Brazilian music. Instead, this is a more abstract piece featuring different flutes and Ravi throat singing. It is not quite as appealing as the seven earlier cuts, but it is a soothing listen and does evoke visions of a slow journey on the river.

There is only one drawback to this CD. Now there is one more performer’s name I have to remember when I cruise the racks at the used CD stores.

- Dave Howell, 3/04

"Bananas", Deep Purple

2004-07-04T13:58:00.000-04:00

"Bananas", Deep Purple, Sanctuary Records 2003

If you love rock, you gotta love Deep Purple. The former Guinness Book record holders for the world's loudest band are a huge icon of seventies rock. Therefore, you might wonder why there is not much news about the still touring DP. Unfortunately, their new release "Bananas" answers the question.

The CD's title is the first indicator that something is amiss. In a discography that includes macho names like "Machine Head", "Stormbringer", and "Masters & Slaves", the "Bananas" moniker seems better left for Woody Allen's film.

It is good news that since 1994, guitarist Steve Morse has replaced Ritchie Blackmore, who was not particularly distinctive in the old group. The bad news is that Morse pretty much plays here as a hired sideman, although the closing cut, his instrumental "Contact Lost", is a nice mid-tempo piece of work.

Vocalist Ian Gillan is still on board. However, Gillan, I am sorry to say, has settled in to being just an average singer. There are just the barest hints of the insane high note shrieks that transformed songs like "Space Truckin'" and "Sweet Child of Time".

This is not a horrible CD, but coming from Deep Purple, it disappoints. Roger Glover on bass and Ian Paice on drums were also around during the band's heyday, but they seem to have mellowed out along with Gillan. Keyboardist Don Ailey, with the band since 2001, has no solos at all. A least one organ solo, another trademark of the band as on “Lazy”, would have helped.

It's understood that times change, but having Paul Buckmaster arrange and play cello on the cut "Haunted" seems a bit too down-tempo (Buckmaster was better suited as the arranger on many of Elton John's early CDs).

The lyrics (printed on the sleeve - another bad sign) make the boys seem like they are still ready to party. For example, "First you pull and then you push/Two in the hand and one in the bush”, from the title track. The slick production and middling pace of the songs make it seem as though their hearts aren't in it, however.

I think I speak for all rock lovers of a certain age as I beg the band to start rocking again, and just go bananas.

- Dave Howell, 11/03

"Spy Life", Burton L.

2004-07-02T16:29:00.000-04:00

"Spy Life", Burton L., Omega Point Records, 2004

Singer/songwriter, or DJ? Burton L. is a bit of each. His songs have the sensitive feel of neo-folk. Yet Burton knows his way around a studio, adding a number of electronic effects to this CD's thirteen tracks. Either way, this is a great downtempo work.

The first cut "Fuel for Trees" is under a minute long. It sounds like a spy movie sound track, with a similarity to "You Only Live Twice."

"Groggy" switches between sounding like a Ben Folds Five cut (except the repeated line, "They can all suck my ---") and an electronic one with Burton's voice run through a device that makes it sound remote.

Burton comes up with lovely melodies. "Need," "Beautiful Sunshine Eyes," and "Spy Life" are the closest to conventional sounding love songs, with Burton's voice backed only by guitar (mostly acoustic) and programmed beats. There is a nice trombone sample in the middle of "Need."

"It's So Easy (To Love You)" has Burton sing-songing above programmed keyboard and drum beats, with somewhat cynical lyrics, though: "...she had a beautiful bed/sex - it's all we had."

'Planet Kid" is more offbeat, with a distorted voice sample as part of the backup at first, and later Burton overtracks his voice for a somewhat off- key effect. "Soft to a Dead Man" uses a similar effect, switching between speaking and singing parts.

"Maze" is one of the best cuts. Backed only by piano, acoustic guitar, and beats, Burton sings of existential angst without making the lyrics overly complex. The mysterious "Dark Liver" adds sci-fi drama sound bytes and a bit of scat singing. "Summer Camp" ends the CD on a quirky note, with Burton making vacation sound scary over minimal piano and beats.

I highly recommend this CD, both for the quality of the songs and its enticing mixture of dance, lounge, and pop.

- Dave Howell, 7/04

(This article first appeared in the FMSound music site.)

"Putumayo Presents Greece: A Musical Odyssey", Various Artists

2004-06-28T21:25:00.000-04:00

"Putumayo Presents Greece: A Musical Odyssey", Various Artists, Putumayo, 2004

Putumayo is known for their many world music compilations. Often, as is the case here, they put together more pop and less traditional music than might be desired by serious listeners. Still, this CD works well as an introduction to this kind of music, sort of a "Greek Music for Dummies."

Many of the cuts are updates of traditional songs, like the first, "To Parelthon Thimithika." Even though a modern band performs it, it sounds authentic since traditional instruments are used. The CD booklet says that the third cut, "Pino Pino" by Anastasia Moutsatsou, is an example of "entehno," a mixture of original and popular songs.

"Eleni," by Kostas Mantzios, is a modern song but it again uses traditional instruments and it is about Helen of Troy, certainly a historical subject.

Love songs are well represented here. "Arnisi" by Melina Kana, includes the lyrics "How can my life be so unfair? /You don't fulfill any of my dreams." On "Ela Mia Nichta," Theodosia Stiga sings, "I ask my loneliness for the star of love." Longhaired Pantelis Thalassinos, who looks like a movie idol, sings, "You came into my life/The earth and the heavens opened up."

Actually, a few of these songs may sound better if you DON’T understand the lyrics.

There is a song by George Dalaras, a huge star in Greece. This one sounds different, with a clarinet, violin, accordion, and percussion accompaniment without the usual stringed instruments.

One cut, by a group called Children of the Revolution, combines Greek music with flamenco. This cut, "Ragizi Apopse," has the interesting combination of a Spanish guitar combined with another player on bouzouki. Glykeria is also a star in Israel, so there is a klezmer sound to her "Ta Ziliarika Sou Matia."

String instruments are the most dominant throughout the CD, led by the bouzouki, a long-necked lute. The closest Western instrument to its sound is the mandolin. Another is the santouri, a hammered dulcimer played with mallets. Guitars are also heard. The string backup usually sounds "jangly." Accordions and clarinets are occasionally added.

There is no bass, except patterns that might be picked on the lower strings of a guitar or on bass drums. The percussion is simple, using hand drums, or less often here, elementary use of a drum kit.

The accompanying CD booklet is excellent, with pictures and biographies of each of the twelve performers or groups. There are translations of some of the lyrics, and a short explanation that includes a rundown of the instruments used.

If your knowledge of Greek music is pretty much limited to a few film soundtracks like "Zorba the Greek," this is an excellent way to learn a bit more about the islands.

- Dave Howell

(This article first appeared in the FMSound music site.)

Interview: Jimmy Johnson

2004-06-27T18:14:00.000-04:00

There is no mandatory retirement age for the blues. According to Jimmy Johnson, one of the music’s most dynamic performers, there are three ways to measure how old you are.

“There’s mentally, physically, and a number. The only thing that I have is a number,” says the seventy-five year old singer and guitarist during a phone interview from his home in Harvey, Illinois. He credits his health to the fact that he avoids alcohol and drugs. “You’ve only got one body, and that’s gone if you tear it up.”

Johnson, who will perform this Friday at Mayfair, returned yesterday from a tour of France, Belgium, and Holland. As is true of many blues and jazz artists, he is more popular in Europe than in the United States, even though he is a veteran of the greatest days of Chicago blues.

“Oh, my goodness, yes, we get bigger audiences over there,” says Johnson. Although he seems hesitant to favor one continent over another, he adds, “In Europe they read about you, and you get more respect. We played festivals and concert halls, and very few clubs. Otherwise, it would not have been worth going over there.”

Johnson was born James Thompson in Springs, Mississippi. His father was an amateur musician. His brother Syl Johnson went on to sing the original version of “Take Me to the River,” while his brother Mack Thompson played bass for many years with Magic Sam. Jimmy says that heredity was more important than environment in nurturing his love of music.

“The influence is in your bones – in your blood. Music is in your genes.” After pausing a moment, he says, “It’s a gift – how does that sound?”

Johnson moved with his family to Chicago in 1950. He worked on the blues circuit for many years with notables that included Freddie King and Magic Sam, without gaining widespread recognition for himself.

Many biographies state that during the sixties, Johnson was playing soul and R&B instead of the blues. Johnson feels that there is essentially no difference. “I leave those things for other people to classify. I let them put it where they want to put it. I like many different kinds of music.”

Finally in 1974 he became known when he joined Jimmy Dawkins’s band as a rhythm guitarist, and toured Japan with Otis Rush. He was nominated for a Grammy for his work on “Living Chicago Blues, Volume 1” for Alligator Records in 1978.

Carl Snyder was the pianist on that recording, as well as the Delmark recordings “Johnson’s Whacks” (1979)and “North/South” (1982). He was in Johnson’s band from 1977 to 1982. “Chicago Carl” is known locally for his performances with the late Jimmy Lawrence, and his current work with Illinois Slim.

“He had the energy of someone who was twenty years younger,” he recalls of Johnson. “He was always trying to improve his skills. He was a perfectionist. He knew more music theory than most blues artists. He could play blues, R&B, funk, pop, or even jazz. He would always give the people what they wanted.”

Snyder was working with another band when Johnson sat in from time to time. Snyder was impressed by Johnson’s “clear, moving vocals, and delicate, imaginative guitar work.” Where many blues artists concentrate on either playing or singing, Johnson has a distinctive style in both.

His vocals are strong and soulful, without the gruffness of many blues artists (Johnson undoubtedly avoids cigarettes as much as he does alcohol). His guitar style features lightning fast, pristine runs that alternate with his singing. His use of string- bending vibrato may remind people of one of his influences, B.B. King.

Johnson was sidelined for nearly ten years due to an accident. He was driving his band’s van when it swerved off the road, killing his bass player and keyboardist. He returned with the CD “I’m A Jockey” (Dreyfus 1995), which won a W.C Handy Award in 1996 for Comeback Album of the Year. He also won a Handy in 1985 for best Contemporary Foreign Blues Album, "Bar Room Preacher."

