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oregon’s horse feathers flock with kentucky players

Horse Feathers: Robby Cosenza, J. Tom Hnatow, Justin Ringle and Nathan Crockett.

What happens when an Oregon indie pop stylist, stationed for a time in North Carolina, is in need of a working band for an unexpected touring opportunity? Why, he heads to Kentucky, of course.

That’s the situation then-Portland, now-Astoria based song stylist Justin Ringle, the ringmaster behind the Northwestern folk-pop troupe Horse Feathers, was in a few years ago. After completing duties as producer for the Asheville band River Whyless, a touring offer presented itself even though there was no working road version of Horse Feathers available. So Ringle called up a pair of Lexington pals, drummer Robby Cosenza and guitarist J. Tom Hnatow, as well as longstanding Horse Feathers violinist Nathan Crockett. The partnership wasn’t entirely new. Ringle had shared bills with Cosenza and Hnatow during their tenure in the multi-state rock collective These United States. But Ringle wasn’t just after a quick-fix band to hit the road with. He was pursuing a whole new artistic and sonic temperament.

“Back in 2016, when I was working in Asheville, I got called to do a tour in a pinch,” Ringle said. “Geographically, Tom and Robby were the closest people I knew so I gave them a call. One thing led to another and it just became evident that it was going to be a fresh start working in Kentucky.”

“We met probably 10 or 12 years ago,” Cosenza added. “We would cross paths on the road all the time and always admired each other as players. I think it just made more sense for Justin to find something closer than Astoria or Portland, but I think he was also looking to ramp things up a bit. He called Tom and said, ‘You guys aren’t available, are you?’ We were like, ‘Sure.’ He was taking a shot in the dark and it worked out.”

The tour led to sessions for the sixth Horse Feathers album, “Appreciation.” Recorded largely at La-La Land Studios in Louisville and Shangri-La in Lexington, Horse Feathers cemented the working alliance between Ringle, Cosenza and Hnatow while expanding the band’s previously studied and subtle indie folk sound. What resulted was a fuller rock, pop and soul charge that often echoed the exuberance of a vintage Van Morrison record.

“There were so many new perspectives I explored that came from doing a lot of the record in Kentucky,” Ringle said. “It was the first time I recorded outside of the state of Oregon. Robby and Tom helped greatly because they had been working in styles I don’t regularly experiment with. They’ve sat in on a lot of country, Americana and soul sessions. They’ve done work with all types of bands.

“It just came across as a band vibe,” Cosenza said of the “Appreciation” recording sessions. “It wasn’t like Tom and I were hired guns. We all wrote together, we arranged together. It clicked pretty naturally. A lot of times, Tom and I would be goofing off on a tune and that would be the stuff Justin would go, ‘Man, what was that? Use it.”

Recording so far from home might suggest an air of displacement in the new Horse Feathers songs. It’s there, for sure, but not because of the Bluegrass connection.

“I had felt a sense of displacement because I had moved from where I had lived for the previous decade,” Ringle said. “I moved out of Portland to the Southeast and then, consequently, to the Oregon coast. I had also started a new relationship, so there’s a number of themes about everything that goes into that – good and bad. But one of the biggest things artistically, aside from the songwriting and themes, was that I really wanted to explore some sonic differences that I hadn’t really gotten underneath the hood with. I hadn’t really explored full blown rock ‘n’ roll dynamics. I hadn’t explored soul. I hadn’t explored a number of those things. I had to surrender to an experiment.

“We ended up with a sound I didn’t anticipate, but one that I felt really resonated for me and for the band. We were all like, ‘Wow, this is working in a way that none of us expected.”

Horse Feathers, Bendigo Fletcher and Daisy Helmuth perform at 9 tonight at The Burl, 375 Thompson Rd. Tickets: $15, $18 at theburlky.com.

the musical stew of the wood brothers

The Wood Brothers: Jano Rix, Oliver Wood, Chris Wood. Photo by Alysse Gafkjen.

Digging into a Wood Brothers tune pretty much requires a check list.

A slinky guitar riff born out of the blues but industrious enough to fit most any roots-savvy groove? Check that. Brother Oliver Wood has you covered.

A rubbery bass line that sounds fittingly rustic yet is soulfully funky enough to always seem in motion? Check that. Brother Chris Wood is on the job when then kind of combo commences.

A percussion charge that can sound jagged and loose on one tune but rugged enough on another to fuel a solemn shuffle? Check that. Non-sibling Wood Brother Jano Rix is the guy keeping that groove going.

Smack all that together and you have the recipe the Wood Brothers have been following for the past 14 years. From the earthy tunes offered on “Live at Tonic,” a now out-of-print 2005 EP disc of the band’s very first performance (cut when Oliver and Chris played as a duo) to the ultra-indie design of 2018’s “One Drop of Truth,” a record the trio lineup cut and produced on its own without outside guests, the music of Wood Brothers has been a fresh but largely borderless blend of blues, funk, jam-friendly folk and jubilant rock and soul.

Oliver Wood, however, doesn’t play favorites. He sees all these colliding genres as one musical language.

