Friday, January 22, 2010
Contributing Writer – Heavy Planet
FYI, in addition to the Music Binge, I will occasionally be contributing album/concert reviews to Heavy Planet. I encourage you to check out this blog as it is an excellent resource for anything and everything stoner/doom metal related. My first album review was for a new EP by the band Blood of the Tyrant, which can be found here. Take care!
Wednesday, January 13, 2010
The Santaland Diaries performed by Joe Brack
The Warehouse Theater
Washington D.C.
December 10th, 2009
The following review is going to be a bit of a departure from the norm for the Music Binge, given the fact that its not...well...music. However, it is a performance and it is art, so I feel that it still fits the bill for what this whole project is all about. And it’s my blog, so if you don't like it, don't read it. As always...enjoy!
Before I get into talking about the actual show that I witnessed tonight, let me first fill you in on the tucked away little gem that is the Warehouse Theater. Given that I am no theater buff, I have very little knowledge about the venues in this city that host such events. Since the metro stop for this place was Gallery Place/Chinatown, a hub for DC tourists and suburbanites looking to have some fun in the "big city", I figured I was heading to a well known and oft-frequented venue. What I didn't realize is that after walking 4 or 5 blocks from the metro and leaving the lights and glitz of the Chinatown area behind me, I was actually heading to a dark, back-alley theater-dive. To enter the Warehouse Theater, I literally had to walk through a barren parking lot towards a building that looked like...you guessed it...an abandoned warehouse. The only thing that gave me the remote hope that I was heading in the right direction was the huge blow-up Frosty the Snowman waving at me from the door. There were no signs, no cars in the parking lot, not even other theater-goers to lead the way, since I was nearly an hour early...this was going to be interesting.
Once inside, I found the place to be a small, cozy escape from the freezing cold. Christmas lights adorned the walls, a small, makeshift bar was set up in the corner and three rows of tiered chairs were set out on either side of the place, creating a stage right in the center of the room. The theater was probably big enough to seat about 100 people, tops.
After the crowd filled in, there were a few brief announcements about the theater company and the usual guidelines were laid out for us...no photography, no exiting the venue during the performance and no cell phones...at which time of course, someone's cell phone began to ring. The unfortunate person sitting in the front row scrambled to answer his phone and when he couldn't get it out of his pocket, he was forced to stand up and take the call while all eyes rested solely on him. What a perfect way to get the attention of your audience! It didn't take long to figure out that the owner of the misbehaving cell phone was in fact Mr. Joe Brack himself...and alas, The Santaland Diaries was underway.
If you aren't familiar with the play, it is a comedy based on an essay by David Sedaris about his experiences working as a Christmas elf at Macy's in New York City. As far as I know, it is a true story. The stage adaptation is a one-man show, which in my opinion, makes it all the more interesting. Like musicians who take the stage solo, any actor who can get in front of an audience and carry an entire performance on their shoulders alone has, without a doubt, earned my respect.
Joe Brack did a superb job of handling this pressure and showing all in attendance what it might be like to work as "Crumpet the elf". The humiliation of such a job was described early on in the performance when Brack, adorned in a pointy hat and stockings pulled to his knees, quietly recited about his attire: "I wear green, velvet knickers, a forest green velvet smock and a perky little hat decorated with spangles. This is my work uniform."
The humor of The Santaland Diaries is in the self-deprecating, raw and uncut variety, not unlike the movie Bad Santa starring Billy Bob Thornton. The performance uses the experiences of Crumpet the elf to point out the uglier side of the holiday season...everything from spoiled, greedy kids and their catering parents to racism (when one parent requests not to be sent to a black Santa). It is a no-holds barred look into the over-commercialization of the holidays and it is unfortunately all too real. Countless times during the performance, I thought to myself "sad, but true". Take this sample exchange between Crumpet, the mother of a spoiled child and said spoiled child...all acted out perfectly by Brack:
Washington D.C.
December 10th, 2009
The following review is going to be a bit of a departure from the norm for the Music Binge, given the fact that its not...well...music. However, it is a performance and it is art, so I feel that it still fits the bill for what this whole project is all about. And it’s my blog, so if you don't like it, don't read it. As always...enjoy!
Before I get into talking about the actual show that I witnessed tonight, let me first fill you in on the tucked away little gem that is the Warehouse Theater. Given that I am no theater buff, I have very little knowledge about the venues in this city that host such events. Since the metro stop for this place was Gallery Place/Chinatown, a hub for DC tourists and suburbanites looking to have some fun in the "big city", I figured I was heading to a well known and oft-frequented venue. What I didn't realize is that after walking 4 or 5 blocks from the metro and leaving the lights and glitz of the Chinatown area behind me, I was actually heading to a dark, back-alley theater-dive. To enter the Warehouse Theater, I literally had to walk through a barren parking lot towards a building that looked like...you guessed it...an abandoned warehouse. The only thing that gave me the remote hope that I was heading in the right direction was the huge blow-up Frosty the Snowman waving at me from the door. There were no signs, no cars in the parking lot, not even other theater-goers to lead the way, since I was nearly an hour early...this was going to be interesting.
Once inside, I found the place to be a small, cozy escape from the freezing cold. Christmas lights adorned the walls, a small, makeshift bar was set up in the corner and three rows of tiered chairs were set out on either side of the place, creating a stage right in the center of the room. The theater was probably big enough to seat about 100 people, tops.
After the crowd filled in, there were a few brief announcements about the theater company and the usual guidelines were laid out for us...no photography, no exiting the venue during the performance and no cell phones...at which time of course, someone's cell phone began to ring. The unfortunate person sitting in the front row scrambled to answer his phone and when he couldn't get it out of his pocket, he was forced to stand up and take the call while all eyes rested solely on him. What a perfect way to get the attention of your audience! It didn't take long to figure out that the owner of the misbehaving cell phone was in fact Mr. Joe Brack himself...and alas, The Santaland Diaries was underway.
If you aren't familiar with the play, it is a comedy based on an essay by David Sedaris about his experiences working as a Christmas elf at Macy's in New York City. As far as I know, it is a true story. The stage adaptation is a one-man show, which in my opinion, makes it all the more interesting. Like musicians who take the stage solo, any actor who can get in front of an audience and carry an entire performance on their shoulders alone has, without a doubt, earned my respect.
Joe Brack did a superb job of handling this pressure and showing all in attendance what it might be like to work as "Crumpet the elf". The humiliation of such a job was described early on in the performance when Brack, adorned in a pointy hat and stockings pulled to his knees, quietly recited about his attire: "I wear green, velvet knickers, a forest green velvet smock and a perky little hat decorated with spangles. This is my work uniform."
