Live Review: Lori Diamond & Fred Abatelli at Second Friday Sessions

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Lori Diamond & Fred Abatelli with Kim Jennings

photo by Geoff Wilbur

Lori Diamond & Fred Abatelli

Second Friday Sessions, Unitarian Church of Marlborough and Hudson, Hudson, MA

December 8, 2017

You’ve read about Lori Diamond and Fred Abatelli here before – a live review and an album review. So I’ll keep this live review brief, since I’ve gone into great detail in the previous two reviews. Plus, I was out enjoying myself, so I barely took any notes beyond jotting down song titles.

The event was Second Friday Sessions, a monthly open mic night – built around a talented, well-known “featured performer” each month – at the local unitarian church. On this night, Lori and Fred were the featured performers.

Lori Diamond & Fred Abatelli with Kim Jennings

photo by Geoff Wilbur

I arrived about an hour into the evening and caught the last couple songs of a band full of young musicians, Paradox, gaining some valuable on-stage experience. Next up were Lori and Fred, who were joined on stage by another well-known local musician, Kim Jennings. This was a real treat for me, since I hadn’t gotten out to hear Kim before. Though, vocally, she was limited to background harmony duty, what a crisp, clear, great voice she has!

Of course, I knew what to expect from Lori and Fred. Lori has a rich, warm powerful voice that’s also hits impressive high notes. Fred’s vocals, as well, are strong, and his guitar-playing is really something special. In fact, I’ve commented that Fred does things on his acoustic guitar you usually only hear attempted on electric guitars. And for good reason. Fred’s exceptional, understated talent – so obvious if you’re really paying attention – allows his wizardry to bring a liveliness and attention to detail to the duo’s adult contemporary repertoire that’s rarely heard in this musical subgenre, especially true outside the nationally-famous few.

The eight-song set opened with “Good Harbor,” a crowd favorite that evokes emotion. Then “The Outside,” the first to feature some of Fred’s special guitar-playing.

Lori Diamond & Fred Abatelli with Kim Jennings

photo by Geoff Wilbur

On the first two songs, Lori sang lead, but “All Comes Round” was sung more as a duet. It was followed by a cover of Joni Mitchell’s “River.”

Lori and Fred unveiled a brand new original, “The Good in You,” a song with a fun, light positive energy. It showcased a head-turning intricate guitar run by Fred and kind of an “Outside”-ish vocal vibe in some of Lori’s soaring vocals. This one’s a keeper!

Next came “True,” a song with soaring vocals that strikes me as very piano ballady even in spite of the guitar parts. And the duo’s very cool rendition of “Wayfaring Stranger,” a song that appears on Lori & Fred’s album Lifted, performed in such an original arrangement they really make it their won.

The evening closed with “Lifted,” a song featuring Fred’s vocals in the lead, supported by keyboards and allowing a chance to really showcase stunning backing vocal harmonies from Lori and Kim.

I’m glad I was able to get out to this show. It’s always fun see Lori and Fred perform. The music’s so mellow but performed with such energy; it’s always an evening you’ll walk away from smiling and glad you came.

Looking Ahead

I don’t see the next Second Friday Session listed, but keep an eye out for it, presumably around the second Friday of each month.

A house concert tonight, Saturday, is Lori & Fred’s last currently-scheduled performance of 2017, but they already have several shows scheduled for 2018. On January 13th, they’ll be at the Original Congregational Church in Wrentham, MA. On March 25th, they’re scheduled to perform at the Amazing Things Arts Center in Framingham, MA. On June 9th, they’ll be performing at the Newton Festival of the Arts in Newton, MA. And on July 21st,  they’ll be at the Shrewsbury Public Library in Shrewsbury, MA. See the “Tour” page of their website for details. And check back as they add more dates.

Album Review: Fernando Perdomo – The Golden Hour

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Album Review of Fernando Perdomo: The Golden Hour

Fernando Perdomo is a modern manifestation of a ’70s/’80s soft rock reimagination of Tom Jones, crooning love songs with warm, fully orchestrated rock ‘n roll sound beds. Musically, he’s a ’70s/’80s slow rocker, someone whose music suggests influences from Moody Blues to John Lennon, his rolling soft rock numbers offering hints of the more piano-heavy numbers from the repertoires of Kansas or Styx.

The Golden Hour kicks off with “Sunset (Intro),” a piano intro that leads into a rich, lush, slow, Moody Blues-esque crooner, “Sleep.”

Fernando then picks up the tempo with “Spotlight Smile,” a familiarly comfortable, totally laid-back yet energetic ’70s guitar pop-rock-ish number, something well-suited to a concert on the beach. Perhaps the beach shown on the album cover.

Fernando Perdomo - The Golden Hour

image courtesy of ACR Management

Indeed, beaches, palm trees, and sunsets seem to be the perfect backdrop for most of The Golden Hour‘s songs. The next track, “Look At the Moon,” deploys some mild guitar hooks a bit reminiscent of Cheap Trick. Mellow Cheap Trick.

