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Nick Magnus – n’monix

n'monix cover

EANTCD 1032 – Esoteric Antenna (Cherry Red Records) – Time: 46:54

Tracks: 1) Time, 2) Memory, 3) Kombat Kid, 4) Headcase, 5) Eminent Victorians, 6) Broken, 7) Shadowland, 8) Entropy

Nick Magnus – Website: http://www.magnus-music.com/ Discography: http://www.magnus-music.com/discography.htm Solo Albums: http://www.magnus-music.com/solo_albums.htm

Record Label: http://www.esotericrecordings.com/antenna.html & http://www.cherryred.co.uk/

Other music genres aside, I posit that many fans of Progressive Rock (Progressive Metal and other sub-genres included) have fairly high expectations when anticipating the release of an album by a favorite artist or band. The hope is perhaps for certain sounds and instrumentation—in a way, holding onto the past, the memories. I’m certainly guilty of that (I want Mellotrons, Les Pauls, E-bows and bass pedals), but I also hope for variants and invention in addition to complicated rhythms and key signatures that I associate with Prog Rock.

Music can trigger memories; hear a song and it can take one back to a long distant place and time, instantly.  My memory of Nick’s work goes back to the early days of the Steve Hackett Band, in the late 1970s through the 1980s, and I certainly remember standing up front at more than a few venues close to the stage, marveling at Nick using his two (four?!) hands, feet and even elbows at times to assist with bringing Steve Hackett’s early work to life (he was a large part of the sound and technology of that era…and the transition from the analog to digital era in instrumentation and recording technology). Then, of course, I have enjoyed his solo work beginning with Straight On Til Morning from 1993.

I’ve heard some recent Prog Rock albums (even albums that I like) where the artist felt it necessary to include frequent derivative historical references and instrumentation or phrasing to other artist’s albums, but Magnus resists this temptation and takes n’monix in unexpected directions and makes it his own. The album does include many new friends as well as old; a connection to the past while looking to the future: Steve Hackett, Tony Patterson, Tim Bowness, Pete Hicks, Rob Townsend, James Reeves, Kate Faber and Andy Neve. Once again, long time collaborator, Dick Foster delivers sharp, witty and poignant lyrics that combine so well with the music.

n’monix is social commentary, history, reality and an observation of the results of technological advancements and the effects they have on us all. The more information available, the more to process, the more to remember and as a result we need devices to cope, mnemonics of many types. And curiously, even with the most tragic and unjust, we humans have such short memories; history is bound to repeat itself, it sadly becomes inevitable. We are victims of our own creations.  The album is also about loss on many levels.

Time is the allegro of the symphony or the overture to the opera and it’s aggressive with firm vocals by Tony Patterson (and it will give your audio equipment a workout). By contrast (but very much in keeping with the symphonic reference) Memory is an adagio (slower tempo) waltz of sorts, which shifts from a somewhat shrouded soprano solo to broad choral treatment. Kombat Kid is an allegory. It is part march, part recitative and a story of consumption, manipulation and obsession…a reminder to step away from the keyboard or game controller now and then. Headcase is the only track on the album that even vaguely includes an homage…in this case (it seems to me!) to Gentle Giant…with quirky rhythms and lyrics—and memory games in the lyrics. Eminent Victorians is the most fantastical of the pieces on the album (with a brilliant animated video to accompany and vocals by the carnival “barker” Pete Hicks), and traces the absurdity of the served and servants, the sacrifices of the young and poor for the glory of an Empire and upper class; a familiar theme even today as income gaps grow ever wider and those less fortunate suffer even more.  EV also includes prominent and most welcomed solos by Steve Hackett.

Broken is a heartbreaking lament with remarkable and emotional soprano saxophone solos by Rob Townsend (I have to admit that I had quite an unexpected emotional reaction to the track). Reality hits in the mournful resignation and loss of Shadowland and includes choral treatments and a stark guitar solo again from Steve Hackett. Some of the original themes return in the opening of the final track Entropy, an acceptance of reality and the unknown possibilities. I am certain that I have missed some of the literary, mystical and historical references…for now.

