BUREAU OF ARTS AND CULTURE MAGAZINE
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| Fine Art Painting by David Palumbo Guest Artist For The SUMMER 2014 EDITION |
| The SEATTLE : MUSIC SECTION |
DAVID BOWIE: IS The Other Man
By Joshua Triliegi
David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon. BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected andthe most successful performer in Rock and Roll Music History.
" David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon. BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. "
Today's new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence.
" Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. "
There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowie's foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stardust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album.
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| John COLTRANE By William Claxton Courtesy of The Fahey/Klein Gallery Los Angeles |
THE HOUSE THAT TRANE BUILT :
STORY of IMPULSE RECORDS
By ASHLEY KAHN on W. W. NORTON PUBLICATIONS
MUSIC BOOK Review By Joshua A. TRILIEGI / BUREAU of ARTS and CULTURE
Most music fans know who John Coltrane is, and what he did for jazz music, for saxophone players and new music spirituality. What you may not be aware of is that John Coltrane & his version of ' My Favorite Things ' in Nineteen - Sixty - Five, helped to create an entire label that went onto reinvent and support a bevy of new jazz artists. The impulse label, which was originally fueled by funds from ABC & hits by Ray Charles, such as, One Mint Julep, went on to become a leading label with an original look, style and feel. Album covers that opened up & told a story with extended liner notes, helping to create a dialogue and intellectual take on a lot of great new music that helped to fuel new jazz movements.
" Kahn is like a Cool Daddy professor who simply loves the Music, the Vibe, the History of Jazz … "
The story of Impulse records is an interesting one. Ashley Kahn' s research, phrasing style and flashback, flash forward writing, suits the subject well. Plenty of photographs, samples of albums and an incredibly thorough discography with just about every album, release date & important phase the label went through. Mr. Kahn has written extensively on Jazz with his books on Miles Davis as well as John Coltrane's infamous Love Supreme. Sonny Rollins, Chico Hamilton, Yusuf Lateef, Elvin Jones, Tom Scott, Charlie Mingus, Coleman Hawkins & Pharaoh Sanders are just a few of the artists that followed Coltrane on Impulse and also honored him with nods to his influence, musically, technically and sometimes simply naming their songs after some type of Coltrane influence.
Kahn is like a cool daddy professor who simply loves the music, the vibe, the history of jazz so much, that the reader, his students, soon find themselves steeped in fun facts that make up what we call jazz. From the inception of tunes, recording, players, dates and places, all bases are covered in this comprehensive jazz companion . From the time John Coltrane came to the label and into his leaving the planet. The story reveals itself as important and informative . Alice Coltrane proudly picked up the mantle and carried it throughout her lifetime.
" The Jazz Solo is Never the Same after John Coltrane, Neither are We. This is a good companion to that legacy and to a very important Jazz Music Label."
As the book reveals in Chapter six, " Died " is not in Alice Coltrane' s vocabulary. You got that right. John Coltrane left. But with Impulse, his legacy, his fans, his family and books such as this one, as well as Kahn' s other works, the Coltrane legend is indeed alive and well. Highly suggested for those who wish to learn more about a great contributor to jazz music and the vocabulary of the great American Arts. With titles such as A Love Supreme, Ascension, Om and Cosmic Music, Coltrane completely transformed jazz into a totally spiritual idea. From 1962, until his untimely passing, Coltrane recorded albums and songs that have yet to be resolved, understood or entirely digested by any particular critic, audience or movement. He was exorcising his demons, inviting in his angels & taking what we considered as a pastime into a full on religious experience. The jazz solo is never the same after John Coltrane, neither are we. This is a good companion to that legacy and to a very important Jazz Music Label.
www.wwnorton.com
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| The Rolling Stones by Photographer Bob GRUEN Courtesy of Fahey / Klein Gallery in Los Angeles |
BUREAU MUSIC : THE ROLLING STONES
Art, Music and The Rolling Stones
by Joshua A. TRILIEGI
It has been over thirty-five years since I first experienced The Rolling Stones perform live. I was ten years old. It was Nineteen-seventy five and our entire family attended. Mom, Dad, older brother, older sister and me. Even back then,I was the artist of the family. So it was my job to paint the famous " Lips and Mouth " logo originally created in 1970 by fellow artist John Pasche. Later, Peter Corriston would go on to design The controversial Some Girls album art as well as Tattoo You. Some Girls led to law suits. I have a copy of the original with celebrities that have since been blacked out. There has always been a very special relationship between art and music. The Rolling Stones have known very well through their personal relationships with interesting artists of their time how art and music intersect. From the fabulous photography of Michael Joseph on Beggars Banquet, which opens up into a centerfold like layout of a 17th Century painter to Sticky Fingers and the infamous Zipper and banana by Andy Warhol.Robert Frank's documentary and photographs used on Exile on Main Street with the help of John Van Hammersveld 's design layout were striking and poignant.
