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April 2010 | SFCritic Music Blog
What To Expect
This site is updated Monday through Friday. Blogs will feature: 1. New artists 2. Recently released singles 3. Music Labels 4. Music Culture and Events 5. Album and Concert Reviews 6. Interviews
Avi Buffalo, the Long Beach, California-based guitar pop band has been garnering a great deal of attention in the weeks leading to the release of their self-titled debut album. Despite the hoopla, they took the stage at the Independent to a fairly thin crowd. The band's youth is incredibly evident in both their appearance and stage presence. While it is a huge asset, creating the fresh arrangements and some of the cutest, quirkiest lyrics heard in ages, the first few songs of the set were noticeably stiff. "Summer Cum" was appropriately high energy and dreamy, but it wasn't until the almost eight minute long "Remember Last Time," that the boys let loose and showed their range and precocious skills. The songs transferred beautifully to the stage, and will no doubt get better and better as they continue to tour.
Japandroids rocked out. The set was loud, slick, and in-your-face. It was a little unbelievable to watch two handsome young men scream into microphones for an hour, while they banged seemingly impossible, but amazing noises out of a drum kit or made the grungiest electric guitar sound fantastic while flying around the stage (nonetheless, while in skinny white jeans). It was striking to watch, and even more incredible to listen to. Their devil-may-care anthems of youth, like "Wet Hair" and "The Boys are Leaving Town" are reminiscent of the dirty garage punk rock that teenage boys all over the world hope to master as an outlet for their angst. The Japandroids make it as much about youthful disillusionment as skillful musicianship, and it truly makes for a kick-ass show.
Avi Buffalo continues their tour with Modest Mouse this summer. That lineup will perhaps make more sense, at least to those who like their whole show to represent one feel. There was something else entirely connecting Avi Buffalo and Japandroids, and boy was it a smart combination. Both are the themes of youth: naivete and self-absorption, sex, the future, and identity. It is rare that bands are booked together based on something so esoteric, but it really should be happening all the time.
“We are very pleased to have a special guest in the audience tonight: former heavy weight champion of the world, Mr. Joe Frazier,” informal emcee Todd Coolman announced from behind his bass. As the audience scanned the room for a glimpse of Smokin’ Joe, the bassist didn’t miss a beat, quipping, “Oh, sorry lady, thought you were Joe...”
Coolman’s tongue-in-cheeker was characteristic of the light-hearted tone that prevailed at Yoshi’s last Saturday. The joke also happens to be a favorite of the great saxophonist James Moody, who’s 85th birthday we had gathered to celebrate.
Though the guest of honor was ill and unable to attend his own party, the night did not disappoint, as a host of talented musicians played on in tribute, including Frank Wess on sax and flute, Jon Faddis on trumpet, Joey DeFrancesco on the organ, drummer Adam Nussbaum, bassist Todd Coolman, vocalist Nnenna Freelon, and pianist Mike Garson.
Who’s James Moody, you ask? Well, my friends, James Moody has become something of a jazz institution – a qualifier generally reserved it seems for those who’ve blown their horns (or tickled a piano) for more than sixty years and came up under jazz wizards like Dizzy Gillespie. As it happens, fresh out of Air Force service in World War II, a young James Moody joined Dizzy Gillespie’s orchestra in 1946 – an all-star band that boasted some p-p-p-retty talented jazz hands, like vibraphonist Milt Jackson, drummer Kenny Clarke, bassist Ray Brown, the inimitable crazy-man Thelonious Monk, and arguably the most famous jazz name of them all … Miles Davis … to name a few.
Moody’s subsequent rise to fame is a cool – and kind of unusual – story. In 1949, while in Sweden on a mini-tour, Moody recorded Jimmy McHugh’s “I’m in the Mood for Love,” in which he played a distinctive, dynamic bop solo that made the recording a big hit back in the U.S. of A. (Moody moved to Europe after a few years in Dizzy’s band.) A few years later, Eddie Jefferson wrote a melody from Moody’s improvisation, set lyrics to it, and called it “Moody’s Mood For Love.” A singer with one of the great (and presumptuous) stage names in music history, King Pleasure, then made the song famous, and in so doing, secured Moody’s status among the great horn players of the era. “Moody’s Mood For Love” has since become a jazz classic and has been recorded by Aretha Franklin, Van Morrison, Amy Winehouse, and many others.
