Wake the Drums

The Golden Rules of Walking

2010-09-08T13:29:00.001-07:00

Dear Friends,

Today, like every day, I was walking through New York, attempting to get somewhere quickly, when BAM! Half of the city forgot the mechanics of walking. This is not a unique experience. In a city full of habitual walkers, an epidemic of "stupidity on moving feet" has swept Manhattan. Since my efforts to institute a required walking tutorial in our fine city have been repeatedly denied, these three golden rules of walking (and punishments for breaking them) will have to suffice. Government, if you ever get your priorities straight and create a department of walking (which I've also demanded weekly via strongly worded letters), be sure to include these simple guidelines to ensure a happier walking life.

1. No Stopping in the Middle of the Sidewalk. Ever.

Seems self explanatory right? Well, apparently it isn't. Let's make this clear: If you need to stop, get over to the side. I can only imagine how difficult this may seem while simultaneously looking confused and talking on your phone, but believe me, once you get over the initial fear of getting the fuck out of the way, it can be a very gratifying experience. And by gratifying I mean you're way less likely to get walked into or punched in the face.

Punishment: Previously mentioned fisty-facey, or in extreme cases, the perpetrator will lay in the middle of the street and get stepped on for an hour.

2. The Sidewalk is for Everyone, Not Just Really Slow Walking Couples

It appears our nationwide effort to emphasize sharing in Kindergarten did not include a chapter on "sharing while in motion". Couples are only a part of the problem, as many larger groups share a belief that walking slowly, side by side on a narrow sidewalk is totally okay and not at all annoying.

Punishment: For couples, hands used for holding will be chopped off. Groups will be separated, stripped of cell phones, driven off to random locations, and walk around the city trying to find one another. ALONE. Which is way worse than not having hands.

3. Choose a Side, and Stick with it

When dogs go for walks, they like to see and smell every part of their surroundings, to ensure they don't miss some enticing dog shit or something. Which is totally understandable because, you know, they're dogs. Many walkers in this crowded city treat the sidewalk the same way, wandering from side to side like drunken boxers (and at least half of these people have got to be sober and not boxers). It blocks traffic on both sides, makes passing impossible, and looks really, really stupid.

Punishment: Perpetrators will be walked on a leash through China Town and forced to stop at every area that smells like feces. Rest assured, it will be a long walk.

And there you have it. If any of you fine readers know governmental types or other serious walking advocates, be sure to get these rules into their hands. Your life on the sidewalk depends on it.

10 Concerts, 17 Days: Derek Trucks and Susan Tedeschi

2010-07-21T19:10:00.000-07:00

Hello People,

Beginning with Derek Trucks this past Saturday and ending with Poppa Chubby on August 3rd, I'll be attending between 8-10 concerts over a 17 day period. So... I'm kinda happy. And by kinda happy I mean I'm in fucking heaven. Luckily for you, I've decided to write short reviews after each show, beginning with Derek Trucks and Susan Tedeschi this past Saturday at the Paramount Center for the Arts in Peekskill.

I've seen Trucks several times in the past, and he's been nothing less than awesome each time, a borderline guitar genius with a really strong backing band. This time around was no differe... wait... I mean terribly, horrifically, grotesquely different. From beginning to end, the show was a disorganized, disjointed, musically dumbed down mess.

First off, the band had two drummers playing full drum sets at the same time. This is almost never necessary, and is only interesting to me if it's a really percussive group (such as Tool) using two drummers sparingly. Both drummers played together for the entire show, combining to equal less than one decent percussionist. The lineup also included two guitarists (Trucks and Tedeschi), a bassist and a keyboard player. At no point during the show did the group perform as a cohesive unit, instead sounding like six musicians playing by themselves who just happened to be sharing a stage. It was really the Susan Tedeschi show, and it almost felt like Trucks was awkwardly sitting in (which he wasn't, the two have been touring together now for quite some time). I wasn't a huge fan of Tedeschi, more due to stylistic preferences than talent; she has a great voice and plays a decent guitar. However, she should be forbidden from writing lyrics for as long as she lives, as she set the unofficial record for most times using the words "love" and "music" in a lyrical cheesefest.

The utilization of the rest of the bands' abilities was odd to say the least. Since Trucks was the main reason I came to the show, I figured I'd at least enjoy his previously stunning guitar work. But Trucks seemed to lack focus, and most of his meandering solos were aimless and went on for far too long. In fact, all of the musicians' solos were an effort in individual showmanship, with notes being selfishly noodled while the rest of the band looked on. Mike Mattison, the incredibly talented lead singer from Trucks' band, was used sparingly as a backing vocalist up until the encore, where he got to highlight his exceptional and unique singing ability for a grand total of... two songs. The lack of overall musicality was astonishing considering the high level of musicianship Trucks has displayed for years now with his own band, and while touring with Eric Clapton and The Allman Brothers Band. Bad pairing of talents, worse backing band, and a really disappointing show. If you like Derek Trucks, I recommend waiting until he goes back on the road with the Derek Trucks Band to see him live.

Geoff Achison Interview

2010-06-16T12:00:00.000-07:00

Hello Friends,

I recently met with Australian blues artist Geoff Achison prior to his only show in New York on his current tour, a solo acoustic gig at Terra Blues. I've been a big fan of Achison ever since discovering him in Melbourne. His live performances showcase Achison's rare verve and passion for music, and are always immensely enjoyable. I'd been looking forward to sitting down with him a while, and our discussion went as follows:

(D: Daniel, G: Geoff)

D: Geoff, let's dig right in. Your playing style is both original and technically proficient. According to your bio, you're a self taught guitarist. Walk us through your growth and development as a guitarist.

