BUREAU OF ARTS AND CULTURE : LOS ANGELES
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DAVID BOWIE: IS The Other Man
By Joshua Triliegi
David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon.BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected and the most successful performer in Rock and Roll Music History.
Todays new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence.
There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowies foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stradust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album.
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MILES DAVIS : "Jazz Is Like An Attitude"
Can you give ? Can you give yourself ? Do you have the ability to Give ? Miles Davis will be 88 years old this month. I am more than sure that if Miles were on the planet, that somehow, some way, some where, he would be doing what he did best: Giving. That is what we do as Artists, as Writers, as Performers, we give, and you, the audience, take, and if it's really good, you actually get to partake. Miles Davis, probably, one of America's most outspoken, controversial, single-minded and guided musicians in recorded history will be Eighty - Eight this year. Eighty - Eight : The Number of Keys on a Piano. The full spectrum. Before there were 88 keys on a piano, they had called it a harpsichord. Music before Miles Davis is all harpsichord and every thing after, is something totally new. When people called him Be-Bop, he transformed. When people called him a JAZZ MAN, he transformed again. One thing Miles Davis never did, was Conform. MIles' influences were varied. He loved Dizzy Gillespie more than a man might love his own father. It was Dizzy who got Miles Davis back in the ring after several years of inertia. But Miles also had a deep respect for Classical composers, "I always loved Stravinsky, Stockhausen, Ravel, Rachmaninoff, Chopin." he remarked, upon receiving one of several awards throughout life.
Miles seemed to take the recognition in stride, appreciative, but, a bit aloof. Miles is incomparable, but when forced to parallel, I would say, he is Dylan. Both men battled the system, themselves, sometimes fans and always original. Never the same performance twice. Prodigious outputs . Popular success as well as solid credibility with purists, and then later, angering the purists in search of something else, something new, something truly Pure, something never heard before or something heard before, but never like that. When Dylan or Davis do a ' Cover Version ' of someone else's tune, It is safe to say, it will never sound like anything but Dylan or Davis. Listen to Dylan's Grateful Dead renditions. Or Miles', Time after Time. The later example, possibly an equivalent to Miles' long time friend and collaborator John Coltrane's, ' My Favorite Things '. Read The book review in this Edition for more on John Coltrane's influence on The Jazz World. When people called Miles a sell out, he had this to say, "People say, You sold out, and shit like that, I don't know what they're talking about. That's what musicians say when they're lazy, Don't want to learn more things."
Miles Davis is one of the most GIVING performers, that I know of, In Any Medium. You simply watch & listen to Miles Davis and it is an abject lesson in focus, concentration, offering in absolute terms, a truth, your truth, no one else'e truth. Give your absolute truth. And give it All, NOW. There is nothing else. There is no one else. There is just a performer, an instrument and yes, there is an audience. Though, no audience will return, time & time again, as they did for Miles, if the first two ingredients are insufficient. And No performer can get two ingredients without the first: Giving. " If it's Blues, I play it Blues. If it's a Ballad, I play the Ballad. If it's Funky, I play it Funky. If it's Fast, I play that. Not one style: Jazz is like an Attitude." There are plenty of books on Miles Davis, no need to add to the bibliography, so I will spare the tired facts, numbers, opinions or misinformation. The best way to understand Miles Davis is to simply give yourself to the music. Can You give ? Can You Give Yourself ? Do You have the Ability to GIVE Yourself to MUSIC ? If you are able, then listen to what Miles Davis has to say. It's deep. It's joyful. It's painful. It's authentic. It's passionate. It's enlightened. It's raw. It's refined. It's Africa. It's Asia. It's Europa. It's America. Its unexpurgated, undefinably, unmistakably, undeniably, pure sound. It's the Sound of Miles Davis and this year It's 88. Infinity twice. A double Helix. Good Luck in Chinese. Simply: A man's age.
SONGWRITING with THE MALLETT BROTHERS
In The Studio, at The Table, and On The Road with The Maine Family Band
BUREAU : What is the impetus, would you say, for writing a song ?
Luke: I like to think of the song itself as the impetus, or some part of that song. It can be a melody, a line, a title, a feeling or even a broader concept. When you're lucky an idea will stick with you, and start to snowball inside your head and you have no choice but to see it through, and hold on for the ride. These are the dust-like particles that artists, of any medium I think, seem to pluck right out of the air. The seeds of creativity. The songs don't come from a writer but through a writer, because all inspiration ultimately comes from something outside of ourselves. We are all filters for reality, whatever our medium of choice may be. The driving force behind any song, then, is to get it out of your own head. To finish it. It's kind of an irrational need that artistic minds share. Say there's a particular metaphoric line that gets stuck in your head like a grain of sand in an oyster. It rolls around and around in your head, getting bigger and growing layers, smoothing itself out until it's finished. They're not all pearls either, but I guess the pearl isn't the point so long as the grain of sand is gone. The real joy for myself comes from moving on to the next idea before it flutters away.
BUREAU : Give us an example of a song you have written and describe the real life circumstances, event and happenstance that inspired that tune ?
Luke: "Late Night In Austin" (http://youtu.be/_AhV74jl0wk), released as the first track on our 2015 release "Lights Along The River" is a song that blended experience and imagination. In March of 2013 we made our first trip out to Texas. SXSW was happening, and Texas being the heart and soul of so many of our musical heroes, it was a big deal for us to be there. We were at the Continental Club on a night off, a room which we would be honored to play on later tours, to see James Mcmurtry play a solo set in the Gallery upstairs. The first lines of "Late Night In Austin" are "One late night in Austin, saw an old man dancing by himself. He was drunk half to death, and I knew just how he felt." The tiny old man wore a battered fedora, a dirty suit but a suit none the less, and a pair of shiny dancing shoes. He was there to use them. It was like being in a movie, watching this odd and obviously very imbibed man spin, slide, and swing his arms around on a dance floor all of his own. The packed room became even more dense as the crowd parted before him. He mouthed the words to the songs, although he obviously didn't know them, and at times clenched his eyes closed, opened his mouth and silently screamed at the ceiling as if his performance was causing him pain. McMurtry is one of the greatest songwriters alive today, in my opinion, but after that night the image of the old gentleman was what had seared itself into my brain. It wasn't until 2 years later, on our 3rd trip to Texas I believe, that the song was finally given life. In 2 years I hadn't been able to shake the images of that night, and it was time to write it down. The second verse is more of a generalization, a sweeping idea of what Austin during SXSW feels like. Music everywhere, bands and fans, parties and high hopes. Some triumphs and some regrets I would have to imagine. The first verse brings me back to a specific moment, while the second conjures a general familiar feeling for me. I like being able to put these two different kinds of thought processes together.
BUREAU : Once a song has been put on paper, walk us through the process of bringing those words to your Band members ?
Luke : The process for each song is different, just as the process for every writer is different. As I said before, a song for me can grow out of a line, a melody, or a concept. Nearly all of my songs are brought to the band as a skeleton, or a shell, and I rely heavily on the guys in this band to make it a TMBB song. I think we're lucky to be in a group that works this way. We often come into rehearsal and say, "who's got secret songs? Who's got something new?" And often times that will lead to something more tangible by the end of the day. Maybe the most important step is bringing the idea to the stage, and letting it make it's final evolution in front of a crowd. One thing we take a lot of pride in is the live show, and that to me ultimately shows what the song was meant to become.
BUREAU : How long have you or your bandmates been writing original works and explain how The Band was originally formed ?
Luke: The Mallett Brothers Band began in late 2009, and we drew from every corner of the Portland Maine scene. Myself, Nick Leen and Nate Soule had recently come out of another project together, but it was the arrival of my brother Will to Portland that lit the fire. We had some song ideas, we had a vague direction we wanted to head stylistically, and we had no idea that this would become a driving force in our lives. Wally Wenzel and drummer Brian Higgins, who had also worked together on other projects, came into the picture shortly there after and from the very first rehearsal we were all hooked. There was a certain chemistry, and a sense of how much fun we could have immediately. Our first time on stage together cemented the deal. Though the line-up has changed over the last six years, the electrifying feeling of being on stage together hasn't changed a bit. As it stands today on stage you will see myself and my brother Will on most lead vocals and guitar, Nick Leen on bass and good vibes, Wally Wenzel on dobro telecaster and vocals, Adam Cogswell on drums, and Andrew Martelle on fiddle and mandolin. "Lights Along The River" also featured our childhood friend and Nashville native Matt Mills on pedal steele, banjo, guitar and vocals, as well as me and Will's little sister Molly on vocals and even our father (and intimidating songwriting magician himself) David Mallett, who just released his 17th studio album this month. We strive above all things to enjoy this thing that we have given ourselves completely over to. When you invest nearly all of your time, energy, heart and soul in something you better have fun while doing it. "Too much fun" has become our mantra.
BUREAU : Discuss the new music, the new tour and what has inspired the latest batch of songs.
Luke : While "Lights" was a collection of songs pulled largely from the road, the next project we have our eyes on will be a collection of Maine logging, fishing, and trapping songs from the 1800's. Will discovered a book in our mother's library of all these forgotten folk tunes from the very woods that we grew up in, and we've been setting the words to our own music. History is important to us, our home state of Maine is very important to us, and this next project combines these things with the music that is so important to us. A few of these have been working their way onto the setlist as of late, and the feeling of bringing these forgotten words back to life is amazing. We're excited to continue making music that captivates us as well as fans. No definite release plans as of yet. Look for some of these new tunes on the stage. Tour is never ending.
Michael Tilson Thomas + San Francisco Symphony
If Leonard Bernstein was a heavy, Zuben Mehta was passionate, Dudamel excitable, than Michael Tilson Thomas might be considered rather light hearted. Light as a feather. His conducting style is easy, calm with a bit of a sway rather than a swing, a punch or a wield. Reminiscent of say, the Mayor of Whoville from a Dr Seuss film. He slides to the left and right, hints at direction and rides the wave of music with an easy to and fro. Where Leonard Bernstein throttled, cajoled and exclaimed, Thomas, suggests, points and intimates. It is a light hearted style, he trusts his collaborators and indeed, one gets the sense that that too trust him. The BUREAU of Arts and Culture recently visited the Bay Area and caught an unveiling of a new composition by John Adams as well as The 4th Symphony by Beethoven. The Adams piece was riveting, entitled, " Absolute Jest " and inspired by Ludwig Van, co - commissioned by The San Francisco Symphony and featuring a string quartet. We thought it was a fabulous performance, although, it might have been not so anti-climactic if the Beethoven work had been performed first and the Adams piece, following suit. After the excitement of the Adams work, the 4th seemed a bit tired and even stepped on. Figuring that the work was actually created from Beethoven, or ' inspired by… ' we were left wanting a bit more at the end of the evening.
The San Francisco Symphony is well supported by a group of extremely wealthy and some what conservative supporters. Not unlike most classical music and other institutes of this variety, they depend on the support of companies like Chevron, Bank Of America, AT&T, VISA, Emirates as well as individual donors. I sometimes wonder what classical music would be like if we put it in the hands of say, the homeless, the dock workers, the truck drivers, the bus boys & waitresses or just the everyday kids on bicycles, skateboards, and people at the bus stops. Why does classical music have to have that air of superiority ? When Leonard Bernstein created West Side Story which is now being celebrated by Thomas & the San Francisco Symphony, he meant to break down that snooty style and bring classical music back to the streets. We hope Thomas and his cohorts as well as our own Los Angeles Symphony and the sometimes uptight classical Disc jockeys here in Los Angeles, remember that this music was built to shake things up. Not the opposite.We sometimes get the sense that classical music is some thing that is for the wealthy, the conservative, the establishment. Sorry folks, just like most of the great Shakespeare plays, this is, was and will always be for the people. In many cases it was meant to enliven passions, not suppress them. So, heres a note to D.J.'s such as Dennis Bartel at KUSC, loosen up pop, this is the modern age, don't forget who's listening, we are pal, and were the people. By the way, where are the female conductors?
Where are the female disc Jockey's at KUSC ? Why are they relegated to late night and week ends ? We think KUSC Radio needs some feminine voices during the weekdays. Enough of this all male commentary by guys like Bartel and Brian Lawrenson, who provide a daily, child-like and somewhat elitist narration. We applaud the instrumentalists, the composers, the supporters.We applaud the new as well as the old,though, we abhor the tired old view that any one group owns classical music, rock and roll music, jazz music and even punk rock music. Music belongs to the people. Lets keep it that way. Beethoven, Stravinsky, Rokmonanoff were passionate people who broke the rules of society and shared what their experiences were through original compositions that to this day, excite, enthrall and entertain. The only way were going to get the next generation into this music without wringing them out to dry is to let the passion flow.So look out all you bores, squares and wanna - be's. Classical music is not about a tuxedo, a bank account, a foundation, classical music is about life, love, passion, danger, death, loss,war, peace, nature, the planets, and the universe as well as god and even the idea of no god at all. Music is music is music is music.
THE BUREAU ICON ESSAY
BOB DYLAN
By BUREAU OF ARTS AND CULTURE MAGAZINE EDITOR J. A. TRILIEGI
Bob Dylan transformed the idea of what it is to be hip, deep, cool, sexy, funny, ironic and intelligent, all the while, retaining a purist style that remained true to himself. Each step of the way, each level of transcendence, each pitfall, each breakthrough moment has it's challenges, it's problems, its rewards. Success in the creative field can mean as many things to as many performers, songwriters and those who fall in the center of the American spotlight of popularity. Few can survive it, even fewer are able to retain a sense of self and even protect that idea publicly. Dylan took the name of a poet, hopped on a bus, looked at America and told the world truths, that have to this day, remain truer and truer as time passes. The songs he wrote fifty years ago are more relevant now than ever, they will be more relevant in 100 years. The international press corp came at Dylan with the headlights on high beam. Instead of stare like a deer, he treated the alliance like a musketeer might approach a formal fencing match: Touché. The American Poet & wordsmith extraordinaire had become The Folkie, The Beatnik, The Rocker, The Philosopher, The Historian, The Cowboy, The Hermit, The Leader, The Champion of Underdogs, The Christian, The Anonymous, The Legend, The Icon and through it all, he's still Bob Dylan. An American guy from The Midwest who started with nothing but a blank piece of paper and a few ideas.
"They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself."
For every title, there also came a group of admirers and detractors, who wanted something. They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself. He has understood that selling albums, performing, having a contract to support the self expression is where it's at, and all the while, Dylan has offered us what he has. Critics through the years have expressions and titles and adjectives that glibly describe the various stages of Dylan's career: A Major Album, A Minor Album, Etc… His voice was laughable, compared to entertainers like Frank Sinatra, his stage presence was stiff, compared to singers such as Elvis Presley, his looks were nerdy, compared to performers like Johnny Cash and yet, he competed, sold millions of albums, and wrote anthems that have defined, to it's very core, what it is to Be : American. Bob Dylan is incomparable to other performers in the industry, he is an anomaly, he is the exception to the rule, there is no parallel story that can live up to Bob Dylan, so, please, don't even try. Today, we honor Bob Dylan, not for who you wanted him to be, not for what might have been, not for any ideas outside the realm of his oeuvre but, we honor him for what he actually is : The Great Independent American Artist.
THE BUREAU ICON ESSAY : BRUCE SPRINGSTEEN
By Joshua Triliegi for BUREAU of ARTS and CULTURE Magazine Network
Bruce Springsteen tells stories. He knits a good yarn. He knows how to handle the crowd. Like most artists, he was a few steps ahead of the audience. Looking back to his debut album, entitled, "Greetings from Asbury Park," it is now clear that, Bruce Springsteen is not just a great singer, performer and musician, Mr. Springsteen is that rare and individual voice, both on the stage and more importantly: on paper. He is a poet. When the world was still reeling from Vietnam, from the end of The Beatles, from the shadow of Richard Nixon and the slow, but steady death of the once powerful 1960s cultural revolution, this artist released an album that was miles and miles, ahead of his audience. On Jan 5th, 1973 Bruce Springsteen released an album that described life from a soldiers point of view. Broken, battered, torn and worn down. His songs described the streets in a tone and a pitch that has no sympathy for the devil. Bruce as narrator, introduces his cast of characters and their predicament, then he actually reaches into their lives, asking, hey pal, are you sure that's what you want to do ? "Hey gunner-man that's quicksand, that's quicksand, that ain't mud." While America was listening to Carly Simon's, "Your So Vain," a song written either about Warren Beatty or Henry Kissinger, and back up vocals by Mick Jagger: Springsteen was talking about life on the streets of America, not parties in The Hampton's. Roberta Flack was singing, "Killing Me Softly With His Song," Tony Orlando and Dawn were on the charts with, "Tie a Yellow Ribbon Round The Old Oak Tree," Maureen McGovern with, "The Morning After," Diana Ross with, "Touch me in The Morning," And Jim Croce with, "Time in a Bottle." Bruce Springsteen showed up like the character, Travis Bickle in Martin Scorsese's, "Taxi Driver." His characters had guts, bravado, sadness, sex appeal and the onlookers were mean spirited, "Did you see that guy hit with a thud ?"
"Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat."
After years of working his way up, shaping his style from the earliest inspirations, some credited to his mother's love of pop music on the radio, others to his first view of Elvis Presley on television, to his time with bands such as, The Castiles, Earth, Steel Mill and eventually, his own. The many years of visiting Asbury Park, located just twenty minutes from the place of his birth, Freehold, New Jersey, during the glory days of rock and roll, where one could find great piano players, saxophone soloists and jam guitarists, of all sorts, ready to play all night, had begun to show an original and a distinctly American voice. He is clearly inspired by the films of Terence Malick and had he not persevered, he may have become another artist who only released a handful of great albums in the same way that Malick did films. It is well known that Bruce was blown away by the power of what Van Morrison was doing with back up soul singers, a large horn section, organ players and the full regalia that eventually becomes, what is now commonly known as the, "Bruce Springsteen and The E Street Band," sound. Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat. Bruce is driving, sometimes recklessly. His people are not at all unlike the characters in, "American Graffiti," some will die in Vietnam, some will become bankers, some will marry farmers, most will barely struggle through middle age with kids, divorces and jobs that disappear, all are purely American. He's still out there. He's more powerful than ever. That is why, today, we honor the spirit of one of America's, and the World's, greatest living Rock & Roll Icons: Mr. Bruce Springsteen and The E Street Band.
THE MUSIC PAGE : INTERVIEWS . LINKS . REVIEWS . ESSAYS + MORE
THIS PAGE DISPLAYS A FEW SAMPLES FROM THE LATEST 299 PAGE MAGAZINE WHICH IS AVAILABLE AS A FREE DOWNLOAD at The Link Below, Simply, Tap the Link and Download The Hi Resolution Version NOW. It may take a Few Minutes, Though well worth The WAIT hundreds of images and links to events relating to each article and interview, many of which do not appear on this page: https://www.dropbox.com/s/hopawp0amrblor4/BUREAU%20LITERARY%202016%20FINAL.pdf?dl=0
COACHELLA MUSIC FESTIVAL 2016
http://live.coachella.com
Watch the OnLine Version If you do not attend the Music Festival. It is Possibly the best technically advanced camera, live stream professionals ever assembled onto one MUSIC Event.
