The last few weeks have offered great musical fare in LIC, some old favourites and some new discoveries. I’ve also had the chance to check out some new recordings. This will be my last blog for a while as I’m off overseas for a few weeks, so it’s longer………….. .
Check out the first ever podcast of “Sometime in Long Island City” .:- http://itunes.apple.com/us/podcast/sometime-in-long-island-city/id523786622 or
If you’re n New York check out an exhibition (until mid-June) of my photos of local and international musicians: “EarthSouNZ – A World of Diversity in Music” at Cranky’s French Creole Restaurant (http://www.crankyscafe.com/) on the corner of Vernon Boulevard and 49th Avenue in Hunters Point.
It’s been good to catch up with Anthony Cekay‘s saxophone playing at LIC bar (www.LICbar.com ) for a couple of sessions recently. I’ve heard two late night improvisation sessions with Christian Coleman (drums) and Broc Hempel (keyboard) that I’ve really enjoyed. Readers of this blog will know that I am no expert on Jazz. I’m beginning to appreciate different types of improvisations having heard some that are very “free” to others which slightly free within modes and others which are around established melodies and/or chord progressions. I would put Anthony’s between the last two categories, but am open to contradiction (and education!). These two sessions (one just saxes and drums and the other saxes, drums and keyboard) were interesting and enjoyable. It’s was a pleasure to hear two talented musicians listening intently to each other and producing engrossing music that expressed a range of emotions, especially when you know that it is all improvised.
I’ve also caught Broc Hempel and Christian Coleman playing at Domaine Wine Bar (http://www.domainewinebar.com/), with Peter Brendler on bass and Dave Scott on trumpet. This is a really good venue for this understated kind of jazz. Dave Scott came across as a thoughtful player of intricate music that matched well the playing styles of the other musicians. For those of you who do not know the Domaine Wine Bar (my University of Wine and Jazz) it is a small space that, at most, would house around 45 people (check out my “Jazz in Small Spaces” blog (http://wp.me/p1ZFJu-12). It is not somewhere where you would want to be blown to the back of the room by a pounding bass and tough brass section. As such it suits interesting and well played music in a range of styles,with vinicular accompaniments.
I’ve appreciated the Avalon Jazz Band (http://www.avalonjazzband.com) playing at Domaine. They are a French-style Jazz group who I would hesitate to call a “Band”, which to me sounds like a “Big Band”, which is certainly not the case. They are Violin (Adrien Chevalier), Guitar (Koran Agan), Bass (Eduardo Belo) and Voice (Tatiana Eva-Marie) a group who offer themselves as a nostalgic look at Paris in the 1940s, playing in a mix of styles that they describe as ” … a bridge between the old world and the new, between French charm and American glam, with just a pinch of burlesque and a spoonfull of swing”. I liked the Django/Grappelli-style Gypsy swing Jazz, but not so much so much some of the sweetly sung romantic French songs. Fortunately there wasn’t too much of the latter and I enjoyed Tatiana’s singing of standards, with a little bit of scat that showed off her vocal ability. The guitar and violin playing was very stylish and showed great skill. Bass players rarely come forward but I appreciated the solos that Edourdo offered in the sets that I heard whilst I gave in to the temptation of freshly shucked oysters and a glass of chilled Jurançon, a wine that matched perfectly the Blue Neck Oysters on offer that night from sommelier Chip behind the bar.
Occasionally in New York you meet people in unexpected places. As a follower of musicians around town I get to know those that have a really distinctive sound. One of these is the combination of Charlie Rauh (guitar) and Concetta Abbate (violin). I first heard them accompanying Ali Silva’s reconstruction of 1940s radio plays at the LIC bar winter “Fireside Ghost Stories” series (check out my blog “Live Radio in LIC” – http://wp.me/p1ZFJu-4X ), where they produced improvised mood music (check Anthony Cekay’s Podcast of this on http://page4music.com/2012/03/18/podcast-ghost-stories-by-lucille-fletcher/) . Then I came across Charlie playing with Mossa Bildner in her musical adaption of T.S.Eliot’s “Four Quartets” (see my “Now and again in Manhattan” post (http://wp.me/p1ZFJu-bL). A couple of weeks ago I went down to LowerEast Side to catch Leah Gough-Cooper’s Human Equivalent (http://www.myspace.com/humanequivalent) in an early evening set at a hideaway little bar (the “Recoup”) and who should I hear playing in the Delauncey Street subway station – Charlie and Concetta.