G: Oh man... right in 30 seconds? I started playing when I was about ten. I did get some lessons early on, my dad met a guy down at the local pub, his name was Jon McCann. He played a bit of guitar; I went to him for a dollar a lesson, maybe half a dozen times. He showed me how to tune the guitar, what the notes were, and how to form chords, and I took it from there. Somewhere in my mid teens I was playing with my dad's dance band, and that gave me a good grounding with how to play songs with a group, we were doing waltzes and foxtrots at Saturday night dances. I guess I was around sixteen or seventeen when I heard my first blues record and that just... shaped my life from then on, that was the sound. And I grew up in an area where that music was rarely, if ever, heard. So I was a bit of an anomaly, you know being a young lad that wanted to play American blues music rather than the top 40 pop music of the day.

In my early twenties I moved to Melbourne, which is the big city; I was a country lad. That was the town, and it still is, if you want to make a living as a musician. If you want a good live scene and a good variety of music, Melbourne's the place to be. Yeah, so I moved there in my early twenties, and after a bit of a slow start, and a couple of false starts, I eventually landed myself a full time gig as a blues guitar player with a guy called Dutch Tilders. I played in his band for about six years. After that, I just went off out on my own, put my own band together, writing my own material. We did discover that there was very little interest in the record industry for an original roots music act, so we formed our own record label and we just made a habit out of that. After doing the first one or two titles, ever since we just put the money on the table ourselves, and recorded and released them under our own steam. So, I've made a living out of it for a couple of decades. That's really all I wanted to achieve out of it, to make a living being a musician.

D: Seems to be working pretty well for you. I'd imagine you found some benefit to being an independent musician as opposed to joining a label.

G: It's like anything, there's pros and cons. But for somebody in my position, I guess because of the kind of music I play and the approach I've had to it, there's not many record labels that are too interested in doing that. Sometimes I have craved having some sort of professional team to help me out with production and direction and so on. We've just had to figure it out ourselves. But you know, I've made over a dozen records, and they've all sold. Some of the titles we've sold out of, because we're a small label, and once we press a few thousand, 4 or 5 thousand sometimes, we occasionally sell out.

But when you're independent all that money is in your control. The production cost is lower, your overheads are lower, and the number of people you have to disperse that money to is much less. For the most part we manage the money ourselves, a lot of it goes back in so you can create the next title. You have to run it like a small business and be sensible about it; put the money in the bank, do your accounting, know what's gone out and what's coming in and then talk about what you're going to do with it. But for the most part, it's worked out.

D: Great. You said you just took a few lessons briefly right in the beginning. Can you read music?

G: No.

D: Interesting. That brings me to my next question. There are lots of great musicians that can't read music and aren't trained, and lots of great ones that are trained. Do you feel untrained musicians are more creative generally, since they aren't learning from a set of musical "rules", as opposed to trained musicians being stronger technically but less adept on the creative end?

G: I don't agree with that at all. You've either got an aptitude for the instrument or you don't. I think if you're fortunate and you have the right teacher, they'll get the best out of what abilities you have. I know some musicians that have a fantastic comprehension of theory and can read really well, but aren't especially creative. And vice versa. And then I know other musicians, these are the guys I'm really amazed by, who are amazingly creative but also have studied and have great understanding of theory and can read music, guys in my band back home. And they get all the big gigs, TV gigs and theater gigs, and they can do that stuff, but then they love to go to a jazz club or do gigs in my band, where there's a lot of room for self expression. I'm good at being in my band. I'm good at being up there with a guitar and sort of playing what I feel like, but I've really got to work hard if I'm playing somebody else's music and being asked to do a particular role in a band. That's hard work for me. I don't think there's any argument, it's just different parts. It's like saying a guitar player is better than a saxophone player. It just depends on what your aptitude was and how your path went.

D: Cool. I've seen you perform both as an electric guitarist in a full band and in this sort of setting as a solo acoustic player. Did you always do both, always incorporate the solo aspect, or did that grow over time?

G: Um... I guess I have always done both. My first instrument was an acoustic guitar, so for the first five years I played acoustic. I got an electric guitar when I was fifteen, and that was a big deal. For that first five years all I had was this little cheap-ass acoustic guitar. So I put a lot of time in with the box style, and my first experience with electricity was a little pick up that you stuck on the top of the guitar. My parents, they did buy me an amplifier when i was thirteen for Christmas, and then I was searching around under the tree for the electric guitar that went with it, but my folks couldn't afford that. So I had this little ten watt Princeton amp and this little bug. And I guess the guy in guitar shop told them "Well if he gets the amplifier, all he's got to do is stick this on the acoustic guitar and presto! He's got an electric guitar." But once I got the electric guitar, I don't think I touched the acoustic for quite some time. That's really what I wanted, like any teenage kid that's into guitar; you want to rock. You wanna turn it up to 11 and make noise.

I guess I really got serious about acoustic guitar after I saw my old boss Dutch Tilders play. He's an acoustic guitar finger style player, and he was the first guy that I saw play acoustic guitar in a way that I thought was really cool and amazing. And I thought, "Well if I could make an acoustic guitar sound like that, that's what I want to do." So it opened up another side of my playing. Then I got offered some acoustic gigs later down the track... that's the best way to learn anything. If you're offered a gig, just say yes. That's the best advice I give to any young players. Whatever the gig is, say yes. Nobody offers you the gig if they don't think you're capable. Even if you're freaking out inside, just say yes, and you'll figure it out.

D: That's good advice. So I wanted to ask you about your most recent album, One Ticket One Ride. While this album is blues based, it contains some pretty strong elements of jazz and funk. In my opinion, it sounded like you featured these genres more than you had in past albums. Was this a conscious decision?

G: No, not really. Very little of what I've recorded has been a conscious decision to do this or that. It's usually a product of the circumstances I find myself in and the people I'm surrounded by. That album was recorded whilst living in Atlanta and just hanging out with some very funky dudes. And we're all into that kind of thing. I guess we're into... I don't know if roots music is the best term because that to me encompasses all forms of jazz and blues and funk and soul and... just good, funky organic music. I love the music community that I became involved in in Atlanta, there's a lot of cross pollination of musicians sitting in with different bands, I had a lot of different dudes coming and playing with my bands, doing my material. Likewise, I was often being called up and asked "Hey I've got a gig at such and such Friday night, are you free, can you come and be in my band for the night?" So I've gone and played in the bass players band, the guy that'd been my bass player one night, I'd go and play in his band the next week and do his material, and just sit back there and do his stuff. And maybe he was more jazzy than me, but we've still got that common thread.

