Bobcats

OK, so it doesn’t always rain in Connecticut. This weekend we traveled to Quinnipiac University where Elisa sang the national anthem before the men’s ice hockey game against St. Lawrence University. Here’s a fabulous action shot. I was thinking beforehand if I should have placed a bet on my favorite team with FanDuel… I may have to next time!

quinnipiac

In the event, the Bobcats fought St. Lawrence to a 2-2 tie. (And fight they did.) But halfway through the game we had to leave, to drive up Route 10 for our gig at Jitters in Southington. Not a spot of rain the whole time. Not much traffic, either. Same on the way home. My spidey sense was tingling. We left late, yet arrived early. The Jitters coffee didn’t taste quite the same as last time. The price of gas seemed to rise and fall over the course of a few hours. The small but friendly audience actually paid attention to our songs, even listening to the words. Strains of “Don’t Stop Believing” welled up through a mysterious gap in the space-time continuum. What was up? I had to find out.

Theater Review (NYC): IXOMIA by Eric Sanders

IXOMIA: an imaginary town. IXOMIA: an entertainingly odd, and oddly entertaining, play by Eric Sanders, presented as part of the Crown Point Festival.

This cleverly staged, funny work may not be as innovative as it thinks it is, but it’s a lot of fun. In its crude tomfoolery and brightly fake local color, it’s a bit like Spamalot; in absurdity, it suggests Tzara; in spirit it recalls Futurism, which looked forward with a rush to technological and social advancement. “Recalls Futurism” sounds like a strange phrase, but it fits, because the town of Ixomia inhabits a limbo state that feels like a hundred years ago.

After a colorful, computer-generated light show is projected on a white canopy above the audience, an ensemble cast takes the stage to introduce us, in a quick succession of scenes, to an assortment of townspeople preparing for their first direct elections. But, alas and alack, the devil comes to town, bringing stylized and symbolic death and destruction.

“Liberal media” are hawked as such. A proper gentleman threatens a child-woman named Angel. Irish, Jewish, and Chinese stereotypes are flagrantly celebrated. A charismatic politician falls to his death. The story, such as it is, suggests a political allegory, but at heart it seems only glancingly political. Mostly it’s dreamlike. Bits of reality collide with absurdities. The former make the characters interesting; the latter make us laugh, as does the persistent scatological and sexual humor.

An onstage narrator intones stage directions like “As Satta [sp?] drowns, music from the inside of an oak tree plays,” and “[He] goes to follow, but freezes, and shatters into 1000 pieces.” “Can you see in the dark?” asks Deke, the hapless election worker whom the lascivious devil has targeted. “Only when it’s lit from behind,” she replies. “I love it from behind.”

Sparkplug performances, fizzy lighting and staging, and rich sound design make the show a treat for the eye and ear. (The only technical flaw was that early on, the music cues occasionally drowned out the dialogue.) The innovative set consists mostly of a room-sized structure in the shape of a church, which is pushed around the stage to form varied rooms and houses as needed, both interiors and exteriors.

Each night of the Festival features not just a theatrical work but short films and live music as well. So for your money you get diverse stimulation, and even some Bitcoin. What is Bitcoin, you may be asking yourself? It’s an alternative payment form, kind of like digital cash, that they accept. And you get to spend an evening at the Abrons Art Center, which is at the historic Henry Street Settlement. It’s worth a trip to the deep Lower East Side just for the building.

IXOMIA runs through November 10, but not every day, so check the schedule. The Festival itself runs through November 17.

Magenta is the Color of My True Love’s Hair

The spookiest thing about Halloween in this part of Manhattan isn’t the parade, which you can’t even see for the crowds, but the crowds lined up to see the parade before it starts. Spooky. Quiet. Weird. Dusk; people lined up behind barricades along the Avenue; horns honking as traffic starts to jam up – but nothing actually happening. A strange hush muffles even the honking and the murmuring.

Later on things are just amusing. Here’s a Harlequin and his Skeleton Dad enjoying a Big Salty.

Harlequin and Dad with Pretzel

Here’s Dad’s dog, with a matching Skeleton costume.

dog_skeleton_closeup

Meanwhile over on Fifth Ave., Prince Elvis Travolta struck a pose.

Elvis?

Then I came home and we watched The Others. Now that’s Halloween-scary.

The Further Parking Adventures of a Neophyte Manhattanite

When I was little, Fortunately was one of my favorite books. Tonight’s parking adventure put me in mind of it.

Unfortunately, I had to give up my nice, nearby parking spot today to take my car in for its annual safety inspection, which, as a practicing procrastinator, I had put off till the end of the month.

Fortunately, after I picked up the car and got home, I saw plenty of parking spaces.

Unfortunately, tomorrow is Halloween, and some of the spots were illegal Wednesday. Something to do with the Greenwich Village Halloween parade, I expect. I wouldn’t know. Halloween is a night I stay home, sitting in the dark, quiet as a mouse’s ghost.

noparking_nypd_closeup

Fortunately, further away from Sixth Avenue the Halloween preparation madness let up and there were some parking spaces.

Unfortunately, the reason there were spaces was that Thursday parking was verboten because of a Law and Order shoot.

noparking_lawandorder

Fortunately, this Thursday is something called “All Saints Day,” which must be something like Veterans’ Day but for saints, but which, for my purposes, means alternate side parking regulations will be suspended, which means that if I can find another Friday-OK spot, it’ll be Thursday-OK too, which means I won’t have to move the car again all week.

Unfortunately, I couldn’t find a spot on the proper side because of Law and Order (see Unfortunately above).

Fortunately, Law and Order only needs two streets, not the entire neighborhood. I found a Thursday-OK spot a few blocks further away than usual.