" While my friends were at home watching The Brady Bunch and The Partridge Family, I was watching Mick Jagger dance down a star shaped stage as the conical shape slowly lowered one petal at a time. " Please allow me to introduce myself, I'm a man of wealth and fame..."
There is a raw and honest intensity within the ethos of The Rolling Stones. An attitude and raunchy style that says, ' Hey man, this is the way it is, this is Rock and Roll. This is what life is like. This is who we are. Mellow out and listen "Experiencing The Rolling Stones at ten years old in a live venue with thousands of people and my family was a trans formative experience. A Ritual of the highest order. While my friends were at home watching The Brady Bunch and The Partridge Family, I was watching Mick Jagger dance down a star shaped stage as the conical shape slowly lowered one petal at a time. " Please allow me to introduce myself, I'm a man of wealth and fame..." Drums, guitar and that bongo like rhythm leading into a raging histrionics explaining what had just happened to America since the death of JFK and the loss of innocence that hovered above our existence, unexplainable except through music, poetry and the like. He swung from a rope high above our heads.He threw buckets of water on the first few rows. He danced astride a plastic inflated erectile shaped instrument that exuded confetti from its pointed top. Mind blowing.
Of course he needed no introduction, we had grown up listening to the Stones, glowering over the albums and remembering the lyrics. From the early simple blues influenced love ballads into the post sixties dark tales and on into the seventies rock.Through to The Eighties, Steel Wheels, etc ...Album covers, album liners, T shirts and memorabilia plays a large part in Rock and Roll.The images that will forever be connected to the music and visa versa. I have designed a few album Covers for musician friends and it's always a special sort of assignment. What will represent the music ? Images and sound wedded to tell a larger story. As we drove to the forum that evening, people began to beep their horns at the artwork on the back window. My parents had proudly taped my version to the back of the vehicle. When people began to react, I was surprised. For me it was just a personal expression, something fun to do, be a part of the scene. For others it was something altogether different. We were all a part of something. We were a family of Rock and Rollers and people wanted us to know, that they too were heading to this ritual. That it was a community and we were all connected through the music. We were connected in this counter culture experience.
" I sometimes wonder how many other ten year old were at that concert ? Not too many. How many entire families attended ? Not too many. My old man insisted that we all attend. He is no longer on the planet. But every time The Rolling Stones are being played, he's here all right. "
It was the first time I realized the power of Art and Music and Ritual and Community in a way that changed my entire perception. I sometimes wonder how many other ten year old were at that concert ? Not too many. How many entire families attended ? Not too many. My old man insisted that we all attend. He is no longer on the planet. But every time The Rolling Stones are being played, he's here all right. He even slightly resembled Jagger and to be honest, Mom resembled Bianca. We sorta were The Rolling Stones. Music has a way of enlivening memories, history, loss, joy, energy, rebellion and the acceptance of the moment. Music is life. In a way, Mick Jagger is my old man, he's still alive. Still Rocking and Rolling. Still kicking and screaming. Still selling a million albums and reminding us how far we have all come after all these years.
The Rolling Stones tell a story of America that is highly influenced by Black America, The Blues, The Working man, The Bikers, The Lovers, The Outsiders, The Struggles. Its a beautiful tradition, Rock and Roll. With a new Documentary on HBO, " Crossfire Hurricane " as well as a new album and a Tour of America,The Rolling Stones are gathering no moss. There is a whole new generation about to discover the Stones. They have kept rock and roll alive. I still get teased from my family for passing out three quarters of the way through the concert. That was way past my bedtime. The next day my friends at school were talking about Fred Flintstones and George Jetson, while I was singing , " Wild Horses " , " Angie " and " Satisfaction". Oh well.The other day, I heard a radio D.J. say , " This is a new song by The Rolling Stones."Its about time. I turned it up. It was good. Life is good. Rock and Roll is good.For Links to Other Artists connected to The Rolling Stones Art, Albums etc ... www.RollingStones.com
INTERVIEW: GARY CALAMAR
KCRW 89.9 FM L A Disc Jockey and
Music Supervisor for Television
Q:What led you to becoming a DJ ?