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Although the subject matter of this album can be rather daunting, I find it to be somewhat lighter in spirit at times and more musical compared to Nick’s brilliant previous album Children of Another God. n’monix is impeccably arranged and orchestrated, and dances on the edge of being symphonic and operatic while including original and accessible songwriting. This is certainly not an album that collapses under the weight of a Prog Rock cliché, in fact, just the opposite–it brings a fresh relevance and viewpoint to the genre.

Orbit Over Luna – Transit

OOL-T Cover

Label: http://polarseasrecordings.com/  Artist: http://orbitoverluna.com/

Available at: http://polarseasrecordings.bandcamp.com/album/transit

Polar Seas Recordings PSR-007: CD-R Limited to 50 (Time: 64:02) with hand stamped numbered envelope, 8 page booklet and unique numbered art card by Shannon Penner.  Review copy is 35/50.  Album is also available as a digital download, but the first seven tracks only.

Tracks: 1) The Breathing of Roots, 2) Saturnine, 3) Chambers of the Sea, 4) Sungazing, 5) Ylla, 6) Un Jardin Des Cieux, 7) In The Decay of Shadows, Bonus CD tracks: 8) Equinox, 9) In The Decay of Shadows (Piano)

It’s all a matter of relative perception…a transit at sea, in the sky or on land and the paradox of experiencing the direct speed of travel from within or observing from afar a celestial body in space, a vehicle on land or a jet in the sky moving very slowly, when in reality in it could be traveling hundreds or even thousand of miles per hour.  Time can seem to stand still…

Shannon Penner is Orbit Over Luna and he is an animator, sound designer, composer and multi-instrumentalist from Toronto, Canada.  His work draws from many influences and instrumentation in his work varies, but it’s primarily guitar-based (often with ample reverb) with select moments of piano.

SP Headshot

Penner’s album Transit is both about being in the moment and observing from afar while experiencing the sense of movement on land, at sea or in air (or perhaps even floating in space).  The album is quite serene and comforting, but it holds one’s attention weaving through a variety of sonic territories.  I compare the album (as much as I like the competitive side of sailing) to spending a delightful afternoon on a sailboat in the warm sunshine with gentle breezes and my hand occasionally creating a gentle wake in the water.

The Breathing of Roots announces what follows almost like a distant fog horn at dawn, to gently nudge one’s attention that it’s time for a journey.  Saturnine seems a bit of a misnomer, because rather than being gloomy, it’s a slow drift on that boat (and not in the doldrums) allowing the distractions of the world to dissolve and to focus instead on the gentle and calming movement…a languid afternoon on the water.

 

I’ve read Shannon Penner’s oeuvre being compared to a number of different musicians, but the closest for me is the work of Robin Guthrie (Cocteau Twins) and in particular his trilogy of recent EPs entitled Angel Falls, Songs To Help My Children Sleep and Sunflower Stories.  Penner’s work, however, is not as rhythmic or melodic when compared to Guthrie’s; instead it focuses more on atmospheric imagery.  Throughout the album there are occasional broad wave motions that yield gossamers of a tangible melody, but it’s the exception rather than the rule.  In The Decay of Shadows, which follows the transit of the Sun in the sky, has a minimal and complementary piano melody to the guitar chords that emerges and disappears gently like shadows created from clouds passing across the sky until the Sun sets below the horizon (one of the bonus pieces is the isolated piano track).

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Sungazing has moments of distorted guitar as if shielding one’s eyes from the Sun’s glare and as a more comfortable view emerges the sound clarifies and the panorama of the landscape comes into focus.  Ylla is a celestial passage and it makes me wonder if it’s a nod to one of Ray Bradbury’s Martian Chronicles of the same name.  And the farthest and most ethereal transit of all is in Un Jardin Des Cieux (The Garden of Heaven).  In The Decay of Shadows is the postlude to the album, but there are two bonus tracks on the CD, the first is Equinox, the two points in our year on Earth where we travel about the Sun and where day equals night, before summer or winter, as we pass through time…and the older we are the shorter our relative perception of time becomes.

Enjoy the ride!

Pjusk / Sleep Orchestra – Drowning In The Sky

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CD DR-21 Time: 56:34 – http://dronarivm.com/

http://pjusk.no/ & http://www.sleeporchestra.com/

Tracks: 1) Donitsk, 2) Daithn, 3) Skdiv, 4) Aoleeignal, 5) Rionzemef, 6) Vansunbarth, 7) Pleq Remix of Rionzemef

I’ve been a bit out of the loop with Dronarivm label releases for the last six months or so, but one of their new albums caught my ears—the collaboration with Pjusk and Sleep Orchestra.