“Here With Me” is a nice ballad, its guitar hinting at a Hawaiian twang. “Sunset,” meanwhile, opens with a guitar sound and vocal intro relatively akin to Pink Floyd. The mellowest Pink Floyd you’ve ever heard.

“Love Loss Repeat” is one of my favorite songs on the album, lyrically a clever thought, with standard mid-tempo drumming, mellowly powerful melodic rises and falls, and interesting supplemental harmonies. Perhaps my very favorite is “I Feel (Therefore I Am),” with an interesting, classic guitar line, mid-tempo rock with a bit of an ’80s distorted axe flair.

A couple more songs are standouts, as well. “When You’re Here With Me” is a close-your-eyes, turn-out-the-lights slow rock swayer, suitable for an arena full of lighters held high, with a late-song guitar solo driving home that classic arena rock lineage. And album-ender “Gold,” even though it protests “I’m tired of sleeping/It’s time to live” sways and jangles almost as if it wants to put the listener to sleep. As such, it’s a great closing number, gently lifting the covers up on this engaging 13-song soft, classic, ’70s-era, lushly produced pop-rock album and putting it to bed.

Excellent musicianship, tight songwriting, and warm, precise production combine to deliver The Golden Hour, a disc that clearly showcases Fernando’s talent from the first listen and whose songs’ initially apparent strengths grow on you with repeated listens, as you start to notice the precision and interesting details.

Kansas, Cheap Trick, Moody Blues… Fernando Perdomo is a soft pop-rock version of a lot of my favorite old rock bands. And that’s pretty cool for whenever I want to hear good music with rich, lush, full production, but don’t want it too loud. Per Fernando’s website, The LA Weekly says he’s “The millennial answer to Todd Rundgren.” Yeah. I wish I had thought of that.

Looking Ahead

I don’t see any upcoming shows listed on the Events tab of Fernando’s Facebook page, but be sure to check back regularly to see, particularly if you’re in southern California, since he’s based in Los Angeles.

EP Review: Liz Bills – Liz Bills

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Liz Bills

photo by Scott Bakal; photo courtesy of Liz Bills

EP Review of Liz Bills: Liz Bills

This brand new self-titled four-song EP – it’s scheduled to drop on Saturday, November 18th – is the first solo release by Analog Heart frontwoman Liz Bills. Liz has a voice you can recognize quickly. It’s powerful, versatile, original, and memorable.

When I first heard Liz with Analog Heart, I was impressed, but with each successive step, I’ve heard growth. In dynamic delivery, full utilization of her vocal tools, consistently strong songwriting and the ability to find unique hooks. Most of all, though, while conveying a confidence and feeling that she is exactly where she belongs. That has always been a strength of Liz’s (at least during the two-plus years since I first – and last – saw her perform); her presence just seems to get stronger with each recording.

Liz Bills EP cover

image courtesy of Liz Bills

You’ve seen reviews of Analog Heart’s Sun Here I Come album last year and, this past summer, the band’s “Not Good Enough” single here in the Blog. Those had a band vibe. Liz’s new, eponymous EP is still a rock album, but it really showcases her voice and personality within and beyond the music. And hits. It has hits. The first two tracks on the collection are immediate, smack-you-in-the-face with their catchiness kind of hits; the back end of the EP, meanwhile, is subtler in its hookiness, obviously good songs even at first, but they ultimately hit you sneaky-hard as you peel back their layers and discover their massive coolness.

The first half of the collection, which I’ll call the “instant favorites” half, begins with “Born to Wander,” a big song with energetic strumming and rhythm, monster hooky stop-gaps and tempo changes, big, powerful vocals that include Liz’s crystal clear highs, and plenty of engaging character.

It’s followed by “My Man,” another smack-you-in-the-face, memorable-from-the-first-listen, causes-music-journalists-to-overuse-hyphens tune. There’s a bit of a ’70s funky rhythm and some tempo-changing lyrical runs, but the most Liz Bills element of the song is a spoken word, conversational, encouraging/empowering-conversation-with-the-audience portion, something she does memorably well, a trick Analog Heart fans might recognize from “She’s Rock ‘n’ Roll.” Indeed, “My Man” is a song you won’t soon forget.

Liz Bills

photo by Jonathan Rummel; photo courtesy of Liz Bills

The “back half” of Liz’s EP contains a couple songs whose hooks are slightly more hidden but very certainly potent and likely with a more permanent impact. “Werewolf,” the first single from the disc, was released October 21st. It has a subtler, rhythmically nuanced vocal, a song that softly ratchets the intensity, punctuated by howls that are both appealing and a bit confusing, at least until you start to pay attention to the lyrics (or, at least the song title). Oh, the lyrics are well-crafted to tell the song’s tale, and they match the journey of the song as well as its vocalization and instrumentation, musically leaning on the rich texture and versatility of Liz’s voice while only hinting at its power. “Werewolf” is a thoughtfully-constructed, very cool rock ‘n roll song and quite possibly my favorite…

Unless my favorite is “Bomb Song.” It’s also lyrically clever. And, as with “Werewolf,” once you stop listening passively and pay attention to said lyrics, the unusual point of emphasis, “bang,” suddenly makes sense and becomes the lyric you sing along to the most, just as you start to howl after several listens to “Werewolf.” “Bomb Song” also sports a cool, rhythmic, not-quite-syncopated strum that, at the end, halts abruptly. Abruptly emphasizing the brevity of this four-song collection and making you want more. So, of course, this is an EP that has to be played on repeat.

