An Interview with Patrick Sweany
PHOTO CREDIT: Joshua Black Wilkins
Nashville musician Patrick Sweany has never been one to conform to his surroundings. In a city where country is kind, Sweany brings an invigorating blend of roots, blues and Motown soul to his music. His style incorporates a natural aesthetic that shows his heart as a distinct part of everything he does with a guitar. His voice has a rustic quality and a no-nonsense approach. On November 4, he’ll be performing on the upstairs stage of the Columbus Theatre in Providence’s West End with Boston blues dynamo Julie Rhodes.
Before the festivities Sweany and I had a chat about his beginnings in Kent, Ohio, what made him move to Nashville, his time from working with The Black Keys’ Dan Auerbach, last year’s release Daytime Turned To Nighttime, his opinions on the Nashville scene and what his plans are for the holidays.
Rob Duguay: You started your musical career playing around Kent, Ohio, and now you’re based in Nashville. How did you end up in Nashville? Was it always a goal of yours to move there or did it just happen by chance?
Patrick Sweany: It had been on my mind to move to Nashville for a while due to it being a big place for the music business along with the epicenter of everything happening moving closer to that city. I didn’t realize how much the place would really blow up since I’ve been here, but it has really has been a center for touring players and sidemen so I had been thinking about it for a few years. Around 2008 I ended up heading over there and I’ve stuck around ever since.
RD: Another musician who is a Nashville transplant by way of Ohio is Dan Auerbach from The Black Keys. You’ve worked with Dan on a few of your albums. How did that professional relationship start?
PS: When Dan started The Black Keys he was in my band. He was handling the low tune guitar on songs that were based on the styles of Hound Dog Taylor for the rhythm guitar parts. That was in the early 2000s and around that time he started getting recording equipment and started setting up a studio space. He recorded two tracks for the C’Mon C’Mere record, the rest of which we did in Mississippi with Jimbo Mathus from the Squirrel Nut Zippers. Then on the next record, Every Hour Is A Dollar Gone, we did in a basement in Akron, Ohio, which Dan produced and engineered back in 2007.
RD: That was around the time when The Black Keys were making records in Patrick Carney’s basement.
PS: Yeah.
RD: Now your latest record, Daytime Turned To Nighttime, has a rustic and rootsy approach to it. It’s stripped down with an acoustic base and it has a backwoods twang. What was your main objective with the album and did it turn out completely different than you originally planned?
PS: It was all very much planned ahead of time. This was the third record I did with Joe McMahan as producer. Up to this point, my band and I had done four rock ‘n’ roll records in a row and a lot of our stuff was moving toward soul and things like that. The song “Them Shoes” is more popular now then ever and it’s a straight ahead rocker, which I love, but I wanted people to see that there’s more to it than that. I wanted to use acoustic guitar as a main vocal point on the last album, but at the same time still have a really greasy and funky rhythm section. I was listening to a lot of Bobby Charles, especially that record he did with all the members of The Band except Robbie Robertson along with stuff by Bobbie Gentry and things like that. We were looking for more of a chilled out and groovin’ kind of sound, but I definitely had a lot of time to think about what the concept would be.
RD: Nashville is the epicenter of country music. Recently there’s been a conflict between the mainstream pop realm and the more traditional realm. A notable example is Sturgill Simpson ripping apart the Academy of Country Music over the Merle Haggard Award. As a musician who’s based there, what’s your opinion about the likes of Jason Isbell, Chris Stapleton and Sturgill calling the mainstream out?
PS: I don’t know, man. I’m not about to begrudge the way any musician makes any sort of living, I feel lucky to be able to do so. Laur Joamets from Sturgill’s band is a very good friend of mine and it’s beautiful to see him becoming so successful. Margot Price and her husband Jeremy have been good friends for a long time and all the guys in her band are friends because it’s a pretty small community. I don’t have anything against that industry kind of stuff because it’s just a different thing; it really doesn’t have anything to do with me.
I’ve got a lot of friends who work in that world. People have been bitchin’ about not adhering to the roots of things and that things are getting worse since Elvis. I don’t like it and I don’t buy it, but do I think it’s worth fussin’ over? No. Also nobody breaks down what I’m saying about country music (laughs). I don’t share that kind of influence or that kind of exposure that Sturgill has.
I like Sturgill, I like those records, I think he’s great and I love his singing, but I got nothing against any of those other people. I don’t like a lot of those pop records, that modern sound just sounds like software to me. None of it matters to me. That Stapleton record is great, the songs are great and his singing is great, but Chris has sort of been getting recognition because he worked in that side of country music. He collaborated a lot with a lot of artists from that side, so he made a name for himself among those people.
A lot of people wanted to record Chris Stapleton songs before Chris Stapleton was a household name. It’s not surprising to me that Margo or Sturgill haven’t been accepted in that sort of mainstream stuff, it doesn’t surprise me at all. It would surprise me if they expected to be accepted because it’s always been a very sort of closed little club. It’s always been that way and that’s how it’s become what it is. It’s a very much a working community that builds itself, which is why it happened in Nashville and it’s why country music is a big phenomenon now.
Does today’s country music have much in common with Hank Williams? No. Then again, name a band that sounds like Grand Funk Railroad. You can’t. Not one that’s on the radio.
RD: You’re right.
PS: I just don’t think about any of that ever. To be honest, this interview is the most in-depth I’ve ever gotten when it comes to country music in Nashville (laughs).
RD: After the current tour you’re on, what’s in store for the rest of the year? Do you have any plans for the holidays?
PS: I like to stay home during the holidays and spend time with family. I don’t do that many holiday shows around Thanksgiving and Christmas. I’m going to be ending this current tour back in Ohio in Akron, which is something I always do by design. I’m also working on another record and when this tour is over I’m planning on working on a couple of tracks in the studio. It’s looking like it’ll be another year until it’s out, but it’s a really interesting project I’m doing in Memphis at Sam Phillips Recording at the studio Sam Phillips bought after he sold Elvis’ contract.