D: Constant exploration.

G: Yeah, exploration and self expression. And it's just a true exchange of ideas. Yonrico Scott, who I got to know quite well, so he's come and played in my band quite a lot but then as it turned out as he's doing stuff with the Yonrico Scott Band, which has kind of got a floating membership. And this is... I guess a solution to the dilemma that a musician finds themselves in when they're on the road a lot, maybe with some main gig that they've got or a succession of different bands. They've got this personal project going on, but you can't have a band in your hometown just waiting for you to come back. So the solution is that you develop a network of different players that you enjoy working with. In the same way, we'd book a tour and then make the calls to see who was available to put the lineup together. And I was getting calls for that too. Rico's a good examples because so he'd come and do a gig with Geoff and the Souldiggers and do my material, my kind of blues, funk rock. Then a couple of times I've gone and played in Yonrico's band, which is just kind of a freaky ass jazz outfit, which I really enjoy. That was the kind of thing he asked me to do that but inside I'm just going... going out of my mind. How am I gonna play this shit?! But nobody asks you if they don't think you're capable. So you've just gotta turn up and do it.

D: That kind of leads into my next question... As you mentioned, you moved to Georgia to tour the states for what, two years?

G: Yeah, it was two years we lived here.

D: How did you find living and touring in the US compared to doing that in Australia?

G: Believe it or not, I spent a lot more time on the road here. Even though Australia's got a reputation for being a big country with a lot of miles, and that's true, but we've also got a lot fewer places to go so far as people touring as musicians. There's not that many big cities, you can count all the major cities on less than two hands, you don't need all ten fingers to count em. So we would go on tour now and again and do some big miles, but I think we'd maybe organize a month on the road maybe twice a year if we were lucky, and then maybe drive a couple of hours every now and again. But over here, in the states, I was on the road constantly. This is a big country as well, but there's just so many more cities. And I gotta say, it was a great way to see the country, I really enjoyed it. It was like living the dream for me, as a young blues fan from a little country town on the other side of the world, who was crazy about Muddy Waters and Howlin' Wolf, Ray Charles, all the soul artists. And there I am in my own band driving on the other side of the road visiting all these places down in the south, and we'd drive all the way up to here to New York City... it was like magic land for me. I loved it.

D: Getting to see where everything you had listened to was created.

G: Yeah, nearly every town you go through is a song in your record collection somewhere. It was a big deal.

D: Yeah that's... awesome. You were saying before that you pick up different musicians wherever you go. Who are some of your favorite musicians to play with?

G: Well look, I was very lucky when we started doing the recording sessions, cuz a lot of the guys on the recordings were my A list team. In a lot of ways the rhythm section that recorded a lot of it, Ted Pecchio and Tyler Greenwell, I was really keen to have those two guys in the studio, which is not a slight on any of the other bassists and drummers that I worked with. But it was those two guys as a team, cuz they've played together for so long. I first met them when they were playing together for a band called the Code Talkers, and I opened a show for them in Pittsburgh. I'd never heard of them, I didn't know who these guys were, I just knew I was doing an opening set for a band called the Code Talkers. Then I sat down and they started playing... they just blew my mind, tore me a new asshole. I couldn't even believe it. And it was the interplay between those two guys... they're out of their mind. Crazy, crazy stuff. And then I was fortunate enough to have those two guys in the band, I did a lot of touring with Tyler and another bass player called Charlie Wooten, I've worked with Charlie a lot, we became real good buddies. So I was really keen to get Charlie on there as well and I did, Charlie was able to come in and do a session for me. And I was also a big fan of the band King Johnson out of Atlanta, and I have been for many years.

Just from living in Atlanta I got to meet the guys here and there, and now and again when there were spots available the bass player Chris Long, he did gigs with me, and then I got introduced to Oliver Wood, and we did gigs together. We've actually got a show on this tour that I'm doing with Oliver. I'm still a bit starstruck when I talk to these guys. It was really, really great. Then Marcus Henderson.... all those guys I got to do gigs with here and there. And there's a lot of jam sessions that go on in Atlanta, if someones doing a gig it's like the doors always open, it's like "Hey man, swing by, bring your horn". And I just loved that community feeling. So I was really happy I got a lot of those guys on the record with me.

But there's still a lot of others. Greg Baba, he's a drummer that worked with me a lot, I didn't get him on the recording cuz I ran out of songs. He's another guy... if I start mentioning names I'll just leave somebody out cuz the network, it just grew and grew and grew. But it's something I really have enjoyed. Like I said before, it was a real dilemma when I was getting offers to come over to the states and England. But I just could not afford the cost of bringing my band over from Australia, it makes it prohibitive. So this was the solution to that dilemma. You know, just get myself there and hire some local guys. I wasn't comfortable with it at first, but the more I've done it the more I've realized what a boon this has been because of all these wonderful musicians I've got to meet and work with and create music with... everyone of them that's come in has brought a new take on the material.

D: You get to do your own music differently every time you perform.

G: Yeah that's right, and that makes it fresh. That taught me to really open my ears and not expect to hear the original recording reproduced for me.

D: Cool. Who have you been listening to recently?

G: Well... most recently Jeff Beck came to Melbourne for the second time and... I couldn't go and see it. He's been my favorite electric guitar player ever since the early days. He's enjoying a bit of a resurgence in his career at the moment, he's back on the road and he's making these wonderful records. As a consolation my wife bought me his DVD Live at Ronnie Scott's and his new studio album, so I've really been getting into that and enjoying that immensely. Somebody introduced me to a band called the Cinematic Orchestra last year and I got two of their albums, and I've just played that over and over again. And it's very different to where I've been for the past few years. This is more... I don't know how to describe it. It's almost like... chill music? I don't know if that's the right term, it's almost hypnotic, but it's real instruments, it's organic, lots of double bass laying down the grooves. It's just sort of layering it up, not wild solos, really simple themes. I've really been enjoying that... it's been interesting.