In the end, yes, I’ve been in Liz Bills’ camp for a while now, intrigued the first time I heard her perform live. At the time, before I started blogging and just as “Merrimack Jane” was released, I thought Analog Heart had finally hit its songwriting groove, found its niche. The band rounded a corner with a strong album beginning to end with Sun Here I Come. And now Liz has managed to kick things up another notch with her eponymous solo EP. She’ll have to blow the roof off the proverbial joint to lift her game any higher, and I look forward to hearing her try. I bet she can. For now, though, I’ll just sing and howl along with her all-too-short solo EP, and I suggest you do the same. This rock ‘n roll singer-songwriter-bandleader is something special.

Looking Ahead

The “tour” section of Liz’s website lists her upcoming tour, kicking off with a Saturday, November 18th album release show at the Chit Chat Lounge in Haverhill, MA. The subsequent tour includes stops in Millvale, PA; Cincinnati, OH; Burns, TN; Nashville, TN; Louisville, KY; Richmond, VA; Lynchburg, VA; Baltimore, MD; and Brooklyn, NY before she returns to Massachusetts for a December 5th date at Atwood’s Tavern in Cambridge. Check Liz’s website for details and for additional dates as they’re added.

Live Review: Eric Schwartz at The Backyard

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Eric Schwartz

photo by Geoff Wilbur

Eric Schwartz

The Backyard, Brighton, MA

November 5, 2017

A series of scheduling conflicts have kept me from getting to The Backyard earlier this year. But this late addition to the calendar provided an opportunity to get to one of my favorite local live music spaces at least once during 2017.

Eric Schwartz

photo by Geoff Wilbur

Meanwhile, I had thought to catch Eric Schwartz at his Fox Run House Concerts show on November 25th this year at another very cool local house concert performance space. But this Backyard show allowed me to see Eric perform live while resolving a potential Thanksgiving weekend schedule conflict. Win-win.

Eric Schwartz, if you’re not familiar with him, is one of America’s preeminent comedy singer-songwriters; I’ve seen him referred to as “folk,” but that is a bit of a misnomer, as his style incorporates a variety of musical influences crossing various singer-songwriter subcategories. Perhaps the one song that gained the most notoriety was one of Eric’s political ditties, his 2008 International Songwriting Competition winning song, “Clinton Got a BJ.” (NSFW word tweaked to avoid search engine wrath.) More recently, his social commentary jam “I Gotta Problem With That” has drawn some attention, but my personal favorite Eric Schwartz tune – the one that made it onto my smartphone playlist – is the hilarious screenplay-in-a-song “Don’t Tell My Wife.”

Eric Schwartz

photo by Geoff Wilbur

I wasn’t quite sure what to expect from an Eric Schwartz live performance, since this was my first time seeing him in person, but this guy’s one of the best at what he does – and, as I always say, it’s always worthwhile to see musicians who excel in any lane of the 50-lane superhighway that is their craft – so I jumped at the chance.

It’s sometimes hard to tell where Eric’s musical and comedic noodling turns into a song and when it’s merely noodling – though a perusal of his ReverbNation page and a scan of the song titles on his albums may help figure out where to draw the lines. Regardless, Eric performed about 15 songs on this particular evening. Or 18. Your call. It was a chilly evening in Brighton, but thanks to some unseasonable warmth, still a decent night for a live show.

Eric Schwartz

photo by Geoff Wilbur

Eric’s first song of the evening was an R-rated comedic female-hygiene-related adaption of “Saving All My Love For You,” setting the bar at its clearly-not-for-children adultest right from the start. Next up was my personal favorite, “Don’t Tell My Wife,” rather Hee Haw-ish in its delivery at times, just like on the recording. ‘Til now, though, I had no idea it was actually based on a true story. “Don’t Ask” followed, a bluesy soul-like word salad sporting significant rhythmic vocal scatting.

Eric followed that with his most political song of the evening, “He Won,” a tale of the last presidential election as seen through the eyes of an unhappy deity, delivered devilishly in a dark, smoky narrative vocal style; perhaps I’ve said too much.

Any political conservatives who couldn’t find humor in the prior track, though, hopefully returned from their bathroom breaks in time for the next number, Eric’s voyage through a seemingly random collection of rhyming words that he tied together at the end… quite cleverly. You’ll know it when you hear it. And he followed that up with the frighteningly unhygienic “Telltale Kitchen.”