Moody’s story is illustrative of an era when things like that could happen, when a musician could rise to fame based on an improvised solo … a jazz one no less. Weird, huh? Add 60 years of touring and recording and you start to see why Moody’s birthdays have become special events in the jazz world -- causes for celebration both among musicians and his many friends.
In a fitting tribute Saturday, Moody’s friends played a raucous and light-hearted version of “I’m in the Mood For Love” that included a hilarious vocal performance by Joey DeFrancesco. If you’re not familiar with DeFrancesco, he is a big fella and is renowned for his virtuosic Hammond skills (when he was 17, Miles asked the organist to join his band) and relentless touring and guest appearances … but he’s not exactly known for his dulcet voice. Imagine Newman (from Seinfeld) with a goatee belting out a ‘40s jazz tune. No doubt Moody would have been proud. Or at least laughing his ass off. Happy Birthday, James!
Another of the night’s highlights was the performance of uber talented jazz vocalist Nneenna Freelon, who has toured extensively with Moody in the past few years. She opened by telling the audience that she knew “Moody was here in spirit” because, after all, “he’s a brother who always enjoys a good party.” Then, along with pianist Mike Garson (who played on Bowie’s Ziggy Stardust tour in 1972 and Aladdin Sane) Nnenna launched into celebratory renditions of “Squeeze Me” (and old Fats Waller tune) and “Blue Skies” (an Irving Berlin classic).
I’m not usually a fan of jazz vocalists, but Nnenna’s version of “Blue Skies” made me feel all funny inside – and want to join a congregation. It also helps that, though she’s in her mid-fifties and has 5-Grammy nominations and years of touring under her belt, she looks incredibly sexy in a black dress. I still think that most jazz vocalists are cheese dealers, but the traces of gospel in her tone, mixed with shades of pop and blues made her sound like Ella Fitzgerald, Judy Garland, and Beyonce rolled into one. Or at least that’s what someone who sings well (and knows who Beyonce is) told me …
Another reason that Nnenna’s performance was so enjoyable was how well her voice was complimented by the saxophone of Frank Wess. Prior to the show, I wasn’t particularly familiar with Wess, who, I’ve since learned (like Moody), is a sax veteran, debuting in the “Big Band” era with Bill Eckstine and Count Basie. Today, the National Endowment of the Arts identifies the 88-year-old as a “Jazz Master.” Not quite a doctor, I suppose, but master will do. Wess’s playing, especially on the standard “Never Let Me Go,” was brilliant.
Following this particularly hott (yes, that’s with two “t’s”) rendition in which Wess (who walked to his place on the stage with a cane) played the classiest, most tasteful, it-takes-a-guy-who’s-been-around-awhile-to-know solos I’ve seen, trumpeter Jon Faddis acknowledged his consummate playing by declaring: “Well … now I don’t have to go to church tomorrow…” So apparently Wess is a master and a minister. If that’s not an endorsement, I don’t know what is.
All in all, it was one helluva birthday party; Mr. Moody was celebrated in style. It left me hoping that my 85th birthday – really, any year – features a musical cake with some badass saxophone and a sexy jazz diva.
As many of you are aware--this Saturday--April 17--is Record Store Day. What does this mean? Many great things! Labels big and small, like Seattle's prolific and always reliable Sub Pop, put out special edition vinyl to get us music nerds to spend our dollars at our local shops. Everyone wins! Also, it is a day full of some kind of incredible artist in-store appearances, gift bags, and a multitude of other special surprises. Here's SFCritic's handy guide to the highlights of Bay Area Record Store Day 2010. The weather report calls for sunshine, so walk or bike around and get some good stuff. Don't forget to bring your own bag (we keep it green).
It's full-on San Francisco springtime, and this week SFCritic has been listening to some totally weather-worthy EPs out of the UK. Sip something, sun yourself, and check out the goods.
