Is This Jazz? Work and Art: Pianist Nick Sanfillipo talks about the line between art and commerce
When you go to a restaurant and see musicians playing in the corner, you may think they’re only there to have fun. However, many of these musicians are getting paid to play there as part of a full-time career in music. To shine a light on the role working musicians play, I’ll be interviewing peers of mine about their experiences performing, how they balance their lives to make the music happen, and if they see a difference between playing for art’s sake or as a job.
For this first of three articles I talked to pianist Nick Sanfillipo. I’ve known Nick for many years and have always been inspired by his work ethic, relentless pursuit of his career and attitude about the journey.
Ben Shaw (Motif): How long have you been a full-time musician?
Nick Sanfillipo: Since I graduated college in 2008. It took a couple of years before I could really consider myself “full time” as I was building my name and reputation, and making contacts.
BS: On a typical week, how often are you playing out and how many different ensembles do you consistently perform with?
NS: Every week is different, especially comparing winter and summer months in New England. Recently I’ve been averaging about five gigs a week, with three or four different groups. I have a Sunday church gig, a Wednesday jazz gig, Friday and Saturday nights with a wedding band that plays clubs in the off-season, plus random fill-in or pick-up gigs on other nights.
BS: Do you supplement your income in ways other than live performance?
NS: I teach a handful of lessons, but realistically I do all aspects of what it is to be a professional musician: teaching, recording, chart writing, accompanying, etc. But performing is the majority of my work.
BS: How much of your schedule is normally general business, or “wallpaper” gigs versus those you play for fun?
NS: Financially, the vast majority of my income is from general business gigs, usually weddings. We also do a fair amount of clubs in the Boston area in the off-season, though I wouldn’t call it wallpaper — we rock many of the best Boston bars until close!
Fun is really what you make of it. Many of my general business gigs are more well received — and in turn, I have more fun — than the more musically rewarding gigs because there are more people who want to rock out and party than sit down and enjoy artistic jazz.
BS: What do you see as the difference between playing music as art versus as commerce? NS: While music is art, once you start depending on this craft to pay bills, it becomes more than that. We’d all love our music to be loved, but we all need to eat, and I’ve grown okay with the fact that not everyone will like what I do. A lot of musicians don’t realize that many of the patrons in a venue are NOT there for the music. Maybe they like the food, maybe they know the bartender. We need to remember that as a hired musician our job is to entertain the patrons or at least not drive them off. If you’re selling out Madison Square Garden, you can play what you want, but even then you don’t want ticket sales to drop. It may be commerce, but it can also be art.
BS: Does it bother you to have to play those gigs or do you see it as a necessary part of the job?
NS: It doesn’t bother me at all. All gigs can be artistic and you can learn and grow playing anything. Let’s say you have to teach “Mary Had a Little Lamb” every week to students. You could use the opportunity to strengthen your singing, ear training, work on intonation, phrasing, tonging, etc. There are always things to be taken from every situation.
BS: In what way has life as a full-time musician lived up to your expectations and what are some ways it’s different?
NS: When I was younger, I thought I was only going to play the “fun” gigs where I get to stretch out. Shortly into my career, I realized I couldn’t support myself just doing that so I branched out into more styles. By playing these gigs that pay better, it allowed me to do the gigs I still really want to do. Plus I’ve found that I don’t mind playing “pop” and learning how to play that material has strengthened my overall musical ability.
BS: What should people looking to get into a full-time music career know?
NS: Take the good with the bad. Not everyone will like what you do, but musicians have to do our best at all times to put out the highest quality product possible. Branch out of your comfort zone. The more well rounded of a musician you are, the more you’ll work! Learn EVERYTHING and don’t be too proud to learn, especially the pop stuff.
Also, make as many friends as you can, you never know which one will hit it big and take you on the road!
BS: What do you wish people knew when they see live music in a public place?
NS: Although the musician is getting paid for a job and needs to cater to the venue, patrons should be courteous and not come up in the middle of a song and start talking or requesting other songs. It’s tough enough to play without a stranger telling me their friend plays “wicked awesome guitahh.” When I’m on break, I’d love to hear all about it! Also, if I don’t know you, and it’s not a jam session, I’m almost certainly not going to let you sit in with the band.
For an unabridged version of this interview, please visit isthisjazz.tumblr.com
Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com Is This Jazz?: Moon Hooch Takes Over at FMH
On April 18, New York City-based Moon Hooch dropped by Fete’s Ballroom as part of their co-headlining tour with fellow NYC group Too Many Zooz. The band is a sax and drum trio made up of saxophonists Mike Wilbur and Wenzl McGowen, and drummer James Muschler, who all met and formed the group while studying at the New School. While I had previously seen their performance on NPR’s Tiny Desk Concert a few years back, I didn’t have much of an idea of what their live performance would be like, so I was intrigued to see how this trio had evolved from performing acoustically in subways to what they are now.
Although the set began with little fanfare as the crowd was still filing in, within seconds of walking out on stage Moon Hooch launched into what would be a packed onslaught of non-stop music. Their first song was a fairly straight-forward house-music styled tune with McGowen providing a solid bass for Wilbur’s melodic lines over Muschler’s locked-in pocket. If this was an indication of what the rest of the show was going to be, it would have been a fun night, but you could feel there was another level bubbling up just under the surface. As soon as they dove into the second tune, from then on they were out into another universe. Wilbur began tearing through lines of interweaving harmony while McGowen backed him with deep bass and harmonic overtones that swept through the horn with ease, all happening as Muschler is crushing solid beats and peppering in quick drum fills between saxophone madness.
To be a saxophonist and to watch these guys play was like watching a course on what having virtuosic command of the horn can get you. Because they made it all sound so effortless, it’s hard to describe just how difficult the techniques they were using were, but it is imperative to note the incredible musicianship of this band. Both Wilbur and McGowen were blasting out perfect altissimo (wicked high notes) with beautiful tone right after circular breathing through lightning-fast arpeggios up and down the entire range of the instrument, and nailing incredibly fast articulations and multiphonics in between. While there were a few digital effects applied to the various instruments — and a sparingly used Moog synthesizer for a few added bass lines — most of the effects were a direct result of something each player was doing on the horn. And that’s not to say anything of Muschler, whose rock- solid groove and precise playing was a lesson in staying in the pocket.
Moon Hooch played straight through more than an hour’s worth of material, transitioning seamlessly through every song, only ebbing at moments to feature each player and give them some space to stand out before launching back in full throttle. I was extremely impressed by the use of expertly crafted dueling horn lines, the musicianship of the entire band, and the incredible energy they brought to their whole set. While unfortunately, I wasn’t able to stay to see much of Too Many Zooz, what I did see was just as exhilarating and I hope that next time they come through I’ll be able to see more.
Music at its core is about bringing something out of people, whether it be emotional, physical or otherwise. The movement generated by the crowd watching Moon Hooch could’ve powered Olneyville for a week. Next time they’re in PVD, be sure to grab tickets and be ready for one hell of a show.
For more information on the band and to listen to their music, visit moonhooch.com.
Happening Around Town:
The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)
Groove Merchants; Mondays @ Fifth Element (Newport)
Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)
Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)
Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)
Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)
Is This Jazz?; (Providence) visit isthisjazz.tumblr.com for listings
To add your listing, email [email protected].
Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com.
Why So Blue?
Get out your hemp pencils and mark your calendars — the Great American Hemp and Blues Festival is putting tickets on sale 4/20! On July 10, this music extravaganja will take over the Earth Ballroom at Mohegan Sun. Headlining the event is Rhode Island Music Hall of Fame 2019 inductee James Montgomery, who will share the stage with folk rock, reggae, country and blues bands. “To me, [hemp] is an exciting new field that’s evolving and roots music evolved into rock and roll and pop and hip-hop, so they’re both old traditions that have developed into something else in modern day times,” Montgomery says. “I love Mohegan Sun – every time I’ve been there the crowd was great and the people were great. The other bands on the bill – Muddy Ruckus and Mystic Daddy and others that we’re still talking to – it’s a chance to also see my fellow musicians play, which I haven’t seen in a long time. It gives us a chance to hang out and jam and see what everyone’s up to.”