Eric Schwartz

photo by Geoff Wilbur

Following some hilariously demented children’s music and some more comedy noodling, Eric moved on to his uber, ultra, meta-country song, “There’s a Picture.” (Do I need to warn you not to click through on this link if you’re at work? Really, with Eric’s songs, it’s always a risk.)

Politics returned with “I’ve Got a Problem With That,” followed by Eric’s Gospel song, “The Better Man,” a song of forgiveness… of oneself.

With that, in spite of a supposed zero percent chance of rain (when I checked my weather app earlier in the day), drops of water fell from the sky, so the show moved indoors for the final two songs. First up, Eric swung through his catchy, hooky ode to lesbian trailblazers, “Hattie and Mattie.” And then he closed the evening with “Hallelujah,” a brilliantly NSFW re-imagining of the tune and its cliched use by vocally-talented would-be troubadours to melt women’s… um… let’s just say “it’s ability to attract women” and leave it at that.

Eric plans to take some time off from touring soon, so catch him now if you can. At least, jump at the chance if you’d enjoy a fun, lighthearted evening of clever, imaginative, occasionally political, and often highly inappropriate (adult?) musical comedy. I can’t say it too often: This dude’s one of the best at what he does.

Eric Schwartz

photo by Geoff Wilbur

Looking Ahead

This is the last backyard show of the season at The Backyard, but you should bookmark the “Events” page of the venue’s Facebook page and check back for future show listings. Liking The Backyard’s Facebook page is probably also a good idea.

West coast-based Eric Schwartz has a few more gigs in the northeast over the next month, with dates scheduled on Saturday, November 25th in Sudbury, MA; Saturday, December 2nd in Oswego, NY; and Sunday, December 3rd in Oxford, NY. See the “Shows” page of Eric’s website for additional information and to see upcoming live dates whenever they’re added.

One Last Advisory

It’s worth repeating, and I’m serious here: Do not sample Eric’s music while at work. Wait until you get home, lock the doors, turn out the lights, and for heaven’s sake, use protection… I mean, headphones.

Live Review: Carmel Liburdi at Hamtramck Korner Bar

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Carmel Liburdi

photo by Eric Harabadian

by Eric Harabadian, Contributing Blogger

Carmel Liburdi

Hamtramck Korner Bar, Hamtramck, MI

November 3, 2017

There was certainly a lot of love in the room as assembled fans and friends gathered to celebrate the release of Detroit area singer-songwriter Carmel Liburdi’s new CD Insomnia Slumber Party. Liburdi is a gifted lyricist and songsmith who knows how to connect with her audience. She writes tunes that are personal and somewhat confessional, with a broad appeal that most folks can relate to. Affairs of the heart, religion and self-reflection are some of the prime topics of her songs delivered with a sense of irony and whimsical introspection.

Carmel Liburdi

photo by Eric Harabadian

The place was packed and, after some introductory pleasantries, she jumped right into the title track to her latest release “Insomnia Slumber Party.” Armed with her trusty acoustic guitar, Liburdi dove into the folky, laid-back rhythms with ease. It’s a small tale—perhaps a personal account—of two people who find themselves fatefully together at the end of the night after the other partygoers disperse. She appeared to have the crowd dialed in from the get-go and followed that up with a wry and lighthearted tune called “This Song is About You.” The tune had a ragtime Tin Pan Alley vibe where she puts a cad in his place with the line “You dirty cowboy riding atop your trusty steed; I need you now, boy, but it’s a want more than a need.” Talk about turning the tables!

Carmel Liburdi

photo by Eric Harabadian

“Umbrella Tattoo” contains vivid imagery and a dream-like rapid stream of conscious lyrical delivery. As she refers in her own song, it’s like “grunge pop punk played on acoustic.” “Sewerstar” is kind of progressive in its structure and how it takes several twists and turns in mood and tempo. Liburdi whips out her ukulele for the cute and somewhat surreal tale “The Vine.” She cleverly observes various fruits and vegetables within a garden and gives them all human qualities, not unlike Simon and Garfunkel’s classic social observation “At the Zoo.” This woman can write about pretty much anything and give its characters purpose and integrity. Toward the end of this tune Liburdi also played “mouth trumpet” and brought the house down. “Zoe” followed and was another catchy piece, with a light rock and boogie edge.

Carmel Liburdi

photo by Eric Harabadian

The last two songs in her set really played to the emancipated woman. In “Not for Consumption,” she pulled no punches singing the line (after defending her position in an encounter with someone) “I’m here in the now. I don’t know why and I don’t know how.” “Genuine Creep” closed the main part of the show and was probably one of the more poignant songs of the night. Love is confusing sometimes as she sings, “I’ve shown I can love even if I can’t love you.” And then in the next breath she emotes, “When you think I’ve moved on and I came back to you. That’s just what I do.”

Carmel Liburdi

photo by Eric Harabadian

She concluded with an encore from an earlier release called “Ice Cream in Heaven.” It was a clever little number where she called up acoustic bassist Gwen McPhee and percussionists Mike Land and Phil Warren to help her out. Actually, at a few select points earlier in the performance, Liburdi received a little help from those friends as well.

