Friday, January 31, 2014
Girls on Your Turntable: Super Bowl edition
Tuesday, January 28, 2014
Thank you, Pete Seeger
Odetta - "If I Had A Hammer"
Joan Baez - "Where Have All The Flowers Gone"
Ani DiFranco - "Which Side Are You On?"
Saturday, January 25, 2014
2014 Grammys
The 2014 Grammys air tomorrow night. Typically, I am not a big fan of the awards, as I tend to believe they highlight music that is mass produced and (to be completely honest) boring, instead of awarding talent and artistry. This, of course, is a broad generalization, as this year's nominees include several artists that are deserving of the accolade and recognition.
Among my favorite nominees are:
Lorde (pretty much nominated in every category it seems)
"Royals" was without a doubt one of the most played songs of 2013, and for good reason. It has all of the elements of a classic pop song: simple, catchy, lyrical. It is impossible not to sing along.
Kacey Musgraves (Best New Artist, Best Country Song, Best Country Album)
"Merry Go Round" is one of the best country songs to come out in recent years, especially when you consider some of the other songs to be nominated in the Best Country Song category.
"Mama's hooked on Mary Kay. Brother's hooked on Mary Jane. Daddy's hooked on Mary two doors down." Such a well-crafted line.
Cecile McLorin Salvant (Best Jazz Vocal Album)
Cecile won the prestigious Thelonious Monk Vocal Competition in 2010 and has been emerging as an exciting new artist ever since. Her voice will blow you away!
Among my favorite nominees are:
Lorde (pretty much nominated in every category it seems)
"Royals" was without a doubt one of the most played songs of 2013, and for good reason. It has all of the elements of a classic pop song: simple, catchy, lyrical. It is impossible not to sing along.
Kacey Musgraves (Best New Artist, Best Country Song, Best Country Album)
"Merry Go Round" is one of the best country songs to come out in recent years, especially when you consider some of the other songs to be nominated in the Best Country Song category.
"Mama's hooked on Mary Kay. Brother's hooked on Mary Jane. Daddy's hooked on Mary two doors down." Such a well-crafted line.
Cecile McLorin Salvant (Best Jazz Vocal Album)
Cecile won the prestigious Thelonious Monk Vocal Competition in 2010 and has been emerging as an exciting new artist ever since. Her voice will blow you away!
Tuesday, November 12, 2013
Esperanza Spalding
For those naysayers who claim that jazz is dead, I say they probably haven't listened to Esperanza Spalding.
Ms. Spalding, along with other emerging artists such as Robert Glaser and Jason Moran, are bringing a new sense of excitement and innovation to a genre some have all but relegated to a thing of the past. Anyone who has seen her perform - of which her fan base includes President Obama, who has invited her to play at the White House on various occasions - knows this. Whether playing songs from her recent soul-hinged "Radio Music Society" album, her more intimate chamber-inspired compositions, or sitting in with an ensemble of jazz legends Wayne Shorter and Jack DeJohnette, she stands to carry on the tradition set forth by those such as Herbie Hancock who are able to play in such a diverse style, they often blur the lines between jazz, R&B, and whatever else might come their way.
In short, she is giving new meaning to what it means to be a jazz musician in the modern times - creating new sounds, defying genres, all while paying tribute to those who came before her.
Among her many projects lately, Ms. Spalding has been touring with drummer Terri Lyne Carrington and pianist Geri Allen in a trio simply named ACS. Their setlist draws largely from a repertoire of Wayne Shorter standards, as well as a selection of their own compositions. I saw the trio's recent performance at the newly opened SFJAZZ Center, where the Miner Auditorium's minimalist design set a perfect tone for their modern style of improvisation.
Shorter's tunes, such as "Infant Eyes", "Fall", and "Nefertiti", are best characterized by their complex harmonic structures, as opposed to earlier styles of jazz compositions that draw more heavily from the great American songbook and traditional blues forms. This style of jazz has its risks, as less seasoned audience members may get lost without a prominent, thematic melody driving the piece along. But with risk comes reward, and this was definitely the case with ACS's performance.
With the superb acoustics of the Miner Auditorium on display, Spalding, Allen, and Carrington played seamlessly as a trio. No one taking particular center stage, but rather sharing a musical 'conversation' with each other that the audience was allowed to listen in - or perhaps more aptly, eavesdrop in on. The three women displayed a maturity in their playing that allowed the music to breath and slowly unfold as it took shape.
This was exemplified in their original composition, "Unconditional Love", which began with a long introduction of Spalding's unique style of vocal improvising and bass, with Allen adding subtle lines of impressionistic piano to fill in behind. The song built over the next few minutes, eventually coming to head with a deep drum and bass groove from Spalding and Carrington and assertive solo from Allen. The band emerged, coming alive with a sense of energy that proved their talents (not that there was any doubt to begin with). The original composition easily stood up to any of the Wayne Shorter standards they played that night.
Ms. Spalding, along with other emerging artists such as Robert Glaser and Jason Moran, are bringing a new sense of excitement and innovation to a genre some have all but relegated to a thing of the past. Anyone who has seen her perform - of which her fan base includes President Obama, who has invited her to play at the White House on various occasions - knows this. Whether playing songs from her recent soul-hinged "Radio Music Society" album, her more intimate chamber-inspired compositions, or sitting in with an ensemble of jazz legends Wayne Shorter and Jack DeJohnette, she stands to carry on the tradition set forth by those such as Herbie Hancock who are able to play in such a diverse style, they often blur the lines between jazz, R&B, and whatever else might come their way.