But this all-day event isn’t limited just to musical entertainment. There also will be speakers, vendors and artisans selling their wares. It’s capped off by a Phish concert which, alas, is already sold out. For tickets and information, go to thegreatamericanhempandbluesfest.com
Keep On Moving: Hotrods & Horns: The making of Life, Love, & Loss
To lead off, I have to give my support to the workers of Stop & Shop who are forced to forgo their wages while the company tries to replace them with Johnny 5s from Short Circuit. Please do not cross their picket line. Moving on…
The first time I wrote about one of Jay Berndt’s bands, Kilgore Smudge, was literally 25 years ago in a paper called The Cowl at one of the local colleges. I mention this because it was a pivotal experience in my life. I didn’t know anyone in a band, but seeing Kilgore in its various incarnations got me out to see local bands and introduced me to a whole new world. On their debut album, Life, Love, & Loss, Jay Berndt & The Orphans take the R&B/soul of Van Morrison and cascade it with the dramatic highs and lows of Springsteen. To take a deeper dive into Life, Love, & Loss, I posed a few questions to my main man, Mr. Berndt himself.
Marc Clarkin (Motif): Much like the title suggests, Life, Love, & Loss packs in a little of everything. How long did it take to put it together?
Jay Berndt: The bulk of the songs were written between 2012 and 2013, when the Orphans first started. We actually recorded 50% of the album back then, but I was not happy with the sound of the home recordings or the performance of the band. So I scrapped the whole thing and started all over with a new version of the Orphans in 2014. All of those recording sessions happened at Power Station New England in late summer 2014. Mike DiBiase (Dibbs; producer & keyboards) and I overdubbed and mixed the record in 2015. We were actually ready to release the album in 2016, but I got tied up with the Kilgore reunion and then I brought in Dibbs to record Someday This War Is Going To End. So, we ended up delaying the release of Life, Love & Loss until 2018.
MC: I dig the early Springsteen feel of numbers like “My Baby Caught the D Train” and “Sweet Marie.” Didn’t you have some of the E Street horn section play on the record?
JB: The horn section on LLL was Curt Ramm on trumpet and Bill Holloman on tenor/baritone sax. Both have done live and studio work with the E-Street Band. Curt had worked at Power Station New England and done some live work with Dibbs. We just simply asked, and they said yes. I was really looking for a Van Morrison kind of sound, and they came back with something bigger than I could have imagined. Curt actually cut his trumpet parts the week before he went on the road for a year and a half with the E- Street Band. We were lucky enough that he got us some really fantastic centerfield seats at Fenway for a show on the “Wrecking Ball” tour and got to see him play with Bruce.
MC: You have a nice tribute to your dad on “Gasoline (When I Was Growing Up),” but arguably the most impressive thing was that you managed to work Yastrzemski into a rhyme. In the song, you talk about going to drag races as a kid. What about the atmosphere did you love?
JB: Thanks, man. That one is my absolute favorite. It’s probably the most autobiographical song I’ve written. When I was a kid, my dad had been rebuilding his ’55 Chevy Sedan Delivery for years, and I was always with him in the garage. He took me to my first drag race at New England Dragway in Epping, NH, when I was about 7 or 8 years old. So that would have been in 1978 or 1979. The races were pretty awesome, especially because of the unbelievable force and power of the top fuel dragsters. We also got pit passes so we could check out the drivers working on their cars. That’s what really hit me. To be right next to these blue-collar guys, greased-back hair, dirty white t-shirts with a pack of Camels rolled up in their sleeves, wrench in hand, working on these cars, just like my dad. And when they lit up those motors, the decibel level was just incredible. It moved your whole body. Made a huge impact on me. He then took me to a number of big races like the Summer Nationals in Englishtown, NJ, and the Winter Nationals in Pomona, Calif. This is where I got to see the biggest racers in the NHRA, like Shirley Muldowney and Big Daddy Don Garlits, take these fantastic machines down the quarter- mile track at over 200mph. In the racing community, they were like the Babe Ruth or Ted Williams of drag racing.
MC: Love the tune “The Other Ones.” What inspired that one?
JB: My parents decided to move our family out to Orange County, Calif, in 1980. I would have been in 5th grade. I felt like I was in a foreign land. I was a Rhode Island kid with flannel shirts, corduroy pants and a funny accent surrounded by people in madras plaid shorts, surf shirts and Flock Of Seagulls haircuts. I was bullied and ridiculed on a daily basis. I felt like Ralph Macchio in The Karate Kid. I had zero friends and the only solace I had was books, movies and music. I completely related to the social outcasts of The Outsiders by SE Hinton or East Of Eden by Steinbeck. And just as I was coming into my identity, we moved back to RI in 1987. The young men at Cranston High West with the standard mullet haircut, Cavaricci pants and Iroc Z Camaros did not respond well to my appearance. I was seen as an alien in my Exploited t-shirt, Doc Martens, trench coat and Tony Hawk hair. And the bullying and torment started all over again. “The Other Ones” is really a battle cry for my young self, simply wishing not to be chastised for being different than all the other clones — something I think everyone can relate to at some point in their life.
Jay Berndt & The Orphans will be joining Consuelo’s Revenge, The Callouts, and Earthward at the News Cafe on Apr 19. All proceeds from the show will benefit J. Arthur Trudeau Memorial Center.
Bonus Tracks: Indie folk rockers Aquaria celebrate the release of their album Interbeings with a show at The Parlour in Providence on April 25 with PALS and Jesse The Tree. The record will be available on all your favorite streaming sites. That said, get off your ass and go to the show to support local artists.
Email music news to [email protected]
The Roots Report: Expensive Dues: Making it in music is about more than talent
Okee dokee folks… For some reason, the saying “you’ve got to pay your dues” has been bouncing around in my head. The late Richard Walton of Stone Soup Coffeehouse used to utter that phrase often when he was introducing musicians who had signed up for the “hoot” at the coffeehouse. I remember the first time that I played at Stone Soup. It was about 30 years ago and Mary Ann Rossoni and I had just formed the Fuzek-Rossoni duo. We signed up to “hoot” and heard the “got to pay your dues” mantra. As the years passed, we understood it more and more. Being a musician is a constant learning process and paying your dues is part of that education.
