» Jazz Category Archive

June 30, 2009

Pics: Pink Martini brings it with SF Symphony

Text and photos by Ariel Soto

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Any show that ends with a bunch of people in a conga line has to be great. This past weekend, Pink Martini, a twelve-piece band hailing from Portland Oregon, joined the San Francisco Symphony for an electrifying performance that covered everything from classical concertos to foot stomping Brazilian street music. The range in styles of music this ensemble covers makes a single night at one of their concerts seem like twenty different musical experiences and then some. Being part Puerto Rican, I'm drawn to their more Latin based songs, like "Donde Estas Yolanda" and "Andalucia" but there's really no way not to love all their music, especially when they get a little help for our very own San Francisco Symphony.

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June 11, 2009

Sonic Reducer Overage: Bat for Lashes, Datarock, Limp Wrist, Constantines, and more

Bat For Lashes - "Pearl's Dream"

By Kimberly Chun

Color my world grey – you still yearn to romp and play, San Fran-frisky. So get outta the dog park and into the clubs and buy me a drink, hot pocket. Here are a few notable shimmy-shams where you might find me skulking.

Constantines and Crystal Antlers
The Toronto indie rockers venture out to “Islands in the Stream” and stretch their bones in a post-rock, minimalist mode. Meanwhile the LA psych-soul bros carouse in honor of their new Tentacles (Touch and Go). Thurs/11, 7:30 p.m., $14. Rickshaw Stop, 155 Fell, SF. (415) 861-2011.

Headboggle
One-man low-end grumble from the bowels of SF, presented as part of the gallery’s New Music Series. With Commode Minstrels in Bullface, Midmight, and Amphibious Gestures. Thurs/11, 8 p.m., $6. Luggage Store, 1007 Market, SF.

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May 12, 2009

Sonic Reducer Overage: Dead Meadow, Steve Earle, Fracas, Loney Dear, and more

By Kimberly Chun

Could it be any prettier, any more delicately dewy, any more enticing, out there in this stone-beauty by the Bay? And when the sun goes down, you must go out to play - or watch others play. More worth-while sights, sighs, and sounds for you, more than could fit in print.

Steve Earle
Far from Nashville and an outlaw and songwriter-activist born a little too late, Steve Earle is rattling the chains of his past and looking back on the music of his late brilliant and damaged mentor Townes Van Zandt with the new Townes (New West). Thurs/14, 6 p.m., free. Amoeba Music, 1855 Haight, SF. (415) 831-1200.

Loney Dear
Dudes, make up your mind - comma or no comma? Ah, hell, none of it matters when the Loneys wash those sad-and-lonelies away with their sweet indie-rock melodicism. With Headlights and Audio Out Send. Fri/15, 10 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455.

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May 05, 2009

Booker T. and Bettye LaVette punch up the soul

By Andre Torrez

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In the 1960s Booker T. and the MG's served as Stax/Volt's house band, much like the Funk Brothers were for Motown. Playing alongside Otis Redding, Sam & Dave, and the Staple Singers, among others, they beat Love and also Sly and the Family Stone to the racially-integrated rock-band punch. It was 1962's "Green Onions" on the Memphis-based soul label that put them on the map. The song's recent omnipresence at sporting events has given it a bit of a "jock jam" tag, but it isn't tarnished completely.

Today Booker T. Jones is letting his signature Hammond organ sound sing alongside "the Great Lady of Soul," Bettye LaVette. After hearing her humbling rendition of the Who's "Love Reign O'er Me" at that group's Kennedy Center Honors, I knew LaVette's tag was legit. Even Barbra Streisand — in attendance that night — recognized it. She turned to Pete Townshend in disbelief, asking if he'd really written that song.

Bettye Lavette, "Love Reign O'er"

LaVette gives the rock opera ballad a gut-wrenching, soulful treatment. She owns it.

For most of her career, the Detroit native has struggled, but she's steadily built an audience, touring with late legends including James Brown and a young Mr. Pitiful along the way. LaVette's had one-off singles released by Atlantic and Motown. It seems she is finally getting her due, having had the honor of dueting on a song at President Obama's inauguration ceremony — even if it was with Jon Bon Jovi.

Now LaVette's career has paralleled Booker T's. Both are signed to Anti- Records. Booker's new album for the label, Potato Hole, features Neil Young and includes a playful version of Outkast's "Hey Ya," Expect covers aplenty — and some surprises, too — from this bill's soulful one-two punch.

BOOKER T. AND BETTYE LAVETTE Fri/8, 8 p.m. Independent, 628 Divisadero, 415-771-1421. www.theindependentsf.com

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April 23, 2009

Gudrun Gut beguiles with a missing essence

By Brandon Bussolini

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Now two years old, I Put A Record On (Monika Enterprise, 2007) is a record worth lingering over. In addition to being the first solo release from Berlin-based musical gadabout Gudrun Gut, it's remarkable for how unhurried Gut was in getting around to it: she's been appearing on recordings and taking part in bands, including a very early incarnation of industrial pioneers Einstürzende Neubauten, for more than 25 years. Her intervening projects give her the aura of a post-punk Zelig: the all-female punk band Malaria! formed in 1981, toured with the Birthday Party, put out records on Belgian boutique label Les Disques du Crepuscule, and performed with Nina Hagen at Studio 54. That the group's "Kaltes Klares Wasser" would later be covered by Chicks on Speed was a foregone conclusion.

The synthy Matador followed Malaria!'s collapse, but Gut's ear eventually led her, like any good punk, to techno. With typical great timing too: Berlin had just undergone a techno surge, spearheaded by local duo and label Basic Channel. Abandoning the constraints of playing in a rock-derived idiom in favor of more uncharted territory, Gut also had the good fortune to run across Thomas Fehlmann, a producer with post-punk roots who had recently collaborated with Alex Paterson's downtempo pace-setters the Orb. The two founded Ocean Club, producing a weekly genre-stomping radio show as well as parties that paired up the likes of experimental techno producer Thomas Brinkmann and splay-shirted southern gothic aficionado Nick Cave.

Gudrun Gut, "Move Me"

None of this is new information, yet all of it is useful in figuring out how something like I Put A Record On came to be. It's beguiling, though free of big emotions — a left-field album that functions as an homage to the hypnotic state that arrives when you're sucked into your favorite records. The best indication of its intentions is provided by the sole cover, of Smog's "Rock Bottom Riser." Gut's multitracked delivery, over a pistoning and downtrodden bass drum, is affectless enough to make Bill Callahan's stoic delivery on the original seem fraught. But by the end, she's wracked by giggles, as flecks of color appear like dried spittle around the monochrome production's edges. Gut is not an innovator: both she and Callahan are committed to the old, inexhaustible pleasure of listening, regardless of genre. And this is exactly what allows them to give back to their respective genres, if we care to name them, some missing essence.

FIRST PERSON MAGAZINE BENEFIT PARTY FEATURING GUDRUN GUT with Thomas Fehlmann, Grecco Guggenheit, and Nate Boyce. Fri/24, 10 p.m., $10-$15. Mezzanine, 444 Jessie, SF. (415) 625-8880. www.firstpersonmag.com/events.htm


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April 17, 2009

Sonic Reducer Overage: Silversun Pickups, Bloc Party, Atmosphere, Kylesa, free shows, and so much more


Manic panic: Silversun Pickups' "Panic Switch."

