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Ron Pope at Dominion – A Sunday Sojourn

22 Nov

I am going briefly atone for all of the times I have disparaged my smart phone (generally for being to slow with internet connection). It permits me to write Music Court posts on the train going to work, and I must thank it for that.

It has been a busy last few days for all Music Court writers. Since Thanksgiving break is right around the corner, this is unsurprising. Trust me. If I could, I would write more and more. Luckily, Peepirate and Okocim have been able to provide cogent posts on a consistent basis. I am thankful for that.

They say a picture is worth a thousand words. Well, this photo perfectly portrays my usual Fall Sunday.

Accurate Portrayal

And, yes, while I do enjoy watching my fair share of football (fantasy football implications), because of the mediocre play of the NY Jets (and the fact that they rarely play on Sunday afternoons it seems), the entire act has become slightly trite. That’s why it was enjoyable to change it up this past Sunday.

Rebecca (my girlfriend) and I visited my stressed first year medschool buddy Josh and his girlfriend Amanda (both of Music Court fame) in Greenwich village. It was a rare opportunity to see the duo, what with Amanda still in her senior year at Binghamton and Josh buried up to his neck  in medical terms and practices. Our city pursuit? The Ron Pope concert at Dominion on Lafeyette.

I love small bar/venues. There is a cozy intimacy that spawns from the dim-lit bar, low cushioned seats, and open concert floor. It is particularly exquisite when the space is not cramped. Luckily, the venue took on this well balanced flavor on Sunday night, and, because of space, the sound remained vibrant and decently mixed through the night. If it wasn’t for some dude consistently ripping violent, odorous, mexican-food farts throughout our stay, the venue would have only taken on the aroma of yeast, hops, and cologne, like that of an uppity bar, and that would have been just fine.

Ron Pope came on after two singer/songwriter opening acts. But while these acts filled the same broad genre, it is important to cite their differences. Let me premise this opening act review by assuring you that they are both worth a listen.

Alexis Babini
 
Alexis Babini does not like being compared with John Mayer. At least that’s what he told the Dominion crowd in the middle of his setlist. An iTunes review labeled him as a Mayer-like artist. Don’t worry, Mr. Babini. I have no intention of comparing you to John Mayer. I actually think that label is wrong. Babini, a 24-year-old musician from New York, fits comfortably into the singer-songwriter genre, yes, and while that can make him like Mayer, his distinct pleasant vocal and acoustic flavoring, makes him different.
 
 
Babini, proficient in guitar and piano, fits the mold of a Joshua Radin/Joshua James folk musician, with catchy, head-bopping, creative rhythms. His music is accessible and it evoked smiles from the crowd. I think that was the most important aspect of his performance. I must admit that after he tackled his first few songs, Amanda turned to our group and exclaimed, “He sounds like Paul Simon,” and pretty much right after that Babini sampled “Cecilia.” We exchanged glances and started to hysterically laugh. Credit to Amanda. He elicited smiles from the crowd and even engendered a call-and-response sing-along in his song “Smoke.”
 
 
This song implanted itself in my mind for later usage. Before I began writing this post, I found myself humming the chorus. That’s an excellent thing that Babini has going for him. His music is infectious. This is similar to his co-opening act who I will look at…now!
 
 
 

Zach Berkman fits a different singer-songwriter profile than Babini. His voice is different and his rhythms more staccato. He too plays melodious, radio-ready pieces, and he is also guitar/piano proficient. Berkman’s creativity oozed through his set-list. His riffs were original and neat and his acoustic sound resonated.

Like Babini, Berkman, originally of Illinois, has had his songs used by TV shows (no surprise for both as they play excellent teenager-friendly, drama, television music). His strength, as displayed in the song above, is his powerful voice, high, but also expressing a full range.

While I had little difficulty placing Babini’s sultry voice, I had to search through my brain to think of a comparison for Berkman. I thought of two, one during, and one after the show. Berkman has a twang to his voice like Brett Dennen, but a true similarity, especially with the above song, to Eric Hutchinson (listen to “Okay, It’s Alright With Me”). While Hutchinson has more of Michael Buble’s rat-pack croon, I feel that Berkman can fit into this category. And, I believe he is most effective there. “Hero” is an excellent song.

