Shana Tucker @ NCMA (9/2)

Shana Tucker gave a gift to the North Carolina Museum of Art on September 2: a free concert to lure visitors in for the last day of the exhibition, "30 Americans." Attendance that night broke records, according to Museum program director George Holt.



Her quartet featured Mark Wells, Peter Kimosh, and Stephen Coffman. Here is her lovely take on Nora Jones' "Wish I Could":



Young people were especially delighted with Shana's big finish: a New Orleans version of "You Are My Sunshine." Here's a montage of the dancing that ensued.




COUNTERPOINT

Here's Shana with a trio, performing the same tune, in a different style. With Mark Wells, piano, and Brevan Hampden, percussion, here's her Latin version of "You Are My Sunshine" one recent evening at Brasa Brasilian Steakhouse:

Raleigh Rally: Hopscotch

This was the first year I really applied myself to delve into Hopscotch, which transformed Raleigh into a downtown funzone the second weekend of September. It was really fun to walk the distance between venues and to see a ton of people on the streets, popping in and out of clubs. I'd definitely say (as a Durhamite) that there's been an uptick since in my comfort levels with going out in Raleigh; Spark.con's freebies the following weekend served as a booster shot.

FRIDAY NIGHT @ LINCOLN THEATER: The Foreign Exchange.

SATURDAY NIGHT @ POUR HOUSE: With an all-club wristband, I milled about for awhile seeing various indie phenoms, and slowly figured out (DUH) that I probably needed to go to the Pour House, where it was all horn bands. I didn't manage to see that full lineup, but heard fantastic things about Fight The Big Bull (out of Richmond), and my good pals Peter Lamb and The Wolves. I arrived during the set of D-town Brass, a band with quite a few guys in it I know from thar and yonder, but had somehow never heard before. It was experimental and groove-based, kind of nerd-funky, and reminded me of movie scores. The sheer size of that horn-line is devastating, both as an audio and a visual. Orchestral in scope, the front line was like a Noah's ark of trombones, trumpets, saxophones, and clarinets. I'm not sure what all percussion they had back there, but congas for sure, marimbas maybe. Sonorous and intense.


D-town Brass


Budos Band

It started to really fill up as the clouds gathered for Budos Band. These guys brought an unrelenting Latin fusion groove all night. Hopscotchers pitched glowsticks on stage--landing right in the bell of the bari sax player's horn at some points--and instead of getting pissed, they seemed revved by the friendly dose of aggression. They rained glowsticks, and powerful Latin funk beats, right back at us. I really liked Bobby the conga/bongo player's setup and slap style, idiosyncratic and well adapted. "We're the black sheep [of the Daptone label]," these guys told me later, "but people like us, so they can't get rid of us."




Raleighites raise a beer to Hopscotch

CMF: The Remix

Carrboro Music Festival, you are always so beautiful. My review comes a week late, but I've spent all that time soaking in the good energy that overflowed into the streets last Sunday (9/27).


Celtic Tim Smith




Reggae Tim Smith

Everyone has their own CMF, whether one targets bands to see, or just wanders the 25 in- and outdoor venues for hours without a plan. I did a little of both; saw both Tim Smiths get together (that could have ruptured space/time, but we were lucky), and found myself strangely attracted to bluegrass and oldtime music. It's all that fingerpicking and harmony.


Rough Cut


The Gravy Boys



The Gravy Boys are high on that list. They practice something that old-time salsa and Latin bands used to do, a phenomenon I call "three men on a mic." There's something sweet about that ear-tuned harmony and close attention to group dynamic. Sing it for me, Gravy Boys:



Looking at their calendar, I see The Gravy Boys are coming to The Blue Note Grill on Bus. 15-501 in Durham, this Thursday, Oct. 6--a free show, from 7-9 pm.


These two videos capture that freewheeling, Weaver Street spirit. I am informed that the hula hooper accompanying Tim's band is Julia Hartsell Crews:

Tim Smith Band


Climb Jacob's Ladder


It was my first time seeing Climb Jacob's Ladder, a band I've never been able to figure out how it sounds just from reading descriptions. I can see why: extremely eclectic and socially conscious, the band alludes to Stevie Wonder, Bob Marley, and other 70s landmarks, but never stays in one place for very long.

Saludos Compay at Tyler's Parking Lot has become an 8 pm tradition. I don't have any photos or videos (it was dark by then) but a good time was had, as always.

