Category Archives: SHOW “G”-Views

This is the 34rd season of chamber concerts, broadcast on Sunday afternoons and hosted by Lori Skelton of WPR.. Listen live, or join us in Gallery Three in the Conrad A. Elvehjem Building at the Chazen Museum of Art, Sundays from 12:30 – 2pm.
This Sunday featured a performance of the Sch’s, as brouGht to us by Eliza’s Toyes. They sanG lesser known sacred and secular music by early Baroque German composers Heinrich Schütz, Johann Schein, and Samuel Scheidt.

Scheit: Miserere Mei Deus
Schein: Ach Herr, ach meine schone
Scheidt: Schrist ist erstanden
Schein: Nun danket alle Gott
Scheidt: Lobet ihr Himmel den Herren
Schutz: Alma afflitta, che fai?
Schein: Amor wie ist dein Lieblichkeit
Schein: Frischauf, ir Klosterbruder mein
Schein: Suite #4
Schutz: O Primavera, O dolcezza amarissime d’amore, Vasto Mar and So Fahr ich hin zu Jesu Christ

Last niGht I took myself out to the Frequency to catch some solo Thollem McDonas. After airing some tunes from Tsigoti and his Thollem/Parker/Cline – The Gowanus Sessions album on the proGram, I was thrilled to find out from him he’d be in these parts. In meeting Thollem I confirmed that cool is. He makes music that speaks to me and tonight (he actually let the opening act be the headliner as it was Grimm’s first time doing what he was doing in a live setting on his home court) the language was clear to my eyes and ears. It was like reading the book as it was being written. Notes running to and through and holding each other close by in a race to the end, a Black Friday frenzy in fact, ended his set, and visually I could see all the people that had been waiting in line for deals, leave the starting blocks as the doors finally opened. And the reasons they were there stayed only known to themselves. It is just there that I met and shook hands with Thollem and his music. There is a welcoming and comfortable moment with person and sound and I look forward to the next encounter. If you get the chance to have this encounter before I do aGain, I say make sure you put on your open minds and be prepared to write that new story.

Since I decided to make radio a part of my world, an active part, there have been certain artists that I feel a connection to because of their stories within the music. The Wood Brothers are just as important to me as the early on nursery rhymes and Richard Scary books. Chris’ band MMW produces sounds that are engrained within my mindsapce as a staple in my musical diet, and Oliver’s former band King Johnson is like a reunion of favorite uncles gathered toGether doing things that they tell you: “Don’t tell your parents”. After interviewing Chris and talking about how they have left such a mark, it was easy to hear in his voice that he was pleased that I get where they are coming from. And that I convey that to the listeners in story form and track selection. And get it we did on this night when they came to Madison and did their thing at the Majestic Theater. They graced us with new renditions of some old treats, some teases of new tunes but mostly it was a continuation of familiar tales, told in a voice that has an extra something, a lunging forward rocking chair step that kept making me feel like I was on the front porch and the dinner bell was ringing. I can hear the screen door closing now….BAM. Satisfied but not too full is how I left this show. Sound like a musical meal you’d like to try. I’d hope so.

With John DeMain as the Music Director and conductor, featuring guest violinst James Ehnes:

Hector Berlioz
~Overture to Beatrice and Benedict

Béla Bartók
~Concerto No. 2 for Violin & Orchestra
Allegro non troppo
Andante tranquillo
Allegro molto

Mr. Ehnes
*Encore by Mr. Ehnes of Paganini’s Caprice No. 24*

INTERMISSION

Johannes Brahms
Symphony No. 4 in E Minor, Op. 98
Allegro non troppo
Andante moderato
Allegro giocoso
Allegro energico e passionato

The Bartók selection is right up my ear-alley and it blew me away, as did Mr. Ehnes’ renditon of Paganini’s Caprice 24.