Lucky you, you aren't broiling in the desert at Coachella - you're keeping your cool in SF, and boy, you've got a lot to keep your bad self outta trouble. So partake in the Coachella spillover - and then some...

Intelligence
"Icky Baby" is in the eye of the beholder - and the mind of the Intelligence, those hard-driving, gristly lo-fi smarty-pants. With Thee Oh Sees and Ty Segall. Fri/17, 9 p.m., $8. Annie's Social Club, 917 Folsom, SF. (415) 974-1585.

Loop!Station
Loops, vocals, and cello are Robin Coomer's and Sam Bass' tools, arriving now with a new CD.
Fri/17, 8 and 10 p.m., $10. Yoshi's, 1330 Fillmore, SF. (415) 655-5600.

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April 16, 2009

Snap Sounds: Don Cherry with Latif Khan

By Johnny Ray Huston

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Don Cherry with Latif Khan

Don Cherry/Latif Khan

(Heavenly Sweetness, 2009)

Who cares about cherries in the snow — Cherry is in the air. I'm talking Don Cherry, whose spirit is casting new spells via mysterious vinyl reissues, renewed interest in Alejandro Jodorowsky's 1973 Holy Mountain — check Matt Borruso's new art show at [2nd floor projects] — and this proto-world music collabo, a reissue from 1982 taken from a one-day recording session in 1978, with tablas great Khan.

Don Cherry in Bombay

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March 18, 2009

SXSW: It begins... with a whisper?

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More Mochi: 215 the Freshest Kids hurl some words at Daly City Records' Pre-SXSW/St. Patrick's Day Party at Beso Cantina March 17. All photos by Kimberly Chun.

Or is a whimper more accurate. Yes, the signs are in the air and in the program, as we scan the pages of the official guide and the unofficial day party lists. Welcome to South by Southwest on the downlow, rocked by the turbulent winds blowing off a global economic meltdown.

The big conference keynote names like Pete Townshend, Neil Young, Robert Plant, and Lou Reed? This year we get the uber-talented and esteemed but nonetheless much less sexy - sorry, Quince - Quincy Jones. Instead of the Stooges and Morrissey, we will have onstage interviews with Carlene Carter and the Hold Steady. The corporate banners are still here, but with a not-quite-as-splashy, diminished presence - just where is that MySpace South By Party Bus? The major labels and glossy publications are quieter than usual - whither the Vice party? Is there a Vice party?

Instead Rachael Ray - wholesome indie rock fan incarnate - is serving up the New York Dolls and the aforementioned Hold Steady at her showcase. Hey, after all, we're all eating in these days - we can use some new recipes. This is SXSW on the cheap, forced onto a low-budg diet by a still-suffering music biz. Yes, music continues unabated, but can its makers afford to make it out here this year? The underground bashes around SXSW appear to slowing down or maybe they just aren't on the public radar - in any case I still want to make Todd P's Ms. Bea free all-ages shows and the French Legation outdoor bills - now Arthur-free (R.I.P.). We'll see if there's anything as fun as Dan Deacon and Fucked Up's guerrilla throwdowns shaking up the university campus and the bridge, after hours.

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March 13, 2009

Super Ego: DJ/rupture is cumbia'n for ya

By Marke B.

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Rupture goes there

"A DJ mix that stands alone as an album is a rare thing, but leave it to Jace Clayton, a.k.a. DJ/rupture, to make one, as he has with Uproot (Agriculture)," wrote the Guardian's Brandon Bussolini last year. "Deeply, er, rooted in the bass plate tectonics of dubstep and cut with the finest in eclectic samples, ranging from experimentalist Ekkehard Ehlers to lazer bass don Ghislain Poirier, Uproot rolls deep with dubbed-out ambience, but DJ/rupture is just as happy to turn things upside down, as when he plunks down Ehlers' gorgeous string loop, "Plays John Cassavetes, Pt. 2," around the mix's halfway point. And if bangers of the future don't sound like "Gave You All My Love (Matt Shadetek's I Gave You All My Dub Remix)," which subs out dub's organic space for Fisher-Price primary-color contrasts that split the brain evenly in two, I'm not sure it's a future worth living in."

I'd have to agree with all of that, but also emphasize DJ/rupture's extremely thrilling versatility when it comes to global musical styles with regards to both his recordings and live sets. That's why I'm tickled hot pink that he's putting together a special cumbia set for this Saturday's Tormenta Tropical with the Bersa Discos boys, who've consistently stirred some of the world's best DJs into their electro-cumbia-hop stew. Tormenta Tropical was bangin' last month, and this one should be a real ruptured doozy.

Tormenta Tropical
w/ DJ/rupture
Sat/14, 10pm, $10
Elbo Room
647 Valencia, SF
www.myspace.com/bersadiscos

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February 23, 2009

Not just about talent: Nels Cline turns in a mercurial 'Coward'

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NELS CLINE
Coward
(Cryptogramophone)

By Brandon Bussolini

By the third track of his new solo LP, Coward, Nels Cline has already limned sruti box-assisted drone (opener "Epiphyllum"), applied John Fahey's fingerpicking style to British folk revival harmonies ("Prayer Wheel"), and, with the aptly titled "Thurston Country," written what could pass as an outtake from the Sonic Youth guitarist's solo outing Trees Outside the Academy (Ecstatic Peace!, 2007).

It's tempting to describe the album as an identity crisis commited to tape, but that would involve delving into the fact that I've never quite understood what Cline was doing playing guitar for Wilco in the first place, even though the choice also seems perversely satisfying. Coward feels less like the jazz-reared guitarist is blowing off steam from his day job and recalibrating his personal goals, and more like he's picking back up on a solo and collaborative career that has precious little commercial potential and an embarrassment of merit.

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February 05, 2009

All you need is love ... and Disney?

by Laura Peach

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Give a little love and get a flamboyant and fabulous evening of cabaret-style entertainment on the night before Valentine's Day. (Yes, lonely people, I'm especially talking to you -- it's cheer up time.) The Richmond/Ermet AIDS Foundation is holding an all-star benefit performance Monday evening bursting with cabaret, Broadway, and silver screen stars. The proceeds from "All You Need Is Love", which is hosted by the Richmond/Ermet AIDS Foundation, will go to local non-profits like Sunburst Projects, which provides social and emotional support for families affected by AIDS. Which means your laughter and delight will be totally guilt-free as well.

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February 04, 2009

Sonic Reducer Overage: Social Distortion, SF Bluegrass Festival, Eagles of Death Metal, Chinese NY dance party, and more


Wanna see my 'stache: Eagles of Death Metal's "Solid Gold."

Confucius may not have approved of 1015's big ole Chinese NY beat-down - but, hey, he never really knew how to par-tay. Here's more fun schtuff that shoulda, coulda, but didn't make it to print.

Delta Spirit
Northern soul and indie rock - just the combo for the San Diego unit. With Other Lives and Dawes. Wed/4, 8:30 p.m. doors, $12. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455.