John Gribbin, a 23 year old from Northern Ireland, is the one man behind the band, Building Pictures. Joey and the Moon is his second EP release, though he has been writing in the UK and Brooklyn for other artists, while doing gigs for various bands. There are no surprises on the EP, just good songwriting and subtle touches that make each song distinct from the rest. It's full of the kind of songwriting and earnestness, barely scuzzy-sounding guitars, and slacker vocals that make an artist destined for shoe-gaze stardom. "I'm Serious" has harmonies and a catchy chorus, while "Building a Picture" (calm down, Gribbin) is the kind of coming-of-age ballad most people ruin. Nothing is ruined on Joey and the Moon--doing just enough to stand out from the pack of male singer-songwriters and not much more. It won't inspire raves, but boy is it likable.
Sounds Like: Jamie T's less street-wise little brother. (Note: Check out Jamie T.) Listen To: I'm Serious, On Our Own
Bare Threads - Wasted Nights EP Bare Threads is a Bristol-based, bluesy rock band. Their latest release (March 29th) Wasted Nights EP was released on their own label Beats Harder recordings. The vocals, provided by the lovely Joanna Bennett, are totally lounge-worthy and supported by the richness of a stand-up bass and a trumpet. The one aspect lacking on the recording is the recording itself. The songs come off a little muddled and far away. On some tracks, like on the more electric "Under Your Shoulder," it's as if Bennett's sultry voice is floating through a smokey jazz club or across the lawn at an outdoor concert. The whole EP could benefit from higher production standards. Wasted Nights is an expression of Bare Threads' DIY ethos, acting as the kick-off for a Bare Threads-created ongoing collaborative art and music project. The artwork brief for the EP is available here.
Sounds Like: Letters to Cleo for the jazz inclined. Listen To: Wasted Night, Under My Shoulder
I hate to say it, especially since there are some great shows this weekend, but save your pennies (and stamina) for next week. On route to Coachella (in LA), SO MANY good bands will be coming through San Francisco both before and after the festival. At SFCritic we will be binging on a feast of bands... We are Wolves @ Bottom of the Hill. Friday April 9th, 9pm ($10, AA) Montreal-based indie rockers bring their pared down sound to one of SF's best little venues. If you haven't heard them yet, this is a great place to check them out.
Spoon with Deerhunter @ Fox Theater April 13th, 7:30PM ($32) The Austin, Texas-based Spoon began as an indie rock band heavily influenced by the jarring melodic dissonance and loud-soft dynamics of the Pixies, but by the early 2000s had developed its own sound and style owing as much to angular British punk-era bands like Wire and Gang of Four as to the music of the Nineties alternative boom.
V.V. Brown @ Independent April 13th & 14th, 9PM ($20) Under the moniker "VV Brown", she released her debut album, Travelling Like the Light, in July 2009 [1] by Universal Records. The album was preceded by a limited non-chart eligible release of "Crying Blood" on 7" vinyl and digital download. Brown wrote the music and plays instruments on the album.[1] The album is inspired by 1950s and electronic music as well as sounds emitted from Game Boy and Nintendo.[1].
Atoms for Peace @ Fox Theater April 14th & 15th, 8PM ($50) Thom Yorke's side project previously known as ???? will hit the road this April under its new official name, Atoms For Peace. Yorke assembled the live outlet to bring his 2006 solo album The Eraser to the stage, and debuted the band - which features Red Hot Chili Peppers bassist Flea, producer Nigel Godrich, Beck drummer Joey Waronker and percussionist Mauro Refosco - during a string of shows in Los Angeles last year. Thom Yorke's much anticipated side project making two nights of it at
Whitest Boy Alive @ Slim's April 14th, 8PM ($16) Formed in 2003 as an electronics-based group with an emphasis on the dancefloor, the Whitest Boy Alive eventually abandoned all programming and most other forms of synthetic instrumentation for a typical rock band setup. Guitarist/vocalist Erlend Øye (Kings of Convenience), bassist Marcin Öz, drummer Sebastian Maschat, and keyboardist Daniel Nentwig began playing a form of straightforward and stripped-down indie rock informed by early Talking Heads (particularly the spindly sound of "Talking Heads: 77") and Josef K.
