Archive for January, 2019

cincinnati’s bunbury music festival announces 2019 lineup with fall out boy, greta van fleet as headliners

Greta Van Fleet will be one of the just-announced headliners at this year’s Bunbury Music Festival in Cincinnati. From left, Josh Kiska, Jake Kiska, Danny Wagner and Sam Kiszka. Photo by Travis Shinn/courtesy of the artist.

Just when you thought winter was at its worst, along comes the lineup for the first major regional music festival of the summer.

Fall Out Boy, Greta Van Fleet, The 1975, Girl Talk and Run the Jewels will be the headline acts at the eighth Bunbury Music Festival in Cincinnati. Set to run May 31 through June 2, the event will again be held at Sawyer Point and Yeatman’s Cove along the Ohio River.

While Fall Out Boy and The 1975 are both returnees (having played Bunbury in 2014 and 2017, respectively), this will be the festival debut for band-of-the-moment Greta Van Fleet, the Michigan quartet led by brothers Josh, Jake and Sam Kiszka that has received considerable attention (and a far amount of criticism) for sounding eerily like Led Zeppelin. The band has received four nominations, including one for Best New Artist, at next week’s Grammy Awards.

This year’s Bunbury Music Festival will also include performances by NF, Machine Gun Kelly, Awolnation, Stone Temple Pilots, Sublime with Rome, Dashboard Confessional, Clutch, Pigeons Playing Ping Pong, Lovelytheband, Blue October, Bayside, Streetlight Manifesto, The Aces, Poppy, Joywave, Jeremy Zucker, Jukebox the Ghost, Flora Cash, Reignwolf, Witt Lowry, Lauren Sanderson, The Clarks, Shaed, Halfnoise, Great Good Fine Ok, The Blue Stones, The Candescents, Common Kings, Bülow, Tropidelic, You vs Yesterday, Taylor Janzen, Radattack, The Orphan The Poet and more.

While specific performance schedules will be announced at a later date, general admission weekend tickets are already on sale for $189 along with several, more expensive VIP packages. For more information, go to bunburyfestival.com.

the southern roots of the marcus king band strengthen

The Marcus King Band, From left: Jack Ryan (drums), Dean Mitchell (saxophone), DeShawn Alexander (keyboards), Marcus King (guitar), Stephen Campbell (bass) and Justin Johnson (trumpet/trombone). Photo by David McClister.

Marcus King recalled some advice received in his youth. It came from his father, a noted South Carolina guitarist and the third of four generational representatives of Southern roots music within his family. It might have dealt with music, it might have spoken to something larger, but the younger King took it to heart.

“Growing up in a musical family, I learned certain situations to look out for,” King said. “Find the right people that will do right by you and it can really be a beautiful thing. People like my father, he told me to be on my toes. And that’s a good way to be.”

For King, a stunning blues and soul stylist, guitarist, vocalist and bandleader who at age 22 has a become highly heralded roots music ambassador, that meant surrounding himself with a band that brings to mind the brassy warmth of Muscle Shoals soul, the churchy reverence of Southern gospel and a roaring guitar sound, matched by an equally gritty vocal might, that places him in the higher ranks of a new generation rock and roots movement.

But on his new “Carolina Confessions” album, that meant bringing another A-league player onto his team – producer Dave Cobb, whose seemingly omnipresent role in modern Americana music and more has placed him in the company of such Southern mavericks as Jason Isbell as well as a series of masterful Kentucky-bred artists led by Chris Stapleton, Sturgill Simpson and, more recently, Dillon Carmichael.

“Dave has a really good ear for songwriting and for what is going to play well,” King said. “What Dave keeps in mind is the overall flow of a record. He has these really cool studio tricks that I don’t want to get into too much. I don’t want to give out the secret recipe, but Dave just knows how to work with a band. It’s not about just looking at an artist, myself, with hired guns. He treats us equally as a group, which is how we like it. That’s what we want. He pushed everybody.

“Some members (of the band) liked that more than others, but Dave Cobb and I really hit it off. He’s become a dear friend of mine. He really helped use the studio as another voice on the record.”