Drowning In The Sky initially strikes close to home in its sound aura since we are just emerging from a VERY long winter here in the northeast USA.  Pjusk’s (Rune Andre Sagevik and Jostein Dahl Gjelsvik) music is often rooted in their Norwegian locale being inspired by weather, landscape and nature and Sleep Orchestra’s work (as noted by Christopher Pegg) is often influenced by science fiction or imaginary soundtracks to “…movies in your head…”

From what I have heard of their prior respective works, I wouldn’t have necessarily thought that their musical styles would merge comfortably, but after listening to Drowning In The Sky the combination works quite well.  The album does indeed seem very much like a soundtrack to a short film of an imagined journey that starts in a stark and harsh landscape of wind, snow and ice—not exactly a comforting place to be, but the solitude brings a focused awareness of the surroundings (Donitsk).  Eventually the scenes change and there is a transformation from an outdoor landscape into more industrial and metallic-sounding scenes (Daithn) with sporadic rhythms.  Taut and glitchy beats emerge and then there are layers of cavernous spaces, like giant shipyards or factories with remote gantry cranes (Skdiv), sharpened with a solo trumpet.

In time the scenes are darker (Aoleeignal), although still quite spatial with sounds dancing within the mix, and there is a strong visceral undercurrent and an increased sense of motion.  There is a return to an outdoor environment: water and wind in Rionzemef and an auditory sense of being in a vehicle of some sort (a large truck, train or ship perhaps) while experiencing a storm and pulsing undercurrent from outside the vehicle.  The environment, despite being a long way from the desolation of an Arctic plain continues to intrude into the soundscape and at a windshield or porthole…or in the mind.  Vansunbarth appears to be the arrival at the imaginary destination, where furtive sounds move quickly, muffled announcements, signals ring and footfall moves in a foggy haze, disorienting as if being awakened suddenly from a traveling slumber.

 

The album is a journey of contrasts, from the far reaches of harsh yet pristine tundra to the gritty environs of an industrial zone, from desolation and isolation to population.  Pleq’s remix of Rionzemef gently sways and is more hypnotic and comforting than the original track.

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A historical comparison: Drowning starts off being quite similar to Envangelos Papathanassiou’s chilling soundtrack to the film Antarctica and ends up more in a post-apocalyptic and highly cinematic realm of Bladerunner.  Also of note, (and I always prefer a physical release to digital) Dronarivm has changed their CD sleeve to a quite effective recyclable folded heavy cardstock slide-out package; my only comment would be to ask that the inner portion slides out another centimeter farther for easier access to the CD.

P-SO DITS Open

twincities – variations for the celesta

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Eilean: [02] – Eilean Records: CD-R (an edition of 80) Time 48:16

Tracks: 1) Prelude in E Major, 2) Evenings Wait; The Morning’s Break, 3) Early Ferns, 4) The Sun Looks Quite Ghostly When There’s A Mist On The River And Everything’s Quiet, 5) Faint Whirs Of The Smallest Motor, 6) They Carried Teapots And Tiny Gas Canisters, 7) A Ship’s Bell (Sings), 8) The Weight Of The Frost On A Branch, 9) And The Guitar Plays War Hymns, 10) (Sings)

Long ago I found myself curiously attracted to an old celesta (celeste) in the back corner of my high school band room. I’d plug it in when I was sure that no one was around and adjust the controls and the small piano-like instrument made pleasantly sonorous yet mysterious sounds: belltones with alluring sustains and tremolos…

Eilean Records is a new French-based label run by Mathias Van Eecloo and twincities – variations for the celesta is the label’s first release (although ironically labeled [02]). Long Islander (New York) Fletcher McDermott creates music in his basement studio in the guise of twincities (funny, when I think of “Twin Cities” I think of Minneapolis/St Paul, Minnesota).

