Joined our family Jane Lee Hooker as they celebrated the release of “Drive”. They received rave reviews from fans and music press around the globe when they released “Jericho” in January 2021 – the band’s first new music since 2017. While Drive still retains Jane Lee Hooker’s signature blend of bluesy, rock ‘n’ roll soul that can be heard throughout their catalog, the song represents a bit of a sonic evolution. With last year’s COVID-19 restrictions and social distancing requirements in effect in NYC, the band found themselves locked out of their Brooklyn rehearsal room – the creative space where they write and rehearse with amps cranked up at maximum volume. Out of necessity, band catch-ups were moved to the grapevine- filled backyard of singer Dana Athens’ family home in Brooklyn – with tiny practice amps, acoustic guitars and drummer Ron Salvo keeping the beat on upturned plastic garbage cans and recycling bins. The first song to come out of those acoustic backyard sessions was Drive, with lyrics penned by Athens. “I was not intending to write about travel, the song is really about long-standing plans to see a friend and how you can still feel connected to someone no matter the distance between you.” She continues, “Lockdown made these friends seem even further away, so I guess the song also contains a bit of escapism and fantasy – wishing that you could be together.” Guitarist Tina Gorin adds “Not being able to see friends and family in any normal way during that period of time, hearing Dana sing those words really made the lyrics hit home.” Matt Chiaravalle (Joe Bonamassa, Warren Zevon, Courtney Love, Spacehog, Kittie) produced and mixed Drive, having previously worked with the band on their Jericho single as well as both Jane Lee Hooker full-lengths: “Spiritus” and “No B!” A new album will follow later this year – and singles “Drive” and “Jericho” are a first taste for fans of what’s to come.
Big shout our to our friends over at Brooklyn Raga Massive for hosting one of my favorite improvisers, Mr. Billy Martin…AKA Illy B. We were able to be a part of an improvised journey into who and what Billy has to offer in the moment. Billy Martin was born in NYC in 1963 to a Radio City Rockette and a concert violinist. At age 17, he devoted himself to music and dove into Manhattan’s thriving, eclectic musical landscape. In the years to follow, he honed his craft everywhere from Broadway orchestra pits to Brazilian nightclubs and burgeoning underground performance spaces. From the roots of the downtown scene, he emerged with Medeski Martin and Wood, bridging the harmonic complexity of jazz, the conversational fluency of free improvisation, and the groove and swagger of classic R&B and funk. A series of albums and high-profile collaborations with John Scofield, John Zorn, Iggy Pop, Natalie Merchant, and others, brought the band international acclaim. His experiences as a teacher, student, and musician led him to create and direct Life on Drums, a cinematic exploration of percussion and the creative process with his childhood drum instructor, Allen Herman. Billy is currently Executive Artistic Director and CEO of the legendary Creative Music Studio. Billy also owns and manages his own record label Amulet Records. Martin has relentlessly pursued diverse musical contexts, from free improvisation to chamber compositions to film scores. Much of his work is available via his Amulet Records label, which recently released the Road to Jajouka—a series of collaborations (produced by Martin) between the Master Musicians of Jajouka and such artists as Ornette Coleman, Flea, Marc Ribot, John Zorn, Lee Ranaldo, Bill Laswell, Mickey Hart, MMW and more.
It is always a pleasure to spend a little time with our friend, world-renowned composer and sitarist Anoushka Shankar, but to be able to do that in an intimate conversation with friend and fellow musician Priya Darshini is priceless. Anoushka shared some music and talked about her upcoming album (Love Letters P.S.) release, as well as continuing her family’s legacy as an artist, humanitarian and activist. This fantastic conversation was followed by a Q&A with those in attendance. What a treat that the World Music Institute put on here, and they have been and continue to find ways for us to stay on top of what is going on with the important bridge builders around the globe. Check out what they are doing and try to find a way to support them and spread the word.