Carmel Liburdi is a unique and singular talent. She can, essentially, carry her own as a solo performer and is totally authentic and believable. Aside from her obvious songwriting prowess, perhaps that is her biggest asset.

Album Review: Savoy Brown – Witchy Feelin’

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Album Review of Savoy Brown: Witchy Feelin’

Yes, that Savoy Brown. Legendary British blues rockers you’d know mostly from the ’60s and ’70s, though they’ve been releasing music pretty steadily ever since. And by they, I mean Kim Simmonds and whoever is in the band with him, as he has churned through a significant number of bandmates through the years under the moniker Savoy Brown; Pat Desalvo (bass) and Garnet Grimm (drums) have been Kim’s bandmates since 2009.

Savoy Brown - Witchy Feelin'

image courtesy of Howlin’ Wuelf Media

Through the years, though, Kim’s bluesy guitar wail and bluesy vocals have been a constant, while his list of former Savoy Brown colleagues is impressive in both quantity and quality.

That telltale axework doesn’t take long to appear on Witchy Feelin’, as first track “Why Did You Hoodoo Me” kicks of with crunch and power, a deep bluesy vocal acting as a New Orleans-inspired booming siren call. It is a proper introduction to this old-school, classic blues rock album. Like fine wine, this disc just improves with age; it’s solid at first listen, but the attention to detail helps this collection dig its tentacles in like smoke from an old blues club filters its way through the seams and into the lining of your leather jacket. It’s loud, smelly, and worth the time to fully enjoy.

My other favorite track, closer to the middle of the collection, is “Guitar Slinger,” another crunchy guitar-driven, unforgivingly ploddingly advancing blues rocker, perhaps a bit George Thorogood-esque but with more fancy ’70s rock fretwork in some of the guitar runs.

Savoy Brown

photo courtesy of Howlin’ Wuelf Media

Those selections betray my preferences, though. If you’re more of a “Sweet Home Chicago” meets the Fabulous Thunderbirds kind of music fan, you might prefer “Vintage Man.” And the songs “Living on the Bayou” and “Memphis Blues” are additional standout tracks, each illustrating the source of its own particular blues roots in its song title.

“Standing in a Doorway” is a blues-soaked version of what might otherwise be a Dire Straits tune but crunchier and deeper vocalled. And the album ends with a suitable closing blues number, “Thunder, Lightning, and Rain,” a song that includes plenty of street cred-establishing jams, a bar-closing, “you don’t have to go home but you can’t stay here”-worthy spoken-blues delivery and noisy slow fade leading to an abrupt end.

I’m glad I gave this album a few listens. Its music starts off solid and grows on you by the sixth or eighth listen, a classic blues-rock album delivered by a talented veteran crew that really knows what it’s doing. Witchy Feelin’ is a welcome addition to my music collection; it’s a comfortable old-school disc I know I’ll reach for when in a specific mood for years to come.

Looking Ahead

Per the “tour dates” page of the band’s website, Savoy Brown is, indeed, on the road.  You can see them November 17th at Rams Head On Stage in Annapolis, MD; November 18th at the Sellersville Theater in Sellersville, PA; November 25th at The Montage Music Hall in Rochester, NY; November 26th at the Sportsmen’s Tavern in Buffalo, NY; December 1st and 2nd at Iridium Jazz Club in New York, NY; December 8th at The Upper Room in Albany, NY; December 15th at The Bull Run in Shirley, MA; and December 16th at Daryl’s House in Pawling, NY. Go to the band’s website for additional details and more live dates as they are added.

 

Album Review: Morosity – Low Tide

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Morosity

photo by Andrew Vickers; photo courtesy of Morosity

by Eric Harabadian, Contributing Blogger

Album Review of Morosity: Low Tide

Morosity is a multi-faceted rock quintet from Minneapolis, Minnesota that began as an acoustic duo in 2001.  Childhood friends Jesse Albrecht (vocals/guitars) and Dave Rowan (guitars) adopted influences like Tool, Alice in Chains, Days of the New and Opeth into their sound. Feeling the need to expand their approach they gradually added Sean Bachinski (bass), Jason Wolfe (violin, guitar and mandolin), and Nick Johnson (drums). Their debut album release was Misanthrope in 2011. The follow up, Low Tide is their current focus.

Morosity - Low Tide

album artwork by Heather Albrecht; image courtesy of Morosity

The album Low Tide begins with a track called “Mind Over Matter.” It’s heavy on the drums and rhythmic vibe, conjuring up a world beat meets Gothic feel. The mood is dark, with unison-like vocals and a nice string accompaniment. “The Answer” continues a late ‘90s drop tuned tonality that is derivative of that time period, yet not clichéd.

“Ouroboros” is a piece that is very dense with the full depth and breadth of the band’s instrumentation. Wolfe’s violin and mandolin figure prominently, and it sounds like drummer Johnson adds some East Indian tabla-like elements to the fray, as well. A Distinct Middle Eastern essence on top makes for an interesting and exotic work.