Buy tickets to see Patrick Sweany & Julie Rhodes at the Columbus Theatre on November 4: ticketfly.com/purchase/event/1288093?utm_source=fbTfly&utm_medium=ampOfficialEvent; Patrick Sweany’s Website: patricksweany.com
Album Of The Week: Vanishing Life’s Surveillance Walter Schreifels has had an eclectic career. He’s been straying from his hardcore punk roots from his time as the bassist for Youth Of Today, and frontman for Gorilla Biscuits and Quicksand, with the results being pure original material. In the past few years he’s been doing stuff with the bluesy alt-rock act Dead Heavens and released a stripped-down solo record titled An Open Letter To The Scene. Recently, he started a new project called Vanishing Life with …And You Will Know Us By The Trail Of Dead’s Autry Fulbright, Bad Religion’s Jamie Miller and Rise Against’s Zach Blair that’s hard hitting alternative rock. Their punk-fueled debut, Surveillance, is coming out on November 11 and it shouldn’t be overlooked.
From start to finish, the album oozes vigor and energy. Fast-paced rhythms make each track addictive. It shows Schreifels going back to his roots while incorporating Fulbright’s, Miller’s and Blair’s particular talents to make a truly authentic sound. Nothing is being ripped off and there is nothing cookie cutter about Vanishing Life’s upcoming debut. Surveillance is angst-filled and each song socks it to the eardrums.
Supergroups can either be this harmonious melding of different talented musicians or a full-blown disaster from the start. Fortunately, Vanishing Life sounds like everything came together perfectly. The music says it all; most of the time a stellar debut means that the band is getting along just fine. It’s going to be interesting to see what the future holds. Speaking of interesting, let’s explore my top tracks off of the Album Of The Week:
With an emphatic bass serving as the anchor, “Realist” is powerful and absolutely electrifying. There’s a bit of an ebb and flow halfway through, but it’s done on purpose and made to be suspenseful. “Thinking Is Weightless” is a sexy song about possession, believe it or not. The groove will take over the senses and you’ll want to press play on this one multiple times. The rhythms supplied by Fulbright on bass and Miller on drums really shine. Another rhythmic track is “Seven Pointed Star,” which walks the fine line of being a stoner metal riffer due to the onslaught of guitars.
Vanishing Life will roll through The Met in Pawtucket on November 12 as part of their tour with New Jersey alt-punks Neaux. Southeastern Massachusetts punks Zero Holds will open things up, so make sure to get there early. It all sounds like a kickass show to be at on a Saturday night. While you’re at the show, pick up a copy of Surveillance. It’ll give your music taste that jolt it’s been craving.
Give “Realist” a listen via Dine Alone Records’ Soundcloud: soundcloud.com/dine-alone- records/vanishing-life-the-realist; Like Vanishing Life on Facebook: facebook.com/vanishinglife.
Mike D’s Top 5 Can’t Miss Shows of November
1.Friday, November 4: Doomsday Student, Math The Band, Microwaves, Sensitive Hearts; 9pm; $?; All ages?; Aurora, 276 Westminster St, PVD. A local night (and a band from PA) featuring two of Providence’s best live acts. Doomsday Student just released their second LP, A Self-Help Tragedy. The band sounds like a horror soundtrack, guitar assault on top of a panic attack. Check out their new video “Angry Christmas.” I recommend doing so while on drugs. Math The Band (or Math The Band The Band) are Providence’s punk rock kitchen sink band and the most fun you will have in November, which, let’s be honest, is a generally disappointing month. Pittsburgh’s Microwaves and Providence’s music / video / art act Sensitive Hearts.
2. Thursday, November 10: “Bringing The Fringe Back Home” with Sage Francis & B. Dolan; and a music set from The Metermaids; 9pm; $13 advance / $15 day of; All ages; The Met, 1005 Main St, Pawtucket. Strange Famous hip-hop impresarios Sage Francis and B. Dolan have been releasing rap records and touring them across the country for so long that it’s easy to forget that they were also born out of the slam poetry scene. After returning to their spoken word ways for a very well-received festival gig over in the UK, Sage and B. decided to bring it back home to Providence for a one time show. The night will consist of a 90-minute set from the two of them, heavy on spoken word but also with a mix of storytelling, comedy and music. Labelmates from New York City The Metermaids open the night with a music set. Should be a great evening.
3. Friday, November 11: Helmet, Local H; 8pm doors / 9pm show; $20 advance / $22 day of; All ages; The Met, 1005 Main St, Pawtucket. Here we have a ’90s dream bill, New York’s post-hardcore favorites Helmet and Illinois’ post grunge heavyweights Local H. Both acts have been very active. Helmet recently released their 8th studio album Dead To The World, and Local H have been pretty steadily touring over the years, recently touring the 20th anniversary of their seminal album As Good As Dead. It’s a co-headine without an opener, so get there early and bring ear plugs as it will be loud.
4. Sunday, November 13: Honus Honus, Lookers; 7pm doors / 8pm; $12 advance / $14 day of; All ages; Columbus Theatre, 270 Broadway, PVD. While Philadelphia’s Man Man have been quiet lately, frontman Honus Honus has been working on solo material. His debut album, Use Your Delusion, will be out by the time this issue hits the street. The lead single “Heavy Jesus” reminds me of his criminally overlooked side project Mister Heavenly with Nick Diamonds, indie rock with a touch of ’50s harmony and doo-wop. I can’t find any info about the opening act Lookers, which means that they are likely a local band I should know. I did find a French garage band called the Lookers, which is plausable, I guess.
5. Tuesday, November 15: Thee Oh Sees, Straight Arrows, Holy Wave, Gymshorts; 8:30pm; $14; All ages; Aurora, 276 Westminister St, PVD. It has been too long since John Dwyer and Thee Oh Sees have played in Providence. Dwyer left town right around the time when Providence tried selling us on building condos and a second Staples to help us keep RISD students and artists, which actually drove away the majority of the talented artists living in town and especially the warehouses in Onleyville such as Fort Thunder (thanks for staying, Lightning Bolt). John ended up out in California, and ended up being a key component in today’s garage / psych revival with his prolific Thee Oh Sees and previous bands, The Coachwhips and Pink and Brown. It’s been at least 7 or 8 years, perhaps longer since John has played in town, and I think you have to go back to the ’90s Landed days when it was in a club. Thee Oh Sees shows are frantically fast and sweaty. The show is sold out; if you can get your hands on a ticket, grab it.