The humor of The Santaland Diaries is in the self-deprecating, raw and uncut variety, not unlike the movie Bad Santa starring Billy Bob Thornton. The performance uses the experiences of Crumpet the elf to point out the uglier side of the holiday season...everything from spoiled, greedy kids and their catering parents to racism (when one parent requests not to be sent to a black Santa). It is a no-holds barred look into the over-commercialization of the holidays and it is unfortunately all too real. Countless times during the performance, I thought to myself "sad, but true". Take this sample exchange between Crumpet, the mother of a spoiled child and said spoiled child...all acted out perfectly by Brack:
"This morning I worked as an exit elf, telling people in a loud voice: this way out of Santaland. A woman was standing at one of the cash registers paying for her pictures while her son lie beneath her, kicking and heaving, having a tantrum.
The woman said, Riley, if you don't start behaving yourself, Santa's not going to bring you any of those toys you asked for. The child said: he is too going to bring me toys, liar. He already told me.
The woman grabbed my arm and said: you there, elf, tell Riley here that if he doesn't start behaving immediately, then Santa's going to change his mind and bring him coal for Christmas. I said that Santa changed his policy and no longer traffics in coal. Instead, if you're bad, he comes to your house and steals things.
I told Riley that if he didn't behave himself, Santa was going to take away his TV and all his electrical appliances and leave him in the dark. All of your appliances Riley, including the refrigerator. Your food is going to spoil and smell bad. It is going to be so cold and dark where you are. You're going to wish you never even heard the name Santa.
The woman got a worried look on her face and said: all right, that's enough. I said: he's going to take your car and your furniture and all of your towels and blankets and leave you with nothing. The mother said: no, that's enough really."
It's that kind of scathing humor that permeates The Santaland Diaries and Brack's performance. The slow, transformation from a humiliated Macy's employee forced to wear a stupid looking elf costume, to a vindictive and spiteful person, tired of witnessing the ill-effects of society's overindulgence during the holidays. And haven't we all felt that same transformation during the holiday season? As the excitement of finding that perfect gift for a special someone gives way to the angst and ire of dealing with the waves of humanity at the local shopping mall.
The highlight of Brack's performance as Crumpet the elf had to be the segment where Santa is asking each child to sing his/her favorite Christmas carol. When one particularly shy child refuses to sing, Santa turns to his trusty elf (Crumpet of course) and asks him to sing instead. The carol to be sung is "Away in a Manger" and Brack/Crumpet, angry at the mere thought of having to sing for this kid, decides to do his best Billie Holiday rendition. Brack's mock-sexy performance as he sang in a sultry voice "Away in a manger, no crib for a bed, the little lord Jesus lay down his sweet head" was laugh-out-loud hilarious.
I don't want to give the impression that the whole point of The Santaland Diaries is to merely be cynical about the holidays. Towards the end of the play, when Brack/Crumpet witnesses a mother yelling at her child for crying on Santa's lap and thus ruining the perfect photo-op, the true message is revealed. The point of Sedaris's essay, which Brack's performance made perfectly clear, is that Christmas has become a time when many (most?) people attempt to create the ideal, perfect world for themselves, even when that world isn't representative of real life. It is a humorous way of saying that we've lost sight of the true meaning of Christmas and the holiday season. Watching Brack in the Santaland Diaries was a great reminder that we all need to slow down to enjoy the season…and life for that matter.
Monday, January 4, 2010
Sloan with Magneta Lane
Jammin’ Java
Vienna, VA
December 1st, 2009
Due to what I’m going to call "technical difficulties", there will be no pictures to accompany the following review.
Magneta Lane
Toronto garage-rock cum pop-punk act Magneta Lane was first on the bill tonight at Jammin’ Java. The all-female three-piece consists of Lexi Valentine on guitar and vocals, Nadia King on drums and, for this tour anyway, Kat Theodorelos on bass. Apparently the band’s permanent bass player is attending "university" back in Canada, so Kat, who regularly plays in fellow Toronto band, Lipstick Machine, is filling her shoes for the time being.
Valentine’s vocals reminded me of Karen-O from the Yeah Yeah Yeah’s, only without the screaming. She had that "I’m so bored, I’m cool" kind of sound that really provided a perfect contrast to the loud, feedback-laden music. The vocalist stayed in self-deprecating character even when addressing the crowd, as she mumbled an almost incoherent explanation for why she kept studying the back of her guitar between songs…apparently she forgot to wear her glasses and as such couldn’t see the band’s set list on the stage, so she taped it to the back of her instrument.
Meanwhile, King, whose face could rarely be seen through the bushy, brunette mop on her head, seemed utterly determined to destroy her drum kit as she laid down the foundation of the band’s attack. Adorned in various combinations of skirts, heels and cowboy boots, Magneta Lane had a sassy look to match their equally sassy sound…kind of like a more respectable, Hole-era Courtney Love. The "beauty meets brawn" dichotomy of the band’s image and sound easily won over the half-full crowd in attendance tonight at Jammin’ Java.
Sloan
My first experience with Canadian alt-pop band Sloan, which was all the way back in the early 90’s (I’m dating myself), wasn’t one I look back on fondly. This was during the height of the major record label frenzy to swallow up anything labeled "alternative" due to the popularity of bands like Nirvana, Pearl Jam, et al. At that time, Sloan had a minor radio hit with the song "Underwhelmed", which somehow propelled them to a headlining gig at a club called the Mad Monk (R.I.P.) in Wilmington, NC. My buddy and I, who were a couple of knuckleheads always looking for a good mosh pit to get mixed up in back in those days, made the hour long trek from our hometown to Wilmington in search of some action. Little did we know, we were heading to see a power-pop act that has more in common with the Fab Four than with Gang of Four, so needless to say, the scene was set for disappointment. As the show droned on (at least in our minds), my buddy finally decided to yell out the one and only song he knew, the aforementioned "Underwhelmed", to which vocalist/bassist (and sometimes drummer) Chris Murphy shot back a sarcastic retort for everyone in attendance to hear. The ensuing laughter from the crowd was embarrassing to say the least and Sloan would be forever cemented in our minds as a bunch of frat-boy, college rockers that could, for lack of a better term, kiss our collective asses.
