Category Archives: Review

Glenn Kotche revisited: Spectaculs in concert with So Percussion

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Glenn Kotche

I have to confess that Wilco drummer Glenn Kotche‘s forays into New Music were beginning to rub me the wrong way.

Maybe it was the Delta faucet commercial that set me on edge. I can’t say for sure.

But it had begun to feel to me that he was trying far too hard to prove that he’s not just the drummer in one of the world’s best rock bands. He seemed to be crying out to be taken seriously as a percussionist with depth and breadth as well as great rock chops.

His most recent serious album, “Adventureland” (Cantaloupe Music, 2014), is well done and pleasant, but for some reason it never really grabbed me. Maybe I just wasn’t in the right frame of mind to appreciate it.

When I got the opportunity to attend a concert on Saturday in Zankel Hall at Carnegie Hall the featured some of his work,  I decided to open my ears again.

I’m glad I did. Kotche’s work was a big part of what made the evening a spectacular musical event.

The evening opened with some older work — four selections from his 2011 Drumkit Quartets — performed by So Percussion (Eric Cha-Beach, Josh Quillen, Adam Sliwinski, and Jason Treuting) alone.

So  Percussion clearly had an enormous amount of fun with the compositions. All of them featured a wide array of drums and myriad other percussion. The first, “Drumkit Quartet #50 (Leffinge, Chicago), kicked off with each member of the ensemble playing a hand-cranked siren, while the third, “Drumkit Quartet #51 (Tokyo, Brisbane, Berlin),” featured Japanese rock band Cibo Matto‘s Yuka Honda (who is married to Wilco guitarist Nels Cline) reciting haiku.

It’s no surprise that So  Percussion knew the pieces well, as the ensemble has recorded a “Drumkit Quartets” album due out Feb. 26 on Cantaloupe.

Kotche joined the ensemble for the world premiere of “Migrations,” a Carnegie Hall commission, that testified dramatically to Kotche’s admiration for minimalist composer Steve Reich with rhythms playfully produced on marimbas struck with fingertips and combs.

A hard-driving “Drumkit Quartet #1,” featuring a strobe-like animated film by Patrick Burns, closed the Kotche section of the show in memorable fashion.

The evening also featured a short piece by composer Steven Mackey, “Before It Is Time,” sung by Shara Worden, a performer and composer who works in rock and New Music like Kotche. (She performs in the rock world as My Brightest Diamond), in its New York premiere.

A 45-minute Worden song cycle, “Timeline” — commissioned jointly by Carnegie Hall and the University of Texas at Austin — closed out the evening. Worden sang and, at times played the guitar, a distracting move that took the focus off of the rhythms and interesting tonal qualities of the percussion, which included a mean steel drum number played by Quillen.

 

The best time for Speed the Plough is ‘Now’

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Mark your calendar now: Speed the Plough is ready to party.

The North Jersey chamber rockers have been playing the songs from their splendid new album, aptly titled “Now,” for awhile. But now they’re ready to make it official with a record release party.

STP will jam the tiny stage of The HiFi Bar (formerly Brownie’s) in Manhattan’s East Village on Thursday night, Feb. 25, to celebrate its release.

nowcover “Now” is Speed the Plough’s eighth album, and is notable for its fresh-but-familiar sound and the fact that it’s the first release by the newly revived Coyote Records.

Coyote was responsible for some of the early releases by Yo La Tengo, The Feelies, Beat Rodeo, Chris Stamey,and other leading lights of the Hoboken indie rock scene that centered on Maxwell’s. It was co-founded by Steve Fallon, who also ran Maxwell’s before giving it all up and moving to Rehoboth Beach, Delaware, where he opened a collectibles shop called Gidget’s Gadgets.

It’s fitting in so many ways that “Now” is Coyote’s first release in years. Speed the Plough  started playing in 1984, during the golden age of the Hoboken scene, and has persevered — with an evolving membership always anchored by stalwarts Toni and John Baumgartner — through so many changes.

“Now” is a perfect example of Speed the Plough’s ability to ability to adapt.

The album preserves the feel of the band’s earlier work without  sounding dated. This disc embraces the talents of the new members — vocalist/guitaristsEd Seifert and Michael Baumgartner, bassist Cindi Merklee, and drummer John Demeski.

Seven of the album’s 12 tracks are John Baumgartner compositions featuring vocals by him or Toni, along with Toni’s traditional wind instruments. They’re every bit as good as anything they’ve done before. The haunting “Midnight in the World” — with its refrain of “Calling you ’cause I don’t know what to do” — is a particular earworm.