D: That about covers my questions... any last things you wanna say Geoff?

G: Well, I'm just enjoying being on the road at the moment, I still get a huge kick out of traveling and meeting people. I've got friends all over the world now. It really is the greatest way to make a living. We've had a hard couple of days just getting from one end of the world to the next and making sure you're able to bring your gear with you... But it's just the opportunity to play music in different parts of the world.. I still pinch myself that I'm able to do this and that people are happy to see me now and again. It's great.

Achison's performance post interview was great, per usual. The energy he creates in a room with just an acoustic guitar and his voice is stunning. He played a mixture of covers and originals, although the covers' only similarities to their original versions were the lyrics. Some of the standout songs were Whipping Post, Superstition, Apparatus, and Lovin' in My Baby's Eyes. Sadly, his tours in the US are far too infrequent, typically spanning only a few weeks each year. If he does come to your area, don't miss it. I guarantee non-boredom.

Duo of Reviews: Doves and Eddie Vedder

2010-05-04T17:50:00.000-07:00

Hey Friends,

So you've probably noticed that many of my reviews cover albums that came out some time ago. In my music discovery process, I often come across records from years ago, whether it be from a friend recommendation, a re-release by the band, or an old download I simply hadn't gotten around to yet. Regardless, it's new to me when I listen to it, and hope it's new to at least some of you when reading it.

On that note, here are two old albums I checked out this past week and my opinions on them:

Eddie Vedder- Into the Wild: Into the Wild is a solo album by Eddie Vedder (lead singer of Pearl Jam), which was written for the movie of the same name. Vedder provides all the instrumentation and vocals on the album. The movie is about Christopher McCandless, a college graduate who decides to give away all his savings and live in solitude in the wilderness. McCandless dies five months later of starvation, inspiring a book and movie about his life. The album, much like the film, portrays hope and inspiration early on, then deep sadness and alienation as it progresses. Vedder's gravely baritone perfectly compliments the combination of loneliness and optimism emanating from his lyrics. The instrumentation is fairly simplistic, but it suits the album well and does an excellent job setting the variety of moods throughout. Consisting primarily of acoustic songs, the album falls somewhere between the folk/rock/roots genres. Even on its own (without the movie), this is a very strong and emotionally provocative album.

Doves- Some Cities: I decided to check out the Doves after hearing comparisons between them and Radiohead. In my opinion, the bands' similarities are vastly overstated. The Doves remind me of a cross between Travis (a melodic, softer rock group) and The Flaming Lips. While this record was good on the surface, I found myself unable to fully enjoy it. The musicianship was very strong, and the group combined atypical sounds with their style of melodic rock very well. However, the songs overall came across like a dull razor: no edge. The band seemed unable to maintain a high level of intensity throughout the entirety of a song, often teasing you with a harrowing section but failing to sustain this sound for long. Some Cities is a decent album, but is definitely missing something.

Freaks and Geeks: Series Review

2010-04-28T16:50:00.000-07:00

My Dearest Readers,

Welcome to my first TV series review! I don't plan to do these nearly as often as music related articles, but figured I'd give it a shot today.

For the past few months I've been watching the show Freaks and Geeks (yes I know, it came out ten years ago). I'd heard for a while it was good, so I finally caved and watched. The show ebbs and flows, but by the end of the first season, I was hooked. Of course, the show only aired for one season, so that sucks.

Freaks and Geeks is a high school drama/comedy, done from the perspective of teenagers on the outside of the popular crowd. The main character is Lindsay Weir, a brainiac who begins hanging out with a "bad" crowd (the "freaks" of the high school) after her grandmothers' death. Her brother Sam is a freshman, and for a number of reasons (a few easy ones being that he's about 4 feet tall, weighs 80 pounds, and loves sci-fi) is considered a "geek". The show centers around how the Weir's and their friends fit into the high school dynamic as members of two vastly different alternative crowds (although Lindsay's membership is by choice while Sam's geekhood is unwilling and based on the reality of his social situation). The supporting characters are highly significant and played very well. In many episodes, one or more story arc will revolve around a character besides Lindsay or Sam, and each supporting character spends some time as the focus of an episode.

The first two thirds of the season are largely episodic. Rarely does a plot line carry over from the previous episode beyond the general themes of the show. While nearly all of the episodes are enjoyable, the lack of continuity limits character development and depth. However, towards the end of the season past plot lines are brought back into the picture, and new ones are created and developed. The show really takes off at this point, and I inevitably began feeling empathy, humor, joy, sadness... the whole range of emotions that only the best artistic mediums can bring out of a person.

A major part of what makes Freaks and Geeks so likeable is its relatablity. Nearly everybody in the United States experiences high school and is acutely aware of all of its' groups and cliques. The show finds a way to portray typical high school issues without appearing cliche. Overbearing parents, to have/not have sex, academics vs. peer pressure, the social currency gained by partaking in illegal activities and much more are portrayed in both funny and moving ways. Unlike many TV dramas, the issues are presented in "real life" terms, where difficult decisions are made in an arena of ambiguity beyond right or wrong. The show does a fantastic job creating situations that accurately portray the plethora of pressures all teenagers are burdened with.

Overall, I would say Freaks and Geeks is a very good show with moments of greatness. It really comes into its own towards the end of the season, and it's a shame the show didn't get a longer run. If like me you're also ten years behind in your high school TV viewing, check it out. You won't regret it, and you'll probably even enjoy it.