Fast forward to present day…I’d like to think that my musical palate has expanded quite a bit over the course of the past 15 or so years. As such, I was back to make amends to a band that has stood the test of time and proven themselves as a mainstay in the alternative rock scene. I was ready for Sloan, take two. Of course, it didn’t take long for me to realize that Murphy hasn’t lost his witty, sarcastic sense of humor. Early on during the band’s set, he asked the audience "is this anyone’s first Sloan experience?"…when a few hands were raised he responded in his cocky, yet joking tone: "just finding out, huh?"…"yeah?"…"well, that’s okay".
Sloan is a band that doesn't rely on one particular member to handle lead vocals and a couple of the guys actually swap instruments during certain songs. I've already mentioned Murphy who primarily handled vocals and bass, but took a turn on the drums for a few songs. In addition, the band consists of Patrick Pentland, who played lead guitar and did his share of the vocal work, Jay Ferguson who played rhythm guitar, sang and played bass on a few tracks and Andrew Scott, who acted primarily as the band's drummer, but also took up the rhythm guitar and sang. Sloan was also accompanied by a keyboard player who, as you may have already guessed, provided vocals. Being proficient at multiple instruments and having one of four different voices out front at any given time gave the band a very diverse and interesting dynamic to their sound. You literally never knew what to expect from song to song.
Sloan is a band chock full of hooks and harmony and those in the audience who were familiar with their songs (I for one am not) seemed to eat it up. One fan in particular, who stood at the front and center of the stage, was a ball of energy, jumping up and down throughout the set, yelling song requests and singing word for word with whatever band member happened to be singing at the time. When Sloan did the aforementioned instrument swap, Murphy handed this guy a maraca and allowed him to keep the rhythm of the next song as the singer made his way back to the drum kit.
The rapport with the crowd continued throughout the band's set as they asked for requests...and when one fan yelled "Pen Pals...you haven't played that in three tours!", Murphy quickly retorted..."that's a fucking lie"...then turned to a young fan whom he had pointed out earlier in the show because she was celebrating her birthday and jokingly said "happy 13th birthday"...an obvious, semi-apology for his choice in language. This guy is funny I tell you.
For their encore, Sloan brought the enthusiastic front and center fan (the one with the maraca) onstage with them and gave the guy full reign over the microphone. Honest to God, I was completely blown away. The guy nailed every note of the song (again, I apologize as I have no idea what song was being played) and if you weren't looking, you never would have known it wasn't a member of the band doing the singing.
At the end of the day, I was glad I gave this band a second chance all these years later. Their Kiss meets the Beatles pop-rock sound combined with Murphy's wacky jokes and sarcasm are actually a breath of fresh air in the often stuffy "alt-rock" world. Amazing how age puts a new perspective on things.
Vienna, VA
December 1st, 2009
Due to what I’m going to call "technical difficulties", there will be no pictures to accompany the following review.
Magneta Lane
Toronto garage-rock cum pop-punk act Magneta Lane was first on the bill tonight at Jammin’ Java. The all-female three-piece consists of Lexi Valentine on guitar and vocals, Nadia King on drums and, for this tour anyway, Kat Theodorelos on bass. Apparently the band’s permanent bass player is attending "university" back in Canada, so Kat, who regularly plays in fellow Toronto band, Lipstick Machine, is filling her shoes for the time being.
Valentine’s vocals reminded me of Karen-O from the Yeah Yeah Yeah’s, only without the screaming. She had that "I’m so bored, I’m cool" kind of sound that really provided a perfect contrast to the loud, feedback-laden music. The vocalist stayed in self-deprecating character even when addressing the crowd, as she mumbled an almost incoherent explanation for why she kept studying the back of her guitar between songs…apparently she forgot to wear her glasses and as such couldn’t see the band’s set list on the stage, so she taped it to the back of her instrument.
Meanwhile, King, whose face could rarely be seen through the bushy, brunette mop on her head, seemed utterly determined to destroy her drum kit as she laid down the foundation of the band’s attack. Adorned in various combinations of skirts, heels and cowboy boots, Magneta Lane had a sassy look to match their equally sassy sound…kind of like a more respectable, Hole-era Courtney Love. The "beauty meets brawn" dichotomy of the band’s image and sound easily won over the half-full crowd in attendance tonight at Jammin’ Java.
Sloan
My first experience with Canadian alt-pop band Sloan, which was all the way back in the early 90’s (I’m dating myself), wasn’t one I look back on fondly. This was during the height of the major record label frenzy to swallow up anything labeled "alternative" due to the popularity of bands like Nirvana, Pearl Jam, et al. At that time, Sloan had a minor radio hit with the song "Underwhelmed", which somehow propelled them to a headlining gig at a club called the Mad Monk (R.I.P.) in Wilmington, NC. My buddy and I, who were a couple of knuckleheads always looking for a good mosh pit to get mixed up in back in those days, made the hour long trek from our hometown to Wilmington in search of some action. Little did we know, we were heading to see a power-pop act that has more in common with the Fab Four than with Gang of Four, so needless to say, the scene was set for disappointment. As the show droned on (at least in our minds), my buddy finally decided to yell out the one and only song he knew, the aforementioned "Underwhelmed", to which vocalist/bassist (and sometimes drummer) Chris Murphy shot back a sarcastic retort for everyone in attendance to hear. The ensuing laughter from the crowd was embarrassing to say the least and Sloan would be forever cemented in our minds as a bunch of frat-boy, college rockers that could, for lack of a better term, kiss our collective asses.
Fast forward to present day…I’d like to think that my musical palate has expanded quite a bit over the course of the past 15 or so years. As such, I was back to make amends to a band that has stood the test of time and proven themselves as a mainstay in the alternative rock scene. I was ready for Sloan, take two. Of course, it didn’t take long for me to realize that Murphy hasn’t lost his witty, sarcastic sense of humor. Early on during the band’s set, he asked the audience "is this anyone’s first Sloan experience?"…when a few hands were raised he responded in his cocky, yet joking tone: "just finding out, huh?"…"yeah?"…"well, that’s okay".
Sloan is a band that doesn't rely on one particular member to handle lead vocals and a couple of the guys actually swap instruments during certain songs. I've already mentioned Murphy who primarily handled vocals and bass, but took a turn on the drums for a few songs. In addition, the band consists of Patrick Pentland, who played lead guitar and did his share of the vocal work, Jay Ferguson who played rhythm guitar, sang and played bass on a few tracks and Andrew Scott, who acted primarily as the band's drummer, but also took up the rhythm guitar and sang. Sloan was also accompanied by a keyboard player who, as you may have already guessed, provided vocals. Being proficient at multiple instruments and having one of four different voices out front at any given time gave the band a very diverse and interesting dynamic to their sound. You literally never knew what to expect from song to song.