People like instant gratification, but it rarely happens in the music business and if it does, it’s usually fleeting. This is one of the main issues that I have with shows like “American Idol” and “The Voice.” Besides recognizing only a one-dimensional view of talent, these shows feed the instant celebrity craze. People ultimately have to understand that musicians are entertainers, and having the talent to endure AND entertain is above and beyond musical talent. Would Bob Dylan or Neil Young have survived the initial auditions for “Idol” or “The Voice”? Probably not, but they, like so many others, did one thing: They went out and played, played, played music anywhere and everywhere. They probably played lots of shithole bars, dances, coffeehouses, open mics or wherever anyone would let them play. They probably performed for barely existing audiences that talked over the music. They surely, initially, worked for “pass the hat” cash or sang for their supper. Maybe they slept in their cars, couch surfed or stayed in fleabag motels. It’s not unusual for this to be the norm when trying to “make it” in the music biz, and this is what “you’ve got to pay your dues” is all about. Paying your dues truly makes you appreciate being a musician/performer and makes you better at it because you have earned it! It’s not for the weak. Read on…
One artist/band that has been out there playing, playing, playing is Ward Hayden & The Outliers. Formerly known as Girls, Guns and Glory, they have spiraled out far beyond their Boston hometown, playing honky-tonks, beer joints and concert venues throughout the country and amassing a loyal legion of fans along the way. Rolling Stone describes them as a “modern-day Buddy Holly plus Dwight Yoakam divided by the Mavericks.” If you want to hop on the Outliers bandwagon, then check them out at the Zeiterion in New Bedford for a performance on May 2 that is part of The Z’s Stage Door Live series where The Z stage is transformed into an intimate concert club. Also coming to the Z is Viva Portugal! Festa, Camané with Ana Sofia Varela, Arlo Guthrie and more. For info, wxyzzzzzzzzzz to zeiterion.org
Sandywoods Center for the Arts in Tiverton is picking back up again. On April 27, October Road, a James Taylor Tribute, celebrates the music of James Taylor and his All Star Band. On Sunday, April 28, Sandywood features Dueling Duos. Three duos will perform: Redfish, Bliss Point and Back Porch starting at 3pm. Melville Grill will be serving dinner for a separate fee. On May 4, daughter of Arlo Guthrie and granddaughter of Woody, Annie Guthrie, will bring her own blend of funny, heart- wrenching and poignant songs to Sandywoods. The show starts at 6:30. For more about these and other shows, one potato, two potato to sandywoodsmusic.com
And now just a few more for your listening pleasure. The Rhode Island Songwriters Association, now in its 26th year, has returned to the Brooklyn Coffee Tea & Guest House on Douglas Ave in PVD to present Saturday Songwriter Showcases every THIRD Saturday of the month. The past few shows have sold out, so it is best to get tix in advance for these intimate performances. This month features Kala Farnham and Steve Allain on April 20 (risongwriters.com).
Acclaimed singer-songwriters Chris Pureka and Lisa Bastoni play rare acoustic sets at Askew in PVD on Sunday, April 28 at 7pm. Chris Pureka has been compared to Gillian Welch, Bruce Springsteen and Patty Griffin and shared the stage with notables such as Dar Williams, Lumineers, The Cowboy Junkies, Martin Sexton and Ani DiFranco. Chris has remained an independent artist and has sold 50,000 albums through her own record label!
Following a 10-year break from music, a career change and two children, Massachusetts songwriter Lisa Bastoni recorded The Wishing Hour, which wound up at #1 on Boston’s WUMB. In the past year, Lisa has been selected to showcase at the New England Regional Folk Alliance, as well as the Falcon Ridge and New Song Music/LEAF Festivals. Her song “Rabbit Hole” was grand prize winner of the Great American Song Contest. She has opened for artists such as Lori McKenna, Regina Spektor and Arlo Guthrie (askewprov.com).
Music in the Gallery concert series brings in singer-songwriter Grace Morrison for a special CD release concert to promote her newest album, Reasons, on Friday, May 3. Grace is a regular on the national festival circuit and has won a number of prestigious awards, including the Eventide Arts Songwriting Competition. The concert series is held in the James Arnold Mansion/Wamsutta Club on 427 County Street in New Bedford and is presented by the music directors of the New Bedford Folk Festival. For more, get the folk over to brownpapertickets.com/event/4058112
That’s it for now. Thanks for reading. JohnFuzek.com Music Award Winners
Rock Breakthrough Act: Benji’s Our 2019 Breakthrough Act’s first EP came out four years ago, but the RI community is finally starting to take notice. Much like religious minorities seeking liberty, founders Maryssa Morse Philip Geronimo came to PVD in 2014 from LA. Their music reminds me of surfy Pixies mixed with early 2000s Franz Ferdinand. Catch the Benji’s on April 16 at the News Cafe. – JB
Rock Live Act: The Silks
What else is there to say about these local heavyweights and previous winners? They’re probably known best for the guitar pyrotechnics of Tyler-James Kelley, but this band hasn’t gotten where they are by dragging dead weight. Uncle Sam Jodrey on drums, Jonas Parmelee on bass and Johnny Trama on rhythm and lead guitar bring it all together beautifully. Folks in the Boston area have now seen the lSilks’ Swampy, bluesy rock ‘n’ roll that takes no prisoners. – JB
Rock — Favorite Female Vocalist: Tai Awolaju (Boo City)
Tai Awolaju is the backbone of Boo City along with guitarist Andrew Moon Bain. Her show-stealing voice keeps the band’s diverse mix of soul, rock and reggae moving in the right direction. Throw in a dynamic and commanding stage presence, and this Motif award comes as no surprise to those already hip to Boo City. – JB
Favorite Punk Act: The McGunks
Previous winners of the award back in 2012, The McGunks have been tearing through New England since 2003 with their brand of rollicking singalongs about barrooms and beers in the vein of Social D and Dropkick Murphys. Check out their music live at the Midway Cafe in Jamaica Plain on May 4. – JB
Favorite Pop Punk Act: The Callouts
Pop punk is not a lost art, and The Callouts prove it in convincing fashion. Their second album, give up, just out in January, shows no signs of a sophomore slump, with hook machines like “Amelia” and “Reverse Clooney.” Catch The Callouts at Rob Duguay’s birthday bash April 19 at the News Cafe. – JB
Favorite Cover Band: Sybil Disobedience
It’s just another year in the life of Sybil Disobedience. I hope they have commissioned a trophy case for all these awards, because this is Sybil’s fourth Motif trophy in a row, an impressive achievement. Sybil is the go-to cover band that goes from top 40 to classic rock, and keeps the party going all over RI. – JB
Favorite Post Punk Act: Hope Anchor
It’s the second win in a row in this category for Hope Anchor, who played a killer set at last year’s Motif Music awards. The crew made up of Paul Everett, Terry Linehan, Ray Memery, Robbie Shaggs and Paul Myers was described by Marc Clarkin as “indie rock that reminds me of some descendant of Echo & the Bunnymen and Wire.” And with maybe the hardest-reppin’ RI band name out there, what’s not to like? – JB
Favorite Female Singer / Songwriter: Amanda Salemi
Amanda Salemi’s words and music are the secret sauce that gives Consuelo’s Revenge its signature eclectic folk gypsy punk vibe. Listen to the beautiful “Teri’s Song” or the barnstorming “The Palatine Light” to see what I mean. While CR has another album on the way, Salemi is reportedly working on her first solo album, which likely means more Motif awards to come. You can see Salemi in the flesh at one of Rob Duguay’s turnt up Birthday Benefit Bashes, April 19 at the News Café. motifri.com/amanda- salemi-profile/ – JB
Favorite House Band: Nick-A-Nee’s House Band
Props to the house band at everyone’s favorite dive bar! The band includes keyboardist John Juxo, Hawk Rocco, Jim Morgan and Jim Kelley, and they take the stage every Monday night at Nick-a-Nee’s on South Street in the Jewelry District. – JB
Favorite Reggae Act: Hope Road
Hope Road are a tribute to Bob Marley and The Wailers, and they play a vital role in breathing new life into those songs. I’m not sure why they got cast in reggae vs. tribute, but since they do both, it isn’t really a big deal. You can catch Hope Road when they bring the rasta jams to the Ocean Mist on April 20. 4/20 and all. – MC
Favorite Ska Band: The Copacetics