A: I've always been a big music fan and I love sharing music with people. I grew up in New York listening first to WABC AM Top 40 radio and later moved on to WNEW FM free form progressive radio. I loved listening to the dj's almost as music as the great music.
Q:You have always had a kind of kooky or somewhat comedic take on pop music, what drives you to select the tracks you do ?
A: Kooky … Kooky, how ? Do I amuse you ? Ha, that's my Joe Pesci impersonation. I don't know, I like to have some fun with the music every now and then. Putting certain sets together in interesting ways. I just do it for myself really. I 'm surprised that people catch some of the connections.
Q:Do you pick all your own tunes at this time ? Explain that process when designing a set of music ?
A: Yes, I pick all my own music...at the same time I definitely consider the KCRW audience that I'm playing to and not go all heavy metal or something like that. Only my fellow dj, Henry Rollins. can pull that off. I've been a music fan for a very long time. I've worked in record stores (check out my book Record Store Days), managed bands, and I've been to countless shows so I have a lot of music swimming in my brain to choose from.
Q:The days of the talking DJ have come and gone and returned again, how much of that comes into play for your style ?
A: I don't really think about it too much. I basically try and play great music and then tell the listeners what they have heard.
Q:Does being a DJ actually support your lifestyle and if not what else do you do ?
A: I work one day a week as a dj at KCRW so no, that is not my only means of support. I'm also a music supervisor (True Blood, Dexter, House, Weeds, Entourage, Six Feet Under...) which helps to pay the bills. I'm also a songwriter and will be releasing an album on Atlantic in the fall. I love the music business (for the most part) and happy to work in many different aspects of the business.
Q:If you were not a professional disc jockey, what would you be doing professionally ?
A: Presidential food taster.
INTERVIEW WITH GARY CALAMAR L. A. DJ for KCRW 89.9 FM and TV Music Supervisor
Q:You have done extensive work in Film and Television. share with us that process,
for example how you fit a song to a cable series or movie and give us a detailed example.
A:It works in many different ways. Basically I collaborate with the producers of the show to get an overall feel of the type of music that would be appropriate for the production. Some shows like to be obvious with lyrics that comment on the scene and other shows are looking for a texture to help "color" a scene. ....
Who is your favorite disc jockey in history ?
I'm going to have to say Cousin Bruce Morrow. His style is completely different from mine but it sounds like he loves what he does and has a great relationship with his listeners, with Rock and Roll being the common language.
What acts did you personally discover and could you tells us any stories in relation to bands going out of their way to get you recordings ?
My favorite new discovery is an Australian singer-songwriter Courtney Barnett. Check her out. She is a brilliant lyricist and performer.I found the Sia song "Breathe Me" for Six Feet Under and she has been doing very nicely since. I have also put together some nice collaborations on new recordings for True Blood. I brought Nick Cave and Neko Case together for a cover of the Zombies song "She's Not There" Eric Burdon and Jenny Lewis for "Don't Let Me Be Misunderstood" and Iggy Pop and Bethany Cosentino for a song I co-wrote "Let's Boot and Rally". These have all been really fun experiences and turned out some great recordings.
Would you create a list of best songs for this Summer ?
Jonathan Richman "That Summer Feeling"
The Best Coast "The Only Place"
B52's "Deadbeat Club"
Beach Boys "Do It Again"
NRBQ "Ridin' In My Car"
X "4th of July"
The Last "Every Summer Day"
Katy Perry & Snoop Dogg"California Gurls"
Bruce Springsteen "Girls In Their Summer Clothes"
BUREAU MUSIC: To Kill a Mockingbird
Elmer Bernstein's score for To Kill a Mockingbird may just be the most perfect understanding of Literature, Cinema and Musical Orchestration ever created. Mr.Bernstein, who was blacklisted, some years later, made a fabulous comeback with, of all things, his score for John Landis's Animal House. By pulling great musical stunts as a straight man to Landis' pranks. Remember the score to that film ? Heroic like anthems, every time Belushi and his cohorts take on the conservative views of The University. It worked wonderfully and Mr Bernstein was back in business again. I recall meeting Elmer Bernstein at The Academy of Motion Pictures Arts & Sciences, where he presented and discussed To Kill a Mockingbird in - depth. It was quite an evening. A wonderful man. Not just his music, not just his understanding of the human drama, nor his ability to forgive an industry that turned it's back on him, but the man himself. He was a winner and after all these years that score still rings true to me and to millions of cinema lovers around the world. Most folks agree that the book written by Harper Lee and the film by Robert Mulligan and Alan Pakula are incredible. But why ? The acting, yes, quite amazing with performances by two incredible children actors. And of course the apex of Gregory Peck's craft as actor, humanist, artist. But it is indeed the music. The opening theme, a sweeping and steady mid west warmth reminiscent of Mr Bernstein's early influences and one of his mentors: Aaron Copland. Copland encouraged the young musician based on his improvisations and suggested teachers, courses and a direction that led to more creativity.