Their son, Michael, comes on strong with three contributions: “Garden,” a rocker that is probably the first of the gravel-voiced songwriter’s that I ever heard live, “Hey, Blue,” a gentle love song, and a brief (1:47), driving, Hüsker Dü-ish rocker, “Ed’s Song.”  that closes the disc.

Seifert contributes “Be With You,” a delightful, loping folk-rocker with spare, repeated lyrics.

Merklee steps forward in a way that I’ve been waiting to hear, offering a beautiful, plaintive homage to novelist Carson McCullers wiht “Miss Amelia.”

IF YOU GO

What: Speed the Plough record release party

When: 7:30 p.m., Thursday, Feb. 25

Where: The HiFi Bar, 169 Avenue A, Manhattan

Tickets: Free, donations accepted, with all proceeds going to the artists. Shows in this small venue tend to fill up, but if you arrive early, you’ll likely have no problem getting in. Making a donation in advance online guarantees entry.

 

‘Surface Noise’: A self-effacing title for Jennifer O’Connor’s brilliant new album

The cover of Jennifer O'Connor's album "Surface Noise" (March 4, 2016, Kiam Records) features an ambitious abstract painting, "There 48," by Brooklyn artist Joan LeMay.

The cover of Jennifer O’Connor’s album “Surface Noise” (March 4, 2016, Kiam Records) features an ambitious abstract painting, “There 48,” by Brooklyn artist Joan LeMay.

I’ve never been one to make best-of lists when it comes to music. I enjoy so much of what I hear that it’s difficult to pick favorites.

So I won’t say that Jennifer O’Connor‘s forthcoming album, “Surface Noise,” out March 4, 2016, on Kiam Records, is a sure-fire pick for my best of 2016 list, since I’m not likely to compile one.

I can say it’s the best new album I’ve heard so far in this still-young year — and I fully expect to feel that way about it when this year is winding down.

“Surface Noise” is packed with 12 songs that explore love, loss, and the challenges of life with a casual brilliance about this album that makes it the best work this talented artist has produced so far.

ORDER JENNIFER O’CONNOR’S “SURFACE NOISE” VIA KIAM RECORDS NOW — GO HERE

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‘You Us We All,’ well … I am very disappointed

I wanted to love “You Us We All,” the celebrity-citing, pop culture-driven modern opera in Baroque form — in its music, theatrical arc, staging, and costuming — that had its first performance Wednesday night at the Brooklyn Academy of Music’s Harvey Theater. (You can judge for yourself. Performances continue through Saturday. Buy tickets here.)

After all, I think Shara Worden, a classically trained singer who performs in the pop world as My Brightest Diamond and works the New Music circuit under her given name, wrote the music and is one of the singers.

I didn’t know anything much about Andrew Ondrejcak, who wrote the text, directed, and designed the production or about B.O.X. (Baroque Orchestration X), which commissioned the piece and provides the first-rate instrumental ensemble, but had high hopes.

I’ve frequently enjoyed Worden’s work in pop and New Music. And I’ve been itching for a new work to come along that as exciting and challenging as, say, Thomas Adès’ “Powder Her Face.” But this piece isn’t up to that task.

In fact, “You Us We All” ultimately left me wondering whether I had wasted my evening.
It isn’t without merit. The music is lovely, some of the singing is delicious, the chamber orchestra is splendid, and the text is wickedly funny at times. But all those positives created more of a pastiche than a written-through show.

I chalked up my discontent at first to being tired. I found the piece very difficult to follow, and the poorly projected supertitles almost impossible to read from my upper orchestra seat. (You might think supertitles wouldn’t be crucial for an English-language production, but you’d be wrong.)

But then I saw members of the opening night audience slipping out early. It’s not unheard of at BAM, but audiences there are generally more tolerant and attuned to avant garde work than audiences at, say, the Metropolitan Opera.

I realized I wasn’t just being cranky about this when I read  Zachary Woolfe’s review in The New York Times review, which declares the piece “earnest and eventually tiresome.”

Jackson Browne enthralls at The Capitol Theatre

Jackson Browne and his band at The Capitol Theatre, Port Chester, New York. (© 2015, Steven P. Marsh/willyoumissme.com)

Jackson Browne and his band at The Capitol Theatre, Port Chester, New York. (© 2015, Steven P. Marsh/willyoumissme.com)

Jackson Browne’s music has been in my life since high school. While I’ve been to thousands of rock concerts since then, I never even considered checking out Browne in live performance.