Also worth noting: November 4: The Proletariat (reunion) / Neutral Nation / Minibeast @ The Met; November 5: The Upper Crust / Teazer / The Worried @ The Met; November 8: Shonen Knife @ The Parlor Newport; November 10: The Sonics / The Itchies @ Fete; November 11: The Skints @ Ocean Mist; November 12: Reel Big Fish / Masked Intruder @ Lupo’s; Candiria / Dalek @ Firehouse 13; November 19: Carcass / Deafheaven at Fete; November 23: Daddie Long Legs @ The Met; November 29: Slim Cessna’s Auto Club / O’Death / The Huntress and Holder of Hands @ The Met
Roots Report: Darkness Is Coming
Okee dokee folks … Daylight Savings Time will end in a few days. I heard a lot of jokes that involve Daylight Savings and politics, most involving setting the country back in time to the 1950s. I am sure we are all tired of politics now, and I don’t have very high hopes for this election. I will vote and I will vote for my candidate of CHOICE, not out of fear and not for any party obligation. Whichever way things go I am really hoping that — and I know that I say this a lot — protest music comes back into fashion. No matter who wins, there is a lot that needs to be said.
Earlier this year it seemed that revolution was inevitable, but complacency soon took over again. Instead of rallying against the status quo, folks just rolled over and accepted things. We need that to change and we need change in general, and the two major parties are not going to give it to us. In a way, I wish I was younger and had more energy to join in the street fight, but I will just have to use my words to protest.
We have evidently entered the Anthropocene epoch. This is when human activities have made a significant impact on the Earth, its life and its ecosystems, and tipped the balance. The status quo is killing us and the planet. Depressing, isn’t it? All I will say is seriously think about who you are voting for. We have been duped for far too long. In the words of Bob Marley, “Get up, stand up, don’t give up the fight!” OK, I guess I should talk about music now. Read on…
Music at Lily Pads will present the folk duo Sally Rogers and Claudia Schmidt in a rescheduled concert in an intimate setting, Painted Karma, a block from Lily Pads on Friday, November 4. Schmidt and Rogers are celebrating their 35th year of singing together. They met in 1980, each touring separately, and quickly developed a friendship and musical sisterhood that, while interrupted by life choices and geographical distances, has endured. Their fourth CD (together) came out in May, and they weave intricate harmonies, dulcimers and guitars. For more, hop to MusicAtLilyPads.org
One of my favorite venues is the Narrows Center for the Arts in Fall River. This month, the Narrows celebrates its 15th anniversary with two weeks of musical celebrations, as well as a gallery exhibition that outlines the venue’s history. The exhibition, titled “TIMELINE: Celebrating the Narrows,” will be on display beginning November 5 and remain until the New Year. This photographic, video, audio and narrative exhibition will tell the story of the hard-working volunteers who helped and still help make the Narrows what it is: art, music and community. Relive the first open-mic performance, as well as sold-out concerts featuring some of the biggest names in music. The Narrows Center’s 15th Anniversary Concert Series includes nine spectacular shows, integrating familiar and beloved acts with new and rising performers. It will kick off on Wednesday, November 9 with blues goddess Samantha Fish, who has become a fan favorite among the venue’s young singer-songwriters. Thursday, November 10 welcomes a fresh face: Kat Wright and Indomitable Soul Band hit the Narrows stage for the first time, demonstrating the venue’s enthusiasm in supporting new names, as well as up-and-coming performers. There will be a double bill on Friday, November 11, with Girls, Guns and Glory, along with Rockabilly Hall of Famer Big Sandy and His Fly-Rite Boys. On Sunday, November 13, the Blues Brunch is back by popular demand and will feature Neal and the Vipers and an all-you-can-eat buffet provided by Morton’s Fork Catering. Space is limited and tickets must be purchased by Friday, November 11 at 3pm. On Monday, November 14, Louisiana native and Delta Blues enthusiast Tab Benoit returns for his second performance of the year. The New Orleans spirit continues on Wednesday, November 16, with the Squirrel Nut Zippers. This band is bound to get the crowd dancing. On Thursday, November 17, Los Lobos joins the celebration with their annual high-energy performance that always sells out. The Friends of the Narrows Annual Event will be held on Friday, November 18, featuring contemporary Americana musicians Jeffrey Foucault and Kris Delmhorst. This invite-only, complimentary concert celebrates and thanks the special group of people who contribute a significant portion of funds necessary to keep the business operating. During this event, the Narrows will draw their Season Pass Raffle winners. Among the six potential prizes, the first two places include two free tickets to every concert for an entire year. First prize also includes five reserved tables. Season pass raffles will be on sale until this event and can be purchased online, over the phone or in the box office. On Saturday, November 19, the concert series will conclude with a performance by the legendary Tom Rush, a gifted musician and storyteller. Tickets are on sale for all of the concerts in the anniversary series. The Narrows Center is located at 16 Anawan Street in Fall River. The venue has free parking and a BYOB policy. For more, bridge over to NarrowsCenter.org.
Common Fence Music presents Patty Larkin, folk-urban pop singer-songwriter and guitar slinger, on Saturday, November 5. Upon graduation from the University of Oregon, Larkin moved to Boston and devoted herself to music, busking on the streets of Cambridge and studying jazz guitar at Berklee College of Music and with Boston area jazz guitarists. Patty is the recipient of an Honorary Doctorate of Music from Berklee College of Music, where she is now an Artist in Residence. Patty has earned 11 Boston Music Awards and has been honored by Boston’s Mayor Thomas Menino with “Patty Larkin Appreciation Day” in recognition of her philanthropic contributions to non-profit organizations. Patti’s 13th album, Still Green, is a collection of new songs that “chronicle Patty’s search for relief, respite and solace.”