VISIT EVERY BAND AT THIS YEARS FESTIVAL :
2MANYDJS (LIVE) http://www.2manydjs.com/
A$AP ROCKY http://www.asvpxrocky.com/
AC SLATER http://djacslater.com/
ACTIVE SUN https://twitter.com/activesunmusic
ADAM BEYER B2B IDA ENGBERG https://soundcloud.com/adambeyer
AFTA-1 http://afta1.bandcamp.com/
ALESSIA CARA http://www.alessiacara.com/
ALGIERS http://algierstheband.com/
ALUNAGEORGE http://www.alunageorge.com/
ALVVAYS http://alvvays.com/
AMINE EDGE & DANCE http://www.amineedgeanddance.com/
ANDERSON .PAAK & THE FREE NATIONALS http://www.andersonpaak.com/
ARDALAN https://twitter.com/Ardalander
AUTOLUX http://www.autolux.net/home.html
BAAUER http://baauer.com/
BADBADNOTGOOD http://badbadnotgood.com/
BAT FOR LASHES http://www.batforlashes.com/
BEACH HOUSE http://www.beachhousebaltimore.com/
BIG WILD https://twitter.com/bigwildmusic
BLACK COFFEE http://www.blackcoffee.dj/
BOB MOSES http://bobmosesmusic.com/
BRIGHTENER https://brightener.bandcamp.com/
CALVIN HARRIS https://www.calvinharris.co.uk/gb/home
CARLA MORRISON https://www.youtube.com/watch?v=tFX6vRrUzMQ
CHRIS STAPLETON http://www.chrisstapleton.com/
CHRISTINE AND THE QUEENS http://www.christineandthequeens.com/catq_language/
CHRONIXX http://chronixxmusic.com/
CHVRCHES http://www.chvrch.es/
CLAPTONE IMMORTAL LIVE http://www.claptone.com/
COLD WAR KIDS http://www.coldwarkids.com/
COURTNEY BARNETT http://socialhub.courtneybarnett.com.au/
CRYSTAL FIGHTERS http://www.crystalfighters.com/#home
CUT SNAKE https://twitter.com/cutsnake
DEAFHEAVEN http://deafheaven.com/
DEATH GRIPS http://thirdworlds.net/
DEERHUNTER http://deerhuntermusic.com/
DENA AMY https://twitter.com/denaamykaplan
DIRTY MOP https://www.instagram.com/mapibean/
DJ EZ http://www.djez.com/
DJ KOZE http://www.djkoze.de/
DJ MUSTARD http://djmustardonthebeat.com/
DREAMERS DELIGHT https://twitter.com/DreamersDelight
EDWARD SHARPE AND THE MAGNETIC ZEROS http://www.edwardsharpeandthemagneticzeros.com/
ELLIE GOULDING http://www.elliegoulding.com/home/
EPIK HIGH http://abcdepiklmno.tumblr.com/shoebox
EX HEX http://www.exhexband.com/
FRANCES http://francesmusic.com/
FUR COAT http://www.furcoatmusic.com/
G-EAZY http://g-eazy.com/
GABE REAL http://www.djgabereal.com/
GALLANT http://sogallant.com/
GARY CLARK JR http://www.garyclarkjr.com
GEORGE FITZGERALD https://twitter.com/georgefitzmusic
GILLIGAN MOSS https://twitter.com/Gilliganmoss
GIRLPOOL http://girlpoolmusic.com/
GOGO PENGUIN http://gogopenguin.co.uk/
GOLDROOM http://goldroom.la/
GRIMES http://www.grimesmusic.com/
GUNS N' ROSES http://www.gunsnroses.com/
HALSEY http://iamhalsey.com/
HÆLOS http://haelos.com/
HOTEL GARUDA https://twitter.com/Hotel_Garuda
HUDSON MOHAWKE http://hudsonmohawke.com/
HUNTER LEGGITT https://www.youtube.com/watch?v=25_UO19A4qY
IBEYI http://www.ibeyi.fr/
ICE CUBE http://icecube.com/tour/
IMAGINED HERBAL FLOWS https://twitter.com/ihfmusic
JACK Ü http://jackuofficial.com/
JAMES BAY http://www.jamesbay.com/
JAYKODE https://twitter.com/jaykode
JERRY FOLK https://twitter.com/JerryFolk
JESSE WRIGHT https://twitter.com/DJJesseWright
JIMBO JENKINS http://djjimbojenkins.com/
JOEY BADA$$ http://theproera.com/
JOHN DIGWEED http://johndigweed.com/
JOYWAVE http://www.joywavemusic.com/
JUSTIN MARTIN https://twitter.com/mrJUSTINMARTIN
KAMASI WASHINGTON http://www.kamasiwashington.com/
LÅPSLEY http://musiclapsley.com/
LCD SOUNDSYSTEM http://lcdsoundsystem.com/main/
LE YOUTH https://twitter.com/leyouth
LEE FOSS https://twitter.com/leefossmusic
LEMAITRE http://www.lemaitremusic.com/
LISBONA SISTERS http://www.residentadvisor.net/dj/lisbona
LORD HURON http://www.strangetrails.com/
LOST FREQUENCIES http://lostfrequencies.com/
LOUIS THE CHILD http://www.louisthechild.com/
LUCENT DOSSIER EXPERIENCE http://www.lucentdossier.com/
MACEO PLEX https://www.residentadvisor.net/dj/maceoplex
MAJOR LAZER http://majorlazer.tumblr.com/
MANO LE TOUGH https://www.youtube.com/watch?v=sezHMen-pDU
MARCO CAROLA http://www.marcocarola.net/
MATT AND KIM http://www.mattandkimmusic.com/
MATTHEW DEAR http://www.matthewdear.com/
MAVIS STAPLES http://livinonahighnote.com/
MBONGWANA STAR http://www.mbongwanastar.com/
MEG MYERS http://www.megmyers.com
MELODY'S ECHO CHAMBER http://melosechochamber-blog.tumblr.com/
MIAMI HORROR http://www.miamihorror.com/
MIIKE SNOW http://miikesnow.com/
MINT FIELD https://twitter.com/mintfieldband
MOON TAXI http://ridethemoontaxi.com/
MOUNTAIN OF YOUTH https://twitter.com/mountainofyouth
MR. CARMACK https://twitter.com/mrcarmack
NATHANIEL RATELIFF AND THE NIGHT SWEATS http://www.nathanielrateliff.com/
NIC FANCIULLI https://twitter.com/nicfanciulli
NICO LUMINOUS https://twitter.com/NicoLuminous
NICOLE MOUDABER B2B SKIN http://www.nicolemoudaber.com/
NINA KRAVIZ https://twitter.com/NinaKraviz
NINA LAS VEGAS http://ninalasvegas.com/
NOSAJ THING http://www.nosajthing.com/
OF MONSTERS AND MEN http://www.ofmonstersandmen.com/
OONA DAHL https://twitter.com/OonaDahl
PANTYRAID https://twitter.com/pantyraid
PAPER DIAMOND https://twitter.com/PAPERDIAMOND
PAROV STELAR http://www.parovstelar.com/
PATRICIO https://twitter.com/djpatricio_la
PETE YORN http://www.peteyorn.com/
PHASES http://www.phasesmusic.com/
PRAYERS http://www.chologoth.com/
PROTOJE http://www.protoje.com/
PURITY RING http://purityringthing.com/
RAE SREMMURD http://www.raesremmurd.com/
RANCID http://rancidrancid.com/
RÜFÜS DU SOL https://twitter.com/rufussounds
RECORD SAFARI https://www.instagram.com/recordsafari/
RL GRIME http://rlgri.me/
ROBERT DELONG http://robertdelong.com/
RUN THE JEWELS http://www.runthejewels.net/
SACHA ROBOTTI https://twitter.com/sacharobotti
SAM FELDT http://www.samfeldt.com/
SAM GELLAITRY https://www.youtube.com/watch?v=s9An6QUIgio
SAN HOLO https://twitter.com/sanholobeats/
SASHA http://www.djsasha.com/
SAVAGES http://savagesband.com/
SG LEWIS https://soundcloud.com/sglewis
SILVERSUN PICKUPS http://silversunpickups.com/
SNAILS http://officialsnails.com/
SNAKEHIPS ttps://twitter.com/snakehipsuk
SOPHIE http://shop.msmsmsm.com/
SOUL CLAP http://soulclap.us/
SPEAKER OF THE HOUSE https://twitter.com/spkerofthehouse
ST. GERMAIN http://stgermain-music.com/index.html
STANTON WARRIORS https://www.instagram.com/stantonwarriors/
STEADY HOLIDAY http://steadyholiday.com/
STRANGERS YOU KNOW http://strangersyouknow.com/
STYLUST BEATS https://twitter.com/stylustbeats
SUFJAN STEVENS http://sufjan.com/
SWARVY http://www.swarvy.com/
SWEATER BEATS https://twitter.com/sweaterbeats
TEI SHI http://tei-shi.com/
TENSNAKE http://www.tensnake.com/
THE 1975 http://the1975.com/
THE ARCS http://www.thearcs.com/
THE BLACK MADONNA https://twitter.com/blackmadonnachi
THE CHAINSMOKERS http://www.thechainsmokers.com/
THE DAMNED http://www.officialdamned.com/
THE DEAD SHIPS http://www.thedeadships.com/
THE DRIFTER https://www.youtube.com/watch?v=Qm5IvC4MFWk
THE FRONT BOTTOMS http://www.thefrontbottoms.com/
THE FUNK HUNTERS https://twitter.com/thefunkhunters
THE HEAVY www.theheavy.co
THE HUMAN EXPERIENCE https://twitter.com/_davidblock
THE KILLS http://thekills.tv/
THE LAST SHADOW PUPPETS http://www.thelastshadowpuppets.com/
THE VANDALS http://vandals.com/
THOMAS JACK http://thomasjackmusic.com/
TOKIMONSTA http://tokimonsta.com/index.php
UNDERWORLD http://www.underworldlive.com/
UNKNOWN MORTAL ORCHESTRA http://unknownmortalorchestra.com/
VINCE STAPLES http://webookbands.com/vince-staples/
VOLBEAT http://www.volbeat.dk/us/
WALKER & ROYCE https://www.facebook.com/walkerroyce/
WAVE RACER https://www.facebook.com/waveracermusic
WOLF ALICE http://wolfalice.co.uk/
YEARS & YEARS http://yearsandyearsofficial.com/
YOUNG FATHERS http://www.young-fathers.com/
ZELLA DAY http://www.zelladay.com/
WELCOME to FALL 2015 Edition BUREAU of ARTS and CULTURE MAGAZINE. This Edition contains The BUREAU ICON Essay: BOB DYLAN. Interviews + Photographic Essays with Alex HARRIS on The INUIT, Kanayo ADIBE in Baltimore, Lynn SAVILLE in New York City, Mike MILLER on West Coast Style, Ryan SCHIERLING in AUSTIN and BUREAU GUEST Artist: Melissa Ann PINNEY ART Interview with David BURKE in Bay Area. Plus: Michelle HANDELMAN. New FICTION: THEY CALL IT THE CITY of ANGELS Part III MUSIC Contributor: Sarah Rose PERRY on The Femme PUNK Scene. MUSIC Interview with JAHI. Plus US MUSEUMS: Detroit's 30 ARTISTS Exhibit, Milwaukee's Larry SULTAN, Photo LA, BOOK Stores Across US: BookPeople, Anderson's, City Lights, Book Reviews from STRAND NYC. Classical MUSIC and Rock & Roll: Not So Different After All. Elliott Landy and The BAND. Edward Hopper at The Cantor. All This and More Plus BUREAU On Line Links to The ART Fairs in MIAMI 2015 with Exclusive Audio Interviews, Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES Across America an The World Through Internet. BUREAU is MEDIA Partner for PHOTO LA . RED NATION FILM FEST + MORE...
BUREAU of ARTS and CULTURE IS EDITED BY J. A. TRILIEGI
[ This is NOT The Actual Magazine: This is a Sampler with a Free LINK to Download The 200+ Page FALL EDITION ]
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Peach Kelli Pop
by BUREAU of ARTS and CULTURE L A's
The New Music Contributor Erick Ceballos
Peach Kelli Pop is a quartet whose tunes are a nostalgic trip filled with retro-spunk and novel innovation, that makes it fun to bop like the 1960s and skank like the 199os. They present a contrast that is prevalent throughout their albums as they cover the romance and the power of being a woman. Endearment and empowerment are central themes of their sound, and what could be deduced from their musical entity. Peach Kelli Pop’s ability to convey the condition of love, tie in old as well as new elements, and still maintain the punk vitality for the kick-ass sets and albums they produce is remarkable. The terms, "Pop", "Punk", or "Girl Band" are insufficient to sum up what Peach Kelli Pop actually is: a band brewed in the haze of punk memories, indie foresight, and lyrical abilities which deliver a new sound to a new music and a new scene.
" A band brewed in the haze of punk memories, indie foresight, and lyrical abilities which deliver a new sound to a new music and a new scene. This is not the only thing they bring to the music community, which traded its patches for pins, vests for overalls, and kept the pits. "
This is not the only thing they bring to the music community, which traded its patches for pins, vests for overalls, and kept the pits. They also chipped away at the ruins of the monogamous relationship between punk and masculinity. A degradation of women in lyrics, alienation of their feminine punkards, and an overall lack of female representation encumbered the original punk scene. All of this was curtailed by the Los Angeles group from Ottawa. In response to this, their mosh pits are slightly groovier than the average fist-flinging circle pit and alsoare coed. Their shows are filled with the most lively fans, and the entire audience really responds to the music. Peach Kelli Pop is one of the most surefooted and welcoming bands this revisit to classics of punk and pop has to offer.
Exclusive Interview with Allie Hanlon
Erick Ceballos : Your music is among the forefront of this emerging genre, how is it to be apart of the musical movement?
Allie Hanlon : I guess I don't actively think of Peach Kelli Pop in those terms, but I'm flattered that you or anyone else does! The idea of being influential to any movement that you are into is a powerful thing, and if we inspire other people that's awesome.
Erick Ceballos : Has the move from Ottawa to LA been the dream and big break it sounds to be?
Allie Hanlon : I didn't move to L.A with any expectations or with my career in mind, but after moving it became instantly apparent that it's a convenient place if you are making your creative endeavors into a career, and if you like to be surrounded by other creative people. There are tons of brilliant musicians and great bands in Ottawa but definitely no way to make it your livelihood.
Erick Ceballos : Is Peach Kelli Pop at where you saw it to be at its beginning, and where do you see it going?
Allie Hanlon : I had no expectations when I started writing songs as Peach Kelli Pop. I didn't consider whether anyone would listen or take a liking to the music. I guess because I've written the songs for my own fulfillment, I continue to be excited that other people are appreciative and that the music is meaningful to them.
Whenever Peach Kelli Pop accomplishes something like a tour or a record release, I want to move on to something bigger and better. If I don't, it's hard for me to justify channeling my time, energy, and money into it. It's important to always be moving forward. I want to make more music videos. I am currently making a zine that I'm really proud of. We just released a new album (PKPIII on Burger Records) and while I am proud of it, it didn't get a lot of recognition, so it made me think it's time to start a new band. The idea of a new band makes me really excited!
Erick Ceballos : Peach Kelli Pop has been a part of changing the male-dominated punk scene into something that kicks ass for both genders; did you intend to end the standard of male punk?
Allie Hanlon : My hope is that punk and music in general is a place where girls can be comfortable and inspired and supported. I choose to have all female members in the band not only because they are able to intuitively recreate the songs better than men, but because female representation is SO important in inspiring other girls. It seems to have improved, but when I was growing up in Ottawa, Canada, I very rarely saw ANY other women playing in bands and as a result didn't think it was even a possibility or something I'd be comfortable with until I was in my late teens.
Erick Ceballos : Peach Kelli Pop would seem to embody the new surge of feminine power and strength, what do you have to say to the women and even men you empower?
Allie Hanlon : Thanks for watching us & letting us make you feel empowered! Don't be afraid of following through with your crazy ideas.
Erick Ceballos : Has it been easy to stay together and afloat in this new scene?
Allie Hanlon : Sometimes it's hard to tell whether you're staying afloat or not. Everyone has a different measure and idea of success. I think there can be an appearance of groups of bands being in a scene, and while I do feel like Peach Kelli Pop is part of a community, I don't really think it offers you any guarantees (like being offered opportunities, shows, etc, or people having your back). Everyone's experience is different whether they are a part of what appears to be a scene or not. I'm happy to be surrounded by bands that are awesome, to be on some really cool record labels, but in the end, myself and the other band members in PKP are on our own unique path & journey.
Erick Ceballos : Could you have done it without all the new small labels dotting Los Angeles?
Allie Hanlon : Peach Kelli Pop wouldn't have the number of fans that we do, the exposure or opportunities without the music lover's & hard workers behind Burger Records & Lolipop Records, and we are super grateful to them.
Peach Kelli Pop NOW on their Europe Tour!
9/28 Budapest, HU
9/29 Vienna, AT
9/30 TBA
10/1 Rorschach, CH
10/2 Zürich, CH
10/3 Lyon. FR
10/4 Marseille, FR
10/5 Barcelona, ES
10/6 Madrid, ES
10/7 Porto, PT
10/8 Lisbon, PT
10/9 Oviedo, ES
10/10 Donostia, ES
10/11 Nantes, FR
10/12 Paris, FR
10/13 Lille, FR
10/14 Brighton, UK
10/15 Cardiff, UK
10/16 London, UK
10/17 Brussels, BE
Frank Martinez
by BUREAU of ARTS and CULTURE L A New Music Contributor Erick Ceballos
The local scene of Los Angeles as well as the Inland Empire backyards are fueled by the artwork of Compton local, Frank Martinez. Frank Martinez’s artwork captures the interest of all those who happen to stumble upon it on Instagram to t-shirts.The attractiveness and boom of the scene has been caused by the grandeur and festivity of flyers created by Frank, which are used by the promoters. Nothing is more of a turn-off than artwork that looks like it was scraped together with crayon or pieced together on Word. Without Frank Martinez’s artwork leading people by the eyes to bandcamps, backyards, and now Broadway. Frank Martinez’s work for bands is only the beginning, he has on aspirations with his art that he is on the path to completing. Frank Martinez’s work is not limited to posts and posters, he is notably the mastermind behind cover art and band merch. Frank Martinez entered the scene when it was still localized to the desert, and has risen in success along with them, eventually bringing them closer to him in the heart of Los Angeles. Now his vibrant use of color and adolescent-minded subjects are becoming a prominent staple throughout the scene as Frank’s work rises in popularity. Thumbtack boards, utility poles, and any reachable wall are now fair game for the rapidly spreading promos for shows and bands stepping up in the Los Angeles music scene.
How did you get your start as an artist for the local bands?
My descent into local band artisthood began when I saw The High Curbs (whom I had followed on Twitter on a whim a short time earlier) post an absolutely horrible flyer with weird computer generated 3D fonts and they asked for somebody to make a new flyer, so I stepped up to the plate and made something that actually turned out decent! I then started getting connected with more bands and it kinda snowballed from there!
What bands have you worked for?
I've worked with a good number of bands/acts such as Pity Party, Astronaut Samurais, No Chill, Freckle Face, Janelane and also East Coast rap groups Blahsum and Divine Council. I have also done work with various IE promoters including Vertigo Volumes and Strange Ways (RIP).
What inspires your art?
A wide variety of things inspire me but what really pushes me to create is artists I love such as Frank Kozik, L'amour Supreme, Nicholas Gazin, Raymond Pettibon, etc as they make me want to make my flyers and art as un-mediocre as possible. Content-wise, I mainly work based off of clever titles I create in my head, which are born from immaturity and angsty stuff. The title then transforms into a full fledged art piece. I spend all day at work thinking about titles to create the art for. Sometimes it is random or lovey-dovey type stuff because I'm a sappy mess occasionally.
How has working from Compton for Inland Empire bands been?
It's been pretty easy thanks to the power of the internet! Actually going to the shows I design flyers for has been pretty hard to do though. But recently a couple of the bands I work with have been doing well enough to make it to LA so that's been great!
Do you ever consider putting your pieces in Los Angeles galleries?
I would absolutely love to display in Los Angeles galleries but I haven't really had much luck in finding any who will have me.
How would you describe the local scene?
I am yet to be disappointed by either LA or the IE's local scene. The bands in both areas are really taking their music to such high levels with every release. The good band to bad band ratio is really in the favor of the people, who are also not too bad as well. I've never been to backyards and venues so packed with all these relatively pleasant young people. It's always a good time and there's also occasional nice diy art shows along with the bands so I really commend the people for organizing these great environments for art and music.
What should our readers look forward to from Frank Martinez Creations?
Band art, flyer art, zines, really big canvas pieces whenever I find a gallery, prints of my own art and possibly even my own t shirts after all these years!
Follow me on everything @sauceweak for updates. I'd like to shoutout all the bands mentioned in this and everyone giving me work for holding me down and also everyone who has been a friend to me. If you're reading this I love you and I'm your #1 fan.
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The BUREAU of ARTS and CULTURE'S EDITOR Joshua TRILIEGI Goes One on One with The BEST In ART . FILM . MUSIC . DESIGN . CULTURE FASHION . ARCHITECTURE . PHOTOGRAPHY . CUISINE . SURFING . DANCE . LITERATURE . BUREAU OF ARTS AND CULTURE: "QUOTE ME"
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Ironic Humor … "
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have always served as my family."