Origami Ghosts
Raul Sanchez hosts the contemplative Seattle indie-rockers at his monthly semi-acoustic Penny Arcade showcase. With Eyes, Il Gato, and Floating Robot Familiar. Wed/4, 8 p.m., $7. Make-Out Room, 3225 22nd St., SF. (415) 647-2888.

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Never fit in: Cynic mixes it up with extreme metal and avant-garde jazz

By Ben Richardson

Though nurtured in the humid birthplace of modern death metal, Miami, Florida's Cynic never really fit in with its more brutal peers. Despite having played on Death's pivotal album Human (Relativity/Sony, 1991), childhood friends Paul Masvidal and Sean Reinert suffused their own material with the swirling melodic experimentation of '70s prog rock and fusion, creating in Cynic a unique hybrid of extreme metal and avant-garde jazz.

Masvidal's guitar playing was filled with haunting melody and lithe fretboard runs that drew on scales and modes not traditionally associated with metal, and his vocals, sung through a vocoder, achieved an eerie, otherworldly quality that fit the music impeccably. Reinert's drumming abandoned the blast-beat bludgeon that defined the extreme metal of the time in favor of a creative, musical approach that fleshed out the band's experimental sound.

Early demos laid the groundwork for their 1993 album Focus (Roadrunner), which quickly became a cult classic among those interested in metal that was challenging and inventive. Such listeners were few in number, however, and the lack of enthusiasm, coupled with the travails of the music industry and the destruction wreaked by Hurricane Andrew, led to the band's break-up in 1994.

Masvidal and Reinert continued to collaborate, and in 2006, they announced that Cynic was re-forming. After playing a number of European festival gigs in the summer of 2007, the group entered the studio the record the long-awaited follow-up to Focus. Traced in Air was released in 2008 on the French label Seasons of Mist, and the outfit has recently begun a full U.S. tour as direct support for Swedish tech-metal titans Meshuggah. I reached Masvidal by phone as he waited to take the stage on the tour's second stop.

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January 14, 2009

Sonic Reducer Overage: Meat Puppets, Devil Makes Three, Jeremy Pelt, and Mo!


Alternate Nation statesmen: Meat Puppets.

Get out, SF - get out... and check out the music pouring the streets of Grog City.

Slough Feg and Hatchet
His majesty meets the teen metallists, thanks to Lucifer's Hammer. With Passive Aggressive. Wed/14, 9 p.m., $7. Elbo Room, 647 Valencia, SF. (415) 552-7788.

Devil Makes Three
Devil lovers gathered round for the band's set at Treasure Island music fest. Thurs/15, 6 p.m., free. Amoeba Music, 2455 Telegraph, Berk. (510) 549-1125.

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January 09, 2009

Sonic Reducer Overage: Magic Bullets, LoCura, White Cloud, Chuchito Valdes, and more


Mind that One Track Mind: Egyptian Lover's "Freak-A-Holic."

San Francisco stirs itself, shakes its shaggy head, and leaves home. Here are a few more reasons.

Leopold and His Fiction
The many moods of the SF indie-folk-rock combo turn toward...celebration with the unveiling of their new full-length Ain't No Surprise. Electric! With the Healing Curse and Candy Apple. Fri/9, 9:30 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.

LoCura
Living la vida LoCura? That means an eye-opening blend of flamenco, rumba, reggae, and hip-hop complete with bellydane and plenty of Animas. Fri/9, 9 p.m., $15. Great American Music Hall, 859 O'Farrell, SF. (415) 885-0750.

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December 16, 2008

SFJAZZ announces the lineup of its 10th Anniversary Spring Season

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This in from SFJAZZ's people (a total aside: I'm looking forward to Brad Mehldau, Jenny Scheinman, pictured below, as well as Seun Kuti, pictured above. And you know Allen Toussaint and Tinariwen are going to be awesome):

"Randall Kline, the Executive Artistic Director of SFJAZZ - the leading non-profit jazz organization on the West Coast and the presenter of the San Francisco Jazz Festival today announced the complete artist lineup for the 10th Anniversary SFJAZZ Spring Season. The unique and spectacular four-month-long concert series begins on March 6 and continues through June 21. The season will present some of the most illustrious names in jazz, world, and related music including McCoy Tyner, Branford Marsalis, Madeleine Peyroux, Bill Frisell’s Disfarmer Project, Ahmad Jamal, Jenny Scheinman, John Scofield and the Piety Street Band, Kayhan Kalhor and Brooklyn Rider, Tinariwen, Chris Potter Underground, Will Bernard, Mariza, CéU, Mingus Dynasty with John Handy, Allen Toussaint, Karrin Allyson, Idan Raichel, Michael Feinstein: the Sinatra Project, Brad Mehldau, Richard Bona and Lionel Loueke, Roy Hargrove, James Carter, Kenny Burrell, Michael Wolff, Hiromi’s Sonicbloom, and many others.

“'For 26 years, SFJAZZ has been guided by a simple principle: we absolutely love music—and we want to present it in the best possible context for all those who share our passion,' said Kline. 'In 2000, we took a huge step forward in that mission by launching the SFJAZZ Spring Season, marking our expansion into a year-round concert presenting organization. Over the last 10 years, the Spring Season has grown exponentially. This year we will present nearly 40 concerts over four months, purposefully matching each artist with the ideal venue for a high-quality listening experience. Our aim is to reflect the tighter, more culturally close-knit nature of today’s world, and the positively open-minded, "multi-culti" city that we call home - San Francisco.'

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December 10, 2008

Sonic Reducer Overage: Mudhoney, Too $hort, Not So Silent Night, the Bug, and more


Jump in: Too $hort's "I'm a Player."

Party-hopping, penny-pinching, craft-making and cookie-baking, and singing for your supper - the holiday activities never let up - and the city responds in kind...with more, more, more shows. Here's what you might be missing...


All righty: Cold War Kids' "Something Is Not Right with Me."

VAMPIRE WEEKEND AND COLD WAR KIDS
"Golden Gate Jumpers" alert. The combos warm up Not So Silent Night with this toasty pre-show. Wed/10, 8 p.m., $25. Mezzanine, 444 Jessie, SF. (415) 625-8880.

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November 12, 2008

Sonic Reducer Overage: Usher, Tune-yards, Impossible Shapes, Weasel Walter, Nodzzz, Sean Smith, and more


Built like a brick house: Impossible Shapes' "Let the People Build What They Will."

O, SF - as if you could ever stop rolling out the intriguing jamz. Here are a few more musical offerings that didn't make it into print.

LOS CENZONTLES
"The Mockingbirds" do it up in the Bay again - with Los Lobos' David Hidalgo - after flying through for Hardly Strictly Bluegrass. Wed/12, 8 and 10 p.m., $20-$30. Yoshi's, 510 Embarcadero W., Oakl. (510) 238-9200.

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September 17, 2008

4OneFunk take scratch music to the Monterey Jazz Festival

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By Billy Jam

Initially disdained and dismissed by most as just mere noise, not music, the hip-hop-originated practice of scratching, that originated in a Bronx bedroom in the 1970s when Grand Wizzard Theodore accidentally stumbled upon the then new sound, sure has come a long way in a few short decades. Now elevated to the recognized artform commonly known as turntablism, scratch music has even become a course at the Berklee School of Music, "Turntable Technique."