Ron Pope
We move on to the headliner, Ron Pope. Pope, originally of the Greenwich village scene, is a consummate musician, one who maintains the rare ability to musically multitask. Pope can sing a delicate, heartfelt ballad, and then rip out a guitar solo (like he did with a mid-show “Little Wing” tribute – see below) just to keep you honest. I both enjoy and respect musicians who have this ability. Pope, who hid his face behind what looked like a no-shave-for-November bushy beard, played an excellent show that displayed these varieties of style. His pop/blues superiority was respected by a crowd of around 50-100 that sang along with his lyric and gyrated with his guitar.
 
I went into this show not knowing much about Pope. Amanda and Josh both enoy his music and I first heard of him when Josh played me a song or two several months ago. I enjoy going into concerts with no expectations. If I do not know what a person sounds like, I can make an unbiased judgment on their music. I must say I was quite impressed by the five-piece band. They balanced the variety quite well.
 
 
“A Drop in the Ocean,” which was co-written by Zach Berkman, was one of the most popular songs of the night, and it demonstrates Pope’s intimate side. The song is a slow, powerful ballad, that is carried by his voice. Without Pope’s croon, the song could easily fall into the hackneyed category. But it rides the line well and remains an enjoyable and authentic piece.
 
 
Yeah, he can also rock the hell out. If I take away anything from his performance it will be an envy of his rock diversity. It is impressive and wonderfully executed.
 
Pope had Berkman and Babini join him on stage (as well as some other friends) for a joint performance of Neil Young’s “Hopeless” to conclude the show. The resulting sing along was tasteful and wonderfully loud. There was a smile on the faces of everyone on stage, especially a grinning Pope, who soared high above everyone standing on a piano stool, screaming “Helpless” at the top of his lungs with the appreciative crowd.

Higher and Higher: Passion Pit, the Concert Review

7 Nov

Hey devoted followers and fair weathered readers, you may have noticed I’m taking a slight break from my normal column to delve into the wide world of concert reviews.  I’d heard mixed reviews of seeing Passion Pit live but they left no doubts that they can put on one hell of a show.

I’d like to digress for just a little, though, to give a shout out to the opening band, We Barbarians.  The opener for the last show in the same venue, whose name I won’t speak, left a lot to be desired, mostly an hour of my life that I could never get back so I was slightly biased.  The Barbarians, however, forced me to reconsider what I had previously learned and I think you should check them out above this.  Take a look at this link for some pictures of the venue (Cornell University) and the show itself (Barton Hall).

Now, on to the main attraction.  Let me set the stage for you.  We Barbarians finishes playing at 9 and it’s 9:30.  In a space meant for 1,000, you’re surrounded by 4,999 people who want nothing more than to get closer to you than your girlfriend.  You’re sweating from places you didn’t know you could sweat from and smoke hangs in the air from both the smoke machines and the kids smoking weed in a 360 degree radius surrounding you.  Needless to say, you’re quite hot and bothered.  And then the music starts and, if only for an hour, you and the crowd are no longer at odds with each other but become one in the same pursuit.

For one thing, I was really surprised with lead singer’s Michael Angelakos’ stage presence and stage act.  From the first song he was interacting with the crowd, having us sing along, a trend which he continued for the entire evening.  Also, despite not playing an instrument for most of the show, he did include theatrics in his stage act, such as twirling, throwing and catching his microphone, reminiscent of Roger Daltrey of the Who.

Also, I was really impressed with the band’s ability to recreate their very electronic sound on stage.  The band did a really good job of switching instruments to replicate multiple parts and Angelakos’ high pitched, falsetto vocals sound the exact same as they do on record.  You could tell the band was having fun on stage and that energy kept the crowd jumping, dancing and just grooving to the music.  Go see them, it’s worth it.

Mind The Gap While Shopping for Groceries

31 Aug
Mind the Gap; Downtown Los Angeles, CA (Chinatown)
Quick update on my power situation…there is still no power in my house! We are going three days strong and the playful novelty of living like those during the pre-electricity days has started to wear thin. It is rapidly being replaced by vexation and anger. Okay, maybe not. I think everyone in my house is taking it well, but, there comes a point when enough is enough. This is that point. Anyway, before I do not have access to power or cable for the rest of the night, I must bring you needed content. And boy do I have a good post for you today folks. Not good because of my witty writing, but instead good because of the artist being featured. But, the writing, it isn’t too bad. Just kidding. Do not let my fake arrogance get in the way of the extreme humbleness and talent of Mind the Gap.
 
Mind the Gap may sound familiar to some readers. Back in July, I profiled the Los Angeles foursome and concluded that, “Mind The Gap stands true to their band objective. They are skillful mashers of acoustic instrumentation and electronic sounds. They are definitely a band to follow.” Click here if you want to read the original post.
 