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have to look into it a little deeper..."
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" I wanted to play in a band where I'm allowed to express vocally in a
variety of styles, whether it's rock, punk, blues, cabaret …"
- Timur Bekbosunov Performer
" I think that music is the universal language. "
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DAVID BOWIE: IS The Other Man
By Joshua Triliegi
David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon.BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected and the most successful performer in Rock and Roll Music History.
Todays new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence.
There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowies foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stradust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album.
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BUREAU OF ARTS AND CULTURE Magazines . Books . Publications Special Thanks: Seattle Art Museum, Whitney Museum, Irvine Welsh, Andy Warhol Foundation, City Lights Bookstore, Joan Schulze, NYMOMA, Da Capo Press, Cantor Arts Center, Stanford University, Pace/MacGill Gallery, National Gallery of Art, Georgia O'Keefe Museum of Art, Fresno Art Museum, Fine Arts Center Colorado Springs, Duke University, The Broad LA, Phoenix Art Museum, Wadsworth Atheneum Museum of Art, Art Institute of Chicago, Museum of Fine Arts Boston, Crystal Bridges, United Artists, Spot Photo Works, Nasher Sculpture Center, D.G. Wills Bookstore, Dallas Museum of Art, Museum of Fine Art Huston Texas, Gallerie Urbane, Mary Boone Gallery, Pace Gallery, Asian Art Museum, Magnum Photo, Chicago Museum of Contemporary Art, Fahey/ Klein, Tobey C. Moss, Sandra Gehring, George Billis, Martin - Gropius - Bau Berlin, San Jose Museum of Art, First Run Features, Downtown Records, Koplin Del Rio, Robert Berman, Indie Printing, American Film Institute, SFMOMA, LA Art Show, Photo LA, Jewish Contemporary Museum, Yale Collection Rare Books, Richard Levy.
MILES DAVIS : "Jazz Is Like An Attitude"
Can you give ? Can you give yourself ? Do you have the ability to Give ? Miles Davis will be 88 years old this month. I am more than sure that if Miles were on the planet, that somehow, some way, some where, he would be doing what he did best: Giving. That is what we do as Artists, as Writers, as Performers, we give, and you, the audience, take, and if it's really good, you actually get to partake. Miles Davis, probably, one of America's most outspoken, controversial, single-minded and guided musicians in recorded history will be Eighty - Eight this year. Eighty - Eight : The Number of Keys on a Piano. The full spectrum. Before there were 88 keys on a piano, they had called it a harpsichord. Music before Miles Davis is all harpsichord and every thing after, is something totally new. When people called him Be-Bop, he transformed. When people called him a JAZZ MAN, he transformed again. One thing Miles Davis never did, was Conform. MIles' influences were varied. He loved Dizzy Gillespie more than a man might love his own father. It was Dizzy who got Miles Davis back in the ring after several years of inertia. But Miles also had a deep respect for Classical composers, "I always loved Stravinsky, Stockhausen, Ravel, Rachmaninoff, Chopin." he remarked, upon receiving one of several awards throughout life.
Miles seemed to take the recognition in stride, appreciative, but, a bit aloof. Miles is incomparable, but when forced to parallel, I would say, he is Dylan. Both men battled the system, themselves, sometimes fans and always original. Never the same performance twice. Prodigious outputs . Popular success as well as solid credibility with purists, and then later, angering the purists in search of something else, something new, something truly Pure, something never heard before or something heard before, but never like that. When Dylan or Davis do a ' Cover Version ' of someone else's tune, It is safe to say, it will never sound like anything but Dylan or Davis. Listen to Dylan's Grateful Dead renditions. Or Miles', Time after Time. The later example, possibly an equivalent to Miles' long time friend and collaborator John Coltrane's, ' My Favorite Things '. Read The book review in this Edition for more on John Coltrane's influence on The Jazz World. When people called Miles a sell out, he had this to say, "People say, You sold out, and shit like that, I don't know what they're talking about. That's what musicians say when they're lazy, Don't want to learn more things."
Miles Davis is one of the most GIVING performers, that I know of, In Any Medium. You simply watch & listen to Miles Davis and it is an abject lesson in focus, concentration, offering in absolute terms, a truth, your truth, no one else'e truth. Give your absolute truth. And give it All, NOW. There is nothing else. There is no one else. There is just a performer, an instrument and yes, there is an audience. Though, no audience will return, time & time again, as they did for Miles, if the first two ingredients are insufficient. And No performer can get two ingredients without the first: Giving. " If it's Blues, I play it Blues. If it's a Ballad, I play the Ballad. If it's Funky, I play it Funky. If it's Fast, I play that. Not one style: Jazz is like an Attitude." There are plenty of books on Miles Davis, no need to add to the bibliography, so I will spare the tired facts, numbers, opinions or misinformation. The best way to understand Miles Davis is to simply give yourself to the music. Can You give ? Can You Give Yourself ? Do You have the Ability to GIVE Yourself to MUSIC ? If you are able, then listen to what Miles Davis has to say. It's deep. It's joyful. It's painful. It's authentic. It's passionate. It's enlightened. It's raw. It's refined. It's Africa. It's Asia. It's Europa. It's America. Its unexpurgated, undefinably, unmistakably, undeniably, pure sound. It's the Sound of Miles Davis and this year It's 88. Infinity twice. A double Helix. Good Luck in Chinese. Simply: A man's age.
SONGWRITING with THE MALLETT BROTHERS
In The Studio, at The Table, and On The Road with The Maine Family Band
BUREAU : What is the impetus, would you say, for writing a song ?
Luke: I like to think of the song itself as the impetus, or some part of that song. It can be a melody, a line, a title, a feeling or even a broader concept. When you're lucky an idea will stick with you, and start to snowball inside your head and you have no choice but to see it through, and hold on for the ride. These are the dust-like particles that artists, of any medium I think, seem to pluck right out of the air. The seeds of creativity. The songs don't come from a writer but through a writer, because all inspiration ultimately comes from something outside of ourselves. We are all filters for reality, whatever our medium of choice may be. The driving force behind any song, then, is to get it out of your own head. To finish it. It's kind of an irrational need that artistic minds share. Say there's a particular metaphoric line that gets stuck in your head like a grain of sand in an oyster. It rolls around and around in your head, getting bigger and growing layers, smoothing itself out until it's finished. They're not all pearls either, but I guess the pearl isn't the point so long as the grain of sand is gone. The real joy for myself comes from moving on to the next idea before it flutters away.
BUREAU : Give us an example of a song you have written and describe the real life circumstances, event and happenstance that inspired that tune ?
Luke: "Late Night In Austin" (http://youtu.be/_AhV74jl0wk), released as the first track on our 2015 release "Lights Along The River" is a song that blended experience and imagination. In March of 2013 we made our first trip out to Texas. SXSW was happening, and Texas being the heart and soul of so many of our musical heroes, it was a big deal for us to be there. We were at the Continental Club on a night off, a room which we would be honored to play on later tours, to see James Mcmurtry play a solo set in the Gallery upstairs. The first lines of "Late Night In Austin" are "One late night in Austin, saw an old man dancing by himself. He was drunk half to death, and I knew just how he felt." The tiny old man wore a battered fedora, a dirty suit but a suit none the less, and a pair of shiny dancing shoes. He was there to use them. It was like being in a movie, watching this odd and obviously very imbibed man spin, slide, and swing his arms around on a dance floor all of his own. The packed room became even more dense as the crowd parted before him. He mouthed the words to the songs, although he obviously didn't know them, and at times clenched his eyes closed, opened his mouth and silently screamed at the ceiling as if his performance was causing him pain. McMurtry is one of the greatest songwriters alive today, in my opinion, but after that night the image of the old gentleman was what had seared itself into my brain. It wasn't until 2 years later, on our 3rd trip to Texas I believe, that the song was finally given life. In 2 years I hadn't been able to shake the images of that night, and it was time to write it down. The second verse is more of a generalization, a sweeping idea of what Austin during SXSW feels like. Music everywhere, bands and fans, parties and high hopes. Some triumphs and some regrets I would have to imagine. The first verse brings me back to a specific moment, while the second conjures a general familiar feeling for me. I like being able to put these two different kinds of thought processes together.
BUREAU : Once a song has been put on paper, walk us through the process of bringing those words to your Band members ?
Luke : The process for each song is different, just as the process for every writer is different. As I said before, a song for me can grow out of a line, a melody, or a concept. Nearly all of my songs are brought to the band as a skeleton, or a shell, and I rely heavily on the guys in this band to make it a TMBB song. I think we're lucky to be in a group that works this way. We often come into rehearsal and say, "who's got secret songs? Who's got something new?" And often times that will lead to something more tangible by the end of the day. Maybe the most important step is bringing the idea to the stage, and letting it make it's final evolution in front of a crowd. One thing we take a lot of pride in is the live show, and that to me ultimately shows what the song was meant to become.
BUREAU : How long have you or your bandmates been writing original works and explain how The Band was originally formed ?
Luke: The Mallett Brothers Band began in late 2009, and we drew from every corner of the Portland Maine scene. Myself, Nick Leen and Nate Soule had recently come out of another project together, but it was the arrival of my brother Will to Portland that lit the fire. We had some song ideas, we had a vague direction we wanted to head stylistically, and we had no idea that this would become a driving force in our lives. Wally Wenzel and drummer Brian Higgins, who had also worked together on other projects, came into the picture shortly there after and from the very first rehearsal we were all hooked. There was a certain chemistry, and a sense of how much fun we could have immediately. Our first time on stage together cemented the deal. Though the line-up has changed over the last six years, the electrifying feeling of being on stage together hasn't changed a bit. As it stands today on stage you will see myself and my brother Will on most lead vocals and guitar, Nick Leen on bass and good vibes, Wally Wenzel on dobro telecaster and vocals, Adam Cogswell on drums, and Andrew Martelle on fiddle and mandolin. "Lights Along The River" also featured our childhood friend and Nashville native Matt Mills on pedal steele, banjo, guitar and vocals, as well as me and Will's little sister Molly on vocals and even our father (and intimidating songwriting magician himself) David Mallett, who just released his 17th studio album this month. We strive above all things to enjoy this thing that we have given ourselves completely over to. When you invest nearly all of your time, energy, heart and soul in something you better have fun while doing it. "Too much fun" has become our mantra.
BUREAU : Discuss the new music, the new tour and what has inspired the latest batch of songs.
Luke : While "Lights" was a collection of songs pulled largely from the road, the next project we have our eyes on will be a collection of Maine logging, fishing, and trapping songs from the 1800's. Will discovered a book in our mother's library of all these forgotten folk tunes from the very woods that we grew up in, and we've been setting the words to our own music. History is important to us, our home state of Maine is very important to us, and this next project combines these things with the music that is so important to us. A few of these have been working their way onto the setlist as of late, and the feeling of bringing these forgotten words back to life is amazing. We're excited to continue making music that captivates us as well as fans. No definite release plans as of yet. Look for some of these new tunes on the stage. Tour is never ending.
Michael Tilson Thomas + San Francisco Symphony
If Leonard Bernstein was a heavy, Zuben Mehta was passionate, Dudamel excitable, than Michael Tilson Thomas might be considered rather light hearted. Light as a feather. His conducting style is easy, calm with a bit of a sway rather than a swing, a punch or a wield. Reminiscent of say, the Mayor of Whoville from a Dr Seuss film. He slides to the left and right, hints at direction and rides the wave of music with an easy to and fro. Where Leonard Bernstein throttled, cajoled and exclaimed, Thomas, suggests, points and intimates. It is a light hearted style, he trusts his collaborators and indeed, one gets the sense that that too trust him. The BUREAU of Arts and Culture recently visited the Bay Area and caught an unveiling of a new composition by John Adams as well as The 4th Symphony by Beethoven. The Adams piece was riveting, entitled, " Absolute Jest " and inspired by Ludwig Van, co - commissioned by The San Francisco Symphony and featuring a string quartet. We thought it was a fabulous performance, although, it might have been not so anti-climactic if the Beethoven work had been performed first and the Adams piece, following suit. After the excitement of the Adams work, the 4th seemed a bit tired and even stepped on. Figuring that the work was actually created from Beethoven, or ' inspired by… ' we were left wanting a bit more at the end of the evening.
The San Francisco Symphony is well supported by a group of extremely wealthy and some what conservative supporters. Not unlike most classical music and other institutes of this variety, they depend on the support of companies like Chevron, Bank Of America, AT&T, VISA, Emirates as well as individual donors. I sometimes wonder what classical music would be like if we put it in the hands of say, the homeless, the dock workers, the truck drivers, the bus boys & waitresses or just the everyday kids on bicycles, skateboards, and people at the bus stops. Why does classical music have to have that air of superiority ? When Leonard Bernstein created West Side Story which is now being celebrated by Thomas & the San Francisco Symphony, he meant to break down that snooty style and bring classical music back to the streets. We hope Thomas and his cohorts as well as our own Los Angeles Symphony and the sometimes uptight classical Disc jockeys here in Los Angeles, remember that this music was built to shake things up. Not the opposite.We sometimes get the sense that classical music is some thing that is for the wealthy, the conservative, the establishment. Sorry folks, just like most of the great Shakespeare plays, this is, was and will always be for the people. In many cases it was meant to enliven passions, not suppress them. So, heres a note to D.J.'s such as Dennis Bartel at KUSC, loosen up pop, this is the modern age, don't forget who's listening, we are pal, and were the people. By the way, where are the female conductors?
Where are the female disc Jockey's at KUSC ? Why are they relegated to late night and week ends ? We think KUSC Radio needs some feminine voices during the weekdays. Enough of this all male commentary by guys like Bartel and Brian Lawrenson, who provide a daily, child-like and somewhat elitist narration. We applaud the instrumentalists, the composers, the supporters.We applaud the new as well as the old,though, we abhor the tired old view that any one group owns classical music, rock and roll music, jazz music and even punk rock music. Music belongs to the people. Lets keep it that way. Beethoven, Stravinsky, Rokmonanoff were passionate people who broke the rules of society and shared what their experiences were through original compositions that to this day, excite, enthrall and entertain. The only way were going to get the next generation into this music without wringing them out to dry is to let the passion flow.So look out all you bores, squares and wanna - be's. Classical music is not about a tuxedo, a bank account, a foundation, classical music is about life, love, passion, danger, death, loss,war, peace, nature, the planets, and the universe as well as god and even the idea of no god at all. Music is music is music is music.
THE BUREAU ICON ESSAY
BOB DYLAN
By BUREAU OF ARTS AND CULTURE MAGAZINE EDITOR J. A. TRILIEGI
Bob Dylan transformed the idea of what it is to be hip, deep, cool, sexy, funny, ironic and intelligent, all the while, retaining a purist style that remained true to himself. Each step of the way, each level of transcendence, each pitfall, each breakthrough moment has it's challenges, it's problems, its rewards. Success in the creative field can mean as many things to as many performers, songwriters and those who fall in the center of the American spotlight of popularity. Few can survive it, even fewer are able to retain a sense of self and even protect that idea publicly. Dylan took the name of a poet, hopped on a bus, looked at America and told the world truths, that have to this day, remain truer and truer as time passes. The songs he wrote fifty years ago are more relevant now than ever, they will be more relevant in 100 years. The international press corp came at Dylan with the headlights on high beam. Instead of stare like a deer, he treated the alliance like a musketeer might approach a formal fencing match: Touché. The American Poet & wordsmith extraordinaire had become The Folkie, The Beatnik, The Rocker, The Philosopher, The Historian, The Cowboy, The Hermit, The Leader, The Champion of Underdogs, The Christian, The Anonymous, The Legend, The Icon and through it all, he's still Bob Dylan. An American guy from The Midwest who started with nothing but a blank piece of paper and a few ideas.
"They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself."
For every title, there also came a group of admirers and detractors, who wanted something. They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself. He has understood that selling albums, performing, having a contract to support the self expression is where it's at, and all the while, Dylan has offered us what he has. Critics through the years have expressions and titles and adjectives that glibly describe the various stages of Dylan's career: A Major Album, A Minor Album, Etc… His voice was laughable, compared to entertainers like Frank Sinatra, his stage presence was stiff, compared to singers such as Elvis Presley, his looks were nerdy, compared to performers like Johnny Cash and yet, he competed, sold millions of albums, and wrote anthems that have defined, to it's very core, what it is to Be : American. Bob Dylan is incomparable to other performers in the industry, he is an anomaly, he is the exception to the rule, there is no parallel story that can live up to Bob Dylan, so, please, don't even try. Today, we honor Bob Dylan, not for who you wanted him to be, not for what might have been, not for any ideas outside the realm of his oeuvre but, we honor him for what he actually is : The Great Independent American Artist.
"They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself."
For every title, there also came a group of admirers and detractors, who wanted something. They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself. He has understood that selling albums, performing, having a contract to support the self expression is where it's at, and all the while, Dylan has offered us what he has. Critics through the years have expressions and titles and adjectives that glibly describe the various stages of Dylan's career: A Major Album, A Minor Album, Etc… His voice was laughable, compared to entertainers like Frank Sinatra, his stage presence was stiff, compared to singers such as Elvis Presley, his looks were nerdy, compared to performers like Johnny Cash and yet, he competed, sold millions of albums, and wrote anthems that have defined, to it's very core, what it is to Be : American. Bob Dylan is incomparable to other performers in the industry, he is an anomaly, he is the exception to the rule, there is no parallel story that can live up to Bob Dylan, so, please, don't even try. Today, we honor Bob Dylan, not for who you wanted him to be, not for what might have been, not for any ideas outside the realm of his oeuvre but, we honor him for what he actually is : The Great Independent American Artist.
THE BUREAU ICON ESSAY : BRUCE SPRINGSTEEN
By Joshua Triliegi for BUREAU of ARTS and CULTURE Magazine Network
Bruce Springsteen tells stories. He knits a good yarn. He knows how to handle the crowd. Like most artists, he was a few steps ahead of the audience. Looking back to his debut album, entitled, "Greetings from Asbury Park," it is now clear that, Bruce Springsteen is not just a great singer, performer and musician, Mr. Springsteen is that rare and individual voice, both on the stage and more importantly: on paper. He is a poet. When the world was still reeling from Vietnam, from the end of The Beatles, from the shadow of Richard Nixon and the slow, but steady death of the once powerful 1960s cultural revolution, this artist released an album that was miles and miles, ahead of his audience. On Jan 5th, 1973 Bruce Springsteen released an album that described life from a soldiers point of view. Broken, battered, torn and worn down. His songs described the streets in a tone and a pitch that has no sympathy for the devil. Bruce as narrator, introduces his cast of characters and their predicament, then he actually reaches into their lives, asking, hey pal, are you sure that's what you want to do ? "Hey gunner-man that's quicksand, that's quicksand, that ain't mud." While America was listening to Carly Simon's, "Your So Vain," a song written either about Warren Beatty or Henry Kissinger, and back up vocals by Mick Jagger: Springsteen was talking about life on the streets of America, not parties in The Hampton's. Roberta Flack was singing, "Killing Me Softly With His Song," Tony Orlando and Dawn were on the charts with, "Tie a Yellow Ribbon Round The Old Oak Tree," Maureen McGovern with, "The Morning After," Diana Ross with, "Touch me in The Morning," And Jim Croce with, "Time in a Bottle." Bruce Springsteen showed up like the character, Travis Bickle in Martin Scorsese's, "Taxi Driver." His characters had guts, bravado, sadness, sex appeal and the onlookers were mean spirited, "Did you see that guy hit with a thud ?"
"Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat."
After years of working his way up, shaping his style from the earliest inspirations, some credited to his mother's love of pop music on the radio, others to his first view of Elvis Presley on television, to his time with bands such as, The Castiles, Earth, Steel Mill and eventually, his own. The many years of visiting Asbury Park, located just twenty minutes from the place of his birth, Freehold, New Jersey, during the glory days of rock and roll, where one could find great piano players, saxophone soloists and jam guitarists, of all sorts, ready to play all night, had begun to show an original and a distinctly American voice. He is clearly inspired by the films of Terence Malick and had he not persevered, he may have become another artist who only released a handful of great albums in the same way that Malick did films. It is well known that Bruce was blown away by the power of what Van Morrison was doing with back up soul singers, a large horn section, organ players and the full regalia that eventually becomes, what is now commonly known as the, "Bruce Springsteen and The E Street Band," sound. Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat. Bruce is driving, sometimes recklessly. His people are not at all unlike the characters in, "American Graffiti," some will die in Vietnam, some will become bankers, some will marry farmers, most will barely struggle through middle age with kids, divorces and jobs that disappear, all are purely American. He's still out there. He's more powerful than ever. That is why, today, we honor the spirit of one of America's, and the World's, greatest living Rock & Roll Icons: Mr. Bruce Springsteen and The E Street Band.
"Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat."
After years of working his way up, shaping his style from the earliest inspirations, some credited to his mother's love of pop music on the radio, others to his first view of Elvis Presley on television, to his time with bands such as, The Castiles, Earth, Steel Mill and eventually, his own. The many years of visiting Asbury Park, located just twenty minutes from the place of his birth, Freehold, New Jersey, during the glory days of rock and roll, where one could find great piano players, saxophone soloists and jam guitarists, of all sorts, ready to play all night, had begun to show an original and a distinctly American voice. He is clearly inspired by the films of Terence Malick and had he not persevered, he may have become another artist who only released a handful of great albums in the same way that Malick did films. It is well known that Bruce was blown away by the power of what Van Morrison was doing with back up soul singers, a large horn section, organ players and the full regalia that eventually becomes, what is now commonly known as the, "Bruce Springsteen and The E Street Band," sound. Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat. Bruce is driving, sometimes recklessly. His people are not at all unlike the characters in, "American Graffiti," some will die in Vietnam, some will become bankers, some will marry farmers, most will barely struggle through middle age with kids, divorces and jobs that disappear, all are purely American. He's still out there. He's more powerful than ever. That is why, today, we honor the spirit of one of America's, and the World's, greatest living Rock & Roll Icons: Mr. Bruce Springsteen and The E Street Band.
THE MUSIC PAGE : INTERVIEWS . LINKS . REVIEWS . ESSAYS + MORE
THIS PAGE DISPLAYS A FEW SAMPLES FROM THE LATEST 299 PAGE MAGAZINE WHICH IS AVAILABLE AS A FREE DOWNLOAD at The Link Below, Simply, Tap the Link and Download The Hi Resolution Version NOW. It may take a Few Minutes, Though well worth The WAIT hundreds of images and links to events relating to each article and interview, many of which do not appear on this page: https://www.dropbox.com/s/hopawp0amrblor4/BUREAU%20LITERARY%202016%20FINAL.pdf?dl=0
COACHELLA MUSIC FESTIVAL 2016
Watch the OnLine Version If you do not attend the Music Festival. It is Possibly the best technically advanced camera, live stream professionals ever assembled onto one MUSIC Event.
VISIT EVERY BAND AT THIS YEARS FESTIVAL :
2MANYDJS (LIVE) http://www.2manydjs.com/
A$AP ROCKY http://www.asvpxrocky.com/
AC SLATER http://djacslater.com/
ACTIVE SUN https://twitter.com/activesunmusic
ADAM BEYER B2B IDA ENGBERG https://soundcloud.com/adambeyer
AFTA-1 http://afta1.bandcamp.com/
ALESSIA CARA http://www.alessiacara.com/
ALGIERS http://algierstheband.com/
ALUNAGEORGE http://www.alunageorge.com/
ALVVAYS http://alvvays.com/
AMINE EDGE & DANCE http://www.amineedgeanddance.com/
ANDERSON .PAAK & THE FREE NATIONALS http://www.andersonpaak.com/
ARDALAN https://twitter.com/Ardalander
AUTOLUX http://www.autolux.net/home.html
BAAUER http://baauer.com/
BADBADNOTGOOD http://badbadnotgood.com/
BAT FOR LASHES http://www.batforlashes.com/
BEACH HOUSE http://www.beachhousebaltimore.com/
BIG WILD https://twitter.com/bigwildmusic
BLACK COFFEE http://www.blackcoffee.dj/
BOB MOSES http://bobmosesmusic.com/
BRIGHTENER https://brightener.bandcamp.com/
CALVIN HARRIS https://www.calvinharris.co.uk/gb/home
CARLA MORRISON https://www.youtube.com/watch?v=tFX6vRrUzMQ
CHRIS STAPLETON http://www.chrisstapleton.com/
CHRISTINE AND THE QUEENS http://www.christineandthequeens.com/catq_language/
CHRONIXX http://chronixxmusic.com/
CHVRCHES http://www.chvrch.es/
CLAPTONE IMMORTAL LIVE http://www.claptone.com/
COLD WAR KIDS http://www.coldwarkids.com/
COURTNEY BARNETT http://socialhub.courtneybarnett.com.au/
CRYSTAL FIGHTERS http://www.crystalfighters.com/#home
CUT SNAKE https://twitter.com/cutsnake
DEAFHEAVEN http://deafheaven.com/
DEATH GRIPS http://thirdworlds.net/
DEERHUNTER http://deerhuntermusic.com/
DENA AMY https://twitter.com/denaamykaplan
DIRTY MOP https://www.instagram.com/mapibean/
DJ EZ http://www.djez.com/
DJ KOZE http://www.djkoze.de/
DJ MUSTARD http://djmustardonthebeat.com/
DREAMERS DELIGHT https://twitter.com/DreamersDelight
EDWARD SHARPE AND THE MAGNETIC ZEROS http://www.edwardsharpeandthemagneticzeros.com/
ELLIE GOULDING http://www.elliegoulding.com/home/
EPIK HIGH http://abcdepiklmno.tumblr.com/shoebox
EX HEX http://www.exhexband.com/
FRANCES http://francesmusic.com/
FUR COAT http://www.furcoatmusic.com/
G-EAZY http://g-eazy.com/
GABE REAL http://www.djgabereal.com/
GALLANT http://sogallant.com/
GARY CLARK JR http://www.garyclarkjr.com
GEORGE FITZGERALD https://twitter.com/georgefitzmusic
GILLIGAN MOSS https://twitter.com/Gilliganmoss
GIRLPOOL http://girlpoolmusic.com/
GOGO PENGUIN http://gogopenguin.co.uk/
GOLDROOM http://goldroom.la/
GRIMES http://www.grimesmusic.com/
GUNS N' ROSES http://www.gunsnroses.com/
HALSEY http://iamhalsey.com/
HÆLOS http://haelos.com/
HOTEL GARUDA https://twitter.com/Hotel_Garuda
HUDSON MOHAWKE http://hudsonmohawke.com/
HUNTER LEGGITT https://www.youtube.com/watch?v=25_UO19A4qY
IBEYI http://www.ibeyi.fr/
ICE CUBE http://icecube.com/tour/
IMAGINED HERBAL FLOWS https://twitter.com/ihfmusic
JACK Ü http://jackuofficial.com/
JAMES BAY http://www.jamesbay.com/
JAYKODE https://twitter.com/jaykode
JERRY FOLK https://twitter.com/JerryFolk
JESSE WRIGHT https://twitter.com/DJJesseWright
JIMBO JENKINS http://djjimbojenkins.com/
JOEY BADA$$ http://theproera.com/
JOHN DIGWEED http://johndigweed.com/
JOYWAVE http://www.joywavemusic.com/
JUSTIN MARTIN https://twitter.com/mrJUSTINMARTIN
KAMASI WASHINGTON http://www.kamasiwashington.com/
LÅPSLEY http://musiclapsley.com/
LCD SOUNDSYSTEM http://lcdsoundsystem.com/main/
LE YOUTH https://twitter.com/leyouth
LEE FOSS https://twitter.com/leefossmusic
LEMAITRE http://www.lemaitremusic.com/
LISBONA SISTERS http://www.residentadvisor.net/dj/lisbona
LORD HURON http://www.strangetrails.com/
LOST FREQUENCIES http://lostfrequencies.com/
LOUIS THE CHILD http://www.louisthechild.com/
LUCENT DOSSIER EXPERIENCE http://www.lucentdossier.com/
MACEO PLEX https://www.residentadvisor.net/dj/maceoplex
MAJOR LAZER http://majorlazer.tumblr.com/
MANO LE TOUGH https://www.youtube.com/watch?v=sezHMen-pDU
MARCO CAROLA http://www.marcocarola.net/
MATT AND KIM http://www.mattandkimmusic.com/
MATTHEW DEAR http://www.matthewdear.com/
MAVIS STAPLES http://livinonahighnote.com/
MBONGWANA STAR http://www.mbongwanastar.com/
MEG MYERS http://www.megmyers.com
MELODY'S ECHO CHAMBER http://melosechochamber-blog.tumblr.com/
MIAMI HORROR http://www.miamihorror.com/
MIIKE SNOW http://miikesnow.com/
MINT FIELD https://twitter.com/mintfieldband
MOON TAXI http://ridethemoontaxi.com/
MOUNTAIN OF YOUTH https://twitter.com/mountainofyouth
MR. CARMACK https://twitter.com/mrcarmack
NATHANIEL RATELIFF AND THE NIGHT SWEATS http://www.nathanielrateliff.com/
NIC FANCIULLI https://twitter.com/nicfanciulli
NICO LUMINOUS https://twitter.com/NicoLuminous
NICOLE MOUDABER B2B SKIN http://www.nicolemoudaber.com/
NINA KRAVIZ https://twitter.com/NinaKraviz
NINA LAS VEGAS http://ninalasvegas.com/
NOSAJ THING http://www.nosajthing.com/
OF MONSTERS AND MEN http://www.ofmonstersandmen.com/
OONA DAHL https://twitter.com/OonaDahl
PANTYRAID https://twitter.com/pantyraid
PAPER DIAMOND https://twitter.com/PAPERDIAMOND
PAROV STELAR http://www.parovstelar.com/
PATRICIO https://twitter.com/djpatricio_la
PETE YORN http://www.peteyorn.com/
PHASES http://www.phasesmusic.com/
PRAYERS http://www.chologoth.com/
PROTOJE http://www.protoje.com/
PURITY RING http://purityringthing.com/
RAE SREMMURD http://www.raesremmurd.com/
RANCID http://rancidrancid.com/
RÜFÜS DU SOL https://twitter.com/rufussounds
RECORD SAFARI https://www.instagram.com/recordsafari/
RL GRIME http://rlgri.me/
ROBERT DELONG http://robertdelong.com/
RUN THE JEWELS http://www.runthejewels.net/
SACHA ROBOTTI https://twitter.com/sacharobotti
SAM FELDT http://www.samfeldt.com/
SAM GELLAITRY https://www.youtube.com/watch?v=s9An6QUIgio
SAN HOLO https://twitter.com/sanholobeats/
SASHA http://www.djsasha.com/
SAVAGES http://savagesband.com/
SG LEWIS https://soundcloud.com/sglewis
SILVERSUN PICKUPS http://silversunpickups.com/
SNAILS http://officialsnails.com/
SNAKEHIPS ttps://twitter.com/snakehipsuk
SOPHIE http://shop.msmsmsm.com/
SOUL CLAP http://soulclap.us/
SPEAKER OF THE HOUSE https://twitter.com/spkerofthehouse
ST. GERMAIN http://stgermain-music.com/index.html
STANTON WARRIORS https://www.instagram.com/stantonwarriors/
STEADY HOLIDAY http://steadyholiday.com/
STRANGERS YOU KNOW http://strangersyouknow.com/
STYLUST BEATS https://twitter.com/stylustbeats
SUFJAN STEVENS http://sufjan.com/
SWARVY http://www.swarvy.com/
SWEATER BEATS https://twitter.com/sweaterbeats
TEI SHI http://tei-shi.com/
TENSNAKE http://www.tensnake.com/
THE 1975 http://the1975.com/
THE ARCS http://www.thearcs.com/
THE BLACK MADONNA https://twitter.com/blackmadonnachi
THE CHAINSMOKERS http://www.thechainsmokers.com/
THE DAMNED http://www.officialdamned.com/
THE DEAD SHIPS http://www.thedeadships.com/
THE DRIFTER https://www.youtube.com/watch?v=Qm5IvC4MFWk
THE FRONT BOTTOMS http://www.thefrontbottoms.com/
THE FUNK HUNTERS https://twitter.com/thefunkhunters
THE HEAVY www.theheavy.co
THE HUMAN EXPERIENCE https://twitter.com/_davidblock
THE KILLS http://thekills.tv/
THE LAST SHADOW PUPPETS http://www.thelastshadowpuppets.com/
THE VANDALS http://vandals.com/
THOMAS JACK http://thomasjackmusic.com/
TOKIMONSTA http://tokimonsta.com/index.php
UNDERWORLD http://www.underworldlive.com/
UNKNOWN MORTAL ORCHESTRA http://unknownmortalorchestra.com/
VINCE STAPLES http://webookbands.com/vince-staples/
VOLBEAT http://www.volbeat.dk/us/
WALKER & ROYCE https://www.facebook.com/walkerroyce/
WAVE RACER https://www.facebook.com/waveracermusic
WOLF ALICE http://wolfalice.co.uk/
YEARS & YEARS http://yearsandyearsofficial.com/
YOUNG FATHERS http://www.young-fathers.com/
ZELLA DAY http://www.zelladay.com/
WELCOME to FALL 2015 Edition BUREAU of ARTS and CULTURE MAGAZINE. This Edition contains The BUREAU ICON Essay: BOB DYLAN. Interviews + Photographic Essays with Alex HARRIS on The INUIT, Kanayo ADIBE in Baltimore, Lynn SAVILLE in New York City, Mike MILLER on West Coast Style, Ryan SCHIERLING in AUSTIN and BUREAU GUEST Artist: Melissa Ann PINNEY ART Interview with David BURKE in Bay Area. Plus: Michelle HANDELMAN. New FICTION: THEY CALL IT THE CITY of ANGELS Part III MUSIC Contributor: Sarah Rose PERRY on The Femme PUNK Scene. MUSIC Interview with JAHI. Plus US MUSEUMS: Detroit's 30 ARTISTS Exhibit, Milwaukee's Larry SULTAN, Photo LA, BOOK Stores Across US: BookPeople, Anderson's, City Lights, Book Reviews from STRAND NYC. Classical MUSIC and Rock & Roll: Not So Different After All. Elliott Landy and The BAND. Edward Hopper at The Cantor. All This and More Plus BUREAU On Line Links to The ART Fairs in MIAMI 2015 with Exclusive Audio Interviews, Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES Across America an The World Through Internet. BUREAU is MEDIA Partner for PHOTO LA . RED NATION FILM FEST + MORE...
BUREAU of ARTS and CULTURE IS EDITED BY J. A. TRILIEGI
[ This is NOT The Actual Magazine: This is a Sampler with a Free LINK to Download The 200+ Page FALL EDITION ]
Peach Kelli Pop
by BUREAU of ARTS and CULTURE L A's
The New Music Contributor Erick Ceballos
Peach Kelli Pop is a quartet whose tunes are a nostalgic trip filled with retro-spunk and novel innovation, that makes it fun to bop like the 1960s and skank like the 199os. They present a contrast that is prevalent throughout their albums as they cover the romance and the power of being a woman. Endearment and empowerment are central themes of their sound, and what could be deduced from their musical entity. Peach Kelli Pop’s ability to convey the condition of love, tie in old as well as new elements, and still maintain the punk vitality for the kick-ass sets and albums they produce is remarkable. The terms, "Pop", "Punk", or "Girl Band" are insufficient to sum up what Peach Kelli Pop actually is: a band brewed in the haze of punk memories, indie foresight, and lyrical abilities which deliver a new sound to a new music and a new scene.
" A band brewed in the haze of punk memories, indie foresight, and lyrical abilities which deliver a new sound to a new music and a new scene. This is not the only thing they bring to the music community, which traded its patches for pins, vests for overalls, and kept the pits. "
This is not the only thing they bring to the music community, which traded its patches for pins, vests for overalls, and kept the pits. They also chipped away at the ruins of the monogamous relationship between punk and masculinity. A degradation of women in lyrics, alienation of their feminine punkards, and an overall lack of female representation encumbered the original punk scene. All of this was curtailed by the Los Angeles group from Ottawa. In response to this, their mosh pits are slightly groovier than the average fist-flinging circle pit and alsoare coed. Their shows are filled with the most lively fans, and the entire audience really responds to the music. Peach Kelli Pop is one of the most surefooted and welcoming bands this revisit to classics of punk and pop has to offer.
Exclusive Interview with Allie Hanlon
Erick Ceballos : Your music is among the forefront of this emerging genre, how is it to be apart of the musical movement?
Allie Hanlon : I guess I don't actively think of Peach Kelli Pop in those terms, but I'm flattered that you or anyone else does! The idea of being influential to any movement that you are into is a powerful thing, and if we inspire other people that's awesome.
Erick Ceballos : Has the move from Ottawa to LA been the dream and big break it sounds to be?
Allie Hanlon : I didn't move to L.A with any expectations or with my career in mind, but after moving it became instantly apparent that it's a convenient place if you are making your creative endeavors into a career, and if you like to be surrounded by other creative people. There are tons of brilliant musicians and great bands in Ottawa but definitely no way to make it your livelihood.
Erick Ceballos : Is Peach Kelli Pop at where you saw it to be at its beginning, and where do you see it going?
Allie Hanlon : I had no expectations when I started writing songs as Peach Kelli Pop. I didn't consider whether anyone would listen or take a liking to the music. I guess because I've written the songs for my own fulfillment, I continue to be excited that other people are appreciative and that the music is meaningful to them.
Whenever Peach Kelli Pop accomplishes something like a tour or a record release, I want to move on to something bigger and better. If I don't, it's hard for me to justify channeling my time, energy, and money into it. It's important to always be moving forward. I want to make more music videos. I am currently making a zine that I'm really proud of. We just released a new album (PKPIII on Burger Records) and while I am proud of it, it didn't get a lot of recognition, so it made me think it's time to start a new band. The idea of a new band makes me really excited!
Erick Ceballos : Peach Kelli Pop has been a part of changing the male-dominated punk scene into something that kicks ass for both genders; did you intend to end the standard of male punk?
Allie Hanlon : My hope is that punk and music in general is a place where girls can be comfortable and inspired and supported. I choose to have all female members in the band not only because they are able to intuitively recreate the songs better than men, but because female representation is SO important in inspiring other girls. It seems to have improved, but when I was growing up in Ottawa, Canada, I very rarely saw ANY other women playing in bands and as a result didn't think it was even a possibility or something I'd be comfortable with until I was in my late teens.
Erick Ceballos : Peach Kelli Pop would seem to embody the new surge of feminine power and strength, what do you have to say to the women and even men you empower?
Allie Hanlon : Thanks for watching us & letting us make you feel empowered! Don't be afraid of following through with your crazy ideas.
Erick Ceballos : Has it been easy to stay together and afloat in this new scene?
Allie Hanlon : Sometimes it's hard to tell whether you're staying afloat or not. Everyone has a different measure and idea of success. I think there can be an appearance of groups of bands being in a scene, and while I do feel like Peach Kelli Pop is part of a community, I don't really think it offers you any guarantees (like being offered opportunities, shows, etc, or people having your back). Everyone's experience is different whether they are a part of what appears to be a scene or not. I'm happy to be surrounded by bands that are awesome, to be on some really cool record labels, but in the end, myself and the other band members in PKP are on our own unique path & journey.
Erick Ceballos : Could you have done it without all the new small labels dotting Los Angeles?
Allie Hanlon : Peach Kelli Pop wouldn't have the number of fans that we do, the exposure or opportunities without the music lover's & hard workers behind Burger Records & Lolipop Records, and we are super grateful to them.
Peach Kelli Pop NOW on their Europe Tour!