Unfortunately, all of this made me miss the wine tasting at Union Square Wines.

The Trouble with New York

Here’s the trouble, see. Last night I’m getting ready to submit a review of Tompkins Square Records‘ new compilation of old murder ballads and disaster songs. I’m emailing with the record label guy about it and he tells me they’re having a CD release party later that night at Cake Shop and do I want to come? If I lived in Lansing, MI or Natural Bridge, VA this sort of thing wouldn’t happen. I’d post my review and then sit at home by the fire reading a book or something, probably petting a cat and listening to the crickets out my window or the distant crack of the polar ice melting into the ocean.

But because I live in New York everything seems to be happening right here and it’s so hard not to go out. Can’t miss anything! Maybe there’ll be well-connected people to network with! Maybe something awesome will happen! Maybe I’ll meet a celebrity! Or get a free drink! Gotta go! Gotta run downtown!

It’s even worse now that I’ve moved from Brooklyn to Manhattan. In spite of the great Brooklyn cultural renaissance of the past decade, Manhattan still has a greater concentration of stuff to do – if only because of sheer geography.

Greg Jamie

So I go down to Cake Shop and I meet the head of the label and the producers and I hear and meet some fantastic musicians. Singer and banjo picker Hank Sapoznik, who co-produced the album, got a pick-up group together, including the wonderful fiddler Michelle Yu of The Moonshiners, to play a set of jumpin’ old-timey music. Following them, Greg Jamie of O Death came on to perform some of the numbers from the album. Chris King, the other producer, had seemed disappointed when I told him the songs on the compilation hadn’t “disturbed” me, but Jamie’s band was certainly one of the oddest and most disturbing groups I’ve seen. So there you go, Chris – I was disturbed in the end, after all. By live music. Which is as it should be. Of course, James Blunt disturbs me too. But that’s different. That’s not in a good way.

There are some things you won’t get to see in New York, of course. Foamhenge, for example. So it’s important to get out of town once in a while.

Concert Review: Mofro and Assembly of Dust at the Highline Ballroom

Mofro, one of the best American bands of the new century, has grown a bit in size, adding a three-man horn section, and (probably of necessity) gotten a bit more polished since I saw them last summer. The need to direct more musicians makes lead singer/guitarist/keyboardist JJ Grey less like a shaman and more like a gospel/soul bandleader. If anything, though, his onstage self-confidence – to use a technical term, his mojo – has strengthened.

Drummer George Sluppick, functioning as second-line band leader, has added some sting to his beat while retaining the heavy foot. Absurdly nonchalant guitarist Daryl Hance and casually funky organ/keyboard-bassist Adam Scone round out the core of the band. Mofro, especially with the horns, is a loud band. But the near-perfect acoustics of the new Highline Ballroom (in the Meatpacking District, upstairs from Western Beef) made everything clear as a bell. Every word of the lyrics could be heard and understood; every wrinkly, scratchy note from Grey's Wurlitzer came through clearly.

Highlights of the set included "Tragic," "By My Side," "Circles," and "Country Ghetto," all from the new CD, as was the slow, gospel-influenced encore, "The Sun is Shining Down." "Six Ways from Sunday" (from Lochloosa) turned into an extended jam, and "Florida" (from Blackwater) got the crowd into a frenzy which continued through a mopping-up (nameless?) jam that closed the official set.

Inspiring, as usual.

Assembly of Dust (see my CD review in this column) is the exact opposite sort of band. Where Grey directs his group from a position of charisma and total dominance, AOD's Reid Genauer leads by getting out of the way. Not blessed with an especially soulful voice or a magnetic onstage personality, Genauer has the gift of generating small sparks that his band can blow into roaring fires.

If a Mofro set feels rooted in the 60s, AOD recalls the 70s, referencing the Allman Brothers, Boz Scaggs, Steely Dan, and Bakersfield country. Lead guitarist Adam Terrell looks like a college professor but blazes during his long, astoundingly fluid solos, which owe much more to Duane Allman than to Jerry Garcia. Keyboardist and co-writer Nate Wilson plays with easy flair, while bassist John Leccese and drummer Andy Herrick lock in as well as any rhythm section I've heard.

The first few songs seemed small and overly controlled. Genauer's wispy presence requires you to "lean in" to get what the band is doing. But after a few songs things started to deepen, the excellence of the band became apparent, the dynamics kicked in, and much jamming ensued. More than I could take, actually; I missed the end of the set because of the problem with Highline Ballroom and similar venues: they're standing-room-only rooms, with just a few tables on the sides. There's a reason I'm not a butler. Three and a half hours is as much as I can take standing on my feet.

Still I came away with much appreciation of Assembly of Dust, and another memorable experience of JJ Grey and Mofro.

2007 New York Innovative Theatre Awards

The New York Innovative Theatre (NYIT) Awards were presented last night at a semi-star-studded event. It was my first time attending the awards and I was quite impressed with the sheer size and grandness of the show. When you think “Off-Off-Broadway” you think theaters that seat fewer than 100, presenting plays with extremely low budgets, so being at FIT’s huge Haft Auditorium – filled almost to capacity – was quite a change.

Production numbers, big-screen video feeds, and beautiful dresses lit up the stage. Julie Halston was the funniest awards show host I’ve seen in some time – which isn’t saying much, actually, so I’ll put it this way: Julie Halston was seriously funny. (Photo credit: Marc Goldberg for the New York Innovative Theatre Awards)

Julie Halston

I was pleased to see that f-ckplays got some nominations, as did Brian Linden for his portrayal of Sparkish in The Country Wife, which also got nods, not surprisingly, for costume and set design.