“It’s just part of the palette with all of the different influences,” he said. “When you have three different guys who have overlapping tastes, different elements are brought in that we feel passionate about. I think, as in any band, that creates a distinctive sound. It’s like it’s a stew or a recipe that is unique to that band. Other people do that, too, but we have our own take on it. We put it together and it’s our little stew.”

A Colorado native, Oliver Wood spun off to Atlanta, landing in the blues band of guitarist Tinsley Ellis and eventually the roots music troupe King Johnson. Chris Wood landed at the New England Conservatory of Music before moving to New York and eventual membership in the popular avant jazz, jam and funk collective Medeski Martin & Wood. Rix, who utilizes a conventional drum kit as well as a modified guitar called a shuitar that is played as a percussion instrument, made the Wood Brothers a trio in 2011.

“Jano has been with us for seven years now, so his role has evolved,” Oliver Wood said. “He helped create some of the real signature noises you hear coming off the stage and the records. From the beginning, he totally fit us.

“I think when musicians get together, they sort of meet in the middle. They just kind of take awhile. With my brother and myself, it was instant just because we grew up together. With Jano or any other member, it takes a little longer. But eventually you get there. You meet in the middle and find a new language where you connect eventually. The way you wind up communicating with that musical language is really cool.”

Though “One Drop a Truth” was a purposely self-contained effort, the Wood Brothers have long been open to the idea of collaboration. Americana favorite Buddy Miller produced the band’s 2013 album “The Muse” while the Wood Brothers found themselves jamming with Hot Tuna and Tedeschi Trucks Band on the latter’s 2017 Wheel of Soul Tour.

But the band’s hybrid sound remains very much its own in any setting. Oliver Wood said that’s a result of unavoidably emulating the rock and soul sounds of the stylists that came before them. Then again, the singer admitted that’s standard operating procedure for most any artist.

“I’m a Ray Charles fan, but I’ll never sound like Ray Charles,” he said. “I’ll probably try some twisted, lame version of it that ends up morphing into something cool. A lot of my heroes did that, like the (Rolling) Stones. They tried to imitate the American blues guys and ended up with their own sound. There are countless examples of that.

“I think that’s how people’s original voices come out. It starts by emulating. They may fail to some degree, but their own personalities emerge. I think we all do that. Take a group of guys that are all doing that to some degree and you find that music is in your DNA.”

The Wood Brothers and Nicole Atkins perform at 7:30 p.m. Oct. 24 at the Kentucky Theatre, 214 E. Main. Tickets: $25. Call 859-231-7924 or go to kentuckytheater.com.

 

 

chris potter looks to the next mountain

Chris Potter. Photo by Tamas Talaber.

The jet lag had barely lifted. Still, on the afternoon following Chris Potter’s return from a European tour with a new quartet he will show off Sunday evening for the Origin Jazz Series, the saxophonist seemed content – well, as content as a globetrotting, band-jumping composer, improviser and collaborator can be.

“It’s just nice to do a solid three weeks of work,” Potter said of his European run. “So now we’re feeling good about the band and its momentum. So we should show up in Lexington fairly well oiled.”

It’s been 15 years since Potter first played Lexington as part of the Dave Holland Quintet at the Opera House. Like Holland, he favors appealing melodic structures and robust improvisatory ingenuity for his music within arrangements and band interplay that often sounds strategically orchestral.

“For Mr. Potter, that involves more than the particulars of a given solo,” wrote Nate Chinen in a 2011 New York Times review of a Village Vanguard concert. “It’s about process and priorities, an investment in mystery, a resistance to habit and comfort.”

Not surprising, Potter and Holland have long enjoyed strong international reputations. Among their many collaborative recordings was Holland’s 2005 Grammy winning big band album “Overtime.”

“Working with Dave has been a very rewarding relationship, both musically and professionally,” Potter said. “Just seeing how he puts together groups, how he thinks about them and just witnessing the personal strength and commitment to what he’s doing has been inspiring.”

But Potter’s musical history is as varied as it is extensive. He toured with Steely Dan when it became a reactivated touring ensemble in the 1990s and was featured on its 2000 comeback album “Two Against Nature” (another Grammy winner).

“To even be a fly on the wall, to see how they rehearse the band and how they would think about the rhythms and then being a part of all that was incredible,” Potter said of his time with the band.

The saxophonist has additionally teamed with a lengthy roster of jazz giants that include Paul Motian, Joe Lovano and the Mingus Big Band. He last played Kentucky in 2014 for a Louisville concert with the Pat Metheny Unity Band.

“You’re always looking at the next mountain,” said Potter of the myriad projects and bands that have taken him around the world over the past two decades. “I feel very, very lucky that I’ve been able to spend years now involved in music that I really believe in and wanted to be a part of, both as a leader and with other people.

“I’ve been playing the saxophone now for a long time, but I still feel like I’m learning new things, even about the instrument, with every performance. So I’m just following that line the same way I always have.