MGMT's new album, Congratulations, has received mixed press. The album is stirring the critic pool, causing wakes which might be intended. As Michael Roffman from Consequence of Sounds wrote in his review, "The boys behind MGMT want to tell you something. It’s short and to the point. That message? Thanks for listening, but fuck you." In comparison Culture Bully stated "the record is hardly as unlistenable as some have made it out to seem; the album retains a continuous flow and offers a variety of different sounds within the larger umbrella of modern psychedelic rock."
It's hard to say whether Ben Goldwasser's apology in an interview with Spinner Magazine is sincere, and why should it? Regarding their fans' negative response towards the first single "Flash Delirium," Goldwasser told Spinner, "I'm sure there are plenty of people who think it's completely weird and not what they were expecting. I'm sorry." Sorry won't cut it bub, I want another "Kids," make me dance!
All the hoopla and critique have left SFCritic wondering: What's the big deal? With Oracular Spectacular, MGMT took the world by storm and soon after (and in this order), Rolling Stone magazine awarded the album eighteenth best of the decade. In essence, if a "music critic" didn't review this album it ought to be for the reason of political resistant, or a death wish to one's general credibility. But in this instance, when an album like Congratulations winds up on your doorstep, it's like that baby you never intended to adopt: it could change your life, for better or for worse, or it could be just a story. I mean the album is THAT important to everyone, right? Who cares about waiting to review the album after the scheduled release date?
In the Spinner interview, Goldwasser stated that fame is "not our world. We don't feel comfortable in it. But we didn't want to make that typical second album either, about fame. So we're definitely observing it, as opposed to reveling in it."Kudos sir. Who needs those "I love MGMT" fans who knew only three of your songs ("Kids," "Time to Pretend," and "Electric Feel"). I'm sure Milli Vanilli would roll in his grave over your career decision, Congratulations.
All things considered, MGMT might be saying "fuck you," but who are we to tell them what to say? Who wants a fair-weather fan? Who gives a shit what such and such blog has to say? "Here you go blogs, Congratulations. Here's out album, whatever, fight amongst yourselves for editorial supremacy, see if we care!" So being SFCritics, we feverishly debated over a cold one and thought to share bits of our conversation--not because it makes a difference, but because we like to read our thoughts. Congratulations for reading.
*While listening to the album*
Eve: Why make a such a huge departure from the first album? Why not have singles? You were actually really good at singles MGMT. What's wrong with being good at something, huh?
David: Yeah, I'm not good at anything. I don't think they should be sorry though. I mean, I doubt they're really sorry, but even so--their job is to make music, not win a popularity contest.
Eve: Making something totally different is one thing; it doesn't have to be bad, it could be great--but it's not. It sounds like a musical, like the Wiz or some horror score. ["Lady Dada's Nightmare" plays] I've been listening to it all day. This song sucks too.
David: Why is a wretched woman screaming off at the top of her lungs? I was scared when I was eight and heard "Thriller," but this is ten folds more intense. Whether it's one in the same maybe after fifteen more plays I'll have a better answer, but why give it fifteen plays?
Eve: I suppose I can respect them if the point is doing something creative. Oracular Spectacular had these three really great singles, and for many people that's MGMT. Now, this album doesn't have really any stand-out singles, which they communicated on NPR. Unfortunately it also isn't very good.
David: If they had put out an album that sounded just like the last one, and then on top of that it was awful, that would be tragic. The album is either like a bad joke, and the jokes on us for either liking it or hating it--or well, I don't know--it's a bad joke right?
Last week, following the leak of their hotly anticipated sophomore release, MGMT decided to stream Congratulations in its entirety over at WHOISMGMT?.The site also features the video for "Flash Delirium." The album itself leaves behind the epic electro-rock singles of Oracular Spectacular, in favor of a more subtle surf rock-influenced sound. The scheduled release is April 13th. Stay tuned for the full SFCritic review to come.