Of course, having Cobb’s production home, the famed RCA famed Studio A in Nashville, didn’t hurt in the creation of “Carolina Confessions” (“As soon as we walked in, we felt there were a lot of friendly spirits in the room”). Mostly, though, Cobb helped fulfill King’s mission for the record – to create music that emphasized songwriting over King’s proven forcefulness as a guitarist and singer. In doing so, what emerged was more of an ensemble sound that underscored the tasteful orchestration of hornmen Justin Johnson and Dean Mitchell along with the sleek organ colors of DeShawn Alexander. More than King’s three previous albums and EP discs, “Carolina Confessions” was truly the work of the Marcus King Band, not just King himself.

“I don’t know if it was a conscious decision as much as just an organic happening along with the recording process,” King said. “We wanted to focus a bit more on songwriting and composition. That’s what we wanted on this record to highlight for the band. The other records focused a little bit more on musicianship and just the rawness of the sound. But on this one, we wanted to focus more on the songs. By doing that, I think we showcased the musicianship of the band as a whole. That allowed us to show our strength in working together on a common goal.”

The new album continues the traction created by a very fruitful touring year in 2018 that saw the King Band being invited as a guest for Tedeschi Trucks Band’s Wheel of Soul Tour during the summer. That collaboration almost seemed inevitable, as co-leader and guitarist Derek Trucks, now 39, began gaining national notice, as did King, during his teen years.

“The thing with somebody like Derek isn’t so much about any direct advice he gives. It’s more about the stories he tells. I look at Derek like an older brother. You listen closely enough to these heroes, these legends, talking about their career and you can hear the lessons that are being taught. Those are the kinds of people I’ve always been drawn to.

“I don’t like direct orders being sent my way. That’s never really been my bag. People that I’ve become good friends with, like Derek, those people just have good stories to tell. If you listen close enough, you pick up a lot of life advice and musical advice. It’s all right there.”

The Marcus King Band and Magnolia Boulevard perform at 7 p.m. Jan. 30 at Manchester Music Hall, 899 Manchester Music Hall. Tickets: $12, $15. Call 859-537-7321 or go to manchestermusichall.com.

rayland baxter find inspiration in unexpected kentucky retreat

Rayland Baxter. Photo by Shervin Lainez.

Seeking solace and sanctuary in some form of geographical retreat is nothing new for artists. For centuries, many have created some of their most lasting works in remote and even foreign settings away from the masses. The locales could be as plush as an oceanside villa or as isolated as a country cottage.

Rayland Baxter found his in Kentucky, but it’s not the kind of retreat you might expect a song stylist still in the early stages of his career to find inspiring. After all, how enticing would you think an abandoned rubber band factory near the Kentucky/Tennessee border might be?

For five months, the Nashville-based songwriter used one in the Simpson County city of Franklin to compose nearly all of the music on his third album, “Wide Awake.” The record brings the more contemplative alt-country soundscapes and storylines of his first two albums into broader, power-pop territory. Given how cheery much of “Wide Awake” wound up sounding, the Southern Kentucky factory dwelling must have been accommodating.

“A friend of mine lives in Franklin,” said Baxter, who performs Jan. 24 at The Burl. “He had a place that was once this rubber band factory. He was like, ‘Hey, Ray. I hear you’re looking for a place to live for awhile and write. I’ve got a place that I’d like for you to come up and check out.’ So I checked it out. It was free. It was quiet. It was perfect. It was in the wintertime, so I didn’t know how long I was going to stay out there, but I got up there and it became like my bird’s nest. I could do everything I needed to do. I could keep to myself. This was from the end of October 2016 to early February 2017.

“I wanted to write tight songs. There are a million different ways to say ‘I love you,’ a million different ways to describe the wind blowing through the trees and a trillion bazillion different ways to look at the world and yourself. So I just wanted to keep on doing what I thought felt natural. I wanted to write nice melodies and some words I would never get sick of singing. That was it. That was the objective.”

To get the full effect of Baxter’s stylistic expansion on “Wide Awake,” start at the finish line with the quiet morning affirmation of “Let It All Go, Man.” Then let the album rewind to its opening track, “Strange American Dream,” which typifies the record’s more pop-inclined disposition. Lyrically, the songs are like kin. Musically, they travel more diverging stylistic trails.

“That all just happened in the studio, really. I wrote some pop forms on the guitar. For everybody that was in the studio, that was just what came together. It’s what everybody decided to play in support of the song. I mean, Butch Walker (the producer for “Wide Awake” who has overseen albums for Weezer, Fall Out Boy and Panic! at the Disco) is a pop guy, but he’s got grit. He’s got this cabin-in-the-woods kind of thing about him. I don’t know. I have no other explanation for it other than every time we were done tracking, we liked what happened. It was like, ‘Okay, that’s cool, that’s it.’ Also, it’s just the third album, you know? They’ll be more.”