Sloan is a band chock full of hooks and harmony and those in the audience who were familiar with their songs (I for one am not) seemed to eat it up. One fan in particular, who stood at the front and center of the stage, was a ball of energy, jumping up and down throughout the set, yelling song requests and singing word for word with whatever band member happened to be singing at the time. When Sloan did the aforementioned instrument swap, Murphy handed this guy a maraca and allowed him to keep the rhythm of the next song as the singer made his way back to the drum kit.
The rapport with the crowd continued throughout the band's set as they asked for requests...and when one fan yelled "Pen Pals...you haven't played that in three tours!", Murphy quickly retorted..."that's a fucking lie"...then turned to a young fan whom he had pointed out earlier in the show because she was celebrating her birthday and jokingly said "happy 13th birthday"...an obvious, semi-apology for his choice in language. This guy is funny I tell you.
For their encore, Sloan brought the enthusiastic front and center fan (the one with the maraca) onstage with them and gave the guy full reign over the microphone. Honest to God, I was completely blown away. The guy nailed every note of the song (again, I apologize as I have no idea what song was being played) and if you weren't looking, you never would have known it wasn't a member of the band doing the singing.
At the end of the day, I was glad I gave this band a second chance all these years later. Their Kiss meets the Beatles pop-rock sound combined with Murphy's wacky jokes and sarcasm are actually a breath of fresh air in the often stuffy "alt-rock" world. Amazing how age puts a new perspective on things.
Tuesday, December 29, 2009
Ryan Montbleau Band with Laura Tsaggaris
Iota Club & Cafe
Arlington, VA
November 24th, 2009
Arlington, VA
November 24th, 2009
With Thanksgiving and the rest of the holiday frenzy right around the corner, I decided to tone it down a bit tonight, settling for the very laid back, pseudo-coffeehouse confines of the Iota Club and Cafe for my weekly music fix. Iota offered the perfect setting for a chill evening, with Christmas lights strung around the stage and a crowd consisting of both music fans and folks who were there to just relax, have a bite to eat, and sip a glass of wine. I had no idea what to expect from the acts on tonight's bill since I'd never heard of either one of them, but they too would prove a perfect segue into a time for being thankful.
Laura Tsaggaris
One of the things I respect more than anything else from a musician is the ability to get in front of a crowd by him or herself with nothing but a guitar and sing his/her own songs...no covers. In my mind, it is truly an amazing thing to witness. Local girl Laura Tsaggaris did exactly that.
One of the things I respect more than anything else from a musician is the ability to get in front of a crowd by him or herself with nothing but a guitar and sing his/her own songs...no covers. In my mind, it is truly an amazing thing to witness. Local girl Laura Tsaggaris did exactly that.
Sitting atop a barstool with her guitar balanced on one knee, the strap dangling needlessly to the side, Laura played a stripped down set of songs with a very folksy vibe. She would have fit perfectly into the early 90's heyday of the Lilith Fair Tour. Lending even more to the coffeehouse vibe, Laura took a moment to introduce each song to her audience, ensuring that we felt what she was feeling when she wrote them. With her soothing voice and admirable guitar playing, Laura Tsaggaris was the perfect opening act for this evening...emotional, heartfelt, and most of all...inspiring.
Ryan Montbleau Band
I enjoyed the Ryan Montbleau Band so much, that I'm thankful I stumbled into Iota tonight just so I can call myself a fan of theirs. Are you sensing the theme of this article yet? My honest to God, takeaway impression of these guys can be summed up with the following question...how in the hell were they only playing a small place like Iota? The Boston based band features Ryan on guitar and vocals, Matt Gianarros on bass guitar (and upright bass at times, how cool is that?), Jason Cohen on keyboards, Laurence Scudder on violin and the ever smiling James Cohen on drums (no seriously, this guy wore a grin throughout the entirety of the band's set).
I enjoyed the Ryan Montbleau Band so much, that I'm thankful I stumbled into Iota tonight just so I can call myself a fan of theirs. Are you sensing the theme of this article yet? My honest to God, takeaway impression of these guys can be summed up with the following question...how in the hell were they only playing a small place like Iota? The Boston based band features Ryan on guitar and vocals, Matt Gianarros on bass guitar (and upright bass at times, how cool is that?), Jason Cohen on keyboards, Laurence Scudder on violin and the ever smiling James Cohen on drums (no seriously, this guy wore a grin throughout the entirety of the band's set).
This is going to sound weird, but listening to the Ryan Montbleau Band was like listening to Tracy Chapman fronting the Dave Matthews Band. However even that description doesn't do justice to the range of capabilities displayed by Montbleau and company as they stylistically dipped in and out of folk rock, blue grass, reggae and even jazz, all in a matter of just a few songs. During one particular song, I felt like I had stepped into some backroom lounge act, like I should be sitting at a table in the corner, smoking a cigar, sipping a glass of brandy and having an important conversation. Comparisons to Paul Simon, Stevie Wonder and even Otis Redding wouldn't be inaccurate...these guys are talented, I tell you.
Ryan was the perfect frontman, simultaneously being confidently witty and modestly humble. Sample exchange between him and the crowd after already thanking them profusely for coming out...Ryan: "I'm gonna continue to thank you all night"...someone in the crowd: "you're welcome"...Ryan: "thank you for saying you're welcome...now we're in a never ending spiral". He even performed a mini-solo set mid-show when the rest of the band left the stage, allowing Ryan to play a few songs on his own, just him and his guitar. See above for my thoughts on artists with that kind of talent and confidence.
The Ryan Montbleau Band has apparently played 41 cities in 52 nights. Ryan explained that when you're on tour, home keeps expanding. Being from Boston, when they first played in Buffalo, they thought "what the hell are we doing in Buffalo", but now when they get there they feel like they're almost home. He went on to explain that playing at Iota felt the same way...almost like home. Well Ryan, we're glad to have you my friend, and I for one will be back whenever you decide to visit your "home away from home" again.
Thursday, December 17, 2009
Baroness with Earthless and U.S. Christmas
Rock n’ Roll Hotel
Washington D.C.
November 18th, 2009
The Binge was at the Rock n' Roll Hotel this week, which is a very small, cozy venue in my favorite neighborhood in DC...the "up and coming" (which really means, keep to the beaten path or you may not make it home) Atlas District. The place is a freaky, little, hole-in-the-wall dive that doesn't hold much more than a couple of hundred people at best. And when I say freaky, I'm talking mannequins with steer skulls for heads, hanging from the ceiling freaky. So with that said, let's get to the business at hand.