Alan Akaka, one of the world’s great Hawaiian lap steel guitarists and director of the Ke Kula Mele Hawai’i Music School in Kailua, Hawaii visited us in Madison. Mr. Akaka discussed Hawaiian music through the history of music and played examples, and Mr. Akaka performed traditional and new Hawaiian favorites. It was interesting to listen to Mr. Akaka talk of his former teacher, mentor and friend (one with tough musical love), Jerry Byrd. Jerry Byrd is someone whom I have enjoyed listening to for years, and his music never got old to me as it allowed me to travel by just opening my ears and closing my eyes. I was also thrilled to find the association between him and Debashish Bhattacharya, an Indian classical musician who plays the lap slide guitar. These kinds of musical friendships and fusions always capture my attention and while I wanted to hear more of his live playing and less talking about it, the event did have me searching through my musical collections looking for more of these fusions. Mr. Akaka is the past president of the Hawaiian Steel Guitar Association an organization with members throughout the world that strives to perpetuate the Hawaiian steel guitar… I saw forward on to the Islands, even if it is with eyes closed and ears wide.

We got to see our good pal Todd Clouser with a trio take on A Love Electric. This event featured new tunes from a forthcoming album (early 2013?), which showcases Todd’s singing with his already mind opening instrumental work. When watching Todd play, every note from the very beGinning is filled with face twitching emotion, and now the addition of his voice adds an even more raw feel to the music. I was excited to have this opening the gifts on your birthday feel to the new music, when Todd mentioned the new portion of the show to me on air the week before, it was a schwinGG moment and it lived up to it for me live. The dimension is new. In any shape A Love Electric takes, there is always reason to go support the act as they travel through and to your town.

Here is what the show looked like on paper:

West Meets East

Startin’ Sumthing – Jeff Scott

Cane – Jason Moran
i. Togo to Natchitoches
ii. Coin Conin’s narrative
iii. Gens libre de coleur
iv. Natchitoches to New York

Suite: Portraits of Josephine Baker – Valerie Coleman
i. St. Louis 1920
ii. Les Milandes
iii. Paris 1925
iv. Thank you Josephine

~Intermission~

Tzigane – Valerie Coleman

The Rite of Spring – Igor Stravinsky (Arr. Jonathon Russell)

Klezmar Dances – Trad arr. Gene Kavadlo
i. Kolomehke
ii. Frelekh

When Mister Jeff Scott and I spoke on the proGram a week prior to the show, I couldn’t believe him when he spoke of how the Stravinsky “The Rite of Spring” would rock like there was a complete orchestra, a rock N roll orchestra was in the room….Man, how he was riGht. Imani Winds played the parts build for their instruments but also made their instruments take on the beings of another sound producer, chameleons in the room. With each member introducing a portion of the proGram, the audience not only gets to know them through their agile playing, but with word from their voice, they’re way of describing what the moment was to bring, ever so slightly unique to our night with the band….I found this to be a very welcoming experience and very respectful to the piece of music about to be played. I was taken back and brought forward with Valerie’s piece “Portraits of Josephine Baker”, this moving story was captivating and challenging, and the way it made my mind dance was part of the reason I diGG the way Imani Winds hears, writes and makes songs. And just when we thought the evening was over, they came out for a second way to the crowd, and while standing, put on a great rendition of a great song….Coltrane’s “Afro Blue” took over the room and was the right way for me to walk, strut perhaps out of the room.

misterG/ Mister Jeff Scott of Imani Winds @ Mills Hall

I was fortunate enough the other day to chat with the cool rock and roller Nina Diaz of Girl in a Coma. We pitched their set at the 2012 Madison Fruit Fest and it was a rockin’ 50 minute blast of rock trio goodness. The setting was the blacktop parking lot on the East side of Madison and let me tell you this, the East side was represented it all shapes, sizes and that is what makes it special. The crowd was already wild in its ways already but having Girl in a Coma hit the stage changed it from Burlesque to something completely different in just two chords and a bass bump and the roll of Phanie’s drums. I can’t say enough about this band in it live home of the stage, except they were lively and raucous at times with a soft edge in the middle as needed. Mostly giving us tastes of their originals (including one of the absolute best renditions possible of “CONTROL”.) There was even a little time made to dance with a Velvet Underground blast as well. There were all types of audience members checking the girls out and I noticed many of them (even a less than a yEAR old) enjoying the sincerity of the music, and the reflection of the lyrics….but most of all…just like the Girls in a Coma crew….we just wanted to rock! These are the girls I want to smoke ciGarettes with out back during high school, but their music is something that I look forward to carrying on with me into the yEARS ahead.