Potter’s last three albums, all for the European ECM label, sport different bands and equally far reaching moods. “The Sirens” (2013) had him playing opposite two keyboardists (Craig Taborn on piano and David Virelles on celesta and harmonium), “Imaginary Cities” (2015) augmented his long-running Underground band with string players and “The Dreamer is the Dream” (2017) was a rich, acoustic quartet session highlighted by Potter’s playing on flute and bass clarinet as well as saxophone.

Perhaps fittingly, the band Potter will perform with on Sunday at the Lyric Theatre, presents a different lineup from all of those records. It plucks two electric players from the Underground – guitarist Adam Rogers and electric bassist Fima Ephron – along with drummer Dan Weiss, who has worked with another acclaimed saxophonist who recently visited Lexington, Rudresh Manhanthappa.

“I hadn’t really explored the more groove aspect of my musical influences, so this band gives me a bit of a platform to express that. I grew up listening to Stevie Wonder and Earth, Wind & Fire along with Weather Report and the Headhunters. That’s been a part of my musical DNA from an early age, along with Charlie Parker, Duke Ellington and Thelonious Monk. This group helped me find a way to explore that and play really organically in a kind of funk context.

“I’m not terribly methodical. I don’t really have a manifesto. The way I approach playing is that with whatever situation I’ve gotten myself into, the reactions I’m going to have and the things I’m going to say musically come from my thought process. It’s the same as if you’re going to have a conversation with someone. You could be talking with them about anything, but the way they process information and the way you express yourself come through no matter the subject matter. That’s what I’m trusting in. That’s what I’m exploring.”

Chris Potter performs at 7:30 p.m. April 22 at the Lyric Theatre and Cultural Arts Center, 300 E. Third. Tickets: $25. Call: 859-280-2218 or go to lexingtonlyric.tix.com.

don henley on the 2018 eagles: “we wanted everybody to be all in”

The Eagles, from left: Joe Walsh, Vince Gill, Deacon Frey, Don Henley and Timothy B. Schmit. Photo by George Holz.

At the onset of the Eagles’ last Rupp Arena concert, frontmen and lone mainstay members Glenn Frey and Don Henley entered from opposite sides of the stages.

Longtime fans might have viewed this as a coming together of two figurehead performers who helped define a ‘70s Southern California rock community, one that would also dictate the direction of a country music generation decades later. But audiences also knew the Eagles carried a fair amount of in-house baggage over the years full of aggravated relationships that dissolved the band seemingly for good in 1980. The split, in fact, appeared so permanent that the title of a 1994 comeback album half-jokingly referenced the long-held prospect of a reunion – “Hell Freezes Over.”
Yet, here on a late July evening in 2015, with the Eagles long since re-solidified as sagely and resiliently popular touring attraction, Frey and Henley opened the show without accompaniment, singing one of the few songs in a 2 ½ program that was not a hit – a decidedly nostalgic folk reverie from the 1973 Eagles album “Desperado” called “Saturday Night.” It opened the third to last performance of a tour that began two years earlier. It was also the third to last performance Frey would give with the band.

“The guy played through pain for several years,” said Henley during a phone interview last month. “He hid it very well. I could see it in his fingers. His rheumatoid arthritis made his fingers swollen and bent. It was difficult for him many years. But like an old football player, he would get himself taped up and go out there on the field and play the game, so he hid it very well. But he was very uncomfortable for a long time.”

In January 2016, Frey died at the age of 67. In addition to rheumatoid arthritis and ulcerative colitis, he had also developed pneumonia the preceding fall. His death placed the often tenuous future of the Eagles again in question. Did Henley, now the lone original member, sense this was the Eagles’ final bow?

“I didn’t sense it, no. As we always say, the Eagles were breaking up from the day the Eagles got together. It was a constant, ongoing thing. But in the past decade or two, we had gotten into the habit of making a reassessment every January. We would stop touring, usually, in October and then go home for the holiday season. Then when January rolled around, we would all get on the phone together to reassess and see if everybody was willing to go on or not, because we were very conscious of everybody’s enthusiasm or lack thereof. We wanted everybody to be all in, so to speak, before we decided to continue.

“We always want to be able to deliver a quality show, a show that is up to the standards that the fans expect. When we feel we can no longer do that, then we’ll hang it up. So when that tour you were speaking about ended, we just thought we would take a two or three month break, then we would probably tour some more the following year. Then the tragedy happened in October. That’s really when Glenn fell ill. That’s when the pneumonia struck. So you never know what’s going to happen in this life. It’s full of unexpected events.”

With its Tuesday return to Rupp Arena, the Eagles boast two new members in Frey’s absence. The first is the late singer’s son, Deacon Frey, whose stage experience prior to joining was largely limited to benefit shows with his dad. But for Henley, his involvement was essential for the Eagles to continue.

“Deacon carries his father’s torch. He carries his father’s spirit. It blows my mind sometimes when I’m sitting at the drums and I’m looking at the back of his head. His hair looks just like his dad’s did in 1974. It’s like déjà vu. We’re all like uncles to him, so it very much has a feeling of family. Having Deacon in the band is really the only way it made sense to me. It’s the only thing that, to me, would make it ethically alright to carry this on. And if he hadn’t been able to do it, I don’t know if we would be out there again this year.