Jazz Sax Player Nick Myers Interview

2010-04-20T06:27:00.000-07:00

Hello Friends,

A few weeks ago I went to 169 Bar in the Lower East Side for a friend's birthday. I was pleasantly surprised to have live jazz hit my ears as soon as I walked in. The music was fun and upbeat, with lots of instrumental jazz covers of classic rock and soul tunes. This was not a bar full of jazz listeners (more drunk hipsters), but the bars' inebriated inhabitants danced throughout the entirety of the set. This horn driven group entranced the crowd with intoxicating solos and irresistible rhythms. While in my drunken state I couldn't give the show a proper review, I did manage to get the contact information of the band leader and saxophone player, Nick Myers. I interviewed him this Monday, and he had some interesting things to say. Here is the transcript of our discussion:

(D: Me, N: Nick)

D: My first question: Is Nickhead your primary group.

N: Yes.

D: What's the background of the group?

N: Well the name "Nickhead" is an umbrella that I use for a number of groups. The group was first created in Italy as a quartet, where I recorded my original compositions. Then when I came to NY, when I was here working, I decided I wanted to expand on the repertoire of the group and the name. So I started doing this weekly gig that you heard at 169 bar. I still advertise under the name Nickhead, but I guess it's a little bit different from the original group.

D: Are you originally from Italy?

N: No, no, no. I'm from Washington state. But I lived there for a little bit, and I recorded an album over there. I go back once or twice a year to perform.

D: Oh, awesome. Tell me a bit about your personal history in music.

N: Well, I started playing piano when I was five years old. Then I switched to saxophone in middle school; my grandpa played piano as well, but he played all by ear. He kinda taught me a lot of old standard material, a lot of old songs. So I picked up the saxophone and started playing with him, and a little bit later I started my own group. I think when I started a group in my hometown and started playing gigs around town, I realized I really enjoyed playing music and wanted to play music for a living.

D: Cool. When I saw you perform at 169 Bar, the music was upbeat, fun, horn driven jazz. I thought it was accessible to everybody, not just jazz lovers. Listening to some of your recordings, it sounds like you also play quite a bit of straight ahead jazz music. Tell me a bit about the different styles you play and what you prefer.

N: I actually enjoy both. I don't enjoy playing strictly one type, I like having a diversity of styles in music. I want to create an environment... I feel like a lot of times when you do a straight ahead jazz gig in New York people don't particularly enjoy the atmosphere. So I wanted to create a vibe where people would feel like they could come out, and didn't feel the music was overly intellectual. I wanted to make the music appear to be very accessible to everyone, but still be able to expand and improvise on the forms. Some of the songs we do we change them every week, it's still very improvised and very jazz based. Sometimes we even make up forms... actually all the times we make up forms; we don't ever play any of those songs the same way twice. It's just a different way to do the same things we enjoy doing. It's definitely more accessible.

D: I agree. I saw on your website that you just came off a tour in Italy and you said earlier that you've recorded with guys in Italy. How did you end up with this Italian connection, and what's it like when you tour over there?

N: Well, I actually did this thing through my college, NYU. I did a study abroad thing, and I hooked up with all these musicians in Italy. I got a record out over there, which allowed me to tour. They really enjoy jazz in Italy, I feel like it's a very different scene. The music is more well attended generally. Not just jazz, they really have an appreciation for all types of music. Not to say here people don't have the same appreciation, you just have to draw it out of them.

D: Interesting. When and why did you move to New York?

N: Well I moved to New York for college, but I just said yes to the first New York college that accepted me. I didn't really care which college I went to, I just wanted to come to New York. That's where jazz and music that I liked was started, and I wanted to go there and see why it was started there.

D: Are you a full time musician?

N: I am. I teach and I play gigs. I also have a little thing that I do where I make videos for other jazz musicians, like promotional videos and that sort of thing. That makes a little extra income but for the most part I am a full time musician.

D: What are some bands you enjoy listening to?

N: Hmmm... Well since I've been doing this gig at 169 Bar, I've been checking out a lot of James Brown. I've always liked James Brown, but I never sat down and transcribed it, and I've been transcribing it. Not so that I can play exactly what James Brown played, just because I want to understand what he played and use that as vehicle for a different sound, different compilation. I always liked... well obviously there's a few inescapable influences on the saxophone that I like; John Coltrane, Charlie Parker, Joe Henderson, all those guys. I studied a lot of saxophone players and a lot of trumpet players too... like Chet Baker. I enjoy listening to it as well as studying it. I also listen to some modern music... I don't really like much modern rap, but I like a lot of early 90's rap music like Wu Tang, Tribe Called Quest. I really like that stuff.

D: Lastly, is there anything else you want people to know about yourself and Nickhead?

N: Well, I want them to know that if they come out to 169 Bar on a Saturday they can boogie down and have a good time. That's what we're trying to do is bring an environment where people can check out live music, and not feel like it's being shoved down their throat.

There you have it. Nickhead is currently playing a Saturday residency at 169 Bar. If this sounds good to you, go check them out!

John Butler Trio: April Uprising Review

2010-04-14T08:21:00.000-07:00

Hello Friends,

I've been cautiously pessimistic about April Uprising for a while now. With a new lineup (besides Butler of course) and the bands' obvious attempts to appeal to a more mainstream audience, I feared this album would be poppy, cliché, and disappointing. I was right... and wrong. The album is much more pop oriented than his past work, and the lyrics are cringe-worthy. However, once you get past that, it's a pretty strong album.

Let's go over the bad before we get to the good. Lyrics have never been Butler's strength. He has always fashioned himself as a sort of hippie/revolutionary, but in the past there was a refreshing originality to how he communicated this ideology. Now he presents his principles in the most obvious ways possible; writing cheery songs about love, sad songs about struggle, and "uplifting" songs about redemption. Predictably, the first song on the album is called "Revolution". I don't think any social rebellion inspired by a pop song called "Revolution" will be terribly meaningful. The lyrics do not improve throughout the album. One particularly embarrassing song called "To Look Like You" is written from the perspective of a celebrity-idolizing teenage girl. If Butler's trying to begin a transformation to the "deep" side of Brittany Spears mind, he's off to a good start. Otherwise, this song made me nauseous.