Also at CFM, on Saturday, November 19, is A Gathering of Fiddlers and Fishermen #18 with MC Mike Laureanno. He is a 2016 Kerrville New Folk Finalist and a 2016 Woody Guthrie songwriting contest winner. The Irish session, hosted by Jack Wright, Debbie Spitznagel and Tom Maguire, begins at 6:30pm with pre-show drumming by Dennis Melucci and Dave Turano. This year’s line-up also includes Olivia Baxter and Elias Cardoso, Eye of the Sun Fife and Drum with Brad Maloney and Matt McLaren, Greg Ferreira, Ron Marsh, Timmy May, Dennis Melucci of Rhythm Circle Percussion Ensemble, Otis Read, The Tiffany Rozenas Family Band, Slackwater String Band, Mathilde and Julia Tash, Micky Scotia, Dave & Phil Turano, and Mike Fischman & Ed McGuirl. This usually sells out, so get your tix now! For more, stockade over to CommonFenceMusic.org
I am out of room so I will squeeze in a couple more must-see shows! Pianist/Composer Robin Speilberg will tinkle the ivories at the Courthouse Center for the Arts on Saturday, November 5 (CourthouseArts.org). One of the best singer-songwriter and vocalists around today, Patty Griffin will be at the Columbus Theater on Saturday, November 5. Griffin got her start in Boston’s coffeehouses and recorded two of the best CDs from the ’90s: Flaming Red and Living with Ghosts. She also performed with Robert Plante in Band of Joy. You really don’t want to miss this one (ColumbusTheatre.com). The Empire Revue presents the Fashion Show on Sunday, November 6. See what Keith Munslow and the Sparkling Beatniks have cooked up for this incarnation of the highly entertaining and hysterical monthly show (AS220.org). The Sweet Little Variety Show offers up its November show on Thursday, November 10 with The Dust Ruffles, dancer Heidi Martini, Closer to Home, Elizabeth Keiser and the RI Ukelele Armada. The Sweet Little Variety Show is a monthly feminist, anti-racist, queer-positive, body-positive cabaret and is held at Aurora in Providence (facebook.com/sweetlittlevarietyshow).
That’s it for now. I hope that Rudy Cheeks makes a quick recovery. Thanks for reading. JohnFuzek.com
Alt-Nation: November Happenings
The Upper Crust
What better way to shake off the post-Halloween blues than a rock show where the band dresses up like 18th century aristocrats? That is what The Upper Crust, a band composed of Boston music scene veterans, give you with loud rock ‘n’ roll in the vein of AC/DC. The Upper Crust provide funny in- character stage patter between tongue-in-cheek rockers like “Rock and Roll Butler,” “Let Them Eat Rock” and “We’re Finished with Finishing School.” I’m hoping they play their slow jam “Boudoir” that hasn’t been in the set the last few times I caught them. I recommend getting there early for TEAZER and The Worried. TEAZER recently killed their Halloween show as Van Halen and here’s hoping a song or two from that set gets carried over to this weekend. The Worried bring it with blitzkrieg punk rock.
The Upper Crust, TEAZER, and The Worried serve up the rock at The Met Café on November 5.
Route .44 Reunion Show
It wasn’t that long ago that Route .44 was possibly the biggest band in town. Route .44 have this dark sound that mixes influences like Morphine and gypsy rhythms into haunted, danceable grooves. The combination of Jess Powers and Ian Lacombe trading off vocals added a presence to the songs that was really like no other around. It has been a few years since Powers left to first do her Chanteuse series of shows and more recently, be one half of Cowboy and Lady with Tyler James Kelly. Lacombe has continued doing shows more sporadically with Route .44 including one album since Power’s departure while forming and playing out more frequently with the popular Consuelo’s Revenge. This Route .44 reunion is a one night only deal, so don’t be a sucker and miss it! Route .44’s reunion show with Frankie Ranks & The Freeloaders goes down at the Parlour in Providence on November 5.
Micah Schnabel (Two Cow Garage)
I’ve been talking up the band Two Cow Garage for a few years in this space. This show is a special intimate opportunity to catch their main songwriter, Micah Schnabel, in an intimate acoustic show upstairs on the second floor at Firehouse 13. I’m hesitant to use the word “intimate” and second floor of Firehouse together because some of their past events, but this will be a treat of a show. Schnabel’s songs have the underdog storytelling of the Replacements meets Springsteen with the energy of punk rock. As an added bonus, Bob Kadlec (from The McGunks and The Hangovers) opens the show. Kadlec has a new disc with The Hangovers that I just remembered I forgot to review. I’ll get on that soon, Bob, but till then there is this great show!
Micah Schnabel (Two Cow Garage), Bob Kadlec, Michael Kane will rock the 2nd floor at Firehouse 13 on November 6.
Wayne “The Train” Hancock – Slingin’ Rhythm (Bloodshot Records)
I don’t cover a lot of country acts because for the most part I find it boring. Every now and then, though, a new record comes across my desk, usually in the spirit of old outlaw country, that charms even my finicky rock or bust tastes. I’d put the new biscuit, Slingin’ Rhythm, from Wayne “The Train” Hancock in that category. Slingin’ Rhythm has a ’50s country vibe that would fit right in between George Jones and Merle Haggard on one’s classic country playlist. Hancock tells tales of road (title track), murder (“Killed Them Both”) and breakups (“Divorce Me C.O.D.”) over a simple beat with plenty of fancy lead and slide guitar to brighten the ambience. Hancock in Slingin’ Rhythm has created the rare record that one can put on repeat at a party and dance the night away.
Wayne “The Train” Hancock, Sasquatch & The Sick-A-Billys, The Bopthrills, and The Barley Hoppers rock Firehouse 13 on November 9.
The Sonics
The Sonics reunion continues as the senior statesmen of garage rock return to town to help you party down. These guys are in their 70s. Hell, the band formed two years before the Rolling Stones, yet you’d never know it from one listen to last year’s scorching This is The Sonics. I’m sure everyone going to the show is excited to hear the classics like “The Witch” and “Strychnine,” but I’m stoked for the tunes from This is The Sonics, which pretty much kicked the ass of any record last year. Tunes like “I Don’t Need No Doctor,” “Save The Planet” and my favorite “Livin’ In Chaos” show no mercy when put up against the rest of The Sonics’ catalogue. The use of the saxophone in high voltage rock ‘n’ roll on This is The Sonics might be the best since The Stooges’ Funhouse. I recommend getting there early for local garage heroes Thee Fabulous Itchies and Atlantic Thrills for hip shaking good times.
The Sonics, Thee Fabulous Itchies, Atlantic Thrills, and Salem Wolves rock Fete in the must-see show of the month on November 10.