Elmer Bernstein's was a part of a world where, if you were interested in the arts, that meant every facet: he studied acting, dance and performed on Broadway as a child. He was recognized as a painter early on & even approached Clifford Odets on lessons in writing fiction. For over a decade he was a concert pianist and some years later taught at USC's Thornton School of Music. He composed over 200 themes for Television and film and also created some great music for the experimental films of Charles and Ray Eames. He also worked with Martin Scorsese more than a few times. And after his score of Animal house, became a regular for scoring comedies such as Ghostbusters, Airplane!, Stripes and The Blues Brothers.
Elmer talked about his inspiration for the score to To Kill A Mockingbird and how he wanted to pierce the imagination of the child mind. What would a child play ? Listening for a simple melody to draw upon. Especially his theme for the foreboding character of Boo Radley, played simplistically by a young Robert Duvall. Keeping the score simple was Mr Bernstein's entire approach to creating the impetus for the melodies and later building them into orchestrations that simply lift us above the earth and or break our hearts. The gentleness, the drama, the curiosity, the fun & the maddening injustices that the world provides, so well presented musically.
" With Mockingbird, I'd read the book. Robert Mulligan and I were old friends, before we even shot a frame. " He goes on to explain, "Aaron Copland was my biggest single musical influence. Apart from my teacher, he was the first person to hear anything I wrote. Copland was good friends with my teacher who took me to meet him in his apartment. I was 12. Copland was 30, but not yet famous. My teacher made me play for him, asking if he thought I had any talent. Let's give him some lessons and find out! ", he replied. That's really how my composition career started. "
Imagine that you are given a Pulitzer Prize winning novel and told that it is your job to conjure what it sounds like ? Imagine what these words sound like. To pull, out of thin air, sounds, melodies, orchestrations, themes that represent what a classic book might sound like, that's quite a task. Film composers do it daily. Bernstein employs the flute, violin, harp, clarinet, oboe and strings. For a full review in complete detail, check out the work of Craig Lysy whose done a wonderful job of explaining the score in detail and had this to say about the music, "The main lyrical theme is a masterpiece cue that gains Bernstein immortality. It is timeless and in my opinion takes it place in film score lore as one of the most beautiful and memorable themes ever composed." I couldn't agree more. Heres a link : http://moviemusicuk.us/2010/11/06/to-kill-a-mockingbird-elmer-bernstein/
TO KILL A MOCKINGBIRD Soundtrack Track Listing:
Main Title (3:19) / Remember Mama (1:07) / Atticus Accepts the Case/Roll in the Tire (2:05) Creepy Caper/Peek-a-Boo (4:09) / Ewell’s Hatred (3:30) / Jem’s Discovery (3:46)
Tree Treasure (4:22) / Lynch Mob (3:03) / Guilty Verdict (3:09) / Ewell Regret It (2:10)
Footsteps in the Dark (2:07) / Assault in the Shadows (2:25) / Boo Who? (2:59)
End Title (3:25) / Running Time: 41 minutes 57 seconds
Music composed and conducted by Elmer Bernstein. Performed by The Royal Scottish National Orchestra. Featured musical soloists; Penny Haydock, John Grant, Edward Paling, Pauline Dowse, John Clark, John Cushing, Stephane Rancourt and Christophe Sauniere. Recorded and mixed by Jonathan Allen. Album produced by Elmer Bernstein and Robert Townson.
