Category Archives: Pop and Rock

Reconsidering the encore: Jeff Mangum at the Chris Knox benefit

The lobby of (Le) Poisson Rouge, complete with fish tank.

Thursday’s magnificent Chris Knox benefit show at (Le) Poisson Rouge is one that will give music fans a lot to ponder for years to come — along with raft of great memories.

When I wrote yesterday that I wished Jeff Mangum had not done an encore to his spectacular mid-show set, I wasn’t criticizing him or his performance. After the encore was over, I was as thrilled as anyone in the crowd to have heard him do yet another song.  But before he started “Engine,” I was fearful that the perfect moment he created in his four-song set might somehow be damaged.

The Neutral Milk Hotel frontman seemed so happy to be playing in public to such an adoring audience that his return for an encore seemed natural rather than forced. I asked the show’s organizer, Ben Goldberg, about how it all happened organically.

Benefit organizer Ben Goldberg.

“It’s funny, I fully wasn’t expecting Jeff to play again once he got offstage,” Ben tells Will You Miss Me When I’m Gone? “He seemed both elated and relieved it was over.

“But then he heard people screaming and was like, ‘Should I do Engine? You think I should do Engine?’ So, it kind of felt like a true encore – not planned.

“In fact, Dimmer [the New Zealand band that played next] was already coming out to set up. I had to stop them so he could play!

“I know what you mean about the encore being a bit of a tag-on, but I don’t know…everyone singing along like they did…it seemed special in and of itself.”

The experience clearly blew away Ben — just like it did the rest of the crowd. “It’s terrible to be the organizer of a big show like that and feel completely emotionally drained halfway through!”

The rock show of the year

Chris Knox

The year may be far from over, but Will You Miss Me  When I’m Gone? has a feeling that the Chris Knox benefit at Manhattan club (Le) Poisson Rouge tonight is very likely to be the highlight of the year for those lucky enough to have gotten in.

We may have lagged a bit it posting while we search for new funding sources to keep WYMMWIG? going, but that hasn’t kept us away from the clubs and concert halls of New York and environs. And, with a bit of luck, we’ll be back with some recent updates tomorrow.

For now, you’ll have to settle for this.

For starters, you might ask, who’s Chris Knox and why does he need a benefit?

Well, unless you’ve been living under a rock, you can probably guess the answer to the second half of the question. Chris Knox is a musician, and, like most committed, full-time musicians, he doesn’t have adequate health care. (Not to be too grim about it, but the rock world has lost way too many of its best to the lack of proper health care — think Jay Bennett, for instance.)

The reclusive Jeff Mangum of Neutral Milk Hotel is making a very, very rare appearance at the Chris Knox benefit.

Now, back to the first part of the question. Knox, 57, is a New Zealand rocker who with Alex Bathgate formed Tall Dwarfs, a pioneer of the lo-fi rock movement. He had a series of strokes last year, and now his musical descendants are lining up to pay him back for his tremendous influence by raising money to pay his medical bills.

Those musical descendants make up a list of indie rock’s’ best and brightest — and most reclusive.

The scheduled appearance of Jeff Mangum, the brains behind Neutral Milk Hotel, is stirring the most interest. He’s  been rather reclusive for the last 10 years, but is slated to play a short set tonight.

And then there’s the rest of the list (and organizer Ben Goldberg of BaDaBing Records says the lineup has been changing by the day), which includes: Yo La Tengo, the Magnetic Fields’ Claudia Gonson (can Stephin Merritt stay away?), TV on the Radio’s Kyp Malone, Portastatic, The Clean, Sharon Van Etten, David Kilgour and who knows how many more.

Goldberg won’t even think about giving out a set list, so if you’re going, you need to get there early and plan to stay late. And don’t expect to see the usual host of photos on WYMMWIG? tomorrow, because all cameras are banned — there won’t even be a house photographer! Given how tightly this thing has been run, I pity the first jerk who’s caught taking photos during the show!