The dynasty continues as once again The Copacetics take home the honors for “Favorite Ska Act” for lord only knows how many years in a row. I’m guessing at least six years, but even that could be selling them short. They dominate this category as if they were the Beatles of local ska. The Copaceptics are next in action at Askew on May 17. – MC
Favorite Jam Band: The Cosmic Factory
I caught The Cosmic Factory recently and it was a haze of funk-fueled mind-bending rock. The Cosmic Factory have a couple of upcoming gigs, including one at The Oasis Pub in New London, Conn, on April 5 and in PVD at AS220’s Psychic Readings on April 18. – MC
Favorite Garage Band: Eric and the Nothing
This has been a huge year for Eric and the Nothing as they released their debut self-titled debut, which sounds great — highly recommend that you pick it up in vinyl. Eric and the Nothing are more or a throwback to ’50’ Buddy Holly style rock ‘n’ roll than traditional garage rock but hey, I’m good with whatever you kids want to vote for. These guys deserve it. Eric and the Nothing are next in action at AS220 as part of a killer bill on April 24. – MC
Favorite Dance Night: Soul Power
Speaking of dynasties, Soul Power is working on its own by taking top honors for at least the fifth year in a row. DJs John O’Leary and the dance commander himself, Ty Jesso, bring the party to Dusk twice a month on the second and last Fridays of the month. I’ve been going to Soul Power for the last 15 years and will keep going for another 15 as long as it and I’m still around. Soul Power bring the best of mostly ’60s soul, go-go, mod, garage, funk and a truckload of fun! – MC
Favorite Harcore/Metal Act: Rhode Kill
Rhode Kill has been cranking out loud blasts of metal and punk since 2005 and are showing no signs of slowing down. These guys have paid their dues and then some. Rhode Kill recently posted that they have some heavy new jams in the works, which I look forward to hearing. – MC
Favorite Noise Band: Dropdead
Dropdead has been pounding a mix of political hardcore and thrash since 1991. They have released albums and traveled the world and really mean too much to so many people around the world to be a local band. I didn’t think Dropdead really needed a nomination, but sometimes people don’t listen to me. I was excited to see Dropdead recently post photos with the caption stating they had 20-something plus new jams that they are working on. Can’t wait to hear them; singer Bob Otis is a needed voice in these Trumpian times. – MC
Favorite Tribute Act: Dirty Deeds
Speaking of dynasties, how about Dirty Deeds who are another band that has to be close to at least five consecutive wins? Next year I’m going to suggest adding a new category called Favorite Non-AC/DC Tribute act just to give another band a chance. Dirty Deeds are an interesting story; they have been cranking out those classic AC/DC riffs so long that the band has two generations of family members. Dirty Deeds are at The Whiskey Republic in Providence on May 4. – MC
Favorite Rock Festival: PVD Fest
I can’t name one act that played last year’s PVD Fest and a year from now I probably won’t be able to name an act from this coming year’s fest. That really isn’t what PVD Fest is about. PVD Fest is a celebration of arts and culture in the city. It is just fun to walk through and stop by the different stages and experience all the different genres of music melded together. This year’s PVD Fest will take place June 6 – 9 all over downtown PVD. – MC
Favorite Rock Album and Favorite Male Rock Vocalist: Blackoute Deluxe by Ravi Shavi – Rafay Rashid
On Blackout Deluxe, Ravi Shavi expanded their palette to include psychedelic and funk sonic waves while retaining plenty of the high-energy alterna-punk that has long been their calling card. Singer/Guitarist Rafay Rashid, who took the honors for “Favorite Male Vocalist,” has a solo show coming up at the Columbus Theatre on April 4 as part of the WHEM 2 Year Anniversary show, opening for The Horse-Eyed Men. – MC
Favorite Rock Act: Tall Teenagers
Despite being neither tall nor teenagers, Tall Teenagers come as advertised if it’s dingy post-punk/ alternative rock with harmonies that is on the label. Tall Teenagers have two releases out of low-fi unsettling pop that reminds me of Pod-era Breeders meets Ty Segall at the Rock & Bowl on Saturday night. Next up for these giants is rocking out at the one year anniversary of Askew in Providence on April 20 with The Low Cards and Barn Burning. – MC
Favorite Sound Person: Kris Hansen
It’s one of those jobs that you don’t notice if it’s done well, but you definitely notice when it’s not. Well, voters are noticing you, Kris Hansen! Hansen is a true pro and has done sound at just about every club in Rhode Island. If your favorite band sounds particularly good one night, you just might have him to thank. – EO
Favorite Wedding Band: Brass Attack
Once the I do’s are done, the real party starts, and Brass Attack is this year’s favorites among voters who like to get down on the dance floor to woo that cute bridesmaid or groomsman. Tying the knot this year? Make sure your ring isn’t brass, but your band is. – EO
Favorite Photographer: Eric Johnson
Eric Johnson started photographing live shows for local act Sybil Disobedience, then began getting calls to shoot other band’s shows. He said of his work that “I make enough money to put pizza in my belly and pay for my big camera.” What more could a photographer ask for? – EO
Favorite Music Video: “Victims” by Mass of Man
This is a new category in the Motif music awards this year. Check out Mass of Man’s winning video tht accompanies their meaningful and hard-hitting song here: https://youtu.be/kgvK_66Jh1w. – EO
Favorite Country Act: RI Rednecks
It’s easy to forget that just about three-quarters of our tiny state is agricultural land, but the RI Rednecks will help you remember. These old boys have the look of a country band down pat — big hats, leather boots and good American blue jeans. More importantly, they have the sound. Jangling Telecaster and warbling vocals coming together over a solid shuffle in tune after tune. Suitable for all your yeehaw needs and available right in here town. – DS
Favorite Jazz Act: Take it to the Bridge/Greg Abate
Take it to the Bridge won Motif‘s music award for Favorite Jazz Act, but they declined the award since they don’t fit the genre and so the second place winner, Greg Abate, took home the trophy. Those keeping an eye on the local scene have undoubtedly felt the presence of the saxophonist who, between stints touring around the world, has called RI home and remains a constant fixture in the area, leading the charge of bebop excellence around the state. Dig his latest release Road To Forever and learn more at gregabate.com. – BS
Favorite R&B Act: Steve Smith and the Nakeds
The sound of a full band playing truly American rock ‘n’ roll is harder and harder to find, but not if Steve Smith and his crew have anything to do with it. Sporting a full, robust sound, Steve Smith and the Nakeds do it right. Tight horn hits punctuate jangling piano, rollicking guitar and Smith’s hollering, joyous vocals. A mix of originals and well-advised covers blare out with unapologetic intensity at every turn. – DS
Favorite Math Rock / Prog Rock: David Tessier
It’s rare that an album name sells a mood so well as David Tessier’s Dreams in Hyperspace. Crunchy synths, metal-inspired guitar riffing and rapid-fire drumming give way in turn to gentle, swelling, thoughtful ballads like “Hey Mary.” Tessier’s harmonized vocals traverse the sometimes-unruly, sometimes-majestic backing music. Somewhere between Queen and King Crimson, deep into hyperspace you’ll find the sound that Tessier has managed to lock down so well. – DS
Favorite Bluegrass Band: Hollow Turtle
Hollow Turtle bucks the trends of folk rock moving into the world of saccharine, overly commercial pop ballads. Old-school style brings new-world grief to light in their careening, tightly wound vocal harmonies. Relentless strumming and plucking from the string section lifts the harrowed singing to great heights. Even the most steadfast bluegrass disparager will find their foot tapping when Hollow Turtle gets to it. – DS
Favorite World Music: Gnomes
Gnomes’ mythic name it seems is no accident. The band’s music channels old-world, fantastical folk. Penny whistle? Plenty of it. Plunking, thick bass lines? But of course. Accordion? Applied liberally. That’s not to say Gnomes’ catalog is all dusted-off, ancient tunes — somewhere in the studio and on the stage, a modern liveliness finds its way into the music. Whether any given song is Hassidic, Celtic, Slavic, African or even of some vague sea shanty origin, each brings something new and distinct to the table. – DS
Americana — Favorite Female Vocalist: Allysen Callery
