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 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.
by Lucy Gellman | May 7, 2015 12:17 pm
At Skappo restaurant on Crown Street, Jack Hitt was midway through an unexpected story of culinary carnage: a venison chili gone awry just in time to impress an it’s-still-early-in-our-relationship kind of date. He laughed as he raised his glass of red wine and drank to a future of success in the kitchen.
by Paul Bass | May 4, 2015 8:19 am | Comments (4)
A $400-plus-million plan to transform downtown’s southeastern edge could have been signed and on its way by now — if not for a trench.
by David Sepulveda | Apr 30, 2015 3:11 pm
At the end of a winding courtyard entrance off Orange Street, Artspace staff and volunteers welcomed and registered gala goers for Cloud 9, a gala and art auction for the benefit of Artspace. Some were dressed to the nines. One seemed to have just stepped out of the sky, grabbing his program and bidding number in the building lobby. Cloud Man was pumped and ready for auction.
by Lucy Gellman | Apr 28, 2015 1:55 pm | Comments (1)
“When I was 12 years old, my dad took me to the Louvre. I remember standing in the portrait section and thinking, ‘Yes, this is what I want to do.’” said Michelle Bradford last Wednesday night, surrounded by friends and family. That vivid memory of knowing — really knowing — that she wanted to be an artist still strikes her when she stands in front of a canvas or smells the sticky, dank residue of oil paint.
For a long time, she channeled it as a portrait painter. “That’s how I got my start,” she said. “I was doing portrait commissions.” She also designed 3D characters for video games. Then, after taking time off for her daughter’s birth, she was struck with the urge to try something different.
by David Sepulveda | Apr 24, 2015 3:06 pm | Comments (5)
“I can’t call myself a man because of how I present myself, and I can’t call myself a woman because of how I present myself,” Brian said. “I am in the middle.”
Brian was among the non-professional models for Gender, Projected: Exploring Gender and Identity Through Photography and Dialogue, a new portrait exhibit at the New Haven Pride Center.