Dave Rowan and Jason Wolfe

photo by Andrew Vickers; photo courtesy of Morosity

“Moon” follows and is a bit more straightforward as an acoustic kind of Alice in Chains inspired track. Albrecht and Rowan’s blend of guitars dovetail very natural and in sync.

“Smoke & Mirrors” has a laid back Soundgarden or Pink Floyd feel to it. Perhaps a lot of that can be attributed to the slide and ambient guitars a la Kim Thayil or David Gilmour.

The ominously titled “Death Grip” comes off as a kind of folk song, with haunting vocals and whistling from Albrecht. There is kind of an odd juxtaposition here of the light chordal backing and surreal delivery.

Jesse Albrecht

photo by Andrew Vickers; photo courtesy of Morosity

“Limbo” continues in an eerie sort of vein. There is an almost chamber choir matched with a stark and understated mandolin accompaniment. Wolfe’s light strings add a semi-classical effect.

The title track “Low Tide” is kind of bittersweet in approach and execution. The minor mode and pairing of acoustic guitar and violin almost suggests Kansas’ “Dust in the Wind” to a certain extent. The somewhat melancholy mood and dramatic character in Albrecht’s voice seem to evolve and build toward the coda.

Jesse Albrecht

photo courtesy of Morosity

“Adrift” appropriately concludes the album with the soft and tranquil sounds of ocean waves. Albrecht’s austere vocals paired with a dark and dream-like soundscape provide a short and sweet finale.

Morosity certainly draws from its musical peers and heroes such as Alice in Chains and Days of the New, but is so much more than that. Their use of world beat, psychedelia and traditional instruments liberally tap into Americana, progressive rock, and, on occasion, even blues. They are an interesting act with a somewhat familiar sound that is adventurous and diverse.

Morosity

artwork by Heather Albrecht; image courtesy of Morosity

Looking Ahead

The “calendar” page on Morosity’s website is currently blank, as is their Facebook “events” tab, but those are the places to look to see when and where they’ll be performing live.

Live Review: Corey McLane at Hudson House Restaurant

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Corey McLane

photo by Geoff Wilbur

Corey McLane

Hudson House Restaurant, Hudson, MA

October 27, 2017

One of the cool things about hearing a talented hard rock singer like Corey McLane doing an acoustic cover night is that you get to hear songs from a variety of musical styles delivered by a power voice. Corey is the lead singer of Exhale – I would suggest checking out some of his band’s music here on their bandcamp page – and you can hear the vocal power in the songs he performs, even when the songs themselves don’t feature it.

Corey McLane

photo by Geoff Wilbur

The Hudson House is a cool place to catch music, too. It has a kind of neighborhood bar feel on the bar side (with a nice restaurant on the restaurant side of the house). On this particular night, a lot of folks turned out specifically to see Corey, so it was a fun crowd. I like to grab something off the menu to combine live music with a late dinner when I come here, and after a big lunch yesterday, I found something delicious (the kielbasa) from the appetizer menu to try.

I had about an hour and a half block of time available last night, and that carried me through more than 20 songs from Corey, plus a few at the end on which Nikki McLane joined him. There were only a couple songs on Corey’s set list I couldn’t identify, so I know it was either entirely or virtually entirely a set of covers. And, though I hadn’t heard him sing live before, his vocals were as crisp and powerful as I had expected from listening to his band’s recordings, with even the mellowest of covers being drenched in his identifiable, grungy-metal tone, sporting something akin to gravel in his voice, but it really comes across more as a warble or a wobble, though those aren’t exactly right either. The key point, though, is that this dude has a powerful, crisp, identifiable voice, and that’s what you’re looking for in a voice that can fill an arena or develop a large, loyal following.

Corey McLane

photo by Geoff Wilbur

Corey opened the evening with “Ain’t No Sunshine,” then followed it with a heavy, brooding number (one of the two for which I didn’t catch the title), doing a song-to-song contrast thing he seems to like to do.

There were plenty of instances in which Corey’s take on various hits was interesting and entertaining. His performance of Soul Asylum’s “Runaway Train,” for example, got the grizzle in the vocal but with kind of an ominous echo overlay. He nailed the howls on “The Joker.” And his performance of The Flys’ “Got You (Where I Want You)” was delivered with an almost Southern hard rock wail while being driven by a sound much bigger than he should have been able to get from an acoustic guitar.

It was fun to hear Corey deliver a song like Marcy Playground’s “Sex and Candy” that’s right in his wheelhouse and then, a couple songs later, to follow it with an on-point performance of Pure Prairie League’s “Amie.” He also back-to-backed a very properly brooding rendition of Bush’s “Glycerine” with Third Eye Blind’s energetic “Semi-Charmed Life,” a song whose opening chords elicit a smile that seems so amusingly out of place coming moments after the closing chords of “Glycerine.”