The mood of much of Allysen Callery’s music is pleasantly dark. Her dappling, vamping chords provide fertile soil for her winding, explorative lyrics. Not all music needs to be cheerful and someone certainly let Callery in on that fact — her tunes are best suited for deep pondering, rainy days, cups of coffee gone cold and remembrances of days long past. And that’s a good thing. Her songs tell the kinds of stories that make you think, make you feel and make your eyes a little misty. – DS
Favorite Locally Based National Act: Roomful of Blues
There aren’t a lot of bands who manage to be contemporary now and when my parents were kiddos long ago. Roomful of Blues manages to hold that down and has done so for decades. Having played in virtually every venue across the state and boasting a staggering array of talent, this band is dear to fans of the blues in a way that few others ever have been. They touch every corner of the the genre with a no-fuss, big band sound that has earned them the status of legends. – DS
Favorite Male Singer/Songwriter: Nate Cozzolino
There’s comfort in Nate Cozzolino’s raspy singing. Even as his subject matter is often dark, a warmth permeates his music, thanks in no small part to his supremely talented backing band, The Lost Arts. There’s quiet triumph in here, told in the form of subtle bass runs and drum fills, all moving in perfect unison to Cozzolino’s cozy chord progressions. With a sound of important news from far away told in the form of a song, Cozzolino has found his niche. – DS
Favorite Open Mic: Tuesday at the Parlour
Favorite Karaoke Night: Friday at The Parlour
The Parlour has great music just about every night, so it’s no surprise that their Tuesday open mic is no different. A revolving cast of familiar and new faces plays to an enthusiastic crowd each week. Great sound production and drink prices are sure to please (nothing goes with cheap drinks like a no cover event). If you like what you see on Tuesdays, come back any other night of the week for a different theme and a different vibe, all in the same place. – DS
Favorite Street Band: Big Nazo
The Big Nazo band is its own experience. Not often enough do you get to see people in beautifully crafted and slightly creepy costumes getting their groove on over a brash, big-band sound. This crew had been around in one form or another for years, taking their unique PVD vibe around the world and holding down classic PVD staples like PVD Fest and Foo Fest when they can. If you’re thinking of GWAR for the whole family, you’re not too far off. – DS
Favorite Choral Act: Providence Gay Men’s Chorus
Full of hope and wonder, the Providence Gay Men’s Chorus truly knows how to work as a group. The combined sound of so many voices is full and rich, often teetering toward tear-inducing. Representing a slice of our city’s many LGBTQI folk, each song is an anthem of hope and inclusivity, told in many voices. Catch this huge ensemble whenever you can to take in the lush vocals and snappy attire. – DS
Favorite Folk Act: The Quahogs
Sometimes you want to go out and barroom brawl your troubles and sorrows away. Sometimes you just want to hear about someone else doing it. Steve Delmonico and the Quahogs behind him can help you do either, or probably both. Rowdy and raunchy, the band blasts out good old crunchy rock music that is welcome home in anywhere from beautiful Olneyville warehouses to the stripmall bars of Warwick. – DS
Americana — Favorite Male Vocalist: Steve Delmonico
Steve Delmonico has the rare gift of singing with passion while still sounding tired of it all. His world- weary swagger is the gleaming shine on top of the Quahog’s sound, inviting listeners to take in his tales of worry and woe. He varies between outright howling and more ponderous crooning, with an occasional big “woo” thrown in for good measure. Big woos are good for morale, both for the band and the listener alike. – DS
Favorite Americana Album and Favorite Blues Act: Neal & The Vipers
There’s a solid comfort in blues-rock arranged in 12 bars. It goes where you want it to, does what you came for and puts a smile on your face the whole time. Songs of exhaustion, the man, romantic partners who just don’t understand — you’ll get it all from Neal & The Vipers on their album One Drunken Kiss. They rock, they roll, they take big, loud solos whenever possible. They do everything you want them to and they do it well. – DS
Favorite Americana Act: Cactus Attack
Cactus Attack is able to mix cheery music with sour subject matter. It’s a skill that’s essential for a good country band, and Cactus Attack has mastered the blend. They avoid any overstuffing, even with strings upon strings plucking and bowing out all together. A deep-rooted coordination rules over the music. Hairpin turns and changes reveal not a single misplaced note. A prime example of the music of our previous generations making its way seamlessly into the hearts and minds of that elusive millennial generation. – DS
Favorite Americana Breakthrough Act: My Mother
According to their own words, My Mother is too intense to be called folk but too graceful to be labeled grunge. I’d be willing to say that’s true. The guitar is thick and confident, never wavering in its purpose of propelling dynamic and often chilling vocal harmonies that careen through unexpected but welcome melodies. Now that they’ve broken through, we’re all excited to see where this duo goes, all while walking such a fine line of genres. – DS
Favorite Locally Produced Festival: Rhythm and Roots
If you would like to see what a REAL music festival is like then you should check out this year’s Motif Award winner for Best Locally Produced Festival, The Rhythm and Roots Festival. This one has all the ingredients of a perfect festival experience: multiple music stages, camping, food, after hours jamming, dancing and much, much more. This festival has been happening at Ninigret Park in Charlestown every Labor Day weekend for more than 20 years and has presented performers such as Steve Earle, Little Feat, Natalie McMaster, Bruse Hornsby, Roseanne Cash, The Mavericks, Keb Mo, Los Lobos, Lake Street Dive, Lucinda Williams and many, many others! For more, zydego-go to rhythmandroots.com – JF
Favorite EDM DJ: DJ Leucistic DJ Leucistic infuses Breakz, Electro, DubNWubz, Hard Trap and maybe some Hardstyle and Future House in what he calls a high energy open format. See him spin at FreQ Fridays at Alchemy. – CA-K Favorite Goth Night: Phantasm at Alchemy Phantasm was conceptualized about six years ago and has been going on for five years. Joey Electric runs the evenings, and he had this to say: “I don’t feel that Phantasm is different from other goth nights in New England. We champion the notion that music is a universal force that brings us all together. We come together at Phantasm to share the love of dark music, art and culture. We just love to dance to music with atmospheric synth, and this ideal is evident at other goth nights all over New England.” – CA-K Favorite Club DJ: Pauly Danger
Pauly Dancer has been spinning music since 2002 when he had his first radio show as an undergrad at UVM, and he started playing in clubs in Burlington around 2006. His biggest inspirations include local DJs and radio personalities DJ A-Dog, Melo Grant, Nastee, Big Dog & Demus, DJ Cr-8, Fattie B and Selector Dubee. Follow him on Twitter @DJPaulyDanger to see where he’ll be performing. – CA-K
Breakthrough Hip-Hop Act: $wifty
$wifty has a knack for fast-pace freestyling, and he’s continuously improved his craft since his high school days. From rapping in a close friend’s basement and Honda Oddysey (ask him about it, he’ll tell you) to better-equipped studios and time in Los Angeles, he’s never lose his unrelenting desire to progress upward on the mountain of success.
$wifty struck gold with his late 2017 single, “Cyclone.” which elevated his musical status and introduced him to a wider audience. The success continued as he fired off his next single, “Shame,” alongside labelmate Mags. At the top of 2018, $wifty dropped his debut project, Show & Tell a 10-song effort, which showed audiences his artistry, 10 years in the making.
If you thought he had any plans of slowing down you are quite mistaken. Standing strong with rappers Mags & Young Sen with their newly established label, Problem Child Records, $wifty recently released a five-track EP titled Realest Out alongside producer guccydior. – WO
Favorite Hip-Hop Act: Toad and the Stooligans
Bands are a rarity in the hip-hop world, but Toad and the Stooligans are determined to lead the charge to break that norm. Repping my hometown of PVD, the five-member group is composed of frontman Mike Jencks, guitarist Dan Pomfret, bassist Alex Caimano, drummer Matt O’Brien and keyboardist Daniel Hill.
First coming together in early 2015, the five members joined to bend the general rules of hip-hop as much as possible. Funk and jazz are just a few of the genres that appear in their music and all these elements are all carefully placed paint strokes that create the landscape that is their sound.
