performance review


Muddy Waters, arguably one of the most influential bluesmen ever, passed away in 1983. His son, William Morganfield a/k/a Big Bill Morganfield has taken up the torch and has been carrying on the Morganfield blues line for many years and last Sunday he brought some gritty Chicago blues to Colorado for a Sunday afternoon show. (Blues Before Sunset!)

Some key facts about St. Vincent:

1. St. Vincent is female.

2. Her real name is Annie Clark.

3. She’s a pretty flipped out chick.

4. But in a good way.

In her concert appearance Saturday night, she displayed a wide array of rock styles, focusing mostly on the “Art Rock” or “Progressive Rock” genres. She follows in the path of prior purveyors of this sort of music/performance, Laurie Anderson, Tori Amos, Kate Bush, Peter Gabriel and others. Yet she borrowed from other styles as well.

     The Group is back. Sort of. For virtually his entire career, Pat Metheny has bounced back and forth between the highly successful Pat Metheny Group and a wide array of projects under his own name. Ever since the Group’s eponymous 1978 release, the personnel in the Pat Metheny Group constantly evolved. Besides Metheny, however, one player remained constant: keyboard player Lyle Mays; i.e.: no Mays, no PMG. The last Pat Metheny Group album was The Way Up from 2005. Mays and Metheny haven’t recorded together since.

Tedeschi Trucks Band
Grace Potter and the Nocturnals
JJ Grey and Mofro
Red Rocks
June 15, 2013

Hush Point -- Album Review

Feb 4, 2014

Hush Point’s debut self-titled album, released in May 21, 2013, is a breath of fresh air in today’s jazz scene. Hush Point is a group – consisting of alto saxophonist Jeremy Udden, trumpeter John McNeil, bassist Aryeh Kobrinsky, and drummer Vinnie Sperrazza – that really functions as a band, not just a collection of individual musicians brought together for a recording date. The album not only features tunes by Udden, McNeil, and Kobrinsky, but also has extensive collective improvisation. The effortlessly blending of their individual voices during collective improvisation illustrates how in tune with each others’ thought processes this group is. The band’s near-telepathic communicative ability is especially evident on the album’s opening tune, a rendition of Jimmy Guiffre’s “Iranic.” Hush Point plays this song as a piece about dialogue, alternating moments of call-and-response with counterpoint playing. By placing this song as the album’s first track, Hush Point is showing the listener how important playing and improvising together as a group is for this band. The album’s second piece, a bouncy playful McNeil number called “Peachful,” highlights the group dynamic again with a contrapuntal section by McNeil and Udden, filled with fluttering improvised lines from both. McNeil and Udden’s comfort playing together also comes through very clearly on McNeil’s “Finely Done,” in which both horn players echo and complete each other’s melodic ideas like a married couple finishing each other’s sentences.