He does not use a set list for his shows. He will not even say whether he will perform more of his many originals or covers in a particular show. “I play what I feel,” says Johnson. He was stumped when I asked him how many songs he knew. “There’s no way I could tell you. I would have to sit down and think about that.” He finally came up with a number – about a thousand. “I know a lot of songs. I could play all night and not repeat one.”
Johnson says that he only plays about a hundred and fifty dates a year now, instead of about two hundred. He expects to cut down even more in the future – but he does not attribute that to age. “It gets to the point that you don’t need the money,” he says.
Jimmy Johnson, Mayfair Festival of the Arts, Cedar Beach Park, Allentown. Friday, May 28, Lakeside Meadows, 9 p.m., free.

- Dave Howell

(This article first appeared in The Morning Call newspaper.)

Alice Cooper

2004-06-27T18:12:00.000-04:00

There is no better way to celebrate Halloween than by watching Alice Cooper. The crowd at last Friday’s sold out show at Penn’s Peak near Jim Thorpe certainly thought so. Two generations were represented – those who had seen the shock rocker in his heyday, and spookily costumed teens who were intrigued by his reputation.

Cooper concentrated on material from his early seventies career peak while slotting in a few numbers from his new release “The Eyes of Alice Cooper” (Eagle Records 2003). He had the same two guitars, bass, and drums format of the original Alice Cooper Group, using younger musicians. Although it was hard to distinguish the guitarists and bassist from each other amidst the grungy wall of sound, Cooper’s vocals were clear and strong.

The show was a bit stripped down (for example, Cooper was not beheaded via guillotine), but nearly everything you love about Alice was in force. Amid costume changes, he screamed while locked in a straightjacket during the “Ballad of Dwight Fry”, danced with a manikin to his paean to necrophilia “Cold Ethyl”, and came onstage once with a live boa constrictor around his shoulders.

Cooper has been doing this act for over thirty years now. He deserves to: he’s a better showman than his many imitators. There’s only one thing objectionable connected with Alice Cooper. It is about time that he was inducted into the Rock and Roll Hall of Fame.

-Dave Howell

(This article first appeared in The Morning Call newspaper.)

Get Into the Act...Billy Hector

2004-06-27T18:08:00.000-04:00

Get Into the Act...Billy Hector

Billy Hector rarely introduces his songs at a gig. "Don't have to," he says. And he's right. The laid-back Hector lets the fretboards of his guitars do the talking - he brings four or so to each show. He goes from lightning fast riffs to slow blues, but his expressive playing always has something to say.

During a visit to Easton's Bluetone Cafe, Hector does not address the audience much except to thank them, refer to "the healing power of rock and roll," and exclaim that "this is the best time of the night."

In contrast to Hector, bassist Winston Roye is constantly in motion, moving to center stage when he takes a solo. And unlike most blues drummers who just keep the beat, drummer Dan Hickey pounds his kit like a rocker, particularly during his many solos. Hickey is one of three drummers that Hector regularly works with.

Hector has an amazing versatility. While many performers soon fall into familiar grooves, Hector keeps surprising you during shows that can last nearly five hours. He touches on rock and roll, Country, and slide guitar, and as befits an artist who says he is based in the seventies, a healthy dose of funk and rock guitar.

"Funk is good for you," he says.

Hector is best heard in person, but is well served by his CD "Out of Order - The Stone Pony Sessions" (Ghetto Surf Music 2003). This combination of live performances is a good representation of one of the 250 or so shows that Hector does each year.

Billy Hector, Friday, June 25, Stanhope House, 45 Main Street, Stanhope, NJ, 9:30 p.m., $7, dinner and show package available, 973-347-0458.

Billy Hector's site

-Dave Howell

(This article first appeared in The Morning Call newspaper.)

"Sin Palabras (Without Words)", Nestor Torres

2004-06-27T17:56:00.000-04:00

"Sin Palabras (Without Words)", Nestor Torres, Heads Up 2004

I have to admit I was a bit put off by this CD when I discovered it was smooth jazz with a Latin feel. On Without Words, though, Nestor Torres pulls off the mixture as well as anyone could.

It helps that Torres is an excellent jazz flautist. He has a number of different ways of playing, switching easily from smooth to staccato. And Latin rhythms let flautists add a lot of variety to their playing with the multilayering of different beats.

The title track sounds Mexican, with guitar, percussion and a hint of trumpet over a nice melody. "Sweet Lips" is an interesting, minor key work with background vocals. There are some nice funky beats on "Maybe Tonight," "Gypsy Dancer" and "Piper Dance."

Others, though, sound ready made for the local "Jazz for Lovers" radio station, without distinguishing characteristics. Fortunately, there are only a few of these "use as background music" cuts. Most of the softer cuts, like "Lluvias De Cristal," are redeemed by being beautiful or complex enough to retain the listener's interest.

The most notable characteristic here is the production, which is credited to three of the musicians who play on the CD: James Lloyd (keyboards and programming), Jimmy Haslip (bass and vocals) and Carlo Pennisi (guitar, keyboards and programming).

Everything is smoothed out almost to the point of being muted. There seems to be an exceptional amount of programming, and the producers do not hesitate to use the characteristic smooth jazz synthesizer settings.

This CD's appeal will likely depend on how much you like smooth jazz. If you do, it is a good bet. If not, it won't offend you, but you should look elsewhere for something to add to your collection.

-Dave Howell

(This article first appeared in the Rambles books and music site.)

"The Loading Program", Tuatara

2004-06-27T17:54:00.000-04:00

"The Loading Program", Tuatara, Fast Horse 2003

Tuatara is a supergroup of sorts, including Peter Buck and Scott McCaughey of REM, Steve Berlin of Los Lobos and executive producer Barrett Martin of Screaming Trees. The Loading Project is a remix project of many DJs, so it might be called a side project of a side project.

This is not a bad CD, but it may be one that is unnecessary. The best of today's remixes can bring life to classic music and introduce it to new audiences. Tuatara is a good jazz group, but since there are only three previous Tuatara releases, it may be a bit early for reinterpretations.

There are eight remixes and four new tunes on this CD. The latter have sparse melodies with repetitive bass and drums. The best of the remixes, though, have a distinctive flavor.

"The Melting Sun," remixed by DJ Wally, uses hand drums to give varied beats. An effects-modified guitar at the front of the mix, and added vibes and bells, give the piece a mysterious air. Vibes and muted horn-like electronics also add a brooding air to Mr. Reliable's mix of "Dark State of Mind." "Action Thriller," remixed by DJ Spooky, maintains a tension that keeps the James Bond flavor. Spooky lays on surf guitar and electronic effects to give a feeling of the decade of the '60s.

Listeners who like dance beats may like this CD, but jazz listeners would be better served by Tuatara's other releases.

-Dave Howell

(This article first appeared in the Rambles books and music site.)

"The Pulse of Brazil", various artists

2004-06-27T17:51:00.000-04:00

"The Pulse of Brazil", various artists, ARC, 2003

This sampler from ARC music covers a lot of ground. In general, these are Brazilian pop songs, including a variety of types: choro, samba, forro/nordestina, axe and bossa.

"Aquele um" is a jazzy bossa by pianist Luiz Avelar, with a tight backup of drums and standup bass. "Caxanga" sounds traditional, with only Jorjao Carvalho's guitar for background. He also provides harmony to Andrea Montezuma on this beautiful song.

Both "O do borogodo" and "Pe do lajeiro," by Baiao De Corda, give a light, jazzy feel to traditional music. The first is played with guitars (and related instruments), flute and percussion, while the latter uses keyboards and electric bass.

"Beleza mano" is a nice presentation by Chico Cesar, who accompanies himself on guitar. There is top-notch production, including female backup vocals, percussion, and horns, without losing energy or uniqueness. "Murmurando" is performed by Conjunto Epoca de Ouro, a string and percussion group fronted by the mandolin.

"Mexe Mexe" by Banda Mapsom is a dance called a forro, more or less Brazilian polka led by an accordion. "Severina xique-xique" was a hit in 1964 for Genival Lacerda, and it still sounds very danceable with a large Latin orchestra including horns and percussion.

Some of the cuts are the type of music that you ignore when you listen to a Latin radio station in the U.S. -- or a non-Latin station, for that matter. They just do not sound that much different from everything else. The inclusion of so many different types does not make for a consistent listening experience, even though there are some good individual cuts.

This CD works best as a general introduction to Brazilian music. The accompanying booklet is very good, with short biographies of the performers and an explanation of the various types of music and dances.

-Dave Howell

(This article first appeared in the Rambles books and music site.)

By Temptations & By War , Loren L. Coleman

2004-06-27T17:45:00.000-04:00

By Temptations & By War, Loren L. Coleman (Roc, 2003)

By Temptations & By War is tied in to Battletech, a Dungeons & Dragons-type game system of future robot wars that also has PC computer versions. This novel is specifically a part of the Mechwarrior: Dark Age subset, based on an expansion set to Battletech, which extends the original background of the game.

There are 70-some Battletech novels along with many, many game scenarios, rules expansions and so on. This whole universe, of course, is hard to understand unless you are a teenage boy with lots of time and a steady source of income to buy all the accessories.

As you might guess, Temptations is pure space opera. In this seventh story in the Mechwarrior: Dark Age series, the Confederation is trying to liberate the citizens of the planet Liao from the "benevolent occupation" of the Republic. The revolt is led by student Evan Kurst, who is offered help by his former mentor, Mai Uhn Wa. Mai betrayed Kurst in an earlier book, however.

Also visiting the planet is Ritter Michaelson, hiding from his former life as Ezekiel Crow, the "Traitor of Liao." He was born Daniel Peterson and took on the Crow persona after his parents were killed. Peterson/Crow/Michaelson is being blackmailed by agents of wealthy businessman Jacob Brannon, and winds up fighting the Confederation.

The plot mostly describes the diplomacy among the various personages on each side as they try to out-maneuver one another. It also features many battle scenes with Mechwarrriors, which are robot vehicles with men inside to power them. Most are like super-powered suits of armor.