Helping Baxter out on pedal steel guitar during the sessions was an esteemed musical vet – his father, Bucky Baxter. The elder Baxter played extensively with Bob Dylan during the ‘90s and was a frequent visitor to Lexington during the late ‘80s as a member of Steve Earle’s band, the Dukes.

“Well, he’s a part of my project of life,” the younger Baxter said of his dad. “But I’m really his project, I guess. He’s been on every album of mine. He played on ‘Feathers & Fishhooks’ (his 2012 debut album), ‘Imaginary Man’ (the 2015 follow-up) and this new one.

“He tried to get out of it, too. He was like, ‘Oh, Ray, I’m not really well rehearsed. You should call Lloyd Green (now 81, who has recorded with everyone from Johnny Cash to Paul McCartney). Here’s his number. That was great, too. But my dad had to play on this record. I mean, he’s my dad. It’s a dream situation. I’m beyond fortunate to have his opinion about music.”

Rayland Baxter/Illiterate Light performs at 8 p.m. Jan 24 at The Burl, 375 Thompson Rd.

Tickets are $15, $18 at theburlky.com.

the classical-pop adventures of gabriel royal

Gabriel Royal. Photo courtesy of Columbia Artists.

Seated before a microphone in a video for his composition “Remember Us,” the dual musical worlds inhabited by Gabriel Royal quietly bleed into each other.

As a bow hits the base of his cello, a sense of classical clarity is summoned with long vibrant lines that sound distinctly European. Then he sings, but not with the sort of operatic color one might expect as dressing for such stately music. No, what emerges instead is a solid pop-soul tenor, one that winds into a sense of longing the strings already suggested. The two voices are remarkably complimentary, even if they sound like they were forged in different centuries.

The biggest surprise, though, is saved for when the camera pans out at the end of the clip. There you discover Royal wasn’t recording in a studio or rehearsing in a theatre. Instead, he was performing live in a New York subway.

That latter detail is the catalyst for the unlikely career of this genre-hopping artist. Raised in Oklahoma, he moved east and became a Brooklyn busker playing to legions of New York commuters.

“I feel like every time I went down in the subway, I was facing my nerves,” said Royal, who performs Jan. 18 at the Weisiger Theatre of the Norton Center for the Arts in Danville. “Nobody asked you to be there randomly setting up and playing. As such, you don’t feel confident until you see that first dollar drop. Then you’re like, ‘Okay. People like me. I think I can do this.’ It can be a battle, but in the subways, for me, there has mostly been positive response.”

Having since graduated to such prestigious New York club gigs at the Blue Note and Le Poisson Rouge, Royal has been honing a classical cello/pop vocal hybrid that links New York to his youth (he calls the numerous home state refugees he discovered in Brooklyn “Oklahomies”). One sound didn’t necessarily lead to the other, though. Royal took to classical and pop simultaneously.

“The cello does what I tell it to, pretty much,” Royal said. “If I’m playing in a particular style, it’s because I’ve chosen to do that. I’ve never really had those kinds of hang ups about classical music.

“Back in school, my brothers and I would go to the orchestra and then we would come home and get on other instruments. I played drums when I was in college, so we would have the classical training, the music theory, ear training, choir and all that at school. At home, we would listen to hip-hop and jazz. I never had an idea that classical music was the end all and be all of everything. It was just one of the genres I was into. During the day, we would be on the classical side. At night, we would be on the jam-out side. The two always went hand in hand.”

Taken by the orchestrations and compositional structure of vintage Burt Bacharach songs, Royal’s musical scope quickly became panoramic, absorbing everything form Erik Satie to Black Sabbath to the Bulgarian Women’s Choir. From the communities of R&B, soul and pop, Stevie Wonder, John Legend and Thundercat lead a diverse lineup of inspirations.

“I always start with Burt Bacharach. I’m a huge Burt Bacharach fan, especially the stuff he did with Dionne Warwick, like ‘Walk On By.’ A lot of his songs had that laid back, kind of smooth, early ‘70s pop sound. I don’t know if you can hear it all that much in my songs, but there is a real bouncy happiness that definitely comes from listening to Burt Bacharach.”