And at this year's Monterey Jazz Festival (Sept. 19-21) the festival's curators are unveiling a new stage, added specifically for DJs and turntablists who incorporate traditional jazz instrumentation into their sound. This new stage's main act will be San Francisco turntablist group 4OneFunk, who are scheduled to perform, in an extended lineup, each day of the festival.

The 4OneFunk Band's festival lineup will include Colin Brown on live synths and Austin Bohlman and Patrick Korty aka Pdub on drums, Teeko on Controller One Turntable and MPC, Max Kane on Controller One Turntable and Vocoder, Ian McDonald on guitar, and Alphabet Soup's Kenny Brooks on sax. The ensemble will heavily utilize the newly created Vestax turntable model Controller One, which group member DJ Teeko, along with DJs D-Styles and Ricci Rucker, among others, designed for the Japanese turntable manufacturer. Both 4OneFunk's Teeko and DJ Max Kane will be rocking this new turntable, which Teeko says is taking turntablism into, "a new phase of melodics and control."

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September 10, 2008

Sonic Reducer Overage: Bad Plus, Anthony Brown, Jennifer O'Connor, more


Snared: Bad Plus smell like teen spirit in Argentina.

Yep, the fact that Sept. 11 landed on a Tuesday didn't deter many a musical artist from dropping their latest - so don't let it make you stay home. And now for a few more intriguing shows, all happening this week...



BAD PLUS

Sound familiar? Sound like "Teen Spirit" or "Tom Sawyer"? The trio feels the tuck o' the past. Wed/10, 8 and 10 p.m., $10-$16. Yoshi's SF, 1330 Fillmore, SF. (415) 655-5600.

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GENERALISSIMO
The Oakland army leads a "Reeducation Demonstration" with what they describe as "high concept, high modernist broken rock," and compare to both Queens of the Stone Age and North Korea's Mass Games. Yet mommy just called it "acid rock." With Mariana Trench and Pegataur. Wed/10, 9 p.m., $6. Hemlock Tavern, 1131 Polk St., SF. (415) 923-0923.

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August 13, 2008

Oberst, Wilco, Wrens rock for net neutrality

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VARIOUS ARTISTS
Rock the Net: Musicians for Network Neutrality
(Thirsty Ear)

By Ian Ferguson

Although Al Gore considered naming the Internet “Magic,” and it seems that way to some (black magic for John McCain), an actual energy- and bandwidth-consuming infrastructure supports our browsing habits. Once the Net broadened beyond ARPA, private companies (namely service providers like AT&T and Comcast) assumed control of its traffic lights. Service providers are huge corporations: profit machines compelled to consider little else. These companies want to charge content providers (Web sites ranging from Google to your favorite blog) a fee for more bandwith: more bandwith means the Net works faster for a given site.

The FCC hasn’t yet stepped in to regulate the practice, but is currently evaluating the available options. In a show of support for net neutrality - the principle that demands service providers keep the Net free and open and by extension an indie band’s site as fast as any multiplatinum act’s - a coalition of musicians and labels have united to make an album intent on persuading Congress and the FCC to come around to their point of view. After all, as labels suffer, the Net offers itself as an inevitable platform for whatever distribution model to come - take OK Go’s YouTube music video-fueled fame, Clap Your Hands Say Yeah’s blog-buzzed status, or Radiohead's acclaimed In Rainbows digital release.

Though none of these bands appear as part of the collective of musicians supporting network neutrality on Rock the Net, the album more than makes up for their absence. Everyone knows that one of the most promising potentials the Internet offers audiophiles is ease of discovery. No longer must one buy countless so-so albums to find one gem: simply peruse Imeem, Muxtape, or MySpace for revelations. This disc provides a microcosm of that in tangible form: 15 artists - some familiar, some not so well-known - present tracks as varied as infinite cyberspace.

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August 06, 2008

Kicking back with Pacifika

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Pacifika
July 21, Yoshi's San Francisco

By Kevin Lee

I caught the Vancouver group Pacifika when they dropped into Yoshi's San Francisco for a relaxed, intimate set on July 21. The cozy confines and friendly crowd helped spur the improvisation-friendly band, known for their sophisticated acoustic downtempo. Peruvian-born Silvana Kane, who sung mostly in Spanish, impressed with her breathy tones and guttural inflections that have drawn comparisons to chanteuses Bebel Gilberto and Shakira. Early on, the crowd bathed in the lush warmth of "Sol" and the acoustic pop of "Sweet," where syllables took on a viscous quality, dripping out of Kane's lips.

Performing from their new CD, Asunción (Six Degrees), Pacifika kept things loose by playing off the cuff. Through the soaring "Paloma," the serene and tranquil "Chiquita," the contemplative intonations from "Más y Más," and the yearning from "Libertad," the quartet - which includes guitarist Adam Popowitz, bassist Toby Peter, and percussionist Elliot Polsky - displayed a stylish variety of musical directions and exhibited a playfulness between tracks. While balancing acoustic, classical, and electronic guitars, Popwitz still found time to shake it to the delight of the audience.

When the crowd wooed the band back onstage for an encore, Kane coyly responded, "An encore's a difficult thing to define." The band followed with the unreleased "Cruces," a vigorous and emphatic track that had the crowd nodding with pleasure. Upon its final chords, Popowitz began strumming again, while a surprised Kane took it in stride. Recalling the passing of her grandmother eight years ago (as she did on a previous track "Cuatro Hijas"), Kane launched into "Vida Lleña," a moving tribute and the highlight of the night.

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August 04, 2008

Gauging hip-hop producer Presto's 'State of the Art'

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PRESTO
State of the Art
(Concrete Grooves)

By Ian Ferguson

How well-known can one man be in the underground before breaking through to the big time? West Coast producer Presto, ne Chris Douglas, begs that question on the occasion of his recently released State of the Art . He’s so popular that each of the tracks boasts the lyrical stylings of a different MC: rappers ranging from New York's CL Smooth, Sadat X, and Large Professor to fellow West Coasters Fatlip, T-Weaponz, and Blue. The disc also includes two appearances by defected Black Eyed Peas vocalist Kim Hill.

Presto’s pastiche of a production shows that he's versed in jazz, funk, and '70s soul. On "Pour Another Glass," a piano groove and stereo-panning funk-horn sample support the utterances of Blu, whose whisky-tipped rhymes slip into a staccato-sung vocal part as smooth as Courvoisier.

State of the Art isn't always a gentleman drinker - it stumbles at times. "Higher," one of the most promising tracks on the album with its bright, Motown piano riff, fails when the soulful vocal line is transposed up an interval, then another, and at its third, loses the color and timbre of a human throat and begins to sound like Alvin the Chipmunk. Despite consistently strong beats - if not perfect, they are at least always engaging and compelling - the tracks often finish with less force or fade-outs, a weak weaning that ends a song with no closure.