Other film Scores by Bernstein recognized by The American Film Institute:The Man with the Golden Arm (1955) / Summer and Smoke (1961) / Sweet Smell of Success (1957)The Age of Innocence (1993) / Far from Heaven (2002) / The Great Escape (1963) / Hawaii (1966) The Ten Commandments (1956) / Walk on the Wild Side (1962)
Exit Music
Just in from Brooklyn. Exit Music played a dreamy, spiral in-drenched set of music that immediately took me out of the club as I hovered a good planet or two above the earthlings that surrounded the place. A quartet with a synth/keyboardist sharing some of the echo like bass with the stand up drummer , a Thurston Moore-ish Guitar player whom has a type of chemistry with his singer whom writes the songs. ' Draw a line and stand behind it ... ' one of the lyrics that reverbs through the mind. The vocalist has a Souxie and the Banshees style, but with her guitar partner a Sonic Youth-y bit and the synth adds a touch of Cat Power to the mix, or so said the fella in the parking lot after the set. I was still floating back down to earth, no strings attached, like a feather one sees floating down from a several story skyscraper, spiraling back to gravity. Certain music adds that euphoria -ish aftertaste, like a good liqueur, or an exhale of unblemished tobacco, Cuban or nor cal, or even just a drink of fresh water, it just feels good, it takes you there and you are relieved, quenched, a little stoned. Music can be that too.
Exit Music is mature vibe for such a young group. The Singer and Guitar player have been doing their thing since 2009 and the other fellows joined in a little more recently. Sometimes when a thing comes together so well, it can seem easy or simple or even elementary, but it is usually a lot more complicated, abstract and developed than one might realize, music is like this as well. Exit Music is making it look easy, but this is no two and two is four, this is trigonometry of the soul, it is a kind of rocket science of the mind, a nitro drift of the bloodstream . Meeting these bands and knowing that they will play much larger concerts in their future is a bit of an honor. One hopes they will have the stamina, health and wisdom to make it through the decades that lay a head. Its a long and winding road, as the song says so famously. Exit Music takes a deep and somewhat intellectual route. But have filtered it through a kind of Mazzy Star lens of sorts. One is left with a lot of feelings after this set of music. The kind of elation like vibe after a good jaunt. Its not an emotional work out as much as a hitchhiked ride in the back of a spaceship. Next stop Venus. Just have them drop you off around Saturn on the way back, and you will drift home from there. With a little Exit Music we enter into a new kinda zone. Getting back into the real world after hearing their songs is no easy task. Worth taking the long way home.
Emoni Fela
Several years ago, at Sunset Junction Music Festival, I caught the last few songs of a lovely & powerful African American young lady with a mohawk. She has the vocal power of Tina Turner, the Rage of Nina Simone and the Rhythm of any number of wanna -be Rock & Rollers, but she is no wanna - be. She is Emoni Fela . I was blown away by the raw power and properly channeled anger or angst or just plain honest communication that she is able to put forward in her songs, lyrics and performance. Backed by a drummer and single guitar , this young trio of players is the future.
In the past, bands like Black Flag and the Sex Pistols had originally put forward their protest Rock and opened our eyes to what could be done when we rise up and say a word or two about pollution or bad leaders or just stupid war mongering groups through the years. Emoni has been honing her skills since then . I had a chat with her at this years Sunset Junction.Her trio is still going strong and I believe she is getting ready to record soon. You don't easily forget powerful performers once they catch your eye or ear or heart. I can say without exaggeration that I was startled into a state of awareness when I heard this girl and her trio rip the veil right before our very eyes. She is a force.
The only thing true comparison would be the singer of the Bell Rays, but even then, Emoni Fela is so young and has so much new music to write and perform that comparisons would not be fair, lets just say that we have an original young talent that television shows would not know what to do with. Let us support these new bands that have the guts and talent and discipline to tell it like it is. As the great Composer Arnold Schoenberg put it back in the day, while fleeing to America from oppressive forces in his homeland, " If it is Art, it is not for the masses. If it is for the masses, It is not Art."' This is ART ! They played at The Kibitz recently.
LA FONT
We caught a New band with the energy of The early WHO, the vocal tonal qualities of Jane' s Addiction and the fun and casual attitude of a middle finger held mid air of say , Pavement , all a plus as they really have their own style altogether. LA Font as in the typeface FONT , though they could be called LA Funk, LA FUN or even LA Fucked, if ya get my drift. With lyrics like, " It's a f*cking Joke..." , " What was I to do ...? " and " It's just not enough .. " as its mainstay, LA Font is tapping into the angst and post Rock & Roll LA Music scene with a tightly sewn package of players , three guitar and a drummer, that pretty much explain where the young folks are at these daze. This group probably rehearses their asses off back home in the garage, but when performing, there is almost a throw away style , like they could really give a f*ck what you are I think. It's not jaded by any means, in fact it's fun, energetic and a bit experienced. Like the story one hears about James Dean being rather dubious of casting directors who were promising him parts in Rebel without a Cause. He would believe them once the contract was signed kinda thing. The Lead singer has the energy and gusto of a train wreck , while the drummer slams the power and either guitar player sides up like bookends to his extremely excited style. These are the kids next door, down the street and in front of the skateboard shop. There was even a touch of Primus as the Bass man every now and then strutted his stuff like a Panther on the loose. These boys leave an impression and I hope to see more of them in the future. Its rare you find a group that lifts your spirit, but that you could also recommend to your twelve year old nephew, this would be that group.One of the guitar players looks about my nephews age, but promised he was over twenty one when I asked the girl selling t - shirts , " How olds that kid ? " Check out their website for more info. They have Vinyl and CD's available, I suggest you buy two. One for you and one for nephew.