Eilean Bottle

Eilean is Scottish Gaelic for Island and the label’s works will each relate to a point on an imaginary map with up to one hundred predetermined locations. Coincidentally, McDermott lives on an island (albeit a rather large island). Eilean releases will vary in quantities from 75 to 200 physical copies and there will be up to 100 releases with hand made covers and related artwork in this map series. Connections to the place where the music is created will be memorialized with an image of a small bottle containing the soil from the musician’s locale. On the reverse of the image with be the map quadrant assigned to the musician. Each release will be a part of the puzzle of the overall map…the music connected to the artist, a point on the map and a small vial of soil. In effect, an imaginary hybrid island with a small yet tangible existence. Islands of the imagination, islands of the mind, perhaps even islands of isolation. Have any of you ever read the short story The Man Who Loved Islands by D. H. Lawrence?

Eilean Map

I’ve noted before that I’ve listened to shortwave and ham radio operators for decades and in some respects this album is like roaming the radio dial late into the night on an old analog shortwave set using the fine-tuning knob. The music is like traveling and it takes the listener to different places. The feeling of being taken on a tour through a shortwave realm isn’t literal like in Kraftwerk’s song Radioland (from their 1975 album Radioactivity), rather it’s more subtle in the background and doesn’t distract from the aura created by the music and other sounds. The album at times also evokes Godley and Creme’s song Get Well Soon from the 1979 album Freeze Frame (waxing rhapsodically about Radio Luxembourg and Radio Caroline late into the night), although that song is more melodic.  The celesta isn’t the dominant sound generator in this album, but each piece has a strong thread weaving throughout along with other well-disguised instrumentation, found or ambient sounds and faint voices. Rather than repeat the track names, I’ll just reference the track number in my overview:

1) variations opens with rapid-fire automated Morse code, soothed with slow comforting celesta responses. 2) The celesta is transformed into restful wind chimes with long passages of deep resonant tones and distant faint melodies. There are some comparisons to the recent works of Kane Ikin’s otherworldly explorations (seek out his recent 12k label releases). 3) Is like hanging on the edge of a dream while awakening in the misty early morning light—the calm and the quietude. The celesta treatment is like it could be from portions of the soundtrack to Forbidden Planet—rather mysterious, almost ominous.

 

4-7) This collection of tracks seems like a suite, at first sonorous, gentle and deep tones and mysterious atmospheres (in time, a slower Morse code reappears), transitioning into an edgier realm (6) and finishing in a gritty drift across the radio dial, sharper sounds with kalimba-like percussives. 8) Sways gently and is the most peaceful track on the album. It evokes some of the feeling of Robert Rich’s recent album Nest. 9) This piece is a broad soundscape (in some respects like those created by the band Lambchop as links between songs…William Tyler’s moody electric guitar drones). The celesta is treated like chimes sounding like church bells, in memoriam. 10) A gritty close, like the beginning, and the distant music returns one last time from a far away island.

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Eilean Records is off to a fine start with twincities variation for the celesta. Visit their website soon for the next planned destination which will be released on 5/5/14 and monthly thereafter.

 

Photo of TC by TJ Boegle

Photo of twincities by TJ Boegle

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This is a solicited review.

Steve Hackett Band – Scottish Rite Auditorium

 

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We were fortunate to be in the audience for both the afternoon soundcheck and evening’s concert on Friday night March 28, 2014 in Collingswood, New Jersey.  We had seats at the head of the mezzanine and also had a chance to see sound engineer Ben Fenner and lighting engineer “Tigger” perform their magic–they’re on their toes the entire evening!  I have a photo of the set list, but I won’t give it away entirely, but rest assured that there are minor changes each evening according to those who attended the Thursday show.  The added songs last night included: Squonk, Carpet Crawlers, Lilywhite Lilith, The Knife (from the Ant Phillips days!) and many other favorites from the early to mid 1970s.  The Scottish Rite Auditorium is part of Masonic arts complex and in the interior of the building has an eery Moorish feel to it, so the music was appropriate, if not haunting at times.

If you haven’t gotten your tickets yet for this “Genesis Extended” Tour, do so before the ship sails (as in The Cruise To The Edge) and then the band is off for a European tour.  More information here: http://www.hackettsongs.com/tour.html

Thank you, as always to the Band (Steve Hackett, Roger King, Gary O’Toole, Rob Townsend, Nad Sylvan and Nick Beggs) as well as their fabulous crew, tour manager and Jo Hackett.

More photos!