Presto proves to be a competent producer in the subtle sampling of an old LP's static; the use of a muted concert hall piano, discordant just ahead of the beat and leading the listener on; and the juggling of a variety of beats, dynamics, tensions, and flows. And he brings out the best in each MC on an album that invariably delivers.

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July 17, 2008

Grupo Fantasma sounds gold to us

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GRUPO FANTASMA
Sonidos Gold
(Aire Sol/ High Wire Music)

By Todd Lavoie

Freshly sparkled with Prince's glittering purple seal of approval, Austin's tireless Latin funk orchestra Grupo Fantasma pushes onward with their crowd-amassing trajectory on Sonidos Gold, a floor-burning 12-track collection of hip-shakers and provocative grooves.

Having recently enjoyed a much-deserved surge of international exposure - thanks largely to Prince's ringing endorsement and the high-profile supporting-band gigs that followed - the 10-member soul machine arrives more confident than ever on this, their fourth album. The disc might also be the most faithful in capturing the joyous, body-liberating ebullience of the band's live performances. (And while we're on the subject of their shows: You must see them, case closed. I caught Grupo with a former Austinite friend at Slim's here back in February, and they were complete and utter sweat-soaking bliss.)

Sonidos Gold exudes plenty of room-filling warmth, and guitarist Adrian Quesada's production plunks the listener directly on the dancefloor, right in the sweet spot between the hot-pepper horn section and the mighty rumble of congas and timbales. While I'm sure these folks picked up some tricks from Prince on the road, I'm beginning to wonder if maybe the Purple One himself might be taking a few notes as well…

Continue reading "Grupo Fantasma sounds gold to us" »

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July 01, 2008

Bowing to Humboldt-bred Jenny Scheinman

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Fiddling around: Jenny Scheinman. Photo by Wendy Andringa.

By Todd Lavoie

Jenny Scheinman can do it all. The Humboldt County-bred Brooklynite has already worn plenty of hats - violinist, composer, bandleader, session musician, collaborator - but with her recently released eponymous disc on Koch Records, she's donned perhaps her most impressive chapeau of them all: vocalist. While hardly a newbie to recording - having recorded a handful of avant-garde jazz albums over the years, including a couple for the venerable Tzadik label - Scheinman's vocal debut swings with honestly blindsiding levels of "whoa, where did this come from?!"

The biggest surprise? Jenny Scheinman isn't jazz at all, but rather a rustic collection of old-timey country, rambling blues, and rockabilly swagger. Yes, there is an improvisational spirit to these recordings - thus revealing her deep-rooted jazz connections - but overall the focus is on gorgeously twanged-out vocals and faithful evocations of the old south. It's a mighty auspicious first step to the mic, bursting with the confidence of someone who has been singing all her life, of someone who lives and breathes every word that leaves her lips. As far as first introductions go, it's just as quietly revelatory as Gillian Welch's Revival (Almo Sounds/Acony).

I should also mention here that Scheinman actually has just released two albums at once - the other, Crossing the Field (also Koch) is a purely instrumental affair, which I haven't heard yet. I'm sure it's wonderful, but for now I'll stick to discussing the self-titled record. And since it's getting touted in some circles as her "vocals album," I might as well get right to it and heap gushing praise upon her comfortingly familiar but still uniquely expressive voice.

Continue reading "Bowing to Humboldt-bred Jenny Scheinman" »

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June 19, 2008

Marcus Shelby serves up both heaviness and soulful grooving

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By Sam Devine

Marcus Shelby kept things light on Friday the 13th at Jazz at Pearl's, even though his band performed politically charged music including pieces from his new album, Harriet Tubman (Noir).

While the two new compositions were saved for the end of the evening, the entire night was emotionally charged, laced with spiritual and political ideas.

The first song, "The Leopard," was inspired by Quaker artist Edward Hicks' painting The Peaceable Kingdom, wherein the lion lays down with the lamb.

Continue reading "Marcus Shelby serves up both heaviness and soulful grooving" »

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June 13, 2008

Nick Cave, Rancid, Eagles of Death Metal, Ledisi, Dandy Warholds to launch reopened Warfield

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Fly, Eagles of Death Metal, fly.

Save your tears for the gym-ed up Alcazar and other grand old venues and theaters that have been made over as enormous drug stores. The Warfield reopens soon, under the aegis of Goldenvoice, the production company that puts on Coachella, and a slew of shows are set to go on sale via Ticketmaster on June 22.

Sept. 15 - George Lopez. Third show on sale Sunday, June 22 (third show added).

Sept. 18 - Musiq Soulchild and Ledisi. On Sale Sunday, June 22.

Sept. 20 - Nick Cave and the Bad Seeds. On Sale Sunday, June 22.

Sept. 23 - the Hives/Eagles of Death Metal. On sale soon.

Sept. 24 - Bootsy Collins "Tribute to the Godfather of Soul." On sale soon.

Sept. 25 - Bullet for My Valentine. On sale Sunday, June 22.

Sept. 26-27- Rancid.

Oct. 4 - Dandy Warhols. On sale Sunday, June 22.

Oct. 11 - Julieta Venegas. On sale Sunday, June 22.

Oct. 25 - the Kooks. On sale soon.

Oct. 30 - Cassandra Wilson. On Sale Sunday, June 22.

Nov. 7 - Jim Gaffigan. Late Show added; on sale Sunday, June 22.

Dec. 6 - Frank Caliendo. On sale soon.

Dec. 21- Brian Setzer Orchestra. On sale soon.

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Nick Cave, eyeball rolling back in the day.


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May 29, 2008

No self-indulgence for SF's Mitch Marcus Quintet

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Mitch Marcus in repose.

By Dina Maccabee

The Mitch Marcus Quintet sounds so confident, so full of easy attitude and laid-back strut on the group’s latest release, The Special, (Jazzcubed, 2007), you could almost mistake this mile-a-minute jazz record for an easy ride.

Each track unfolds with a bounty of melodic and structural invention, though the mix of influences - from Eric Dolphy to the Meters - is practically seamless. With saxophonists Mitch Marcus and Sylvain Carton up front flying in tight formation through some impressive mid-air turns, it’s the quintet’s simmering rhythm section that’s responsible for continuously building, tearing down, and rebuilding The Special’s beat-driven foundations. As drummer Ches Smith and bassist George Ban-Weiss man all the bases from swaggering swing to idiosyncratic odd meters and loping six-eight time, guitarist Mike Abraham romps out in left field, lobbing passages of inspired insanity, such as his distorted surf-raga shred-a-thon on “Inditranego,” psychedelically into play.

Like those groundbreaking records by Miles Davis and Ornette Coleman that still shine as irresistible beacons for straight-ahead boppers and free-jazzers alike, The Special has the potential to appeal to both lovers and haters of the jam paradigm. While nearly every tune follows a tightly orchestrated opening with an expansive field of spontaneous solo and ensemble exploration, the improvising feels so honest and un-forced, the vibe so rooted and right, there’s not a self-indulgent note to be heard.