In short, she is giving new meaning to what it means to be a jazz musician in the modern times - creating new sounds, defying genres, all while paying tribute to those who came before her.
Among her many projects lately, Ms. Spalding has been touring with drummer Terri Lyne Carrington and pianist Geri Allen in a trio simply named ACS. Their setlist draws largely from a repertoire of Wayne Shorter standards, as well as a selection of their own compositions. I saw the trio's recent performance at the newly opened SFJAZZ Center, where the Miner Auditorium's minimalist design set a perfect tone for their modern style of improvisation.
Shorter's tunes, such as "Infant Eyes", "Fall", and "Nefertiti", are best characterized by their complex harmonic structures, as opposed to earlier styles of jazz compositions that draw more heavily from the great American songbook and traditional blues forms. This style of jazz has its risks, as less seasoned audience members may get lost without a prominent, thematic melody driving the piece along. But with risk comes reward, and this was definitely the case with ACS's performance.
With the superb acoustics of the Miner Auditorium on display, Spalding, Allen, and Carrington played seamlessly as a trio. No one taking particular center stage, but rather sharing a musical 'conversation' with each other that the audience was allowed to listen in - or perhaps more aptly, eavesdrop in on. The three women displayed a maturity in their playing that allowed the music to breath and slowly unfold as it took shape.
This was exemplified in their original composition, "Unconditional Love", which began with a long introduction of Spalding's unique style of vocal improvising and bass, with Allen adding subtle lines of impressionistic piano to fill in behind. The song built over the next few minutes, eventually coming to head with a deep drum and bass groove from Spalding and Carrington and assertive solo from Allen. The band emerged, coming alive with a sense of energy that proved their talents (not that there was any doubt to begin with). The original composition easily stood up to any of the Wayne Shorter standards they played that night.
Ms. Spalding's tour with ACS continues through the end of the year with a variety of European tour dates.
Friday, October 4, 2013
Girls on Your Turntable Top 5 Picks for Hardly Strictly Bluegrass 2013
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Tift Merritt - Sunday, 5:10 - 5:55PM, Porch Stage
I was first introduced to the lovely Tift Merritt when she played the HSB stages in 2002 (back when it was still "Strictly Bluegrass"), and I immediately went to Amoeba Records after the festival and bought her record. Like many of the artists gracing the stages this weekend, she is hard to pin down to a specific genre, as her sound seamlessly blends together influences from traditional country, soul, and rock 'n' roll.
- Martha Wainwright - Saturday, 4:50 - 5:35PM, Porch Stage
I was thrilled to see Martha Wainwright was going to be making her HSB debut this year. She is a favorite of mine in recent years, whether it be the self-penned emotionally-driven songs only Martha could get away with (ie, Blooding Mother F****** A*******) to channeling the Edith Piaf, to carrying on the legacy of her late mother, the great Kate McGarrigle.
On Sunday, she will be joined by her aunt, Sloan Wainwright, as well as special guests (such as Emmylou, no doubt) in paying tribute to Kate. If the recent "Sing Me the Songs That Say I Love You" film and album is any indication, this set will be filled with emotion and remembrance for a truly great artist. - Patty Griffin - Saturday, 4:05 - 5:05PM, Rooster StagePatty is becoming a regular at HSB. Although she is perhaps best known for her songwriting, Patty is a captivating performer who can command your attention with nothing more than her acoustic guitar. Her strong lyrical talent is matched by her vocal delivery, which combine to create an unforgettable sound. Often times she is joined on stage by the likes of Buddy Miller and Robert Plant, which adds an extra bonus to her set.
- Bonnie Raitt - Friday, 5:45 - 7:00PM, Banjo Stage
The famed blues singer and guitarist needs no introduction, especially around the Bay Area. Thank you HSB for finally bringing her to the festival. - Emmylou Harris - Sunday, 5:45 - 7:00PM, Banjo Stage
Emmylou is the reigning Queen of HSB, and thanks to the absolute generosity of Warren Hellman, we have been able to see her close out the festival all 13 years. In fact, I have come to associate Ms. Harris so closely with HSB, that every time I hear her music (which is often), I can't help but picture her singing to a crowd of thousands as dusk settles in to an early fall night in Golden Gate Park.
One of my favorite memories from the many years is when she invited Warren to join her band in playing a rendition of the Bill Monroe classic, "Get Up John". Warren was beside himself, naturally, as he was getting to play on stage with one of his musical heroes. But the feeling was mutual, as Emmylou was clearly glad to be playing along side a man she so respected.
Thursday, September 26, 2013
Janis Joplin Talks Rejection With Voice Writer Howard Smith in Last Interview Ever
Thanks to the Village Voice for posting this.
And on the topic of the late Ms. Joplin, I recently saw D.A. Pennebaker's "Monterey Pop Festival" documentary, which I highly recommend to everyone. Janis' performance of "Ball and Chain" is without a doubt one of the highlights of the film. (Be sure and watch until the end of the clip when you can see Mama Cass in total awe of the performance.)
And on the topic of the late Ms. Joplin, I recently saw D.A. Pennebaker's "Monterey Pop Festival" documentary, which I highly recommend to everyone. Janis' performance of "Ball and Chain" is without a doubt one of the highlights of the film. (Be sure and watch until the end of the clip when you can see Mama Cass in total awe of the performance.)
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