9/28 Budapest, HU
9/29 Vienna, AT
9/30 TBA
10/1 Rorschach, CH
10/2 Zürich, CH
10/3 Lyon. FR
10/4 Marseille, FR
10/5 Barcelona, ES
10/6 Madrid, ES
10/7 Porto, PT
10/8 Lisbon, PT
10/9 Oviedo, ES
10/10 Donostia, ES
10/11 Nantes, FR
10/12 Paris, FR
10/13 Lille, FR
10/14 Brighton, UK
10/15 Cardiff, UK
10/16 London, UK
10/17 Brussels, BE
Frank Martinez
by BUREAU of ARTS and CULTURE L A New Music Contributor Erick Ceballos
The local scene of Los Angeles as well as the Inland Empire backyards are fueled by the artwork of Compton local, Frank Martinez. Frank Martinez’s artwork captures the interest of all those who happen to stumble upon it on Instagram to t-shirts.The attractiveness and boom of the scene has been caused by the grandeur and festivity of flyers created by Frank, which are used by the promoters. Nothing is more of a turn-off than artwork that looks like it was scraped together with crayon or pieced together on Word. Without Frank Martinez’s artwork leading people by the eyes to bandcamps, backyards, and now Broadway. Frank Martinez’s work for bands is only the beginning, he has on aspirations with his art that he is on the path to completing. Frank Martinez’s work is not limited to posts and posters, he is notably the mastermind behind cover art and band merch. Frank Martinez entered the scene when it was still localized to the desert, and has risen in success along with them, eventually bringing them closer to him in the heart of Los Angeles. Now his vibrant use of color and adolescent-minded subjects are becoming a prominent staple throughout the scene as Frank’s work rises in popularity. Thumbtack boards, utility poles, and any reachable wall are now fair game for the rapidly spreading promos for shows and bands stepping up in the Los Angeles music scene.
How did you get your start as an artist for the local bands?
My descent into local band artisthood began when I saw The High Curbs (whom I had followed on Twitter on a whim a short time earlier) post an absolutely horrible flyer with weird computer generated 3D fonts and they asked for somebody to make a new flyer, so I stepped up to the plate and made something that actually turned out decent! I then started getting connected with more bands and it kinda snowballed from there!
What bands have you worked for?
I've worked with a good number of bands/acts such as Pity Party, Astronaut Samurais, No Chill, Freckle Face, Janelane and also East Coast rap groups Blahsum and Divine Council. I have also done work with various IE promoters including Vertigo Volumes and Strange Ways (RIP).
What inspires your art?
A wide variety of things inspire me but what really pushes me to create is artists I love such as Frank Kozik, L'amour Supreme, Nicholas Gazin, Raymond Pettibon, etc as they make me want to make my flyers and art as un-mediocre as possible. Content-wise, I mainly work based off of clever titles I create in my head, which are born from immaturity and angsty stuff. The title then transforms into a full fledged art piece. I spend all day at work thinking about titles to create the art for. Sometimes it is random or lovey-dovey type stuff because I'm a sappy mess occasionally.
How has working from Compton for Inland Empire bands been?
It's been pretty easy thanks to the power of the internet! Actually going to the shows I design flyers for has been pretty hard to do though. But recently a couple of the bands I work with have been doing well enough to make it to LA so that's been great!
Do you ever consider putting your pieces in Los Angeles galleries?
I would absolutely love to display in Los Angeles galleries but I haven't really had much luck in finding any who will have me.
How would you describe the local scene?
I am yet to be disappointed by either LA or the IE's local scene. The bands in both areas are really taking their music to such high levels with every release. The good band to bad band ratio is really in the favor of the people, who are also not too bad as well. I've never been to backyards and venues so packed with all these relatively pleasant young people. It's always a good time and there's also occasional nice diy art shows along with the bands so I really commend the people for organizing these great environments for art and music.
What should our readers look forward to from Frank Martinez Creations?
Band art, flyer art, zines, really big canvas pieces whenever I find a gallery, prints of my own art and possibly even my own t shirts after all these years!
Follow me on everything @sauceweak for updates. I'd like to shoutout all the bands mentioned in this and everyone giving me work for holding me down and also everyone who has been a friend to me. If you're reading this I love you and I'm your #1 fan.
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The BUREAU of ARTS and CULTURE'S EDITOR Joshua TRILIEGI Goes One on One with The BEST In ART . FILM . MUSIC . DESIGN . CULTURE FASHION . ARCHITECTURE . PHOTOGRAPHY . CUISINE . SURFING . DANCE . LITERATURE . BUREAU OF ARTS AND CULTURE: "QUOTE ME"
" Like my Uncles and Cousins, I learned to defend myself with Stinging
Ironic Humor … "
- Luis Valdez Playwright
" I suppose it’s the Job of a Novelist to be something of a Seer.
- T. C. Boyle Author
" The bookshop, the books within and all of our beloved customers and friends
have always served as my family."
- Dennis Wills Bookstore Owner
" I treated each Interview like a Masterclass in Filmmaking."
-Tom Donahue Film Director
" If I have an idea and I can’t shake it for a few months, I know that I
have to look into it a little deeper..."
- Colin Sherrell Sculptor
"Directing is the most intense and amazing journey that you can go through."
- Diego Luna Film Director
" For me, photographs are a very unique way of remembering."
- Dennis Morris Photographer
" I wanted to play in a band where I'm allowed to express vocally in a
variety of styles, whether it's rock, punk, blues, cabaret …"
- Timur Bekbosunov Performer
" I think that music is the universal language. "
- Miles Perlich Disc Jockey
" I always try to do projects where I learn stuff as I'm going. "
- Sandow Birk Artist
" Every poem that I write is from something that actually happened."
- Sabreen Shabazz Poet
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DAVID BOWIE: IS THE OTHER MAN
By Joshua Triliegi Originally Published in The Summer 2014 Edition of Bureau of Arts and Culture
David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon.BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected and the most successful performer in Rock and Roll Music History. Todays new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence. There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowies foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stradust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album.
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THE LONELY WILD : NOW ON TOUR
If music is a healing thing, than I just took the cure for the Monday night blues.It's seldom that we come across a new band, whilst walking home from a quiet dinner at our favorite local eatery, but thank god it happens every decade or so. The last time I entered the silver lake lounge , There was an unknown young poet surrounded by friends and relatives,singing in strange tones and a wholly original style that startled me into remembering her name, little known at the time: Mia Doi Todd.Later, she recorded scores of albums for various labels and broke through from a local talent to international recognition. I was glad to see it happen, I had heard that potential.That hasn't happened again, until last night . When, as usual my neighborhood bar once again showcased a great new band with the wonderful name : The Lonely Wild . Almost every song struck me somewhere in my constitution. Most right to the heart.
Their lead singer is a great lyricist and he's backed by a very tight drummer with a keyboard & bass humbly yet energetically keeping the train on the tracks , the range between lead singer & back-up creates a harmonic that at one minute will make you cry and then turn around and raise the hair on the back of your head. There's something sweetly haunting in these stories being sung. I found the band to have the kind of radio playability that's not embarrassingly pop, but deep, lasting and not bad to look at in concert either. They're likable, but that's just the beginning. Each song unfolds like an old LP style Album, Its a novel being told through song, and this novel speaks to our hearts.
They are songs we know somehow, their about us, and about them. They're about the city and the lonely places we go in life. There is a happy - sad that we find in great works of art, the kind we want to hear over & over again. Like when your in love but can't figure out what exactly we like about it. I am highly recommending The Lonely Wild to radio DJ's , local twitterers and to the world. This is music that grabs you and then lets you go, and then returns with a gem just when you thought it was over. The good thing about music is, its never over, even when the show is completed. The charisma between the players , which perfectly back each other up is rare in a band. Did I mention that the lead singer has a passion and a commitment to his stories that go way beyond the comparisons made by the young man standing at the back of the hall whom thought, ' they sounded like arcade fire '. Which is a compliment, but a slightly back handed one . These stories have an organic quality, hand made but ready for mass consumption. When I asked the fellow behind me if he knew the name of the band, he said," No ", like I told him in return, " What we don't know today, we will know tomorrow." The Lonely Wild proves the point.
Archived Article Originally Published in 2013 Copyright Joshua TRILIEGI Los Angeles California . U.S.A.
THE ROLLING STONES : LITERARY BARDS ?
What is Art ? What is a Classic ? What is Literature ? When is something all of the above ? Why is Rock & Roll Music so damn powerful to us ? It could be that great music tells a narrative just as convincingly as a short story, poem or novel. Sometimes it can even tell that story better. Case in point, Mick Jagger & Keith Richards Classic 1968 song entitled, "Sympathy for the Devil." Today, we look at the song, asking the question: Can Music Be Literature ? And If so, Why ?
The title of the song is, "Sympathy for The Devil." It sounds like a Novel from World War One by Somerset Maugham or a historical piece explaining the rise of fascism in Europe during the 1930s or even a poem by T. S. Elliot. The narrator of the story is a Faustian Mephisto or as he is known in Christo-Judeo belief: The Devil. Our story opens, following a fabulous drum solo, with a grand and eloquent self-introduction, "Please allow me to introduce myself, I'm a man of wealth and taste." He continues, "I've been around for a long, long year, stole many a man's soul to waste," explaining further, "I was around when Jesus Christ had his moment of doubt and pain." It is a devastating first meeting. The very prince of darkness himself is addressing the reader or in this case the listener. Lets put this into context. In 1968, the year this song was released, the world was in turmoil: Political Assassinations, Vietnam, Uprisings in France, Czechoslovakia, The Anti War Movement in America and a rising youth culture had recognized that evil could be anywhere and clearly, these were definitely historical times.
image : Norman Seef Courtesy of Fahey/ Klein Gallery Miami/L.A.
Jagger and Richards tapped into the moment with a diabolical diatribe that does not turn away from the clear and present evils, but instead, reminds the listener that it was here before, it is here now, it will be here after. The story continues with a historical look backward, "Stuck around St. Petersburg when I saw it was a time for a change," referring to the Russian Revolution, "I killed the Czar and his ministers, Anastasia screamed in vain." The narration swiftly moves through time to World War II, "I rode a tank, held a general's rank, when the blitzkrieg raged and the bodies stank." Then after a chorus or two, entirely demolishes a hundred years of monarchy with the single line, "I watched with glee, while your kings and queens, fought for ten decades, for the gods they made." And then it peaks with the most devastating idea of the entire work, "I shouted out, "Who killed the Kennedy's ?" When after all, it was you and me." A shattering description that accuses the listener of committing murder: Astonishing. The devise of having a narrator speaking directly to his or her audience goes back as far as The Greek Tragedies and Shakespeare.
The same literary device was used a few years earlier in John Burgess', "A Clockwork Orange" which was later turned into the classic piece of cinema by director Stanley Kubrik. But here, Jagger and Richards put us face to face with the devil himself, presenting him as a man of power, a man of manners, a man of the world and simply a man who is very proud of his many accomplishments, however destructive they may be. The song lyrics take a slightly poetic turn, even in their maniacal aspects with the following phrase,"Just as every cop is a criminal and all the sinners saints. As heads is tails, just call me Lucifer, 'cause I'm in need of some restraint." Then after several chorus' including the echoing line, "Please to meet you, hope you guessed my name," a foreboding warning statement is pressed onto the listener with the final phrase, "So if you meet me, have some courtesy, have some sympathy, and some taste. Use all your well-learned politics or I'll lay your soul to waste." The listener is literally warned to not only respect the narrator, but to have some sympathy. Demanding respect for the dark side of our very nature. The song is a time capsule , a declaration of madness and a warning of future conflicts. It is a fine example of the use of language in creating effective storytelling. It's also simply a great song. But is it Literature with a capital "L" ? If so why ?
image : Norman Seef Courtesy of Fahey/ Klein Gallery Miami/L.A.
"The song is a time capsule, a declaration of madness and a warning of future conflicts. It is a fine example of the use of language in creating effective storytelling. It's also simply : a great song."
For one, it speaks to more than one generation, the story has lasted, at least so far, as an important tragedy of not only it's time, but the song is still currently played on radios stations around the world. In other words, the book is still in print. The play is still on broadway. The public is still interested. Two, the song literally helped to define the actual times with which it was written: The 1960s. It is one of the actual anthems of the period. It may be the most important of the brave literary works to be a part of The Rock & Roll song book ever. Three, it actually speaks to a larger historical context with it's many references to world events and it's ongoing and foreboding demands of a future disaster. The song and narrator lives on in it's very description of itself. Why does this make it Literature ? Well, it doesn't. What does make it Literature ? In my estimation, it is the employment of ideas, the minimum use of narrative, the poetic turns of lyricism, the audacious accusations of the storyteller and the ability to open the imagination to world events that existed prior to the songs invention. Good literature, good fiction, good poetry, good writing, do this for the reader. Good literature will utilize history, experience, tragedy. Good literature will challenge power, normalcy, self-righteousness. Good literature will demand, entertain and sometimes even accuse the reader of the very experiences that mankind has allowed to happen. The Holocaust, Slavery, Genocide, War, Murder and Acts of Cruelty: Who would think to offer these subjects in a Song ? Sympathy For The Devil is very heavy material. Jagger and Richards use their platform to discuss important issues of modernity and history in a way that indeed transports, elevates and activates the same devices used by great writers around the world and that is why this song is ultimately a great piece of fine Literature.
image: Guest Artist Irby Pace Courtesy of Gallerie Urbane
SO MANY ROADS:
THE LIFE AND TIMES OF THE GRATEFUL DEAD
By Joshua TRILIEGI
David Browne has written a grand opus of a book on, of all things, the greatest rock & roll accident that has ever occurred: The Grateful Dead. No other band in Rock & Roll history can be compared to 'The Dead,' as they have been commonly known by fans and professionals alike. From the early days in Palo Alto California to the later days across the entire world, Mr. Browne has fashioned an exhaustively researched book into an easily readable tome of sorts. The writer for Rolling Stone magazine has taken an original and interesting approach and given us a portrait of the band through a very straight forward concept that fits well with his style, his experience and his day job, writing about music in digestible amounts. Mr. Browne breaks down the careers and characters that make up the Dead, from start to finish, by simply creating complete and utter portraits of various days in the life of The Grateful Dead. Days in which Mr Browne felt that a significant window into the soul of the band could be glimpsed. It is a smart concept considering that Mr. Browne was not an insider. He did not tour with the band, so he was well aware that this book would not compare, nor did he wish to compete with the previous books which have preceded this fine piece of history. Through his research methods, which seem to be exemplary, without all the show off style that can sometimes leave a bitter taste in the reader, and his experience at Rolling Stone magazine, Browne takes us into the forming of the band, their many transformations and delivers portraits of each member with the greatest care and delicacy available. Its a complex story, told with an exacting style.
By the fifth page of The Prologue, the reader is hooked. I personally cannot think of a more easy reading style, chocked with so many actual facts, insights and observations in a very long, long time. Sometimes his acuity is just as strange and off the cuff as the formulas and elements that make up The Grateful Dead's original and one of a kind style of music. For instance, Jerry Garcia's early concerns and fears regarding the Cuban missile crisis in America is a real eye opener, which on first impression seems slightly heavy handed, but upon consideration of Garcia's age and experience, entirely fitting. Browne interviewed surviving members, had access to The Grateful Dead Archive in Santa Cruz as well as a multitude of interviews directly from his office job at Rolling Stone magazine. But he didn't stop there, apparently there has been more literature in connection with the Grateful Dead than one would ever imagine. From sources as diverse as Tom Wolf'e, Electric Kool - Aid Acid Test, written in 1968 to the source that broke Watergate, The Washington Post. Everyone has seemingly spent some time ruminating on the indescribable elements that make up the iconic sound that originated such classic pillars of Rock & Roll History like, Truckin', Casey Jones & Uncle John's Band. Mr. Browne has received attention previously for writing about, brace yourself: The 'Importance' of John Tesch. Lets not hold that against him, maybe, like The Grateful Dead, he was intoxicated or simply mixing and matching inspiration and improvisation. Either way, this author has delved deep down into the facts, the myths and the fiction surrounding Garcia and his band of bad boy compadre's and has surfaced with a nice read that newcomers as well as hardcore fans will surely dig. Mr. Browne has also written about: Sonic Youth, Jeff Buckley and James Taylor. As a writer who occasionally hitchhiked to and from preschool in Northern California, with my mom, and on more than one occasion received rides home from members of The Dead: I wholeheartedly approve of this book. Now available on Da Capo Press. Worth every dollar spent on the 482 pages it offers readers.
BUREAU MUSIC: To Kill a Mockingbird
BY Joshua TRILIEGI
Elmer Bernstein's score for To Kill a Mockingbird may just be the most perfect understanding of Literature, Cinema and Musical Orchestration ever created. Mr.Bernstein, who was blacklisted, some years later, made a fabulous comeback with, of all things, his score for John Landis's Animal House. By pulling great musical stunts as a straight man to Landis' pranks. Remember the score to that film ? Heroic like anthems, every time Belushi and his cohorts take on the conservative views of The University. It worked wonderfully and Mr Bernstein was back in business again. I recall meeting Elmer Bernstein at The Academy of Motion Pictures Arts & Sciences, where he presented and discussed To Kill a Mockingbird in - depth. It was quite an evening. A wonderful man. Not just his music, not just his understanding of the human drama, nor his ability to forgive an industry that turned it's back on him, but the man himself. He was a winner and after all these years that score still rings true to me and to millions of cinema lovers around the world. Most folks agree that the book written by Harper Lee and the film by Robert Mulligan and Alan Pakula are incredible. But why ? The acting, yes, quite amazing with performances by two incredible children actors. And of course the apex of Gregory Peck's craft as actor, humanist, artist. But it is indeed the music. The opening theme, a sweeping and steady mid west warmth reminiscent of Mr Bernstein's early influences and one of his mentors: Aaron Copland. Copland encouraged the young musician based on his improvisations and suggested teachers, courses and a direction that led to more creativity.
Elmer Bernstein's was a part of a world where, if you were interested in the arts, that meant every facet: he studied acting, dance and performed on Broadway as a child. He was recognized as a painter early on & even approached Clifford Odets on lessons in writing fiction. For over a decade he was a concert pianist and some years later taught at USC's Thornton School of Music. He composed over 200 themes for Television and film and also created some great music for the experimental films of Charles and Ray Eames. He also worked with Martin Scorsese more than a few times. And after his score of Animal house, became a regular for scoring comedies such as Ghostbusters, Airplane! , Stripes and The Blues Brothers. Elmer talked about his inspiration for the score to To Kill A Mockingbird and how he wanted to pierce the imagination of the child mind. What would a child play ? Listening for a simple melody to draw upon. Especially his theme for the foreboding character of Boo Radley, played simplistically by a young Robert Duvall. Keeping the score simple was Mr Bernstein's entire approach to creating the impetus for the melodies and later building them into orchestrations that simply lift us above the earth and or break our hearts. The gentleness, the drama, the curiosity, the fun & the maddening injustices that the world provides, so well presented musically.
" With Mockingbird, I'd read the book. Robert Mulligan and I were old friends, before we even shot a frame. " He goes on to explain, "Aaron Copland was my biggest single musical influence. Apart from my teacher, he was the first person to hear anything I wrote. Copland was good friends with my teacher who took me to meet him in his apartment. I was 12. Copland was 30, but not yet famous. My teacher made me play for him, asking if he thought I had any talent. Let's give him some lessons and find out! ", he replied. That's really how my composition career started. "
Imagine that you are given a Pulitzer Prize winning novel and told that it is your job to conjure what it sounds like ? Imagine what these words sound like. To pull, out of thin air, sounds, melodies, orchestrations, themes that represent what a classic book might sound like, that's quite a task. Film composers do it daily. Bernstein employs the flute, violin, harp, clarinet, oboe and strings. For a full review in complete detail, check out the work of Craig Lysy whose done a wonderful job of explaining the score in detail and had this to say about the music, "The main lyrical theme is a masterpiece cue that gains Bernstein immortality. It is timeless and in my opinion takes it place in film score lore as one of the most beautiful and memorable themes ever composed." I couldn't agree more. Heres a link : http://moviemusicuk.us/2010/11/06/to-kill-a-mockingbird-elmer-bernstein/
TO KILL A MOCKINGBIRD Soundtrack Track Listing:
Main Title (3:19) / Remember Mama (1:07)/ Atticus Accepts the Case/Roll in the Tire (2:05)
Creepy Caper/Peek-a-Boo (4:09) / Ewell’s Hatred (3:30) / Jem’s Discovery (3:46)
Tree Treasure (4:22) / Lynch Mob (3:03) / Guilty Verdict (3:09) / Ewell Regret It (2:10)
Footsteps in the Dark (2:07) / Assault in the Shadows (2:25) / Boo Who? (2:59)
End Title (3:25) / Running Time: 41 minutes 57 seconds
Music composed and conducted by Elmer Bernstein. Performed by The Royal Scottish National Orchestra. Featured musical soloists; Penny Haydock, John Grant, Edward Paling, Pauline Dowse, John Clark, John Cushing, Stephane Rancourt and Christophe Sauniere. Recorded and mixed by Jonathan Allen. Album produced by Elmer Bernstein and Robert Townson.