Mitch Marcus Quintet
June 9, 8 p.m. and 10 p.m., $6-$12
Yoshi’s
510 Embarcadero W., Oakl.
(510) 238-9200

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May 19, 2008

Flying Luttenbachers sax on auction block

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Care to grab a slice of experimental rock/no-wave history? Flying Luttenbachers impressario, XBXRX player, and no wave authority Weasel Walter is putting his Conn C-Melody saxophone up on the eBay action block here. The Bay Area musician and fire-starter says he played the instrument on such recordings as the Flying Luttenbachers' Revenge and Gods of Chaos as well as To Live and Shave in L.A. 2's The 300 Dollar Silk Shirt.

Says WW: "I got this horn in 1988 and played it (terribly) on a lot of my high school 4-track recordings (the best of those were released on CD by Savage Land Records in 2006). After I moved to Chicago I got the beast fixed up and repadded and played it a lot more. This is a working instrument, and you can basically take it out of the box and play it. Basically bills must be paid and I really don't pursue playing saxophone at all anymore - let's leave it to the pros! - so I'm selling it off.

"To some elite weirdos i suppose it's a small piece of history. Let the bidding begin."

(You can also catch Weasel Walter at events for the book **No Wave,** alongside author Marc Masters. Those happen Sat/24, 2 p.m., free. Amoeba Music, 1855 Haight, SF. With Death Sentence: Panda and Ettrick. Sat/24, 9 p.m., pay what you can. 21 Grand, 416 25th St., Oakl. Sun/25, 5 p.m., $6. Artists’ Television Access, 992 Valencia, SF.)

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April 11, 2008

Clubs: producer-DJ-MC Kero One looks to the Bay and abroad

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By Jamilah King

Bay Area DJ Kero One likes to say that he got his Seoul from Korea. Regardless of its origins, his talents as a producer, DJ, and MC are creating a big buzz in hip-hop. He's collaborated with Grand Puba, Aloe Blacc, and Ohmega Watts. His smooth sound takes hip-hop back to its roots while also moving it forward. Tonight, March 11, Kero One performs at 111 Minna Gallery; he also has a monthly at Madrone Lounge.

He sat down to talk about his music, and more.

SFBG: You're from the Bay. Where in the Bay did you grow up?

Kero One: I grew up in the Santa Clara area, and moved to the city about three years ago to get more serious about my music career.

SFBG: When did you fall in love with music?

KO: I remember being really little and staying up into the wee hours of the night to listen to the radio and stations like KMEL. My mom would come in and try to get me to go to bed, then I'd get right back up and turn the radio on and listen to stuff like Boogie Down Productions, and all the stuff that was big in the late '80s.

Continue reading "Clubs: producer-DJ-MC Kero One looks to the Bay and abroad" »

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April 09, 2008

Sonic Reducer Overage: Mocheeba, Hercules and Love Affair, Enon, David Banner, and mo'

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Reflections on Enon. Photo by Emily Wilson.

So much to do and see, Lee. And Prince headlining Coachella on Saturday, April 26, doesn't make the schedule any easier. Check out all these worthy shows that were fit for print but simply didn't make the trim this week.


KING BROTHERS AND THE FLAKES

Kawaii-cute Japanese distorto-rockers meet Bay Area garage first-schoolers. With Shellshag and Bananas. Thurs/10, 8:30 p.m., $10. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455.



HERCULES AND LOVE AFFAIR

"I cannot hold / a half a life / I cannot be / at half a wife." So goes "Time Will" off Hercules and Love Affair's new self-titled DFA/EMI album. Dulcet warbles care of Antony of Antony and the Johnsons meet cool synthetics with keys by Andrew Butler and drum programming by DFA's Tim Goldsworthy. Instant love affair, for sure. With Timo Maas and Honey Soundsystem. Fri/11, 10 p.m. doors, $15-$30. Mezzanine, 444 Jessie, SF. (415) 820-9669.

Continue reading "Sonic Reducer Overage: Mocheeba, Hercules and Love Affair, Enon, David Banner, and mo'" »

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April 02, 2008

WMC: Om Records whoops it up in Miami

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Vikter Duplaix and Daz-I-Kue (Bugz in the Attic) get down at the Om party. All photos by Robin Russell.

Contributing photographer Robin Russell swung through Miami's Winter Music Conference, which ran from March 25-29, and sent these dispatches. First up: the fete thrown by SF-based Om Records at Y Ultralounge on Thursday, March 27.

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Cobblestone Jazz settles in.

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Things heat up at the Om party.

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March 11, 2008

Buddy Miles RIP - play on Brother Gypsy, sing on drummer

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By Kandia Crazy Horse

Roughly two decades after Run-DMC and Aerosmith’s fruitful pairing showed rock could still be danceable in the emerging hip-hop era, negroes remain nonetheless officially skurred of guitars. Endless samples later, it’s not unusual for hot tracks to be powered by a skillful blend of beats and rock volume. Yet when a young black artist emerges from the community (or outside of it) desirous of doing a different thing, he or she is often still accused of wanting to play “whiteboy music.”

And so, we loop straight back to 1969 and the central sonic and social dilemma of rock history’s greatest black rock superstar: Jimi Hendrix. Before the eve of New Year’s 1970, electric magus Hendrix had attempted to free himself from the harsh realities of Jim Crow America by eschewing the strictures of the Chitlin’ Circuit – where he supported stars like Little Richard and the Brothers Isley - for music scenes and venues in Greenwich Village and then (swinging) London. Oftener than not, the response his career elicited in regular blackfolks was resentment that he left the Black Bottom to move to London and return as “white” and his proto-metal sound was baffling (as were his two white sidemen – the British rhythm section’s simulated Afros or no).

Meanwhile, the Panthers were already putting the touch on him, urging shy, spacey, “music has no race” Hendrix to come out strong on the side of blackskin chauvinism and actively support the revolution. This ish would plague Hendrix for the rest of his short life – and, in many ways, the ever-burgeoning afterlife of his career. Yet with the sequential formation of both the ill-fated big band Gypsy Suns and Moons (who accompanied him at Woodstock) and the power trio Band of Gypsys, he attempted to resolve the racial conundrum sonically as fitting for the manchile who’d slept with his guitar since youth.

Continue reading "Buddy Miles RIP - play on Brother Gypsy, sing on drummer" »

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March 07, 2008

What does Alpine jazz sound like? Nik Bärtsch’s Ronin comes to Yerba Buena

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By Erik Morse

What was Orson Welles’ scene stealing line in The Third Man? Oh yes, it goes like this: "In Italy, for 30 years under the Borgias, they had warfare, terror, murder, bloodshed - they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland, they had brotherly love, they had 500 years of democracy and peace, and what did that produce? The cuckoo clock." Never mind that the contraption in question was actually invented in the Black Forest of Baden-Württemberg or that Welles egregiously absented the Zurich-based dada movement from his glib verdict. But this bitch slap at the Swiss’ expense has now become an ecumenical platitude: nothing cool has ever come from the land of Helvetica.

Well, burn down the chalet and throw out the flugelhorn! Composer-pianist Nik Bärtsch and acoustic quintet Ronin have departed from the craggly bluffs of Switzerland and landed on the snobbish jazz shores of America. Despite establishing themselves in the '90s, Bärtsch and Ronin only came to prominent attention in 2006 with Stoa, their first release for experimental jazz label ECM.