As pulp fiction goes, this is not a bad effort. It does not come off as a stand-alone novel, however. There are constant references to events and characters from previous books in the series, and the battles refer to Demons, Sprints and many other machines that will be unfamiliar to anyone not versed in Battletech.

If you want to enter the complex Battletech world, just go to your local role-playing games store and look for someone who hasn't had a date for a few years to explain it to you. Don't forget to bring your credit card.

- Dave Howell

(This article first appeared in the Rambles books and music site.)

"WCYF", Collider

2004-06-27T17:37:00.000-04:00

"WCYF", Collider

Collider is one of many modern punk/pop/garage bands that have returned to the basics with uncomplicated songs and lyrics. The quartet is hard to classify; even the cover shows guitarist Sean Gould wearing a tie (new wave look?), lead singer Jed Davis with a shaven head dressed in black (punk?), drummer Joe Abbotantuano with a skullcap (hip hop?) and bassist Mike Keaney looking like a Gap ad. This six-song EP displays a bit of all these influences.

The one thing that makes this group stand out from the pack is good songwriting. “WCYF” is a high energy package that weaves all the band’s influences into a seamless whole.

The EP is dedicated to Joey Ramone. “1991” has a Ramones influence in its stripped-down sound, although it is more pop than punk. “If They Don’t Come Back” continues the theme of teen angst with the singer explaining “all those things he said in the parking lot on lunch break.”

“Mock Cheer” is a pop punk confection about the “world’s biggest dork” and rock music. “God Bless Us Anyway” mixes rap and punk with what might (or might not) be a satirical salute to all the people who will listen to this CD (“This is for the waitresses slaving on the night shift at Denny’s”).

“I Built a Bunker for the Aftermath” is an undistinguished break-up song. “Say Yeah” sounds most like the Ramones, with simple power chords and fast-paced, simple lyrics about homework and the high school dance. C.J. Ramone evens opens the tune with a count of “1-2-3-4.” And as a bonus, Tommy Ramone produces the disk.

I don’t know how much call there is for a Ramones-influenced band these days, especially from guys who look like they are years past their high school days. But if there is, Collider deserves to be the one to fill the vacancy left by Joey and the others.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Hello Hong Kong”, The Kicks

2004-06-27T17:04:00.000-04:00

“Hello Hong Kong”, The Kicks, TVT Records, 2004

The Kicks are a “vowel” band (like the Vines, the Hives, etc.), who seem aimed toward MTV airplay. The songs aren’t really bad--a combination of garage/punk/rock/pop. For four guys (two guitars, bass, and drums), they put out a pretty full wall of sound, helped by solid production.

There are not many solos, but guitarist Jesse Palmer and vocalist/guitarist Scott Cook combine their riffs well enough to fill in, while Josh Faulkner on bass and Jaren Johnson support the relentless four four beats well enough.

The CD sleeve shows that these guys are primed for stardom, with their matching uniforms of black tops and blue jeans (on the CD cover, anyway), full cover pictures of each in the booklet (to show that they are cute young guys) and groovy colors and hip printing for the lyrics. One of the cuts is entitled “Popstar Radio Crown,” which I think tells you something.

This is the disturbing thing about the group. There are some good songs here, anchored by Cook’s frenetic vocals, like “12 Steps,” and the bouncy “Mir.” All twelve cuts are designed to be radio friendly, though, which give a certain sameness to the sound. And having everything sound similar is a danger anyway with the archetypical two guitars, bass, and drums lineup (with an uncredited keyboard on at least one cut).

The lyrics cover the usual mall angst with a few quirky exceptions. “The Exorcist” includes “I don’t want to listen to your ass tonight” and “Jet” opens with “I want to screw you but no one’s here.”

“Hello Hong Kong” is not a hard CD to listen to, although it may not hold your attention throughout. There are a few touches that show that the Kicks have something to offer, and could get a popstar radio crown if they can develop their own sound and not fade into the wasteland of mainstream radio.

--Dave Howell

(This article first appeared in the FMSound music site.)

“Avenpitch”, Avenpitch

2004-06-27T16:57:00.000-04:00

“Avenpitch”, Avenpitch, Omega Point Records, 2004

He calls his music electropunk. I would call it electronic hip hop. Either way, Todd Millenacker a.k.a Avenpitch knows his way around his keyboards. The lyrics sound angry (hence the punk label) and are recited rather than sung (hence the hip hop categorization).

The CD is not all in-your-face. There is a consistently heavy beat, but tracks like “Hacienda” have some well thought out melodies to accompany the lyrics. This cut has an eighties, new wave feel to it.

“Housecat” is representative of the way Millenacker works. There is a cartoony, light melody at the top end, matched by a heavy bass keyboard part and drum and guitar samples at the low end. As with all the cuts here, the rhythm changes throughout the song.

“Ruins” uses the same effect, with the melody keyboard part sounding almost new age or like a film soundtrack against Millenacker’s despairing lyrics: “And we look through books for some salvation/And we look to God for a revelation.”

“Avenpitch” is an interesting project that comes off quite well. It combines the energy of punk with the other worldly appeal of synthesized music.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Angry Album or Psychic Songs”, A Skeleton

2004-06-25T21:47:00.000-04:00

“Angry Album or Psychic Songs”, A Skeleton , www.goodnightrecords.com, 2004

This CD by Knol Tate, aka Askeleton, does not sound angry. There is no darkness here at all, unless it is in the hard to understand lyrics. The songs might be psychic, whatever that means. Strange, hard to classify pop, definitely.

It sounds like Tate recorded some light pop tunes and then did some studio experimenting with the results. Except for some drums and, on one track, electric piano, Tate played all the instruments. The results are pretty good. For example:
“Queenie” is psychedelic pop backed by guitar and bass, with a background vocal sample and keyboard. “Birdman” is the closest song to rock, with guitar, bass, and drum, and some tinkering with the vocal track. “Futureman to Presentman” features Tate reciting lyrics Lou Reed style over a simple keyboard riff with space effects added.

On “Ghosts,” Tate sings in a falsetto that complements the light, almost bubblegum sound of the track. “I’m ten feet tall today/I was nine feet yesterday.”

Although many of the songs are based around simple guitar riffs, Tate seems to love keyboard. He uses many different settings to give a ghostly, strange quality to his tunes, which feature lyrics like the great opener to “Gemini”: “I want to burn down Cathedral Hill/Please kill me in my sleep.” Instead of drums, he sometimes uses simple things like handclaps to keep the rhythm.

This enhanced CD includes a well done video in .mpg format of Tate and his fellow musicians playing “Birdman” in the studio.

Askelton’s website at http://askeleton.net/ has the following slogan in oversized bold letters “Music is childish and stupid.” There is a childish, playful aspect to this thirteen-song CD. The songs here are simple without pretense. But they are far from being stupid. Even if you find his music a bit strange, you will appreciate Askelton’s ideas.

- Dave Howell

(This article first appeared in the FMSound music site.)

"Harp 46", April Stace

2004-06-25T21:44:00.000-04:00

"Harp 46", April Stace, Self-Produced 2003

Harp 46 is a trio composed of April Stace on Celtic harp, Posido Vega on bass, and Nucleo Vega on percussion (mostly African hand drums) -- a strange combination, but an excellent one.

Stace plays in a “sweet” style, with haunting melodies. The Celtic harp tends to have a more ascetic sound than classical models, since it is smaller and does not have pedals. This gives room for Posido to play complimentary melodies and Nucleo to provide a number of interweaving rhythms.

The tunes, mostly written by the group, have a primarily Celtic flavor, and the CD is meditative and relaxing. The bass and percussion are somewhat reserved so that they are no louder than Stace’s harp, but all of the players are both accomplished and energetic. There is a New Age type of sound, but it never falls into the blandness or repetition that affects much of the genre.

The best cuts are those like “Chase” and “Tell Me,” which have a jazzier feel and more improvisation. Hopefully, this first Harp 46 release (Stace also has a solo CD) will lead to others that will feature more excursions into musical territory not normally explored by harp players.

- Dave Howell

(This article first appeared in the Rambles books and music site.)

Interview: Bishop Meshack Mabuza

2004-06-25T21:39:00.000-04:00

Bishop Meshack Mabuza was not completely serious, when he said that he wished the United States would turn its attentions to Swaziland after it was through with Iraq. His talk last Thursday at the Cathedral of the Nativity in Bethlehem made it clear, however, that intervention is needed for his country.

In fact, the figures he presented show that twenty thousand people die of AIDS each year in his country. Swaziland has a population of about a million. It is the smallest country in southern Africa, being only about eighty-five per cent as large as New Jersey (for more figures, please see the accompanying sidebar).

The country faces other troubles in addition to AIDS. This year threatens to be the worst of three years of drought. The monarchy does not permit political parties, so there are problems with social justice and corruption. And the population is sixty-five per cent impoverished and thirty-one per cent unemployed.

Bishop Mabuza is prepared to fight, however. Although he was only appointed as Anglican Bishop of Swaziland last November, he has well defined goals for each of these overwhelming problems. Dr. Ned Wallace, a member of Trinity Bethlehem who has been a frequent visitor to Swaziland, says that Bishop Mabuza is a man who listens to many people before making up a plan of action.

The Bishop brings some unique qualifications to the tasks. As well as having a B.A. with Honors in Theology, he has an M.A. in Management from Atlanta University and an advanced diploma in Labour Law from Rand Afrikaans University. He has also been the headmaster of three schools and vice-principal of a teachers’ college, and has served on the boards of the Swaziland Railway and Swaziland Council of Churches.

Of course, his goals center on the church. He reported problems there, also, including low morale, a lack of contributions, and no growth in membership. One problem with the latter is that many individuals form their own churches with a messianic zeal that will draw many followers, a least for a time.

Bishop Mabuza hopes to take the church back in time to the first century, when finding Christ was an exciting new discovery. He plans to train churchgoers in person-to-person skills to draw in new members. He plans to introduce revivals and revive healing ministries. And he plans to bring in people from the outside with new thoughts and insights.

