Green Arrow Radio

Let’s call in a night in Stow-ton, errr Stu-ton, OK, let’s just call it Madison. Tonight at the Stoughton Opera House, Dan Hicks and the Hot Licks brought the good fun out to play. From the moment they all take the stage, until the moment the lights finally come up and it’s time to say goodnight, Dan and the band bring entertainment to their audience, through the songs we have all grown close to (and man, they brought out some goodies they haven’t played live in a while, you’ll have to go check them live to know which ones). For me, it’s like seeing that Uncle that always gives you the things your parents said you cannot have….The show has is whirls and twirls in sync, the spontaneous nature of the banter to the crowd is like that uncle turning to the kids table to get a quick laugh, and man….if that band isn’t sharp. While each audience member could tell you which song of the evening was their favorite….I am always going to be partial to Uncle Dan’s version and rendition of the Horace Silver classic “Song for my Father”, especially since I know how much Dan loves that tune. Call the show witty, sarcastic, clever or whathaveyou…..but the sold out crowd at the Stoughton Opera House called it a night to remember with Dan Hicks and the Hot Licks and I for one am ready for that live album.

A big Mill Valley Family thank you to Clare for always making the magic happen.

As part of the day working with young minds, it is nice to be able to share all kinds of experience with them. Especially something like this. Alvin Ailey American Dance Theater grew from a now-fabled performance in March 1958 at the 92nd Street Y in New York City. Led by Alvin Ailey and a group of young African-American modern dancers, that performance changed forever the perception of American dance. The Ailey company has gone on to perform for an estimated 23 million people at theaters in 48 states and 71 countries on six continents. Today, the Company continues Mr. Ailey’s mission by presenting important works of the past and commissioning new ones. In all, more than 200 works by over 80 choreographers are part of the Ailey company’s repertory. Before his untimely death in 1989, Alvin Ailey designated Judith Jamison as his successor, and over the next 21 years, she brought the Company to unprecedented success. In July 2011, Ms. Jamison passed the mantle to Robert Battle. In announcing his appointment as Artistic Director, Ms. Jamison stated, “Combining an intimate knowledge of the Ailey company with an independent perspective, Robert Battle is without question the creative force of the future.” I saw people turn their body into water, reenact the history of a people and take a new level of movement as the clock moves.

I was fortunate enough to catch Sir Elton John this evening at the Alliant Energy Center (thanks Steely). It is always thrilling to scratch a star off the list of “must see”. I was caught off guard when Sir Elton announced that Croatians Luka Sulic and Stjepan Hauser, known together as 2 Cellos would open up the night’s music and then sit in on a number of tunes throughout the evening. I am a big fan of the interpretations to rock classics that these two put forth on their cellos, and just how must rock is in them. This tour has been billed as featuring number one chart hits and classic album tracks from throughout Elton’s incredible five-decade career….and did he ever. The band includes Davey Johnstone on guitar, Bob Birch on bass, John Mahon on percussion, ( from Elton’s original band) Mr. Nigel Olsson on drums, and Kim Bullard on keyboards…but also featured an original Family Stone member Rose Stone…and this band was spot on all night. The songs which we have all hEARd many times still managed to sound alive and fresh in a live setting, due to just that, Sir Elton live in a show is as professional as it gets. The energy in the venue semmed to recharge him with each key he pressed. He was a workhorse who only took short breaks to skip around the stage and introduce the tunes. Almost three hours of hits and man, he could have just kept going and going. His wave to the audience was meant for everyone, just like these songs.

While swing is only a part of their thing, I was able to catch Caravan of Thieves at the High Noon Saloon, doing an early set opening for The David Wax Museum. This gypsy swing pop rock-a-cana band put on a short gem of a set filled with good times and the want of more. I am happy to have guitarists and vocalists Fuzz and Carrie on the proGram this week to discuss the Madison show, the new album “The Fun House” and the journey of Caravan of Thieves. The crowd of people, few familiar with this band were definitely left with that feeling of more more more, especially after their energetically rearranged version of Queen’s “Bohemian Rhapsody”. I am a sucker for the stand up bass, and Mr. Brian Anderson thumped and stamped the reasons for that all evening, while violinist, Mr. Ben Dean roused the crowd with his swing string thing. To close this and many of their shows, Caravan of Thieves played “Raise the Dead”, which takes your spirit out for a remembering walk and unites the people in attendance in a shared moment.

The David Wax Museum won me over instantly with the voice of David Wax. The words that rolled off his tongue were like familiar waters I used to play in years gone by ago….the harmonies of the band are as contagious as an autumn cold which easily captured my ears, and they didn’t try to escape. I look forward to the returns of both acts with more stage time in the future the next go around.