While his heroes may have favored massive, expansive sounds, Royal – at least, for now – goes it alone in his concerts, forging a patiently paced classical/pop blend with one instrument and one voice.

“It works because I can add a beat. I can add a verse. I can make up some stuff. I can take extended time with certain phrases. But there are also things that I lose. I love the huge group harmonies, but I can’t get that when it’s just me and the cello onstage. There are things that you gain by having an actual ensemble with you. I want to get there, but for now, this is doing alright.

“I mean, to be onstage, look out and see people smiling at a song I wrote, that’s a special thing. So, really, I couldn’t be happier.”

Gabriel Royal performs at 8 p.m. Jan. 18 at the Weisiger Theatre at the Norton Center for the Arts, 600 W. Walnut in Danville. Tickets: $29, $39. Call 877-448-7469 or go to nortoncenter.com.

the new traditionalist sound of dillon carmichael

Dillon Carmichael. Photo by Angelina Castillo.

From the moment you hear Dillon Carmichael launch into “It’s Simple,” a standout life parable from his debut album, “Hell on an Angel,” a sense of authenticity is struck.

Sure, as a country artist from Burgin making his way in Nashville, the 25 year old singer-songwriter has plenty of family ties to lean on, from parents and grandparents who sang gospel and country throughout Eastern Kentucky to a pair of famous uncles that know a thing or two about making a hit – John Michael and Eddie Montgomery.

All of that fades for a moment, though, when you hear Carmichael sing. What he lets loose is an effortless and inviting baritone, a voice so rustically smoky that a solid traditionalist streak is immediately established.

It’s no wonder then, in a generation where stars like Kane Brown and Florida-Georgia Line seem to almost purposely distance themselves from where country music has sprung from, Carmichael is going old school. His sound blends outlaw sentiments and serious Hank Williams charm with a list of influences that reel back through the years to such country classicists as Waylon Jennings and Vern Gosdin.

“Honestly, I think that sound is just in my soul,” said Carmichael, who performs this weekend at the Kentucky Castle. “I could have rebelled against it very easily and gone in a different direction. But Kentucky generates such great songwriters, so I wanted to sing to people as a songwriter.”

“As far as growing up went, my uncles Eddie and John Michael were gone and on the road as I was growing up. Of course, we would spend Thanksgiving and Christmas together and hang out then like a normal family.”

One of the key artists in Carmichael’s corner when creating “Hell on an Angel” may not have been part of the family, even though he came to feel like a brother as soon as recording sessions commenced. His name is Dave Cobb, who has been the Americana-and-more producer of the moment for several years. Cobb’s diverse client list includes John Prine, Jason Isbell, Zac Brown Band, Brent Cobb, Mary Chapin Carpenter, Chris Isaak, Lake Street Dive, Shooter Jennings and two other Kentucky born country stylists who have made more than a little commotion of late – Chris Stapleton and Sturgill Simpson.

“Dave is kind of an ambassador for all of us out here,” Carmichael said. “But mainly, he just a great guy. The guys he got to play on the record are the best around, plus Dave is a great guitar player himself. While we got him to play on the play on the record, too, he but mostly just let me do my thing. You just leave all the other stuff at door when you go into the studio with Dave.

“This is my dream record with my dream producer on my dream record label (the booming publishing, management and label collective Riser House) helped by my dream radio team. It’s a big dream come true. The album just tells my story. I got to record songs that were true to me and my life. To out play them every night… man, that never gets old.”

Dillon Carmichael performs at 6 p.m. Jan 18 and 19 at the Greenhouse of the Kentucky Castle, 230 Pisgah Pike. Tickets are $35-$75. Call 859-256-0322 or go to thekentuckycastle.com.

joseph jarman, 1937-2019

The Art Ensemble of Chicago, circa 1987. From left: Famoudou Don Moye, Roscoe Mitchell, Lester Bowie, Joseph Jarman, Malachi Favors.

As the volumes of interviews accumulated over multiple decades stack up, it is perhaps understandable to be asked which ones stand as favorites. It is probably just as expected that the answers be names known for some level of celebrity status.

When faced with that question, one of the first names that springs to mind is Joseph Jarman.

Who?

