Mark Ledford
at La Ve Lee
review by Nick Burns, photo by Jay Matsueda
Mar 14: Vocalist (actually, multi-instrumentalist) Mark Ledford had arranged for guitarist Hal Henkel to perform solo between his band's two sets. Henkel took the stage at the interval and began playing his instrument. Upon the request of a few of his fans congregated within earshot, Henkel decided to utilize the still active vocal microphone in front of him. (Upon leaving the stage, Ledford had requested that the sound technician shut off this mic.) After only a few syllables of the Henkel's singing, Ledford appeared on stage and removed the mic from under the soloist's nose, and uttered an explanation about his original intention that Henkel perform on guitar exclusively.

Henkel reacted equally surprised and controlled, citing some embarrassment, but completing a clever set of solos. Strange, but fading from the audience's memory, the emotional anecdote earned an encore in Henkel's opinion: Before exiting the venue, the guitarist returned to the stage with newfound furor to unplug the mic during the opening number of Ledford's second set.

The unpleasantness never fully subsided by the show's end, but its subsidence was not the only work-in-progress on stage that night. Make no mistake, each member of the Ledford line-up has payed his dues and came to play. Rayford Griffin slaying the drums; Alan Rhymes teaching us the meaning of virtuoso on his guitar; pianist Nick Smith meeting the songs and solos' every harmonic need; Darryl Jones on bass, making it look too easy; and Melena, whose percussion sounds couldn't be the least bit muted by her off-stagelocale. They all backed Ledford's voice, guitar, and pocket trumpet with a granite-hard foundation. Their chemistry was nascent, though, since their group history included only one rehearsal before the show.

The highlights arrived in the form of the most archetypal grooves: Bill Withers' "Use Me" and Marvin Gaye's "Let's Get It On" bored into the souls of even the most previously distracted listeners. When done right, these songs clench your facial muscles in sign of agreement with the tunes' meanings, and they make you forget the effort; Ledford's players accomplished that funkiest of musical missions.

The jazzier numbers' complexity of message precluded impromptu delivery. These tunes (e.g., "Blue in Green") need to season in the collective mind of a group before they make for good on-stage exercises in chemistry.

Miscommunication sourced the show's misses. Live performance renders musicians most vulnerable to emotion, and only a practiced mode of communication and cooperation can anticipate and overcome the discomfort that can potentially arise in the creation of the string of artistic decisions and their showcased ramifications performance creates. Ledford and his band met and made most of those decisions with aplomb and professionalism; the rest can be forgiven.

Janis Siegel with the Eric Reed Trio at the Jazz Bakery
review by Nick Burns, photo by Jay Matsueda
Mar 13: Had the Eric Reed Trio singularly performed the entire show it opened with an instrumental number, the audience could not complain. This combo delivered such a show of effortless dexterity and telepathic chemistry, they provided a simultaneous reminder of the equality of technique and teamwork as performance values.

Janis Siegel decorated the trio's foundation with shimmering and confident vocals; the quartet a perfectly balanced platform for an open-ended performance that still stayed grounded as a showcase for Siegel's new CD, I Wish You Love (Telarc). Equally in pacing the lope of the album's title track as in keeping stride with Jon Hendrix's lyrics to Clifford Brown's spritely melody in "Sing Joy Spring," Siegel's alto proved athletic enough to run the gamut of swing - big or ballad - and Latin with consistent agility. She flaunted the ease of her vocal control with instrumental characterizations: Her trumpet mimic sounded so brassy, you'd swear there was a horn player somewhere in the room.

Backed by Reed's fluid sprints and sustains on the piano keys, Vicente Archer's strutting bass lines, and Rodney Green cracking snare drum over sizzling cymbals, Siegel's show simmered with an energy that emboldened the mature technique.

Sophie Hawkins
Steps Under the Lights of The Chris Isaak Show

Singer Sophie B. Hawkins, who shot to fame with the song "Damn, I Wish I Was Your Lover" and whose single "As I Lay Me Down" was the longest-running song on the charts (67 weeks), plays herself on The Chris Isaak Show Sunday, March 31, on HBO. In the episode entitled "Mysterious Hearts," battle lines are drawn as Isaak and Hawkin’s discover they are attracted to the same woman. Hawkins's newest album Timbre has been re-released by her production company, Trumpet Swan, on the Rykodisc label with a bonus disc of songs and videos. Hawkins, who recently toured with Sting, is also the subject of the revealing documentary The Cream Will Rise.

Switched
Subject To Change - Immortal Records © 2002
Metal, rumored to be in a lengthy coma has made a complete recovery in Immortal Records’ Switched. The Cleveland combo demonstrates the fine line between gnarly guitars and smooth harmonies. Songs are tempered by an aggressive rhythm section and layered guitars. There is not something completely new here, rather, refined and intensified. The record can be altered to your own liking; simple adjustments to bass and treble produce amazing results. For those who are addicted to a pounding bass or the grittiness of high end, it is all here. Use at your own discretion. Finally, someone has finally got what it takes, drums that pound your chest into submission and grueling guitars that chisel your head away.