U.S. Christmas
U.S. Christmas, hailing from a little town called Marion in my home state of North Carolina, was up first. The band literally crammed every square inch of the tiny R n' R Hotel stage as they consist of seven members! Lead by vocalist/guitarist Nate Hall, they played a psychedelic blend of stoner/sludge/doom rock. In addition to Hall, U.S. Christmas includes guitarists Matt Johnson and Chris Thomas, bassist Josh Holt, drummers B.J. Graves and Justin Whitlow and violinist Meghan Mulhearn. The dueling drummers, who quite literally blended together visually as if you were watching one drummer playing beside a mirror, provided a rhythm to the music that was heavier than all hell. And the subtle violin gave an eerie backdrop to the entire proceeding. Speaking of eerie, Hall had the skull of some mysterious, antlered animal hanging from his microphone stand, and to top it all off, he used it to hold his finger slide...weird! The band was nothing if not original, especially in a genre that has become oversaturated. Impressive.
Earthless
San Diego's Earthless were second on the bill and although foreign to me, there appeared to be quite a contingent there to see these guys. Appearing to be the band's front man, Isaiah Mitchell, walked onstage, thanked the crowd for coming out and then pushed the microphone away from him and proceeded to create a wall of feedback that lasted for at least five minutes. I knew immediately that those would be the last words we would hear from Mitchell, and true to my inclination, Earthless turned out to be an instrumental act. The band also includes bassist Mike Eginton and drummer Mario Rubalcaba, whose kit had one of the biggest bass drums I've ever laid my eyes on.
Earthless basically played one 40-minute song with Mitchell soloing for what seemed like 95% of that time. Now listen, I get what these guys are about and I have nothing but respect for it. Talent-wise, they have it in spades. With that being said, their shtick got old. Kyuss used to do this type of thing back in the day, but they did it much better. The difference? They had a vocalist, John Garcia, who would exit the stage and allow the rest of the band to play for what seemed like forever, but his presence alone ensured that you never, ever got bored with the music. Earthless weren't able to keep my attention in the same way. Perhaps they should consider adding a vocalist to the mix, even if it's only to offer the occasional distraction from all that guitar wankery.
Baroness
Baroness, from Savannah, Georgia, is the current torch bearer for stoner rock in my humble opinion. The band plays an amazing blend of slowed down, Clutch-like beard rock with a slight dose of Van Halen-esque guitar flare thrown in for good measure. Quite honestly, I could have listened to this shit all night long!
You would have been hard pressed to know the band was kicking off the tour in support of their latest opus "Blue Record" tonight, as they hit their stride immediately. Apparently these guys have ties to the DC area, having grown up in nearby Lexington, VA, which explains their decision to start the tour in DC (and explains vocalist/guitarist John Baizley’s tie to local bands Darkest Hour and Pig Destroyer, for whom he’s done album artwork in the past).
Baizley is quite the imposing figure, sporting a shaved head, a mighty beard and eyes that drill holes through the audience. When the vocalist screamed into the mic, the veins in his neck stood out so vividly, I thought they might explode…and those damn eyes, I tell you the man looked possessed! Baizley managed to command the stage, despite having nothing to say to the crowd throughout the first ¾ of the show. It wasn't until Baroness left for an encore that he addressed his audience, offering a sincere thanks and saying..."you allow us to do what we do".
Meanwhile, pig-tailed bassist Summer Welch was a maniac onstage, never losing the wicked smile that adorned his mug the entire night. And Peter Adams was equally as psychotic on the other side of the stage, handling lead guitar duty and playing off of Baizley’s rhythm guitar perfectly. Drummer Allen Blickle completed the picture, tying the whole thing up into a nice, neat package of southern-prog-swamp-metal bliss.
Speaking of pictures, behind the band was a backdrop with Baizley’s cover-art from “Blue Record”. This guy’s work really is worth a look, as he is an amazing artist. If you haven’t already done so, do yourself a favor and check out Baroness. Come for the music and stay for the art…just don’t get caught in the gaze of those eyes…
Washington D.C.
November 18th, 2009
The Binge was at the Rock n' Roll Hotel this week, which is a very small, cozy venue in my favorite neighborhood in DC...the "up and coming" (which really means, keep to the beaten path or you may not make it home) Atlas District. The place is a freaky, little, hole-in-the-wall dive that doesn't hold much more than a couple of hundred people at best. And when I say freaky, I'm talking mannequins with steer skulls for heads, hanging from the ceiling freaky. So with that said, let's get to the business at hand.
U.S. Christmas
U.S. Christmas, hailing from a little town called Marion in my home state of North Carolina, was up first. The band literally crammed every square inch of the tiny R n' R Hotel stage as they consist of seven members! Lead by vocalist/guitarist Nate Hall, they played a psychedelic blend of stoner/sludge/doom rock. In addition to Hall, U.S. Christmas includes guitarists Matt Johnson and Chris Thomas, bassist Josh Holt, drummers B.J. Graves and Justin Whitlow and violinist Meghan Mulhearn. The dueling drummers, who quite literally blended together visually as if you were watching one drummer playing beside a mirror, provided a rhythm to the music that was heavier than all hell. And the subtle violin gave an eerie backdrop to the entire proceeding. Speaking of eerie, Hall had the skull of some mysterious, antlered animal hanging from his microphone stand, and to top it all off, he used it to hold his finger slide...weird! The band was nothing if not original, especially in a genre that has become oversaturated. Impressive.
Earthless
San Diego's Earthless were second on the bill and although foreign to me, there appeared to be quite a contingent there to see these guys. Appearing to be the band's front man, Isaiah Mitchell, walked onstage, thanked the crowd for coming out and then pushed the microphone away from him and proceeded to create a wall of feedback that lasted for at least five minutes. I knew immediately that those would be the last words we would hear from Mitchell, and true to my inclination, Earthless turned out to be an instrumental act. The band also includes bassist Mike Eginton and drummer Mario Rubalcaba, whose kit had one of the biggest bass drums I've ever laid my eyes on.
Earthless basically played one 40-minute song with Mitchell soloing for what seemed like 95% of that time. Now listen, I get what these guys are about and I have nothing but respect for it. Talent-wise, they have it in spades. With that being said, their shtick got old. Kyuss used to do this type of thing back in the day, but they did it much better. The difference? They had a vocalist, John Garcia, who would exit the stage and allow the rest of the band to play for what seemed like forever, but his presence alone ensured that you never, ever got bored with the music. Earthless weren't able to keep my attention in the same way. Perhaps they should consider adding a vocalist to the mix, even if it's only to offer the occasional distraction from all that guitar wankery.