Continue reading

Dance to Afrobeat at Midsummer Night Swing

Lincoln Center (Copyright 2010, Steven P. Marsh)

If the smash Broadway musical Fela! gave you the itch to hear more Afrobeat music, Lincoln Center’s Midsummer Night Swing lineup for this summer, announced today, will help you scratch it. Fela Kuti’s son Femi and his band Positive Force are scheduled to perform on July 12, with a a lesson in how to dance to the driving African beat taught by Maija Garcia, associate choreographer of the musical and a DJ set by Sahr Ngaujah, the actor who created the title role in Fela!

Femi Kuti

And if Afrobeat’s not your cup of tea, there are plenty of other styles of music and dance on offer during the 15 nights of performances at Lincoln Center’s Damrosch Park.

The cutting-edge programming by Lincoln Center Director of Public Programming Bill Bragin features the New York debuts of four bands: narcotango from Argentina, The Time Jumpers from Nashville, New Orleans’ Moonshiners, and Salsa Band La-33 from Columbia.

Bragin says: “The series offers an array of dance music styles including salsa, swing, disco, and tango.  For the first time this summer we are presenting a night of bhangra, the frenetic, hypnotic dance music from India by way of London and New York.  Famed DJ Rekha will spin bhangra and Bollywood beats with her special guest Red Baraat for a dance party like no other on July 8th.  Another highlight will be an appearance by Femi Kuti & Positive Force on July 12th.  Kuti, the son of Fela Anikulapo Kuti of FELA! on Broadway fame, extends the tradition with his contemporary Afrobeat sound.”

The shows start at 6:30 pm with a dance lesson, followed by live music and dancing from 7:30-10.

Tickets and passes are on sale now. Multi-evening Swing Passes are priced at $90 for six nights, and $160 for the full season.  Tickets for individual evening events are $17.

The Swing box office is located in the lobby of Avery Fisher Hall, Broadway and 65th Street. Tickets for individual events and passes can be purchased in advance or on the night of the event at a box office in Damrosch Park.  Tickets and passes can also be purchased through CenterCharge at (212) 721-6500, or online. Twitter users can follow Midsummer Night Swing  @LCSwing for ongoing news and updates.

Click through to the jump for more info and the full lineup: Continue reading

Sufjan Stevens, Shara Worden guest with the Clogs

Bryce Dessner, Shara Worden and Padma Newsome. (Photos copyright 2010, Steven P. Marsh)

Sufjan Stevens joins the Clogs on banjo.

The Clogs, with Padma Newsome on vocals, violins, harmonium, keyboard and a few other instruments, and Bryce Dessner (The National) on guitars and other strummed strings, entranced the crowd at The Bell House in Brooklyn on Wednesday night.

A very pregnant Shara Worden (My Brightest Diamond) added her own beautiful, haunting vocal vocal touches. Other permanent members of Clogs are Rachael Eliott on bassoon and Thomas Kozumplik on percussion. The Bell House performance was supplemented by a second percussionist and horn section at times.

But the real surprise of the evening was greeted by an audible gasp when Sufjan Stevens appeared onstage to play banjo on one song.

Clogs music is a bit difficult to pigeonhole. It’s definitely not rock, but it’s not classical. It bridges the two and winds up being unique. At one point Bryce made reference to a review that called one of the group’s songs “knotty.” Shara promised to try to sing in as knotty a fashion as possible.

Click through to the jump for more information and photos. Continue reading

Karen Elson conquers NYC

Karen Elson and her band at Manhattan's (Le) Poisson Rouge, including (to her right) Rachelle Garniez on accordion and vocals and brother brother-in-law Jackson Smith on guitar. (Photos copyright 2010, Steven P. Marsh)

Call me jaded, but my expectations for Karen Elson‘s NYC solo debut at (Le) Poisson Rouge last night were not extremely high.

I expected a short, but entertaining set of competent singing and playing. But what I got was much better than that. Supermodel Karen’s vocal chops are as shimmering and lovely as her amazing good looks.

Cover art for Karen's album, The Ghost Who Walks.

While it remains to be seen whether Karen (the willowy redheaded model also known as Mrs. Jack White) has staying power as a solo artist, she showed us that she certainly has the chops.