Other film Scores by Bernstein recognized by The American Film Institute:
The Age of Innocence (1993) / Far from Heaven (2002) / The Great Escape (1963) / Hawaii (1966) / The Man with the Golden Arm (1955) / Summer and Smoke (1961) / Sweet Smell of Success (1957) / The Ten Commandments (1956) / Walk on the Wild Side (1962)
BUREAU MUSIC INTERVIEW: PATRICK RIEGER
Patrick Rieger is the Lead Singer and Songwriter for Whiskey Sunday. On the Two Year Anniversary of an Original Live Interview at The Roxy on The Sunset Strip in Hollywood, we check back in with Mr. Rieger to discuss The Music, The Band, Irish Heritage and Their Newest Album.
Joshua TRILIEGI What does it feel like to play for a live audience ?
Patrick Rieger: Playing for a live audience was the only way music would have happened for me. My training is as an actor, as a kid I was a dancer. I always sang but could never read music, and musical instruments came a little harder to me. What I'm saying is that the live performance is something I know how to do and that might make up for my lack of musicianship sometimes. There are a lot of better guitar players in the world, but a lot of them choose to only play on their couch. If they're not going to take the gig I will because I know how to leave my blood on the floor for an audience, I can tell the stories. It feels like my planet, where I'm from. I come from a long line of storytellers and the live audience is home. Harry Nilsson never played out, virtually never toured or played live. I couldn't believe that when I read it. What an incredible storyteller and he could never share it with a live audience!
Joshua TRILIEGI: What are the challenges presented in keeping a band together ?
Patrick Rieger: I would say keeping a band together has been both the greatest joy and most significant source of anxiety for me throughout this process. I grew up an only child with a single Mom. I was constantly trying to re-create familial relationships with peers, friends, groups, I still do it today. It's a dangerous thing getting a group together and handing over your trust or expecting that you'll be one big happy family. Whiskey Sunday has played with roughly 10 fiddle players just in the last year. Hilarious. We love the fiddle, that sound, but I've stopped expecting that one of them will stick around and join the family. My harpist, banjo player, and my bass player have stuck around through some really tough times, and I am truly grateful for their trust and commitment. Greatest challenge would be letting go of the concept that I have to keep this band together.
Joshua TRILIEGI : Irish heritage plays a big part in your sound, describe that process.
Patrick Rieger : Irish music is how Deidre and I met. Again, this is circles of both Irish actors and musicians in LA, getting together, re-creating what they love about the old country. Many pub sessions later Deidre and I form our own Irish band and we set out to be the hottest in LA. That was the only way we could get this band paid was by having 3 hours of Irish songs ready to go for these pubs! Most bands our age weren't putting in those hours at the bars. Our original material has expanded quite a bit beyond the Irish sound, into an Americana/revved up roots sound. The Irish storytelling, rhythms and melodies will always be this band's backbone, I believe, no matter what we're writing. My Grandmother's maiden name was Gannon and I owe it to her. She took me to Ireland when I was 18 and I fell in love for eternity. I've since developed my own relationship with Ireland beyond my heritage and it has tremendously colored who I am as a human being, the literature, the people, the history.
Joshua TRILIEGI : When we first spoke, two years ago, you performed live at our magazine release party. Whats happened since then and tells us about the new music ?
Patrick Rieger: We are the most exciting to watch Irish/Americana Folk-Rock band in Los Angeles. In 2014 alone we played 44 gigs at over 26 venues throughout the LA area and Southern California. We released our debut album, Holy Water. We were interviewed by the Pasadena Weekly. We played our first major festival, Get Shamrocked in September, 2014, and shared the stage with some of our favorite bands like Old Man Markley, The Mahones and The Young Dubliners. 2015 has brought us our first music video, shot completely on location in Angeles National Forest and one of our favorite Irish pubs, Ireland's 32, where we have a residency. We've also booked our first tour of both Southern California and Northern California for this coming March and May, completely on our own. St. Patrick's Day brings a personal honor for the band, headlining at The Tam O'Shanter Inn, where Whiskey Sunday was born and bred. We're embarking on a momentum-filled year fueled by gratitude for the fans and venues that have showed us so much love and support.
Joshua TRILIEGI : You are also an actor, do the two crafts inform one another ?
Patrick Rieger: I joked for a long time saying, "I'm not a musician, I'm an actor and this is my longest running role." Maybe I still believe that sometimes but I can't tell you what a pleasure the process has been letting one inform the other. When I take on a role I have to bring truth to that story and love to that character. That's what I work for every night onstage and you know what? It's the same with the songs! When you are selling the truth, leaving your blood on the stage, it doesn't matter what the chords are or what lines your reading. The best part is when you yourself are moved, then that audience can't help but feel it. Telling the stories truthfully is what I do.
Joshua TRILIEGI : What do you think are the all time classic Irish Songs ever recorded ?
Patrick Rieger : My Grandma comes from a Bing Crosby, Danny boy generation. a different Ireland. I loved it growing up. The first time I heard The Pogues, Fairytale of New York, I think I cried, and I still cry every time. There is beautiful Irish music filled with history that I can't get enough of, "The Town I loved so well," there is music to come from Ireland that was so important and politically moving, "Alternative Ulster." And sometimes I just want to rock out to Thin Lizzy. Right now I'm devouring Damien Dempsey's whole catalogue, an incredible songwriter both in an Irish capacity and for anyone all over the world.
"My whole family celebrated life with music and whether it was typical or not for Minnesotans, It was beautifully typical for us."
- Patrick Rieger / Whiskey Sunday
Joshua TRILIEGI : Your from the Mid West, the same city as Prince. is that atmosphere somehow naturally musical ?
Patrick Rieger: You better believe it! South Minneapolis is in my veins every time I step onstage, every time I sit down to write a song. Prince, Dylan, Atmosphere, Jayhawks, Trampled by Turtles. That's not even scratching the surface. You've got to do something with those long winter days and nights. We join forces as a state, as a collective group of people in winter coats to beat seasonal affect disorder down with tunes! In the car, in the living room, in the bars. Keep singing to stay warm ! My whole family celebrated life with music & whether it was typical or not for Minnesotans it was beautifully typical for us.
Joshua TRILIEGI : Thank you for spending time with us, before we go, Tell our readers why we you make music ?
Patrick Rieger: I believe we make music to stay alive. I never thought I'd be doing it professionally. When the acting business got slow for me in LA I had to find another way to tell stories and stay alive. The facts in your life might be a great skeleton or bone, your job, your income, your house. I tell stories though, that's flesh and blood, what's the point otherwise? This is what I'm called to do, tell stories. Bruce Springsteen said the Irish and Italians walk through the door with their fists and their hearts first. It's not the easiest way to live but I couldn't imagine it any other way. Who doesn't want to hear stories, hear music and stay alive with your flesh and blood pumping? If they're out there, I'm not sure those people and I have a lot to talk about.
Joshua TRILIEGI Where can our readers visit you and or see updates for shows ?
Patrick Rieger: New Album here https://itunes.apple.com/bm/album/holy-water/id894217092
New website here: http://www.whiskeysundayband.com
THE HOUSE THAT TRANE BUILT:
STORY of IMPULSE RECORDS
By ASHLEY KAHN on W. W. NORTON PUBLICATIONS
Review By Joshua A. TRILIEGI / BUREAU of ARTS and CULTURE
Most music fans know who John Coltrane is, and what he did for jazz music, for saxophone players and new music spirituality. What you may not be aware of is that John Coltrane & his version of ' My Favorite Things ' in Nineteen - Sixty - Five, helped to create an entire label that went on to reinvent and support a bevy of new jazz artists. The impulse label, which was originally fueled by funds from ABC & hits by Ray Charles, such as, One Mint Julep, went on to become a leading label with an original look, style and feel. Album covers that opened up & told a story with extended liner notes, helping to create a dialogue and intellectual take on a lot of great new music that helped to fuel new jazz movements.
" Kahn is like a Cool Daddy professor who simply loves the Music, the Vibe, the History of Jazz … "
The story of Impulse records is an interesting one. Ashley Kahn' s research, phrasing style and flashback / flash forward writing, suits the subject well. Plenty of photographs, samples of albums and an incredibly thorough discography with just about every album, release date & important phase the label went through. Mr. Kahn has written extensively on Jazz with his books on Miles Davis as well as John Coltrane's infamous Love Supreme. Sonny Rollins, Chico Hamilton, Yusuf Lateef, Elvin Jones, Tom Scott, Charlie Mingus, Coleman Hawkins & Pharaoh Sanders are just a few of the artists that followed Coltrane on Impulse and also honored him with nods to his influence, musically, technically and sometimes simply naming their songs after some type of Coltrane influence.
Kahn is like a cool daddy professor who simply loves the music, the vibe, the history of jazz so much, that the reader, his students, soon find themselves steeped in fun facts that make up what we call jazz. From the inception of tunes, recording, players, dates and places, all bases are covered in this comprehensive jazz companion. From the time John Coltrane came to the label and into his leaving the planet. The story reveals itself as important and informative. Alice Coltrane proudly picked up the mantle and carried it throughout her lifetime.
" The Jazz Solo is Never the Same after John Coltrane, Neither are We. This is a good companion to that legacy and to a very important Jazz Music Label."
As the book reveals in Chapter six, " Died " was not in Alice Coltrane' s vocabulary. You got that right. John Coltrane may have left the planet. But with Impulse, his legacy, his fans, his family and books such as this one, as well as Kahn' s other works: the Coltrane legend is indeed alive and well. Highly suggested for those who wish to learn more about a great contributor to jazz music and the vocabulary of the great American Arts.
With titles such as A Love Supreme, Ascension, Om and Cosmic Music, Coltrane completely transformed jazz into a totally spiritual idea. From 1962, until his untimely passing, Coltrane recorded albums and songs that have yet to be resolved, understood or entirely digested by any particular critic, audience or movement. He was exorcising his demons, inviting in his angels & taking what we considered as a pastime into a full on religious experience. The jazz solo is never the same after John Coltrane, neither are we. This is a good companion to that legacy and to a very important Jazz Music Label.
BUREAU PICKS: MUSIC.CONCERTS.REVIEWS
By Joshua Triliegi Originally Published in The Summer 2014 Edition of Bureau of Arts and Culture
David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon.BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected and the most successful performer in Rock and Roll Music History. Todays new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence. There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowies foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stradust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album.
DOWNLOAD THE ENTIRE BOWIE ICON ESSAY EDITION at
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| GRANDMASTER FLASH ON TOUR 2015 BUREAU OF ARTS AND CULTURE MUSIC PAGE |
THE LONELY WILD : NOW ON TOUR
If music is a healing thing, than I just took the cure for the Monday night blues.It's seldom that we come across a new band, whilst walking home from a quiet dinner at our favorite local eatery, but thank god it happens every decade or so. The last time I entered the silver lake lounge , There was an unknown young poet surrounded by friends and relatives,singing in strange tones and a wholly original style that startled me into remembering her name, little known at the time: Mia Doi Todd.Later, she recorded scores of albums for various labels and broke through from a local talent to international recognition. I was glad to see it happen, I had heard that potential.That hasn't happened again, until last night . When, as usual my neighborhood bar once again showcased a great new band with the wonderful name : The Lonely Wild . Almost every song struck me somewhere in my constitution. Most right to the heart.
Their lead singer is a great lyricist and he's backed by a very tight drummer with a keyboard & bass humbly yet energetically keeping the train on the tracks , the range between lead singer & back-up creates a harmonic that at one minute will make you cry and then turn around and raise the hair on the back of your head. There's something sweetly haunting in these stories being sung. I found the band to have the kind of radio playability that's not embarrassingly pop, but deep, lasting and not bad to look at in concert either. They're likable, but that's just the beginning. Each song unfolds like an old LP style Album, Its a novel being told through song, and this novel speaks to our hearts.
They are songs we know somehow, their about us, and about them. They're about the city and the lonely places we go in life. There is a happy - sad that we find in great works of art, the kind we want to hear over & over again. Like when your in love but can't figure out what exactly we like about it. I am highly recommending The Lonely Wild to radio DJ's , local twitterers and to the world. This is music that grabs you and then lets you go, and then returns with a gem just when you thought it was over. The good thing about music is, its never over, even when the show is completed. The charisma between the players , which perfectly back each other up is rare in a band. Did I mention that the lead singer has a passion and a commitment to his stories that go way beyond the comparisons made by the young man standing at the back of the hall whom thought, ' they sounded like arcade fire '. Which is a compliment, but a slightly back handed one . These stories have an organic quality, hand made but ready for mass consumption. When I asked the fellow behind me if he knew the name of the band, he said," No ", like I told him in return, " What we don't know today, we will know tomorrow." The Lonely Wild proves the point.
Archived Article Originally Published in 2013 Copyright Joshua TRILIEGI Los Angeles California . U.S.A.
THE ROLLING STONES : LITERARY BARDS ?
What is Art ? What is a Classic ? What is Literature ? When is something all of the above ? Why is Rock & Roll Music so damn powerful to us ? It could be that great music tells a narrative just as convincingly as a short story, poem or novel. Sometimes it can even tell that story better. Case in point, Mick Jagger & Keith Richards Classic 1968 song entitled, "Sympathy for the Devil." Today, we look at the song, asking the question: Can Music Be Literature ? And If so, Why ?
The title of the song is, "Sympathy for The Devil." It sounds like a Novel from World War One by Somerset Maugham or a historical piece explaining the rise of fascism in Europe during the 1930s or even a poem by T. S. Elliot. The narrator of the story is a Faustian Mephisto or as he is known in Christo-Judeo belief: The Devil. Our story opens, following a fabulous drum solo, with a grand and eloquent self-introduction, "Please allow me to introduce myself, I'm a man of wealth and taste." He continues, "I've been around for a long, long year, stole many a man's soul to waste," explaining further, "I was around when Jesus Christ had his moment of doubt and pain." It is a devastating first meeting. The very prince of darkness himself is addressing the reader or in this case the listener. Lets put this into context. In 1968, the year this song was released, the world was in turmoil: Political Assassinations, Vietnam, Uprisings in France, Czechoslovakia, The Anti War Movement in America and a rising youth culture had recognized that evil could be anywhere and clearly, these were definitely historical times.
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| image : Norman Seef Courtesy of Fahey/ Klein Gallery Miami/L.A. |
Jagger and Richards tapped into the moment with a diabolical diatribe that does not turn away from the clear and present evils, but instead, reminds the listener that it was here before, it is here now, it will be here after. The story continues with a historical look backward, "Stuck around St. Petersburg when I saw it was a time for a change," referring to the Russian Revolution, "I killed the Czar and his ministers, Anastasia screamed in vain." The narration swiftly moves through time to World War II, "I rode a tank, held a general's rank, when the blitzkrieg raged and the bodies stank." Then after a chorus or two, entirely demolishes a hundred years of monarchy with the single line, "I watched with glee, while your kings and queens, fought for ten decades, for the gods they made." And then it peaks with the most devastating idea of the entire work, "I shouted out, "Who killed the Kennedy's ?" When after all, it was you and me." A shattering description that accuses the listener of committing murder: Astonishing. The devise of having a narrator speaking directly to his or her audience goes back as far as The Greek Tragedies and Shakespeare.
The same literary device was used a few years earlier in John Burgess', "A Clockwork Orange" which was later turned into the classic piece of cinema by director Stanley Kubrik. But here, Jagger and Richards put us face to face with the devil himself, presenting him as a man of power, a man of manners, a man of the world and simply a man who is very proud of his many accomplishments, however destructive they may be. The song lyrics take a slightly poetic turn, even in their maniacal aspects with the following phrase,"Just as every cop is a criminal and all the sinners saints. As heads is tails, just call me Lucifer, 'cause I'm in need of some restraint." Then after several chorus' including the echoing line, "Please to meet you, hope you guessed my name," a foreboding warning statement is pressed onto the listener with the final phrase, "So if you meet me, have some courtesy, have some sympathy, and some taste. Use all your well-learned politics or I'll lay your soul to waste." The listener is literally warned to not only respect the narrator, but to have some sympathy. Demanding respect for the dark side of our very nature. The song is a time capsule , a declaration of madness and a warning of future conflicts. It is a fine example of the use of language in creating effective storytelling. It's also simply a great song. But is it Literature with a capital "L" ? If so why ?
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| image : Norman Seef Courtesy of Fahey/ Klein Gallery Miami/L.A. |
"The song is a time capsule, a declaration of madness and a warning of future conflicts. It is a fine example of the use of language in creating effective storytelling. It's also simply : a great song."
For one, it speaks to more than one generation, the story has lasted, at least so far, as an important tragedy of not only it's time, but the song is still currently played on radios stations around the world. In other words, the book is still in print. The play is still on broadway. The public is still interested. Two, the song literally helped to define the actual times with which it was written: The 1960s. It is one of the actual anthems of the period. It may be the most important of the brave literary works to be a part of The Rock & Roll song book ever. Three, it actually speaks to a larger historical context with it's many references to world events and it's ongoing and foreboding demands of a future disaster. The song and narrator lives on in it's very description of itself. Why does this make it Literature ? Well, it doesn't. What does make it Literature ? In my estimation, it is the employment of ideas, the minimum use of narrative, the poetic turns of lyricism, the audacious accusations of the storyteller and the ability to open the imagination to world events that existed prior to the songs invention. Good literature, good fiction, good poetry, good writing, do this for the reader. Good literature will utilize history, experience, tragedy. Good literature will challenge power, normalcy, self-righteousness. Good literature will demand, entertain and sometimes even accuse the reader of the very experiences that mankind has allowed to happen. The Holocaust, Slavery, Genocide, War, Murder and Acts of Cruelty: Who would think to offer these subjects in a Song ? Sympathy For The Devil is very heavy material. Jagger and Richards use their platform to discuss important issues of modernity and history in a way that indeed transports, elevates and activates the same devices used by great writers around the world and that is why this song is ultimately a great piece of fine Literature.
image: Guest Artist Irby Pace Courtesy of Gallerie Urbane
SO MANY ROADS:
THE LIFE AND TIMES OF THE GRATEFUL DEAD
By Joshua TRILIEGI
David Browne has written a grand opus of a book on, of all things, the greatest rock & roll accident that has ever occurred: The Grateful Dead. No other band in Rock & Roll history can be compared to 'The Dead,' as they have been commonly known by fans and professionals alike. From the early days in Palo Alto California to the later days across the entire world, Mr. Browne has fashioned an exhaustively researched book into an easily readable tome of sorts. The writer for Rolling Stone magazine has taken an original and interesting approach and given us a portrait of the band through a very straight forward concept that fits well with his style, his experience and his day job, writing about music in digestible amounts. Mr. Browne breaks down the careers and characters that make up the Dead, from start to finish, by simply creating complete and utter portraits of various days in the life of The Grateful Dead. Days in which Mr Browne felt that a significant window into the soul of the band could be glimpsed. It is a smart concept considering that Mr. Browne was not an insider. He did not tour with the band, so he was well aware that this book would not compare, nor did he wish to compete with the previous books which have preceded this fine piece of history. Through his research methods, which seem to be exemplary, without all the show off style that can sometimes leave a bitter taste in the reader, and his experience at Rolling Stone magazine, Browne takes us into the forming of the band, their many transformations and delivers portraits of each member with the greatest care and delicacy available. Its a complex story, told with an exacting style.