On August 20, I put Mind the Gap up against the ultimate band test…a live show. This is where some bands shine and some fall off as uninspired imitators. Yes, you can learn a lot about a band through their studio releases, but true character can only be encountered in person. Think of it this way. Imagine you meet a guy/girl on Match.com. The person seems to be exactly your type. He/she shines with pulchritude. They like dogs. They listen to that music that you love. He/she is the one. Well, then you meet for dinner and he/she shares these interests, but is a total snob or bore. It happens. But I can assure you, Mind the Gap aced the test.
 
On the 20th, Rebecca, my girlfriend, and I journeyed to Arlene’s Grocery on the lower east side of Manhattan (Stanton Street), a funky, variegated former Puerto Rican bodega, turned bar in 1995. Since then, bands like Guster and R.E.M. have played at the venue. Mind The Gap took the stage at nine to a strong crowd of buzzed NYC hipsters, thirsty noctivagants and Mind the Gap fans (myself included). The 10-song set-list flew by so quickly it almost seemed that one could have missed the concert. And, I don’t mean this as a bad thing. This only happens if the band’s performance envelops listeners in such unbridled enjoyment.
 
The tight performance was fun for both the crowd and the performers. The band performed with an emotional urgency juxtaposed with, however seemingly contradictory, a laid-back Los Angeles summer afternoon at the beach coolness. The sultry vocals of Greg Cahn were spot on all night and it was refreshing to hear that his exciting album vocal range equalled his live chops. Ozzy Doniz effectively kept  rhythm with keeness. Ruwanga Samath infused modern beats into the band’s indie/pop melodies, something I enjoyed a lot in my initial review. And, Alex Yang’s lead guitar was spot-on throughout the night.
 
As for best performances, I was swayed by my favorites.
 
 
“Smile Back at You” can be an indie hit on mainstream radio stations today. I say this because it combines the popular lazy day rhythm with an exceptional catchy chorus, infectious harmonies and intriguing key work.
 
Though, I believe my favorite song was the concert’s sober conclusion “Remember When.” There is an innate beauty in this song’s picked rhythm and lyric. Cahn nailed the vocals. He sang the song like it was his last ever. And, this is so exceptionally important for any singer to do. Such passion can be emitted from one’s voice and Cahn is knowledgable of this information and he takes advantage of his voice. The song can be heard here:
 
 
Interested in seeing Mind the Gap? Check out their concert schedule by following this link. Currently, they have a show planned in Los Angeles in September and one back in NYC for CMJ in October.
 
 
 
 

American Idol Top 11 Concert – In Retrospect

25 Aug

Usually, after the conclusion of an American Idol season, I gradually allow the top contestants to slip off into  obscurity, putting aside the possibility that they may become popular musicians. I have never spent money on an ex-Idol musician because the large stock of releases has never interested me.

 Season 10 was a little different. The Jazzy voice and Indie potential of contestant Casey Abrams stood out with “when he releases an album, I might purchase it” flavor. He is not a pop star and will never be one. I liked his honesty. The rest of the contestants, from the iconic country croon of winner Scotty McCreery to the forgettable voices of the runner-ups, were only television entertainment. Well, they did come off the screen last night and perform a 2-hour show at Nassau Colisseum on Long Island. So, yes, they did transcend the pixelated screen and some performers stood out.

For every screaming 13-year-old girl (a massive generalization, I know), there was a person like me, who watched the show and was simply curious. My mom and my sister, also avid Idol watchers, joined me for our first post-Idol Top 11 show.

Before I analyze each performer, I would like to say that the concert was actually entertaining. I say actually because this is not a show I went to with tremendous expectations. I was trying to be realistic. With each introduction, the young crowd yelled flattering comments at their favorites and kept up their shrilly screams the entire show. This was great, though. It made me smile. They were excited, many probably attending their first “big” show. It seemed that lines of cheery-eyed kids were dressed in their American Idol Season 10 shirts and their infectious excitement was humorous and invigorating.

As for the music, the band was malleable and the performers varied. The group performances were significantly better than they were months ago. This is understandable for they have had much more time to practice. The concert did reveal improved and surprising talent. The most expected thing was the in-your-face Coca-Cola and Ford advertisements, the two main show sponsors. All three judges and Ryan Seacrest made cameo appearances on the big screens adjacent to the stage and the concert producers played with Steven Tyler‘s propensity of imprecation by bleeping him twice during the recording after he accidently said that this was Season 11. The bleeps have become part of his persona and his act. The show was wholly energetic and, despite almost falling asleep during uninspiring ballads and Lauren Alaina’s awkward, subpar country performance, I was up and smiling. Let’s get to each performer. If I am a little cruel to your favorite, I apologize. This is only my own opinion!