“His first show with us was at Dodger Stadium, so that’s a pretty big leap for a young man. And he did it. He amazed all of us with his composure. But, of course, it’s still an emotional thing for him. Deacon is dealing with it, but he still has moments of emotional upheaval when he remembers his dad. But we all surround him with love and support.”

The other new recruit is distinguished country veteran Vince Gill, a prolific singer, guitarist and hitmaker, as well as part of the Nashville generation that found considerable inspiration in the country-esque verses and harmonies that drove early Eagles favorites like “Take It Easy,” “Tequila Sunrise” and “Peaceful Easy Feeling.”

“Vince, of course, is just a natural fit,” Henley said. “After we decided to put Deacon in the band, Vince was the other obvious choice to come in. He adds years of experience and he’s an extraordinary singer, an extraordinary guitarist and a great songwriter, plus he’s having a really good time out here with us.”

Deacon Frey and Gill join Henley and the two other permanent Eagles – Joe Walsh (who joined in 1975) and Timothy B. Schmit (who joined in 1977). Will their flight continue after touring concludes this fall?  Henley said that call will be made at a later time. Until then, he intends to journey on with a storied band whose entire lifespan has defied rock ‘n’ roll odds.

“We are all acutely aware of what an extraordinary run we’ve had and how this band has had almost as many lives as a cat. We’re aware of that every day and every night. That gives us an edge, energy and will to continue, because we know how unusual our career has been and we know how fortunate we are.”

The Eagles perform at 7 p.m. April 10 at Rupp Arena, 430 W. Vine. Tickets: $49.50-$229.50. Call: 800-745-3000, 859-233-3535 or go to rupparena.com.

just like sister ray said

The Lexington musicians of Sister Ray. Clockwise from left, Robby Cosenza, Sam McWilliams, Willie Eames, Scott Whiddon, Tim Welch and Kim Conlee. Photo by Matt Goins.

Scott Whiddon figures maybe 10 to 15,000 people, in total, saw the Velvet Underground perform, an estimate given credence by the sluggish sales the New York band posted for the four studio albums it released between 1967 and 1970.

But the Velvets – Lou Reed, John Cale, Sterling Morrison, Maureen Tucker and (following Cale’s dismissal) Doug Yule – were cultural icons of the rock underground during its day and an overwhelming artistic inspiration to successive generations of bands that followed in its wake. So it’s hardly surprising the Velvets’ influence also reaches to Lexington.

For the third time in as many years, Whiddon, bassist from the local indie pop troupe Palisades, and a like minded crew of musical pals (guitarist/vocalist Tim Welch, guitarist Willie Eames, drummer Robby Cosenza, keyboardist/vocalist Kim Conlee and violinist Sam McWilliams) will offer their own takes on Velvets music – from the psychedelic street sounds of their 1967 Andy Warhol-produced debut (“The Velvet Underground and Nico”) to the raw experimental grind of their 1968 follow-up (“White Light/White Heat”) to the comparatively relaxed and almost poppish stride of their first post-Cale record (1969’s “The Velvet Underground”) to the more streamlined electric charge of what became Reed’s last album before departing for a solo career (1970’s “Loaded”).

The six will perform as Sister Ray on Saturday at the Green Lantern. The band’s name comes from the title to the cacophonous, lo-fi 18 minute riot of a song that concludes “White Light/White Heat.”

“I remember being 13 or 14 years old and spending the weekend at a friend’s house,” Whiddon said. “Their older brother came home from college with one of the compilation albums by the Velvets, one that focused mostly on the first record. It was tremendous. It was one of the first steps where those songs got into the DNA of how I thought about the world.

“From the Velvets, you can follow a path to a lot of noise bands, you can follow it to R.E.M., you can follow it to Yo La Tengo.”

As is always the case with any local act, the challenge of mounting a Sister Ray performance centers largely on logistics. All of the members juggle duties in other bands (in many instances, several other bands) as well as family responsibilities and assorted day job demands. But that doesn’t prevent the yearly Sister Ray outings from maintaining a familial feel or diminish the band’s devotion to the Velvets’ music.

“One of the things that just makes me smile is how musicians of this caliber, whenever we do this sort of thing, are willing to make the time and effort to take part,” Whiddon said. “The first thing is that. Then there is the fun part, of course. We get to play songs that we love that perhaps made a mark at some point in our lives when we were falling in love with music.

“But you also have to live up to all of that. You know you want to play really, really well and you want to honor that tradition. So it’s always fun, but it’s also a question of presenting this music to people who also love those records.”

Sister Ray: An Evening of Music by the Velvet Underground performs with DJ sets by Matthew Clarke tonight, Feb. 17, at 9:30 at the Green Lantern, 497 W. 3rd. Admission: $8.

headhunting through the years

The Kentucky Headhunters: Doug Phelps, Greg Martin, Fred Young and Richard Young. Photo by Joe McNally.

As he discusses the current and future doings of the Kentucky Headhunters, Richard Young tosses out a factoid that very much plays into the Metcalfe County band’s considerable past.