Shonen Knife
Shonen Knife are kind of like the all female Japanese version of the Ramones. They started way back in 1981 and mix in Beach Boys harmonies over a punk rock back beat. Kurt Cobain used to rave about them and 22 years after his passing Shonen Knife carries on, albeit with one original member. I’ve caught Shonen Knife a couple of times in recent years and their shows just leave you in a great state of mind between their infectious tunes and performance. This is another show with great openers Benny Sizzler, who are kind of like Newport’s less sleazy version of Nashville Pussy with Gail Greenwood back from the recent Belly reunion tour on guitar. I probably haven’t caught Boston’s The Dents in well over a decade, but recall them as a band that rips as well.
Shonen Knife, Benny Sizzler, The Dents, and Tiny Diamonds bring the rock to the Cafe at The Parlor in Newport on November 8.
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Is This Jazz?: Leonard Brown on the 39th Annual John Coltrane Memorial Concert
The late saxophonist John Coltrane left a legacy that looms large not only in jazz, but in all music. His contributions have inspired countless others and have paved the way for generations beyond his own. With a profound spirit that remains unmatched, he reshaped music as we hear it today and it is this impact that lead saxophonist and composer Leonard Brown to help co-found the annual “John Coltrane Memorial Concert” 39 years ago. Last year I got a chance to witness this fantastic tradition and was floored by the passion, dedication and spirit of the ensemble and their love for Coltrane’s music. Recently I spoke with Dr. Brown about his life in music, feelings on Coltrane and his own personal legacy as a beloved performer and professor.
Ben Shaw: What got you started on saxophone?
Leonard Brown: It was probably Jackie McLean’s sound that got me started. It comes down to personal choices based on what makes you be who you are, particularly early on, and as you grow older your experience spans out into knowledge of different tonal qualities and so on. But I thought Jackie’s sound was great; it made me really listen and what he played was always exciting.
BS: How did you first start off in the Boston scene?
LB: I moved up to Boston around 1974 where there was a rich scene at the time — a lot of avant garde and new music — and I was fortunate to come when that was happening. It was very cutting edge with new ways of conceiving the music as well as having the older tradition of bebop and swing going on. It was at the Friends of Great Black Music Loft, a creative space that drummer Syd Smart had, where the energy really came together. You’d meet other artists with like-minds, find out what’s happening, talk about doing things together, take a lesson with somebody on trumpet or dance; it was an eclectic offering of learning performance traditions so we used to do a lot of music down there. This is where the Coltrane concert grew out of.
BS: What compelled you all to start this concert?
LB: Part of it was political since as black musicians we needed to be the ones who defined what it’s about, where it comes from and where it goes. It was a matter of recognition. For instance, if you want to know about Japanese music, please talk to Japanese musicians. That was the idea, and Trane was such a big part of all our lives so it was a natural progression. Clearly it wasn’t just us who found him important, seeing how we’re entering into our 39th year of doing this. We don’t have an endowment, nobody is underwriting us. The buy-in is from us as the musicians and the people on the board, along with the people coming consistently, who are keeping this going. This will be our 30th year at Northeastern. I went in as a professor back in the mid 1980s and had the opportunity to go in and integrate African American and black studies into the standard curriculum.
BS: You earned a doctorate, correct?
LB: Yes, my doctorate is in music with three areas of specialty in ethnomusicology, creative improvisation and African American music culture of the Western hemisphere. So that’s how I got to Northeastern and in 1986 move the concert there, and it has been a good relationship.
BS: I had the opportunity to attend last year’s concert that focused on both Coltrane and Ornette Coleman, and the way the ensemble approached the music with such passion and understanding you can feel the dedication, but it wasn’t with a preservationist attitude. Clearly you all have studied and lived this music, but have lived different lives, so while you played the music with integrity you were also able to inject your own unique personalities and approaches. Was that the point of this concert?
LB: That is our intent. Integrity is very important to us. All of us aren’t trying to play exactly like Trane — or anybody else for that matter — you have to get your own sound. However we can still be true to the integrity and conviction that he brought, as well as the spirituality. And within that creative sphere we will give it to you in a contemporary format. Hopefully some of the ways we approach it and the meaning we put into those notes will parallel the same intentions they were designed with. We want to bring in 21st century interpretations of Trane’s music with the same conviction that he brought to it.
BS: I imagine you found something similar through teaching, showing the next generation the things that might turn them on to something and give them a path toward this music. Since you’re retired now, how does it feel to be free of the structured collegiate atmosphere?
LB: I have no regrets. I feel like I was able to make some pretty significant contributions to who is going to get presented as important in our general education process and helped move the curriculum into a multi-cultural paradigm. That was a fundamental thing I was always about. Something that was not only Euro-centric and African American, but also focuses in on the cultures of Asian American and indigenous peoples, among others. I got work to have some impact on stuff that is really important, like how we educate our kids to be “Americans”. Yeah, it was a good run for me.
The 39th Annual John Coltrane Memorial Concert “An Evening Of Ballads & Blues” takes place Saturday, October 29 at the Blackman Auditorium at Northeastern University, Boston. For tickets and more information please visit friendsofjcmc.org. Shoutout to Erin Smithers at followthesoultrane.com for help in making this conversation possible.
Happening Around Town:
The John Allmark Jazz Orchestra; Mondays @ The Met (Pawtucket)
Is This Jazz?; first Friday, bimonthly @ AS220 (Providence) isthisjazz.tumblr.com
Joe Potenza; Fridays @ Rosmarin (Providence)
Groove Merchants; Mondays @ Fifth Element (Newport)
Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket)
Groove E Tuesday;Tuesdays @ Murphy’s Law (Pawtucket)
Parlour Jazz Jam; third Sunday each month @ The Parlour (Providence)
Matunuck Beach Hot Jazz Party; Thursdays @ The Ocean Mist (Matunuck)
To add your listing please email [email protected].
Ben Shaw is a local composer, performer, writer, and podcaster. Dig into his works at ahueofshaw.tumblr.com or find him on Twitter @ahueofshaw.
Alt-Nation: Freaqshow: A Fashion and Art Spooktacular!
This is part two of our interview with AV Vienna from The Viennagram (read part one) where we go more into their Halloween party called Freaqshow: A Fashion and Art Spooktacular!; how their new visual effects will bring audiences to the pyramids of Magic, Death, and Destiny; Vienna’s upcoming indie movie debut; and the album/film that The Viennagram plans to immediately begin work on after Halloween.