By the fifth page of The Prologue, the reader is hooked. I personally cannot think of a more easy reading style, chocked with so many actual facts, insights and observations in a very long, long time. Sometimes his acuity is just as strange and off the cuff as the formulas and elements that make up The Grateful Dead's original and one of a kind style of music. For instance, Jerry Garcia's early concerns and fears regarding the Cuban missile crisis in America is a real eye opener, which on first impression seems slightly heavy handed, but upon consideration of Garcia's age and experience, entirely fitting. Browne interviewed surviving members, had access to The Grateful Dead Archive in Santa Cruz as well as a multitude of interviews directly from his office job at Rolling Stone magazine. But he didn't stop there, apparently there has been more literature in connection with the Grateful Dead than one would ever imagine. From sources as diverse as Tom Wolf'e, Electric Kool - Aid Acid Test, written in 1968 to the source that broke Watergate, The Washington Post. Everyone has seemingly spent some time ruminating on the indescribable elements that make up the iconic sound that originated such classic pillars of Rock & Roll History like, Truckin', Casey Jones & Uncle John's Band. Mr. Browne has received attention previously for writing about, brace yourself: The 'Importance' of John Tesch. Lets not hold that against him, maybe, like The Grateful Dead, he was intoxicated or simply mixing and matching inspiration and improvisation. Either way, this author has delved deep down into the facts, the myths and the fiction surrounding Garcia and his band of bad boy compadre's and has surfaced with a nice read that newcomers as well as hardcore fans will surely dig. Mr. Browne has also written about: Sonic Youth, Jeff Buckley and James Taylor. As a writer who occasionally hitchhiked to and from preschool in Northern California, with my mom, and on more than one occasion received rides home from members of The Dead: I wholeheartedly approve of this book. Now available on Da Capo Press. Worth every dollar spent on the 482 pages it offers readers.
BUREAU MUSIC: To Kill a Mockingbird
BY Joshua TRILIEGI
Elmer Bernstein's was a part of a world where, if you were interested in the arts, that meant every facet: he studied acting, dance and performed on Broadway as a child. He was recognized as a painter early on & even approached Clifford Odets on lessons in writing fiction. For over a decade he was a concert pianist and some years later taught at USC's Thornton School of Music. He composed over 200 themes for Television and film and also created some great music for the experimental films of Charles and Ray Eames. He also worked with Martin Scorsese more than a few times. And after his score of Animal house, became a regular for scoring comedies such as Ghostbusters, Airplane! , Stripes and The Blues Brothers. Elmer talked about his inspiration for the score to To Kill A Mockingbird and how he wanted to pierce the imagination of the child mind. What would a child play ? Listening for a simple melody to draw upon. Especially his theme for the foreboding character of Boo Radley, played simplistically by a young Robert Duvall. Keeping the score simple was Mr Bernstein's entire approach to creating the impetus for the melodies and later building them into orchestrations that simply lift us above the earth and or break our hearts. The gentleness, the drama, the curiosity, the fun & the maddening injustices that the world provides, so well presented musically.
" With Mockingbird, I'd read the book. Robert Mulligan and I were old friends, before we even shot a frame. " He goes on to explain, "Aaron Copland was my biggest single musical influence. Apart from my teacher, he was the first person to hear anything I wrote. Copland was good friends with my teacher who took me to meet him in his apartment. I was 12. Copland was 30, but not yet famous. My teacher made me play for him, asking if he thought I had any talent. Let's give him some lessons and find out! ", he replied. That's really how my composition career started. "
Imagine that you are given a Pulitzer Prize winning novel and told that it is your job to conjure what it sounds like ? Imagine what these words sound like. To pull, out of thin air, sounds, melodies, orchestrations, themes that represent what a classic book might sound like, that's quite a task. Film composers do it daily. Bernstein employs the flute, violin, harp, clarinet, oboe and strings. For a full review in complete detail, check out the work of Craig Lysy whose done a wonderful job of explaining the score in detail and had this to say about the music, "The main lyrical theme is a masterpiece cue that gains Bernstein immortality. It is timeless and in my opinion takes it place in film score lore as one of the most beautiful and memorable themes ever composed." I couldn't agree more. Heres a link : http://moviemusicuk.us/2010/11/06/to-kill-a-mockingbird-elmer-bernstein/
TO KILL A MOCKINGBIRD Soundtrack Track Listing:
Main Title (3:19) / Remember Mama (1:07)/ Atticus Accepts the Case/Roll in the Tire (2:05)
Creepy Caper/Peek-a-Boo (4:09) / Ewell’s Hatred (3:30) / Jem’s Discovery (3:46)
Tree Treasure (4:22) / Lynch Mob (3:03) / Guilty Verdict (3:09) / Ewell Regret It (2:10)
Footsteps in the Dark (2:07) / Assault in the Shadows (2:25) / Boo Who? (2:59)
End Title (3:25) / Running Time: 41 minutes 57 seconds
Music composed and conducted by Elmer Bernstein. Performed by The Royal Scottish National Orchestra. Featured musical soloists; Penny Haydock, John Grant, Edward Paling, Pauline Dowse, John Clark, John Cushing, Stephane Rancourt and Christophe Sauniere. Recorded and mixed by Jonathan Allen. Album produced by Elmer Bernstein and Robert Townson.
Other film Scores by Bernstein recognized by The American Film Institute:
The Age of Innocence (1993) / Far from Heaven (2002) / The Great Escape (1963) / Hawaii (1966) / The Man with the Golden Arm (1955) / Summer and Smoke (1961) / Sweet Smell of Success (1957) / The Ten Commandments (1956) / Walk on the Wild Side (1962)
BUREAU MUSIC INTERVIEW: PATRICK RIEGER
Patrick Rieger is the Lead Singer and Songwriter for Whiskey Sunday. On the Two Year Anniversary of an Original Live Interview at The Roxy on The Sunset Strip in Hollywood, we check back in with Mr. Rieger to discuss The Music, The Band, Irish Heritage and Their Newest Album.
Joshua TRILIEGI What does it feel like to play for a live audience ?
Patrick Rieger: Playing for a live audience was the only way music would have happened for me. My training is as an actor, as a kid I was a dancer. I always sang but could never read music, and musical instruments came a little harder to me. What I'm saying is that the live performance is something I know how to do and that might make up for my lack of musicianship sometimes. There are a lot of better guitar players in the world, but a lot of them choose to only play on their couch. If they're not going to take the gig I will because I know how to leave my blood on the floor for an audience, I can tell the stories. It feels like my planet, where I'm from. I come from a long line of storytellers and the live audience is home. Harry Nilsson never played out, virtually never toured or played live. I couldn't believe that when I read it. What an incredible storyteller and he could never share it with a live audience!
Joshua TRILIEGI: What are the challenges presented in keeping a band together ?
Patrick Rieger: I would say keeping a band together has been both the greatest joy and most significant source of anxiety for me throughout this process. I grew up an only child with a single Mom. I was constantly trying to re-create familial relationships with peers, friends, groups, I still do it today. It's a dangerous thing getting a group together and handing over your trust or expecting that you'll be one big happy family. Whiskey Sunday has played with roughly 10 fiddle players just in the last year. Hilarious. We love the fiddle, that sound, but I've stopped expecting that one of them will stick around and join the family. My harpist, banjo player, and my bass player have stuck around through some really tough times, and I am truly grateful for their trust and commitment. Greatest challenge would be letting go of the concept that I have to keep this band together.
Joshua TRILIEGI : Irish heritage plays a big part in your sound, describe that process.
Patrick Rieger : Irish music is how Deidre and I met. Again, this is circles of both Irish actors and musicians in LA, getting together, re-creating what they love about the old country. Many pub sessions later Deidre and I form our own Irish band and we set out to be the hottest in LA. That was the only way we could get this band paid was by having 3 hours of Irish songs ready to go for these pubs! Most bands our age weren't putting in those hours at the bars. Our original material has expanded quite a bit beyond the Irish sound, into an Americana/revved up roots sound. The Irish storytelling, rhythms and melodies will always be this band's backbone, I believe, no matter what we're writing. My Grandmother's maiden name was Gannon and I owe it to her. She took me to Ireland when I was 18 and I fell in love for eternity. I've since developed my own relationship with Ireland beyond my heritage and it has tremendously colored who I am as a human being, the literature, the people, the history.
Joshua TRILIEGI : When we first spoke, two years ago, you performed live at our magazine release party. Whats happened since then and tells us about the new music ?
Patrick Rieger: We are the most exciting to watch Irish/Americana Folk-Rock band in Los Angeles. In 2014 alone we played 44 gigs at over 26 venues throughout the LA area and Southern California. We released our debut album, Holy Water. We were interviewed by the Pasadena Weekly. We played our first major festival, Get Shamrocked in September, 2014, and shared the stage with some of our favorite bands like Old Man Markley, The Mahones and The Young Dubliners. 2015 has brought us our first music video, shot completely on location in Angeles National Forest and one of our favorite Irish pubs, Ireland's 32, where we have a residency. We've also booked our first tour of both Southern California and Northern California for this coming March and May, completely on our own. St. Patrick's Day brings a personal honor for the band, headlining at The Tam O'Shanter Inn, where Whiskey Sunday was born and bred. We're embarking on a momentum-filled year fueled by gratitude for the fans and venues that have showed us so much love and support.
Joshua TRILIEGI : You are also an actor, do the two crafts inform one another ?
Patrick Rieger: I joked for a long time saying, "I'm not a musician, I'm an actor and this is my longest running role." Maybe I still believe that sometimes but I can't tell you what a pleasure the process has been letting one inform the other. When I take on a role I have to bring truth to that story and love to that character. That's what I work for every night onstage and you know what? It's the same with the songs! When you are selling the truth, leaving your blood on the stage, it doesn't matter what the chords are or what lines your reading. The best part is when you yourself are moved, then that audience can't help but feel it. Telling the stories truthfully is what I do.
Joshua TRILIEGI : What do you think are the all time classic Irish Songs ever recorded ?
Patrick Rieger : My Grandma comes from a Bing Crosby, Danny boy generation. a different Ireland. I loved it growing up. The first time I heard The Pogues, Fairytale of New York, I think I cried, and I still cry every time. There is beautiful Irish music filled with history that I can't get enough of, "The Town I loved so well," there is music to come from Ireland that was so important and politically moving, "Alternative Ulster." And sometimes I just want to rock out to Thin Lizzy. Right now I'm devouring Damien Dempsey's whole catalogue, an incredible songwriter both in an Irish capacity and for anyone all over the world.
Joshua TRILIEGI : Your from the Mid West, the same city as Prince. is that atmosphere somehow naturally musical ?
Patrick Rieger: You better believe it! South Minneapolis is in my veins every time I step onstage, every time I sit down to write a song. Prince, Dylan, Atmosphere, Jayhawks, Trampled by Turtles. That's not even scratching the surface. You've got to do something with those long winter days and nights. We join forces as a state, as a collective group of people in winter coats to beat seasonal affect disorder down with tunes! In the car, in the living room, in the bars. Keep singing to stay warm ! My whole family celebrated life with music & whether it was typical or not for Minnesotans it was beautifully typical for us.
Joshua TRILIEGI : Thank you for spending time with us, before we go, Tell our readers why we you make music ?
Patrick Rieger: I believe we make music to stay alive. I never thought I'd be doing it professionally. When the acting business got slow for me in LA I had to find another way to tell stories and stay alive. The facts in your life might be a great skeleton or bone, your job, your income, your house. I tell stories though, that's flesh and blood, what's the point otherwise? This is what I'm called to do, tell stories. Bruce Springsteen said the Irish and Italians walk through the door with their fists and their hearts first. It's not the easiest way to live but I couldn't imagine it any other way. Who doesn't want to hear stories, hear music and stay alive with your flesh and blood pumping? If they're out there, I'm not sure those people and I have a lot to talk about.
Joshua TRILIEGI Where can our readers visit you and or see updates for shows ?
Patrick Rieger: New Album here https://itunes.apple.com/bm/album/holy-water/id894217092
New website here: http://www.whiskeysundayband.com
THE HOUSE THAT TRANE BUILT:
STORY of IMPULSE RECORDS
By ASHLEY KAHN on W. W. NORTON PUBLICATIONS
Review By Joshua A. TRILIEGI / BUREAU of ARTS and CULTURE
Most music fans know who John Coltrane is, and what he did for jazz music, for saxophone players and new music spirituality. What you may not be aware of is that John Coltrane & his version of ' My Favorite Things ' in Nineteen - Sixty - Five, helped to create an entire label that went on to reinvent and support a bevy of new jazz artists. The impulse label, which was originally fueled by funds from ABC & hits by Ray Charles, such as, One Mint Julep, went on to become a leading label with an original look, style and feel. Album covers that opened up & told a story with extended liner notes, helping to create a dialogue and intellectual take on a lot of great new music that helped to fuel new jazz movements.
" Kahn is like a Cool Daddy professor who simply loves the Music, the Vibe, the History of Jazz … "
The story of Impulse records is an interesting one. Ashley Kahn' s research, phrasing style and flashback / flash forward writing, suits the subject well. Plenty of photographs, samples of albums and an incredibly thorough discography with just about every album, release date & important phase the label went through. Mr. Kahn has written extensively on Jazz with his books on Miles Davis as well as John Coltrane's infamous Love Supreme. Sonny Rollins, Chico Hamilton, Yusuf Lateef, Elvin Jones, Tom Scott, Charlie Mingus, Coleman Hawkins & Pharaoh Sanders are just a few of the artists that followed Coltrane on Impulse and also honored him with nods to his influence, musically, technically and sometimes simply naming their songs after some type of Coltrane influence.
Kahn is like a cool daddy professor who simply loves the music, the vibe, the history of jazz so much, that the reader, his students, soon find themselves steeped in fun facts that make up what we call jazz. From the inception of tunes, recording, players, dates and places, all bases are covered in this comprehensive jazz companion. From the time John Coltrane came to the label and into his leaving the planet. The story reveals itself as important and informative. Alice Coltrane proudly picked up the mantle and carried it throughout her lifetime.
" The Jazz Solo is Never the Same after John Coltrane, Neither are We. This is a good companion to that legacy and to a very important Jazz Music Label."
As the book reveals in Chapter six, " Died " was not in Alice Coltrane' s vocabulary. You got that right. John Coltrane may have left the planet. But with Impulse, his legacy, his fans, his family and books such as this one, as well as Kahn' s other works: the Coltrane legend is indeed alive and well. Highly suggested for those who wish to learn more about a great contributor to jazz music and the vocabulary of the great American Arts.
With titles such as A Love Supreme, Ascension, Om and Cosmic Music, Coltrane completely transformed jazz into a totally spiritual idea. From 1962, until his untimely passing, Coltrane recorded albums and songs that have yet to be resolved, understood or entirely digested by any particular critic, audience or movement. He was exorcising his demons, inviting in his angels & taking what we considered as a pastime into a full on religious experience. The jazz solo is never the same after John Coltrane, neither are we. This is a good companion to that legacy and to a very important Jazz Music Label.
BUREAU MUSIC : THE ROLLING STONES
Art, Music and The Rolling Stones
by Joshua A. TRILIEGI
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Mick Jagger, London by Herb Ritts (American, 1952–2002)
1987 Photograph, gelatin silver print Museum of Fine Arts, Boston.
Gift of Herb Ritts Foundation © Herb Ritts Foundation Photograph © Museum of Fine Arts, Boston BUREAU OF ARTS + CULTURE |
It has been over thirty-five years since I first experienced The Rolling Stones perform live. I was ten years old. It was Nineteen-seventy five and our entire family attended. Mom, Dad, older brother, older sister and me. Even back then, I was the artist of the family. So it was my job to paint the famous " Lips and Mouth " logo originally created in 1970 by fellow artist John Pasche. Later, Peter Corriston would go on to design The controversial Some Girls album art as well as Tattoo You. Some Girls led to law suits. I have a copy of the original with celebrities that have since been blacked out. There has always been a very special relationship between art and music. The Rolling Stones have known very well through their personal relationships with interesting artists of their time how art and music intersect. From the fabulous photography of Michael Joseph on Beggars Banquet, which opens up into a centerfold like layout of a 17th Century painter to Sticky Fingers and the infamous Zipper and banana by Andy Warhol. Robert Frank's documentary and photographs used on Exile on Main Street with the help of John Van Hammerveld 's design layout were striking and poignant.
There is a raw and honest intensity within the ethos of The Rolling Stones. An attitude and raunchy style that says, ' Hey man, this is the way it is, this is Rock and Roll. This is what life is like. This is who we are. Mellow out and listen " Experiencing The Rolling Stones at ten years old in a live venue with thousands of people and my family was a trans formative experience. A Ritual of the highest order. While my friends were at home watching The Brady Bunch and The Partridge Family, I was watching Mick Jagger dance down a star shaped stage as the conical shape slowly lowered one petal at a time. " Please allow me to introduce myself, I'm a man of wealth and fame..." Drums, guitar and that bongo like rhythm leading into a raging histrionics explaining what had just happened to America since the death of JFK and the loss of innocence that hovered above our existence, unexplainable except through music, poetry and the like. He swung from a rope high above our heads.He threw buckets of water on the first few rows. He danced astride a plastic inflated erectile shaped instrument that exuded confetti from its pointed top. Mindblowing. Of course he needed no introduction, we had grown up listening to the Stones, glowering over the albums and remembering the lyrics. From the early simple blues influenced love ballads into the post sixties dark tales and on into the seventies rock.Through to The Eighties, Steel Wheels, etc ...
Album covers, album liners, T shirts and memorabilia plays a large part in Rock and Roll.The images that will forever be connected to the music and visa versa. I have designed a few album Covers for musician friends and it's always a special sort of assignment. What will represent the music ? Images and sound wedded to tell a larger story. As we drove to the forum that evening, people began to beep their horns at the artwork on the back window. My parents had proudly taped my version to the back of the vehicle. When people began to react, I was surprised. For me it was just a personal expression, something fun to do, be a part of the scene. For others it was something altogether different. We were all a part of something. We were a family of Rock and Rollers and people wanted us to know, that they too were heading to this ritual. That it was a community and we were all connected through the music. We were connected in this counter culture experience.
It was the first time I realized the power of Art and Music and Ritual and Community in a way that changed my entire perception.I sometimes wonder how many other ten year old were at that concert ? Not too many. How many entire families attended ? Not too many. My old man insisted that we all attend. He is no longer on the planet. But every time The Rolling Stones are being played, he's here all right. He even slightly resembled Jagger and to be honest, Mom resembled Bianca. We sorta were The Rolling Stones. Music has a way of enlivening memories, history, loss, joy, energy, rebellion and the acceptance of the moment.
Music is life. In a way, Mick Jagger is my old man, he's still alive. Still Rocking and Rolling. Still kicking and screaming. Still selling a million albums and reminding us how far we have all come after all these years. The Rolling Stones tell a story of America that is highly influenced by Black America, The Blues, The Working man, The Bikers, The Lovers, The Outsiders, The Struggles. Its a beautiful tradition, Rock and Roll. With a new Documentary on HBO, " Crossfire Hurricane " as well as a new album and a Tour of America,The Rolling Stones are gathering no moss. There is a whole new generation about to discover the Stones. They have kept rock and roll alive. I still get teased from my family for passing out three quarters of the way through the concert. That was way past my bedtime. The next day my friends at school were talking about Fred Flintstones and George Jetson, while I was singing , " Wild Horses " , " Angie " and " Satisfaction". Oh well.
The other day, I heard a radio D.J. say , " This is a new song by The Rolling Stones."Its about time. I turned it up. It was good. Life is good. Rock and Roll is good.
SEE WHATS HAPPENING ACROSS THE UNITED STATES AT ALL BUREAU SITES:
MORRISON HOTEL GALLERY
SUNSET MARQUIS in West Hollywood CALIFORNIA USA
A world-class gallery with Classic Rock & Roll Images that tell the history of Music, here in the States and abroad. Jagger, Miles, Janis, Dylan, and of course Morrison & The Doors, to name a few. Although the catalog is centered in the Rock genre, there is also a strong representation of sports related images and photographers. Rep-ing over a hundred world class photographers. Were pretty lucky to have this imagery here in Hollywood and what better place than the lovely atmosphere of The Sunset Marquis ? Full of natural light, poolside glamour and a full service staff for luxury and leisure, it's a perfect fit. These days, art collectors, galleries and fans are finding new and creative ways to celebrate, sell and collect classic imagery. This gallery attracts a full turnout of interested & interesting talents, including: Julian Lennon, Gary Oldman, Billy Bob Thornton. With many of the stars in attendance being represented on the walls such as the great portrait of Billy Bob or actual photos of historical characters they have played on the screen, such as Gary Oldman' s star turn as Sid Vicious. Julian Lennon is actually curating shows from this galleries catalogue.