It deals directly with longevity – specifically the realization that guitarist Young, sibling drummer Fred Young and guitarist Greg Martin – have been making music together for 50 years. That chunk of time takes the alliance that began touring in the Glasgow region as Itchy Brother through the official formation of the Headhunters and its electric mix of blues, boogie and modern country in 1986. That’s when bassist/vocalist Doug Phelps signed up, making him, with a mere 32 year tenure, minus a brief mid ‘90s split, the youngster of the band.

“I’ve seen all four of us sit in with different people at jam sessions,” Young said. “So all of us individually, we’re pretty good. But, boy, when you put the four of us together, it’s a powerful thing that just seems to make people happy. It’s really good music.

“Don’t get me wrong, I think the band plays great. But there’s just this kind of happiness that happens when we’re together that transcends to the audience. It’s just a fun band. I mean, you can tell none of us has any kind of hang ups about ourselves. It’s always been about the band.”

Here’s a recap for any Kentuckian new to the Headhunters. Once the Itchy Brother era ended, the Headhunters blasted onto charts in 1989 with a solid one-two punch via a very rocking cover of Bill Monroe’s “Walk Softly on This Heart of Mine” and the original tune “Dumas Walker.” That combo earned a truckload of awards, including a Grammy.

But changes quickly took hold. Phelps, along with his lead vocalist brother Ricky Lee Phelps, exited as the band expanded its musical scope to emphasize inspirations that have long played into their music – namely, blues, soul and rock ‘n’ roll. Two albums with longtime Chuck Berry pianist Johnnie Johnson (1993’s “That’ll Work” and 2015’s posthumously released “Meet Me in Bluesland”) typified the growth. Doug Phelps rejoined the Headhunters in 1996.

“We’re so proud of what we achieved in those early years,” Young said. “That was a great foundation, but it was just a part of what the band was. Now, we’re really open and can do anything. It’s not really about country, rock, blues, jazz, rockabilly or anything. It’s about the Headhunters and how we’ve evolved over the years. You know, we’ve got the same bag of tricks we had in 1990. We carry those with us as well as the ones we’ve created lately. So it’s a very, very good place to be for us right now.”

Recent Headhunters activities have centered on the 2016 album “On Safari,” although the big news for the band has been a renewed willingness to tour overseas. Young resisted such travels in the past due to a fear of flying. Convincing him to make the journey for British and European shows in recent years was son John Fred Young, drummer for Black Stone Cherry, the rock troupe whose global popularity has been considerable.

“Black Stone Cherry twisted my arm after 34 years of not flying, so I got on an airplane to go over to Europe. When the Headhunters were Itchy Brother, we would go back and forth to New York and it just terrified me. John Fred said, ‘Daddy, this is ridiculous. You guys would have a whole new audience over in Europe just waiting for you. You’re going to get your butt on an airplane and you’re going to go over. We’ll even set up the shows for you.’ So all of a sudden, I’m a world traveler.”

Young said the immediate future for the Headhunters includes a live album, a possible studio record of blues-oriented music and, as always, a wealth of touring. The band performs Saturday at the Manchester Music Hall with Martin slipping into town tonight to play with his side project band, The Barren County Stumblers, at Lynagh’s Irish Pub.

“We’ve been so blessed to be able to do everything we’ve ever wanted to do,” Young said. “What’s great about that is we’ve found out some of the hardcore blues people will check out a few of our country songs from the early days while we’re turning country music fans onto the blues. It gives you a special worth that you’re not only out making a living doing exactly what you want to do, but that people are also taking to it. I guess you could call the Headhunters a musical education program.”

The Kentucky Headhunters, Those Guyz and Dustin Collins perform at 7 p.m. Feb. 10 at Manchester Music Hall, 899 Manchester St. Tickets: $20-$60. Call: 859-537-7321 or go to manchestermusichall.com/event/the-kentucky-headhunters.

meshing cultures, bands and generations, rudresh mahanthappa redefines jazz

rudresh mahanthappa. photo by ethan levitas.

With each recording he cuts and every band he take to a stage with, Rudresh Mahanthappa reveals different views of a musical persona that can best be described as globally expansive.

In 2015, the composer, educator and bandleader  – as well as Alto Saxophonist of the Year, as voted on by Downbeat Magazine’s International Critic’s Poll six out of the last seven years – channeled, dissected and reassimilated the music of Charlie Parker into an audacious album called “Bird Calls.” Last fall, Mahanthappa followed with “Agrima,” a stylistic turnaround that meshed jazz, Indian classical music and electronics. As he prepares for his Kentucky debut on Saturday, Mahanthappa discussed plans for a future project that involves a straight ahead jazz trio of sax, bass and drums fashioned after Sonny Rollins’s classic 1958 album, “A Night at the Village Vanguard.”

“Look at my discography and you will see every album is different,” Mahanthappa said. “Almost every album has a completely different band, so I’m always trying to shake things up for myself and change the vehicle as much as I can. My musical personality stays the same, I guess, but different scenarios bring different things out of me.”

