Category Archives: Review

The Dough Rollers defy expectations at Brooklyn Bowl

The Dough Rollers, Brooklyn Bowl, June 26, 2013, © 2013, Steven P. Marsh

The Dough Rollers perform at Brooklyn Bowl on June 26, 2013. (Photos © 2013, Steven P. Marsh)

We don’t mind change. We may grow to love a band’s sound, but if it never evolves, a band can quickly becomes a parody of itself.

The Dough Rollers started off in 2008 as a high-concept conceit cooked up by two celebrity kids. Malcolm Ford (son of Harrison Ford) and Jack Byrne (son of Gabriel Byrne and Ellen Barkin) bonded over the love of old blues music, and started playing together. Their act — two guys in sharp, retro outfits, hair slicked back, etc. — tried to replicate the classic sound of the blues. While the two of them were the core of the group, they often had fiddle-vocalist Julia Tepper as a co-conspirator. (She joined them on their first, and so far only, album, the self-titled disc.)

The Dough Rollers in their earlier incarnation at The Bell House in Brooklyn, April 24, 2010. (Photo © 2010, Steven P. Marsh)

The Dough Rollers in their earlier incarnation at The Bell House in Brooklyn, April 24, 2010. (Photo © 2010, Steven P. Marsh)

Few acts could sustain the conceit. Leon Redbone is the only one that springs to mind at the moment, and his whole performing life is in character.

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Donnacha Dennehy and Alarm Will Sound leave us Hunger-ing for more

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Alarm Will Sound (Photo by Justin Bernhaut)

Famine isn’t a cheery topic. And when we’re talking about the Great Irish Famine of 1845-1852, it could seem like musty and old as well as unpleasant.

And, let’s face it, the Great Famine is not a happy subject.

Luckily, when the fantastic Irish composer and Crash Ensemble bandleader Donnacha Dennehy takes on the monumental subject, it assumes a magical, transcendent quality.

Dennehy and the awesome 20-member New Music ensemble Alarm Will Sound gave New York its first taste of The Hunger, a still in-progress theater piece that combines the ensemble with live singing by an Irish  sean nós singer and a mezzo-soprano, at Carnegie Hall’s Zankel Hall on Saturday night, April 6.

We were mesmerized for all 45 minutes of urgent playing coupled with recordings of Irish sean nós singing and the keening of a mother for her dead child, along with and live singing by the extraordinary Rachel Calloway.

Calloway sang lyrics based on the first-hand accounts of the famine by the American nonconformist Asenath Nicholson, who spent two years in Ireland working with those dying of starvation. Her words in song are gripping, terrifying and urgent.

The piece is destined to be a full evening of performance by Alarm Will Sound, sean nós singer Iarla  Ó Lionáird and one of our very favorite mezzos, Dawn Upshaw. While Upshaw will likely put the finished work into an even higher category, we were mightily impressed with Calloway’s work on Saturday.

This taste leaves us starving to hear more.

While The Hunger was the marquee event of Saturday’s program, Alarm Will Sound got plenty of opportunity to show off its New Music chops in the first half, as well. The evening was intended to draw attention to the fact that the 12-year-old group, led by Alan Pierson (who also helms the Brooklyn Philharmonic), has amassed quite a bit of music written specifically for it.

One of its oldest commissions, David Lang‘s increase, composed in 2002, was the highlight of the first half. But the world premiere of the noisy, energetic Fly By Wire, by the suddenly ubiquitous Tyondai Braxton and New York premiere of Charles Wuorinen‘s Big Spinoff, were plenty of fun. Journeyman, composed by Alarm Will Sound’s pianist, John Orfe, also had its New York premiere Saturday.

Singer-songwriter Jamie Block shows he gets the rhythm of Rockland County life with Whitecaps on the Hudson

Jamie Block

Jamie Block

With the new album officially out, the long-MIA anti-folk artist is performing again, too

Nothing about Jamie Block suggests he’s a man of few words — just a man who doesn’t waste words.

For years, it even showed in his performance identity: Block. Not Jamie Block, just Block, thank you very much.

Jamie Block's new Whitecaps on the Hudson

Jamie Block’s new Whitecaps on the Hudson

It seems that he was saving the words for his songs, which on his latest (and long-overdue) album, Whitecaps on the Hudson, are perfectly crafted stories of a man whose life has had some twists and turns.

It’s a memorable work that reminds us why the music world has been much poorer during Block’s overlong absence.