REVIEW: Caribe Vibe @ Cantina South 10/1

Two things I've noticed about the "international" party scene lately: a) it seems to be migrating more and more to Raleigh, and b) the names for some of the new parties sound like new brands in Trojan's expanding product line (i.e., "Latinsations," "Latinvibe," etc.).



New local sextet Caribe Vibe, co-led by Billy Marrero and Andres Leon, seems like the perfect band for this newer, "hotter" Raleigh scene. On just their third gig out in public last night, they brought an agile and unique sound to the newly remodeled Cantina South on Glenwood. Breaking away from either "salsa" or "Latin jazz" formulas, the creative ensemble is making pure dance music that is relaxed, sophisticated and just a little outside the box. Also, absolutely perfect for relatively intimate club spaces. When a sextet doesn't feel like a logistical compromise, but an opportunity for musical creativity, you know you have something special.

So, what's different? For a half-Boricua band--Alberto Carrasquillo (trumpet), Nelson Delgado (vocal/ bongo), and Billy Marrero (congas)--it also sports a heavy Venezuelan angle: co-leader Andres Leon on the piano, and his Maracaibo cohort Josue Bracho on drumset. American Paul Dobelstein plays electric bass.



That drumset (in place of timbales) sets Caribe Vibe apart from other salsa bands, giving it a jazzy versatility and a rock-heavy downbeat reminiscent of Cuban timba. Yet unlike most Latin jazz combos, Caribe Vibe keeps vocals and dancefloor appeal always foregrounded. Nelson Delgado, also a lead vocalist with Charanga Carolina and Orquesta GarDel, as well as a percussionist for many years in Carnavalito, maximizes both talents in the sextet--as sonero and bongocero.



In repertoire, they have a similar range to Billy and Andres's large ensemble, Orquesta K'Che: salsas, son/cha cha chas, merengues and cumbias. But even on well-worn standards, Caribe Vibe isn't treading water; with drumset and electric bass on hand, "Oye Como Va" can really plunge off the deep end toward rock. On "Moliendo Cafe," a classic pianist's showcase, Andres played a solo which is one of his best I've heard:



Caribe Vibe showed its own personality with two boleros that the group adapted into exciting salsa arrangements. This one, "La Barca" (Luis Miguel) got my blood up, with instrumental soloing on piano and trumpet:



Dancers loved this show; the sound (mixing and volume) was excellent. The venue has mixed bar- and restaurant-style seating, and a moderately sized wood dancefloor. Door cover was $5. I would definitely hit this band/venue up again.

LINKS: Joan Soriano Review & Interview

Bachatero Joan Soriano was at Motorco on 9/23--but rather then tell you all about it here, I'm going to save my breath and repost this live review I wrote for dP's blog, The Thread.


Photo by Lisa B.

There's this interview too, which I did by phone with Joan in the Dominican Republic.

Durham Latino Festival SATURDAY (9/24)

***
BREAKING: LOCATION CHANGE

Parks & Rec has announced on Friday that the festival will be MOVED INDOORS to Edison Johnson Recreation Center, 500 W. Murray Ave, due to rainy conditions at Rock Quarry Park.
****

Durham's Latino Festival, which was postponed back on August 6 due to Hurricane Irene, is rescheduled for this Saturday (9/24) from 1 - 6 pm, at Edison Johnson Recreation Center, 500 W. Murray Ave.

Band bookings have changed, so here's the latest schedule which I received today from Parks and Recreation officials:

Main Stage Schedule

1:00 – 1:10 Welcome/Introductions - DPR Director - Rhonda Parker

Mayor Bill Bell, Felipe Cabrera, Consul of Mexico Rep.

1:10 – 1:50 Rey Norteño (BAND) (1st half)

1:50 – 2:05 Host/announcement of MAJOR SPONSORS

2:05 – 2:25 Rey Norteño (BAND) (2nd half)

2:25 – 2:40 Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.

2:40 – 3:30 Guillo Carias Trio (1st half)

3:30 – 3:45 Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.

3:45 – 4:00 Guillo Carias Trio (2nd half)

4:00 – 4:10 Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.

4:10 – 4:30 ZUMBA

4:30 – 5:00 Realeza de la Sierra (BAND) (1st half)

5:00 – 5:20 Host/Soccer Championship Awards/announcement of all sponsors – gifts & introduction of next “entertainment”.