Joseph Jarman, who passed away yesterday at age 81, was an Arkansas-born saxophonist who became a keystone member of the Chicago-based Association for the Advancement of Creative Musicians and a mainstay instrumentalist for one of the organization’s banner jazz projects, the Art Ensemble of Chicago.

To many, what the AACM and the Art Ensemble were creating was renegade music – a jazz sound that often favored free improvisation over conventional melodic structure, although even that assessment is a generalization of what the groups were after. It wasn’t until I gained an appreciation for the Art Ensemble over time that its mix of heritage and invention revealed itself.

When the Art Ensemble visited Lexington for a December 1987 concert at the University of Kentucky’s Memorial Hall (as part of its historic Spotlight Jazz series), it was easy for unfamiliar jazz listeners to view the band as imposing. Maybe it was the face paint several members (Jarman among them) wore in performance or the shards of sound created on chimes and bicycle horns as well as on conventional wind, brass and percussion instruments. The Art Ensemble was a performance troupe that drew on tradition but celebrated creation of the moment.

I didn’t know what to expect when I phoned Jarman for a late November interview in 1987, as I had accepted the stereotypical view of the time that the Art Ensemble shunned melody for seemingly purposeful musical discord. But within minutes – specifically, after he admitted he was going to munch on turkey leftovers during our talk – all hesitancy vanished.

A scholarly but very congenial individual, Jarman spent the next 45 minutes with me discussing his music, his motivation, the sense of history at the heart of his playing and especially the inclusiveness of his art. The interview wasn’t merely disarming, it was an open invitation to take part in something new, a musical parade down jazz music’s more adventurous and unexpected avenues.

I won’t pretend that I fully understood the Art Ensemble’s performance the following month. But, 31 years on, I feel privileged to have witnessed the band when all its key members – trumpeter Lester Bowie, bassist Malachi Favors and Jarman, all passed on now – were fueling the fire of a music that was new and immediate. I think of these players at nearly every jazz performance I have attended since, especially ones featuring the young indie artists visiting Lexington for the Outside the Spotlight series, and feel grateful for the invite Jarman extended into this world of musical promise.

“America has the youngest cultural entity in the world,” Jarman, already a devout Buddhist, told me in our 1987 interview. “Yet, we’re still trying to define just what our culture is. We’re still breaking away from that heavy European tradition. Just now, we’re seeing those first little seeds of our own sprouting up.

“It’s been a total effort on our part to survive this long. People are really beginning to discover just how serious we are about this music. It’s funny, I’ve heard people say, ‘Hey, those guys are crazy. But they don’t sound too bad.’ “

gail wynters brings the jazz home

Gail Wynters and son/percussionist Tripp Bratton relax at CoffeeTime on Regency Rd. Herald-Leader staff photo by Charles Bertram.

She has made performance homes in New York and California, toured around the world and recorded with some of the most prestigious names in jazz and pop. But talk to Gail Wynters today and she will be quick to tell you she is more than happy to be singing on home turf.

“I’m still so connected in the heart and soul of all my friends in New York,” said Wynters, who will perform Jan. 12 as part of the Origins Jazz Series. “But I can think of no other place I’d rather be now than here. This is it. I love being close to my family. My sisters and I are all from Ashland. Three of us are here now because all of our kids are either in Lexington or Irvine. So we all moved closer to be with our grandkids and hang out with our children. Now we’re a couple of miles of each other in Nicholasville. I have three sisters. Two are here and one is still in Naples, Fla. We’re trying to get her to come here, too.’

Now maintaining, by her own description, a “semi-retired” life, Wynters’ relocation back to Central Kentucky follows a career where her potent, gospel-bred vocals, which she began exercising professionally as a child, started to roar in such celebrated New York venues as the Rainbow Room, the Blue Note and the long-demised Village Gate.

The repertoire she will bring to this weekend’s Origins shows at Tee Dee’s Bluegrass Progressive Club will center on a series of arrangements by pianist Tamir Hendelman of tunes penned or popularized by, among others, George Gershwin, Cole Porter and Antonio Carlos Jobim. What will likely distinguish the show, though, will be the notable Central Kentucky company supporting her – specifically pianist Keith McCutchen, bassist Danny Cecil and her son, drummer/percussionist Tripp Bratton.

“Obviously, every time Tripp is onstage with me, it’s family. But we just include other members to the family. It’s just the best. Tripp is a wonderful human being and a great musician. He always has been. I’m the luckiest person in the world in that area.