In 2002, the U.S. State Department reported that Swaziland generally has freedom of religion. There are other political problems, however. The Country was granted independence in 1968. Soon afterwards, in 1973, King Sobhuza II repealed the Constitution and banned all political parties. A later royal decree would have allowed the present king, Mswati III, to ban newspapers and overturn court decisions. He revoked the decree, however, when the United States threatened to take away preferential trade benefits.

The bishop has spoken out against injustice in the Country, despite possible repercussions. As he said at the Cathedral, “If you do not speak out, who will?”

- Dave Howell

(This article first appeared in the Newsletter of Trinity Episcopal Church.

Disinformation: The Interviews – Richard Metzger

2004-06-25T21:33:00.000-04:00

Disinformation: The Interviews – Richard Metzger – The Disinformation Company, Ltd.

“The idea is that you will be different after you’ve read this book. Changed permanently,” says author Richard Metzger in his introduction, adding, “This book intends to fuck your head up, real good.”

This may not be true for readers of “Clamor”, who probably have already been inoculated by ideas outside of the mainstream. But the interviews in this book, taken from episodes of a television series that ran for two seasons on Britain’s Channel 4 network, should point you to different ways of thinking about your existence.

Metzger wants to take us outside the narrow range of what we are indoctrinated to accept. UFOs, other dimensions, and magick are all discussed by various individuals in an attempt to find new ways to view reality.

Metzger, who is also the creative director of the excellent www.disinfo.com web site, quotes a wide variety of influences in his search for alternative ideas. The eleven interviewees also differ, from the mainstream futurist Douglas Rushkoff to the dedicated outsider Genesis P-Orridge, leader of the rock band Throbbing Gristle.

The outsiders look better in this book. Rushkoff’s ideas, for example, seem conventional enough to be delivered in expensive seminars (“Corporations aren’t really alive. They are a set of instructions for making money.”). But you can pretty much count on people like Robert Anton Wilson (the “Illuminatus Trilogy” of speculative fiction) to offer intriguing comments about subjects such as conspiracy theories.

There are also beautiful pictures of art included. Paul Laffoley (the only interviewee that gets two separate chapters) produces work that mixes Kabbala-like maps with diagrams that look like cross sections of unknown machines which might be spaceships.
The second chapter devoted to him covers just one painting, “Thanaton III”, which Laffoley calls “participatory”, meaning that one can view other dimensions by placing one’s hands on the painting while gazing at it.

The artwork of Norbert H. Kox is also presented. Kox’s work is considered blasphemous, not surprisingly since various paintings show Christ posing as the Statue of Liberty or smoking a pipe. The point of Kox’s work is to fight hypocrisy, though. For example, “Dis’guised” (the Christ with a pipe) is a satire of a very popular picture that shows the Son of Man as an Aryan with blue eyes and blond hair. The real Jesus was, after all, a Jew from the Middle East.

Other interviewees include Grant Morrison (who has done graphic novels of Batman and worked on X-Men comics), Duncan Laurie, who talks about subtle energy machines that can produce magickal effects, and Kembra Pfahler, whose performance art includes shock pieces like sewing up her vagina.

By the time this is published the U.S. will probably be at war with Iraq. No better example can be given of the bankruptcy of “conventional wisdom”. And although some of the things presented in this book are strange, you can be sure that none of them are as stupid or noxious as this glorious conflict will be.

- Dave Howell

(This article first appeared in Clamor Magazine.

“Da Capo Best Music Writing 2003”, Da Capo Press

2004-06-25T21:30:00.000-04:00

“Da Capo Best Music Writing 2003”, Da Capo Press

The writers here range from the famous (Elvis Costello, novelist Jay McInerney, and Greil Marcus), to the obscure, but the pieces chosen by guest editor Matt Groening are uniformly good. Groening, creator of “The Simpsons,” was a music writer for five years ending in 1986.

The articles are generally long for this genre, enabling the authors to explore music by closely examining the personalities and events behind it. While recounting a chauffeured drive with “Mr. Brown” through the impoverished neighborhood where James grew up, Philip Gourevitch describes Brown’s upbringing. He shows how the contradictions between his childhood trauma and huge success seem to lie behind the star’s well known personal problems.

Among the best articles are those about the few remaining “real” blues artists from the South. McInerney describes the relationships between Matthew Johnson, the less-than-stable founder of Fat Possum Records, and his equally colorful roster of artists that include R.L. Burnside. Michael Cochran was “Exhuming the Legend of Washington Phillips,” a gospel bluesman who, like so many others, was tragically under recorded.

Lynn Hirschberg covers pop in “Who’s That Girl?” describing Clive Davis’s attempt to make the twenty-three year old Amanda Latona into the next Brittany. G. Beato details a less well funded, but equally intensive, search for a white female rapper who can break through like Eminem (who also appears in the story).

Standing out like gems in a sea of fluff, the pieces on individual artists are actually interesting, like Elizabeth’s Gilbert’s piece on Tom Waits, Mitch Myers on the late Doug Sahm, and Paul Beston on Warren Zevon’s last appearance on David Letterman’s show.

There are some cultural oddities. Chuck Klosterman examines the cult of Morrissey among young Hispanics. Susan Olsen covers the first African music record store in Paris. A few satires are quite funny, like Bill Tuomala’s alternative history about Van Halen’s career as an underground cult band.

Elvis Costello’s piece for Vanity Fair takes the reader “Rocking Around the Clock,” describing appropriate records to play for all hours of the day and night.

The only exception I take with the book is that it should have been called “Da Capo Best PRINT Music Writing 2003.” I noticed that FMSound authors, for example, were notably absent. Maybe next year.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Cruzin’ the Music Highway”, Wavelength

2004-06-25T21:21:00.000-04:00

“Cruzin’ the Music Highway”, Wavelength, no label, 2003

I don’t know why I like this CD so much, especially since it is classified as smooth jazz. It might be because it transcends boundaries. The front sleeve picture shows road signs saying “Jazz,” “Funk,” “Rock,” “Latin,” and “R&B,” and this CD hits all of them along the road.

Or maybe I like the back cover, with its appealingly goofy graphic showing the four main musicians leaning over and holding out their thumbs as if hitchhiking.

Most likely, it is because it actually has energy and great songs, unlike its limp smooth jazz competitors.

There is some smooth jazz sound here with Ferdinand Magallanes using string emulators and Oscar Estrella using synths on his guitar. Most of the instrumentals are “real” jazz though, and they actually do mix in funk, rock, and Latin elements without making them sound out of place.

Magallanes and Estrella are quite adept in different styles. The rhythm always keeps moving, too, with Marcus Lopez on bass, Bobby Gaviola on drums, and imaginative use of Latin percussion by guest artists.

The ballads do not slow things down. Jim Starr’s powerful vocals lift up “From Now On,” while Joy DeLeon’s singing adds a soulful touch to “My Only One” and “Two of us Together.”

It is worth taking a trip down this CD highway.

Wavelength's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Under the Moonlight”, Jimmy Roland

2004-06-25T21:20:00.000-04:00

“Under the Moonlight”, Jimmy Roland, John Lennon Records, 2000

I am reviewing a six song sampler here of the full release of “Under the Moonlight,” but it is enough to give an idea of the seventeen track full CD. Blandness seems to be a problem with these songs. It would not be so bad that the melodies do not stand out at all, but the lyrics are clichéd enough to be unbelievable.

Over the usual sampling, “Oh! Ramona” has the standard “Don’t you want to give it to me?” and also “Oh Oh Ramona” (repeated four times per chorus), as well as “I think I’m gonna/Marry you Ramona.” The only saving grace on this and the other five tracks are the three female background vocalists who add a bit of life.

“My Jamaica” veers towards reggae, but “Jamaica” stands for a woman who has done Roland wrong, which he sings about with couplets like “If you want to be with me/Show a little responsibility.”

The only tolerable song is “Power Light,” with an uplifting message about looking to the future and so on.

The last is “Broken Hearts,” which has deep thoughts that include: “A star shoots across the sky/I wish that I knew why/You're not here with me tonight/I realize I'm caught up in the wind/I need you back again/I need you by my side.” I cannot add anything to that.

- Dave Howell

“South Bend”, The Sulentic Brothers Band

2004-06-25T21:18:00.000-04:00

“South Bend”, The Sulentic Brothers Band, self released, 2003

Southern rock has never been the same since the plane crash that killed and injured many of the members of Lynyrd Skynyrd. That’s too bad, because The Sulentic Brothers have a CD here that deserves wider attention.

The band covers Skynyrd and other Southerners in their live show, but the ten songs here are original. A few, like “Roll the Dice,” are derivative. But they are all powerful and well played.

The CD opens with a quote by Senator John McCain (…God will show you mercy – we will not.”) and leads into the patriotic anthem “Old Glory.” That vein continues on the fifth cut with “Faded Glory,” which says, “We’ve got to show the world what we’re made of.”

Some of the best cuts are the slower ones. “It’ll be Alright” a pleasant number mixing acoustic and electric guitars that is in the vein of the Allman’s “Ramblin’ Man.” “Free Ride” has the same mix, but has a more dramatic feeling.

The interesting thing about the CD is that there are three lead guitars, a la Skynyrd, but there is not much rhythm playing. Instead, there are interlocking riffs with both acoustic and electric guitar. And as befits a Southern rock band, there is solid jamming on songs like “Madness” and “See You In My Dreams.”

This band proves that Indiana has that Southern spirit (and anyway, they are from South, not North, Bend). Hopefully we will hear more of them around the Bend.

The Sulentic Brothers' site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Stimulator”, Stimulator

2004-06-25T21:16:00.000-04:00

“Stimulator”, Stimulator, Stimulator Records, 2003

Yes, this is stimulating. This is one of the many male/female duos where the woman (Susan Hyatt) sings and the guy (Geoff Tyson) does the instruments with a few guests and keyboardist Mike Oristian.

They have a nice poppy sound. Hyatt’s voice has a strong girrl power attitude. Tyson provides sound that is rock backup with a bit of electronic added. The whole point seems to be to provide a good time, and it does.

On “Let’s Hook Up,” Hyatt can’t remember her companion’s name, can’t remember her way home, and wants to do “things” to you, and that is just on the third cut. She has admitted on an earlier song to having a thousand lovers. On the next track she asks if you would die for her. Hey, when I was younger, I would have put my life on the line just to meet her.