Fortunately for the future of the band and the enjoyment of their fans, the musicianship is superb. Beyond Butler's always fantastic guitar work, the songs have a highly collaborative sound and are well crafted musically. If anything, the music could have highlighted Butler's guitar abilities a bit more, as I found myself pining for more of his searing solos. I loved the rhythm sections' work, as a variety of percussive instruments were constantly at play and the drummer/bassist alternated very well between playful, dramatic and visceral moods.

Outside of the lyrics, the vocals are very good, with well-timed tone and volume changes adding value to the complexion of the music. In comparison to the bands' past albums, the sound is a bit of old and a bit of new. The distinct combination of rock, folk, roots and blues remains, but the album contains a much stronger pop sound than any of the bands' previous work. The songs are very catchy while remaining musically appealing; a surprisingly well done combination. Some tracks I particularly enjoyed were C’mon Now, I'd Do Anything, Close to You, and Take Me. The album fades towards the end, as none of the last five songs are particularly noteworthy.

Overall, the album is pretty good. While it has some glaring weaknesses, there is more good than bad on the record. Thanks to a change in the groups' philosophy and direction, I doubt the band will ever reach the heights it did on Sunrise Over Sea (the bands' second album, and best in my opinion). However, the success of this record leaves me optimistic that the John Butler Trio will remain an enjoyable band in the future.

Wale: Attention Deficit Review

2010-04-07T07:10:00.000-07:00

Greetings,

Today I'll be reviewing the album Attention Deficit by rapper Wale. My relationship with rap is an interesting one. It was all I listened to in high school, before I really gave much thought to music. I was drawn to the beats, the raw force of the lyrics, and it was easily accessible on the radio. Once I graduated from high school and started playing guitar, I basically stopped listening to rap cold turkey for a few years and replaced it with rock. Finally, the light bulb went on in my head that I could be discerning in my musical taste and still enjoy plenty of rap and hip hop. Thus, this arduous journey has led me to... my first review of a rap album.

Attention Deficit is a good, not great album. The beats are very original, fusing a distinct old school rap influence and a more modern complexity, with a variety of horns and electronic sounds filling the songs. Wale's flow is very strong, while his lyrics are clever, funny, and on occasion very perceptive. A number of different artists cameo on the record, and fit well into the complexion of each song. The songs are a mix of upbeat dance tracks, introspective slower songs, and even Wale waxing poetic about personal and social issues. Many of the individual songs are excellent, with some of my favorites being Mirrors, 90210, Chillin, and TV in the Radio.

However, the songs stand better on their own then in the context of the album. The album starts off fast and upbeat for the first five or so songs. The songs themselves are all very good, but the tone and pace is too similar from track to track. At this point the songs slow down, with only a few more upbeat tracks, and the album hits a lull at the end. The sequence of the songs is a major concern, and the tempo of the album is choppy. After finishing the record I felt it was about three songs too long.

Overall, I enjoyed the album but did not love it. I was drawn more to the specific songs I liked then the record as a whole. This was Wale's first real album (he's released several mixtapes in the past), so his subsequent recordings could be a lot better without him tweaking his style much. In my opinion, he needs to be more conscientious of pace and song order if he wants to make a truly complete album.

Fun Size Album Reviews

2010-04-01T14:40:00.001-07:00

Greetings People,

A brilliant, entirely unoriginal idea came upon me the other day. I decided I wanted to do a straight album review, but instead of critiquing just one album, I'll do several shorter reviews in one post. Crazy right?! So anyway, here are my thoughts on some albums I've been listening to recently. I hope you all feel way smarter after reading these reviews:

Arctic Monkeys- Humbug: Prior to listening to the Arctic Monkeys, I assumed the group was another stereotypical Brit-Rock band attempting to become the next Oasis. I was very wrong. Humbug is packed with great rock songs, an enjoyable ride that hits you in the face right off the bat. The songs are catchy in an alternative vein, great instrumentally and vocally, and have a strong psychedelic backdrop. The band adeptly uses effects to create a captivating dark undertone without the music reeking of despair. A great album from a group definitely worth keeping an eye on in the future.

Charlotte Gainsbourg- IRM: IRM, Gainsbourg's third album, was written and produced by Beck (with the exception of one song, Le Chat Du Café Des Artistes), and his influence on the album is obvious. Each song is interesting in a completely different way, as Beck/Gainsbourg use a variety of different percussive sounds to create new, distinct beats. Many of the songs contain harrowing string arrangements, adding a unique touch to the albums already atypical sound. Gainsbourg's beautiful, versatile voice is a fantastic constant in each song. I don't know what I'd call this genre of music (electronica? R&B? rock? folk?) but I do know I like it, and really enjoyed this album.

Future of the Left- Travels With Myself and Another: As a general rule, I'm not a huge fan of punk music. However, I loved Travels with Myself and Another, a record with a pretty obvious punk influence. The album is hard, loud, and laughs in the face of subtlety. Lead singer Andy Falkous' voice is unlike any I've heard, alternating between yelling and singing in a voice similar to what Robert Smith's (from The Cure) would sound like if he was angry and rebellious. Booming drums and catchy, distorted guitar riffs compliment Falkous on an album bursting with swagger. Give it a listen, punk fan or not.

Twilight Singers- Powder Burns: Whatever drew me to listen to this album, it did not include Gred Dulli's singing "prowess" on Powder Burns. His voice sounds like a combination of Chad Kroeger's (from Nickelback) and a generic emo singer's whine, while his lyrics are so bland and cliche they make Green Day's words seem well thought out. This is a shame because the music has a ton of potential, with some really intriguing instrumentation, that used more effectively could be great. However, behind the predictable format of the The Twilight Singers' songs, the musical talent is wasted. After this album was put out Dulli released a fantastic record with Mark Lanegan (Saturnalia by the Gutter Twins), so perhaps not all hope is lost for this group. Until then don't waste your time, the only thing Powder Burns brought to my ears was pain.