Marc Clarkin: What do you look for when putting together the visuals for the show? How did you put it all together?
AV Vienna: Every aspect of my creative process is based in chaos / collage / creation. Psychic media. I’m constantly inspired by the unexpected outcomes and accidental art while collaborating with a computer. The LTTTP motion picture process was very creatively fruitful and Adobe Premier was my mad science lab. To achieve my cinematic vision, I explored the concepts of editing and combining footage into a sort of electronic Apophenia (the spontaneous perception of connections and meaningfulness of unrelated phenomena). The end result is a hyper-surrealistic-psychedelic-singalong for the soul. An amusement park for your mind!
Here’s an example of my Irrational Solutions at work: For our song “Wake the Dead,” I wanted to convey the ideas of reanimation, necromancy and rebirth. I originally planned on cutting every classic movie death scene imaginable, speeding them up and then reversing the footage (madcap massacre montage?). I abandoned this approach early on, because pointless violence is not the message, but one from death back to life. Let’s just say there were a lot of late nights editing a bouncing skeleton head over rotting fruits and vegetables in reverse! This process also led me to some amazing “accidental” compositions! Check some of them out at: facebook.com/media/set/?set=a.10205641350627871.1073741835.1677153105&type=1&l=974d605ab e
MC: Can it ever get too much where it takes the focus away from the music?
AV: I pose a similar question in the lyrics of our song “Learn to Tame the Patterns.” “How much is too much is too much is too much when too much is not enough?”
Now that the visuals are happening, it will BRING focus TO the music! I used to tell an audience, “Okay, now we’re going to visit the three pyramids of Magic, Death & Destiny.” That didn’t work. Then we had a robotic narrator tell the audience they were going to these pyramids; still not enough. NOW the audience will SEE, hear and experience what I’ve been trying to explain all these YEARS!
For me, I hear colors and see music. I write songs like a method actor and mix albums like a visual artist. The medium of moving image is the ultimate means of expression and exposure to create a focused shamanistic voyage; To Overcome the Perception of self in an immersive experience. Art has no rules. Sound is that invisible window to another world. This is a guided interactive divination dream for the viewer. Even if you’ve seen us before, in whatever forms, this is the one I’VE been waiting for! The future is now!
MC: In addition to the video, I hear you are starring in an upcoming independent film that Bill Murray is involved in?
AV: Yes. The movie, a dark comedy, is actually called “Saving Bill Murray” (haven’t met him … yet). [It was] shot over this summer by my friend and director, Chuck Kinnane, around his hometown of Little Compton. This will be my big screen acting debut and the process of filming this movie was completely unique. The crew consisted of the director, Chuck, and his 13 little brothers and all the dialogue was improvised! I had too much fun, they really created a monster! I found the process of filmmaking was strangely similar to performing: Hurry up and wait!
MC: I don’t know if there is such thing as a typical Viennagram show but if there is, this is not a typical Viennagram. What else is happening? What other types of acts will be performing on the 28th?
AV: Expect the unexpected is the kind of environment where anything can happen! The Columbus staff has allowed us access to the ENTIRE theater, so there will be surprises around every corner! On the Main Stage: The host and daredevil “Wyck” will be opening the event. I’ve heard many outrageous and incredible tales of Wyck and his inhuman tolerance to pain. See if the legends are true! Our best buddy band, Beta Motel, will also be performing! I can’t wait to see what their already incredible live show will look like in the theater! There will be visuals provided by Know No Truth, Liam Thompson, Lucid Harlequin, Derek Rook, and Michael Charles Photo. Vendors will include Electrikk Clothing, Bad Behaviour Boutique, Pickled Punks, Taxidermy by Paul Lonardo, and Crystals from Beitart Designer booth! Don’t forget there’s a COSTUME CONTEST! & a real GHOST!
MC: After this, what is next for the Viennagram?
AV: On November 1, We will begin work on the fourth Viennagram album and subsequent motion picture entitled: [U VIEW: NEW MUTOPIA:]. Delving into concepts of magic, mysticism, multiverses and other dimensions of reality! A sci-fi adventure fantasy epic! Be sure to follow us on your phone for further developments!
-AV. END [VIENNAGRAM:]
Freaqshow: A Fashion and Art Spooktacular! – featuring performances by Skull& Glossbones, Beta Motel, and The Viennagram as well as Nathalia JMag (of Project Runway!) Jeanette Converse Melanoir, special guest DJ Oscar Champagne, and a host of other surprises goes down at the Columbus Theatre on October 28.
Odds & Sods:
Alt-Nation Nightmare on Knight Street
The staff of Alt-Nation takes over the decks at the E&O Tap for a Halloween-themed party. Free admission and cheap thrills will go down on October 27 from 9pm till right around midnight at the E&O Tap.
The Blasters
The Blasters were way ahead of their time in terms of turning to retro sounds of rockabilly, blues and stripped-down rock ‘n’ roll that is so much a part of the modern Americana genre. The Blasters were formed by the Alvin brothers as the first wave of punk was waning in 1980. The Alvin brothers, like many brothers in rock ‘n’ roll, famously don’t get along, hence why the band only includes one of them, Phil Alvin, today. This should be one big hootenanny not to be missed!
The Blasters and The Delta Bombers rock Firehouse 13 on October 28.
Halloween Covers Night One of the perks of Halloween weekend is there is usually a good cover show where one gets to hear bands do something other than the same set they do all year. TEAZER will be doing a set as Van Halen and Ratstab will be doing a combination of Shitkickers, Discharge and whatever other tunes they come up with. COROT will be busting out a set of ZZ Top. LVMMVX will be doing a set of Swans jams. If someone told me Van Halen, Shitlickers, Discharge, ZZ Top and Swans were doing a show together I’d be pumped for at least three of the five.
Halloween Covers Night featuring performances by TEAZER, Ratstab, COROT and LVMMVX shakes Dusk on October 29.
Henry Rollins
With the national shit show known as the 2016 presidential elections finally in the homestretch, it will be good to get some comic relief from former Black Flag vocalist Henry Rollins. Rollins’ spoken word shows combine commentary on current events, comedy and tales from his lifetime in music. I’m hoping he tells his opinion on the current Greg Ginn version of Black Flag versus Flag, the Black Flag cover band composed of ex-members. Rollins always has an interesting and informed take, so if one is really still undecided (I don’t see how that is possible other than maybe considering a third party candidate), go see old Uncle Hank for some final political guidance.