Corey McLane

photo by Geoff Wilbur

Other standouts during the set included Tracy Chapman’s “Give Me One Reason,” Imagine Dragons’ “Radioactive,” and The Who’s “Behind Blue Eyes.” But I actually stopped taking notes after song number 22, Corey’s spot-on version of 4 Non Blondes’ “What’s Up.” He sounded shudderingly too close to exactly like 4NBs’ Linda Perry, including nailing all the quirky stuff.

Shortly thereafter, Corey was joined by Nikki, and the two performed a few songs before my exit, notably OneRepublic’s “Counting Stars.” Actually, most notably another tune, but I didn’t jot down its title, so we’ll stick with saying “Counting Stars” was the most notable,

In any case, it was a heck of a fun evening of music delivered by an exceptionally talented vocalist. I’d suggest getting out to give him a listen if he’s doing the solo thing at a bar near you; a pure, top-shelf, big stage-caliber voice doing a variety of your favorite tunes. And, of course, if you’re into the heavier stuff, give his band Exhale a listen.

Looking Ahead

You can follow Corey’s solo acoustic performances via the “Events” tab of his Facebook page. And you can follow his band’s Exhale gig schedule via the “Shows” page of their website or on the band’s Facebook “Events” page. In fact, you can catch Exhale tonight at Carlo Rose in Pelham, NH or next Saturday, November 4th, at a Toys for Tots benefit show at Sammy’s Patio in Revere, MA. And I see more gigs in New Hampshire, Massachusetts, and Rhode Island before year-end, so check out the band’s calendar (as well as Corey’s solo show list) and catch some loud rock & roll (or a bunch of well-known covers performed by a dude with a powerful rock ‘n roll voice).

Live Review: Brian Charette and Jordan Young at Kerrytown Concert House

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Brian Charette

photo by Anna Yatskevich; photo courtesy of Brian Charette

by Eric Harabadian, Contributing Blogger

Brian Charette and Jordan Young

Kerrytown Concert House, Ann Arbor, MI

October 23, 2017

Brian Charette is an internationally renowned jazz organist/pianist/multi-keyboardist who has been a creative force on the music scene for over 20 years. He has played with many luminaries from all walks of the music world. Jazz legends Houston Person and Lou Donaldson, pop icons Joni Mitchell, Paul Simon, Chaka Khan, and Cyndi Lauper, and the Allman Brothers’ drummer Jaimoe have all employed Charette’s services at one time or another.

Brian Charette

photo by Simon Yu; photo courtesy of Brian Charette

On this particular night in Ann Arbor, Michigan, the keyboardist was joined by frequent contributor and right-hand man Jordan Young on drums and vocoder. The intimate and acoustically perfect theater was host to a musical journey that included an intoxicating mix of straight ahead bebop, acoustic piano musings, and “circuit bent” electronica. The term “circuit bent” refers to the manipulation of certain electronic gadgets (i.e. effects pedals and patch boards) that have been manually altered to “misfire” or change their natural pattern of sequence or flow. The result, in conjunction with keyboard-triggered samples, makes for a sensory roller coaster ride with few boundaries.

The majority of the music played during the concert was drawn from one of Charette’s newest recordings entitled Kürrent. While there were visually only two people on stage, the wealth of sounds that emanated from them both was quite amazing. They began with a tune called “Doll Fin” that firmly established their working relationship and affinity from the start. Via a modular SK1 Hammond keyboard, Charette initiated the tune, with a pulsating left hand bass and assured comping. A convergence of synthesizer swells from his Korg unit along with assorted odds and ends soon conjured up a cacophony of otherworldy sounds. The slithery groove was further cemented by Young’s nimble drumming that consistently pushed and played off the beat. With the array of keyboard whimsy and circuit bending in full display, Young added to the mix by playing “real time” samples on the vocoder as well as speaking into the device creating “Daffy Duck”-like sounds. Yes, I repeat, “Daffy Duck” sounds which were oddly appropriate and cool!

Brian Charette

photo by Melanie Scholtz; photo courtesy of Brian Charette

That was followed by a piece that was slightly more mainstream called “Time Changes.” It was kind of a straight-ahead Jimmy Smith style blowing tune in which the inventive duo swung like crazy. Charette tastefully integrated flourishes of color on synthesizer to add accents and atmosphere to things. “Mano Y Mano” was the line repeated in robotic fashion by Young through the vocoder. This set the pace for a tune that was part experimental and part acid jazz freak out. Quick and taut bebop framed lines comprised the main body of the melody and were another strong vehicle for the duo’s improvisations.

Charette shared with the audience the fact that the follow up composition, “Standing Still,” was one of the very first tunes he had written. It was a very lilting and upbeat piece, with a light swing. That soon gave way to throbbing and pulsating loops that reverberated in the background as Charette stepped over behind the beautiful house piano to the side of the stage. He played some great Chick Corea/Herbie Hancock-like accompaniment before returning to the Hammond to resolve in a samba and swinging coda.