032814 Watcher032814 Steve Gary 032814 Roger Steve Gary 032814 Hackett Band 032814 Hackett Band 2 032814 Carpet032814 The Knife 032814 The Knife 3 032814 The Knife 2032814 The Knife 4032814 Hackett Band Goodbye CWLast night’s encore opened with Watcher of the Skies, always a favorite of mine!032814 Roger Watcher Edit

All Photos are copyright 2014 by wajobu, please do not use without permission and credit–thank you.

 

ILLUHA – Akari

ILLUHA Akari

Label: http://www.12k.com/index.php/site/releases/akari/  CD 12K1080 Time: 58:54

Artist Website: http://illuha.com/

1) Diagrams Of The Physical Interpretation of Resonance 2) Vertical Staves Of Line Drawings And Pointillism 3) The Relationship Of Gravity To The Persistence Of Sound 4) Structures Based On The Plasticity Of Sphere Surface Tension 5) Requiem For Relative Hyperbolas Of Amplified And Decaying Waveforms

ILLUHA’s new album is a more introspective progression from their previous works, some of which have been recorded in large spaces with vast natural reverberation (like their last studio album Shizuku – 12K1067).  Akari is like the successively magnified views in Charles and Ray Eames’s film The Power of Ten, while still being in the dome of the sky, the experience of the sound moves inward, and despite being ever closer to the point of focus a vastness of even more detail is revealed.  The album has a comforting intimacy, and from the first quite unexpected (to me!) muted acoustic guitar harmonics there is also a deeply tactile quality.  The instrumentation on the album is diverse, but it never distracts; each sound or ensemble has the space it requires and it tangibly enhances the experience.

The recording is profoundly crystalline and as one meanders through the scenes there are moments of illumination to be discovered…finding light in the darkness where color and detail are exposed.  The broader ambient sounds that open many of the tracks are subtle (like The Relationship of Gravity…) forming a backdrop for the journeys that Corey Fuller and Tomoyoshi Date lead us through.

I think the quality of sound-light in some of the passages of Akari is like the photo below that I took on a walk, early in the Fall of 2012.

Find a comfortable place to rest and get lost in this.

Light

 

One of my favorite ILLUHA pieces is a live recording from their CD Interstices (see the excerpt of Interstices III below, CD also available from 12k).

 

Nicholas Szczepanik – Not Knowing

NSZCZ Not Knowing

CD TANGENT001  Time: 52:56

Label: http://www.desirepathrecordings.com/ Artist: http://www.nszcz.com/

Auditioning long form musical works take time and with the many modern distractions it’s often difficult to dedicate an extended period to focused listening, but for Not Knowing I think you’ll want to make the time (especially if you are familiar with Nicholas Szczepanik’s previous work such as Please Stop Loving Me).  In fact, if one is in the right frame of mind (like in a state of meditation, self-hypnosis or deep relaxation) the sense of time is often compressed, and one wonders ultimately where the time has gone.

This piece was originally available in a shorter version on the limited 12 part release CD3 series Ante Algo Azul from 2011, and it was a favorite of mine back then.  So, I was delighted to hear that an extended version would be released by Desire Path Recordings as part of their new Tangent series.

I liken Not Knowing, which is different in form and sound from PSLM, to a dream sequence in roughly four parts, although there are threads of sound that keep the piece connected throughout.  The first 12 minutes or so is a deeply pulsed and hypnotic mediation that brings one to where memories and dreams might become lucid, but still out of tangible reach.  It’s at this point where an imagined orchestra appears from the ether and it flows.  Is it a literal sample of another piece or is it combined with electronics?  It appears like unresolved memories in a dream.  I can hear chords of Elgar…wait, then Dvorak…but wait, there’s the flow of Debussy, a sleight of hand used by other composers, hiding themes from elsewhere, leaving the brain to search for a source, and the sound is ethereal and uplifting (dare I say even heavenly for the non-believers?).

 

Then the music and perceived vision seems to drift out of reach and almost dissolves.  At the point in a dream when one loses touch, but wants to return to the visions, and then the melodies and harmonies arrive again, but in a shrouded form with layers of choral vocals.  And within this new realm the piece moves into a less recognizable and deeper unknown territory before gently returning to the original sonic thread, albeit in an altered and transitional chordal-tone state and ultimately the arrival back into the warmth of the visceral pulses.