This is a stylistic CD, with the front cover picture featuring Hyatt’s black-clad legs holding a phallic looking microphone. It has the songs to back up style. Each of the eleven cuts has a great melody with a driving beat.

The eighth song is a cover of “Magic,” which was a hit for Olivia Newton-John. The band’s web site explains that the eleventh song, “Just Like a Girl,” was sung “from the perspective of a female blow up doll. She finds happiness in the arms of a male inflatable.”

What more incentive do you need to buy this CD? There is only one – Hyatt might discipline you if you don’t.

Stimulator's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Devour”, Seven 13

2004-06-25T21:14:00.000-04:00

“Devour”, Seven 13, What Matters Records, 2004

This is a five-song EP from a band that describes itself as “theatrical rock” (www.seven13band.com). There is considerable goth influence here, but without as much darkness as some of the bands in the genre. There is also no metal sound. Amanda Adams’s piano is more prominent than Michael Burke’s guitar. Gothic cabaret, anyone?

Seven 13’s live show seems to presage what Alice Cooper would be like if he came to Broadway (which he probably will, someday). The band even has its own choreographer. It is too bad that there is no video included.

Like many rock shows on Broadway, however, there are no individual songs that stand out, particularly without seeing how they fit into a show. All are dramatic, but there is no context for the drama. Since all the instruments except the piano are pulled back in the mix, the songs sound somewhat alike.

You may want to wait for a concert DVD of Seven 13.

Seven 13

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“The Rattlehounds”, The Rattlehounds

2004-06-25T21:13:00.000-04:00

“The Rattlehounds”, The Rattlehounds, self produced, 2003

This CD sounds like garage rock with a bit of Country influence to me, although the band describes itself as alt.country. Either way, the first song on the CD was listed as the number one single on Village Voice’s Pazz & Jop Critics Poll for 2003.

Like a lot of good rock/country, it is hard to figure out exactly what makes it sound so good. It’s primitive, with simple guitar chords, no solos, and solid but not overly fancy production. Well, maybe that’s why.

Of course, guitarist and vocalist Mark Coram has written six good songs here. And although the Rattlehounds are a trio (with bass and drums), the sound is filled out at the right spots with lap steel on “I’m the Gun,” organ on “Chasing Ghosts,” and harmonica on “Workin’ For Love.”

The humorous Country song “Would Elvis Like Me?” is one of the best songs, whereas on many CDs such a track would be condescending and distinctly unfunny.

It is unfortunate that the drummer, Michael Flannagan, died at age 41 soon after this CD came out. He was also a journalist and radio announcer. At least he left a nice legacy with this EP.

-Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Orcastra”, Jon Bare and the Killer Whales

2004-06-25T21:03:00.000-04:00

“Orcastra”, Jon Bare and the Killer Whales, Mega Truth Records, 2001

This CD is one that you might not remember after playing it.

Jon Bare is apparently quite accomplished (according to his website), being a computer database expert, a contributing editor to “Recording Magazine,” and so on. But maybe that is what is missing here. There is no soul here, as if Bare is not putting his full attention on his music.

Songs like “Bone Appetite” and “Shakey” are energetic with Bare’s rock guitar, and there has been a lot of work done on the production. There are plenty of horn arrangements, and there are even a sitar and tabla on “Be My Someone.” There is variety, too. “Mo’Money” has an island flavor, while “Get Funky,” well, gets funky.

But every song sounds a bit like something you have heard before, with well worn lyric themes. Bare’s web site says that this CD is his “Sgt. Pepper,” and says that it is “Steely Dan meets Pink Floyd.” Those sentiments, which I personally disagree with, may also show some of the problem. This CD seems stuck somewhere in the past, with its emphasis on rock/blues guitar and soul flavored horns.

With all the variety of music that is available now, it seems that Bare will have to update his sound to find success.

Websites: Jon Bare at aol

Another Jon Bare site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Miles Away”, Jen Gloeckner

2004-06-25T21:01:00.000-04:00

“Miles Away”, Jen Gloeckner, self-produced, 2003

“Miles Away” is a CD that generally succeeds, although it has a slow start. Gloeckner’s first two tracks drag, with just her vocals over her elementary guitar and keyboard playing. Fortunately, other musicians back her by the third cut, including cellist Kameron Cole. Her songs are not bad, except they are consistently gloomy.

The right accompaniment helps them a great deal. A saxophone on “Glimpse” adds a bit of noir/jazz feel. Flute and percussion on “Clear the Sand” give it a nice Middle Eastern atmosphere. Gloeckner’s mandolin, Cole’s cello, percussion, and flute create a full sound on “Mountains.”

On the other hand, with just her guitar, over tracked vocals, and a cello, “Glue” does not have much to offer. Particularly with mundane lyrics that begin: “I miss you but I knew I would/I’d kiss you if I thought I could/I need something that means something to me.”

Many of her songs work even with minimal backing, however. “Prodigal Son” and “Mountains” use Gloeckner’s guitar and spare percussion and violin to create an air of mystery. “Otherside” is a beautiful work well supported by simple piano. “Wasting Time” is also appealing with just acoustic guitar and a hand drum.

Gloeckner has enough skill as a singer/songwriter that she should appeal to fans of this genre, especially those who are into world music.

Jen Gloeckner's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Fenceposts”, The Peach Truck Republic

2004-06-25T20:59:00.000-04:00

“Fenceposts”, The Peach Truck Republic, Peach-Key Records, 2000

It is too bad that few people have heard about this release from 2000, since it is a notable release and perhaps even a masterpiece. There are thirty-seven songs and one hundred and forty-five minutes of music here, based on a poem no less.

The Peach Truck Republic is a jam band, and there are a number of guitar-based instrumental tracks here. But there are also songs that show the influence of rock, country, and jazz. The grooves vary from propulsive rocking to slow meditative works.

There are three guitarists, one keyboard player, and a drummer in the band, along with various guests (I assume at least one of the guitarists plays the bass most of the time.) The guitars never sound harsh. The players use many effects, but they only soften the sound.

The lyrics are difficult to understand at times, but they come from a long poem called “Like Fenceposts Down the Road.” They deal with rural life, with plenty of vocal harmonies included. The songs are not exactly bucolic, however. Many have a strong beat and some feature intricate time changes.

This band has been compared to the Grateful Dead, but the comparison is rather superficial. About the only thing here that relates to the Dead is jamming and having a keyboard in the background. The vocals and guitar tuning are much different.

Despite its length, this CD stays strong throughout. There is not enough dead wood to build even one fencepost.

Peach Truck Republic's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Down to My Bones”, Zola Moon

2004-06-25T20:54:00.000-04:00

“Down to My Bones”, Zola Moon, Postmodern Music, 2002

Trying to find something that is not the same old thing in blues music can give you the blues. “Down to My Bones” is different, though. Zola Moon takes a chance here by having herself accompanied by only a single acoustic guitarist on each of the sixteen cuts: Michael Carter, Burke Wallace, or Kim Allison.

The opening cut is “Time Is On My Side,” made famous by The Rolling Stones, but the emphasis is on traditional material like “St. James Infirmary,” and traditional sounding songs written by Moon.

The guitarists are all excellent, but the thing that keeps things interesting is Moon’s voice. Her voice is strong and powerful, but she resists the temptation to show it off. Instead, she uses emotion to make each song tell a story.

Being the blues, most of the songs are sad. Moon makes the pleading of her “Help Me” and the pain of “These Steel Bars” come through. She even gives new life to Willie Nelson’s often done “Night Life.”

This CD gets to the roots of the blues with just vocals and guitar – right down to the bones.

Zola Moon's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Distant Star,” Mary Everhart

2004-06-25T18:23:00.000-04:00

“Distant Star,” Mary Everhart, Redbird, 2002

From its outward appearance this CD is from a New Age singer/songwriter, judging from its title and a picture of a sunset on the cover. Fortunately, Mary Everhart is really a blues singer backed by a band. The first cut, “Second Hand,” is a boogie shuffle that sets the pace. The title of the second song, “Butt Kickin’ Mary,” is a better indication of what this CD is about, with its backup that includes barrelhouse piano.

“Distant Star” does have a bit of a singer/songwriter feel. Everhart wrote all of the words and music. And most of the songs are based on Everhart’s simple rhythm guitar work.

This is a blues CD, however, despite some unusual titles like “Popcorn Pimp.” Everhart has the strong, growly voice of a blues mama. Her band of bass, drums, and lead guitar play the blues, with plenty of bluesy leads by Jon Bailey that also have a hint of Southern rock.

There is nothing here that blues fans have not heard before, and the production might have done a better job of blending Everhart with her band and guest musicians. Still, the feeling in Everhart’s voice makes this CD a solid entry in the field.

Mary Everhart's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Confessions”, Lea Longo

2004-06-25T18:09:00.000-04:00

“Confessions”, Lea Longo, Planet, 2003

Note: This review is for the Canadian release of “Confessions.” It has four more tracks than an earlier ten-track CD with the same title.

Lea Longo is a Canadian singer/songwriter whose title track for this CD was featured on the TV show “Dawson’s Creek.” Longo has a somewhat thin but appealing voice, and her songs have a certain power with electric guitar-based backing.

They are likely to appeal to listeners of “adult contemporary” radio. There are pleasant melodies here, with good production and a sound without any rough edges. Although this is not a Country CD, there are similarities in style, particularly in the use of guitars.

The problem is that many of the songs sound alike. All but one were written or co-written by Longo. It sounds as if all were written on guitar using three or so major chords, and it sounds like every one of them is about relationships that have broken up.

The musical introductions vary, sometimes played on acoustic guitar, sometimes electric guitar with keyboards, and so on. But they all lead into similar mid-tempo musings by Longo with lyrics like “We’ll meet again,” “Is this your way of living/Is this your way of giving?”, “Are you still listening/I need an answer,” and so on.

This is not an unpleasant CD to listen to. Just don’t expect a lot of variety.