Drunk on Crutches
Drunk on Crutches is Jennifer Whittenburg and Andrew Alekel. I am not sure which one is drunk, nor which one is on crutches.A lot of people can sing a song, not so many have lived what they are singing about and you can tell right away whom walks the talk. Hank Williams and Patsy Cline are a good example of authentic people whom wrote from experience, their lives gave them the ability to sing from the gut, which in turn gave our ears an idea of what that life was like. Johnny Cash is a perfect example of what were talking about here as authentic living giving a certain tone. Jennifer Whittenburg has got that authenticity. I had not planned on attending the Sunday traditional Americana Music scene until I heard that wild wolf in the hills tone that screams of certain winds and wounds that know exactly what they are doing up there on the stage. Its like a gravity that claims through experience: I can walk on the moon, the earth, mars, Venus and Pluto if I so desire, can you ? Some folks can barely walk on the earth while Drunk on Crutches is waltzing through a somewhat devastated Music scene with grace. Its not Country - Lite or Rock - a - Sorta , it's straight up good music. I decided to attend because I heard Jennifer's authentic and real tone and was drawn into that mystical circle of music that simply has a way of pulling us into its magic. Only, there were no tricks used here. She simply let it out while absolutely no one did much yammering as people tend to do during concerts these days. Jennifer is someone to look out for. She certainly has gotten my attention, hope she gets yours. www.DrunkonCrutches.com
Herbie Hancock and The Los Angeles Philharmonic
The All Gershwin Program Opening Season LA Phil
Something happened that was extremely rare and were not talking about the steaks that were served after cocktails and before dessert. Although phonetically speaking the stakes were high as well as rare in this case, for Classical music that is. To have a master Jazz musician like Herbie Hancock perform piano for The Los Angeles Philharmonics opening season Concert in an all Gershwin Program was indeed a risk. One that payed off plenty for those whom bet the long shot.
Mr. Hancock rocked it ! Los Angeles has indeed become the metropolis that Rhapsody in Blue has often represented . A seminal piece of Music that was inspired by the ephemeral sounds of Metropolitan City life itself. To hear it reinterpreted by Herbie Hancock,Gustavo Dudamel and the LA Phil was a watershed moment indeed. We spoke to several attendees directly after the Concert.
Bill and Caroline Powers of the Thelonious Monk Institute of Jazz ,enthusiastically expressed that, " Herbie is one of the most talented,laid back , brilliant geniuses of music that there ever was and to be able to go from Jazz to Blues to Hip Hop to Techno and wrap it all all with Rhapsody in Blue was just pure talent". Bill expressed a pride in their associations with the Board as well as the acoustics at Disney Hall. Between the two, they have chair positions at the Kennedy Center in D.C. & The Hollywood Bowl, but admitted that, " Tonight's special performance was extra special, and although we attended in D.C. recently,there's really nothing like a performance at home, here at Disney Hall ".
Gloria Molina , " It was fascinating listening to John Williams describe how many great Composers through the years have taken refuge here in Los Angeles. We have always had great arts and culture here in Los Angeles.From the 1940's through to the present time. We have our own culture herein Los Angeles that is very unique and very special. Tonight's performance is an example of that ".
" We loved the interaction between Herbie and Dudamel and that Jazzy edge they brought to it " exclaimed Ann Colgin and her husband Joe.
Lynne Littman, had this to say, " Herbie Hancock is one of the only people who could have reinvented Gershwin in a way that was just great: the two of them benefited " .
Zev Yaroslavsky, " Herbie did a masterful job in playing Rhapsody in Blue,it was very exciting, I havn' t seen or heard anything like that before ".
