With the holidays over, looks like Metro's back on track with posting issues again. For last week:
Jan. 8: A piece on Zappa tribute band Project/Object, hitting World Cafe with ex-FZ vocalist (and Thing Fish) Ike Willis in tow (pg. 19).
Jan. 10: A preview of I-House's retrospective of Swinging '60s documentarist Peter Whitehead, featuring his revelatory 1968 time capsule collage The Fall (pg. 16).
Jan. 12: Philly guitarist Matt Davis' chamber-jazz ensemble Aerial Photograph hosts like-mided Canadian saxophonist Quinsin Nachoff (pg. 18).
Wednesday, January 17, 2007
Daily News, Jan. 12
Two features this week: the first for Ars Nova's world premiere of the David S. Ware Unit, featuring Mat Maneri, Keith Whitty, and Whit Dickey; and the second for Patti Austin's Ella Fitzgerald tribute show opening for Ramsey Lewis at the Kimmel. Also, a Pick for trumpeter George Rabbai and guitarist Brian betz at Chris', and listings for Odean Pope's trio at the Art Museum, Matt Davis' Aerial Photograph w/ Canadian saxophonist Quinsin Nachoff at the Broad Street Ministry, vibist Tony Miceli at Chris', organist Joey DeFrancesco at MontCo, and Indian-American percussionist Ravish Momin's Trio Tarana at the Rotunda.
Citypaper, Jan. 11
This week: a feature on Philly electronics experimentalist Dave Smolen; a Pick for jazz/folk crossover MaMaVig; and a Soundadvice piece on Joey DeFrancesco's gig with fellow Miles alum saxophonist George Coleman.
On the movie side, two reviews: one for the gangsta dance-off Stomp the Yard and the other for Nick Cassavetes' fun-when-not-preachy Alpha Dog.
On the movie side, two reviews: one for the gangsta dance-off Stomp the Yard and the other for Nick Cassavetes' fun-when-not-preachy Alpha Dog.
Saturday, January 06, 2007
Daily News, Jan. 5
No feature story this week, just a Pick for Marc Ribot's show this Sunday at Tritone with the Swiss Lucien Dubiuis Trio; and listings for the Steve Myerson Quartet Friday at Chris', Dave Burrell and John Szwed's discussion of Jelly-Roll Morton's influence on the jazz avant-garde Thursday at Kelly Writer's House, and the LA-based large ensemble Industrial Jazz Group Wednesday at Chris'.
Metro, Jan. 5
For the weekend: a big cover story on the Bowerbird @ Landmarks program, which brings experimental music to Philly-area historic homes; it landed Toshi Makihara on the cover and packed the Physick House. Metro is still slacking about posting issues, but here's a scan from Bowerbird's site.
Also, a piece on the Montana-based experimental theater company Missoula Oblongata's Puppet Uprising-hosted play, Wonders of the World: Recite; and one that got cut on Slavic Soul Party, a Balkan folk-funk party band comprised of moonlighting members of the Brooklyn new-jazz scene, which I'll include here:
A Brooklyn-based brass band playing funk party tunes inspired by Balkan folk music isn’t too hard to accept. Names with suspiciously non-eastern European inflections like Toriyama or Noriega is a little stranger. But when the group’s leader turned out to be Matt Moran, usually known as vibraphonist for new-jazz ensembles like John Hollenbeck’s Claudia Quintet and the Mat Maneri Quintet, the whole concept seemed particularly intriguing.
“I sort of have a split personality musically,” Moran admits, “where I’m playing new music on vibes and playing drums in brass bands. This is where I synthesize my Balkan interests and my love of American music too.”
Moran first discovered Balkan music when the Bulgarian Women’s Choir (aka La Mystere des Voix Bulgares) came to prominence in the States in the late 1980s. “I really loved it,” Moran said, “so I just started chasing it down and eventually met other Americans who were into it through the international folk dance movement of the sixties. Then through them I found immigrant musicians playing the music here in New York and it just kept snowballing.”
On top of studying the music and learning its conventions, Moran says, “the main thing an American has to absorb, it seems to me, is attitude. Not to shy away from the clear and simple. And you’ve just got to really connect with intensity and passion. If you don’t feel a red-hot livewire running through yourself around this music then you shouldn’t be trying to play it or write it.”
But despite his appropriation of Balkan music, says that“the very concept of world music is anathema to me. We’re playing neighborhood music, and these are the influences and the things that bubble in our neighborhood. I walk out my door and you hear Albanian cats blasting Albanian pop, you hear Mexican banda, you hear hip-hop, you hear Bangladeshi music. All this stuff is here, and this is just us living and working in our neighborhood.”
Also, a piece on the Montana-based experimental theater company Missoula Oblongata's Puppet Uprising-hosted play, Wonders of the World: Recite; and one that got cut on Slavic Soul Party, a Balkan folk-funk party band comprised of moonlighting members of the Brooklyn new-jazz scene, which I'll include here:
A Brooklyn-based brass band playing funk party tunes inspired by Balkan folk music isn’t too hard to accept. Names with suspiciously non-eastern European inflections like Toriyama or Noriega is a little stranger. But when the group’s leader turned out to be Matt Moran, usually known as vibraphonist for new-jazz ensembles like John Hollenbeck’s Claudia Quintet and the Mat Maneri Quintet, the whole concept seemed particularly intriguing.
“I sort of have a split personality musically,” Moran admits, “where I’m playing new music on vibes and playing drums in brass bands. This is where I synthesize my Balkan interests and my love of American music too.”
Moran first discovered Balkan music when the Bulgarian Women’s Choir (aka La Mystere des Voix Bulgares) came to prominence in the States in the late 1980s. “I really loved it,” Moran said, “so I just started chasing it down and eventually met other Americans who were into it through the international folk dance movement of the sixties. Then through them I found immigrant musicians playing the music here in New York and it just kept snowballing.”
On top of studying the music and learning its conventions, Moran says, “the main thing an American has to absorb, it seems to me, is attitude. Not to shy away from the clear and simple. And you’ve just got to really connect with intensity and passion. If you don’t feel a red-hot livewire running through yourself around this music then you shouldn’t be trying to play it or write it.”
But despite his appropriation of Balkan music, says that“the very concept of world music is anathema to me. We’re playing neighborhood music, and these are the influences and the things that bubble in our neighborhood. I walk out my door and you hear Albanian cats blasting Albanian pop, you hear Mexican banda, you hear hip-hop, you hear Bangladeshi music. All this stuff is here, and this is just us living and working in our neighborhood.”
Citypaper, Jan. 4, 2007
The first CP of the new year finds my now-traditional (this is the third annual) 'Buried Stories' piece for Naked City. A little different this year (mainly because the busy nature of '06 precluded my amassing much in the way of actual buried stories), as I simply took five of the least newsworthy big stories of the year (the Mel-down, Britney's upskirt) and took a look at what else was news the same day, that may have been hushed because of the hoopla. Hopefully you'll get a laugh or two.
Also, a review of the latest 'white girl pulls the gangstas from out the hood' flick, Freedom Writers; and a Soundadvice mention of Black Dice closing out the Vox Populi gallery, which ended up being cancelled anyway.
Also, a review of the latest 'white girl pulls the gangstas from out the hood' flick, Freedom Writers; and a Soundadvice mention of Black Dice closing out the Vox Populi gallery, which ended up being cancelled anyway.
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