I am not going to go in any particular order, but at the end I will rank the performers from 1-11 in a mock standing of how I think the show would’ve, could’ve, and maybe should’ve turned out if it started with the top 11 today. Now, do keep one thing in mine. Each individual performance (every member of the top 11 had an individual song – or multiple) was geared towards the performer’s comfort zone. So, I am judging them on what they do best, not what the show makes them do.

Thia Megia – She is 16. And, I don’t say that as an excuse, but as a fact. Her individual performance was average. She has a good voice, though. It is quiet and was drowned out during the group performances she sang in (most of the low-standing runner-ups were delegated to back-up duty for a lot of the night). She will get better as she gets older.

Paul McDonald – Oh, Paul. He had one good performance on Idol that kept him in the show for an extended period of time. “Maggie May” fit his quirky voice like a glove. We thought he could go far. Then, one flaw, he could not sing any other song well. So, what song does he sing? “Maggie May.” And, he sang it well. But he fell up short on everything else, even having trouble keeping in tune in the groups.

Pia Toscano – This was a homecoming for her, so she had a chance to showcase herself a little bit, performing a new single for her New York fans. But, unsurprisingly, she fell up short like she did on the show. Yes, despite a loyal following in New York, she was extremely forgettable to most of the country during the Idol season and during the show last night. You see, she has an insurmountable problem. She is a ballad singer, through and through. When you are a female ballad singer you have to be in the level of “great” to be remembered (I.e. Celine Dion, Whitney Houston, Barbara Streisand). Is Pia great? No. She has a “good” voice and that will unfortunately leave her in the wake of the vocal giants, destined to be forgotten.

Stefano Langone – Another performer with a Pia problem. Stefano can stake his claim as a Bruno Mars-like performer. He just doesn’t have as strong of a voice. His voice strains to easily. And despite for randomly taking off his shirt during one of the performances, an act that confused most of the crowd and acted more as a laugh than sensual act, he was also forgettable.

Naima Adedapo– Here was a nice surprise. I liked her during the show, but she was booted quickly because her voice lacked intensity and her eclectic dance moves tired her out during her performances. But on stage last night, was an endurance-freak with a significantly better voice. Yes, backing vocal tracks help everyone, but hey, as the type of performer that Naimi seems to be leaning towards (mainstream pop) you would never get caught away from home without the assisted amplification. Her lively performance of J-Lo’s “On The Floor,” where she broke out in a mid-song African dance, was electric. I actually think she can make it. And, if they did the show again, she would finish closer to the top.

Jacob Lusk – The gospel singer. Lusk has a magnificent voice. It is smooth and his vocal runs are effortless. His problem was simply that gospel is a small market now, unless, of course, you can transform it into a R&B, Gospel, Soul, Pop combination and become a performer like John Legend. Lusk drove through Luther’s “Never Too Much” and then performed a touching tribute to Nick Ashford, who unfortunately passed away this week. He sang the Ashford and Simpson written, “You’re All I Need to Get By,” which was most notably performed by Marvin Gaye and Tammi Terrell. The youthful crowd couldn’t really understand these references, so they remained quiet during Jacob’s performance for the parents.

Haley Reinhart – Haley is a good, not great, female vocalist whose eccentric indie-like voice is raspy (a little too raspy), but still jazzy. She performed “House of the Rising Sun,” which is widely considered among the top American Idol performances of all time, and she performed it well. I’m not going to say that she is a one-trick pony, but her voice doesn’t diversify well, and therefore, since she was often a displaced performer, it was easy to tire of the performances. Now, let me explain this a little better to the passionate negators of this view. By saying she lacks diversity, I am not insulting her abilities. Many artists lack diversity. They, if they are good, become ensconced in their own genre and then master it. I see Haley performing in the genre of blues/jazz. She may do a great job attempting to restore this genre to popularity. Heck, she can do it with Casey. But, and this is a big flaw in my mind, she has limited range. When she pushes into the upper register her voice naturally goes to a grunt (or rasp).  She is simply exploring the limits of her voice. In judging ability, this is a flaw. Many people think its cool. I guess it is a matter of preference. So, to sum this little analysis up, she was a good contestant who had a flaw in her voice and she still does.