Henry Rollins will be at The Met Café on November 1.
Email music news to [email protected]
Roots Report: Styx at Twin River
James Young, Photo credit: Lori Mars Okee dokee folks… The other night I had the opportunity to see Styx again for the first time in about 35 years. A lot has transpired with the band over those years and I was curious to hear how they sounded after all that time.
The capacity crowd greeted the band with rousing applause when they took the stage at 8:10 in the Event Center at Twin River in Lincoln. Judging by the looks of the gathered, we all appeared to be in approximately the same age range — OLD! I think maybe we were all there just to feel a bit younger and of course to hear some of our favorite songs from the ’70s and ’80s.
Appropriately the set started with the title track of the band’s 1977 album, Grand Illusion. “Welcome to the Grand Illusion … come on in and see what’s happening … pay the price get your ticket for the show!” I already knew that original frontman Dennis DeYoung was no longer with the band and his replacement, Lawrence Gowan, had the lead vocals and keys on DeYoung’s songs. The excitement of the concert start and the resemblance to DeYoung’s voice got me through “Grand Illusion” just fine. At the finish of “Grand Illusion,” guitarist and vocalist Tommy Shaw greeted the audience, “Welcome, Rhode Island! Put your hands together!” He led the band with his hit song, “Too much Time On My Hands.” The crowd sang along on the chorus complete with the perfectly timed clapped accents: “Too much
Tommy Shaw (acoustic guitar) with Chuck Panozzo on Bass; Photo Credit: Lori Mars
Shaw once again chatted up the crowd, “There have been a few changes in the band over the past few years. I was the new guy back in ’75. Back then you would tell a story in two parts. Back when radio played albums. We wanted you to get through the first side and want more. Then you would pick up the album cover and start sifting through seeds and stuff — you probably don’t know what that means. This is from side two of the Grand Illusion.”
What could be considered a deep cut was next: “Man In the Wilderness.” Finally JY (James Young) took charge of vocals on his lead track from side two of Grand Illusion, “Miss America.” At the conclusion of that number all but Shaw and Gowan exited the stage. They did a short duet of “Space Oddity” in honor of the late David Bowie. Gowan then exited and left Shaw to perform the beginning of the title track of Styx’s sixth album (try to say that fast!), “Crystal Ball,” solo. The band returned and joined in to rock the remainder of the song. Gowan did his best Liberace and repeated a bit of “Crystal Ball” in a showy piano sort of way. “I’m OK” was fronted by Gowan and was a weak moment in a so far powerful set. “Stand up and prepare to shake it out!” Shaw commanded the audience and blasted into “Blue Collar Man”. He concluded the song with a high kick. I am always amazed when guys his age can do this. He is 63!
Now this is where the show went into a serious lull. They left Gowan alone on stage to banter and play. I began to feel like I was in an airport lounge listening to, and once again I dare use the analogy, Liberace, only this time he added vocals. Snippets of “1999” by Prince, “Rocket Man” by Elton John and “Bohemian Rhapsody” by Queen were covered. There were reasons for him performing these: a tribute to Prince, NASA named one of Pluto’s moons Styx, and they also named an asteroid Freddie Mercury. Great. It just didn’t fit into a Styx show. The version of “Bohemian Rhapsody,” albeit VERY short, probably had Freddie rolling in his grave! “Come Sail Away” momentarily redeemed Gowan and once again brought out Chuck Panozzo on bass, but this time Phillips stayed on bass as well. At 9:33 they wrapped their set.
After the usual post-show applause the band returned. All the members had rolled up t-shirts to toss into the audience. Shaw took the mic and said, “As it was prophesied they turned the joint into the Paradise Theatre.” Guess which song was next? “Rockin’ the Paradise” did just that, well, really they rocked Twin River. A burst of confetti and streamers fell from the ceiling to punctuate the song’s ending. Shaw’s “Renegade” rocked to the finish and wrapped the 15-song show. The members shook hands with the front row, signed a few items and threw handfuls of guitar picks into the crowd. They joined hands, raised them up and took a bow.
Overall I liked the show. It was seemingly and understandably heavy with Tommy Shaw tunes. The “new guys” on bass and drums, well new to me, have been filling in for 10 to 20 years and were great and seamlessly integrated. Lawrence Gowan, who is Dennis DeYoung’s fill-in, is another story. At first he seems fine. He has the sound of DeYoung and is a fabulous keyboard player, but as the night progressed he got annoying. The more I heard his voice the more it sounded forced to sound like DeYoung and was fake. He hammed it up way too much. He spins his keyboard around, dances, and for some reason, would play with his back to the crowd during key solos. Shaw, JY and Panozzo are the real Styx. Lawrence Gowan is a hired fill-in. He is certainly talented, but he is not Dennis DeYoung. He reminded me more of Robert Blake, which is weird to imagine him playing progressive pop rock. His little interlude where he performed solo broke the continuity of an otherwise enjoyable show. If I were Shaw and JY I would reign him in and stick to Styx tunes. Hopefully someday Shaw, Young and DeYoung can settle their creative differences and have the full band back together again.
That’s it for now. Thanks for reading. www.JohnFuzek.com Seafoam Green’s Dave O’Grady To Play The Parlour On October 27
Dublin-born musician Dave O’Grady brings a soulful approach to folk music. His music is adorned with steel guitar twangs and acoustic guitar strums. There’s also a faint psychedelic aura that’s encompassed within his sound to provide a unique flair. O’Grady’s artistry is shown through his band Seafoam Green, who’ll be putting out their highly anticipated album Topanga Mansion in November. Rustic tones are abundant from track to track and the ears will gravitate toward a listening experience with a groove.
Produced and co-written by Rich Robinson of The Black Crowes, there’s a sense of the blues flowing throughout Topanga Mansion. Tracks like “Down The River,” “Runaway” and “Lowly Lou” bring a certain amount of grit while “Home,” “Sister” and “Far From Golden” resonate harmonious vibes. It’s a testament to O’Grady’s songwriting versatility. The result is each track offering something different for the listener. There’s nothing boring about the upcoming release and the quality is pleasant, to say the least.