Mahanthappa’s personal history is as culturally rich and varied as his music. Born in Italy to Indian parents, he grew up in Boulder, Colorado, initially absorbing the pop sounds of Grover Washington Jr. and David Sanborn on the radio before cutting his teeth in area jazz and even Dixieland bands.

“I knew every track with a saxophone solo that was being played on Top 40 radio, whether it was Men at Work or Supertramp or the sax solos on (Bruce) Springsteen records. I learned them all. That was my first kind of ear training, trying to learn by holding my mono tape recorder up to the radio so I could learn the saxophone solos.

“The players in the Boulder bands were all twice my age but they took me in. I was butchering Charlie Parker solos, but people gave me a chance. Those experiences were really important. It was the welcoming aspect that really mattered. I felt like I belonged someplace. Not that I didn’t belong in my family. It was just a way to really be a musician with other musicians.”

Curiously, Mahanthappa’s exploration of his Indian heritage came much later in his decidedly American upbringing.

“The elements of Indian music came from a place of trying to engage my ancestry in a way that was really meaningful. I don’t speak my parents’ language. I didn’t grow up around any other Indian families. Beyond the limits of my immediate household, I was figuring out how to create an Indian-American culture on my own and with my brothers. For me, in particular, music was the most effective way of describing that, defining that and communicating that. I feel a lot of the music I play is a by-product of me getting to know myself.”

Today, Mahanthappa’s heralded career is balanced with duties as the head of jazz studies at Princeton University. That ties in to his performance on Saturday at the Singletary Center, where he will team with University of Kentucky jazz pros Miles Osland and Raleigh Dailey in their Jazztet.

“It’s nice to go to these places I’ve never been before and play with the locals who have developed a real scene in their part of the country. I think it’s very important to the relevance of this music to engage as many of the communities as possible and not just show up to do the gig and take off. There’s a lot more to it than that.”

Rudresh Mahanthappa performs with the Osland/Dailey Jazztet at 7:30 p.m. Feb. 10 at the Singletary Center for the Arts Recital Hall, 405 Rose St. Tickets: $13 public, free in advance to University of Kentucky students. Call 859-257-4929 or go to etix.com.

harry dean, cop cars and dodgers dates: the punk rock odyssey of john doe

John Doe.

John Doe got to know Harry Dean Stanton the old fashioned way – in the back of a police car.

No, the veteran Los Angeles punk rocker, actor and author didn’t connect with the late Kentucky born film celebrity through any untoward activity. Both were actually gaining experience for roles as policemen in Wayne Wang’s 1987 movie “Slam Dance,” which will be screened Saturday at the Farish Theatre as part of the Harry Dean Stanton Fest. Doe will also perform a solo concert covering music from throughout his 40 year career, including songs cut with the vanguard Los Angeles band X, tonight at the Green Lantern.

“We worked six, maybe, eight weeks on ‘Slam Dance,’” Doe recalled. “We did a lot of ride-alongs with homicide cops to figure out what they were all about. That was both intriguing and frightening because their world view has to be kind of skewed since they’re dealing with criminals a lot of the time and dealing with the aftermath of things gone very wrong.

“But then I asked Harry Dean to play music with me at this club in L.A. called McCabe’s Guitar Shop, and he said, ‘Well, sure.’ I knew he had played music from when he did ‘Paris, Texas’ and films like that, but little did I realize I was opening the door for him to reek havoc on the musical world for the next 20 years. He did a residency at The Mint and then at another place up on Sunset Boulevard. I feel pretty good about that.”

Cruising with cops has been just one of the unlikely but situations Doe has been led to by a remarkably far reaching career. Another came in August when all of X – Doe, vocalist Exene Cervenka, guitarist Billy Zoom and drummer DJ Bonebrake – were honored by the Los Angeles Dodgers prior to a baseball game at Dodger Stadium.

“That’s another mystifying turn of events. ‘Really? You want a punk rocker to sing the national anthem? Okay.’ Sure, I’ve spread out a little more from just being a punk rock musician, but, still, it’s weird. You don’t think about that stuff and then when it happens, you feel a certain odd sense of validation.”

“So for X Day at Dodger Stadium, we played gender reversal. Exene threw out the first pitch and I sang the national anthem. Usually it would be like, ‘Oh, let’s have the girl sing and the boy throw the ball,’ but we switched that around. She did great. She got it over the plate and Rich Hill, the pitcher that night, caught it. He pitched a no hitter until the game went into the 10th inning. We figured it was the magic Exene laid on the team.”

“Spreading out,” as Doe termed it, has included a long running solo career he has maintained outside of X, one that has taken him to various avenues of rock and roots-oriented music. His newest record, 2016’s “Westerner,” teamed him with producer Howe Gelb for a series of songs inspired by Doe’s friendship with the late author Michael Blake, best known for writing “Dances with Wolves.”

“I’ve been friends with Howe Gelb and a fan of his production and music for a long time. He’s really the main architect of what you might call the Tucson Sound, which would include Neko Case or Calexico and Howe’s band, Giant Sand. There’s a lot of space, a lot of reverb that really fit the songs.