“Off-Off-Broadway” isn’t the best-defined term in the world. You can draw the line between Off- and Off-Off- based on theater size, budget, or other factors. It would be nice to see a list of every production that NYIT considered eligible. I wouldn’t want to be the person tasked with maintaining such a list, though. The NYC small-theater scene is big and seems to sprawl everywhere. The Alliance of Resident Theatres/New York, for example – which received a Stewardship Award, presented by City Council Speaker Christine Quinn – serves almost 400 theater companies, more than half of which count as Off-Off-Broadway. But in any case, judging from the energy and attendance at the awards show last night, the scene is clearly thriving.

Here is the complete list of nominees and winners.

God Really Did Create Adam and Steve

God did, in fact, create Adam and Steve. I know because I saw them in person.

This Rosh Hashanah, for the second year in a row, I went to a High Holy Days service given by CBST, an independent, Reconstructionist-inspired Jewish congregation that was especially created by and for the LGBT (lesbian-gay-bisexual-transgender) community.

“But Jon, you’re not gay.”

“Lucky for me, neither is my girlfriend. Your point?”

Since CBST must, by definition, have an open and welcoming philosophy, it has grown to attract many straight Jews who are disaffected with the sometimes intolerant, often subtly unwelcoming attitudes of the more longstanding branches of Judaism, but who still want to maintain a tie to their religious tradition – to be out Jews, as it were.

“But Jon, you don’t believe in God.”

“Never have, never will. Your point?”

CBST, at least at its huge High Holy Days services held at Town Hall and the Javits Center in New York City, welcomes agnostics and nonbelievers. The impish Rabbi Sharon Kleinbaum is a delightful cut-up, and the music is, so to speak, divine. The whole thing is radically different from the hideously bland, only glancingly Jewish Reform synagogue I grew up attending. (“Hardly distinguishable from church,” my mother used to complain.) At CBST you can sing prayers and psalms in major keys! Major keys! Mother of Samuel, do these people even know they’re Jewish?

However, just like Reform and Conservative services, CBST events include a segment in which a lay member begs the crowd for money to keep the congregation going. At my old synagogue this affair was always frightfully painful for both the beggar and the beggees, but not at CBST.

Last night the aforementioned Adam (Berger) and Steve (Frank), a committed and now married couple, did the solicitation. In the process they told the funny and touching story of the genesis of their relationship, how they came to join CBST, and what it meant to them. There they were in the flesh, the very Adam and Steve who so frighten the small-minded mushheads of the religious right – friendly, happy, to all appearances in love, and about as unthreatening as a down comforter in the wintertime.

“But Jon – you’re such a romantic, iconoclastic loner with your hair blowing in the wind that rolls over the heath like a sigh. What are you doing at Town Hall — and at the Javits Center next week for Yom Kippur — with a bunch of observant Jews?”

“Heck if I know. Your point?”

Actually, I do know: I go because my girlfriend goes, but I’m glad to. If there were no other reason, the music really is beautiful. Funnily enough, while waiting for the service to begin I was flipping through a “magazine” Michelle Shocked sent me. It’s merely an elaborate promotion for her new live CD and some reissues, but in it she writes about being inspired to get religion by attending gospel services. “If you follow the trail from rock ’n’ roll, it always leads you back to the blues, sweet soul music and finally to the churches and gospel music,” Shocked writes.

In some way that I don’t understand, tracing the roots of the music she loved brought her to the point of “living by the Good Book.” That’s just going backwards, as far as I’m concerned, but it does attest to the power and importance of music.

Sometimes, even a CBST service feels like going backwards in spite of all the social maturity, liberal attitudes, and major keys. (Spotted in the crowd: Democracy Now‘s Amy Goodman.) A formative superstition still lurks in the heart of the temple. Without it, the title and first paragraph of this article would make no sense. They do not, in fact, make sense. Nobody but Adam and Steve’s parents actually “created” Adam and Steve. Nobody “created” Lucy, or the oceans, or the Earth or the Sun or the cosmos.

But people do create things, and as human creations go, CBST is a pretty nice place to hang your yarmulke.

Indie Round-Up, Live Edition: Second Dan, Gandalf Murphy, Irion Redux

Live from New York, it's Indie Round-Up! This week I'm taking a break from reviewing CDs to talk about some recent shows. First up: Second Dan, Tuesday night at Mercury Lounge. Led by Australian import Dan Rosen, whose Down Under vocals and bad-ass-Hebrew looks make for some notable charisma, the band played an energetic and enthusiastically received set mostly taken from their upcoming CD, Bringing Down Goliath. Lead guitarist Adam Lerner called on the U2 and Radiohead playbooks for evocative guitar sheen, and wild-man drummer Sonny Ratcliff provided the important role of second visual focal point (something a lot of bands could use).

With the faint, edgy raggedness of a band that's been rehearsing but not touring, the band wrung everything they could out of their most infectious rockers, "You Make We Want To" and "Running Out of Feelings." The brooding "Forget to Remember" was another highlight. And the band showed its political side in a couple of songs, including the punked-up, socially conscious "The Elephant Fell To Earth." Pumped up, skilled, and most of all, charging out of the gate with excellent songwriting, this New York City band stands out in the crowded League of Alternative Rock Gentlemen.

Next up: Johnny Irion, whose intriguing new CD I reviewed last week. His short, solo opening set at Joe's Pub last night proved that his best songs hold up well when stripped of the CD's artful arrangements. "Short Leash" was a strong opener, and "She Cast Fire" – though it didn't quite work as the sing-along he wanted it to be – brought back pleasant memories of grooving to CSNY. Other moments in the set evoked thoughts of the Allman Brothers, Donovan, and Jeff Buckley. In fact, the phrase "Jeff Buckley, but with songs," came to mind at one point. Like Buckley and many worthies before him, Irion mixes blue-eyed soul into his gentle hominess.