James Durbin – Durbin is the closest thing Idol has gotten to a hard rocker. Daughtry is alternative. Adam Lambert is theatrical (and is now performing mainstream pop). Durbin has an above-average rock voice, and if it wasn’t for a weak spot in his voice, he would have possibly won the show. Durbin can hit high notes and his regular level notes, but in the middle of this range is a weak spot in his voice that is a minor, but noticeable blemish. He is still awesome. He put on the best show of the night, performing “Uprising” and “Sweet Child O’ Mine.” The crowd was rocking with him and Durbin bounced around the stage like a professional. Stick him in a rock band and they will do well.

Casey Abrams – We are nearing the end. Casey is probably the most talented musician they have ever had on American Idol. His flawless bass playing gives him this cool element that pairs excellently with his jazzy voice, the best of the competition this year in my opinion. Last night, he proved it. Casey has one of those voices everyone wishes they had. It is sultry, almost playfully lascivious. His range is impecable. His runs are spot on. He didn’t hit a bad note. If  Casey released an album, I would buy it (supposing he stuck to what he was good at – jazz-fusion). He performed a slowed-down version of “Smooth” that was tremendous. It is one that I will remember. Watch for this guy. He knows what he is doing.

Lauren Alaina – Alaina opened after the intermission and sang three songs. Now I wont give her too much flack because I believe she is just getting over bronchitis. She also sprained her ankle backstage during one show. The tour has beaten her up. Alaina, though, has the same problems that she had during the show. She performs with little energy and confidence. She seems awkard on stage and this is easily recognizable through her consistent tugging on her dress and rigid movements. She is a country singer with Carrie Underwood aspirations, but only time and age will tell if she can really reach that level.

Scotty McCreery: As the winner, McCreery was saved for last. He performed five songs. He looked like a consumnate professional on stage; someone who is been performing for years. He has an innate vocal gift. His deep croon is country perfection. He deserved to win based on pure voice and can last in the music world for 50 years with such a voice.

So, there you have it. Now, if I had to rank them from 1-11, here is how I would do it (I will include their actual rankings in parentheses):

1.) Scotty McCreery (1)

2.) Casey Abrams (6)

3.) James Durbin (4)

4.) Naima Adedapo (10/11)

5.) Jacob Lusk (5)

6.) Haley Reinhart (3)

7.) Lauren Alaina (2)

8.) Stefano Langone (7)

9.) Thia Megia (10/11)

10.) Pia Toscano (9)

11.) Paul McDonald (8)

How do you think it should have turned out?

Day Of The Robin Trower

16 Jun

Yes, my proclivity to make horrendous musical puns is lousy, but you will need to bear with me. This post is not about my diction. I’d prefer to preview the concert I will be attending later at B.B. King’s Bar and Grill where one of rock n’ roll’s best guitarists will be gracing the stage with his custom-built Fender Strat. I want to stress some words in that last sentence. One of rock’s BEST guitarists. You can see I am slightly disgruntled with Trower’s treatment in the world of top guitarist lists.

Here is my issue. Trower does not find his way onto the Rolling Stone Top 100 Guitarists List. I know it is only one list, but it is the damn Rolling Stone’s list and most people use Rolling Stone’s selections as a “best” guitarist indicator. You may not use the list as an indicator, but for those who are not knowledgeable enough to make an independent decision on the subject, the Rolling Stone list is an organized and concise reference. And this lack of recognition derides Trower’s skill and passion. I think it is time we start recognizing one of the rock’s most unappreciated guitarists a little more. If you have any question about his talent, watch this:

Trower is not only a guitarist, but also a solid lyricist who began his songwriting with Procul Harum (even though he is overshadowed because the band was stacked with great songwriters). He had previously been in a band with high-school friend Gary Brooker called the Paramounts, but after they disbanded Brooker founded Procul Harum and Trower ended up on deck in 1967. If you are familiar with Harum’s maritime baroque rock, the last sentence features an awful pun.

Even though Procul Harum featured a lot of dominant piano-rock, Trower shines through on some pieces like on “Something Following Me” where his fuzzy guitar solo is unique and executed well.

Trower’s guitar success did not fully evolve until he left Procul Harum and started his own Robin Trower Band. This band focused on guitar-based rock and spacey soloing. Trower focuses a lot of attention to music released in 1973-1977, where he gathered five certified gold releases and truly cemented his status among some of rock’s finest guitarists. A review of the concert will be up tomorrow. Enjoy the day!