Lea Longo's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Breaking the Habit”, Joanna McMeikan

2004-06-25T18:07:00.000-04:00

“Breaking the Habit”, Joanna McMeikan, Mithranda Music 2004

Haunting might be the best way to describe this release by Joanna McMeikan. Although she does not promote herself as a Celtic artist, I guess she cannot help it with a name like McMeikan. She has the drama of Celtic music and has written songs to back it up (she wrote all the songs except for two that she co-wrote.)

There is a taste of jazz, rock, and electronica here, but McMeikan’s voice has the timbre and style that will remind you of singers like Loreena McKennit. Her lyrics are above the ordinary, also. An example is the ones that begin the CD on “Again”: “The dogs are howling/Betrayal in the night/But’s who’s the howler/And who is taking flight?”

The songs are anchored by Meikan’s piano, but her production (with Mario Maisonnave) adds many sympathetic effects, including electric guitar, string arrangements, and backing vocals with her own voice.

The only song that does not come off here is “Past Unconditional,” where McMeikan recites many of the words instead of singing them. It seems gimmicky, as well as an unnecessary waste when she has such a beautiful singing voice. But all the others succeed in their mixture of well thought out production fronted by McMeikan’s soaring voice.

Joanna McMeikan's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“Bettin’ On You”, Patti Sterling

2004-06-25T17:57:00.000-04:00

“Bettin’ On You”, Patti Sterling, Kon Kord, 2003

It is hard to decide what to say about this CD, except that is it great. On her web site, Sterling describes herself as doing “jazz based R&B with a Texas edge.” On this CD, however, she delivers mostly pop/dance music with soul and R&B undercurrents. What makes them stand out are the songs themselves and Sterling’s voice.

Usually a CD has one or two cuts that are targeted as radio hits. All of the first three cuts here could qualify here. “The Philly Song (Really Doesn’t Matter)” has a funky beat with a sunny melody. “Bettin’ On You” happily combines a bit of dance electronica and rock guitar with Sterling’s powerful voice. “Woman” is a bluesy based number that shows off Sterling’s impressive vocal range. So does the ending cut “Eye of the Storm.”

All four have powerful background vocals, featuring Sterling herself and four other women. They are gospel style, as in many of Aretha Franklin’s hits.

“Love Is So Good When You’re Stealing It,” a romantic duet with Rue Davis, is a soul number. “So is Room at the End of the Hall,” a spooky number with a story that has Sterling’s lover cheating with her live-in sister. Sterling co-wrote the latter, as she did with seven of the ten cuts.

The appealingly quirky “Seven Desires,” which lists them throughout (health, wealth, wisdom, power, laughter, life, and love). “East of Midnight” is a jazz/lounge flavored change of pace.

Hopefully both radio stations and dance fans will soon discover Sterling and her strong, upbeat songs.

Patti Sterling's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

“At the Table”, Heart of Gold Band

2004-06-25T17:53:00.000-04:00

“At the Table”, Heart of Gold Band, Ooh Hoo Hoo Music, 2004

Maybe you are a Deadhead. Maybe not. If you are, you’ll love this CD. If you are not, this CD might explain the whole Dead appeal.

This CD is a project of Donna Godchaux, former singer with the Grateful Dead, and her extended family. It emulates the mellowest aspect of the Dead, reminding listeners of the time of “Workingman’s Dead” and “American Beauty.”

The Heart of Gold band includes Godchaux’s son Zion Rock on guitars, drums, and sax, her husband David McKay on bass and piano, and Brian Godchaux on violin and mandolin. And this sounds like a family project, unrushed and unhurried.

The title of the track “Layin’ Back” is the best description of this CD. The songs are nearly four to six minutes long, enough for relaxing instrumental passages, but without noodling that goes off on tangents.

The most prominent thing here are the beautiful melodies, which are supported by the band’s perfect production. Even when elements like funk guitar and bass are added, or bluegrass flavors, they never overwhelm the gently rolling structures. The lyrics are equally gentle, like “The Animals,” which describes what would happen if all the animals were let loose from the zoo.

Heart of Gold's site

- Dave Howell

(This article first appeared in the SouthBound Beat music site.)

Interview: Neko Case

2004-06-23T19:56:00.000-04:00

Alt.country. Neko Case does not like that as a description of alternatives to commercial Country music. “It sounds like a web site,” she says. Her record label, Bloodshot, calls the music insurgent Country. No matter what you call it, on May 15, the night before Bethlehem’s River Fusion, you can hear music you are not likely to hear either on the Valley’s Country radio stations or at the Allentown Fair.

The thirty-three year old Case prefers just to be classified as Country. But her music is both more intellectual and emotional than the “top 40” radio fare that she says she does not listen to. For example, her latest CD, “Blacklisted” (Bloodshot Records 2002) begins with the lines “Fluorescent lights engage black birds/Fry ‘em on a wire.” She wrote all but two of the thirteen songs.

Her lyrics create a mood instead of telling straightforward stories. Rather than giving literal meanings, she says, she likes to “paint pictures.” In a phone interview from Toronto, where she is mixing a live CD, Case says that “Blacklisted” deals with “fear and homesickness, being caught in the middle of change.” She calls it “a little more reflective” than her previous work.

Case left her family’s home in Tacoma, Washington, when she was fifteen. At eighteen, she began playing as a drummer in various punk bands. It was not until 1998 that she recorded her first Country CD, “The Virginian” (Bloodshot), named after the state where she was born. She says that did not find much of a change between the two musical styles. “Both punk and Country have the same intent. They are both about dissatisfaction and passion.”

She broke through with her second release, “Furnace Room Lullaby” (Bloodshot 2000). All the songs were written or co-written by her, many of them about love and breakups. Case was noticed both for her talent and her sultry good looks. She even won last year’s Playboy poll of “The Sexiest Babe of Indie Rock,” an event which she says she prefers not to talk about.

For someone with such an exceptional voice, it is surprising that Case did not begin singing in public until her early twenties. She says, “I just wanted it so bad,” overcoming her shyness. She also says that the other members of Maow, an all-girl punk trio, forced her to sing her own compositions. The trio was based in Vancouver, where Case studied art and photography. It is the hometown of many of the musicians that she has worked with from the time they were first billed as Neko Case and Her Boyfriends.

The musicians use a number of different instruments on “Blacklisted,” ranging from traditional banjo and pedal steel to pump organ and cello. But throughout, Case’s powerful, clear voice is in the foreground. “In the classic recordings the vocals are pushed out front. It creates tension,” she says. As an example, she mentions the Platters, the fifties vocal group with hits that included “The Great Pretender.”

Case will be playing at RiversEve, an event the night before the all-day RiverFusion festival on May 16. Both are benefits for the Illick’s Mill Partnership for Environmental Education. Replacing her regular band (her guitarist is having heart surgery), Case will be backed by the Sadies, another band that she has recorded with and who are also on the Bloodshot Records label.

Case has two side projects. She is a member of the indie pop group the New Pornographers, and is one of the Corn Sisters along with her friend Carolyn Mark.

Neko Case, RiversEve, shows 7 and 9 pm, the IceHouse, Bethlehem, $42.50 and $35.00, pre-concert event for $60 features reception with dessert buffet, premium seats to Neko Case and admission to RiverFusion, 610-653-0908, RiversEve web site at http://www.illicksmill.org/riverfusion/id43.htm.

- Dave Howell is a free-lance writer.

(This article first appeared in The Morning Call newspaper.)

“Forget Tomorrow”, Macha

2004-06-23T19:55:00.000-04:00

“Forget Tomorrow”, Macha, Jetset Records, 2004

If you are looking for a combination of gamelan (Indonesian pitched percussion instruments) and eighties music, Macha is for you. In fact, they pretty much have the field to itself.

Actually, on “Forget Tomorrow” the gongs and xylophones of gamelan are not used much, and only as background along with synthesized beats. The eighties sound reigns, however. About half of the thirteen tracks have world-weary vocals that evoke memories of the days of disco.

There is a theme on “Forget Tomorrow,” which is summed up by the anime-like pictures on the sleeve. The front shows a young Asian woman about to be injected with a syringe, while the back shows another about to take a handful of pills. Titles like “C’mon C’mon Oblivion,” “Back In Baby’s Arm,” and the title track reinforce the flavor of degeneracy.

The songs do not particularly fit the theme, since the vocals are laconic and distant, without much emotion. Neither do the instrumentals, which are somewhat ambient.

The instrumentals are the most interesting. “d-d-d” and “Paper Tiger” are intriguing combinations of electric guitar, beats, and far eastern instrumentation. “While the People Sleep” is understated and spooky. “Calming Passengers” and “Sub II” have lovely melodies.

Overall, this is not compelling music, but it does create an air of mystery and it evokes exotic places. Anyone who liked earlier Macha CDs should be satisfied with this one.

-Dave Howell

(This article first appeared in the FMSound music site.)

"October, November", Black Cat Music

2004-06-23T19:54:00.000-04:00

"October, November", Black Cat Music, Lookout Records, 2004

This is a foursome whose record company promotes them as “blending modern rock’n’roll, garage, and punk,” and “intelligent trashy punk rock.” In other words, pretty much like every other band putting out CDs – with one difference.

The music is mostly rhythm based. Denny Martin on drums and Omar Perez on bass drive most of the cuts at a brisk speed, while electric guitarist Travis Dutton chords in the background, breaking out for an occasional limp psychedelic solo. Brady Baltezore adds nearly as much sound with his acoustic guitar, along with contributing vocals that are relentlessly off key.

The surprise here is the lyrics. They can hardly be understood, which is of course not unusual in rock. And all of them are printed on the CD sleeve, which for most bands means that they suck.

However, the lyrics written by Baltezore are great. For example, from “The Jet Trash”: “bathing in the velvet wave of heat/a promise to the flame apology/I waited long enough to burn you down to the ground.” Baltezore actually brings a different perspective to well worn themes like relationships and traveling with a band.

The ending words on the CD, on “Kiss Until Kissed,” are “your absence darkens the room/awaken grasping/your absence forms a vacuum/kid I am gasping.” Much of the poetry is obscure, but personally I can take that for the privilege of listening to a rock CD that does not, for example, use the word “baby” even once.