The evening's headliner was a band I've wanted to catch for years but never managed to until now, Gandalf Murphy and the Slambovian Circus of Dreams. Though they live just north of the Big Apple, they rarely play here in the city.

In the late 1990s when all of us musician-types were first putting up websites, the Slambovians had the coolest band website in the world. It wasn't just some pages of information – it took you through a whole experience, like a dreamy game. (The current website is much more utilitarian, though still entertaining and creatively imagined.)

Their music is also entertaining and creatively imagined. But now I understand that you have to see them live to get the full impact. Songwriter and lead singer Joziah Longo has an incantatory presence that's 70% tongue in cheek and 30% sho'nuff spiritual. Like a benevolent wizard (think a less hyperactive Ian Anderson), he's the center of a huge, dark, invigorating storm of sound. During the gravely titanic "Sunday in the Rain," off the band's latest release, Flapjacks from the Sky, Longo used his reedy baritone first to glow like Neil Diamond, then to slice like James Hetfield.

The hilariously clever intro to the cool Americana love song "I Wish" mashed up a Johnny Cash hit with one by The Who. But the song itself, characteristically for the band, uses simple, common chord changes and plainspoken, intelligibly sung lyrics to create full-hearted, generous, but never aimless tours of the magical mystical musical cosmos.

Instrumental unison parts, subtly slipped into the arrangements, rap with the sung melodies and help build the simply structured tunes into major works. The songs are funny, deep, psychedelic, lyrical, and rootsy, and they don't need great length to make their statements. This is a band that earns its Floyd, Who, Beatles and Cash quotes.

Tink Lloyd played the theremin and accordion simultaneously on the inspiring title track. Lead guitarist Sharkey McEwen played something I've never seen before: lead slide mandolin. Drummer Tony Zuzulo's overhand style made his kit a churning perpetual motion machine. But if I had to pick the supreme moments from the set, they were those in which the content of the song fused completely with the band's expert collective musicianship. One such was the gorgeous waltz "Sullivan Lane," an ode to childhood imagination: "She wasn't one of the misscripted lovers/That moved with the others/She didn't know why/They would make fun of the way she would druther/Just float up and hover between earth and sky." Them's fightin' writin'.

A new song called "Tink" returned to the theme of love, as did "In Her Own World," which has a dancing classic-rock melody. Then came the other crest of the set, the long, mind-blowing "Talkin' to the Buddha," a slow-motion hurricane you want to run straight into. That's a pretty good description of the whole set, actually. Here's hoping the hoary winds of time blow Gandalf Murphy and the Slambovian Circus of Dreams back my town soon, and to yours.

The band's website and CD Baby page only have very short bits, but you can listen to some full tracks at their Myspace page. They're on the festival circuit, playing upcoming dates in the Northeast and in California. Catch these Slambovian ambassadors if you can.

Go Cyclones!

Had more fun at the Brooklyn Cyclones game the other night than I’ve had at some major league sporting events.

The game itself was just OK. The Cyclones lost to the Vermont Lake Monsters, who dominated them with outstanding pitching. But it was just plain fun to be there. I was there to videorecord Elisa singing the national anthem and “God Bless America.” Here she is getting ready to go out on the field.

Elisa Before Singing the National Anthem at the Cyclones Game

Before the game we waited out a rain delay in the team’s administrative office, where a parade of wacky Brooklyn characters entertained us. Maybe because of the rain, some of the competitors in the knish-eating contest (it was Jewish Heritage Day) didn’t show up, and I was SO tempted to compete. In this picture, the guy in the cream suit was there to sing Hatikvah, the little girl was throwing out one of the many “first” pitches, and the heavyset dude was promoting a Visa card that supports Israel.

Waiting Out the Rain Delay Before the Cyclones Game

In the stands, meanwhile, there’s a great feeling of community. Brooklynites (especially those from the neighborhoods closest to Coney Island) are absolutely elated to have professional baseball in town, even if it’s just a short-season single-A farm team for the Mets.

Sandy Seagull at the Cyclones Game

Everyone’s friendly. People talk to each other. Not like in the major leagues (of any sport), where there’s just so much tension that you’re always worried you’re going to get beaned with a cup of soda, trampled, killed, or worse – insulted.

An Oak Tree Grows in Brooklyn

Amidst the overgrown chaos of my backyard, an oak tree sapling has sprung up. I won’t be here to see it grow to maturity, and its prospects are doubtful anyway considering how little room it has and how close it is to the property line. But for now, I love this little tree.

Oak Tree

It’s certainly got more chance in this world than poor Planty ever did.

Kings County Blues Band

Aviv (see the last post, “Bowery Poetry Club”) and I are two-thirds of the Kings County Blues Band, a new act that’s tearing up rehearsal studios all over Brooklyn. The other third is drummer Jeremy Kaplan. Can Jews play the blues? Oy. Our Manhattan debut is this coming Tuesday, July 24, during the Soul of the Blues Festival at Cornelia St. Cafe. That’s my festival. So, yes, I booked my own band. Life is good. We’ll be playing some originals, and some cool covers by the likes of B. B. King, Freddie King, and Lonnie Mack. Dig it.

Bowery Poetry Club

Played a gig with folk singer Meg Braun the other night, and let me just say, the Bowery Poetry Club rocks. It might be named after poetry, but bands sound great there. It’s nice to find a relatively small club that does it right. What a pleasure.

Here’s Aviv Roth, Meg, and me on the stage. Do I look like Elastic Man, or do I just look like I’m having a good time?