“A lot of the songs were about my friend Michael. We were friends for 30 years, but he struggled with dementia for the last four of them. We talked a lot about art and what we want to do with the world and things like that. Before he was really sick I started writing these songs just because he was such an inspiration to me.”

Almost concurrent with “Westerner” was the publication of “Under the Big Black Sun,” a overview of the Los Angeles punk uprising that began in the late 1970s, the era that gave birth to X (the books shares its title with X’s third album, released in 1982). Doe, along with Tom DeSavia, was as much a curator of the book as an author since it also boasts chapters penned by other members of the L.A. punk community, including Henry Rollins, Mike Watt and Dave Alvin. The audiobook version of “Under the Big Black Sun” earned a Grammy nomination.

“I didn’t really want to be the authority,” Doe said of the book. “I couldn’t tell the story of what it was like for women in that era. I didn’t live at the Canterbury where Jane Wiedlin (of the Go Go’s) lived. I wasn’t part of a roots band, which Dave Alvin was. There are so many different stories that people have. They were the experts in those subjects, so that’s why we pulled them in.”

As for his solo concert tonight, Doe said fans should expect a little bit of everything: X tunes, “Westerner” music, “unexpected” cover selections and more.

“Plus, I know a hell of a lot of John Doe songs, so I can take requests. If I don’t know them, I’ll wing it. Sometimes, I crash and burn, and that’s fun, too.”

John Doe and Warren Byrom perform at 10 p.m. tonight (Sept. 29) at The Green Lantern, 497 W Third. Tickets are $15. Call 859-252-9539 or go to harrydeanstantonfest.org.

Doe will also participate in a Q&A session following a free screening of “Slam Dance” as part of the Harry Dean Stanton Fest at 3 p.m. Sept. 30 at the Farish Theater of the Lexington Public Library, 140 E Main.

the tenuous kentucky connection to the world of rufus wainwright

rufus wainwright.

Having performed around the world with a wildly diverse variety of concert programs reflecting equally far reaching musical preferences, Rufus Wainwright is quick to point out his ties to the Bluegrass.

Until now, they have not included Lexington, although that will change with a Wednesday performance at the Opera House. He has played Louisville on occasion, but that’s not what Wainwright is recalling. There was an earlier link to the region that landed him in, of all places, Bardstown.

“My mother and aunt were huge Stephen Foster fanatics, so when I was a child, we did a pilgrimage to My Old Kentucky Home. So, yeah, I have a slight, tenuous history with your state.”

This Kentucky sojourn unlocks the first and perhaps most immediate aspect of Wainwright’s artistic identity – his family. The mother and aunt in question were Kate and Anna McGarrigle, the immensely celebrated Canadian singer-songwriting siblings from Quebec. His father is veteran folk songsmith Loudon Wainwright III and his sister is the acclaimed folk and rock stylist Martha Wainwright.

“Once you scratch the surface and get into our story, you realize it’s really like a three generation saga that I’m gratefully involved in with all the good music and positive outcomes that we’ve experienced as a family – along with some adversarial situations, of course.”

Over the past two decades, Wainwright has solidified a career of astonishing stylistic breadth. He recorded numerous albums of his own works (including the extraordinary two volume “Want” in 2003 and 2004) but also released a concert tribute record to Judy Garland (2007’s “Rufus Does Judy at Carnegie Hall”), composed two operas (the newest of which, “Hadrian,” based on the Roman emperor of the same name, will have its premiere next year in Toronto), cut an entire album of Shakespearean sonnets set to original music (2016’s “Take All My Loves”) and, earlier this year, fashioned a cover of Stevie Wonder’s 1970 hit “Signed, Sealed, Delivered” for the Los Angeles charity The Art of Elysium.

What he will bring to the Opera House will be, in essence, all of that and more – a solo program encompassing his original works, standards, perhaps a pop cover, a sampling of the sonnets and a likely nod to some of the great Canadian songsmiths that came before him (the Leonard Cohen staple “Hallelujah” has been a frequent inclusion).

“I’m made up of three parts, shall we say. One being a songwriter, one being a composer of operas and the third being a singer. I find that in singing opera, singing standards or singing my own material, there is something about my voice specifically that is able to unite a lot of very disparate musical ideas to bring out the commonalities. So as a singer, I often have to look for themes as opposed to the variations.

“The show I’m bringing to you guys really just represents who I am as a working, eating, sleeping, loving musician. This is what I have to do to in order to earn my keep. It draws on a lot of elements of my career, be it pop songs or opera stuff.”

Born in New York and currently (as of a year ago) residing in Hollywood, Wainwright moved with his mother and sister to Montreal at the age of three following his parents’ separation. He has long maintained dual citizenship in Canada and the United States (“the best of both worlds,” as he called it) and has found considerable kinship with the music of other songwriters from his longtime homeland.

“I sing a lot of those songs, whether they come from Leonard (Cohen), Joni Mitchell or Neil Young. So, yeah, it’s a strange phenomenon, actually, as to how there are so many brilliant songwriters from Canada. I think it has to do with the light – of the lack of it, shall we say. It gets pretty dark up there in the winter – cold, too. You really have to escape to the nether regions of your imagination to make it through.”