The music is not particularly innovative, but it moves energetically, and there is stylistic variety in the songs. The few slow cuts are good enough to retain your interest. And after you read the lyrics, the songs sound better with repeated listening.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Sharkey’s Machine,” Sharkey

2004-06-23T19:53:00.000-04:00

“Sharkey’s Machine,” Sharkey, Babygrande, 2004

“Take a shit on the mike and call it an album,” says a voice on “Sharkey’s Machine.” That’s just what Sharkey did. This nearly hour-long debut CD is a showcase for the artist formerly known as DJ Sharkey, with a lot of hip hop and beats.

I would like to say that this is a playful CD with Sharkey just having fun, but it is tiresome after a while. Sharkey (I assume) announces someplace in nearly every track that “This is “Sharkey’s Machine,” with his voice processed through a vocal synthesizer. Of course, he may have done this only on the advance copies that were sent out, to avoid mass piracy of his masterpiece. If so, his fears are groundless.

Some of the songs are pretty good, such as “Little Cabin Song” with Zooks on vocal, which uses a slide guitar sample to emulate a blues tune, and the lounge-flavored “Snobird,” featuring The Pharcyde.

Others, however, are irritating. “Skateboarder’s Blues”, also featuring Zooks, repeats the phrase, “I used to skate through the neighborhood, now I jump up on the Internet,” over and over and over and over. “Fuzz,” featuring Cannibal Ox, does the same with the line “Cats just want to act up.” “Zooks vs. Connery” consists of a Sir Sean cloned voice reciting the praises of Sharkey. As if. “Summer in the City (Lovin’ It) has Jean Grae rapping at top speed, with only occasional ghetto words like “jail” and “burn” being decipherable. I guess this adds street cred, but Sharkey’s synthesized voice underneath everything is more than a bit pretentious.

This CD would go over well in a dance club, but it may be tedious to home listeners. If you play it at a party, hang one of those sparkly silver disco balls in the center of the room. It might help.

- Dave Howell

“Blue Note Revisited”, Various Artists

2004-06-23T19:48:00.000-04:00

“Blue Note Revisited”, Various Artists, Bluenote, 2004

This remix project of jazz standards by well-known electronic producers follows two similar CDs done for Verve Records and another done for Bluenote by producer Madlib. Even though the remakes are approved by the label, one cannot blame jazz fans for being skeptical about tinkering with classic work.

Listening to “Blue Note Revisited” will put any fears to rest, for this CD at least. While the originals are treated with respect, these cuts could be considered as new compositions on their own.

The most common additions are vocals, although some of the cuts feature nearly as many added musicians as were on the originals. Some of the originals get buried under all the production, although the melodies always come through.

Each producer works differently here. La Funk Mob makes an effective move by adding vocals by Gladys, a turntable effect, and bringing the beat up a bit on Wayne Shorter’s “Oriental Folk Song.” This works better than DJ Medhi’s addition of heavy beats on Shorter’s “Footprints.” Madlib just does a little production magic on Bobbi Humphries’s “Young Warrior,” adding a piece of another of her songs at the beginning.

On the other hand, Kyoto Jazz Massive adds three vocalists, a keyboardist, a bassist, and a percussionist to Eddie Henderson’s “Kudu,” making it a completely different work. Hero does a similar job on Horace Silver’s “Won’t You Open Up Your Senses,” with five new musicians and new vocals by Vanessa Freeman.

DJ Cam adds scratches and rapping to Donald Byrd’s “The Emperor.” Fortunately he goes easy on it, and he has the good sense to add trumpeter Eric Truffaz, a veteran of electronic music. Osunlade sets up a duo with the guitar of Luca Barbarossa and Grant Green’s original on “A Time to Remember,” on what may be the CD’s most interesting cut.

Any genre that has one artist dominate about a quarter of all sales is in trouble, even if it is the talented Norah Jones. When you also take into account the popularity of “smooth jazz,” any type of experiment that reaches out to a larger public should be warmly embraced. Projects like “Blue Note Revisited” may lead younger people back to classic jazz, as well as generating a new type of music that is enjoyable and worthwhile.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Crossing the Invisible Line”, Buddahead

2004-06-23T19:47:00.000-04:00

“Crossing the Invisible Line”, Buddahead, Sanctuary Records, 2004

Buddahead is a guy named Raman Kia, not a band. At the first listening, you might mistake this CD for a band project, however. Each of the eleven tracks has elaborate arrangements.

The first cut, the radio friendly “When I Fall”, is backed by lush strings approximating a whole orchestra. “Holding Me Back” has a rock ballad arrangement, overlaid with electric and acoustic guitars. Others, like “Chains,” “How Does It Feel?”, and “Turn Away” begin with just Kia’s voice and acoustic guitar, before electric instruments and drums come in.

Many of the songs are of the singer/songwriter type, with poignant and meaningful lyrics. It is produced like a rock CD, though. Producer Don Gilmore has also worked with Linkin Park, Eve 6, and Sugar Ray. The combination works well.

On songs like “Broken,” Kia’s vocal wails sound dramatic against electric instruments; they might have seemed overdone with just an acoustic background. His rich voice sounds even better against strings, as on “Take It All Away.” Gilmore even makes John “listen to how fast I can play” Popper’s harmonica sound tasteful on “Invisible.”

Some listeners may feel that the production overwhelms the songs, particularly when the lyrics are difficult to understand. On the other hand, the production fills out songs that are a bit slight, like “Turn Away.”

But Kia, who was raised in Iran, sings with conviction and heart throughout this CD. The production may be elaborate at times for songs written on acoustic guitar, but it always complements Kia’s feelings, never overwhelming them. Despite its title, this CD stays well within the lines of good music that has something to say.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Don’t Hold Out On Me”, Modulator

2004-06-23T19:45:00.000-04:00

“Don’t Hold Out On Me”, Modulator

What do you call a CD with three songs that is just a little over ten minutes? A mini-EP? EP Lite?

It is too bad there are not more, because these three songs are really good. Modulator does sunny electric pop. As their website says (www.modulator.org), “Modulator is a five-member band from Houston, Texas that combines American guitar rock with European synth-pop.” And despite the difference in the two styles, they put them together in a seamless mix, with nothing out of place.

The web site says that the CD will be only three dollars when it is released this summer, which is at least OK price wise. They also have another four-song, self-titled EP available. Why don’t they combine them into one EP? Why do they do Europop when so many bands in Europe want to sound like they are from Texas? Why does their web site end in “.org”, which is supposed to be reserved for non-profits?

I don’t have the answers, just this clever ending quote: “Don’t Hold Out On Me” does just that in terms of quantity of songs, but not in quality.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Cinzano & Cocaine” and “Idler”

2004-06-23T19:43:00.000-04:00

“Cinzano & Cocaine” and “Idler” Carl Henry Brueggen

These three-song EPs, the first done in 1991 and the second on 1992, are bossa lounge confections. These light-as-a-feather tracks fit wonderfully into the exotica genre. Brueggen does not show off his guitar work, instead blending it into a mix that includes Latin percussion, vibes, flute, and occasional “dabadaba” and “oo-oo” vocals by Nora O’Connor of the New Pornographers.

The two CDs are similar in sound. “Idler” includes two violinists and two viola players, so it has a more orchestral sound with less emphasis on percussion. It also has Joseph Vito on accordion, adding a bit of a European sound. Although both CDs were done at different studios, the production on each is similar, giving a smooth sound to all the instruments. Even the lap steel guitar (on “Cocaine”) and the pedal steel (on “Idler”) fit in like pieces of a jigsaw puzzle.

Bossa and Latin music fans might find the Chicago-based Brueggen’s work not authentic enough. However, as a lover of Space Age Bachelor Pad Music, I expect to enjoy a few martinis to these two.

- Dave Howell

“Mischief From the Back Pew”

2004-06-23T19:42:00.000-04:00

“Mischief From the Back Pew”, Todd & Jedd Hafer, Bethany House, 2003

There are supposed to be about forty million Americans who have been “born again.” To many of us, it seems as if they live in an alternate universe. They have Christian music, the wildly popular “Left Behind” novels, television networks, and from the way things are going, George W. Bush all to themselves.

They also seem to have their own version of humor, an example of which is “Mischief From the Back Pew”. The author brothers are definitely Christian – one of their other books is entitled “In the Chat Room With God.” The book reviewed here is a sequel to “Snickers in the Front Row,” both works based on their lives growing up as the sons of a minister.

I confess that I am bemused by this book, so I am sharing some shorter examples of the humor to let you judge it for yourself.

From the chapter on Christian television commercials: “Hi, I’m Ben-Hur. You know, those full contact chariot races can be hard on the old bod. That’s why Bun-Hur uses Ben-Gay. It soothes my aching muscles and makes me feel warm and tingly all over. It is truly the balm of balms.” This chapter also includes Samson pitching for “Samsonian” luggage, and Noah doing a laxative commercial.

To satirize a “Church of Elvis,” the brothers ask “What Would Elvis Do?” a twist on the popular WWJD question. The answers include: “Eat a bucket o’ fried chicken until he passed out, Shoot a TV set, Lots and Lots of Drugs, Sweat Profusely, Really Bad Movies, and Die on a Toilet.” Actually, a few of those seem a distinctly un-Christian.

The brothers also mention, of course, that Elvis is not the REAL king.

There is also a chapter about the ever-popular “Bulletin Blooperz”, which have been making the rounds on the internet for years. An example: “Bertha Belch, a missionary from Africa, will be speaking tonight…hear Bertha Belch all the way from Africa.” Others are about the brothers’s pets and their brushes with the law, the latter reminding you of the ones that were on “The Andy Griffith Show.”

If you need a gift for a fundamentalist friend and have $12.99, this book might be for you. For myself, I find TV evangelist John Hagee to be much funnier than the brothers, and he is not even trying.

- Dave Howell

“La Dona”,Teena Marie

2004-06-23T19:40:00.000-04:00

“La Dona”,Teena Marie, Cash Money, 2004

“La Dona” is positioned as a comeback CD for Teena Marie. It is hard to imagine a greater return than this one. There are seventeen tracks (one is spoken word) that feature what she is remembered for – strong production and an even stronger voice.