The band launched their official start in the last quarter of 2017 with Very Handsome. Sporting 12 tracks, the album effectively introduced their unorthodox take on the genre. Since the release of Very Handsome, the group has stayed under the radar aside from their 2018 track, “Trap Song.” Hopefully, that just means they’re hard at work on a new project that we’ll see in the near future. – WO
Critic’s Choice: Chuck Wentworth Chuck Wentworth received his critic’s choice award because of his long-time, behind-the-scenes, commitment to music in RI and beyond. His company, Lagniappe Productions, produces the annual Rhythm and Roots Festival in Charlestown, The Mardi Gras Ball at Rhodes on the Pawtuxet and more. He was also involved in other out-of-state festivals, such as the Grey Fox Bluegrass festival in upstate New York. In his earlier days, he also produced cajun and zydeco dances at community halls and festivals at Stepping Stone Ranch in Escohag. In addition to all of this, he was a DJ and the head of the Folk Radio at WRIU for more than 30 years. While he recently retired from WRIU he still works tirelessly to promote music through Lagniappe Productions. – JF
Critic’s Choice: Dan Lilley Dan Lilley received his critic’s Choice Choice Award because of his 45 years of performing the RI music scene. Dan is a music warrior and stills plays just about every Friday and Saturday night, as a solo, in a duo or band somewhere in RI. Over the years his bands have included: Sane; Tyger, Tyger; The Flying Ditchdiggers, Lovetrain, Dan Lilley and the Keepers, Dan Lilley and Scatman, and Forever Young. He channels his soul into every performance whether it is for three people at the bar or a thousand at a theater. Lilley is also a songwriter and has recorded several albums of his own music. His song “Hey, Josephine” was the inspiration for the Rhode Island Songwriters Association to release an album of the Songwriters In The Round shows. Other songs he has written like “Jealous Heart” and Home Fires” should have been hits, but like the music of many local performers, it never received the right exposure. Nevertheless, he keeps playing and playing for you. In addition to his dedication to music, he has been an English teacher at Central High School in Providence for more than 30 years. – JF
Special Recognition Vocalist: Meaghan Casey
Meaghan Casey is a singer-songwriter who earned multiple nominations in this year’s awards. Casey was narrowly edged out coming in 2nd, but in all the categories she was nominated in, she got more votes than some of the winners. She is obviously a local favorite so we just wanted to recognize this very talented artist. You can catch Meaghan Casey at the Galactic Theatre in Warren on April 7 opening for Hollow Turtle. – MC
Critic’s Pick for Favorite Album: Jay Berndt & The Orphans Life, Love, & Loss The long awaited debut album from Jay Berndt & The Orphans, Life, Love, & Loss, more than lived up to the hype the band’s electrifying live shows have generated. There is a heavy Springsteen influence running throughout the album between the mix of rockers and ballads with tasteful horns. My favorite jam on this one is “Sweet Marie” but Life, Love, & Loss is a rare album that I’ll tend to listen all the way through when I pop it on. Jay Berndt & The Orphans will be rocking out at the News Cafe in Pawtucket on April 19. – MC
Special Recognition Rock: 123 Astronaut
123 Astronaut bolted on the scene with the release of their debut EP, The Friction. 123 Astronaut play guitar dominated alterna-indie rock that culls from across the decades and quite possibly the galaxies considering singer/guitarist Jeff Robbins taste for space wear. 123 Astronaut recently finished recording a follow-up EP, which is currently being mastered and should be out in a few months. – MC
The Roots Report: E-nnoying!: Those highway signs should hit the road Okee dokee folks… Have you noticed the illuminated message signs along our major highways and the annoyingly punny sayings on them? Personally, I think that these signs should be used for one thing only: emergencies. Instead, they visually shout stupidity at you as you pass. They are such a turn-off because they never seem to be turned off so I TRY to ignore them, which is exactly the opposite of what they are there for. Last month, with St. Paddy’s approaching, they constantly flashed out messages like, “Make your own luck, drive sober” and “You’re someone’s pot of gold, drive sober.” Yes, I agree, drive sober, but a driver has to take their eyes off the road to read the message. If you don’t know enough to drive sober, I seriously doubt that this electronic conscience is going to influence your imbibing, especially with puerile quips such as these. Other examples read: “Use yah blinkah,” “That seat belt looks good on you” and “Santa sees you when you’re speeding.” Maybe the sign people just aren’t getting enough emergencies to light write about. Maybe they should become songwriters and hit the open mics; they might be less annoying this way. Am I alone? Read on…
Ding, Da-Ding, Ding, Ding, Ding, Ding, Ding, Ding… Does that sound familiar? Ha! Well, it’s the plucking banjo intro of the instrumental “Dueling Banjos” from the motion picture, Deliverance. The film was about four friends taking an ill-fated canoe trip through northern Georgia and starred Burt Reynolds, Jon Voight, Ned Beatty and Ronny Cox. This marked the movie debut of Ronny Cox who secured the role because he could play guitar. Cox used his guitar skills in the Deliverance “Dueling Banjos” scene that featured that bizarre banjo boy. After this movie, he went on to star in other films including Beverly Hills Cop 1 & 2, Total Recall and RoboCop. Although he spent a good deal of his life acting, he has always been a singer-songwriter. These days he spends most of his time playing music at festivals and concert venues. He captivates his audiences with stories, sometimes spoken, sometimes sung. He likes to connect with his audience and share his original songs as well as those of others. Cox will be performing in RI as part of the Route 44 Music Series at the Harmony Lodge in Glocester on Thursday, April 11 at 7:30pm. Rhode Island’s own Lainey Dionne will be playing a short, mid-show set. Tickets are available in advance at Brown Paper Tickets or at the door. For more about the show, “Slow Train” over to hearinrhodeisland.com
You Can Tune A Piano But You Can’t Tuna Fish! This was the 1978 breakout album for REO Speedwagon and launched their hits “Time For Me To Fly” and “Roll With The Changes.” Three years later, the multi-platinum Hi-Infidelity recording gave us “Take It On The Run” and “Keep On Loving You” while the Wheels Are Turning album produced the #1 hit “Can’t Fight This Feeling.” Over the years the hits softened, lead guitarist Gary Richrath died and the band’s roster changed many times. For a while, lead singer Kevin Cronin was peddling Time-Life CDs on late night infomercials. The band teamed up with other bands such as Styx, Chicago, Tesla and Def Leppard and embarked on nostalgia- type tours across the country. On April 12, REO Speedwagon rolls into the event Center at Twin River in Lincoln for an evening of their timeless tunes. For more, “Keep Pushin’” to TwinRiver.com I have watched the rockumentary Chicago: Now More Than Ever many times over. Chicago’s Greatest Hits was one of my early favorite albums. I remember getting it for Christmas in 1975 and having my father complain about their music. Ironically, a few years back I took my parents to see Chicago in concert and they absolutely loved the show! Jimi Hendrix thought the band’s horn section sounded like “one set of lungs” and was wowed by the guitar mastery of Terry Kath. When Kath died of an accidental gunshot in 1978, it was a massive blow to the band. They continued on and had many more hits that tended to feature Peter Cetera, and he exited the band for a solo career in 1985. Chicago was never a one lead vocalist band, nor was the focus meant to be on one, and the line-up has changed over the 50 years of the band’s life. Original members Jimmy Pankow and Robert Lamm, who wrote most of the band’s most enduring songs, are still with Chicago as is trumpet player Lee Loughnane. I have seen them a couple of times over the past few years and the band still has it. Don’t miss your opportunity to hear the legendary sound live when they take the stage at Providence Performing Arts Center on April 19. I spoke with longtime Chicago band member Keith Howland last week, and you can read that interview at motifri.com/howland. For more about the show, go to ppacri.org
We have the School of Rock, now how about the School of Folk? Well, Pump House Music Works in Peacedale now presents Folk Music Night every Tuesday night. At 6pm is a Clawhammer Banjo Workshop where you can learn to play in the old southern mountain style. At 7pm it’s the Acoustic Guitar Workshop. The Folk Ensemble Workshop starts at 8pm and here you will learn to play music with other people. You can build a song list of folk classics together, one song at a time. Beginners are welcome to them all. There is only one charge of $10 for the entire evening. Take one workshop or all three. For more, vandal the handle to pumphousemusicworks.com
That’s it for now. Thanks for reading. JohnFuzek.com
Keep on Movin: Penn Sultan’s New Legs: Sultan delivers the first chapter of many
Penn Sultan’s Museum Legs — Traversing the Flat Circle
Museum Legs is a new project from Penn Sultan, best known as the frontman for indie folk outfit Last Good Tooth, a live favorite in the area for the better part of a decade. Their first album, Giving the Clock Its Weight, Its Sway, wrestles with the colossal subject of time on a sonically smaller scale than his previous work.