No doubt playing on the architectural definition of its title, Stoa was a magnificently open affair with tinkling melodies underpinned by floating, Can-style grooves and large swathes of quiet space. In order to christen Ronin’s new direction, Bärtsch dubbed his sound “zen-funk” with tongue most likely placed firmly in cheek. Reviews at the time compared Stoa’s compositional structures to those of Steve Reich and James Brown, and one critic noted it was “digital-age music performed with analog sensibility.” And, in fact, you can hear within the precise bass ostinatos and repetitive keyboard figures the postmodern electro-jazz of Jaga Jazzist or Squarepusher. No small feat for a cadre of musicians reigning from Alpine country.

Continue reading "What does Alpine jazz sound like? Nik Bärtsch’s Ronin comes to Yerba Buena" »

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March 06, 2008

Clubs: Gem sweaters, buenos Zizeks, grimy Rupture, divas

Too too much going on this Saturday March 8, kids, and these are just the above-ground parties! I don’t know how I’m gonna make ‘em all, but we just finished work on the next issue of Scene, our nightlife mag which drops next wednesday in the guardian (look for it!) and I'm ready to party my pumps off. Good thing I always carry an extra pair of bedazzled flats in my Safeway paper bag purse …

Leslie and the Lys, spaz-hop queens straight outta Iowa (via Boston) who recorded the immortal line “Wearing gold spandex pants/ I made a hip-hop album” will be rocking their goddam GEM SWEATERS at an early set (9pm) at the lezbo-rock heavenly Cockblock at Rickshaw Stop for only 10 stinkin’ bucks, which lets you stay the whole evening to hear the adorable DJ Nuxx and friends throw down.

Then it’s off to Kafana Balkan at 12 Galaxies (more info here), the city’s premier Romany dance party, with awesome, way-deeper-than-Balkan-Beatbox DJ Zejlko and friends. If it’s anything like the last one (with crazy pics we featured in the last Scene nightlife magazine) then we may not be able to tear ourselves away ….

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Brass Menazerie at Kafana Balkan

to hit up one of the best-sounding parties at Mezzanine in, like, a week – Zizek featuring DJ/Rupture and Tormenta Tropical.

Continue reading "Clubs: Gem sweaters, buenos Zizeks, grimy Rupture, divas" »

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January 25, 2008

Brownout! rolls through the rain

Turn that umbrella upside down and smile to the warm Latin funk (with an edge of oh-so-nasty) of Austin's Brownout!, who'll be drizzling driving grooves, conga section included, through that undersung cumbia-and-get-'em hot spot, El Rincon this Saturday. They'll be playing a live set with DJ Chicken George, guaranteed to shelter you from the storms.

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The eight-piece ensemble's work can be found on Freestyle Records, and its sunny, tequila-soaked appearance here is brought to you by the kids from rad soulful weekly Afrolicious (Thursdays at Elbo Room), accompanied by funky drimmers LaMalaMaña and DJs Señor Oz and Pleasuremaker. Check it!

Brownout
Saturday Jan/26
10pm-2am
El Rincon
2700 16th Street
(between Folsom St & Harrison St)


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January 04, 2008

The day "Boobs!" died

Alas, word has come on the hot gay wires that fabulously risquee night club chanteuse of the '40s and '50s, Ruth Wallis, has passed from Alzheimer's.

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Wallis, progenitress of such incredibly double entendred tunes as "Hopalaong Chastity," "The Dinghy Song" ("Davey had the cutest little dinghy in the Navy"), and, a personal favorite, “A Man, a Mink, and a Million Pink and Purple Pills” -- and who was the inspiration for 2003 Off-Broadway tribute "Boobs! The Musical" -- was 87.

Someone has just expunged all of her online clips (heirs already planning to cash in, perhaps?) but below is a fine Victrola-type dealie spinning "Johnny Had a Yo-Yo." Blush and sing along with us, for Ruth.

Thanks to Matt Sussman of Flavorpill for passing the sad news on.

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December 19, 2007

Benjamin Tinker's top 10 musical experiences and releases

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'Fro sure: Richard Pinhas Trio.

The Society of Rockets member ushers in his favorites for 2007.

1) Hanging out on Jean Herve Peron's farm in Schiphorst, Germany, at his annual Avant-garde Festival, and hearing sounds differently afterward.

2) Being part of something that led to a 12-inch vinyl gatefold, the Society of Rockets' Our Paths Related (Underpop)

3) Reissues, good for oldsters and kids alike: from Bee Gees: The Studio Albums 1967-1968 (Rhino) to Cluster’s Sowiesoso (Water).

4) Two nights of the Richard Pinhas Trio live.

5) Ornette Coleman with his son on drums and three bassists at the Masonic Center, Oct. 28. Not the soaring, almost liturgical music of 2005's SFJAZZ performance, but a blistering of angry, almost punk evaluation on the state of the union.

Continue reading "Benjamin Tinker's top 10 musical experiences and releases" »

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Pat Thomas's top 10 albums of 2007

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Pat Thomas, Runt/Water consultant, writer/editor of Ptolemaic Terrascope, and the drummer of Mushroom offers his picks for '07.

1) Miles Davis, The Complete On the Corner Sessions (Sony Legacy)

2) Moby Grape, Moby Grape '69 (Sundazed)

3) Sly Stone, There's a Riot Goin’ On (Sony)

4) Sean Smith, Sacred Crag Dancer Corpse Whisperer (Isota)

5) Terry Manning, Home Sweet Home (Sunbeam)

Continue reading "Pat Thomas's top 10 albums of 2007" »

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November 15, 2007

Oh, Tootie.....

Excitement! '70s-kid, Gen-X (and very probably gay) excitement! Charlotte Rae, aka Mrs Garrett from The Facts of Life is coming to the Empire Plush Room to perform cabaret versions of tunes from her album Songs I Taught My Mother.

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What??? From her Broadway debut as Mrs. Peachum in The Threepenny Opera to her carrot-headed brooding over Jo, Blair, Natalie, and Tottie Tootie for most of my childhood to her current incarnation as cabaret vixen, Charlotte is tuly ... a Renaissance woman!

Tue, Nov 27 - Sun, Dec 2, $40
Empire Plush Room
940 Sutter, SF
(415) 885-2800
www.theempireplushroom.com

PS: OMFG Sally Kellerman is there Nov 23 & 24 ....

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October 31, 2007

Nels Cline at du Nord: so much firepower, so little venue

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By Benedict Sinclair

It’s always nice to get a warm feeling from a show, regardless of the sonic or literal violence you might undergo during it. The bartender at Café Du Nord on Thursday, Oct. 25, was kind enough to hand me my drink with an unusually welcoming smile. Suddenly I overheard a discussion about how beautiful a certain country highway was - the one I’d just happened to grow up on. Ah, home. I’m never sure why, but I get the same feeling from listening to albums that include guitarists Nels Cline (of the Geraldine Fibbers, the Nels Cline Singers, and nowadays Wilco) and Jeff Parker (Tortoise and Isotope 217).