A few days later I went on to hear them play at LIC bar. I think when I listen to improvised Jazz I’m listening for fragments to which I can relate, whether fragments of melody or mood. If the latter I think I those fragments have to fall on fertile ground. If they dont quite fit my mood of the moment then they fall on stony ground. Not they have to match, it’s great when music can lift me out of the moment. If they jar, though, whether in mood or tonalities or just in the sound the instruments make, then I might be distanced. The latter is not the case with the music I have heard from Charlie and Concetta. It is interesting and does not jar. even when the tonalities wander. The styles of the players, and the timbres of the two instruments match well; with Charlie playing with a muted amplified guitar that supports the flight of the fiddle as it winds around melodies, scales and arpeggios.
Queens of Queens
Readers of this blog will know that I have been enthusiastic about the Queens of Queens residency at LIC Bar Wednesday nights during May. So far we’ve had two sessions from Michele Riganese, Shelly Bhushan, Little Embers and Jeneen Terrana; the first where they sang all their own material and the second where they mixed their own songs with songs by other writers. The first was dogged by some technical hitches but the four women showed how much their good humour and obvious cameraderie would get them through. The second show presented them more as a cohesive unit, helped by their agreement to each wear black and not to overcomplicate their instruments by expecting too much from the small PA system: handling four vocal mics on top of guitars proved tricky in session one. In session two they only ever had one guitar, plus keyboard and mic-based instruments like the Melodica and harmonica. The more I hear these women the more I appreciate their individual talents and the chemistry of this combination. It was good to hear old favourites from the singers – including Michele’s “Learn to Love” – as well as classics like Dolly Parton‘s “Jolene” (this must be one of the most played American Country songs ever) and “You’re no Good”, written by Clint Ballard Jnr and associated in the US with Linda Rondstadt and as a hit in the UK for 1960’s Merseybeat band The Swinging Blue Jeans ( I’m slightly embarassed to say that I might still have a 45 of that back in NZ).
Check out Little Embers song from the first show:
Before your name ( an audio file that should play in your default audio player)
And this video
Regular LIC Bar singer/songwriter Julie Kathryn has just released a new EP of her music, “Broken Love” (http://itunes.apple.com/us/artist/julie-kathryn/id366405519 or http://juliekathryn.bandcamp.com). She showcased this at the Rockwood Music Hall on 22 April in a superbly professional show which started an evening of LIC Bar- related musicians, with Brian and Silbin and friends and Toronto-based Freeman Dre and the Kitchen Party ending the night with their mix of European style rock.
On stage Julie shows great skill in relating to her audience and performing finely crafted songs in ways that show an almost visceral sense of rhythm as she supports herself on guitar or piano and links with the group of fine musicians with which she surrounds herself. So we had cello and violin as well as the usual bass, guitar and drums. Check out this video from Carly Massey.
The EP “Broken Love” has just four songs, each of which is emotionally direct and disarmingly personal. Listen to all four at one sitting and you’ll need to sit back and process for a while. Julie sings with an understated intimate style and an exquisite sense of timing that makes you feel that only you and she are in the room. “I don’t want you back” is a lovely subtle production and arrangement for a nicely crafted and performed song. “Not the Same” – presents a nice change of tempo and mood, I like the lilting simple child-like rhythms and chorus. “Broken Love“, is a gently rocking song with spotlit bass and sweet downward-flowing guitar arpeggios – a song that anyone who has had a broken first love will relate to, a song of lost, but not forgotten innocence that Julie’s singing so beautifully puts across. The last song, “Let this be” is my favourite, (being an incurable romantic and of a generally melancholic disposition). I challenge anyone to listen to this and not reach for the Kleenex! This EP is a gem that I hope will do a great job of taking Julie a long way in her career.
Now, Rachel (http://rachelwolf.bandcamp.com/)is a performer who will take you by surprise, especially if you have no idea what to expect. I saw her play at the LIC Bar in what, I believe, was her first perfomance there. She stands on stage and plays an Indian portable harmonium that has its origins in instruments carried by Christian missionaries and which were used to accompany those Victorian hymns that were a gift from the Queen to an Empire of cheap labour and raw materials. Not that Rachel sings anything like those often turgid and predictable tunes (not all, I should say). As soon as she opens her mouth you know that this is a young woman of great talent. She has a bluesy soulful sound which reminded me of Adele and Pink, with rich texture and accuracy that knocks you back. You just don’t expect this. It’s not just bluesy though, there’s a Joanna Newsom quality too, not just in the way she sings some of her songs but also in the ways she has crafted her music, a story-telling aspect that also reminded me of 1960s UK folk group “The Incredible String Band” especially when they incorporated the girl singers Licorice and Rose (not they had anything like Rachel’s quality of voice. At times I would have appreciated a little more variety in the accompaniment – the portable harmonium isn’t exactly a Hammond and I think some of her songs could have used that kind of sound. She sings quirky, original songs, check out “Murder Ballad” –
“I’d have been your lovin’ wife, right ‘til the day you died
But cross me and you’ll cross the river Styx.