And I couldn’t find one apple at this fruit fest.

The story is amazing and the selections tonight were as well. The world premier of John Harbison’s String Quartet #5 was absolutely fitting and the ten movement composition with an arch like structure was ear dynamic. Check out more here. The evening program:

String Quartet in C major, Franz Joseph Hayden
Op. 54, No. 2 Hob.III:57 (1788) (1732-1809)
I Vivace
II Adagio
III Menuetto: Allegretto
IV Finale: Adagio-Presto-Adagio

String Quartet #5 (2011) John Harbison
(A Pro Arte Quartet Centennial (b. 1938)
Commission, 1st Performance)
I Melodia 1
II Scherzino 1
III Notturno 1
IV Visi (Faces)
V Notturno 2
VI Cuori (Hearts)
VII Notturno 3
VII Scherzino 2
IX Melodia 2
X Ripensamento
(all movements played without pause)
~Intermission~

String Quartet in D Major, M.9 (1889) Cesar Franck
I Poco lento – Allegro – Tempo I (1822-1890)
II Scherzo: Vivace
III Larghetto
IV Finale: Allegro molto

CauGht the set that Anaïs Mitchell put on here at Der Rathskellar and I must say that she has one of those voices that so many people TRY to have, but she’s GOT it. The clarity of the story through the raspy storyteller’s vocal, made the start as equally interesting as the ending….speaking of the way it started….so, on tour with Anaïs and her band is a group called Cuddle Magic, and their lead singer, Kristin Slipp joined Anaïs and her bandmate, Rachel Ries doing a sweet acapella version of “Golden Bird”, a track Mr. Levon Helm (R.I.P.) made famous. Playing song off her latest release “Young Man in America” and mixing in others from along the way, Anaïs even took a request from those in attendance. I see why people have been talking about her. The flexibility and versatility of musicianship extended from her band in extension with those from Cuddle Magic that added horns and strings and the image I was left with was a sense of musical harmony, or should I say harmonies.

The only other thing I can mention on a personal note is that I hope to catch her again in a setting less noisy with “overmusictalkers” and clanking beers…with that said…”Cheers”

Sometimes you find yourself thinking a show will be good, and then you get a surprise when a big steps it up in ways you didn’t quite expect even though you were prepared with a bunch of listens to new a new album, an interview with the lead artist in the band (thank you Erin Zindle) and plenty of rah rah from friends in the scene. The Ragbirds brought sounds that took folk music(s) from around the globe and have them come together in a very easy to look at set right here at the High Noon Saloon. They use many traditional folk instruments including violin, mandolin, banjo, accordion, acoustic & electric guitars, and harmonica. But the music goes beyond folk with its strong rhythm foundation of bass, drumset, congas and several layers of percussion. The effect is positive, creative music with the force of dance-able rhythm and melodies that won’t leave you when the show is over….the carry over is the type that you talk about for weeks….This is a band that I see people really getting their groove on to while in a small backdoor bar, or especially an outdoor festival filled with musics from lands we only read about (wherever we are) or hey, I could even see them in your backyard making the burger flippin’ a whole lot nicer…..just sayin’. Opening the show was Madison’s own The Whiskey Farm.

The Wisconsin Union Theater got all and more from the show featuring the son of legendary Afro-Beat pioneer, Fela Kuti. Sean Kuti featuring his father’s band Egypt 80 was a hand and earful of connectivity. Before the show, I was fortunate enough to hang out with the members of Egypt 80 in the green room where we spoke of the unique percussion instruments made from rare wood in a secret and remote location. We spoke of the roots and to the roots of the music. I also got to meet up with and share a quick sentiment with friend of the proGram, Baba Ani. From backstage the band was smokin’ hot on stage with Seun being lead out by the sounds of his father’s originality and creativity…..once he joined the others…the hall was quickly up and moving. But listening was the key to this evening show. The show’s twists and turns led us down former and future political paths…the debate over how a leafed weed can be regulated beyond belief…but it was the heartbeat of the evening that kept the issues important and the spirit alive. And at this time in Madison..there is PLENTY of political spirit. If energy can be made through music, I am a believer in the ability of Seun Kuti and my friends Egypt 80, to fuel my way onward.

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…..