5:20 – 6:00 Realeza de la Sierra (BAND) (2nd half)

Please feel free to contact me with any last minute questions or concerns.

Rosalie Bocelli (919) 560-4355 X 27235 or (919) 452-3476 cell

Latino Festival is FREE and OPEN to the public; Rain or Shine.

SI: blankets, lawn chairs, kids
NO: coolers, booze, pets.


Guillo Carias Trio

ABOUT THE BANDS:

A couple of my favorites are playing, namely the Dominican jazz trio of Guillo Carias, and Rey Norteño, whose norteña song "Raleigh" was a hit on Mexican Regional radio a few years back. I haven't seen them perform in ages, so I'm curious to see what singer/songwriter Fred Huerta, et al., is up to these days. Here's a neat little rehearsal video posted about a year ago:



La Realeza de la Sierra has kind of a technobanda style, and one member who appears to be a young girl playing keyboards, according to videos on YouTube. Here's their demo:

Bull City Leans Forward for Shana Tucker, Peter Lamb @ Casbah (8/20 Review)

forward-leaning jazz: Peter Lamb & The Wolves

If you were at Casbah on August 20th, you know that Shana Tucker's double bill with Peter Lamb and The Wolves was remarkable. People came to this show with a certain hunger for a serious listening experience, and they got it: two of the Triangle's most innovative acoustic jazz groups, together in one night for the first time ever.


chambersoul: Shana Tucker Quartet

The chambersoul songstress and her cello opened, backed by Stephen Coffman (drumset), Mark Wells (piano) and Darion Alexander (acoustic bass). Shana's banter between songs, rambling, funny, and animated, brought the receptive crowd in even closer. It was a pretty ravishing set; highlights included Roberta Flack's "The First Time Ever I Saw Your Face," and Bill Withers' "Who Is (S)he and what Is (S)he To You?" both of which featured strong interplay (musical and satirical) with her bass player.



She burned down the house, at least among all the ladies present, with a new original tune about a certain type of annoying phone call and/or text message (it may not have an official title yet, but she jokingly called it "The Booty Call Song"). Wolves Peter Lamb (sax) and Al Strong (trumpet/flugel) came out early to solo on "Bye Bye Blackbird" while Shana sang. Here's one of Shana's originals from her album Shine, a song called "November" that hits me every time:



After an intermission, Peter, Al, Mark and Stephen returned, joined by George Knott (double bass/bass saxophone) and guest Brevan Hampden (congas), to play The Wolves' set. I've never heard the horns sound better, in fact sound overall at Casbah (Sound by Evan) was peachy. If one had a request, for the artists' sake as well as the audience, it would be the installation of central A/C in this important venue. Near the stage, and especially on it, the heat from lights, etc. made for trying conditions. That said, nothing was going to stop this from being a glorious, expansive night of music. Here's "Mona Lisa," veritably busting with incredible solos by Mark Wells on piano, Peter Lamb on sax, and Al Strong with the melody on flugelhorn:



The Wolves did their usual powerranger-morphing through Astor Piazzola, Ray Charles, Nat Cole, et al. A lot of older, jazz/pop standards have cryptic Latin cover versions, or vice versa, and sitting at the bar, one popped out at me that night that, for some reason, I had never noticed before: "Boulevard of Broken Dreams" and "Veinte Años," the latter best known in a version by the Buena Vista Social Club. The former is credited to songwriters Harry Warren/Al Dubin, the latter to Maria Teresa Vera.

I'm not sure who deserves the first credit, and they differ enough past the distinctive opening bars to probably legally qualify as different songs. But my instincts lean toward Maria Teresa Vera, who was born in 1895, and wrote "Veinte Años" as a habanera (the Cuban style of contradanza, whence tango got its bassline). Nat King Cole did "Boulevard of Broken Dreams" with a Latin percussionist (Jack Costanzo), and the English lyrics not only treat a similar theme (broken dreams/long lost loves), but also mention an "old Cathedral town," which seems like an allusion to Latin America.





In any case, the really important question is this: Has anyone merged these songs? How breathtaking would that be? Wolves, you have your mission...

Danke schön, in the meantime, for restyling my brain to take in this German drinking song, "Du, Du Liegst Mir Im Herzen," sung by with Mark Wells as if he were Jeff Buckley at an Oktoberfest. This was a juicy encore:



If you missed it, you missed it.

Peter Lamb and The Wolves and Shana Tucker both have new albums; listen and learn more at their websites.