Baroness
Baroness, from Savannah, Georgia, is the current torch bearer for stoner rock in my humble opinion. The band plays an amazing blend of slowed down, Clutch-like beard rock with a slight dose of Van Halen-esque guitar flare thrown in for good measure. Quite honestly, I could have listened to this shit all night long!
You would have been hard pressed to know the band was kicking off the tour in support of their latest opus "Blue Record" tonight, as they hit their stride immediately. Apparently these guys have ties to the DC area, having grown up in nearby Lexington, VA, which explains their decision to start the tour in DC (and explains vocalist/guitarist John Baizley’s tie to local bands Darkest Hour and Pig Destroyer, for whom he’s done album artwork in the past).
Baizley is quite the imposing figure, sporting a shaved head, a mighty beard and eyes that drill holes through the audience. When the vocalist screamed into the mic, the veins in his neck stood out so vividly, I thought they might explode…and those damn eyes, I tell you the man looked possessed! Baizley managed to command the stage, despite having nothing to say to the crowd throughout the first ¾ of the show. It wasn't until Baroness left for an encore that he addressed his audience, offering a sincere thanks and saying..."you allow us to do what we do".
Meanwhile, pig-tailed bassist Summer Welch was a maniac onstage, never losing the wicked smile that adorned his mug the entire night. And Peter Adams was equally as psychotic on the other side of the stage, handling lead guitar duty and playing off of Baizley’s rhythm guitar perfectly. Drummer Allen Blickle completed the picture, tying the whole thing up into a nice, neat package of southern-prog-swamp-metal bliss.
Speaking of pictures, behind the band was a backdrop with Baizley’s cover-art from “Blue Record”. This guy’s work really is worth a look, as he is an amazing artist. If you haven’t already done so, do yourself a favor and check out Baroness. Come for the music and stay for the art…just don’t get caught in the gaze of those eyes…
Wednesday, December 9, 2009
Lamb of God with Darkest Hour, Periphery and This or the Apocalypse
9:30 Club
Washington D.C
November 11th, 2009
This marks the first (and probably not the last) time since initiating this project that I’ll be reviewing a band more than once. Taking a break from their stint on the Metallica tour (see Metallica with Lamb of God and Gojira), Lamb of God made a pit stop in DC to play a show that had all the makings of a true homecoming. To commemorate the occasion, the boys from Richmond, VA tagged local favorites Darkest Hour as openers in addition to two other regional acts, Periphery from Bethesda, MD and This or the Apocalypse from Lancaster, PA.
This or the Apocalypse
Who knew that the land of the Amish could produce a solid metal band? I have to hand it to the guys in This or the Apocalypse, they have a good time onstage. I don't think any of the five members in the band stopped bouncing and hopping throughout the entirity of their half hour set. Playing standard metalcore, replete with non-stop breakdowns and harsh vocals, TOTA proved to be a perfect opener for the evening, if a bit unoriginal. When the band's vocalist said "I want to see the stupidest circle pit the 9:30 Club has ever seen", I thought...whoa fella, those are some big words considering the impressive list of acts who've played this joint in the past. But I'll give it to the kid, the ensuing mayhem that opened up on the floor was impressive to say the least. Apparently these guys are playing with Machine Head tomorrow night in Long Island, NY. They've obviously done enough to get onstage with some real heavy hitters, so it'll be interesting to see where they go from here. A solid opening act.
Periphery
Periphery, featuring guitarists Misha Mansoor, Alex Bois and Jake Bowen (yes, that would be three guitars), bassist Tom Murphy, drummer Matt Halpern and vocalist Chris Barretto, would prove to be the surprise of the night. Hailing from DC suburbia (Bethesda, MD), the guys stormed the stage and acted as though they belonged in front of the near capacity 9:30 Club crowd. Sporting a very impressive afro, Barretto did his best angry guy/sensitive guy impression...you know, growling one minute and harmonizing the next. The style provided a nice change of pace and an interesting dynamic to the band's pummeling music. The vocals alone allowed Periphery to avoid the trap of monotony that can often accompany one trick pony metal bands who think the faster they play and the lower they growl, the better they sound.
The singer's choice in attire was a bit confusing however as he sported a t-shirt that read "New York Fucking City"...seemed an odd choice given the local nature of the show. Regardless, the band sounded phenomenal and in addition to This or the Apocalypse, I was extremely impressed with the lineup that Lamb of God had assembled for their evening in DC. On a side note, the pits continued to be a swirling mass of brutality during Periphery's set, a definite sign that the crowd was eager to bring the house down for the headliner.
Darkest Hour
Washington DC's Darkest Hour are, in my opinion, one of the most underrated and underappreciated metal bands on the planet. They helped to invent the aforementioned metalcore sound that has been popularized by bands like Killswitch Engage, All That Remains and As I Lay Dying. So with that said, I was extremely excited given that this was my first opportunity to see them live.
As much as I wanted to like them, I unfortunately found myself disappointed after watching Darkest Hour's set. Blame it on high expectations or the fact that they've been off the road for about three weeks (as was explained later by Lamb of God vocalist Randy Blythe when thanking Darkest Hour for opening), but something just didn't click for me. The band's songs all seemed to blend together without much to distinguish one from another (the exact thing I praised Periphery for avoiding).
The real highlights occurred when vocalist John Henry showed his humorous side (example: "Mosh so hard that somebody gets pregnant"...hahaha) or when he took a backseat and let guitarists Mike Carrigan and Mike Schleibaum step onto the risers at the front of the stage to play dualing guitar solos. Darkest Hour is rounded out by the rhythm section of bassist Paul Burnette and drummer Ryan Parrish who are solid, but didn't ease my feeling that something was missing. Still, Henry's sense of humor shined through as he leaned out over the front row of the crowd, threw his hair out of his face and asked "everyone here likes metal, I presume?"...very funny.
Perhaps the band would do well to take a few notes from their influences (one guitarist sported a Pantera shirt and the other a Down shirt) and slow it down a little bit. Part of my problem with Darkest Hour's set was that they seemed as though they were in a rush, like they needed to fit as many songs as possible into their 45 minute set. By the time they launched into "Doomsayer", their finale, I was ready for it to be over. As John Henry walked off the stage, he thanked everyone "for coming out to this show and supporting heavy fucking metal". You're very welcome John...but take a breather next time and give us a chance to enjoy it!