Another highlight of the night was a tune dedicated to quirky NYC scat singer Shooby Taylor called “Shooby’s Riff.” Charette playfully triggered samples of Shooby’s voice amid a killer bass line and Young’s consistent rhythms. They included another dedication to composer/instrumentalist Tadd Dameron by playing an acoustic piano and drums duet called “Tadd’s Delight.” It was a swinging and really sweet piece, with a hint of ragtime and some wonderful brush work by Young. They concluded the evening with another cut off the Kürrent album called “Conquistador.” It basically put an indelible stamp on their ambitious, nearly 90-minute set, with an array of shifting tempos and time signatures, staccato melodic lines and smooth transitions in mood and sonic textures.

Brian Charette

photo by Simon Yu; photo courtesy of Brian Charette

Brian Charette and Jordan Young are exemplary artists who are doing something very significant and interesting, with their dedication to upholding the jazz tradition while simultaneously fusing a myriad of seemingly disparate elements within that context. This is the future of jazz and improvisational music.

Looking Ahead

Brian’s tour continues, so check the itinerary page of his website to see if he has any upcoming live dates near you. Tonight, Friday, October 27th, he’s at the Blue Note Bistro in Miamisburg, OH; tomorrow, Saturday, October 28th, he’ll be at Memorial Hall in Cincinnati, OH; and Sunday, October 29th, he’ll be at The Greenwich, also in Cincinnati. Beyond that, Brian will be in New York, NY on November 6th and in Miami, FL on November 7th, 8th, and 9th. He has additional November dates in Beacon, NY; Rochester, NY; Methuen, MA; New York City; and Nyack, NY; with shows in South Africa, Europe, and the U.S. West Coast also on the calendar. Again, be sure to check his website to see if he’ll be in your neighborhood.

Album Review: Sam Sherwin – Iodine Cocktails

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Sam Sherwin

photo by Vincent Mineo; photo courtesy of Media Stew Public Relations

Album Review of Sam Sherwin: Iodine Cocktails

Straightforward rock ‘n roll from New Jersey. With roots in the ’70s and ’80s, Sam Sherwin‘s Iodine Cocktails is a bit of a rock ‘n roll, um, cocktail.

Sam Sherwin - Iodine Cocktails

image courtesy of Media Stew Public Relations

Sam Sherwin’s Iodine Cocktails showcases musical styles that recall rock ‘n rollers as disparate as Randy Newman and Bruce Springsteen.

Sam kicks things off with the cheerful, Randy Newman-esque “Anymore.” Picture a sunny day, two or three female backup singers adding emphasis, and a smile on everyone’s face, and you’ve captured the essence of this number. Moderately energetic with a laid-back, catchy, recurring guitar hook, “Anymore” has all the attention-grabbing elements perfect for an opening track, and it’s likely to become and remain a favorite.

Sam Sherwin

photo by Geoff Lee; photo courtesy of Media Stew Public Relations

But even within the sunny opening number, there’s a hint of regular-guy New Jersey in the song, and that’s a thread that’s found elsewhere in Iodine Cocktails, too. Notably on the mellow, slightly melancholy, harmonica and guitar-filled, most Jersey-esque rocker on the album, “Automatic Day.”

Sam Sherwin

photo by Dwyt Dayan; photo courtesy of Media Stew Public Relations

More prominent throughout the album, though, are the female backing vocals that add a fullness to the music. On “Without You,” for example, they’re paired with keyboards and well-placed organ for emphasis. Sam’s voice on “Without You” is smooth, melancholy, and gritty wherever the song calls for it, showing a range of vocal versatility within a five-minute song capsule.

“Well OK” features a John Mellencamp or Bruce Hornsby-ish tempo and well-suited harmonica intro, though Sam’s vocals have perhaps a smidgen more of a knowing sneer than you’d expect form Mellencamp, with maybe a hint of Springsteen’s grit. You’ll find the rich female backing vocals again on “And a Whole Lot More,” this time with more of the uptempo laid-backness of songs like “Well OK.”

Sam Sherwin

photo by Dwyt Dayan; photo courtesy of Media Stew Public Relations

That’s not to say that there isn’t the occasional outlier – the fun “At the Old Canal” is a bit of a barn-raising-ready, slow-tempo, almost-twangy Americana number. But even this has a bit of Sam’s rock ‘n roll show band flair to it, more of a fun, quirky number than a shift in his base style.

And, going the other way on the rock ‘n roll spectrum, “Lick Your Lips” starts with a George Thorogood-esque gritty intro before moving to a more energetic, accessible, gritty blues rock style for the rest of the song. Still rock ‘n roll. And, if you noticed, still “gritty.” A little of that is Sam’s vocals, but more, I think, is the recurring, wailing, blues-rock guitar hook.

Indeed, Sam Sherwin touches upon a variety of classic, mid-tempo, radio-friendly rock ‘n roll styles, infusing his music with elements reminiscent of a broad cross-section of top artists from that mainstream rock ‘n roll genre. A bulk of the songs, including those I failed to mention, fall within this range, providing a varied yet cohesive 10-song collection that’s a solid addition to any mainstream, multi-decade rock ‘n roll collection.