“But sit me around anybody that’s doing any kind of a rhythm on a piano or hitting a note on a guitar and music just starts rolling in my head. I’ve never thought of this as ‘me’ putting on a show. I always feel like it’s ‘us’ as a unit. We’re all there as one presenting a performance.”

Challenges, of course, present themselves in forging ahead with a jazz career in Central Kentucky. Some of the venues where Wynters has performed Sunday brunch concerts (most notably, Willie’s Locally Known) have closed. Also, the simple maintenance of a singing voice over time has been demanding at times.

“My range is more limited now, mainly from singing in the middle keys for all these years. That’s kind of taken away my highs.” With a laugh, she added, “Of course, age and smoking have nothing to do with it.”

One thing that hasn’t changed has been Wynters’ love of jazz itself. Whether it was through recording projects from decades past with such luminaries as Dr. John, Michael Brecker and Richie Havens or performing locally with friends and family, the music’s unwavering flow of creativity continues to excite her.

“Arnie Lawrence, an incredible saxophonist who started the New School of Jazz in New York (where Wynters served on the faculty), said jazz was spiritual music. It really is. You kind of search within yourself to bring out this music. Some of that you do because it’s fun, especially with the lyrics and the rhythmic parts of the songs. But it’s also poetry. It’s singing poetry that provides the ability to go anywhere you want to in order to express it.

“Pop pretty much stays the same, but jazz almost never repeats. You can do the same song 10 or 20 times, but it’s always changing because you’re feeling differently in the moment. I find it to be a heart, soul, mind connection. It’s a kind of freedom of expression. Hopefully, as an artist, you know a certain level of craft. But everything above that… that’s kind of what you live for.”

Gail Wynters performs at 7 and 9:15 p.m. Jan. 12 at Tee Dee’s Bluegrass Progressive Club, 266 E. 2nd as part of the Origins Jazz Series. Tickets: $17.50 for each performance, $30 for both shows at originsjazz.org.

a fellini affair: chico plays bowie, part two

Chico Fellini in 2007. From left: Christopher Dennison, Emily Hagihara, Duane Lundy and Brandon Judd. Herald-Leader file photo by Mark Cornelison.

January can be a pretty heady month for David Bowie fans. Witness, for example, what happened in 2016.

On January 8, the vanguard British artist turned 69. The same day, he issued his 25th and final studio album, “Blackstar.” Two days later, he died of complications from liver cancer.

Picking up on what now stands as a dual anniversary of celebration and sadness is the Lexington pop/rock troupe Chico Fellini. The band will perform an entire evening’s worth of Bowie compositions on Jan. 12 at The Burl with the local new generation power trio Johnny Conqueroo opening.

Here is the intriguing part, though. As popular and visible as Chico Fellini was in Lexington clubs a decade ago for its own music, the quartet – vocalist Chris Dennison, guitarist Duane Lundy, bassist/keyboardist Emily Hagihara and drummer Brandon Judd – has largely been out of commission for the past two years. That makes Chico Fellini’s Burl show as much a reunion as a tribute to a rock and pop culture colossus.

Lundy said the members’ myriad outside projects, led by production work at his own local Shangri-La Productions, put Chico Fellini on indefinite hold following a 2016 performance at Crave Lexington and a subsequent show for The Burl’s grand opening.

“When you do music or any sort of collaboration that ends up dealing closely with your friends, things can tend to slip into a sort of limbo where most relationships don’t always do very well. The band stopped playing when my production schedule just got really, really busy. We needed to make some decisions. At that point, it was a little bit of a healthier route to put everything on pause. We’re all still really close friends, so every once in a while the idea to do something special comes up.”

Fast forward to a conversation Lundy had with mainstay Lexington drummer Robby Cosenza, who will be one of several guests augmenting the core Chico Fellini lineup this weekend. The two recalled a similar Bowie tribute the band staged in 2009 as Chico Fellini’s artful and inventive self-titled debut album was being readied for release.

“We were just chatting and I said. ‘That Bowie show was so much fun. I would love to hear Chris sing those songs again.’ That’s really all that it amounted to. Bowie’s birthday and the anniversary of his passing are real close together in January, so it seemed like a good thing to do. The Bowie thing was always a natural fit for Chris. But, really, who doesn’t want to play David Bowie tunes?”