Lamb of God
"We are Lamb of God from Richmond fucking Virginia"...so said vocalist Randy Blythe as he and his band took the stage and rolled right into "Walk With Me in Hell". This is true grit heavy metal my friends, the kind that is not for the squeamish. As crazy as the DC crowd was for the three openers tonight, they reached another level when the headliners arrived, the floor turning into a swirl of humanity and the balcony a sea of fists and devil horns...a true sight to behold.
Blythe is a commanding heavy metal frontman. Not since Philip Anselmo (Pantera, Down, Superjoint Ritual, etc.) have I seen a guy who can work the stage and his audience in such an adept manner. The guy is a general out there and the audience are his troops. When he says to put your fists in the air, you do it and you do not ask questions.
Randy doesn't deny the true soldiers out there either as he makes sure to dedicate "Now You've Got Something To Die For" to the men and women of the armed services (something he did a few weeks ago at the Metallica gig as well). The singer continued by saying, those guys are "doing a dirty job in a shitty place...don't forget about them"...and then looked into the pit and screamed "this place is a warzone". Later, when guitarists Mark Morton and Willie Adler, bassist John Campbell and drummer Chris Adler launched into "Laid to Rest", I looked down at the pit, saw an umbrella go flying through the air and had to admit that Blythe was right, this place is a warzone.
Lamb of God have apparently been on tour for about a year in support of their latest album "Wrath". Blythe mentioned that it has been great being on the road with Metallica, but that the "off-dates are a lot more fun where I can see all you motherfuckers"! Having just seen them in the arena environment, I have to admit, the band reaches a new level of energy and enthusiasm playing in a smaller venue in front of their own crowd. The place was truly alive.
Towards the end of the show, as the audience waited for the band to return for their second encore, the 9:30 Club was aglow with lighters (not cellphones!). Lamb of God returned to the stage to do a stunningly brutal rendition of their fan favorite "Black Label". When the smoke cleared, Randy looked out at the crowd and said "We are Lamb of God, we'll see you next time...Fugazi is up next" before dropping the mic to the floor (if you don't get that last quote, then do a little research on Ian MacKaye and the boys). A perfect coda to a night of local metal in DC's finest venue.
Washington D.C
November 11th, 2009
This marks the first (and probably not the last) time since initiating this project that I’ll be reviewing a band more than once. Taking a break from their stint on the Metallica tour (see Metallica with Lamb of God and Gojira), Lamb of God made a pit stop in DC to play a show that had all the makings of a true homecoming. To commemorate the occasion, the boys from Richmond, VA tagged local favorites Darkest Hour as openers in addition to two other regional acts, Periphery from Bethesda, MD and This or the Apocalypse from Lancaster, PA.
This or the Apocalypse
Who knew that the land of the Amish could produce a solid metal band? I have to hand it to the guys in This or the Apocalypse, they have a good time onstage. I don't think any of the five members in the band stopped bouncing and hopping throughout the entirity of their half hour set. Playing standard metalcore, replete with non-stop breakdowns and harsh vocals, TOTA proved to be a perfect opener for the evening, if a bit unoriginal. When the band's vocalist said "I want to see the stupidest circle pit the 9:30 Club has ever seen", I thought...whoa fella, those are some big words considering the impressive list of acts who've played this joint in the past. But I'll give it to the kid, the ensuing mayhem that opened up on the floor was impressive to say the least. Apparently these guys are playing with Machine Head tomorrow night in Long Island, NY. They've obviously done enough to get onstage with some real heavy hitters, so it'll be interesting to see where they go from here. A solid opening act.
Periphery
Periphery, featuring guitarists Misha Mansoor, Alex Bois and Jake Bowen (yes, that would be three guitars), bassist Tom Murphy, drummer Matt Halpern and vocalist Chris Barretto, would prove to be the surprise of the night. Hailing from DC suburbia (Bethesda, MD), the guys stormed the stage and acted as though they belonged in front of the near capacity 9:30 Club crowd. Sporting a very impressive afro, Barretto did his best angry guy/sensitive guy impression...you know, growling one minute and harmonizing the next. The style provided a nice change of pace and an interesting dynamic to the band's pummeling music. The vocals alone allowed Periphery to avoid the trap of monotony that can often accompany one trick pony metal bands who think the faster they play and the lower they growl, the better they sound.
The singer's choice in attire was a bit confusing however as he sported a t-shirt that read "New York Fucking City"...seemed an odd choice given the local nature of the show. Regardless, the band sounded phenomenal and in addition to This or the Apocalypse, I was extremely impressed with the lineup that Lamb of God had assembled for their evening in DC. On a side note, the pits continued to be a swirling mass of brutality during Periphery's set, a definite sign that the crowd was eager to bring the house down for the headliner.
Darkest Hour
Washington DC's Darkest Hour are, in my opinion, one of the most underrated and underappreciated metal bands on the planet. They helped to invent the aforementioned metalcore sound that has been popularized by bands like Killswitch Engage, All That Remains and As I Lay Dying. So with that said, I was extremely excited given that this was my first opportunity to see them live.
As much as I wanted to like them, I unfortunately found myself disappointed after watching Darkest Hour's set. Blame it on high expectations or the fact that they've been off the road for about three weeks (as was explained later by Lamb of God vocalist Randy Blythe when thanking Darkest Hour for opening), but something just didn't click for me. The band's songs all seemed to blend together without much to distinguish one from another (the exact thing I praised Periphery for avoiding).
The real highlights occurred when vocalist John Henry showed his humorous side (example: "Mosh so hard that somebody gets pregnant"...hahaha) or when he took a backseat and let guitarists Mike Carrigan and Mike Schleibaum step onto the risers at the front of the stage to play dualing guitar solos. Darkest Hour is rounded out by the rhythm section of bassist Paul Burnette and drummer Ryan Parrish who are solid, but didn't ease my feeling that something was missing. Still, Henry's sense of humor shined through as he leaned out over the front row of the crowd, threw his hair out of his face and asked "everyone here likes metal, I presume?"...very funny.
Perhaps the band would do well to take a few notes from their influences (one guitarist sported a Pantera shirt and the other a Down shirt) and slow it down a little bit. Part of my problem with Darkest Hour's set was that they seemed as though they were in a rush, like they needed to fit as many songs as possible into their 45 minute set. By the time they launched into "Doomsayer", their finale, I was ready for it to be over. As John Henry walked off the stage, he thanked everyone "for coming out to this show and supporting heavy fucking metal". You're very welcome John...but take a breather next time and give us a chance to enjoy it!
Lamb of God
"We are Lamb of God from Richmond fucking Virginia"...so said vocalist Randy Blythe as he and his band took the stage and rolled right into "Walk With Me in Hell". This is true grit heavy metal my friends, the kind that is not for the squeamish. As crazy as the DC crowd was for the three openers tonight, they reached another level when the headliners arrived, the floor turning into a swirl of humanity and the balcony a sea of fists and devil horns...a true sight to behold.