Although quite different in presentation and instrumentation, I compare the journey in this album to that of some other favorites of mine like Vangelis Papathanasiou’s Rêve from the album Opéra Sauvage and Tangerine Dream’s Desert Dream from their double live album Encore.  The development and sound architecture of the piece is clearly influenced by the works of French electronic composer Éliane Radigue, to whom Szczepanik dedicates the album.

Should – The Great Pretend

Should WM 38

Words On Music – WM38 CD Time: 43:15 (To be released on March 25, 2014)

More on Should and the album: http://www.words-on-music.com/WM38.html

Tracks: 1) Don’t Send Me Your Regrets 2) Loveless Devotion 3) Mistakes Are Mine 4) In Monotone 5) Down A Notch 6) Everybody Knows 7) Dalliance 8) A Lonely Place 9) Amends 10) Gold Stars 11) Don’t Get To Know Me

I was around for the punk and post-punk eras (Wire’s Pink Flag and Chairs Missing being pretty prominent in my studio days along with early Talking Heads albums and many other bands and genres).  I have to admit that I missed a great deal of the original Shoegaze bands largely due to austerity and having a young family, so other pleasant distractions reigned from the late 1980s into the late 1990s (although bands like Cocteau Twins, The Sundays and Scritti Politti found their way to my vintage stereo).  I missed the early days of the band Should, but I remember their second album Feed Like Fishes from the edges, and their 2011 album Like A Fire Without Sound is a recent favorite (by then I was well out of my musical seclusion).

Relationships are often complex entanglements, whether one is embarrassed to admit being in one, longing to be in one (longing to be OUT of one, perhaps?), or preferring to be just plain left alone (whether misanthropic or morbidly shy).  The songs on The Great Pretend have pleasantly simple and catchy foundations of melody, chords with lyrics of young and even mature longing or angst.  The songs build gradually and the instruments and voices weave into dulcet yet deceptively intricate compositions.  The album never sounds heavy, and if anything it’s ironically upbeat at the moments when lyrically it’s just the opposite (at times avoiding directness, shrouding emotions, much like the album’s stylized cover).  A side note: The Great Pretend is also the title of the last track on Like A Fire Without Sound.

Don’t Send Me Your Regrets opens the album and is a sort of foreword, largely a verse without a chorus.  To me, it’s more of a song fragment that sets a mood, much like some of F. M. Cornog’s East River Pipe songs like Wholesale Lies from The Gasoline Age.  The one cover on the album (and it’s a great one) is Loveless Devotion by Over The Atlantic’s Nik Brinkman and Bevan Smith (from their album Dimensions) and it’s a softer interpretation with staggered harmonies from Marc Ostermeier and Tanya Maus accompanied by crisp guitar and bass.  The rougher edges of the original version appear towards the end of the song.

What’s a bit different on this album compared to Should’s last is that rhythms seem more energetic (dare I say danceable?) as in Mistakes Are Mine, Everybody Knows (with drum machine and statement-response lyrics) and Dalliance, yet there are moments (like In Monotone) that are more contemplative with gentle keyboards, light electric guitar and drums; it’s a Shoegaze One Note Samba.

Down A Notch is an excellent first single for the album, another example of an upbeat song with paradoxical lyrics.  A Lonely Place is a duet reminiscent of some of Brian Wilson’s songs from the romantic yet melancholic Pet Sounds era, it reminds me of Caroline NoAmends explores a darker mood and sound.  Gold Stars is like a gentle sonic waterfall, similar to Turned Tables from Like A Fire Without Sound.

The album closes with the curiously upbeat yet shy introspection of Don’t Get To Know Me, and there it is again, the complexities of relationships and emotions—songs that often express feelings better when one is at a loss for words.