Meg Braun at Bowery Poetry Club

Morning in Manhattan

Things aren’t looking too good for Mayor Bloomberg’s plan for traffic congestion pricing in New York City. Modeled after the successful London version, it would charge drivers a fee to enter Manhattan below 86th St. during business hours, but Albany politics (and even some legitimate concerns, like the fact the some subway lines are already at capacity) are holding up legislative approval. If the plan isn’t passed by Monday, the city will forfeit hundreds of millions of federal dollars for the project.

My problem isn’t driving into Manhattan, it’s the mere fact of having a car here. Soon to be a resident of this fantastical island (sadly, luxury apartment rental manhattan was well out of my price range – but it’s nice to aspire to something, right?!), I’m in training for my new status as one of the only 20% of Manhattan residents to own a car. And one thing I definitely have to adjust to is the alternate-side parking culture. I’m aware that most people who move here decide to buy or rent a nyc apartment which is located near public transport so that they don’t have to worry about owning a car, and adjusting to all of these rules. It’s not a bad idea to consider, but I prefer being able to drive around the city. I just need to make sure that I do it correctly.

Alternate Side Parking sign

It’s morning in Manhattan on a humid, scorching day. Back in my part of Brooklyn, you can double-park your car during street-cleaning hours and leave it unattended for the length of the no-parking period. If the period is 11-2, it doesn’t matter if the sweeper comes by at 11:05, you can stay double-parked until 2 (though if you’re still there at 2:03 you’re likely to get a ticket). To be polite, you can put a sign in your windshield with your address so if someone you’ve blocked needs to get out he can fetch you from your house. But that hardly ever happens. We plan for the hours we’re going to be parked in.

Here in Manhattan things are different, it’s not the same for the tourists staying at hotels in manhattan who can just wander around the place sightseeing. Here, we sit in our cars. Doesn’t matter how hot the day. I think it’s because street parking is even scarcer and you need to grab a spot the instant you possibly can. So at 8:30 AM I hobble out to my car (I’m nursing a sprained ankle, you see – thank god for my Athletic Ankle Compression Sleeve), double-park along with everyone else, and settle down, along with everyone else, to wait. I’ve got public radio to listen to and a book to read. Being a typical New Yorker, I try to do both at once, while simultaneously keeping an eye out for any relevant street action. Right away, at 8:35, the traffic cop comes by and gives tickets to a Dodge Durango and a motorcycle that haven’t been moved. We stay in our double-parked vehicles and watch as he moves up the street and out of sight.

The super of the apartment building at #200 is painstakingly hosing down his sidewalk, slightly cooling this stretch of street. A woman comes out of the building with a little dog. A man passes by with two larger dogs. The dogs yip and bark aggressively while their respective owners avoid eye contact.

The sun rises higher, and the shade from the tree beside me creeps forward. The sunshine is already hitting the exterior of my car and will soon slither into my window, so I pull up a bit. There’s still room for a car between me and the next vehicle, and presently an SUV muscles up and parallel parks into it. That’s something you don’t see in the suburbs: parallel double-parking. But the guy’s not here to score a spot on the block. After a short absence he returns to his car lugging two full water-cooler jugs. They look blue and refreshing, but as he hoists them into the back of his vehicle my sprained ankle aches in sympathy. He pulls out and drives off towards Eighth Avenue.

Just after 9 the street sweeper comes by, hissing loudly. As soon as it passes, we fire up our engines and move back into legitimate parking spaces, but we continue waiting in our cars. Even after the sweeper has passed you can still get a ticket for parking on the street-sweeping side during the forbidden hours.

A stiff-haired man in an undershirt and work pants comes out of #200, goes over to the motorcycle, ignores the ticket, moves the bike casually to the opposite side of the street, then goes back inside. Ah, for the life of a rich New York City ne’er-do-well. A lady with a basset hound and a shopping bag full of clean, white towels comes out of #200, but this dog isn’t out for a walk. He’s headed for the bright-orange minivan labeled “Pet Chauffeur” that’s just pulled up across the street. Ah, for the life of a rich New York City hound.

The minutes creep by. These are surely the hour-and-a-halfs that try men’s souls. It’s getting hotter and hotter. 9:20. 9:30. 9:40. I get some good reading done. At 9:50 a restless flutter runs down the block. Arms appear and withdraw. Drivers get out, get back in. Windows close and open and close again. 9:52. Someone gets out of his car, looks up the block, slowly fishes out his keys and locks the doors. 9:55. We’ve all put on our Clubs and gotten out of our cars. We look up the block. There’s a police car on the far corner, across Seventh Avenue, but it’s busy with something not traffic-related. With several looks back to make sure there’s no last-minute ticketing to fear, I hobble off towards the office. I’ll only be five minutes late to work. Until next time, fellow car owners. Until next time.

Soul of the Blues, June 27 2007

Last night featured one of the most wide-ranging Soul of the Blues lineups in recent months, and it was a smash. Nu Millennium, a talented and funny four-man a capella singing group from Brooklyn, opened the night with a set of classic soul (and a touch of disco). The crowd at Cornelia Street Cafe whooped so loud they threated to drown out the gentlemen on stage.

Nu Millenium

Then Florida’s Ernie Southern and his two shiny steel guitars rocked the crowd – quite a few of whom came specifically to see him – with a solo set of high-energy Delta blues. That primed our audience for a smooth, funky set from the Anthony Robustelli Band, which featured saxman extraordinaire Deji Coker. Keyboardist and singer-songwriter Robustelli runs a super-tight and soulful New York City act reminiscent of Steely Dan. Coker blew fire from his alto and the band was seriously cookin’.

Best thing was the good feeling that comes out of these shows. No one makes a ton of money, but the vibe is sweet. Nu Millennium’s fans stayed to hear Ernie, and Ernie’s fans stayed to hear Anthony and his band. All is good.