Judgment Day: An Introduction to "String Metal"

2010-03-31T07:45:00.000-07:00

Hello Friends,

How many of you are familiar with "string metal"? If the answer is "not many", I wasn't either until I was introduced to a band called Judgment Day. The band consists of a drummer, violinist, and cello player; and despite these typically soft spoken instruments the music is so hard it has been coined "string metal". I first saw the band about a year ago and was blown away. When I heard the band was rolling into New York again, I set up an interview with violinist Anton Patzner and attended the show yesterday at Union Pool. Now, for your literary pleasure, here is the transcript from my discussion with Anton and a review of last night's concert. First, the interview:

Me: I am here with Anton, the violinist for the band Judgment Day. Anton, how and when did you guys all start playing together?

Anton: Well… Lewis (our cello player) and I are brothers but we didn’t really start playing together, other than at Christmas parties and stuff, until 2002. Then we started playing together on the street of Berkeley, and basically one thing led to another. We started off playing on the street, didn’t have any songs, just played loud and fast and people would give us money. People kept coming up to us asking if they could listen to our band so we thought “Oh! We should make this into a real band”. So we got John to play drums, basically he was like… the toughest drummer in Santa Cruz, where I was living at the time. We thought it would be a good contrast to have really heavy drums with violin and cello and… that’s how Judgment Day was born.

Me: So when did the idea to play “metal”, to start a string metal band, come to fruition?

Anton: Well the truth is we didn’t really plan for it to be metal, we just played loud and fast and that was kinda what made us tips on the street. We started writing songs like that and I was like, “Alright, well I guess this kind of sounds like metal”. So we just called it metal.

Me: I assume as string players you and Lewis have some classical training?

Anton: Yeah, that’s right. Both our parents are classical musicians and they were really good about getting us private lessons growing up, and making sure we practiced every day. And making sure we did it right. We definitely had really good classical training.

Me: Did either of you study at a conservatory?

Anton: Lewis did. Between when our first record came out and our new record (coming out this year), Lewis completed a four-year degree at the Peabody Conservatory.

Me: Ah, very cool. I’ve never really heard anybody who plays the way you guys do on violin and cello. Had you ever heard anybody like that in the past or was this style pretty much your idea?

Anton: There’s actually a really big alternative string movement happening right now, and we’re just one part of it. The first band that really did it was Apocalyptica, a cello group who cover Metallica songs. And Rasputina. And now there are lots of other bands out there; we were out at South by Southwest and we had a giant cello jam with a member of Rasputina and another kind of cello metal band called Break of Reality. So there definitely are quite a few bands that do it but I like to think that we're taking it in a different direction, maybe more of an experimental direction, and maybe more of a rock direction then a lot of the alternative strings bands. I think that alot of the alternative string bands from that scene play with more of the classical style. I think our style is way more raw and you know... imperfect. It's rock... I wouldn't say that our style is very classical.

Me: No, I wouldn't say so either. So when you first formed this band and started playing out, how were you originally received?

Anton: We were received well! I mean people were definitely always impressed. I can't remember a time when people were not impressed by us. Even when, in my opinion now looking back at us, I think we kinda sucked in the beginning. But people always really dug the violin and the cello playing metalish stuff so no matter what people have been impressed. But I think we've gotten so much better, and we continue to impress, so now I feel that more than just being an impressive act, we're something that people find musically interesting.

Me: Very cool. Want to tell us a bit about the musical themes for the new album?

Anton: Sure. The record is called Peacocks/Pink Monsters; the title is taken from a painting, which is the album cover. The painting is an improvised collaboration by three different artists. We just had them paint for two hours and then whatever it was at the ending, that's what we ended up using. It kind of ties into a lot of the themes of the record, there's a lot of improvisation on this record. We wrote about half of it, and then went in the studio and improvised and experimented and it kind of took its own direction, took its own life. There's a lot of spontaneity on the record. Actually, one track is completely improvised. At the end of every day in the studio we would just hit record and jam together; this one track came out so good we didn't even edit it, just mixed it, put it on the record. Yeah so, I think that's one of the big things here; it ties in with the artwork. There's actually a video of the artwork being done on the website; we videotaped the whole thing, an improvised collaboration of over two hours.

Me: Awesome. So what groups do you guys listen to?

Anton: Well, we kind of have a variety of tastes in our band. Personally, my favorite rock band is Radiohead. I love Led Zeppelin and alot of that 20th century rock music. Our drummer listens to a lot more metal than I do, but I can get into the metal stuff too. We have a drum tech on tour with us right now, and he has 500 hours of metal on his ipod. We've been given an education about metal on this trip.

Me: Any last things you want people to know about Judgment Day?

Anton: Yeah, one thing I would have to say is it's not just about music for us. We're also really into making videos, putting out videos. I write a lot on our blog at stringmetal.com . And people should check that out too... in addition to the music and the live shows, check out the videos and the website. We work hard on that also.

... And there you have it. Late last night I trekked out to Williamsburg with my roommate Andrew to see the band perform at Union Pool. The crowd of 30-40 people fit perfectly around the small stage, an ideal venue for a band with a small but loyal New York following. For an 11 PM show on a weeknight, it was an impressive crowd. The show itself was short but very sweet. The band had clearly matured since I had last seen them; the first time the experience was in large part visceral and "in your face". This show the band maintained that hard edge but the musicianship was what shined, as they produced a sound that combined art with violence. The forty minute concert was packed with numerous time and mood changes, and songs of astonishing complexity.

Some aspects of the show were imperfect, as the instrumental mix was not ideal. The drums were too pronounced, while the volume of the strings could have been louder. The sound was very crisp though, so these weren't major issues. The drummer was probably the weak link of the band, excelling in songs that required multiple tempo changes, but his beats were fairly boring and predictable when the tempo remained constant. However, the connection between the two brothers made up for any of the bands' minor shortcomings. The brothers' Patzner seemed to have a psychic ability to know what the other would play next, even during improvised sections. Lewis's cello playing oscillated from mournful to menacing, setting the mood at each turn, while Anton coerced the violin into producing sounds its creators could never have imagined, performing with fervor and passion. There was a brooding, tenuous darkness within each song, which sooner or later inevitably exploded into frantic, hard rock. Overall, it was a really enjoyable show by a truly unique, talented band. I'm excited to see how they continue to progress musically, and hope you decide check them out yourselves.