The narrative arc of a Nels Cline solo once seemed to me a bit like a rollercoaster, but considering the sudden, indescribable variations on delay and distortion he tosses around, the amount of 13th chords he employs, and, really, just a plain old spooky control over chaos, I’m more inclined to recall the image of a flickering candle. I’m thinking specifically of the one placed in the center of my table at Café Du Nord, where the Nels Cline Singers played two sets: one as a trio and the other with Parker. I sat, I stared, I heard.

I mean, bassist Devin Hoff and drummer Scott Amendola certainly held their shit down, punctuating Cline’s soaring presence with equal vigor. But I can’t get away from that flame metaphor, the way a practically invisible center produces that glow, refracting in all directions through a bubble glass lamp. It was as if Nels and his sparking fingers lighted the café themselves, that red hue cast over everything perhaps strictly a product of the heat scattering out as this guy poured his soul into unpredictable jazz shredding. Yet the band also fostered many moments where the flickering meant a slight cooling. They’d play pretty, sweet melodies together and still burn it up. The second set was the less out there of the two.

Continue reading "Nels Cline at du Nord: so much firepower, so little venue" »

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September 07, 2007

Tip o' the Tibbs

Intrepid intern Lotto Chancellor (we shit you not, that's his name) checked out the Chantelle Tibbs show at El Rio last Tuesday ....

EL RIO, Tuesday, September 4 — Sandwiched between Wee the Band, whose showertime blues covers were tolerable, and Dubious Ranger, whose drummer couldn’t quite seem to find the pocket, was Chantelle Tibbs, another SF transplant from, where else, the East Coast. But don’t worry. She’s from Jersey, not Mass.

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Oh, Chantelle!

This woman straight up has pipes, pipes with enough resonance to fill the El Rio’s carpeted space and draw genuine applause not just from her admirers but also from wayward shuffleboard players, semi-conscious tipplers, et al. After her hour-long set she sold off what demos she had, and took compliments with grace, which is an easy thing to do when you know that people are actually telling you the truth about your performance.

Continue reading "Tip o' the Tibbs" »

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August 09, 2007

Lollapalooza day 2: Clap Your Hands say Yeah Yeah Yeahs - and Roots, Patti Smith, and more

By K. Tighe

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The Lolla crowd gives it up for Kanye West. Photo by Cambria Harkey.

Notorious for delivering live sets that sound nothing like their album cuts, New York/Philadelphia indie rockers, Clap Your Hands Say Yeah translate surprisingly well to the festival environment. Sure, most songs were unrecognizable, but still enjoyable. Frequently compared to David Byrne, Alec Ounsworth laced his nasally vocals over deconstructed disco-folk instrumentals and the people, well, they rejoiced.

The other side of the park was packed to the brim, with concert-goers eager for a much-needed dose of hip-hop. The Roots delivered. Horn players usually lack street cred, but not under the tutelage of these legendary wailers, who delivered one of the day's best sets by somehow managing to keep their massive crowd grooving with their trademark big-band spastic sound, all while suggestively flexing their rock muscle. Earlier in the day, Chicago native Rhymefest had gracefully overcome sound difficulties to merge his blue-collar sensibilities with big band grandeur in a powerhouse hip-hop set. Although Lupe Fiasco is scheduled for tomorrow, it's apparent that Lollapalooza could do with more hip-hop.

With a distinctive, fluid voice and some hard-earned chops as a pianist, Regina Spektor's performance was sweet, but underwhelming. Chalk it up to timing, as she had the misfortune of performing after the Roots, or perhaps the awkwardness of hearing such intimate tunes at a corporate festival, but the much-anticipated appearance of this lovely chanteuse missed the mark.

For a hefty serving of old-school geekiness, no one need look any further than a set by the Hold Steady. These boozy intellectuals have come a long way in a short time, vocalist Craig Finn took a moment in the set to explain: "We started this band four years ago to have enough money for beer and an apartment, and now we're going to Dublin (next month) to open for the Stones. There is so much joy in what we do here, God bless you. " Judging by the sea of hands punching at the air through the duration of the set, there was a whole lotta joy in what they crowd was doing there, too.

Despite the fact that Karen O was gussied into a get-up that would make some Folsom Street Fairers blush, the Yeah Yeah Yeahs put on a strong, primal performance.

Try as she might, Ms. O just can't hold a candle to Ms. Patti Smith. The rock and roll poetess has enamored me in the past, and never disappointed. Even on her Rock 'n' Roll hall of fame induction, when every other word was bleeped, she was enthralling. Still, no amount of Patti-worship could have prepared a person for the lady's performance tonight, Aug. 4, when the heavens aligned to split open.

Continue reading "Lollapalooza day 2: Clap Your Hands say Yeah Yeah Yeahs - and Roots, Patti Smith, and more" »

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July 03, 2007

Pick-nik season is so on...

Step right up for the git-pickin' pick o' the litter at the first annual San Francisco Picker’s Picnic on Friday, July 6, at Bottom of the Hill.

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King City with child.

Joe Price with Vicki Price, King City, Craig Ventresco with Meredith Axelrod, Gaucho, and Pat Johnson will be your shred-meisters. Your host: Chewy Marzolo - player of heavy metal, bluegrass, cartoon swing Latin soundtrack, rag, burlesque, abso-futurist black/death metal, gypsy jazz, cabaret, country, and he says, "a few other types of not-very-popular-to-the-hipsters styles of music in San Francisco for...well...let me see here...um...a very long time."

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Joe Price in action.

This time Marzolo bites into a first - the Picker's Picnic. Among the offerings are the Iowa Blues Hall of Fame inductee Joe Price; gypsy jazz combo Gaucho (with Ralph Carney); and Marzolo's own band, King City, who describe themselves as "a five-piece ragtime/tango/Latin/spaghetti western
instrumental San Francisco bonifiedly warranted excuse for a good time." By the way, King City's first official CD, The Last Siesta, comes out this summer on Spencer Muray's Antebellum label and the cover was painted by graf giant Twist, aka, Barry McGee.

It's all on July 6, 9 p.m., at Bottom of the Hill, 1233 17th St., SF. $10. For more info, go to www.myspace.com/pickerspicnic. Be there - or be home pickin' on your own.

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April 20, 2007

Andrew Hill, R.I.P.

Sadly jazz legend Andrew Hill has passed - after playing a stellar show for SFJAZZ last year and being serenaded by present and past Bay Area players like Nels Cline and Guardian contributor Devin Hoff. Here's the statement from Hill's label, Blue Note.

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The Blue Note Records Family is very saddened to announce the passing of the great pianist and composer Andrew Hill. Andrew passed away early this morning, April 20, 2007, after battling lung cancer for several years. He was 75 years old.

Andrew was considered “the next Thelonious Monk” by Blue Note founder Alfred Lion, and over a 44 year association with the label, beginning with his debut in 1963, he made what will forever stand as some of the most groundbreaking recordings in jazz history, including such classics as Point of Departure, Black Fire, Judgment!, Passing Ships, and Time Lines, his triumphant 2006 return to the label that was named the no. 1 album of the year by Ben Ratliff of The New York Times, who described it as “a master’s record, quiet, daring and magnificent.”

Our hearts go out to his wife Joanne, and the countless musicians, friends and fans that his music and spirit touched over the course of his remarkable life.


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