Rosanne Cash and John Leventhal at Infinity Hall

Rosanne Cash 022014 027In the past few months I’ve heard and seen a number of interviews with Rosanne Cash and John Leventhal in support of Rosanne’s latest album The River & The Thread (produced and arranged by John).  In particular, check out her interview from the CBS Sunday Morning program—it’s a great piece about the roots of most of her music, but also the inspiration for the songs on River, and how blues legend Robert Johnson, the civil rights movement, Rosanne’s parents (Johnny Cash’s childhood home and her own first home) and a bridge all mixed together to form a thread that makes up her story.

http://rosannecash.com/rosanne-cbs-sunday-morning-jan-19/

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I can’t say that I have all of her back catalog of albums, but I have many of them.  Rosanne noted (with her dry wit) last night, “…this is a song from back when I had hits…” and in describing the journey that led to the latest album (paraphrasing) “…you spend a great deal of time wandering around in your 20s figuring out who you aren’t so you can figure out who you are when you’re…older…”

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John Leventhal is an extraordinary musician and arranger, and the two of them have the same chemistry on stage as they do on River.  At one point Roseanne noted (after a guitar solo by John, with heavy country and blues roots…again paraphrasing), “…hard to believe that this guy is a native New Yorker…”  John treats his guitar like it’s a full band.  It was also really nice that John played soft lead-in vamps on many tunes as Rosanne recounted stories related to the development of the album.

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Most of last night’s show was taken from River, her previous albums The List, Black Cadillac, King’s Record Shop, and Seven Year Ache…I haven’t yet compiled the full set list (but see the photo below).  One of the highlights (in addition to TWO power failures during the show…it was sleeting outside) was a perfect (even with power interruption) cover of Bobbie Gentry’s Ode To Billy Joe, which has a strong connection to The River & The Thread (the Tallahatchie Bridge is on the cover of the album).

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Their encore last night included taking some requests from the audience (including a verse from Runaway Train) along with a gorgeous version of 500 Miles from The List.  John’s one trip to the piano with an arrangement that had elements of gospel and the light touch of Count Basie—brilliant; even better, it’s a song that one of my cousins used to sing to us younger cousins in the 1960s.  It was a special moment, and a lovely evening of music.  Thanks to Rosanne and John, and all at the Infinity Hall (in snowy Norfolk, CT).

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http://rosannecash.com/home/

Venue: http://www.infinityhall.com/

Rosanne Cash 022014 023Set List

Rosanne Cash 022014 SetlistAll images are by wajobu and copyright 2014.  Please contact me if you’d like higher resolution images and all I ask is that you credit me if you use an image.

Porya Hatami – Shallow

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Tench Records: CD TCH06, about 43 minutes

Tracks: 1) Fen; 2) After The Rain; 3) White Forest

Artist links: https://soundcloud.com/poryahatami & http://poryahatami.bandcamp.com/

There are unknowns and misconceptions when it comes to learning of others in far away lands and different cultures, but we have a universal language: Music.  Music with or without words, music of nature or created with found or built objects.  This is perhaps where we can find common ground and even Peace among us.  We can hope.

Years ago when I was in school I had a friend from Tehran, Iran who sadly I have long since lost touch with (I always marveled at his design work, because it was rooted in ideas and techniques so different from my own), and later I got to know another person from a different family who fled Iran during the 1979 Revolution.  This person’s family was persecuted because of their beliefs (sound familiar?).  We became friends and colleagues in the mid 1980s after he made his way to America via Europe and we have since learned of each other’s heritages (and enjoyed many spirited discussions over the years!).  We all have stories, histories, struggles and desires—we have far more in common with one another than we often think.

 

Porya Hatami is from Sanandaj, Iran and although we have never met in person, I believe I feel Hatami’s deep and universal desire to reach out and share the experiences of his culture and environment in the hopes of achieving connections we can all appreciate while preserving our regional identities.  With all the turmoil and fear bred by our countries and political establishments, Hatami’s music is a magical beacon of hope and beauty observing the natural world around and more of what binds our humanity instead of what separates us in our beliefs and politics.

Some of Shallow is taken directly from the fens and streams, some from the sky and rain, and some from soft breezes in the trees (as in White Forest), while parts are symbolically reminiscent of those places and experiences (real or imagined).  There is deep sense of warmth in Hatami’s work.  At times it’s so delicate and tender and at others it gently soothes and envelops–allowing one to drift freely into an imagined experience (like where Fen transforms from an environmental to more of an inner dream or even underwater experience at the mid-point of the piece, before returning again to the outdoors—as if from reality to dream and back again).  After The Rain opens as if soft comforting rays of sunshine have entered the morning with a fresh mist still falling from trees or eaves (you can decide).

Shallow is available here: http://www.tenchrec.com/TCH06.html

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