She performed 13 tunes, backed by a five-piece band that included Jackson Smith (daughter of punk goddess Patti and Karen’s brother-in-law, by way of his marriage last year to Meg White, Jack White’s ex-wife) and the super-talented accordionist/vocalist/keyboard player Rachelle Garniez, a longtime cohort from the downtown NYC cabaret group The Citizens Band. All but one song is from her upcoming album, The Ghost Who Walks, out May 25 on Jack White’s Third Man/XL Recordings. She also did her interpretation of “Milk and Honey,” a tune written by a New York folkie, the late Jackson C. Frank, and made more famous via covers by Nick Drake and Sandy Denny.

Karen Elson at (Le) Poisson Rouge.

The crowd at (Le) Poisson Rouge was not the usual NYC music audience. There were clearly a lot of people there from the music industry and the fashion world, including magazine editors like Vogue’s Grace Coddington (a famous redhead like Karen) and photographer Annie Leibovitz. Most everyone it the sold-out house seemed pretty respectful and paid attention to the music — something that’s often not the case when it comes to curiosity shows like this one.

Those who attended last night hoping that Karen’s husband would show up were disappointed. There was no sign of Jackie White, of Jesse and Jackson’s mom, or Jackson’s wife. But that was a good thing, keeping the focus on the music.

The opening act was an unannounced duo of a woman on keyboard and man on xylophone. Since they never introduced themselves and barely said a word during their largely instrumental set, I’m willing to bet that many people in the audience had no idea that they were hearing from Jesse Smith (daughter of Patti) and her musical partner Michael Campbell. They are an enormously talented duo. But their performing style and dour stage presence don’t make for an interesting set. Their music would be great for meditation or as a sonic backdrop, but their lack of dynamism hampers their ability to present themselves as a strong live act.

Please click through to the jump for more, including Karen’s set list.

Continue reading

Missy Mazzoli’s making an uproar

Composer and performer Missy Mazzoli. (Photo by Stephen Taylor)

Composer Missy Mazzoli‘s having a great year — and it’s only February. She’s been working hard to get her music heard, and it’s really coming together.

Tomorrow night and Sunday, her chamber opera Song from the Uproar is being performed by students from the Bard College Conservatory of Music Graduate Vocal Arts Program, run by the estimable soprano Dawn Upshaw. It’s part of an opera triple bill, which also includes Vinkensport, or The Finch Opera, a world premiere by David T. Little, and L’Enfant et les sortilèges by Maurice Ravel  in the amazing Sosnoff Theater on the Bard College campus in Annandale-on-Hudson. For more info about those shows and to buy tickets, priced from $20-$75, click here. If you’re willing to take a randomly assigned seat, you can pay just $10 by clicking here and using the password “triplebill.”

The lyrical piece examines the life of 19th Century Swiss explorer Isabelle Eberhardt, with text inspired by and responding to her journals, which Missy set to music for soprano and small ensemble, against a backdrop of film by Stephen Taylor. A 40-minute version of the piece presented last May at Galapagos Art Space in Brooklyn was enchanting and provocative entertainment.

Missy’s opera will be heard again in New York City in the spring, when it’s presented as part of New York City Opera’s Vox showcase of new operas. Although Vox hasn’t formally announced its season yet, Time Out New York‘s Olivia Giovetti reveals in an interview with Missy that it’ll be held April 30 and May 1 this year. Although the venue has not been announced, Vox has been presented for the past four years at Skirball Center for the Performing Arts at New York University.

Missy Mazzoli and her quintet Victoire.

Then, in her rock-club guise as leader of the quintet Victoire, Missy will be performing in March and April with American Composers Orchestra.

The first show is at 4 pm Sunday, March 21, at Dweck Center at the Brooklyn Public Library, Grand Army Plaza, Brooklyn.  Admission is free. Call (718) 230-2100 or click on www.brooklynpubliclibrary.org for more information.

The second show (on a bill also featuring Arp & Anthony Moore) is presented as part of the Wordless Music Series at 7:30 pm on Wednesday, April 7 at (Le) Poisson Rouge, 158 Bleecker Street, Manhattan.  Tickets are  $15. Call (212) 505-FISH or click here.

A Klezmer/Funkadelic storm hits (Le) Poisson Rouge

David Krakauer, Socalled and Fred Wesley are Abraham Inc.