Originally from NYC, Sultan attended RISD and decided to stick around. Giving the Clock Its Weight, Its Sway is the first of three albums that were a product of five years of writing and recording. “I was quietly amassing all these songs, thinking they’d probably be for Last Good Tooth. But as I began to complete them, I figured ‘what the hell’ and made it my own project,” said Sultan. Last Good Tooth has slowed down as of late because the band members are split between Providence and NYC.
In many ways, Giving the Clock is the best outcome for someone with Penn’s resume, showing true growth and a new range of influences. Sultan’s unmistakable dulcet baritone infuses everything, and the songs sound like a mix of the symphonic folk of the Barr Brothers and the noir of Neko Case. The interlocked guitar parts in “Column of Words” play off each other, creating a swaying, reggae feel. The opener, “Inherent Habits,” chugs along with a bit of twang, reminiscent of The Handsome Family.
“I had been listening to a lot of African music and synth-based Asian psychedelic music that featured sort of crazy arrangements,” said Sultan. “For some reason, I really took to the droning, repetitive element of it.” The trancelike nature works to inform the subject matter but, for the modern-day, shrunk-down attention spans, this element may be too much. “Films and Proofs” essentially plays off the same pattern the whole time, and the album has long run times, sometimes more than six minutes.
Providence has a crowded field of folk artists these days, but this is truly an original sound, a product of the freedom of DIY bedroom recording; he recorded it all layer by layer with just a laptop, an interface and “pretty much just one microphone.” The one guest is Morgan Eve Swain of The Huntress and Holder of Hands and Last Good Tooth, who provided backing vocals and viola.
“Because I was doing this recording myself, I had all the time in the world to just add or take away things,” said Sultan. He plays almost all the instruments on Giving the Clock, his talent for arranging apparent throughout. All songs are guitar-based, but full of clever, sparse instrumentation; a small cymbal flourish here and there or some organ in the background gives it a lo-fi, but orchestral, quality.
In a fragmented world, it’s a huge accomplishment to make something as cohesive as a themed album. “I tend to think of albums as chapters in a bigger book,” said Sultan. He said there’s no specific influence for this, but he’s always been drawn to the idea of a full album instead of just a compilation of songs. “The approach helps me to get things completed and out of my system.”
Though Sultan describes the process modestly, what’s a weightier topic than the passage of time? And it really isn’t a stretch; the songs do a great job conveying the enigma and agitation that comes from even attempting to consider the concept of minutes, years and moments soaring past.
The resonant ballad, “Pendulum,” asks, “When will the day hide the ripple of last night?” and “Inherent Habit” describes running your day through your head: “At home and undercover, playing all the moments backward/the burden starts again in the morning.” The inspired seven-minute epic, “Belt Hole Calendar,” examines the masochistic mindset of people who spend their days toiling away at artistic pursuits: “What was the song that made me want to waste my time on this?”
To fully realize the project, Sultan has put together a six-piece band, including Swain, that has been practicing for about a month. “I’m really having fun again with the collaborative element, and the musicians have been really receptive to the material,” said Sultan. “Sitting around in your room is only fun for so long.” Museum Legs’ two other albums are basically ready to go, and Sultan plans to space them out, likely releasing the second before the end of this year.
Right now, the band is gearing up for their first performance next month at AS220, and Sultan says he’s having fun putting his bedroom recordings in the context of a six-piece band. In the end, everything does come back to the time crunch for Sultan. “I essentially booked the show as a deadline to force myself to actually get this music out there. I had been talking about it for years.”
Giving the Clock Its Weight, Its Sway can be purchased at: museumlegs.bandcamp.com/album/giving- the-clock-its-weight-its-sway Museum Legs performs their first show at AS220 on Apr 17 at 9pm with Wildflower, Cyrus Gengras, and Glenna Van Nostrand.
The Bartholomewtown Podcast
This isn’t an editorially mandated plug, but I’ve been listening to and enjoying the excellent Bartholomewtown Podcast (check out excerpts in Motif), hosted by Bill Bartholomew. The high-profile political guests (the Whitehouses, the Elorzas, the Heims, and what have you) may draw more attention, but Bartholomew has been featuring some engaging interviews with local musicians and other creative people talking about the craft. He recently posted an episode with Z Boys and Heather Rose in Clover, and previously talked to artists Dan Blakeslee and Roz Raskin.
Check out the podcast at the link below, or wherever you get ‘em: btown.buzzsprout.com
Roots Report: An Interview with Loudon Wainwright
Okee dokee folks…On Thursday, March 28, Loudon Wainwright, Lucy Wainwright Roche and Suzzy Roche will bring their All In A Family show to the Greenwich Odeum in East Greenwich. It took me a while and a lot of e-mailing, but I finally secured an interview with the patriarch of the Wainwright clan, Loudon Wainwright, and we spoke while he was in the car. Here is how it went:
John Fuzek: Where are you headed to? Loudon Wainwright: Today I am headed to Auburn, NY, to do a show tonight. JF: Is it with Lucy and Suzzy? LW: No, this one is just me, yeah, we do the all in the family show every once in a while but a lot of the times I am by myself… JF: Where are you based? LW: I live in New York City, so I started out there this morning at about 8am JF: That’s a lengthy drive LW: Yes, it’s up near Syracuse JF: I did watch your Surviving Twin Netflix concert, it was a while back, must have been when it debuted on Netflix, I really enjoyed it! I had seen you a couple of years ago and I am pretty sure that you did play a few numbers from Surviving Twin at that time. Were you doing them back then before recording the special? LW: Yeah, I developed it over time, and would often do the “dog column” or others during a regular show, I still, occasionally, will do bits and pieces of it in a show when I am not actually doing the whole show JF: I thought it was very well done and there was a lot I didn’t know that you presented during the performance, it’s funny, I know that this is going off subject a bit, but around the same time I watched both your and Bruce Springsteen’s solo, Broadway show and yours was light years ahead of Springsteen’s, so much better, it was natural and not forced, and the performances were superior. I couldn’t understand what the big deal about Springsteen’s show was, you should have gotten the notice! LW: Yeah, I guess more people have seen his, I haven’t seen his but heard it’s a big deal, I am glad that you liked mine. JF: I didn’t understand why it was a big deal but Bruce fans loved it, all in all I really appreciate when something is well done and what you did was very well done! LW: Thank you very much! JF: Is it still on Netflix? LW: As far as I know it will be on Netflix forever, unless they take it off, I have no idea how people get it but folks are telling me that they are still seeing it. JF: That’s good, so I can include it in this piece an encourage folks to watch. Anyway, in my research about you I discovered that you lived in RI back in the ’60s and worked in a boat yard LW: Well, my grandmother, um, family actually, had a house in Watch Hill, Westerly, so I would go up with my sisters and brothers and stay there, and in 68-69 or so I got busted for possession of marijuana in Oklahoma which was pretty serious at the time. My dad got me out of jail and I went to live with my grandmother because my parents were living in London at that point, so I lived with her in Watch Hill and she got me a job in this boat yard JF: Cool, RIers are always interested in RI connections! LW: My great, great grandparents had a house in Watch Hill and it’s still there JF: Is it near the Ocean House, do you know that? LW: Oh, yeah, it’s not far from there, it’s a small town anyway JF: It’s probably near Taylor Swift’s house LW: Yeah (chuckle), near the Merry-Go-Round JF: I know that you have acted over the years and I am sure that is part of what made your Surviving