That won’t be a problem this fall, though. Between our conversation last week and his Opera House concert this week, Wainwright will head to Havana for a string of concerts collectively titled “Wainwright Libre!” But this time, climate will play an altogether different role. Battered earlier this month by Hurricane Irma, Cuba was, as of this writing, bracing for a possible hit from Hurricane Maria.

“We’re just going where we’re needed, you know? But let’s just hope Maria doesn’t meet me there.”

Rufus Wainwright performs at 7:30 p.m. Sept. 27 at the Lexington Opera House, 401 W. Short. Tickets: $45.50-$55.50. Call (800) 745-3000, (859) 233-3535 or go to ticketmaster.com.

robert cray gets the royal treatment

robert cray at royal studio in memphis. photo by ronnie booze

When you’re a Grammy winning bluesman that has rubbed shoulders and shared songs with the rock and soul elite for over three decades, what territories are left to be won? For Robert Cray, such turf revealed itself in Memphis at the famed recording studio with a sense of legend and prestige that is embodied in its name.

Royal.

Under the direction of producer Willie Mitchell, such R&B giants as Solomon Burke, Bobby Blue Bland and Ann Peebles and recorded some of their most cherished music at Royal. This was also where Al Green cut his vanguard ‘70s hits for the Hi Records label. But rock ‘n’ rollers found a home there, too, with John Mayer, My Morning Jacket and Rod Stewart having also made music at Royal.

Even though Mitchell died in 2010, the studio never slowed down. In fact, two members of the its famed Hi Rhythm Section, organist Charles Hodges and his bassist brother Leroy Hodges, still record there with Mitchell’s family overseeing ongoing operation of Royal. The mix of history and ongoing vitality prompted drummer/producer Steve Jordan to suggest Royal Studios for his newest recording project with Cray.

“While we knew we were going to do another record together, Steve and I had different ideas of what we wanted to do. Then all of a sudden, he sent me an email saying, ‘I got it. ‘Robert Cray and Hi Rhythm.’ We’ll record at Royal. So I’m like, ‘Okay. Fantastic.’

“From the moment when you walk in at Royal, you see pictures of Willie Mitchell, you see pictures of Al Green, you see pictures of people like Ann Peebles and you just go, ‘This is where the magic was made.’ It puts you in that mood, plus you’re playing with the same players that made that music. It was great.”

The resulting record – titled, as promised, ‘Robert Cray and Hi Rhythm’ – may have employed the Hodges brothers, their keyboardist cousin Archie “Hubbie” Turner and Jordan – in place of the longstanding Robert Cray Band, but the vintage-flavored music they created played out as naturally as it did on many of the guitarist’s previous albums. The mix of soul and blues remains unchanged. “The stories with both are the same,” Cray said. “It’s just that the delivery is a little bit different.” But the repertoire is made more expansive with songs by Bill Withers (the churchy, orchestral album opener “The Same Love That Made Me Laugh”), The 5 Royales (the two part soul scorcher “I’m With You,” the conclusion of which lets Cray loose on a jubilant guitar solo) and a trio of original tunes that fit in easily with the record’s retro feel (“Just How Low,” “You Had My Heart” and “The Way We Are”).

But among the highlights are two songs by Tony Joe White (“Aspen, Colorado” and “Don’t Steal My Love”) that feature the esteemed Louisiana guitarist and song stylist sitting in.

“He is just the coolest cat in the world,” Cray said of White. “He’s so casual and nonchalant, but he really wanted to be at the sessions. It was great for us to have had the opportunity to work with Tony Joe. He’s so cool.”

One of the many greats to have recorded at Royal was Chuck Berry. The rock forefather, who died a month before ‘Robert Cray and Hi Rhythm’ was released in April, figured prominently in the guitarist’d career. Cray and Jordan were among the artists featured in Taylor Hackford’s 1987 concert documentary celebrating Berry’s music, ‘Hail! Hail! Rock ‘n’ Roll.’ The guest list included Eric Clapton, Linda Ronstadt, Joe Walsh and an artist especially intrigued by the new blues music Cray was just starting to get noticed for – Keith Richards.

“You see, ‘Strong Persuader’ (Cray’s Grammy winning 1986 breakthrough album) hadn’t even been released yet when we did these shows. So we had our meeting in Keith’s hotel room and there is this cassette player on the mantle. I looked at it and saw a tape in there with the handwritten title ‘Strong Persuader.’ I said, ‘Where did you get this?’ Keith went, ‘I’m a Rolling Stone. I’ve got everything.’ That broke the ice.

“I was the new kid on the block back then. I could do no wrong. Chuck was like, ‘Robert, let’s have coffee.’ He was the nicest man in the world to me.”

The Robert Cray Band performs at 7:30 p.m. Aug. 17 at the Grand Theatre, 308 St. Clair St. in Frankfort. Tickets: $40-$65. Call 502-352-7469 or go to grandtheatrefrankfort.org.

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