In case you have forgotten, Teena Marie is a white artist with a black voice. Unlike many artists who have flirted with soul music, she has always been immersed in it. “La Dona” features duets with many urban artists, including Rick James, who produced her at Motown. Some of them rap a little, but only to frame romantic vocals.

There is not a loser in any of the songs here, all of which were written or co-written by Marie. All have a rich sound and drip with sexuality. She may have been carefully photographed for the CD sleeve photos (she was born in 1957), but her voice is as powerful and enticing as ever; her high range is still dynamic. When she makes a “Honey Call,” you would not hesitate to answer the phone. When she sings “My Body’s Hungry” – well, you get the idea.

“La Dona” is a persona Marie has adopted here. The first track is a short, “Godfather” influenced skit in which she explains that she is recapturing her place in the music world – not for herself, but for “famiglia.” “La Dona” is absolutely an offer that you can’t refuse.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Bastards of the Beat”, The Damnwells

2004-06-23T19:39:00.000-04:00

“Bastards of the Beat”, The Damnwells Sony Music 2003

This CD starts out damn well, with an initial acoustic number, and then “What You Get,” a radio friendly rocker. At first, the standard two guitar, bass, and drums combination has a fresh sound, with occasional keyboards and even a trumpet on one cut.

With “Miss Catastrophe,” the group shows off a bit of Country and Byrds influence, with ringing guitars. However, after that things slow down with “I’ll Be Around” and “Newborn History.” I wondered about that, and looked at the CD cover. As I suspected, there was a booklet tucked away with all of the lyrics on it, often a bad sign.

Yes, despite their macho band and CD name, and a groovy inside photo that proves they are not old farts, the Damnwells have caught the dreaded SSD – Singer/Songwriter Disease. It seems they think that it is more important to Say Something than to rock.

The third slow song in a row is “I Will Keep the Bad Things From You.” The title alone, a far cry from the first cut “Assholes,” puts up red Sensitivity flags. It includes the lyric, “I will sleep above the covers/I will love you like no other.” Ouch.

At least the next cut. “Sleepsinging,” is appropriate, because by this time it seems like the boys are singing in their sleep. They liven up a bit at the end. “New Delhi” has an unusual drum beat to back it up. And some of the melodies are nice. But the last cut, “Texas,” slows down again, with lyrics that begin, “I’m ten thousand miles from you/My sky is black when your’s (sic) is blue.”

One cool thing is that the CD has its own built in player based on Winamp, with an extra cut and a video. That’s what you get when your band signs to a major label.

This CD of mostly folk/country based songs is OK, but – I think I’ll put on something now from AC/DC.

- Dave Howell

(This article first appeared in the FMSound music site.)

“The Author and the Source”, Arlington Jones

2004-06-23T19:37:00.000-04:00

“The Author and the Source”, Arlington Jones, Zamaria, 2001

In the past few years the jazz world has returned to traditional sounds. This CD is one of the happy results of that trend.

Arlington Jones’s web site calls this CD: “one of the most astounding productions the music industry will ever see!” That is misleading, since it does not try to astound, but instead it impresses you by its straight forward approach.

It is the type of thing that you have heard before, but there is an energy and creativity behind it that you can feel more than analyze. It may be due to Jones’s deep religious conviction. Each of the thirteen titles on this live performance, all written by Jones, is accompanied on the CD sleeve with a Bible verse.

Nine of the cuts have pianist Jones backed by Jerome Allen or Robert DeBoo on bass, and Jason Thomas on drums. The opening one is a rhythmic Latin workout, “Cielos Abiertos.” The others with the trio are mostly mid-tempo with beautiful melodies. The gently swinging “Sounds Like True Religion” is a bit faster, while “You Are the Sweetest Thing” features Doug Feil, whose vocals sound a bit like Stevie Wonder.

The other cuts include one or more extra musicians playing trumpet, flugelhorn, or sax. All of these are carefully arranged, with the solos coming in place just as they would in a big band.

None of the players tries to show off. They let the well-written compositions speak for themselves, with their melodic twists and turns and varying time signatures.

This is what “smooth jazz” should be, interesting and quietly propulsive without being vapid or overrun with studio tricks. Hopefully the Texas-based Jones, who is only thirty-one, will come up with a lot more music like this.

- Dave Howell

(This article first appeared in the FMSound music site.)

“Blues: The British Connection”

2004-06-23T19:36:00.000-04:00

“Blues: The British Connection”, Bob Brunning, Helter Skelter Publishing, 1984 & 1995

This is an “either or” book. To anyone who is into blues and is familiar with the musicians named in these pages, this book should be quite entertaining. For readers unfamiliar with the subject, however, it may be tedious to read about all the different personnel changes in unfamiliar bands. For younger people, reading about how Creem was generated from the Eric Clapton and the Graham Bond Organization may be as dull as older folks studying the origins of Eminem and D12.

Having listened over the years to many of the performers listed in the book, I was very interested to read about the various permutations of bands like The Animals and Fleetwood Mac (yes, Fleetwood Mac used to be a great blues band). The book starts at the beginning, with Alexis Korner and Cyril Davies, who were seminal influences on the Rolling Stones (yes, the Stones too).

Many of the reminiscences here are personal. Brunning played in early versions of both Fleetwood Mac and Savoy Brown in his extended career, and knew many of the musicians in what was originally a small pool of players amidst pop music and show bands.

There was, and still is to an extent, quite a tradition of bringing blues artists from America overseas to perform. For economic reasons, they were almost always backed by British bands Brunning’s stories about working with many of them are one of the highlights of the book. Most were nice, some were not, and some were legendary for their liquid intake as well as their music.

As a reference work, this book does not come up to par. There are numerous misspelling of names, and outright mistakes. For example, Rod Price was the lead guitarist, NOT the singer in Foghat. Brunning should have known this, since three quarters of Foghat were former members of Brunning’s former band Savoy Brown.

But as a picture of the blues scene in Britain, this book is superb. There are many stories of low pay, band breakups, and uncomfortable travel to show that playing the blues is for love, not for money. In fact, Brunning had a day job as a teacher while he was playing the blues at night. There are also many excellent pictures of the artists. The ending chapter on the 1990 blues scene, added for a later edition of the book, gives a positive appraisal about the future of the music.

If you are in a situation where someone close to you wants you to finally unload those old vinyl LPs you have in the basement, this book is a great weapon to preserve them. “Throw away my Chicken Shack album? Christine Perfect became Christine McVie and joined Fleetwood Mac…”

- Dave Howell

(This article first appeared in the Rambles books and music site.)

“Give”, The Bad Plus

2004-06-23T19:34:00.000-04:00

“Give”, The Bad Plus, Columbia, 2004

If you have not heard them, it may be difficult to decipher the hype about the Bad Plus. They are presented like a really weird jazz trio that does covers of trendy rock songs. On this release, though, they are actually a sort-of-avant-garde jazz band and only do three covers.

Their music is a bridge to totally free jazz, with classical elements. Although they keep changing, there are recognizable melodies and rhythms. And once you get used to it, it sounds pretty good.

It sounds at first like pianist Ethan Iverson takes off on improvisations on each of the eleven tunes, and Reid Anderson on bass and David King on drums follow him. Keith Jarrett is the only artist that comes readily to mind for this type of thing, although Iverson plays with a much more percussive style and does not play any parts without his bandmates.

On repeated listenings, it seems that the songs are carefully worked out. The songs are all pretty tight, without a lot of aimless noodling. King always keeps steady time despite an extremely busy style, while Anderson tends to anchor everything.

I suspect that if you look past the shaved heads and space age persona, these guys are traditionalists that want to cross over. There seems to be a lot of classical feel in Iverson’s style, and it probably explains his virtuosity on songs like “Do Your Sums-Die Like A Dog- Play For Home.”

There are only two of the rock interpretations that the band is known for. “Veloria” gives a classical feel to the song by “Charles Thompson”, better known as Frank Black of the Pixies. “Iron Man” does the same to Black Sabbath, but in this case the drama of the pounding chords seems a bit tongue in cheek. The third cover is Ornette Coleman’s “Street Woman.”

“Give” indicates that the critical acclaim given to this rather new band is justified. The trio has a sound that is quirky but still accessible to anyone willing to give it a chance.

- Dave Howell, 6/04

(This article first appeared in the FMSound music site.)

Blues Fest 2003

2004-06-23T18:21:00.000-04:00

Unlike Friday, Saturday opened with near perfect weather. While it was not very hot, Nick Curran and the Nitelifes were. Curran is known both for his retro look--shades and fedora--and retro sound, backed by Paul Klemperer on sax (tenor and occasional baritone), Damian Llanes on drums, and long-time band member Preston Hubbard on standup bass.

Curran had an unusual style of playing that minimized bends but had him pulling hard on his guitar strings. In another unusual move, he played the “whammy bar” on his guitar throughout an entire song. Curran and the Nitelifes covered a wide range of styles in their set, including rock and roll, surf, jump blues, Chicago blues, ballads, and jazz.

Chicago harmonica player Carey Bell was absent due to illness, but his band showed up, led by guitarist Steve Jacobs. A number of local players filled in for Bell, including Mike Metallia on harp.

Blues Fest acts Illinois Slim and Mary Hawkins provided vocals; Slim had played Friday and Hawkins played earlier that afternoon. Sarah Ayres Rhythm Recipe also did a blistering set.

Unfortunately, her singing was so spirited, Ayres was unable to compete the following night for the finals of the “Lehigh Valley Idol Search” at Indulge Restaurant.

Luther “Guitar Junior” Johnson has performed with his Magic Rockers since he was a band member behind Magic Sam in the sixties and Muddy Waters in the seventies. Johnson was relaxed but energetic, playing for nearly two hours with backing that featured Lynwood “Cookie” Cooke on sax.

Johnson made his way through Muddy Waters standards like “Mannish Boy”, his own classics that included “On Your Way Fishin’”, “In My Younger Days”, and “Meet Me With Your Black Drawers On”, and the national anthem of the blues, “Sweet Home Chicago”. The sixty-four year old Johnson had such presence, his invitation to “meet me with no drawers on” sounded as if it would be far more than just a meeting of the minds.

- Dave Howell

(This article first appeared in The Morning Call newspaper.)