by Brian Slattery | May 29, 2015 1:47 pm
“Gimme the fortune and keep the fame! Follow me and repeat the name!” rapped Sotorios Fedeli, front man for Political Animals.
“Clint Beastwood!” the crowd shouted back.
“Shout out to all y’all who came out on a Wednesday night!” Fedeli said.
by Brian Slattery | May 27, 2015 4:42 pm
There was a tricky passage in John Coragliano’s “Chaconne” from The Red Violin that still wasn’t quite hanging together. Or so it seemed to the New Haven Symphony Orchestra and its conductor, William Boughton, on Tuesday night’s rehearsal. To almost anyone else, Coragliano’s piece sounded like it was already home. But for those playing it — from soloist Bella Hristova on violin to the concertmaster to the first clarinet, who quickly exchanged comments in between running the passage — there were still a few details to get right.
by Adam Matlock | May 26, 2015 3:53 pm
Musical genres are really tools for record labels and promoters more than for musicians or listeners. This often doesn’t favor the artists who exist in the margins of genres, or who have synthesized their influences into something new.
Last Wednesday’s show at BAR, part of a long-running series organized by Manic Productions, brought together Kayo Dot, Shilpa Ray, and Hex Inverter, three bands with varying displays of irreverence for genre. Their restlessness drew their disparate musical worlds closer together, giving coherence to a bill that touched on goth-rock, industrial, ‘60s pop, trip-hop, and prog.
by Adam Matlock | May 22, 2015 10:30 am | Comments (1)
“We’re going to make it what we we want it to be,” said guitarist Trevor Babb of the Aprés-Garde Ensemble. He was introducing “Book,” a composition by Will Redman that offered musicians dozens of performance possibilities by allowing them to play any of the work’s 98 pages in any sequence or layering.
But at last Saturday’s installment of the ongoing Uncertainty Music Series — held at Never Ending Books, its long-time primary residence — Babb could have been describing a lot about the performances by the Aprés-Garde Ensemble and Carte Noire, both of which let the musicians’ desires shape the possibilities of a performance of chamber music.
by Adam Matlock | May 21, 2015 2:22 pm
For the leader of a band named Snakeoil, alto saxophonist Tim Berne didn’t give off much of a salesman vibe. His introductions for each composition, over two sets at Firehouse 12 last Friday, were infused with wry humor, and while he did try to pitch T-shirts for his record label to the audience (“the last nine in existence”) you didn’t get the impression he was trying to push something on you. As he and pianist Matt Mitchell, his longtime collaborator, shot ideas back and forth with modifications, feints, and additions, it was obvious that this was a negotiation — and a fascinating one — to watch and to hear.
by Brian Slattery | May 20, 2015 12:57 pm
There was that now-classic sound that Elvis, Scotty Moore, and Bill Black made at Sun Studios in Memphis in 1954 and 1955. But there was also the ranging spirit of that era, in which, for an exhilarating few years, the conventions of rock ‘n’ roll still hadn’t been nailed down and seemingly anything was all right, as long as you could dance to it.
by Lucy Gellman | May 15, 2015 2:24 pm
Sketch Tha Cataclysm didn’t have no time for a sad song. Ibn Orator wanted the audience to imagine a world, half comic book and half earth-bound, where death had a voice and they could hear it coming. An Historic was seeing the fire in her eyes. And if The Forest Room could introduce echo terror to the Elm City, Ben Erickson could just as easily rage against it, his tattooed arms vibrating with a suite of lyrics and the flow of guitar and drums.
by Lucy Gellman | May 14, 2015 11:50 am
“For me, the concert does have this feel of culminating,” said clarinetist David Perry of the Second Movement Series. “I’ve had this experience with a number of different pieces, of ‘how on earth did this person know that everybody was going to connect to that moment in this piece of music?’ and I think that’s what we’re going for on this one. Having had that experience of seeing the things that you can’t see, and also the things that you know exist that you can’t see. It’s like a pain up close ... but you pull back and see all this beauty. It sounds cheesy, but I think music has this amazing potential to bring people together, and that’s what we were aiming for with this series.”
by Brian Slattery | May 13, 2015 1:36 pm | Comments (1)
“I love change,” said Dan Gurvich, Neighborhood Music School’s new chief. “I embrace change as a position.”
by Brian Slattery | May 11, 2015 2:23 pm
“The George Baker band has arrived!” DJ Dooley-O said from the front of the room. The packed house at Cafe Nine cheered as Baker walked in, cane in hand, flanked by his band. Their instruments were already set up.
Baker took the stage slowly and a little stiffly, and settled into his chair. As soon as his guitar was in his hands, though, he flew.
With his backup band, the George Baker Experience — Willie Moore on bass, Derrick Tappan on drums, Tony Dioguardi on guitar, Lou Ianello on saxophone, and Nick Lloyd on keyboards — Baker was there to lay down the tracks for a live album, titled “A Night To Remember.” If the sound in the room on Saturday night was any indication, Baker has a hit on his hands.