Richard Thompson Always Takes the Weather With Him

Richard Thompson brought thunder, lightning, and an on-and-off downpour to Brooklyn last night and we got soaked, but we still had a great time at the Celebrate Brooklyn concert. The Prospect Park bandshell has an amazing sound system. I could understand almost all the lyrics, even of the songs I’d never heard, which was most of them (there were a lot of new songs in the set). But Richard and his band did play “I Want to See the Bright Lights Tonight” and “Wall of Death,” and he make sure to mesmerize the crowd with “1952 Vincent Black Lightning.” His son Teddy joined him for a gorgeous rendition of “Persuasion.”

Back on the lawn, girls ran around with glow rings until they fell down. Grown-up people were wet but happy. A few tall, quiet men stood around wearing Richard Thompson hats. I tried to use my beach chair as an umbrella. Meg told us all about how Pete Seeger had given her a cookie at the Clearwater Festival. Starbucks provided tiny cups of free coffee, and beer (not free) abounded.

richardthompson_06212007

Richard Thompson and his band at the Prospect Park Bandshell in Brooklyn, 6/22/2007. Photo by Meg Braun.

Theater Review: Cycle

How distant, really, is “classic” modern theater (Pirandello, Beckett, Stoppard) from Vaudeville? In time, not so much. In theme – maybe not so much either. Isn’t it all basically clowning? Who are Pirandello’s six searching characters, who are Stoppard’s Rosencrantz and Guildenstern, if not clowns? Aren’t they all shadows of humans, seeking by means of antic dispositions a way through the wall? Pinocchios all, striving, or at least sighing, to be real people?

In Cycle, Rose Courtney’s new, antic play with music, six dislocated vaudevillians need a muse so they can continue to exist. It’s not clear how they choose (or conjure) her, but the exquisitely named Charlotte Shrubsole (played just as exquisitely by the playwright) has one frantic day to find the Secret of Success while bicycling through New York City. Scampering in and out of Charlotte’s adventures, constantly thinking on their feet, the desperate vaudevillians take on various roles: voice coach, talent agent, audition buddy, blind date – trying to shepherd her towards Success, whatever that is. Less fixed characters than representative spirits loaded with character, the six attempt to keep Charlotte’s eyes on the prize without exposing her to their separate world, which would be crossing a kind of fourth wall.


Cycle
Rose Courtney and Michael Leydon Campbell in Cycle.
Photo credit: Martine Malle

The script is so picture-perfect and brightly executed, the music (by veteran accompanist and music director Rachel Kaufman) so seamlessly integrated, you don’t even notice the play as a work of craft. The story’s vagueness presents a small problem. But fortunately, in addition to limpid writing and joyous music, the production abounds in manic energy, precision staging (by director Craig Carlisle and choreographer Laura Sheehy), and on-stage talent.

Michael Leydon Campbell and J.T. Arbogast attack their array of parts with outsize glee, while Krista Braun wears commanding haughtiness like a young Glenn Close. Sarah Hund charms as violin-playing Fran and goes bigger-than-life as Charlotte’s mother. Eric Zuckerman, as the troupe’s Doubting Thomas, does nicely with relatively thankless roles, and the adorable Halley Zien manages with very few words to steal a few very funny scenes. The cast is as adept with quotations from Shakespeare, Chekhov, and medieval morality plays as they are with physical humor and the playwright’s comic banter.

Centering the action, Ms. Courtney spices up her ingenue’s wide-eyed intensity with a tiny dash of Sex and the City knowingness – just enough to make the character come alive without breaking the absurdist integrity of what is really a piece of meta-theater. It doesn’t matter that the show is, on a literal level, one big actors’ in-joke. In a culture where entertainers are both royalty and psychic balm, actors’ in-jokes are everyone’s jokes, just as Shakespeare’s poetry and Chekhov’s prose are everyone’s music.

Through March 3 at the Cherry Lane Theater in New York City. Call (212) 279-4200 or order tickets at TicketCentral.com

Music Review: Indie Round-Up Focus on Fionn Ò Lochlainn – Spawn of the Beast, and live at Joe’s Pub

Versatility. It comes in handy in many walks of life, but may be most essential of all in the performing arts.

It’s easy to laugh at actors straining to become singers and models desperately trying to become actresses. But they do such things not for our ironic amusement, and not (though it often seems this way) out of pure vanity, but because they want lasting careers in a field where popularity is fleeting. It’s not easy.

For the independent musician, versatility is just as important. Burning cooler, he’s less likely to flame out quickly, but he pays for his store of potential energy by not making much money. Versatility for him means being able to front his own band today and work as a sideman tomorrow; to perform solo, to write, to play covers or traditional music, and to play multiple instruments – all while self-marketing and hustling. It’s not easy.

Yet a performer, whether star or journeyman, needs to make it look easy. The singer, songwriter and virtuoso string player Fionn Ò Lochlainn and his acoustic ensemble did just that last night at Joe’s Pub, celebrating the release of Fionn’s first solo CD, Spawn of the Beast. A fine artist on guitar, mandolin, piano and vocals, and with a batch of powerful original songs, he will be touring with Billy Bragg in the coming year. Right now, settled in New York, he’s promoting his new disc with a January residency at Rockwood Music Hall, which in its brief existence has become New York musicians’ favorite small room to play.

Fionn O'Lochlainn at Joe's Pub 12/13/2006 pic2

For the CD release party, a bigger venue was needed, hence last night’s packed show at Joe’s Pub. Fionn is one of those wholegrain performers whose work and presence can’t be separated. Celtic soul, singer-songwriter acoustica, and Frampton-esque rock star magnetism fuse in his stage persona, a mix that’s surprisingly well captured on the CD.