I can’t put my finger on why. Maybe it’s because his music was so pervasive — especially during my young adulthood — that I felt sufficiently sated by what I heard every day on the radio. (Remember radio?)

That changed on Thursday night, when I got the chance to see Browne on his second night at The Capitol Theatre in Port Chester, New York.

Browne, who’s less than a month shy of his 67th birthday, put on an incredible show for a wildly appreciative sold-out crowd for a full 2½ hours — with only two brief encore breaks.

He never stinted, lovingly spinning the songs at times into extended jams.

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Come Laugh in the Dark with Tommy Keene this Thursday at The Bowery Electric

Guitar god Tommy Keene performs Thursday at The Bowery Electric.

Guitar god Tommy Keene performs Thursday at The Bowery Electric.

Maybe Tommy Keene has discovered the Fountain of Youth.

Oh, don’t get me wrong. He’s aged. He’s not the skinny kid guitar-slinger he was when he exploded out of Maryland and onto the rock scene in 1982 with his debut album, Strange Alliance.

He’s earned every line on his 57-year-old face. But his voice, searing guitar playing, and songwriting still have all the energy and feel of his younger self.

Whatever he’s doing is really working for him, so he should keep on doing it.

Keene’s new album, Laugh in the Dark, which dropped Sept. 4 on Second Motion Records, ranks with the best work he’s ever done.

You can hear the new material live when he plays The Bowery Electric in New York City this Thursday.

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Amy Bezunartea: Pop hero or new villain?

Amy Bezunartea performs at Rockwood Music Hall Stage 3 on Sept. 1, 2015. (© 2015, Steven P. Marsh/willyoumissme.com)

Amy Bezunartea performs at Rockwood Music Hall Stage 3 on Sept. 1, 2015. (© 2015, Steven P. Marsh/willyoumissme.com)

If you’re a curiosity seeker who decided to check out singer-songwriter Amy Bezunartea because you heard — or heard about — the NSFW lyrics in her new single, “Oh the Things a Girl Must Do,” good for you.

But stick around, there’s more — a lot more  — to this artist than one line that incorporates slang for vagina:

Oh the things a girl must do
If you only knew
Just how much the world wants to see
Everyone’s having fun
When it’s over you can tell
They all want the pussy
But they don’t like the smell

NPR’s “All Songs Considered” praises the work while falling all over itself to call out the song’s frankness, using “graphically” in its headline. As if that weren’t enough, the NPR post also carries the warning label “LANGUAGE ADVISORY: This song contains sexually explicit language,” and uses the terms “a shocking turn” and “NSFW (not safe for work)” in the text. 

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Langhorne Slim buys little pink house for a song

Langhorne Slim and Kenny Siegal at City Winery. (© 2014, Steven P. Marsh/willyoumissme.com)

Langhorne Slim and Kenny Siegal at City Winery. (© 2014, Steven P. Marsh/willyoumissme.com)

Langhorne Slim is a homeowner.

And it’s not just any home, but a little pink house on a street with a history in Nashville, where he’s been living for awhile.

“It’s magical,” Slim (born Sean Scolnick in the suburban Philadelphia town that comprises the second half of his stage name) said Tuesday evening.

Talking is something Langhorne Slim does well. He rambled and free-associated through a lengthy introduction of the his friends in the band Twain, who opened Tuesday night’s show, the second of a two-night stand at City Winery. And all his talking ultimately led to the story of his new house

Slim, like the majority of working musicians, didn’t exactly have the funds at hand to buy a house — even in Nashville, where prices are much lower than in the NYC metro region — on a whim. But when somebody in his life sent him a photo of this house, it was pretty much love at first sight.

Like any would-be suitor, he stalked it at first.

Langhorne Slim at City Winery. (© 2014, Steven P. Marsh/willyoumissme.com)

Langhorne Slim at City Winery. (© 2014, Steven P. Marsh/willyoumissme.com)

“I sat in front of it,” he explained. Then, in what would have been a massively embarrassing moment for most people, but not, apparently, for Slim, a man came out and asked him if he had any questions about the house.

“Are you the owner?” was the first thing Slim said he asked.

With that question out of the way, Gary, the owner, invited Slim inside to show him around. During the tour, Gary asked Slim if he was a musician, because “we have a deal for musicians.”

Given that they were in Music City, Slim figured that was just a come-on, but quickly learned that it was for real. And that the neighborhood has a long list of resident musician. Slim even mentioned something about a Mariachi band that used to play on the house’s porch.