While Bowie’s career spanned over 50 years, Chico Fellini will focus primarily on music he fashioned during an especially creative, prolific and commercially visible period during the ‘70s and early ‘80s. During those years, Bowie switched stage personas as regularly as he juggled musical styles with songs that shifted from glam rock to Philly-style soul to ambient European expression to Nile Rodgers-produced pop.

“First off, playing Bowie tunes gives me an excuse to play guitar because I love Mick Ronson (the guitarist on Bowie’s landmark albums from the early ’70s). Nobody explored music in different ways more successfully than Bowie did within the rock format. (Led) Zeppelin was a huge thing for me, but they did what they did. So did the (Rolling) Stones, and so on. But Bowie was able to wear so many different hats. Going out to play those songs is sort of a selfish thing for me, really. But I also get to hang out with my old bandmates.”

In addition to Cosenza, who will add percussion to the Bowie tribute, Chico Fellini will enlist guitarist Marty Charters (from Joslyn and the Sweet Compression), vocalist John Ferguson (Big Fresh), keyboardist Lee Carroll (C the Beat, among many other projects) and vocalist Erin O’Donnell Reynolds (Oh My Me) as guest performers this weekend.

“It a pretty wild little crew,” Lundy said.

Chico Fellini presents “Hang on to Yourself” – A Night of Bowie at 9 p.m. Jan 12 at The Burl, 375 Thompson Rd. Ticket are $10 at theburlky.com.

in performance: lexington philharmonic – “tango caliente”

Camille Zamora.

In bidding adieu to 2018, the Lexington Philharmonic opted for perhaps the most recognizable tango composition of any age, “La Cumparsita” at the Opera House on Monday evening.

A tune whose march-like momentum typifies not only tango’s irrepressible elegance and romance, but its rhythmic complexity, the performance was an all out melodic blitz with the orchestra underscoring the work’s unavoidably playful construction, dancers Sonya Tsekanovsky and Patricio Touceda acting out the music’s striking humanity in very physical terms and bandoneon soloist Hector Del Curto underscoring a sense of Argentine heart and soul for a traditionally evening-ending piece with roots that actually stem back to Uruguayan composer Geraldo Rodriguez. In the end, though, most every established tango orchestra has claimed a little piece of this prized music as their own creation. So did the Philharmonic during this robust New Year’s Eve celebration.

That was the obvious part. The program, titled “Tango Caliente,” celebrated numerous traditional corners of the music with arrangements primarily by Jeff Tyzik (a noted conductor and arranger who, for those with long local memories, was playing trumpet in contemporary jazz groups at the long demised Breeding’s on New Circle Road during the early 1980s). Some reached back to the late 19th century for the comic Ruperto Chapi zarzuela “Carceleras,” an aria-level work that proved a fitting vehicle for the operatic joy and clarity of soprano Camile Zamora. But it also shot forward to the 1935 Carlos Gardel tango “Por Una Cabeza” that John Williams’ arranged nearly 60 years later for the film “Scent of a Woman.”

But at the heart of this program sat the music of Astor Piazzolla, the renegade Argentine composer whose “Nuevo tango” movement largely upended tradition in his homeland and has only in recent decades been accepted enough by audiences and artists alike to fortify programs like “Tango Caliente.”

The Philharmonic largely avoided Piazzolla’s more jazz like tendencies, although there were discreet traces of them in a stunning solo delivery of “Che, Bandoneon” by Del Curto on the melodeon-like bandoneon (Piazzolla’s performance instrument of choice). Instead, focus was placed on the textures and resulting compositional complexity of Piazzolla’s music. “Primavera Portenia” had Del Curto mimicking the strings on bandoneon over the work’s inherent counterpoint while the more ghostly, organ-like colors he summoned within “Oblivion” introduced the cinematic feel of the Piazzolla pieces that followed in the program as well as ones, like the Tyzik original “Tango 1932,” that were directly inspired by Piazzolla.

All of this might sound like an overly academic exercise. It wasn’t. The Philharmonic rose to the many challenges of tango’s deceptively treacherous melodic turns while the guest soloists, especially Zamora, embraced the music’s open faced joy, even so far as to describe the operatic zarzuela construction of “Carceleras” as “Verdi at a salsa bar.”

It was a winning combination all around, one that used tango’s almost defiant beauty as a means of brilliant seasonal celebration. Caliente, indeed.


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