The Pro Arte Quartet (PAQ) was founded by conservatory students in Brussels in 1912 and became one of Europe’s most celebrated ensembles. Named Court Quartet to the Queen of Belgium, PAQ attracted the attention of notable composers, among them Bartok, who dedicated his fourth quartet to PAQ, and Barber, whose Op. 11(“Adagio for Strings”) PAQ premiered. Stranded in the U.S. when Nazi forces invaded Belgium in 1940, PAQ was offered residency at the University of Wisconsin, where it has remained since. One of the world’s most distinguished quartets, PAQ is the first and only quartet to reach its centennial anniversary, celebrated with new works, exhibits, a documentary, radio broadcasts, CD releases, and a new book on its storied history. PAQ’s performance is part of the Wisconsin Sound Series which showcases and supports local musicians and artists.
Program: String Trio in C Minor, Op. 9 No. 3 (1797-8) Ludwig van Beethoven
Allegro con spirito
Adagio con espressione
Scherzo: Allegro molto e vivace
David Perry, Violin
Sally Chisholm, Viola
Parry Karp, Violoncello
Piano Trio in C Minor, Op. 1 No. 3 (1793-4) Ludwig van Beethoven
Allegro con brio
Andante cantabile con Variazioni
Menuetto: Quasi Allegro
Thomas Kasdorf, Piano
Suzanne Beia, Violin
Parry Karp, Violoncello
The Wisconsin Union Theater’s new online event series, called Wisconsin Sound, will exclusively feature Wisconsin artists, and on April 11th we were treated to some Mr. Chair. The Theater team created this new series both for its patrons as well as to help support performance artists, many of whom have experienced canceled performances due to COVID-19. Mr. Chair looks like a jazz combo, enchants like a string quartet, and electrifies like a rock band, all while delighting listeners with their fresh and authentic sound. As classically-trained musicians well-versed in jazz, electronics, prog rock, world music and beyond, Mr. Chair is a contemporary fusion ensemble for music fans of all backgrounds. Their compositions are long-form journeys – sometimes delicate and sweet, sometimes thrashing with unbridled energy and conviction. Their sound palette is diverse, and used to tell stories in styles cinematic, surreal, romantic, funky, whimsical, and always captivating. They perform original works as well as their own arrangements of iconic pieces from Stravinsky to Bach. Mr. Chair can fit any size room. They design acoustic shows for intimate cabaret settings all the way up to thrilling concert hall performances with full string orchestras.
Ibtihaj Muhammad is an entrepreneur, activist, speaker, and Olympic medalist in fencing. A 2016 Olympic bronze medalist, 5-time Senior World medalist and World Champion, in 2016, Ibtihaj became the first American woman to compete in the Olympics in hijab. She was a 3-time All American at Duke University where she graduated with a dual major in International Relations and African Studies. In 2014, Ibtihaj launched her own clothing company, Louella, which aims to bring modest, fashionable, and affordable clothing to the United States market. In 2017, Mattel announced their first hijab Barbie, modeled in Ibtihaj’s likeness, as part of Barbie’s “Shero” line of dolls.
Ibtihaj released her debut memoir in July 2018, PROUD: My Fight for an Unlikely American Dream. Her third book, New York Times’ Bestseller children’s book, The Proudest Blue, released September 2019 with glowing reviews. As well as an author, Ibtihaj is a sports ambassador with the U.S. Department of State’s Empowering Women and Girls through Sport Initiative, and works closely with organizations like Athletes for Impact and the Special Olympics.
As part of the WUD Distinguished Lecture Series, Ibthihaj was part of a virtual event discussing her career in fencing, what it’s like preparing for the Olympics, diversity and activism within the sports industry, and how her identity as a woman of color and a Muslim-American impacts her within the male-dominated sports world. I was psyched I got to check out this event. It was a joy to hear her speak of getting after it, not being afraid to be the only one, and that will all of her hard work and successes, she is still just another member of our global community with regular thoughts and feelings just like you and I.