The Orpheum Theatre had a niGht of beats that spilled out into a crowd of wanting ears and bodies readied at the starting line to get on their individual moves and motions. Poised with colors glowing and smiles wrapped around the interior of the building, this audience quickly embraced the working beats of friend to the program Eliot Lipp. Just as we spoke of in our conversation during the last show, you could hear the inspiration from visits to great buildings housing great art….you could hear the difference, which quickly translates into “feelin’ it”. The symbiotic relationship between the drawn line and the sound line wasn’t lost on me as I soaked it in deep, with my own doing as it does. Eliot crafts his shows around the beats, not merely in the beats alone….it is within those spaces between the grooves where my ears meet Eliot Lipp’s miXes. I wonder what they miGht do for you?

The High Noon Saloon is always a great spot for a CD release. In support of their latest release, 20th Century Folk Selections on Royal Potato Family, good friend of the proGram, Todd Clouser brougt his mind-bending group A Love Electric to town with ear-original excitement combined with interesting versions of familiar tunes done as only this neo-jazz-rock quintet can do. I have seen this act many times now, a beast on trumpet, combined with Todd’s ability to translate sound into feeling…..and I have to say that in this rare occasion, they managed to do something I consider a rare feat, they keep on getting better each time I go out and see ’em. The style, sound and personality of this group allows me to proudly support Todd every time he keeps coming to Madison (and I hope that keeps happnin’), and I can easily categorize “A Love Electric” as one of my favorite acts around. You can be sure that the next time they’re here, I’ll be there….I hope you adopt this same practice and I’ll look for the thank you cards in my email.

If you’ve been a listener to the proGram since its inception back on the Connecticut airwavesway back in the EARly 2000’s, you’d know how deep I go with the Little Barrie diGGin’. I have been spinning them since 2005, and haven’t looked back since. With a new album (King of the Waves), it has been four years since the last one, the trio from Liverpool made their way to America in support of Charles Bradley & His Extraordinaires, after many dates overseas opening for them. Little Barrie rocked the High Noon Saloon and opened the eyes of many in attendance who were definitely there to catch Mr. Bradley. For many of them, this was their very first taste of the incredibly catchy rock and roll of Little Barrie. They blew the roof off the place with many tracks off the new release, but for my ears, “Tip it Over” was the selection that was most remarkable—with all other tracks right there with it. In chatting with drummer Virgil Howe (son of Yes guitarist Steve Howe), I learned that the band would love to come back to the states and show off what they do best….ROCK!! I have a feeling that they’d welcome an invitation to a town near you.

Although nursing an obvious cold, Mr. Bradley’s pure emotion and meaning were felt over the crowd with each bead of sweat that fell to the stage. The band, as always was tight on and translated the soul of the night magically for a grateful Madison crowd. The love between artist and the appreciators is smile evoking and if you haven’t caught this show yet, you’re missing out on someone who IS all he appears.

It was nice to hear from friend of the program, Charlie Wooton while doing a fill in the a few weeks back. He rang the show to let me know he’d be in town with Bonerama doing a masters class at the University and then a free show at Mills Hall. In talking with a few of the students backstage, they were all so pumped to have hooked up with Bonerama and the experience is certainly one of those I am sure is on many people’s list of things they wish they could do. It was great catching up with Charlie as he has so many things going on including a new upcoming album and tour with the Royal Southern Brotherhood. The band taught thirteen or so “bone” players a couple of tracks and discussed the things that turn them on by music. The students ended up on stage during the free show playing with the band in a concert. How cool! The set was strong and filled with solos from our Bonerama gang as well as the students, Charlie kicked in a fantastic solo during one of the hottest renditions of “Whippin’ Post” I have hEARd in a long time. With a regular mix of their own originals and some horn heavy covers, the night was one to remember and quite unique with the addition of all those jammin’ trombones on stage…..

I was fortunate enough to interview Marco Benevento the other day to promote his show at the Cafe Redamte on Friday night. I enjoyed being able to chat more with Marco about the scene he’s been seen in, the recent tunes he was working on, (which he shared with the audience during the intermission) and of course how hot the new tune “Fireworks” sounded during the first set. After some time on the top of the stairs, the piano and keys were jamming into and out of Marco’s own tunes and a nice collage of covers that had the eerie places inside my mind dancing with their own goblins….. I really get what Marco is laying down. He has a way when by himself or in Garage a Trois or with Joe or whomever that calls to my senses directly through my ear-holes. His solo piano show is an excellent reminder why we diGG what Marco does. His ability to interpret songs we already hold nEAR is almost like he has been sitting in on family conversations from the long ago past, and remembered important details as to what we like. His own songs sometimes feel like they were written in my own songbook, in my own writing and perhaps even on paper I, myself have made. I am glad to be able to call Marco a friend of greenarrowradio finally, and look forward to the next opportunity to hEAR him live, or spin that fresh new tune he has gathered riGht from inside of me….. (a big thank you to Kevin for making these things happen.)

Marco Benevento & MisterG making faces