In concert, Fionn’s piping rock tenor occasionally plays second fiddle (so to speak) to his zooming handiwork on guitar and mandolin when the latter requires him to look down and away from the microphone. But his generosity as a performer makes you root for him no matter what. Able to masterfully steer a tight band that, amazingly, has only rehearsed once, while at the same time pulling in an audience much of which doesn’t know his music, Fionn makes a virtue of multitasking.

Happily, Fionn’s songwriting and interpretive ability can keep up with his devilish musicianship. The CD opens with three of his best originals: the dramatic “Walk My Way,” the lovely “Waterside,” and the insistent “Racing Against the Time,” the last of which in concert became a mesmerizing, accelerating train ride. Drummer Cindy Blackman (of Lenny Kravitz fame) and bassist Orlando Le Fleming (Jane Monheit) propelled the more rhythmic songs, while a powerful string quartet that included fiery cellist Natalie Haas and her violinist sister Brittany (who played on Danny Barnes’s Get Myself Together CD, which I reviewed last year here) provided added shots of soulful, sinewy musicality.

Fionn played a couple of songs by himself, including an a capella version of Black Sabbath’s “War Pigs” which is becoming a signature tune for him. Other non-originals included a delicate version of Stevie Wonder’s “Big Brother” and the exquisite “Green of the Grass,” written by Fionn’s father, Ruan Ò Lochlainn (who worked with Roxy Music, Ronnie Lane, and Jethro Tull among others). Fionn’s large talent enables him to make a big, rock-influenced sound and an equally substantial artistic statement using only traditional, acoustic instruments and keening, crystalline vocals. His original music leaps off the stage, and the CD reflects that energy as well as a studio recording can be expected to. He plays traditional Irish music around town as well, and plans to host a variety of guests at the upcoming Rockwood residency, Thursdays in January.

Song samples are available here; the CD is available at shows, and online here.

Music Review: Ted Nash & Still Evolved at the Rubin Museum of Art

New York’s Rubin Museum of Art is a magnificent new institution occupying the former Barney’s, in the Chelsea neighborhood of Manhattan. They’ve preserved the store’s majestic central staircase and turned the four-plus floors that wind around it into galleries dedicated to Himalayan art – mostly religious iconography from the region’s Buddhist, Hindu, and ancient Bon traditions.

Unbeknownst to your humble correspondent – who works in an office just a few blocks from the museum – its creators had also built a spacious basement performance space with bell-clear acoustics. Last night I attended the first in the museum’s all-acoustic jazz series. Because it’s co-sponsored by the new Jazz Museum in Harlem (which doesn’t have its own space yet), the concerts are collectively called “Harlem in the Himalayas.” Yes, it’s in the basement, not on top of a mountain – but at least the ceiling is high. And the sound is warm and clear. Tenor saxophonist and flautist Ted Nash, with Frank Kimbrough on piano and the indomitable Rufus Reid on bass, played two short but sparkling sets completely un-amplified – no amps, no mics, no speakers whatsoever.

Except for the musicians being on a high stage – and thanks partly to the tables interspersed among the rows of comfortable chairs – it felt like an intimate club, but without the clattering of glasses and interruptions from the wait staff. (There is no wait staff. Drinks and snacks can be bought at the spiffy new bar upstairs and brought down.)

Highlights of Nash’s sets included Andrew Hill‘s “Tripping.” Reid had played on the original recording, and Nash and Kimbrough joked about how they knew the song better than the bassist. A lovely, spacious rendition of Kimbrough’s ballad “Joie de Vivre” made a fitting tribute to the late saxophone great Dewey Redman, who died last month. Kimbrough had recently been in Redman’s band and you could feel the warmth in his playing. A hilarious romp through Thelonious Monk’s “Green Chimneys” closed the first set.

Jazz, perhaps more than any other kind of music, can be appreciated in a multitude of ways, maybe because it’s simultaneously visceral and cerebral. Its improvisatory nature, its roots in rhythmic forms like the blues and New Orleans march music, and its tendency to mimic the sounds of the human voice and body – the popularity of the saxophone in jazz is no accident – all appeal to the gut. At the same time, its intellectual and exploratory qualities engage the frontal lobe. In the audience, some laugh at the musical jokes, others don’t. Some sit meditatively through a hummable song while others sway and tap to the beat. Some respond to more demanding pieces, like some of Nash’s and Kimbrough’s modernistic, rhythmically intricate compositions, by listening attentively as if at a classical concert, appreciating every note; others continue to sway as if there were a danceable beat, letting the music wash over them. Even a modestly musical ear appreciates how musicians like Nash and Kimbrough fit common jazz tropes into complex new structures (or nonstructures), like a painter dotting human figures into a fantastic or abstract landscape.

The trio left the world of jazz entirely for one piece, “Kanha’s Trail,” a musical meditation to one of the museum’s most impressive statues. Pictures of items from the collection were projected on a screen above the musicians as they played. Reid drew a remarkable, deep harmonic from his bow which served as the drone under Nash’s fluttery flute melodies and the zithery sweeps Kimbrough took directly off the piano strings.

Kanha

Kanha, an Indian Adept

These days it’s not hard to see jazz inexpensively in New York, but it would be hard to find a better setting for it than this. This coming Friday, catch clarinetist Ken Peplowski (of Benny Goodman’s last band). On October 6, trombonist Wycliffe Gordon and his band perform a new accompaniment to D.W. Griffith’s epic 1916 film Intolerance – that should be quite an event. The Friday jazz series then resumes on October 20 and runs most Fridays through the end of the year and into next, with performances by Anat Cohen, Christian McBride, electric guitarist Russell Malone, Uri Caine, and many others.

Check the full schedule. Tickets are $15 in advance, $20 at the door, and include museum admission. The museum is open late on Fridays, so you can take in the exhibits either before or after the show.