The final portion of the proGram this week was the first to show off it’s feeling on Spring:
Imagine (arranged for Vocal Ensemble)- Afrika Mamas
Hlonipha- Afrika Mamas
Come Away- Vana Liya Ft. Half Pint
~ The Throne- Indubious Ft. Capelton
Arabia- Roots of Creation Ft. Mihali
Night Shift- Gentleman’s Dub Club Ft. Gardna
The Right Time- Krak In Dub Ft. Johnny Osbourne & Ras Demo
Good JuJu- Nicola Conte & Gianluca Petrella
~~ You My Love- Anushka
Sluntseto Trepti (Carmen Rizzo Remix)- TRIGAIDA
A Song on the Wind- Eagle
~ G.O.Y.D.- Lava La Rue
Gold Chains- Genesis Owusu
Rapvid- King Khazm Ft. Oze, Ephniko & DJ Gafeto
As a leading voice in American popular music, the Grammy Award-winning Nicholas Payton is a multi-instrumentalist, vocalist, composer, producer, arranger, essayist, & social activist who defies musical/artistic categories. All the while, he honors the tradition of what he terms “postmodern New Orleans music,” as well as the spirit of Black American Music, of which he states, “There are no fields, per se. There are lineages.” Already a prodigy before entering the 1st grade, he began playing trumpet at age 4 and started performing professionally at age 10. Before the age of 20, he was already in demand by everyone from Danny Barker & Clark Terry to Elvin Jones & Marcus Roberts. Mr. Payton released his first album, “From this Moment”, in 1995 on the famed Verve label. He received his first Grammy nomination in 1997 for the album “Doc Cheatham & Nicholas Payton”, and for the category of Best Instrumental Solo, which found him winning the award that year. Mr. Payton has released over 20 recordings as a leader, pushing musical boundaries & showcasing a variety of contemporary & traditional styles, while displaying his ambidextrous ability to play both the trumpet and keyboard at the same time when he’s inspired to do so. He has collaborated with numerous mentors & contemporaries alike, ranging from Common & Cassandra Wilson to Trey Anastasio, MonoNeon, & Jill Scott, to Dr. John, Joseph “Zigaboo” Modeliste of The Meters, Allen Toussaint, & Abbey Lincoln to name a few. His most recent albums are “Quarantined with Nick” and “Maestro Rhythm King”, both released in 2020.
I had the chance to catch the Nicholas Payton Trio virtually through the University of Wisconsin Union Theater. The music was energizing my living room. I could feel the real life oozing out of the instruments. There is no way that what I was witnessing (once aGain), wasn’t helping to lift, even, raise the vibration of the collective conscious of one audience. It’s that moment brought to us, virtually or otherwise, we walk in the same shoes and we repair the souls errr soles together.
The first portion of this week’s proGram knew how to strain the good stuff in:
The Delicate Balance of All Things (Rapid Reiteration Mix)- Beauty in Chaos Ft. Cinthya Hussey/Wayne Hussey
~~ The Kids- Palm Ghosts
Social Debris- Alice Cooper
Jericho- Jane Lee Hooker
Moonlight Reflection- Triptides
~~ Crash, Boom Bang- Sara Petite
Dirty Rotten Guy- Joyann Parker
It Ain’t Bad- Ghalia Volt
Hateful Blues- Ally Venable
Down In Lenox Town- Misty Blues
~ Put A Little Love In Your Heart- Hurricane Ruth
I Grew up (Kate’s Place)- Allan Harris Ft. Grégoire Maret
Girly Face- Delvon Lamarr Organ Trio
How Much A Dollar Cost- R+R=NOW (live)
Okaidja Afroso is an Afropop singer-songwriter & multi-instrumentalist from Ghana, West Africa. His unique artistic vision has led him to combine his native rhythms with unforeseen pairings of musical flavors. His sound is a spicy fusion of Ghanaian music with diverse cross-cultural influences. Although most of Okaidja’s hypnotic arrangements are sung in his native language, the meaning shines through. His calling and life purpose is to bring us all together so that we can laugh and grieve and dance and forge forward together, in community. His uncle was the town’s notorious composer who spared no one with the songs he wrote about life in their small fishing village. Okaidja’s mother was a colorful lead singer in her spiritual church. Her powerful songs of praise earned her the name “the spiritual singer.” As a young boy Okaidja sang while he worked on fishing boats. The fishermen would sing a cappella songs as they worked, and Okaidja passed the long days learning the songs of the great sea. Born into a family of musicians and storytellers in the village of Kokrobite on the west coast of Ghana, at the age of 19, he was accepted as a professional dancer for the prestigious Ghana Dance Ensemble at the University of Ghana’s Institute of African Studies. He became well known for his energetic stage presence and excelled in his performances of the Ga fetish dances. The Ghana Dance Ensemble gave Okaidja the opportunity to study with the best teachers in the country. As he toured internationally, Okaidja expanded his artistic reach becoming a master multi-instrumentalist, singer-songwriter, and arranger.