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Gotta get it right with Alice Smith

Alice Smith was all about the casual vibe on Jan. 29, 2013, Night 1 of her three-Tuesday residency at Rockwood Music Hall in the Lower East Side of Manhattan. (Photos © 2013, Steven P. Marsh)

Alice Smith was all about the casual vibe on Jan. 29, 2013, Night 1 of her three-Tuesday residency at Rockwood Music Hall in the Lower East Side of Manhattan. (Photos © 2013, Steven P. Marsh)

The powerful young R&B-inflected singer reminds us that Nina Simone is most definitely not Motown

It could have happened to anyone. Someone who wrote about Alice Smith‘s first night of a three-Tuesday residency at New York City’s Rockwood Music Hall made a mistake. In describing Alice’s set at the tiny Lower East Side venue, the writer said “she did a few covers of a few classic Motown tracks.” (We won’t name the blog or link to the post, but if you really want to see the whole thing, we’re sure you know how to find it.)

Sure, it’s a big mistake. But who knew that Alice read her notices? And who would have expected a critique?

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Hanukkah, Night 4, with Yo La Tengo at Maxwell’s in Hoboken (with set list)

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Check out lots of photos from Hanukkah Night 4, with Yo La Tengo, Kid Millions, Todd Barry and Real Estate at Maxwell’s in Hoboken, N.J.

Will You Miss Me When I’m Gone? was pleased to see a relatively young local band, Real Estate, on the bill for Night 4.

We love the old favorites, like The Feelies. But there are more than a few upstarts out there, and some of them are really good. Real Estate qualifies. The band’s singer-guitarist, Martin Courtney, clearly loves many of the same musical influences that Yo La Tengo‘s members revere.

Real Estate did a solid set and gave us our first opportunity ever to see them perform. We already liked their recorded sound. We need to see them again.

Todd Barry gave a perfectly timed, just-long-enough performance. He’s a musician’s comedian whose wry humor fit well with the feel of the evening.

Yo La Tengo.

Yo La Tengo.

We have dozens out more images from last night’s show after the jump, including a gallery of an Ira Kaplan organ freakout!
But before we get there, take a moment to check out the new video from YLT’s upcoming album, Fade, which drops on Jan. 15.

Good stuff, with the ever-wonderful Georgia Hubley on lead vocal, and great animation by her sister, Emily Hubley.

Here’s the set list, courtesy Frank & Earthy:

Spec Bebop
We’re An American Band
The Crying of Lot G
20th Century Boy (T-Rex)
Out the Window
The Point of It
The Summer
Don’t Have To Be So Sad
Double Dare (acoustic)
Big Day Coming (fast)
Nothing To Hide
Decora
Mushroom Cloud of Hiss

*(encore)*
Burnin’ For You (Blue Öyster Cult) (with Todd Barry on drums)
Our Way To Fall (with Martin Courtney of Real Estate on vocals)

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Hanukkah with Yo La Tengo at Maxwell’s in Hoboken — Sunday and Monday

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Yo La Tengo jammed with Fred Armisen on a second drum kit. (Photos © 2012, Steven P. Marsh)

Yo La Tengo continued its massively wonderful holiday tradition, kicking off the first of eight shows — one for each night of Hanukkah — on Saturday night. The proceeds from tickets and most merchandise goes to charity. (This year all the charities support Superstorm Sandy recovery efforts.)_

Will You Miss Me When I’m Gone? managed to score tickets to four of the eight nights — not an easy thing to do the way TicketFly is set up.

Our first night was Night 2, when the amazing Sun Ra Arkestra (imagine a DOZEN musicians on the tiny Maxwell’s stage!) was the opener and Fred Armisen of “Saturday Night Live” and “Portlandia” was both the comedian and a musical guest.

Night 3 featured Hoboken’s hometown heroes The Feelies, which opened with a very strong set, and the members of which sat in at various points of YLT’s set. Guitarist and vocalist Glenn Mercer was absolutely on fire all night. And Brenda Sauter did a great job on vocals for “You Ain’t Goin’ Nowhere.” “SNL” writer John Mulaney was the comic for Night 3.

We’ll be back tonight, but wanted to share some images of nights 2 and 3 with you now.

This is a tradition that has been going on for 11 years, YLT’s Ira Kaplan pointed out last night. We hope it continues for many years to come.

Click through to the jump for lots of photos from Sunday and Monday nights’ shows.

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A taste of Jihae at the Mercury Lounge

Jihae performs at the Mercury Lounge. (Photo © 2012, Steven P. Marsh/willyoumissme.com)

Jihae performs at the Mercury Lounge. (Photo © 2012, Steven P. Marsh/willyoumissme.com)

Rebecca Perrin of Eileen Fisher.

Rebecca Perrin of Eileen Fisher.

As predicted, Jihae did the unexpected last night at the Mercury Lounge.

She didn’t put on an artsy opera, and she wasn’t (except for one song) in girl-with-a-guitar mode.