I’m young and I’m sweet and I’m ripe as a peach,
But bite too hard you’ll get the bitter pit”
Watch out for this young woman, she has a great future!
Another bluesy voice comes from Kat Spina (www.katspina.com), a who played a set at LIC bar recently. There she played guitar with a partner Brian Forbes on nicely wrought and understated Fender Strat. Kat has a good accurate voice and takes care to carry the meaning of the words she sings, whether her own or “covers” such as Dylan’s “It’s all over now baby blue”. (When does a cover become a “standard”?). LIC Bar is not an easy venue at the start of an evening. There might just be a dozen in the audience, and some of those might be the supporters you’ve brought along. Some artists just get on with it and others, who look for affirmation from the audience might feel constrained in their delivery. I sense that Kat was a little restrained in this way. I dont think she’s naturally extravert and the sensitivity of her singing requires a steady confidence that for some is inner driven and for others is a product of audience response. Most singers like to get energy from the crowd, making early evening shows a hard road to take.
I enjoyed hearing Kat and have since appreciated her 2009 album “Engaging the Muse“. This is not an album that makes you go “wow!” It’s more of a sit down and listen, or put-in-the-background work. Kat’s easy singing style comes across as more bluesy than in her LIC Bar set and she has the advantage of a backing band that supports her in a range of songs, all of which (except for a Beatles song – “I’ve just seen a face”) she has had a role in writing. What comes across most with Kat is the quality of her voice, soulful yet not strongly so; accurate, yet not sterile; pleasant to listen to, yet not boring. The album has a rather old-fashioned feel, older than 2009 yet not really dateable in the styles and types of music put across by Kat and her band. The heritage is clearly 60s soul, with bluesy shifts; late night music when you need to relax, not get hyped for a night on the town. The track “Constant” is a nice example of Kat’s songwriting, and more in the style that I heard at LIC bar. It’s mainly guitar and voice, with a touch of sensitive violin from Gwen Laster and background keyboard bass; my favourite on the album. I also enjoyed Kat’s take on the Lennon/McCartney song – “I’ve just seen a face, I can’t forget, the time or place, where we just met” a superb example of their talent for lyrics – cleverly adapted slightly by Kat in a way that reflects the way a pop song can wedge itself in your own life where the universal meets the personal. I also like the way she takes a new look at the rhythm of what was originally a relentlessly fast moving song from the movie “Help”.
Really appreciated Chris Michael at LIC Bar – looks as if he’s going from one bar to another if he passes his final exams!! (http://eatthatguitarchrismichael.wordpress.com/)
And last but not least some photos from Brian and Silbin‘s gig at Rockwood Music Hall:
Wednesday, May 16th
8pm ZOE SUNDRA
9pm MIEKA PAULEY
10pm QUEENS OF QUEENS MAY RESIDENCY
Thursday, May 17th
9pm BRAIN FART COMEDY AND TRIVIA SHOW
Saturday, May 19th
Fiends and Fools
Sunday, May 20th
Big City Folk Sunday Social
Emily Mure, Kevin Goldhahn, and more
Monday, May 21st
8pm LEIGHANNE SALTZMAN
9pm EMILY WOLF
10pm AYAL TSU BERRY
Wednesday, May 23rd
8pm MEGAN KERPER
9pm FIFE AND DROM
10pm QUEENS OF QUEENS MAY RESIDENCY
Thursday, May 24th
9pm BRAIN FART COMEDY AND TRIVIA SHOW
Saturday, May 26th
Sunday, May 27th
LIC BAR’s MEMORIAL DAY FEST!
Live music outdoors in the garden (weather permitting)
Monday, May 28th
8pm ROKI SOFI
9pm KAT CALVOSA
10pm BECKY MIMIAGA
Wednesday, May 30th
7pm LAUREN ELDER
8pm MELODY KILLS
9pm SWEET SOUBRETTE
10pm QUEENS OF QUEENS MAY RESIDENCY
Thursday, May 31st
9pm BRAIN FART COMEDY AND TRIVIA SHOW