O’Grady will rol through The Parlour in Providence as part of his current solo tour of the United States on October 27. He’ll share the stage with a stripped-down edition of the psych-folk act Viking Jesus, singer-songwriter John Faraone and a trio of keyboardist Matthew Odabashian and guitarists Matt Zajac and Steve Serra. Before this acoustic extravaganza, I had a chat with O’Grady about how he and Robinson met, playing in the United States versus playing in Europe, his musical upbringing and what he has planned for the coming months.
Rob Duguay: How did you and Rich Robinson meet and what was it like to work with him in the studio?
Dave O’Grady: We met in Nashville in 2011, I had just finished touring with a British artist and Rich was producing their next album. They invited me along, as I’d never been to the United States, to hang out and meet people and be part of the process. I wasn’t really aware of The Black Crowes at the time or Rich himself, so we were just two dudes who met and became friends from it. He invited me to open on his European Union tour the following January and that was that; he has been gracious enough to invite on most of his tours since.
RD: That’s great to hear. It’s nice to see an established artist like Rich giving an up and comer like yourself a bunch of great opportunities. Do you live in the United States now or do you still live in Dublin?
DO: Yeah, agreed. From the moment I met Rich he has been nothing but positive and educational with me. Since I met him he always sends me books and Youtube videos of certain songs and bands to check out and digest. I live in Liverpool, England, and have done for 10 years, but I’ve been lucky enough to be able to tour the States for three, four and sometimes five months a year for the last number of years. So I kinda live here half the year, just not in one place.
RD: So when it comes to playing in the United States versus playing in Europe, do you notice any similarities or differences between the crowds you play to and the venues you play at?
DO: The shows are a lot bigger in the United States because I’ve been focusing more time and effort over here as well as the luxury of tour supports with Rich. Although I’ll be hitting France and I think Holland in January for the first time in a while, so I’m really looking forward to that. England has a different culture with venues. There are a lot of “listening bars” that when you arrive, it doesn’t look like the people are there very much for the music. Same in Ireland.
RD: Now what was your musical upbringing like when you were growing up in Dublin? The new album definitely has a country-tinged soulful bluesy sound.
DO: My dad is a big music fan, so he always had vinyl records from the ‘60s and ‘70s filling the house as I grew up. I was listening to lots of Creedence Clearwater Revival & John Fogerty as well as The Band, John Martyn and Neil Young. I didn’t have to travel far to find good music when I was young. The new album I feel is a great representation of what I wanted to say under great guidance of someone who has contributed massively to the world of music and for that I am very grateful. It has allowed me to grow massively as a writer.
We had no restrictions for a sound when we made the record. There was no previous material that I had to live up to and there was no major label thinking about radio play or keeping songs less than four minutes. It’s a proper record.
RD: I can tell and that’s fantastic. After this current tour of the United States and the upcoming shows in Holland and France, do you have anything else planned for the coming months?
DO: After the Irish tour from November 5 to the 14, myself and my full band are recreating the Last Waltz in the Liverpool Philharmonic Hall. It’s something that I have dreamed about for years until my friend and label boss Dave at Mellowtone Records called me and said he booked the venue, so I have to do it now (laughs). We have a bunch of friends coming and sitting in, so it’s gonna be a great night! Regarding touring, I’m always planning shows about six months ahead, it’s a cyclical life pattern. I plan to hit the United Kingdom and Ireland and the rest of Europe next year as well as coming back to the States for another considerable amount of time. I love playing and touring and I haven’t got any kids yet so I don’t want to stop.
Check out “Sister” via Youtube: youtube.com/watch?v=bdhnnQc4Ktw; RSVP to the event page for October 27 @ The Parlour on Facebook: facebook.com/events/356166874718475; Seafoam Green’s Website: seafoamgreenband.com Album Of The Week: Ian Cat’s East Coast New England Boy
Acoustic music at times can be redundant and boring. Hearing the same sound just in different chords can make someone lose interest unless it’s a song that’s absolutely brilliant. Now what if you add different dimensions to it? What if a song has an acoustic base but there are electrifying solos and feedback that pumps up the volume? That’s when you have something special. Massachusetts musician Ian Cat does just that with his upcoming release East Coast New England Boy.
Hints of shoegaze and psychedelic rock flow throughout a record that is anchored by Cat’s acoustic guitar. Each song stands alone in structure and melody while keeping with a unique style that blends two kinds of rock music. There are soft acoustic tones and emphasis from the amplified guitars combining to make something strikingly different. That’s what seems to have been Cat’s goal all along with East Coast New England Boy. He achieves it in stellar fashion by finding his own musical identity.
A few songs are somber ones while others increase in energy and enthusiasm. Overall, Ian Cat’s new album offers a listening experience that’s more of a rhythmic voyage than anything else. After you press play, you won’t be listening to the same kind of song twice. It’s refreshing during a time in music where a lot of artists can find themselves stuck in a formulaic rut. Let’s dig deeper into the variety East Coast New England Boy offers in my top tracks off of the Album Of The Week.
“Purgatory Blues” is a steady pacing rocker that is an excellent example of the upping of energy with raucous rhythms. Cat sings about perseverance and redemption in a song that finishes off with a sweet array of keys and a shredding solo. One of the somber ones is “Twist and Tumble Journey Through The Dark,” a track that has an acoustic base while the cymbals crash and the electric guitar sneaks through at points. With a romantic vibe, “Shake The Sheets” is a love song about intimacy and intrigue. Another solo comes in at the halfway point to add an epic note. Ian Cat will celebrate the release of East Coast New England Boy with his backing band The Crimsons at the Midway Cafe located in the Jamaica Plain neighborhood of Boston on October 28. Joining them will be The Knock Ups, OTP and The Furs. Cat and his band have been playing more in Providence these days, so be on the lookout for them at one of the many music venues in the city. When the album is released on the 28th, grab a copy of it. Think of it as a musical trifle with each song having a plethora of layers.
Check out all the details on Ian Cat’s album release show for East Coast New England Boy here: facebook.com/events/1298274680182857; Like Ian Cat & The Crimsons on Facebook: facebook.com/CrimsonsHQ