I had the chance to checkout the virtual event put on by the Wisconsin Union Theater featuring the beautiful works of Mr. Okaidja Afroso. The stories around the musical tales where as informative as they were an easy way to slide into another person’s culture (and shoes). The different instruments used present the page turning of the book for the evening, with not only a new image and sound, but feeling. While it sure is strange not to be able to soak in those feelings in person, the virtual experience offered is still a great way to support the scene, the artist and the arts. If you get a chance to see Okaidja Afroso virtually or soon enough in a live setting, go get your spirits lifted, your minds enriched and your hearts filled.
The final portion of this week’s proGram could have taken us straight into he night time:
I’m on It- The Allergies Ft. Dr Syntax & Skunkadelic
Never Wanted You More (Dr. Rubberfunk Remix)- Smoove & Turrell
Theme from Selva- Quantic
~~~ Zion- Polyrhythmics
Omega- Black Market Brass
I’ll Take You There- Riddem Doctors
Goin’ Somewhere- Riddem Doctors
~~~ Holding On- Selina Albright
Get The Lowdown- Tony Koch and the Alt News Band
~~~ (interlude) Merica Mirror- Public Enemy
If You Can’t Join Em Beat Em- Public Enemy
Closing: I Am Black- Public Enemy
I. George Enescu | Romanian Rhapsody No. 1
II. John Corigliano | Chaconne from The Red Violin
III.Gustav Holst | The Planets
*Featured Artists Naha Greenholtz, Violin Madison Symphony Women’s Chorus, Beverly Taylor, Chorus Director
The first half of the show was simply energizing and enlightening with both power and precision highlighted. The Planets took it to the next level with the HD video presentation that made the sounds guide a tour that was unmatched in this setting. If you were ever enthralled by the vastness and wildness of the colors and sounds of space and it’s mighty giants, this show would certainly add another level to your imagination and desire to explore.
The niGht was cold but inside the Overture Center for the Performing Arts the heat was just getting turned on. Sitting in the center of the orchestra section was the best place for my ears to be when our friend, Raul Midón took the stage. As he got everything situated, the moment of true readiness was known with the first breath taken into the mic and the first note played on his guitar. The fluidity and sincerity of his voice certainly hit home with the Madison crowd, as they gave him the handclapped approval every artists likes to hear. His guitar work left many speechless as he plucked ans picked and slapped his way throuGh many tunes you can find on his live album, as well as a few off the upcoming album that he and I discussed on the proGram a week earlier entitled “Don’t Hesitate” which left the people ready to reach into their pockets and walk home with it. They’ll have to wait at least into early spring to be able to take it home. Then they can take all that positive storytelling upliftedness home with them in more than a memory form. Raul was on before our other friend, Habib Koité. Habib and the band brouGht a fire with them that comes from the motherland, the homeland. He gave us great tales in music form as well as between the songs, telling the audience of how the homeland sufferings makes the music even more meaningful to the world, and how sharing it with us was/is a true joy. Then he and the band proceeded to give us plenty of new tracks off the brand new release Soô, all done with large smiles upon their faces, which easily translated into smiles on our faces. It was hard to contain the bodies from wanting to get up and move, so we didn’t. When the liGhts went up and Habib saw all of us, you could feel how honored he was to have us all (and it was an ALL) there with him sharing in these moments. This show was filled with these positive moments, both in the audience and on the staGe, it would be well worth your time to catch one or either of these friends of the proGram as they make their way around the world doing the things they do.
I always enjoy getting a chance to sit in a box at the symphony. Tonight it was the opposite side as usual, so a different perspective was gained. Which is always a good thing. The night was wonderful with Guest Trumpet player,Tine Thing Helseth. While each piece did hit me in ways mentionable, it was the Adams piece Doctor Atomic Symphony that just blew my mind….Smashing….Stunning piece.