Ben Schigel on mike and guitarist Brad Kockmit make a formidable songwriting team and unleash the dragon. Joe Schigel on rhythm guitar tempers bassist Jason French and Chad Szeliga on drums. Standouts include “Inside” and “Religion.” Definitely reminiscent of the thunder rock days, the CD is not for the faint of heart. This could be dangerous playing on the open road, as you want to press the pedal to the metal with most lethal results. www.switched.com.
- Michael Jarrett Christensen

Music Notes

oh my god - The Action Album! - Novo Records © 2002
Chicago is more than a sports town, for Chi-town harbors great music as well. Like the fabled cop on the “Night that Chicago Died,” there are hits and misses. The Action Album dodges the fatal bullet, only to be caught in the cracks. Imagine a disgruntled hippie, or one who survived the great Techno war of the 90’s relatively unscathed. Strange for strangeness sake, this will not suit all palates, but will fulfill those tastes that crave a cutting edge. The music is sometimes difficult to assimilate. Some of it is too over the top and alienates the listener. Billy O’Neil and Iguana make an interested duo with complex layering and sounds. Give it a shot. www.ohmygod.com

Awaken - Various Artists - Electromatrix / Immergent Records © 2001
Awaken is a most curious blend of rock, techno and hip-hop. The record seems to be devoted for the various artists to strut their stuff, flexing their musical prowess. It is a great record for a dance hall, a rave, or other late night activities. Chock full of sound effects, empowered rhythms and baritone vocals, Awaken’s quest to awaken the soul falls short. The breath of its vision is beyond grasp, but makes a compelling story all the same. Sort of a first rate B-film. Use at your own discretion. www.electromatrix.com

Lisa Loeb – Cake and Pie – A&M Records © 2002
1 1/2 cups sugar
1 teaspoon spontaneity
1 cup originality
3 tablespoons of gentleness
1 container of self discovery
1. Insert CD into player or computer. Allow extra time to absorb the sweet soulfulness of music. Relax, she really means it.
2. In your kitchen or couch, discuss what matters most as her songs have a way of touching your softer side in a harsh world.
3. Enjoy sure favorites “Bring Me Up” and “She’s Falling Apart.”
4. Notice Lisa’s signature, quirky, yet highly distinguishable sound. Silky smooth vocals. Definitely radio friendly, she stays true to herself. An honest work. Enjoy! www.lisaloeb.com

Julia Holland – Self Titled Demo © 2002
Julia Holland proves to be quite the sultry voice one would expect from blues inspired melodies. Julia easily conveys the emotional depth of classic R&B with a well-tempered voice. The demo is immaculately produced, as it is a teaser for a full-length record that will be released later this year. She has the passion, warmth and feeling that we expect from professional singers. She knows her stuff. The old standby “Since I Fell for You” is given a dynamic exuberance that is rare. Julia is currently seeking representation. Contact
TommyBrook Music @ 310-457-2942.

Not Just An Ordinary Factory by Megan Gaynes

If I had to limit myself to one place in all of Los Angeles to spend my nights, that would without question be at one of the city's newest clubs, the Knitting Factory. And don't take the statement lightly, I nearly do this already. A music club, restaurant, bar, and even internet café rolled up in one, this place has had some of the finest acts in the music industry on its stage, as well as tasty food, fine drinks, friendly staff, and last but not least, one of the few places that can lay claim to being all-ages. And, it's conveniently located in the Hollywood Entertainment District, between Highland and La Brea.
If you find the entertainment in the spacious Main Stage leaving you a bit dry, the AlterKnit Lounge is sure to have something worth your while in its' intimate but far from claustrophobic setting. Or even, relax outside at the bar while watching the show on one of their many well-placed screens broadcasting the events on the main stage at all times.
Opened in September 2000 as a continuation of its New York counterpart based in lower Manhatten, the original Knitting Factory began in 1987 as a jazz club that quickly made a name for itself in circles extending out to the international scene. Not only used for music performances, they've held a range of events from awards ceremonies (the first annual Short List Music Awards, the American equivalent of the Mercury Prize) to screenings to the taping of such shows as HBO's Reverb (with Pete Yorn, Weezer, and Remy Zero) and Wim Wenders directed a documentary on the Blues for PBS.
Often, performers with a large enough following to play venues much larger than the Knitting Factory (the Main Stage holds an audience of 500, the AlterKnit a mere 55) will hold special performances there, like PJ Harvey's surprise appearance the night before her sold-out show at the Hollywood Palladium this past October. Other fine acts to have graced their stage include Macy Gray, Nikka Costa, the Fall, Frank Black, Sigur Ros, Momus, Sandra Bernhard, Beachwood Sparks, Neil Hannon, Old 97's, Dandy Warhols, Richard Ashcroft, Pharcyde, the Go-Gos, and the Charlatans.
What's even more exciting is what's ahead. With performances slated in the upcoming months from Lydia Lunch, Art Alexakis, Neil Halstead, X, the Fall, Ellen Degeneres, Frank Black, Promise Ring, as well as "Beatfest 2002, a festival of words and music inspired by the Beat Generation," it's sure to remain the place to be.
Located at 7021 Hollywood Blvd, Hollywood, (323) 463-0204, and check out their website at www.knittingfactory.com/kfla/ for more info.