CD Reviews: Indie Round-Up for Aug 10 2006 – Reischel, Weary Boys, Vladeck

This week: three artists who sound just right for summer. Then some pontificating, followed by some gallivanting.

Jason Reischel, Brown Bridge & Green Bridge

Reviewers are imperfect creatures. How we hear and react to something can vary with circumstances. When I first listened to this CD a couple of weeks ago it barely registered on my consciousness. Then I listened to it while slogging through a smelly, 100-degree New York City heat wave, and it was positively refreshing even through crappy speakers. “A Lullaby” and “Roses” set the folky tone with Reischel’s gentle Paul Simonlike vocals and dexterous acoustic guitar work. The feel is Elliot Smith meets Tim Buckley, but there is also an outsider quality to the loose, almost sloppy way in which the instrumental tracks are put together. Reischel’s voice is so wrong for bluesy songs like “Down & Out,” “Torn in Two” and “Acres of Diamonds” that he casts a skewed little spell, while gloomier tracks like the haunting “Locked Door” and the spare “Where Are You Tonight?” are heirs to Townes Van Zandt’s sad songs. Reischel’s pretty melodies do not aim for hookiness, but the CD works as irony-free parlor music.

The Weary Boys, Jumpin’ Jolie

The Weary Boys’ fifth CD in as many years shows the hardworking guitar-and-fiddle roots band in fine form. Though based in Austin TX, they sound much more like backwoods stompers than Austin-Americana scenesters. Thirteen mostly jolly two-and-three chord folk songs, some written by the band members, driven by full-on harmonies, fiddle, and Telecaster, should be enough to bring anyone out of a funk. There’s a variety of styles on display, from love songs (“Your the One I Care For”) and country-bluegrass dances (“Hoot Owl”) to Chuck Berry rock and roll (“Baby’s Got a Hold On Me”) and Hank Williams-style Western soul (“California Sunset”), plus local color via straightforward versions of “Jambalaya” and “Vaya Con Dios” – but every song sounds like the Weary Boys, and that’s fine by me. They know how to write ’em and they know how to pick ’em. The energy is a wee bit more laid-back than you might expect from a band with two guitars, bass, drums and violin, but they are called weary after all. Just remember your bug spray, and you’ll like cooling off with the Weary Boys’ latest.

Available at the Weary Boys website.

Andrew Vladeck, self-titled

New York City banjo icon Andrew Vladeck’s vivid story-songs are made of the best elements of rock, soul and American roots music. In his shaky but cutting vocals and graphically descriptive lyrics you can hear a little Dylan, a little Springsteen, and some blue-eyed soul a la Leon Russell (“3,000 Miles,” “What We Gonna Do!”) “Ringaleevio,” named after a run-and-hide game I haven’t thought about since third grade, sounds like Lou Reed (and he’s even got a song called “Coney Island Baby.”) One could go on picking out specific influences in other songs too, but that wouldn’t do Vladeck justice because they stand on their own. His “Coney Island Baby” is an intense paean to the ancient beach and amusement strip that never ceases to inspire songwriters, novelists and other romantics. Vladeck is a musical citizen of the world and an original voice, crafting appealing songs that twist and turn in surprising ways, both musically and storywise. Imagine if Dylan’s “Hurricane” had a happy ending, and you mind get Vladeck’s “Justice Is Served.” These lyrics from “Chinatown” encapsulate both his New York-centric sense of place and the universality of his stories and images: “You can go to China/or wherever you think will do/But you’re not gonna find happiness unless you bring it with you/You got a long way to China and I got Chinatown.”

Available with extended clips at CD Baby.

OUT AND ABOUT: Heard a story the other day about an indie artist, who shall remain unnamed, being shopped to a major label A&R person (who shall remain unnamed) by an artist rep (who shall remain, etc.) The first question the A&R person asked was not “How old is he?” or “What does he look like?” – which, sadly, are what we’d expect – but rather, “How many Myspace friends does he have?” Now, we all know that people at major record labels don’t have a clue about music, and are concerned instead with looks and with whether a band has gotten a good-sized fan base on its own. But this particular A&R lackey didn’t seem to have a clue about promotion and popularity either. It should be common knowledge among those in the business of popular culture that anyone who has a litle persistence and a bunch of time to sit in front of a computer can amass tens of thousands of Myspace “friends” faster than you can say “Love Potion Number Nine.” No wonder signed artists are fleeing the labels just as fast as their contracts end, while up-and-coming bands are avoiding them like the plague… Speaking of indies, last night folk-blues master Pat Wictor brought a group from his Manhattan Songwriters’ Circle to my local Brooklyn haunt, Night and Day, and while Pat’s and Meg Braun’s sweet music was no surprise, the discovery of the night was the solo performance by singer/songwriter and Dobro player Abbie Gardner, known to me previously only as part of Red Molly. Gardner has an arch bluesiness, and a voice that’s warm as ice and cool as a New York summer, but she can sure write a song too. (Note: her dad is jazz trombonist Herb Gardner who is affiliated with the Smith Street Society Jazz Band. When I was a kid my own dad used to take us to Nathan’s in Oceanside, NY – the huge old Nathan’s with the separate counters for each item of food – to see that very band on Dixieland Night. How ’bout that!)… The Animators rocked up the Living Room last week. A band to seriously watch… Katell Keineg, whose praises I’ve been singing, mostly unheard, for years, has suddenly leapt from playing the aforementioned Living Room to the much bigger Bowery Ballroom, all because of this New York Times Magazine profile (unfortunately it’s “Times Select” so you have to pay for it if you don’t subscribe to that service). I’d be there on August 18 to see Katell if I didn’t have a gig the same night with my band, Whisperado, at the legendary Hank’s Saloon. 9 PM, by the way.

Until next time… happy listening!