Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Nightcrawling 3/3/11

There’s been a wave of buzz lately about Americana songwriter Kelley Swindall, who’ll be on southern tour with Lorraine Leckie in the not-so-distant future. And it would have been nice to have been able to catch her whole set at Banjo Jim’s Thursday night. By almost eight, she was wrapping up it up with a couple of low-key, tuneful country-pop numbers that sounded like Sheryl Crow with a college degree. It’ll be interesting to catch more of her songs somewhere down the road.

Israeli-American rocker Rony Corcos was next. She’s a raw talent, somebody worth keeping your eye on. Watching her run her beautiful Les Paul through a series of pedals was something you rarely see at Banjo Jim’s, and what was obvious right off the bat was how good she’d sound if she had bass and drums behind her: she’s clearly a rocker, somebody who knows her way around the fretboard and has real command of a surprisingly diverse number of styles. PJ Harvey is the obvious influence, and that really made itself known when she did an understatedly intense cover of The Piano late in the show, delivering it with an only slightly restrained, compelling wail. Her other cover was a raw, vivid version of Bill Withers’ Ain’t No Sunshine, a launching pad for some poignantly soulful, incisive, amazingly precise blues runs. Her originals, some of them so new they didn’t have titles yet, put a harder-rocking spin on inventively jazz-tinged, late 70s Joni Mitchell stylings, along with a big, crunchy, hypnotic rock anthem that she artfully assembled layering one loop on top of another and then singing and soloing over it. What was too bad was that as intelligent and diverse as most of her playing is, sometimes she falls back on the stupid moveable chords (think Pearl Jam, Dashboard Confessional or just about any dumb indie guitar band) that have defined indie music pretty much since the 80s. It would be nice if this was just a part of a learning curve (the last musician we criticized for that kind of lazy playing made one of the best albums of the following year – here’s hoping lightning strikes twice).

At Pete’s Candy Store about an hour later, Whiting Tennis, former leader of popular lower East Side band the Scholars, took the stage and played a potently captivating set, also solo on electric guitar, to a full house. Where Corcos is exploring a whole slew of styles while she finds her own voice, Tennis’ music has the same penetrating consistency of vision as his visual art – at this point in his career, he’s best known as a painter and sculptor with a eerily impactful, rustic Pacific Northwest gothic sensibility. Musically, growling peak-era Neil Young and Crazy Horse are the obvious influences, although as he told the crowd late in the set, his quietly blistering kiss-off song Heart of Soap grew out of a line he misheard from a Smog song, which makes sense in that he’d make a good doublebill with Bill Callahan. Other than a simmering bluesy shuffle toward the end of the show, everything he played was slow-to-midtempo. His pensive, sardonic, sometimes brutally sarcastic lyrics are excellent. And as stylistically, and sonically similar as his songs are (he stuck with his signature gritty, distorted guitar tone all night), a close listen revealed how diverse the tunes are. Bad Checks – “Was a time when you’d write a check,” he grinned nostalgically – sounded like As Tears Go By as done by Neil Young. Another had the feel of Crazy Horse tackling Wish You Were Here: “Save us from these Christian men,” he intoned sarcastically. The night’s funniest moment came when he recalled a nightmare family scenario – his father’s a minister, and there was an argument over whether tap water or river water were more appropriate for a baptism. “Hit a deer broadside on the highway…as I dragged it across the road it felt like I was dragging the whole world on a blanket,” he sang nonchalantly on the chorus, a rapid return to brooding, intense mode. He wrapped up his hour onstage with a bitter evocation of John Brown’s execution. Tennis makes the occasional return trip to his old hometown when he’s not in Seattle; his 2006 album Three Leaf Clover is one of the underrated gems of the last decade.

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March 7, 2011 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Album of the Day 1/25/11

Every day our 1000 best albums of all time countdown continues, all the way to #1. Tuesday’s album is #735:

PJ Harvey – Dry

She came out roaring with this one in 1992 and never looked back. PJ Harvey has had an impressively eclectic career as a goth, art-rocker and torch singer, but this is arguably her loudest, most aggressive and most memorable effort. The iconic classic is Dress, her scorching first single. The bluespunk stuff shows what great things can happen if you let your daughter grow up listening to Howlin Wolf: O Stella, Victory, and the hypnotic, R.L. Burnside stomp of Joe. Oh My Lover is goth blues through the prism of Patti Smith; Happy and Bleeding echoes Siouxsie Sioux; Sheela-Na-Gig foreshadows Randi Russo. On Plants and Rags, you can hear why Kurt Cobain liked her so much. She also gets tricky with the time signature on the artful, Siouxsie-esque Hair, Fountain and the ominously allusive Water. Pretty much everything she’s ever done other than her brief flirtation with trip-hop is worth hearing. Here’s a random torrent.

January 25, 2011 Posted by | lists, Music, music, concert, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Cabaret Review: Sarah Mucho in Subterranean Circus at the Duplex, NYC 12/3/07

This was a triumphant return for Sarah Mucho. Although she’s best known as the frontwoman for the ferocious, artsy rock band System Noise, her roots are in the cabaret scene. Her Ziggy Stardust shows at Mama Rose’s and other rooms a couple of years ago earned her rave reviews in the theatre press and a MAC Award, but since then she’s been busy with the band. Subterranean Circus, as this show is billed, is a futuristic cautionary tale blending surreal, often sacrilegious humor with a haunting, apocalyptic vibe, with echoes of early 80s punk rock performance art. There’s not much of a book, aside from between-song jokes (which are hysterical). The songs are mostly rock, other than a heart-stopping version of Nature Boy, where Mucho, backed only by superb accordionist Annette Kudrak, gets to show off and belt at the very top of her spectacular range. Otherwise, over the course of a little less than an hour, Mucho and her band ran through an impressively imaginative reworking of material ranging from Bjork (Human Behavior, rearranged as acoustic, piano-based funk), to Johnny Cash (Man in Black, augmented with a very funny sermon mid-song and ending with the outro to Stairway to Heaven), to an absolutely wrenching take of Cat Power’s Werewolf, rearranged for just accordion and bass and played with the lights almost all the way down.

Mucho does two Kinks covers, Apeman and Lola, taking an irresistibly silly turn on harmonica on the former. The latter, recast as noir jazz driven by a steady, walking bassline has the phenomenally talented Bobby Peaco coming out from behind the piano to deliver a very amusing turn on vocals. Other highlights include Simon and Garfunkel’s Most Peculiar Man, with horror-movie music-box piano from Peaco, an equally macabre cover of a Blonde Redhead song and a powerhouse rendition of Dress by PJ Harvey.

There’s also a surprise ending (much of which may not have been scripted) that wouldn’t be fair to give away. And then there’s Mucho’s voice. One of the maybe half-dozen most compelling singers in all of rock, (think Mary Lee Kortes intensity and strength throughout her entire range, and Neko Case for all-stops-out sultriness and stylistic diversity), she’s never sung better than she did tonight.

Mucho’s supporting cast gets pretty much everything right. The diversity and authenticity of Peaco’s arrangements are amazing: the guy can literally play anything, from gospel to honkytonk to classical. Director Kristine Zbornik has everything timed so perfectly tight the audience doesn’t even have time to finish laughing before Mucho’s next emotion-tugging move is on them, equally effective in inducing chuckles as well as awestruck silence. The show continues this Friday Dec 7 at 9:30 PM and as of this writing reservations (required: the first show sold out quickly) are available, call (212) 255-5438.

December 4, 2007 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music, theatre | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 3 Comments