Backdoor Slam: A Comparison

2010-03-23T07:43:00.000-07:00

Hello Friends,

Several years ago I randomly discovered a fantastic blues rock group called Back Door Slam (or as they're now called, "Davy Knowles and Back Door Slam"). I'm very discerning when it comes to blues based rock (I find typical blues music repetitive and yawn inducing), but immediately fell in love with this trio. In the last few years the band underwent a dramatic line up change, with a brand new backing band and only lead singer and guitarist Davy Knowles remaining. The bands' sound has changed greatly since the new lineup was introduced, and it is my duty to provide an answer to the great debate of 2010: Was Back Door Slam Better Then or Now? Luckily for the two to three of you readers who have any interest in this whatsoever, I am very familiar with the original group and the new lineup, both on record and in concert. After you finish reading this article, you will finally be able to sleep at night without the constant, haunting whisper in your ear, saying "Back Door Slam... Davy Knowles and Back Door Slam... who I ask WHO IS BETTER!". The caps lock is where I imagine the whisper turns into a blood curdling scream, awaking both your roommates and your neighbors. Um, anyway...

A brief history of the band: Hailing from the Isle of Man (an island between Great Britain and Ireland), Back Door Slam began as a four piece blues rock band in 2003. They later reformed as a trio after the bands' rhythm guitarist died in a car accident. From 2004 until early 2009 the band remained a guitar, bass, and drum trio; releasing the album "Roll Away" and touring extensively. In January 2009, the original lineup split up and Knowles recorded his most recently album "Coming up for Air" with his new group; consisting of a drummer, bassist and keyboard player, with Knowles remaining on guitar and vocals.

I first heard the band at the Montreal jazz festival in 2007 (I think). Every night at the festival there were numerous free outdoor concerts, including three nightly shows on a "blues stage". Back Door Slam was one of these groups, and the show they put on was... fucking incredible. High energy and intense, Knowles booming voice and searing guitar was backed by a rhythm section that was both catchy and forceful. The music demanded your attention; the raw power of the music pulled you in and wouldn't let go until the very last note was played. Knowles' proficiency on guitar was stunning, inciting the crowd with his riffs, then setting them into a frenzy with well placed, frenetic guitar solos. I left the show on a high, ecstatic about the future of a band whose front man was merely 20 years old.

The first album "Roll Away" is much of the same, although obviously without the same energy level as a live show. The songs flow very nicely from one to the other, the musicianship is very tight, the solos retain their torrid live sound even on record, and Knowles deep bluesy voice suits the music perfectly. The band mixes a few slower, softer tracks in with its usual brand of loud blues rock, and in general do this very well. I enjoy nearly every song on this album, and a few of them even have that rare "man I can't stop listening to this song" quality.

Now, the new lineup. This time I listened to the album "Coming Up for Air" before seeing them live. The results were... uneven. I enjoyed the album for the most part, but that's a testament to how good Knowles is, as the backing band does virtually nothing beyond playing vanilla rhythms behind Knowles vocal and musical leadership. I can't recall one song where I found anything besides the singing and guitar work interesting. He throws a few solo acoustic tracks onto this album, which are very pretty and fit in nicely. However, there was no individual song on the album, with the possible exception of Country Girl, that drew me in, or I'd be especially excited to hear when it came on. I wondered if it was a conscious choice by either Knowles or the band's label (Blix Street Records) to move the band into a format that further highlighted the bandleader (at the expense of the overall quality of the music). Upon seeing them perform, I'm almost positive this is the case.

This time around was a totally different story. Gone was any semblance of balance; Knowles guitar drowned out nearly everything else, played at an ear splitting volume ill suited for the small performance space at Highline Ballroom. When the other instruments were audible, they were boring and the group was sloppy. It seemed as though the other members only attended the show to play as a backdrop to the "Davy Knowles Show", a lesson in musical masturbation. The solos went on for too long and with only stock beats behind them, made the entire concert seem like a tired, poorly directed one man improv act.

In conclusion, Back Door Slam were awesome. Davy Knowles and Back Door Slam... not so much. The group sorely needs a new backing band and a movement towards collaboration as opposed to self promotion to get back to the level they reached with "Roll Away". Will Sir Knowles make the necessary changes, or will album number one be the height of his musical prowess? I hope you enjoyed today's unsolved mystery with your host, Daniel Schwartz.

Bruce Peninsula Concert Review

2010-03-22T09:44:00.000-07:00

Hello Friends,

Bruce Peninsula are a six-piece (or they were on Friday) band from Canada, with a style pulling influences from gospel, rock, folk, African, and almost any other genre you can imagine. Ultimately a stylistic definition is unnecessary; the music transcends a clear genre. Having been familiar with the band for over a year now, I was psyched upon hearing they were playing in New York and had very high expectations.

During their 45 minute set in a (sadly) nearly empty room at Pianos, Bruce Peninsula played with a fervor and passion exceeding my already grand expectations. Led by the intoxicating voice of lead singer Neil Haverty, the band performed with joy and precision. Haverty's voice, both unique and oddly beautiful, evoked memories of a soulful Joe Cocker and reminded my ear a bit of Tom Waits. His energetic vocals were complimented by the rest of the band, all of whom also sang. The "chorus" of the band consisted of three female vocalists, who provided stunning harmonies that were interwoven within each song. The harmonies were the only aspect of the music that stayed constant, as the band took the audience on an adventure through a plethora of musical styles during the show. All the members contributed to the percussive backbone of the songs as clapping, tambourines, and stomping shook the stage throughout the concert. Far from an acapella group, the instrumentation behind the songs was remarkable, as the two guitarists used a variety of effects to set the tone of each tune, while the keyboard/bass player and drummer provided an ever interesting backdrop to the music. Words cannot do this band justice, my recommendation: buy the album and see them ASAP!