Tom Liotta , " It was simply astonishing, almost iconic. It was really incredible. Its my first time here, actually, so it was a great way to have my first experience here in Los Angeles at the Philharmonic.
Frank Gehry, " Herbie sounded like he was making it up as he was going. That's amazing, it's a miracle. We all try to do that in our work. The dude was spectacular as usual. The LA Phil is going to do all kinds of great performances , their going to do all kinds of great experimentation with The Green Umbrella Project and their going to keep spreading the joy. Ernest Fleischmann [Visionary LA Phil Impresario] would be very proud of all of us.
Jerry Sanders, " We thought it was the best one ever. It was very American,a great celebration of American Art. We have some New York people saying we beat out Carnegie Hall, they' re older, but were better ".
Jan Perry, " I believe this area is becoming the epicenter for arts and culture and cutting edge art , too. This kind of a performance tonight comes as no surprise because this is the place to put it to the audience and let them embrace it. There are so many architectural choices, artistic choices, cultural opportunities, culinary arts, travel , tourism, people from all over the world coming here now. We are a city with extraordinary people whom are very accessible ".
Matuka Benjamin " Gustavo Dudamel was outstanding , he conducts from the heart, Zubin Mehta, whom I adore, would be very proud to pass the torch to this young man".
Bernard Fleischer of Vienna described the evening in this way," The LA Phil is different than other orchestras because they take what's here, in terms of culture and musicianship and bring it out for the openings, so I think it's moving and interesting.There is always an interesting soloist in there. Gustavo and Herbie and Gershwin are a perfect match. There was an electrifying vibration .The LA audience is not so narrow casted when it comes to music making.Which would be different in other cities like New York. LA is more open and less academic. People are use to contemporary music, be it contemporary Classical music or Jazz or the Classical repertoire,if it's done well, that is important. He [ Herbie] is a virtuoso,let's face it".
Quincy Jones " It doesn't get any better than this, Gustavo is amazing, Herbie' s performance tonight was a game changer ".
Larry Schmitt " There was an interplay between Gustavo and Herbie,where Gustavo is looking over his shoulder and they were sort of playing off each other. Gustavo brings an amazing energy to the orchestra where you can see the body language of the players, the excitement is charged."
Bruce Adlhoch " The Concert was Absolutely amazing ."
Vikki Levine, " It was magical, it was inspiring and it was joyous."
Michael and Lesley Suiter, Lesley starts us off with, " The sense of anticipation in the room was incredible. Herbie would almost take you there, you were wanting to hear that melody so bad ".
Michael chimes in, " I had never quite heard that much Jazz in the work before, but tonight drove it completely home ". Lesley adds, " You felt that urban feel, the honking of horns, that sort of feeling of an urban city and you know, here in downtown Los Angeles, it suited the environment, I think it felt right here.We as Angelenos sort of get that same feeling,I think, from our city, its busy, its bustling, we long for it the same as An American in Paris would long for New York. And pairing it too with the Cuban Overture, that really brought it home to L.A. You've got Urban L A. A. you've got Latin L.A., you've got all of it together, that was really great. "
Jeff Snyder " It was the best performance I have ever attended here.Great. Having Herbie Hancock was like a mix of this earthy side of Gershwin and the orchestra coming in behind was almost ethereal. I Thought it was a beautiful contrast " .