Klezmer king David Krakauer, the tirelessly inventive clarinetist who leads Klezmer Madness!, trombonist Fred Wesley (whose credits include stints with James Brown, George Clinton’s Parliament/Funkadelic and the Count Basie Orchestra) and frequent Krakauer collaborator Socalled (a DJ whose real name is Josh Dolgin), are coming together at Manhattan’s (Le) Poisson Rouge tomorrow night to celebrate the release of Tweet Tweet, their debut CD as Abraham Inc.

If you’re one of those people who still thinks that the clarinet isn’t cool, and that klezmer is the music of your grandparents— something you’ve worked hard to escape — think again. Krakauer has been at the forefront of a modern movement to make klezmer cool, and he succeeds more every day.

Watch the video below, then check out this show, or get the CD, and you’ll be convinced. Sure, they’re three kinda goofy guys, but when they start grooving, they skillfully weave together elements of klezmer, funk and hip hop to create a really fresh sound.

Abraham Inc. with Girls in Trouble. 7 pm tomorrow (Thursday, Feb. 25) at (Le) Poisson Rouge, 158 Bleecker Street, Manhattan. $25 in advance. Tickets available here.

EXCLUSIVE: How you can attend a reading of The Last Goodbye

[picapp align=”none” wrap=”false” link=”term=jeff+buckley&iid=5553490″ src=”3/8/3/4/A_Wished_For_599e.jpg?adImageId=10652850&imageId=5553490″ width=”436″ height=”594″ /]

Daily Variety reported last night that The Last Goodbye, New York director Michael Kimmel’s musical play pairing Shakespeare’s Romeo and Juliet with the music of Jeff Buckley, is headed to the stage next season. The item also said there would be a developmental reading in NYC soon. What Variety didn’t tell you is when that reading will be and how you can attend. But Will You Miss Me When I’m Gone? has those answers for you exclusively.

The reading will be held at 2 pm on Friday, March 12. The New York City venue hasn’t been named yet, though the creative team will have that finalized soon.

As for getting tickets, it’s a bit of a crap shoot, but the rules are simple: Just drop an email, including your full name, email address and telephone number to newsletter@jeffbuckley.com by 12 am ET on March 1. That will put you in the running for a free pair of tickets.

I’ve been a huge fan of Jeff’s work for ages. After I saw the concert version of this show at Joe’s Pub last year, I wrote that it blew my mind and I couldn’t wait to see it develop. That time is fast approaching!

The new Stew review, comin’ right at you!

Stew in his breakup show, "Making It," at St. Ann's Warehouse on Feb. 21. (Copyright 2010, Steven P. Marsh)

I avoided reading reviews of Stew and Heidi Rodewald‘s new show, Making It, playing  at St. Ann’s Warehouse through tomorrow night. I wanted to go to tonight’s show with fresh, unsullied eyes, ears and mind.

But somehow I just couldn’t resist. And then, once I read the pan by Jon Caramanica, I just knew Stew had to have had something to say about it on his blog. Stew goes in fits and starts, but recently he’s been taking to the blog to set the record straight about inaccuracies in things that have been written about his work. And boy, he didn’t disappoint with his response to Caramanica. He wrote  a highly entertaining, deliciously acerbic post that you can read for yourself by clicking here. (One inaccuracy that Stew didn’t correct in The New York Times review is the tagline that said  the show “continues through Sunday,” it has another performance tomorrow (Monday) night. Has the Times‘ fact-checking  department been eliminated?)

Bottom line here, is that everybody’s entitled to an opinion. But I couldn’t disagree with Caramanica more. Stew’s response may have been rather, ummm, emotional (understandably), but he’s still right. I don’t know what Caramanica was seeing the night he reviewed the show, but he must not have seen the show I saw tonight.

Sure, Making It is not Passing Strange. But it doesn’t pretend to be. It’s a document of a breakup — somewhat fictionalized, like every good work of art— presented in the form of a staged concert. And it rocks!

If you want to see this show, you are probably out of luck. The last show is tomorrow (Monday, Feb. 22) night, and as of a couple of minutes ago, there were only three seats left, priced at $78 apiece. But don’t take my word for it, check out the St. Ann’s Warehouse  web site. If you do get to see it, you’ll be glad you made the effort. It is an amazing show.

New music from Philadelphia heroes Marah!