Here’s the proGram for the evening: Madison Symphony Orchestra
John DeMain– Music Director/Conductor Tine Thing Helseth– Trumpet
~ Jean Sibelius Finlandia, Op.26, No.7
~ Joseph Hayden Concerto for Trumpet & Orchestra in E-flat Major
Ft. Ms. Helseth
~ John Adams Doctor Atomic Symphony
~ Alexander Arutiunian Trumpet Concerto in A-flat Major
Ft. Ms. Helseth
~ Richard Strauss Suite from Der Rosenkavalier
After having “Wax Tailor” on the proGram to talk about the latest release, and what one could expect from the show on February 6th at the High Noon Saloon, one would think we would have been prepped for the event, you know, be ready for it. But as quick as the stage was on for Wax Tailor, we were brought into a story, a plot-line…an individual experience within a shared doing…..we we all going. We were featured in this film. The set was an experience pieced together by the visual minds eye escape as well as the surveyor of the crowd, the watchers of their surroundings got more than bargained for as well. The infamous WT soundbytes were the laces on the grooved up beat shoes, it held the story tiGht. It all made no…yet sense all at the same time. The music made it happen. The tunes got lush with funky lounged down and up grooves surrounded by a hip hop facilitation by Mattic on the Mic. He said it, he felt it and he meant it. When Charlotte Savary was on the stage, we were lured into a state of the otherworld, a hypnotic voyage where the words were ridden over the music, over the crowd….toGether but solo. When the show came to a close, it was one of those were you gather yourself back, and I swear I saw my name rolling down within the credits.
The Stoughton Opera House was a perfect spot to not just catch this show, but to be a part of it. Pokey LaFarge and the South City Three put on one hell of a rockabilly-jazz-jam with a side of Midwestern Blueswing that had the crowd hooked even before the first note was played. Pokey and the boys obviously had a great time playing and being in Milwaukee the night before so they guys were on a roll. These guys have a rolling commentary reminiscent the good ole days, with call backs from within the group to audience participation and all of this made the show get under your seat and light a fire. Even if you tried you miGht not be able to have a bad time. The sounds were ever more the hiGhlight. It is always a thrill to get samplings of the new material, and the boys brought some of those tunes to the front, while getting the point across with tunes like “Drinkin’ Whiskey Tonight”. This type of scene is more than a show, it is an event. One to look forward to as you mark it on your calendar’s the next chance you get. Certainly an event that was unique to that night, with no thought of doing the same ole thing on stage, we were laughing, stomping and clapping along. With the new album set to drop in the early spring, it was nice to hear those new tracks done, and done good. When Pokey and I chatted on air, he recalled how making the old sound new is really up to the listener, and I must say, the diversity sitting in the crowd proved one thing, dated or new, old or young….it sounded right on this night or any other.
First off, I want to thank JD’s people for taking such good care of me with an invite to check out the show at the High Noon Saloon. The last time JD McPherson and the boys were in town was for the Orton Park Festival in last Summer and he and I had a chance to chat about what people could expect. And the people came out and they got what they wanted. The same can be said this time around at the High Noon when a big ole crowd got more of the same good times. JD (obviously nursing a sore throat or cold) and the boys took the roof and flipped it into a dancefloor with the rhythm-arock-a-billy stylin’s that can be listened to with ease. Jimmy Sutton on stand up bass too his whapp-a-bass stroke to higher levels and with a constant smile. The band was as tight as ever and oh so fun lovin’, if ever there were crowd pleasers, they can be found hanging out with these guys keepin’ the rocks-a-rollin’ and the feets-a-stompin’. JD featured many tracks off the wonderful 2012 release “Signs and Signifiers”, while the Jimmy led Bo Diddly moment brouGht back good memories of a friend. You can check out JD and the boys if they come to a town near you, but also on December 4th, they” be on Letterman. If they do come to a spot nearbye, maybe dress the part and follow your ears on down. Open the show was Joel Paterson and the Modern Sounds, who were a perfect match for this event.
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