Instead, she was a proud rock chick, complete with a leather motorcycle jacket that somehow didn’t manage to violate her Eileen Fisher fashion style. (And yes, at least one person from Eileen Fisher, the designer for whom Jihae is a key model, was in the audience. It was Rebecca Perrin.

Click through to the jump to hear what Jihae sounded like last night.

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After the storm comes the calm: Thomas Ades’ The Tempest at The Met

It’s wonderful to see a truly grand opera – with more than 50 people onstage at once – that feels intimate at the same time.

That’s exactly what Thomas Ades has done with his opera The Tempest, seen in its U.S. premiere tonight at The Metropolitan Opera.

Robert Lepage’s production was masterful and fully equal to the score. It used an intriguing conceit of an opera within an opera. I’m not sure what it was supposed to mean, but it proved visually interesting.

The approach set Act I upstage, looking out on what appeared to be a classic European opera house.

Act II turns the idea around, playing out beneath the proscenium with the audience viewing the action from the house.

Act III was first played out backstage and then transported to a section view from stage right.

The staging hit all the expected marks. But Lepage’s threw Ina few curve balls, including a bit of business in Act III that appeared to be an homage to Broadway’s “Spider-Man: Turn Off The Dark.”

Without spoiling the surprise, think a cross between Arachne and Green Goblin from the troubled musical’s original iteration.

Ades knows how to do opera by the rules and still create something fresh. This isn’t avant garde opera, but simply great opera in a modern idiom. Ades is one of our greatest living opera composers

The performance was conducted by the composer, and The Met Orchestra rose ably to the challenge under his baton.

The singing was uniformly great, with exceptional turns by Simon Keenlyside as Prospero, Isabelle Leonard as his daughter Miranda and Audrey Luna as the ephemeral Ariel.

Thano goodness for the Met Titles, though, as many of Ariel’s lines were nearly in the “only dogs can hear” range. I had to wonder if her repeated expression of “bow-wow” was a direct comment on that. Her character was a little tough to connect with at first. But she grew on me after awhile.

The premiere lived up to my expectation that it would be a Met must-see. A half-dozen or so performances remain. Don’t miss out. Get tickets now at The Met’s website.

David T. Little’s ‘Dog Days’ will blow you away

John Kelly as Prince and Lauren Worsham as Lisa in the world premiere performance of "Dog Days." (Photo: James Matthew Daniel)

John Kelly as Prince and Lauren Worsham as Lisa in the world premiere performance of “Dog Days.” (Photo: James Matthew Daniel)

Be prepared to hold onto your seat if — as you really should — go to see “Dog Days,” the new opera from composer David T. Little and librettist Royce Vavrek now in its world premiere run at the Alexander Kasser Theater in Montclair, N.J.

Composer David T. Little (Photo by Merri Cyr)

Composer David T. Little (Photo: Merri Cyr)

While the extremely dark, comedic piece is clearly a team effort (Jim Findlay‘s scenery, live video and video design lend the piece extra oomph), it’s Little’s powerfully dramatic music that makes the tale so compelling. The emotional score, with spiky, jarring moments, never loses its lyrical bearings. “Dog Days” signals Little as one of the great compositional voices of his generation.

(Click here for a video preview.)

Focusing on one American family that has, so far, survived a vaguely described apocalypse, the opera grapples with questions of human relationships, their limits and even what it means to be human.

The opera is based on a short story of the same title by Judy Budnitz. While the opera makes the story arc understandable, I regret not reading the story before seeing the sold-out first performance at the Kasser, a jewel of a theater on the campus of Montclair State University.

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Scenes from a fund-raiser: Benefit for Lucinda’s Kids, Night 1

The first night of the two-night Benefit for Lucinda’s Kids was a great night of almost 7 hours of entertainment on Sunday, April 29 at The Bowery Electric, with a great crowd and a fantastic lineup of artists, including Marah, Jesse Malin, Jimmy Gnecco, Willie Nile (who almost missed the show because of a delayed flight from Chicago), Jim Boggia, Aaron Lee Tasjan, Michelle Casillas (Ursa Minor), Mystie and more. As of Sunday night, there were still tickets left for the second night of the benefit to raise money for the trust fund that will benefit the two teenagers left behind when their mom, super music fan Lucinda Gallagher, committed suicide last December.

Here’s the Monday lineup.

Monday, April 30, doors at 7 p.m.
Tommy Stinson (The Replacements)
HR (Bad Brains)
Alan Vega (Suicide)
James Maddock
Aaron Lee Tasjan

Tickets are $20 and available here.

And here’s what you missed on Sunday.

Jesse Malin

Many, many more photos after the jump.
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