ABOUT THE BUREAU OF ARTS AND CULTURE MAGAZINE:
An Electronic Interactive Version of BUREAU of Arts and Culture Magazine. 'Electronic' meaning you are reading it with a device, 'Interactive' meaning you can actually tap the featured interview or image & listen to extended Audio Interviews & Links. BUREAU Magazine can be read without being on-line, though it is much more useful and interesting if you are actually on-line or you may visit our website and enjoy a compendium of Interviews, Articles, Reviews and Essays. We suggest you view the pdf in the Two Page and Full Screen Mode options which are provided at the top of your menu bar under the VIEW section, simply choose Two Page Layout & Full Screen to enjoy. This format allows for The Magazine to be read as a Paper Edition. The BUREAU of ARTS and CULTURE has been a respected ART Institute since the early Nineteen Nineties. Many of the original BUREAU members have gone on to have stellar careers in The ARTS. Artists, Filmmakers, Musicians such as: Lucas Reiner, Spike Jonze, Alex McDowell, Martin Durazo, James Gabbard, Christina Habberstock, Lorna Stovall, Heather Van Haaften, Chris Greco, Don Harger, Ron Riehel, Joan Schulze all had very early collaborations with The BUREAU Projects. Our relationship with ART spaces who have been interviewed / reviewed by BUREAU: Jack Rutberg, Susanne Vielmetter, Tobey C. Moss, Shoshana Wayne, Known Gallery, Sabina Lee, The Bowers Museum, The Geffen Contemporary, Hammer Museum, RED CAT, The Skirball Cultural Center, Museum of Contemporary Art in L A, San Diego and in Santa Barbara help to create well earned future partnerships, distribution as well as a 'word of mouth' that is priceless. Collectively, they have been in the business for hundreds of years. Not to mention the thousands of public readers that have received the magazine on their door steps. Our coverage of the MIAMI Art Fairs with in depth audio & slide presentations allow us to create a lasting relationship with the ' National Big Tent ' art events that allow for fundraising activity. We recently interviewed the Grammy Museum and are creating a lasting relationship. The same pattern applies for THEATER: Edgemar, LATC, Circle Theater, Cygnet, Robey. MUSIC : The Echo, The Redwood, The Roxy, Grammy Museum, Origami, Vacation, Record Collector, LA Philharmonic & The San Francisco Philharmonic. BUREAU has created relationships with Film, Music and Art festivals, National & Local Radio Stations, continuing the tradition created with BUREAU Film projects and the utilization of Print, Radio and Web to facilitate publicity, fundraising & awareness. Triliegi Film programs were discussed on KCRW 89.9, KPFK 90.7 and Indie 103 FM within the non profit umbrella in the past and we plan to sustain & develop those ties. We were invited to Cumulus Radio's Commercial Rock Formatted KLOS 95.5 FM [ Bureau mentioned on air] to consider an affiliation. We recently interviewed Miles Perlich of KJAZZ 88.1 FM and we were given tickets to Classical Music concerts by K-MOZART Radio & we invited a guest reviewer to attend. The BUREAU of Arts and Culture Magazine will continue to create a lasting relationship with the Art Institutes, Media & Schools that drive the Arts in America. We distributed Paper Editions to OTIS Art School & The Campus at USC to support alignments with faculty, staff & students who will become future entrepreneurs & participants in the Arts. Our upcoming interview with Barbara Morrison and her connection with UCLA Jazz music department with Herbie Hancock & The Thelonius Monk Institute is solid.We delivered the first edition of the magazines to: Beverly Hills, Pacific Palisades, Palos Verdes, West Hollywood, Los Feliz, Malibu and The beach communities: Hermosa, Redondo & Manhattan beaches. We received financial support from the arts & culture communities by creating a dialog about the arts, reviewing their art exhibitions, theater plays & films. Art Galleries from Culver City to Bergamot Station to Glendale approved of and supported Edition One. Now we have an online READERSHIP that grows exponentially. BUREAU sites in cities such as Los Angeles, San Francisco, San Diego, Santa Barbara, New York City and very soon Seattle, allow for anyone, anywhere, to see what is going on in the arts in that particular city. Which we feel will allow for us to apply for support, distribution and grants within those particular cities and for local businesses to buy ads. We add new cities quite often and create a lasting relationship with the established Arts Foundations in ART, MUSIC, THEATER. Which usually includes Classical music, Art Galleries, live Theater and Film. We added Surfing , Skateboarding and Biking to get the interest of a younger readership and indeed it worked. We have also celebrated those subjects with our fundraisers, selling artworks in relation to Biking & Skatng. We partnered with local & national businesses that assisted & we provided logo affiliation & coverage on the web: Chrome Bags, Jarrittos, LA Skate, DTLA Bikes and The Los Angeles Bikers coalition, to name a few. Older Established Artists from diverse cultures also participate in the BUREAU of Arts and Culture Exhibitions and Interviews. We brought together Native American, African American, Chinese American, Armenian American and Mexican American elder artists in a single exhibition: a financial as well as critical success with "Gathering The Tribes: Part One". We hand delivered the first paper Edition throughout Southern California and select neighborhoods in San Francisco. We introduced the magazine & created Popular Cultural Sites. We are an official media Sponsor for L A Art Fair & PHOTO LA Photo Fair. We extensively cover and or interview galleries at Art Fairs such as, Platform LA, Pulse LA, Untitled Art, Basel Miami, Art Miami, Miami Project, LA Art Book Fair. We provide an extensive overview, Audio walk throughs, visual presentations with 100+ images per on-line feature. If that doesn't convince you, nothing ever will.
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