Blythe is a commanding heavy metal frontman. Not since Philip Anselmo (Pantera, Down, Superjoint Ritual, etc.) have I seen a guy who can work the stage and his audience in such an adept manner. The guy is a general out there and the audience are his troops. When he says to put your fists in the air, you do it and you do not ask questions.
Randy doesn't deny the true soldiers out there either as he makes sure to dedicate "Now You've Got Something To Die For" to the men and women of the armed services (something he did a few weeks ago at the Metallica gig as well). The singer continued by saying, those guys are "doing a dirty job in a shitty place...don't forget about them"...and then looked into the pit and screamed "this place is a warzone". Later, when guitarists Mark Morton and Willie Adler, bassist John Campbell and drummer Chris Adler launched into "Laid to Rest", I looked down at the pit, saw an umbrella go flying through the air and had to admit that Blythe was right, this place is a warzone.
Lamb of God have apparently been on tour for about a year in support of their latest album "Wrath". Blythe mentioned that it has been great being on the road with Metallica, but that the "off-dates are a lot more fun where I can see all you motherfuckers"! Having just seen them in the arena environment, I have to admit, the band reaches a new level of energy and enthusiasm playing in a smaller venue in front of their own crowd. The place was truly alive.
Towards the end of the show, as the audience waited for the band to return for their second encore, the 9:30 Club was aglow with lighters (not cellphones!). Lamb of God returned to the stage to do a stunningly brutal rendition of their fan favorite "Black Label". When the smoke cleared, Randy looked out at the crowd and said "We are Lamb of God, we'll see you next time...Fugazi is up next" before dropping the mic to the floor (if you don't get that last quote, then do a little research on Ian MacKaye and the boys). A perfect coda to a night of local metal in DC's finest venue.
Tuesday, December 1, 2009
The Chuck Redd Quartet
John F. Kennedy Center for the Performing Arts – Millennium Stage
Washington, DC
November, 6 2009
If you’re not familiar with what a vibraphone is, then you’re not alone. I walked into the Kennedy Center having no idea what to expect. The instrument basically looks just like a xylophone, however a little research tells me that there are some significant differences between the two instruments. For one, the vibraphone uses aluminum bars instead of wood and each bar has a tube paired with it, which produces a ringing "vibrato" effect when struck. Another key difference is that the vibraphone has a sustain pedal, much like a piano, which can be depressed to hold the sound for a longer period of time.
Washington, DC
November, 6 2009
The Binge was back at the Kennedy Center on Friday night for another of their amazing "Millennium Stage" performances (see Moch Pryderi). This time the focus was vibraphonist Chuck Redd’s jazz quartet in what was billed as "A Celebration of Dizzy and Duke". Now I’m no jazz enthusiast, although I do have a healthy respect for the genre, but even I know that tagline was referring to legends Dizzy Gillespie and Duke Ellington.
If you’re not familiar with what a vibraphone is, then you’re not alone. I walked into the Kennedy Center having no idea what to expect. The instrument basically looks just like a xylophone, however a little research tells me that there are some significant differences between the two instruments. For one, the vibraphone uses aluminum bars instead of wood and each bar has a tube paired with it, which produces a ringing "vibrato" effect when struck. Another key difference is that the vibraphone has a sustain pedal, much like a piano, which can be depressed to hold the sound for a longer period of time.
Now, with that key bit of information out of the way, let’s talk about the actual performance. Chuck Redd and the boys strutted onstage decked out in matching suits, looking like they belonged in some smoky, back-room jazz club from the 1960’s. Along with Chuck on the vibraphone, which sat at the front and center of the stage, the quartet also consisted of James King on the upright bass, John Toomey playing a Steinway & Sons grand piano and drummer Nucleo Vega.
With only an hour to play, the band wasted no time getting down to business. Redd played his instrument as fiercely as a rock guitarist would play theirs, making that "ooh it hurts so good" face with each strike of his mallets. Meanwhile, King was all over his fretless bass, moving his fingers so fast that I found myself holding my breath waiting for him to lose his place in the complex, polyrhythmic songs. He even launched into a solo at one point, while Toomey and Vega subtly played in the background, Chuck standing to the side looking on and coolly snapping his fingers to the beat.
As I said previously, I’m not familiar with jazz music or with the greats that were being celebrated tonight, but I did manage to jot down a few of the tunes that The Chuck Redd Quartet played during the set. Chuck introduced Gillespie’s "And Then She Stopped" by explaining that it featured a calypso beat. The band also played Ellington’s "Do Nothing Till You Hear From Me" and Gillespie’s "A Night in Tunisia", the latter of which was opened with a stunning drum solo by Vega that Chuck introduced as an "African Battisti" performance.
With only an hour to play, the band wasted no time getting down to business. Redd played his instrument as fiercely as a rock guitarist would play theirs, making that "ooh it hurts so good" face with each strike of his mallets. Meanwhile, King was all over his fretless bass, moving his fingers so fast that I found myself holding my breath waiting for him to lose his place in the complex, polyrhythmic songs. He even launched into a solo at one point, while Toomey and Vega subtly played in the background, Chuck standing to the side looking on and coolly snapping his fingers to the beat.
As I said previously, I’m not familiar with jazz music or with the greats that were being celebrated tonight, but I did manage to jot down a few of the tunes that The Chuck Redd Quartet played during the set. Chuck introduced Gillespie’s "And Then She Stopped" by explaining that it featured a calypso beat. The band also played Ellington’s "Do Nothing Till You Hear From Me" and Gillespie’s "A Night in Tunisia", the latter of which was opened with a stunning drum solo by Vega that Chuck introduced as an "African Battisti" performance.
Towards the end of the set, King and Vega left the stage and made room for an intense vibraphone/piano dual between Redd and Toomey. The two traded rhythms and runs back and forth, note for note until neither of them could resist breaking a smile, and when the rest of the quartet reemerged to finish the set, there wasn’t a person in the room who hadn’t joined them in smiling. When the band finished, they were met with a rousing ovation and chants for an encore. Having come from DC’s own Blues Alley jazz scene, I’m sure Chuck Redd isn’t accustomed to ending his evening at such an early hour. However, the band’s leader returned and regretfully informed us all that the Kennedy Center doesn’t allow them to play for more than an hour, but thanked us all so much for their enthusiasm. A classy ending to a classy evening…kudos Mr. Redd.
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