Herbie Hancock at the Knitting Factory
review by Nick Burns, photo by Jay Matsueda


Mar 12: Herbie Hancock honed his poignantly straight rhythmic feel in a jazz context. Most famously during his tenure with Miles Davis, he stressed the feel of the swing patterns using a deceptively seemingly metronomic adherence to the tempo.
His music with a latest group, Future 2 Future, proves once again, and with the help of ironically contrasting rock rhythms, that his playing has always swung, just not the least bit stereotypically. Hancock stretches his rhythms and harmonies to the edge of awkwardness and dissonance only to hold them back from the abyss before they lose balance.
Hancock's solo work has always pushed the envelope; in the '70s by pioneering the progressive style of jazz fusion, and now by incorporating cutting-edge technological elements of performance. The design of the band aims to anticipate the future of music. Most daringly, Hancock attempts to internalize DJ sound production methods -turntablism, mainly --- into the chemistry of the group. DJ Disk joins the ranks of musicians on stage: Darrel Diaz (keyboards), Wallace Roney (trumpet), Matt Garrison (bass), and Terri Lynn Carrington (drums).
The problem with prognosticating the success and value of a novelty derives from the irrational appeal of novelty itself. Knowing how a new trick will fare after repeated use requires accurately imagining how much the trick's novelty has enhanced its value in your own eyes. Turntablism, compared to all other widely used types of instrumentalism, retains oodles of novelty-appeal. It's the new kid on the block, and its seeming complexity and intrigue will face increasingly stiff evaluation.
The technological facets of the performance did indeed expand the meanings of a show that already included solid musicianship encouraged by the artistically liberal direction of the band-leader. Whether the new meanings deserve articulation, though, deserves further consideration; and Hancock's musical judgment, if only because of its influential magnitude, deserves questioning.
Only time will tell if Hancock's judgment remains as clairvoyant as it once was. Flagrant use of tech toys in art has already become a sure-fire recipe for failure. However, Hancock's ability to contextualize and resolve daring decisions should not go underestimated.

CD Reviews

Powder: Sonic Machine
by Alaina Fiorante
Goldielocks & Xman Music deliver Powder's soon to be released new album titled Sonic Machine. Now this is not one of those bands who haphazardly follows the general rules of music-making and floats about waiting for their turn in the sun. Powder tears a hole in the idea and ascends upon music fans who have been waiting for a new breakthrough band to pioneer a hot, new rock n' roll sound. With Ninette Terhart on vocals, Phil X on guitar, Allan Hearn on bass guitar and J-Bo Dynamite on drums, the band has enough energy to burst through a brick wall. Powder's musical dexterity generates both strong dynamics and impervious unity. Lead vocalist, Ninette Terhart ranges her voice from soft, sexy and sultry to loud, strong and dynamic, propelling the band into a musically engineered blast of high-powered, pop rock sounds. Track 7 titled, "Need A Little Help" features guitar sounds that are pulsating, manic guitar riffs that have much personality in it self. On track 6, Powder covers Led Zeppelin's "What Is And What Should Never Be", hitting all the right notes and vocal energies that would be required to cover this song decorously. And they do. Don't miss Powder's CD party and live show while they will be shooting their first live video at the Key Club on April 3rd at 9:00pm. All ages are welcome. www.powdermusic.com.

Great Big Sea: Sea of No Cares
Zoe Records © 2002
by Michael Jarrett Christensen
Great Big Sea infuses traditional Celtic music with contemporary folk that gives a refreshingly aliveness to the sound. What may be considered unconventional is diametrically opposite - while borrowing sounds from distant cultures and personal influences, Great Big Sea plays and original sound that sooths and soars. Given an extra punch by production, the band unleashes its musical prowess with “French Perfume” and “Clearest Indication.” However, “Barque in the Harbor” has a haunting beauty to its complexity that can only be shared in the cool winds of Newfoundland, Canada.

The band is brimmed with talent. They all sing and are multi-instrumentalists. Amazing. The tracks are evident of a band who shares musical ideas and believes in the component of the song is the ultimate realization of the band. Alan Doyle and Bob Hallett take the lion’s share of the songwriting duties. Darrell Power and Sean McCann support the foundation with a precise rhythm section. Each song has a natural pulse, a flow. Translation: a record that hardly disappoints. Rather, a celebration of the traditional and contemporary, a recital of the joy that is life. www.rounder.com.