Basically, the way Slim tells it, Gary, who has put the house on the market for the first time in 30 years,  decided that Slim and the house were made for each other.

Money, in this case, was an issue. But love has a way of conquering all, so Slim kept at it, trying to win the house. He even wrote a song about the house, and sent it to Gary.

When he didn’t get an immediate response — the owners were in Belize at the time, but had been very quick to reply to his flurry of emails during negotiations —  he says he figured he had lost at love, and that the song sucked.

Lucky for Slim, there was just a delay, and it all worked out., in part because of the song.

So, his house is, literally, a little pink house. Well, maybe not so little, at least by New York Standards, as I believe it clocks in around 2,000 square feet.

It’s in one of Nashville’s hippest, quirkiest neighborhoods. And while Slim didn’t reveal the address, he did, by the end of the evening, provide enough clues in his delightful ramblings and in his love song to the house that it wouldn’t be hard to track down the address.

Out of respect for Slim, I won’t help him further erode his privacy by posting a photo, address, or even name the neighborhood. But believe me, it’s a pretty cool place. Almost makes me want to move to Nashville.

Speaking of privacy, Slim noted that somebody told him he should install privacy fencing around his newly acquired yard. But he refused, noting that “we all have penises and vaginas” and we might as well get used to seeing them occasionally.

It’s no surprise that Slim would buy a magical house. It seems like everything about Slim seems magical.

He’s uncomfortable having his photo taken — he politely shut down a camera-phone user sitting stageside at his show Tuesday night at City Winery. He wore a broad-brimmed hat and had the stage lights dimmed — making photo-taking difficult at best. And he even announced that while he would pose for photos with fans at the end of the show, he’d really rather skip that part and just give fans a hug and talk awhile.

Twain at City Winery. (© 2014, Steven P. Marsh/willyoumissme.com)

Twain at City Winery. (© 2014, Steven P. Marsh/willyoumissme.com)

But now, about the show. After a remarkable set by two of three members of Twain, a fantastic band whose lead singer evoked Roy Orbison, among other ethereal vocalists, Slim took the stage.

He played some of his best-known tunes, reaching back to some of his earlier material, but giving plenty of attention to his most recent album, 2012’s The Way We Move.

He also brought that album’s producer, Kenny Siegal, whose Old Soul Studios in Catskill, N.Y., was where that album was recorded, onstage to accompany him with a 12-string on a few songs — some of them from the album Slim will start recording with Siegal in Nashville in short order.

 

 

 

Get ready for The Chew Toys to put the bite on you (video, SoundCloud)

Jay Tag and Kevin Dickson are The Chew Toys. (Photo by Dave Ehrlich)

Jay Tag and Kevin Dickson are The Chew Toys. (Photo by Dave Ehrlich)

Northeast LA duo unleashing self-titled debut album on Sept. 2

The Chew Toys debut album coverThe infectious sound of The Chew Toys makes them one of the most entertaining new bands in Los Angeles these days.

The self-proclaimed queercore duo comprises married couple Jay Tag and Kevin Dickson, who have been polishing — maybe refining is a better word — their punk sound with dozens of live shows around Northeast LA since 2012.

On Sept. 2, this local legend will take break out of LA and take on the unsuspecting world with their first album, a self-titled collection of 13 songs — 11 of which clock in at well under 3 minutes — that are sure to become earworms.

Check out a video and a SoundCloud song sample after the jump.

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Mary Bridget Davies: More than a Janis Joplin tribute artist

Mary Bridget Davies does Janis Joplin and a whole lot more at B.B. King's Blues Club in Manhattan. (© 2014 Steven P. Marsh/willyoumissme.com)

Mary Bridget Davies does Janis Joplin and a whole lot more at B.B. King’s Blues Club in Manhattan. (© 2014 Steven P. Marsh/willyoumissme.com)

If you go to see Mary Bridget Davies‘ show at B.B. King’s Blues Club in Manhattan, don’t count on an evening of Janis Joplin.

If you do, you’ll be setting yourself up for disappointment, like the woman standing near me at the bar on Monday night. She was wearing a muumuu and a multicolored headband, which made her look like she was ready for a psychedelic Sixties sort of evening.

But when Davies kicked into a set that was heavier on non-Joplin songs, including some massive versions of some Amy Winehouse hits, the woman started getting antsy, asking people around her if they knew whether Davies would be doing “songs from the show” at some point. Continue reading