Twin performance so special, I did not realize that you appeared in M*A*S*H. LW: I did three episodes in the third season. JF: That’s pretty iconic to have been on that show. LW: That was a big deal at the time, it was the whole original cast, and I guess somewhere in the world someone is watching a rerun of that right now! JF: I am sure that they are! How did you get into acting? I have seen you in a couple of films in the past, I am always curious how a songwriter goes from songwriting and musical performance to acting, and you have done quite a bit of it. LW: My original plan was to be an actor, I went to drama school in the late 60’s in Pittsburgh, a very good acting school, but I dropped out in the middle of my sophomore year and kind of became a hippy and drifted into songwriting, but I had some training and over the years I wound up getting acting work. JF: What made you get into songwriting and performance when you dropped out? LW: I played the guitar since I was 13 and you know, it was the late 60’s and there were great songwriters like Dylan, Richard Farina, Dave Van Ronk, Pete Seeger and I started to write my own songs in 1968 and was fortunate enough to get a record deal a year later, it wasn’t a horrible or arduous struggle. JF: I am sure most will mention this and I will, too but my first recollection of you is “Dead Skunk” on the radio, it has always stuck with me, I love that song, the writing so clever, one thing is that I have never seen you play it live, do you have an aversion to it or are you just tired of it? LW: I can get tired of it, I did develop an aversion to playing it, but every once and while I will play it if I am in the mood, I played it a couple of weeks ago, I am sure that it will be featured in my obituary, and I wrote a book, memoir, in 2017 and there is a whole chapter about “Dead Skunk” in it so it is part of the tapestry that is my life, but every one and a while I do sing it for fun. JF: Great, I hope that you will play it at the Odeum on Thursday, I would love to hear it, I think it is a very clever song and have always thought so. I noticed that you were involved in the soundtrack for the film Knocked Up a few years back. LW: Yes, I also had a bit of an acting role in it, Judd Apatow, is, I guess there is no other way to put it, is a fan of my music, for a long time, since he was a teenager really. He asked me to work on the music for Knocked Up and I worked on it with my friend Joe Henry, he and I did the music, Judd continued to be in my corner, he produced Surviving Twin, he and my friend Christopher Guest. JF: I suppose we should move onto the meat and potatoes of this interview, the show coming up at the Odeum, I know it’s you, Suzzy and Lucy. What will the format for the show be? LW: Suzzy and Lucy come out and do an opening set and then a break, I come out and play solo, Lucy comes out and sings a couple with me and then Suzzy comes and we sing together and at the end the three of all sing together, so you get a taste of everybody. JW: Have you done shows like this with Rufus, Martha and Sloan? LW: Yes, we’ve all worked together, sometimes we go out and perform as a family, I just had a rarities collection come out called Years In The Making, a double disc, and that includes a live version of a song called “Meet The Wainwrights”, that Rufus, Martha, Suzzy, Lucy and Sloan is on, we work together as a family. JF: You have a musical family, almost like a dynasty! Are there any younger ones picking up music as well? LW: I have a couple of grandkids and their favorite band is KISS, I don’t know where that came from! JF: Ha! My girlfriend is going o see KISS tomorrow night, I have my own show and she opted to see KISS! Ha! Do your grandchildren play any instruments? LW: One of them plays the drums a little. JF: No other instruments? LW: We’ll see what happens. JF: How old are they? LW: 8 and 5 JF: Oh, they’re still young! There’s still time, I didn’t start until I was 13 either. So, how long will the show be and what will happen? LW: I don’t know, a couple of hours, we sing songs from our back cacatalognew songs and songs that others wrote, we just put on a show. JF: Do you switch it up every show or is it the same songs when you all play together? LW: No, we switch it up. JF: Will you be on guitar, banjo and piano? LW: I probably won’t have a banjo with me so it will just be guitar and piano. JF: And what about Suzzy and Lucy? LW: Suzzy can also play the piano so there will be some more keyboard action.
If you love great folk music, intelligent and clever writing and lots of witticisms, then you should catch this show on Thursday night. If you want to do some preshow viewing watch the highly recommended Loudon Wainwright III’s Surviving Twin concert film on Netflix. For more, “feel it in your olfactory” and get to greenwichodeum.com That’s it for now. Please go to the Motif Facebook page from time to time to check out some of my concert photographs and quick reviews. I have added a couple this week! www.facebook.com/motifri Thanks for reading. JohnFuzek.com
Farewell to the great Erik Narwhal!
Erik Narwhal; Photo/Matt Wright
Stop! Look! Listen! You had no choice if you were witness to the wild antics of local musician Erik Narwhal, who unexpectedly passed away on March 7 from a brain hemorrhage.
Many knew him as the piano-pounding front man for Erik Narwhal and the Manatees, but that was simply an alter ego for a shy family man named Erik Marzocchi who doted on his wife and two sons and was a dedicated teacher in the Providence school system for more than 25 years. His antics as a musician were legendary: always in the crowd with his wireless microphone, making up rap songs on the spot about anything that caught his attention, pointing out famous look-alikes in the crowd who never quite resembled the celebrities in question, disappearing mid-song into a buffet at Foxwoods and emerging with a strawberry shortcake in his hand, leading the crowd in chants of “free alcohol” while he ducked behind the bar and emerged with a bottle in each hand.
I wrote my first script nearly two decades ago with him in mind, and we made five movies together. He was a great improviser, usually coming up with dialogue better than the script.
Erik Narwhal; Photo/Matt Wright
Erik had his creative outlets but it was at home, surrounded by his wife, sons and dog Izzy that he was happiest and most content.
He was incredibly persistent when he wanted something. Erik once got us into a sold-out show at the House of Blues for free, simply by bugging the bouncer for one hour straight. He and his wife, Nora, saw Wayne Newton in Las Vegas and Erik got their seats upgraded from the back of the nightclub to directly in front of the stage by the force of his personality. Afterward, Erik — who loved celebrities — got his picture taken with Wayne Newton.
Nora said, “Because of the way Erik carried himself, Wayne Newton thought Erik was someone famous.”
He was, Wayne! He was the great Erik Narwhal!
Erik loved Elvis and Jerry Lee Lewis. He relished telling the story of visiting Graceland as a chubby teen with his dad, followed by a visit to what he called sarcastically “the finest Italian restaurant in all of Memphis.” While they were waiting to be seated, Erik was blocking the kitchen doors and a waiter barked at him, “Out of the way, fat boy!” Erik spent the rest of the summer running to get in shape and practicing piano. Then, he started performing regularly.
From his mom, he got his cleanliness, his energy, his love of writing and his need to be productive. From his father, he got his love of music and a keen interest in building. Erik Narwhal; Photo/Matt Wright
Erik built many things over the years, but his ultimate accomplishment was building the kind of life he always wanted: a beautiful family and a home where he could make art, play, celebrate holidays, put up Christmas decorations, build replicas of the Titanic and paint pictures of Abraham Lincoln.
He was magnetic; he was one of the most genuinely original people on the planet. Erik was a walking contradiction: a music teacher and a rock-and-roll preacher.
His shows were ridiculously entertaining. Erik worked harder than any performer I’ve ever seen just to connect with an audience. He cherished his family, friends, fans and fellow teachers. He was an American original. He was Erik.
Fireworks displays aren’t supposed to last for 50 years but this one almost did.
Farewell to Erik Marzocchi — a wonderful dad, husband, son, brother, uncle, friend and teacher.
And farewell to a truly innovative performer and my all-time favorite leading man — the shining star known as Erik Narwhal!