"Within music is a great meeting of the minds, hearts and ideas. Hollywood, the music scene, technology and the great all mighty dollar' s influence can never truly change what makes music great and that is simply: The Musicians. People just like you and I who happened to write a great phrase, a tune, a some thing or other that others felt was worth preserving."
It is refreshing to see how important these images of those we cherish & love have become. As the Music scene becomes more and more watered down, tame and politically correct, these images are a reminder that people make music. Real people, who write about life, love, loss, change, history, struggle and sometimes war and peace. Within music is a great meeting of the minds, hearts and ideas. Hollywood, the music scene, technology and the great all mighty dollar' s influence can never truly change what makes music great and that is simply: The Musicians. People just like you and I who happened to write a great phrase, a tune, a some thing or other that others felt was worth preserving. These images remind us that some of our favorite stars in Jazz and Rock & Roll were thrust into the lime light, some times unsuspecting, other times fully aware. Music is a time and a place, an ephemeral and transitory experience. The great art of the photograph reveals itself to be an extremely important component to what we now realize is a relatively impermanent and individual thing.
We may not have been in the room, on the road or at the studio with Bobby, Mick, Bowie or Sid, but we forever have a glimpse, a symbol, a record of a time that once was. On the one hand, all of this is history, on the other, here we all are, talking about projects, reflecting on people, yearning to make that connection between image, sound, the people and places that we deem important. Many of the performers in these photos are no longer with us. But when I see Miles Davis blowing on a trumpet, I can only feel that he never actually left us at all. I hear the music. I sense the cool. The wail / The pain / The joy / The suffering / The madness that it takes to dedicate your life to art. To go on tour, to leave one's family and friends behind, because you love some thing so damn much that ya got no choice but to play for the people. Life on the road is tough. Sure, there is the fun side, the parties, the fans and audience applause. But the sacrifice that goes into being a musician is most likely un-photographable. Many of the images represented here show the playful, passionate and professional side of life. Music has that special, undefinable ability to transport us to a time and a place that has long ago passed. The decades seem to disappear and suddenly there we are, once again, in the prime of our lives. One can' t help but think about, and study these photos a little deeper to realize that life is very precious and that every body, every where, whistles a tune they love or has a memory related to a favorite song. Through the magic of music we float above the mundane, the maudlin, the morose moments in life. Images and music will always have a relationship that retain a bit of mystery. In this instance, a bit of that mystery is revealed. The curtain is lifted, the stars shine and through it all, time and time again, the song remains the same.
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| PHOTO : JOSHUA A. TRILIEGI ZEV YAROSLAVSKY AND JAZZ GREAT WAYNE SHORTER AT LACMA ALL RIGHTS RESERVED |
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CAT and MOUSE Trio
Everyday new Bands from all around the World come into Los Angeles to make a mark.
An Interesting Trio is in Town tonight at The Whiskey on Sunset. These boys are from
Sacramento, Pavement territory for those that know much about the great center of
our state of CALI . Trios are rare in Rock and Roll. A drummer and two guitar players
are , uhm , extremely rare. First time I ever heard of a combo such as this. Driving into
town to throw down at the Classic Whiskey is a rite of passage for any new group.
The Bureau ran into these fellas at our local Coffee Shop in Silver lake, Intelligentsia .
We started up a casual conversation about the Guitar Player's new puppy and all the
attention it was getting him, unwanted at that. When I heard they popped into town for
this gig, I asked them over to the office for an impromptu interview, promising to send
out a swift e blast to let everyone know that the time to catch these New bands is now.
Three friends start a band and a year later they have a CD and are here in Los Angeles
to make connects, play their music and hopefully get the word out. In the old days,
they would be hoping for an A & R person to show up and offer a record deal. In
today's day and age, a band hopes to have you buy their CD, visit the website and
get on their mailing list for the next gig, maybe have your friends tweet about it.
The BUREAU is doing it's part by supporting New Music and letting L.A. know about it.
Cole Mayer , Thomas Hatch and Jarrett Foss make up the band. Driving the proverbial
Magic School bus once again. This music is Special. Its jazz rooted sound, but with a
free form rhythm . The players rely on what they call a tapping method. Changing
dynamics, repeating tones with a mellow to massive vibe that moves quickly between
timing in each song . With titles like " Field Trip " and " The Chase ' . There is a
random quality to naming songs,its all part of the act. This is the latest incarnation
of a five year experience including playing heavy metal. This is their Jazz experience.
" We kinda wanted to do our own thing and not be so bound by the boundaries of
metal." Jarrett explains. " We don't use delay pedals, effects or artificiality " . This is
purely Instrumental territory.
Think Green Onions meets Rush in say Herbie Hancock' s Rocket period. Two guitars and
a drummer in a strange new dreamlike land of , well , some place without a name, cause
this is all F*cking NEW. An organic way of throwing down and for my money this is a cool
young trio. Doing something way out of the ordinary and I highly suggest you check them
out. If interested go to www.SkidRowStudios.com to hear the Pinata Hour Radio Show .
Also go to their facebook page : Facebook.com/catmousetrio They will also be playing at
IMPULSE Festival on April 26 though to 29th 2012 on their own Turf up in Central CALI !
Exit Music
Just in from Brooklyn. Exit Music played a
dreamy, spiral in-drenched set of music
that immediately took me out of the club
as I hovered a good planet or two above
the earthlings that surrounded the place.
A quartet with a synth/keyboardist sharing
some of the echo like bass with the stand up
drummer , a Thurston Moore-ish Guitar
player whom has a type of chemistry with
his singer whom writes the songs. ' Draw
a line and stand behind it ... ' one of
the lyrics that reverbs through the mind.
The vocalist has a Souxie and the Banshees
style, but with her guitar partner a Sonic
Youth-y bit and the synth adds a touch of
Cat Power to the mix, or so said the fella
in the parking lot after the set. I was
still floating back down to earth, no
strings attached, like a feather one
sees floating down from a several story
skyscraper, spiraling back to gravity.
Certain music adds that euphoria -ish
aftertaste, like a good liqueur, or an
exhale of unblemished tobacco, Cuban or
nor cal, or even just a drink of fresh
water, it just feels good, it takes you
there and you are relieved, quenched,
a little stoned. Music can be that too.
Exit Music is mature vibe for such a
young group. The Singer and Guitar player
have been doing their thing since 2009 and
the other fellows joined in a little more
recently. Sometimes when a thing comes
together so well, it can seem easy or
simple or even elementary, but it is
usually a lot more complicated, abstract
and developed than one might realize,
music is like this as well. Exit Music
is making it look easy, but this is no
two and two is four, this is trigonometry
of the soul, it is a kind of rocket science
of the mind, a nitro drift of the bloodstream .
Meeting these bands and knowing that they will
play much larger concerts in their future is a
bit of an honor. One hopes they will have the
stamina, health and wisdom to make it through
the decades that lay a head. Its a long and
winding road, as the song says so famously.
Exit Music takes a deep and somewhat intellectual
route. But have filtered it through a kind of
Mazzy Star lens of sorts. One is left with a
lot of feelings after this set of music. The
kind of elation like vibe after a good jaunt.
Its not an emotional work out as much as a
hitchhiked ride in the back of a spaceship.
Next stop Venus. Just have them drop you off
around Saturn on the way back, and you will
drift home from there. With a little Exit Music
we enter into a new kinda zone. Getting back
into the real world after hearing their songs
is no easy task. Worth taking the long way home.
Emoni Fela
I caught the last few songs of a lovely & powerful
African American young lady with a mohawk. She has
the vocal power of Tina Turner, the Rage of Nina
Simone and the Rhythm of any number of wanna -be
Rock & Rollers, but she is no wanna - be. She is
Emoni Fela . I was blown away by the raw power and
properly channeled anger or angst or just plain honest
communication that she is able to put forward in her
songs, lyrics and performance. Backed by a drummer and
single guitar , this young trio of players is the future.
In the past, bands like Black Flag and the Sex Pistols
had originally put forward their protest Rock and opened
our eyes to what could be done when we rise up and say a
word or two about pollution or bad leaders or just stupid
war mongering groups through the years. Emoni has been
honing her skills since then . I had a chat with her at
this years Sunset Junction.Her trio is still going strong
and I believe she is getting ready to record soon. You don't
easily forget powerful performers once they catch your eye
or ear or heart. I can say without exaggeration that I was
startled into a state of awareness when I heard this girl
and her trio rip the veil right before our very eyes. She
is a force.
The only thing true comparison would be the singer of the
Bell Rays, but even then, Emoni Fela is so young and has
so much new music to write and perform that comparisons
would not be fair, lets just say that we have an original
young talent that television shows would not know what to
do with. Let us support these new bands that have the guts
and talent and discipline to tell it like it is. As the
great Composer Arnold Schoenberg put it back in the day,
while fleeing to America from oppressive forces in his
homeland, " If it is Art, it is not for the masses. If
it is for the masses, It is not Art."' This is ART !
They played at The Kibitz recently.
LA FONT at
Silver lake Lounge
The Free Monday Night Concert Series at Silver lake Lounge
continues to be a great place to discover new bands, grab
a beer and meet folks from the neighborhood and around the
world. We caught a New band with the energy of The early WHO,
the vocal tonal qualities of Jane' s Addiction and the fun
and casual attitude of a middle finger held mid air of say ,
Pavement , all a plus as they really have their own style
altogether.
LA Font as in the typeface FONT , though they could be called
LA Funk, LA FUN or even LA Fucked, if ya get my drift. With
lyrics like, " It's a fucking Joke..." , " What was I to do ...? "
and " It's just not enough .. " as its mainstay, LA Font is
tapping into the angst and post Rock & Roll LA Music scene with
a tightly sewn package of players , three guitar and a drummer,
that pretty much explain where the young folks are at these daze.
This group probably rehearses their asses off back home in the
garage, but when performing, there is almost a throw away style ,
like they could really give a f*ck what you are I think. It's not
jaded by any means, in fact it's fun, energetic and a bit experienced.
Like the story one hears about James Dean being rather dubious of
casting directors who were promising him parts in Rebel without a
Cause. He would believe them once the contract was signed kinda thing.
The Lead singer has the energy and gusto of a train wreck , while the
drummer slams the power and either guitar player sides up like bookends
to his extremely excitatory style. These are the kids next door, down
the street and in front of the skateboard shop. There was even a touch
of Primus as the Bass man every now and then strutted his stuff like a
Panther on the loose.
These fellas are impressionable and I hope to see more of them in the
future. Its rare you find a group that lifts your spirit, but that you
could also recommend to your twelve year old nephew, this would be that
group.One of the guitar players looks about my nephews age, but promised
he was over twenty one when I asked the girl selling t - shirts , " How
olds that kid ? " Check out their website for more info. They have Vinyl
and CD's available, I suggest you buy two. One for you and one for nephew.
Eddie Nichols
Eddie Nichols has got a Rock & Roll Recess happening at the
Redwood Bar & Grill. Last night's show was by far the best
night yet. It's his regular Wednesday Night House Band kinda
thing . People from all over town drop in to be a part of
Eddies circle of Fun . Eddie is no push over , but he sure
is a great guy to watch and listen to. Phil Alvin dropped in
and blew the roof off the place with some great traditional
Blues Tunes. The Blasters are an important part of Southern
California's Americana Music Scene. Uh, Downey to be exact.
They fired up the entire Rock - a - Billy scene. All the while,
they had the deepest respect from other edgier bands like " X "
and other Punk related Bands of the time. The Blaster' s were
the tightest act and most energetically charged Americana band
that came out of L.A . From the get go. Hands down . Check out
Dave Alvin's record catalogue, especially a little known album
called, "Dave Alvin : Every Night About This Time". He's the
songwriter and core of the Blasters. Anything by Dave Alvin is
worth listening to. Dave has a lot of heart and soul as well.
I was lucky enough to have parents that turned me onto their
music through live shows and Albums and cassettes. One time
my brother and I were up in the mountains of Kern River, we
were blasting the yodeling song on their first self titled
album. As we pulled up to the local store , a kind of traditional,
backwoods outpost, an old fellow on the front porch whom sat
with a corncob pipe and a rocking chair heard the yodel , jumped
up from the chair and , I kid you not , did a jig. I will never
forget that. We all laughed. The power of good music will always
bring strangers closer.
No one did a jig last night, but it sure was a rockin' little
scene. Long Tall Brian Hogan followed Phil, a hard act to follow,
with a smooth rendition, Elvis meets Conway Twitty of, "... a
little more Action, a little less Talking... " He jumped off the
stage and crooned old school to the Ladies whom loved it , as
far as I could tell. Then Lil Moe Everett graced the stage.
I caught little Moe' s act a few years back at a local bar,
walked in on the last ten minutes and immediately saw something
interesting going on. An extremely energetic performer, small
but mighty. Lil Moe has that charm where your girlfriend will
have a crush on him, but by the end of the night, you'll consider
him a little brother of sorts, worth protecting.
Later out front, We all bragged about our record collections and
had a wonderful Wednesday night while the rest of the city either
slept, watched T.V re - runs, or simply rolled over and sighed,
" 'night honey ". While Eddie and the gang were up there makin'
honey flow for the birds,the bees and us to know.
I am suggesting for all you Cats and Dolls to step on out of your
comfort zones and get out to support your local scene. While your
at it, buy me a beer, tip your local bartender, he may have served
your country for four years, and toss that homeless guy a buck, we
did, and the worlds a better place for it. That's the report from
Rock & Roll Recess with Eddie Nichols and the Gang. Hop & Scotch
anyone ? Hey, It's Summertime in the City of Angels, let's get
Rockin'! See you there next week. Also to check out Eddie's Big
Band history as one the most original crooners & characters alive,
simply Google : Royal Crown Revue or The Redondo's Doo Wop Band .
Same goes for Little Moe at: Lil' Moe & the Unholy 4 CHECK OUT
EDDIES REGULAR GIG WITH ROYAL CROWN REVUE AT :
EDDIES REGULAR GIG WITH ROYAL CROWN REVUE AT :
Herbie Hancock
and The Los Angeles Philharmonic
Something happened the other night that was extremely rare and were
not talking about the steaks that were served after cocktails and
before dessert. Although phonetically speaking the stakes were high
as well as rare in this case, for Classical music that is. To have a
master Jazz musician like Herbie Hancock perform piano for The Los
Angeles Philharmonics opening season Concert in an all Gershwin
Program was indeed a risk. One that payed off plenty for those whom
bet the long shot.
Mr. Hancock rocked it ! Los Angeles has indeed become the metropolis
city that Rhapsody in Blue has often represented . A seminal piece of
Music that was inspired by the ephemeral sounds of Metropolitan City
life itself. To hear it reinterpreted by Herbie Hancock,Gustavo Dudamel
and the LA Phil was a watershed moment indeed. We spoke to several attendees
directly after the Concert.
Bill and Caroline Powers of the Thelonious Monk Institute of Jazz ,
enthusiastically expressed that, " Herbie is one of the most talented,
laid back , brilliant geniuses of music that there ever was and to be
able to go from Jazz to Blues to HipHop to Techno and wrap it all all
with Rhapsody in Blue was just pure talent". Bill expressed a pride
in their associations with the Board as well as the acoustics at Disney
Hall. Between the two, they have chair positions at the Kennedy Center
in D.C. & The Hollywood Bowl, but admitted that, " Tonight's special
performance was extra special, and although we attended in D.C. recently,
there's really nothing like a performance at home, here at Disney Hall ".
Gloria Molina , " It was fascinating listening to John Williams describe
how many great Composers through the years have taken refuge here in
Los Angeles. We have always had great arts and culture here in Los Angeles.
From the 1940's through to the present time. We have our own culture here
in Los Angeles that is very unique and very special. Tonight's performance
is an example of that ".
" We loved the interaction between Herbie and Dudamel and that Jazzy
edge they brought to it " exclaimed Ann Colgin and her husband Joe.
Lynne Littman, had this to say, " Herbie Hancock is one of the
only people who could have reinvented Gershwin in a way that was just
great: the two of them benefited " .
Zev Yaroslavsky, " Herbie did a masterful job in playing Rhapsody in Blue,
it was very exciting, I havn' t seen or heard anything like that before ".
Tom Liotta , " It was simply astonishing, almost iconic. It was really
incredible. Its my first time here, actually, so it was a great way to
have my first experience here in Los Angeles at the Philharmonic.
Frank Gehry, " Herbie sounded like he was making it up as he was
going. That's amazing, it's a miracle. We all try to do that in our
work. The dude was spectacular as usual. The LA Phil is going to do
all kinds of great performances , their going to do all kinds of great
experimentation with The Green Umbrella Project and their going to keep
spreading the joy. Ernest Fleischmann [Visionary LA Phil Impresario]
would be very proud of all of us.
Jerry Sanders, " We thought it was the best one ever. It was very American,
a great celebration of American Art. We have some New York people saying
we beat out Carnegie Hall, they' re older, but were better ".
Jan Perry, " I believe this area is becoming the epicenter for arts and
culture and cutting edge art , too. This kind of a performance tonight
comes as no surprise because this is the place to put it to the audience
and let them embrace it. There are so many architectural choices, artistic
choices, cultural opportunities, culinary arts, travel , tourism, people
from all over the world coming here now. We are a city with extraordinary
people whom are very accessible ".
Matuka Benjamin " Gustavo Dudamel was outstanding , he conducts from the
heart, Zubin Mehta, whom I adore, would be very proud to pass the torch to
this young man".
Bernard Fleischer of Vienna described the evening in this way,
" The LA Phil is different than other orchestras because they
take what's here, in terms of culture and musicianship and bring
it out for the openings, so I think it's moving and interesting.
There is always an interesting soloist in there. Gustavo and Herbie
and Gershwin are a perfect match. There was an electrifying vibration .
The LA audience is not so narrow casted when it comes to music making.
Which would be different in other cities like New York. LA is more
open and less academic. People are use to contemporary music, be it
contemporary Classical music or Jazz or the Classical repertoire,
if it's done well, that is important. He [ Herbie] is a virtuoso,
let's face it".
Quincy Jones " It doesn't get any better than this, Gustavo is
amazing, Herbie' s performance tonight was a game changer ".
Larry Schmitt " There was an interplay between Gustavo and Herbie,
where Gustavo is looking over his shoulder and they were sort of playing
off each other. Gustavo brings an amazing energy to the orchestra where
you can see the body language of the players, the excitement is charged."
Bruce Adlhoch " The Concert was Absolutely amazing ."
Vikki Levine, " It was magical, it was inspiring and it was joyous."
Michael and Lesley Suiter, Lesley starts us off with, " The sense of
anticipation in the room was incredible. Herbie would almost take you
there, you were wanting to hear that melody so bad ". Michael chimes
in, " I had never quite heard that much Jazz in the work before, but
tonight drove it completely home ". Lesley adds, " You felt that urban
feel, the honking of horns, that sort of feeling of an urban city and
you know, here in downtown Los Angeles, it suited the environment, I
think it felt right here.We as Angelenos sort of get that same feeling,
I think, from our city, its busy, its bustling, we long for it the same
as An American in Paris would long for New York. And pairing it too with
the Cuban Overture, that really brought it home to L.A. You've got urban
L. A. you've got Latin L.A., you've got all of it together, that was
really great. "
Jeff Snyder " It was the best performance I have ever attended here.
Great. Having Herbie Hancock was like a mix of this earthy side of
Gershwin and the orchestra coming in behind was almost ethereal. I
thought it was a beautiful contrast " .
Judy Carmichael
LIVE at Vitellos in Southern California
You may have heard the work of Judy Carmichael on her incredible radio show
and Jazz Interview web site Judy Carmichael's Jazz Inspired . Available on
Serius XM Channel 122 or your local NPR. You may not have heard her new album
entitled, ' Come and Get It ' . Since I have, let me tell you about it. It's
got a very purring quality, a knowing, a winking , a I've been there so I know
kinda thing going for it. First of all , I should admit that I want the music
for my own film projects, but that should not exclude me from writing about
her work by any means. Without stepping on the toes of legends, I will say
that there's just a bit of that purring mentioned that reminds me of the
Fabulous Catwoman herself : Eartha Kit.
One of my favorite tunes is the appropriately titled, ' All of The Cats ' .
It's got a square girl gets fun in her life bounce that stays in your ear for
hours after its been heard . Judy is and has been an accomplished pianist, but
this is her vocal collection and it deserves radio play . The title track,
' Come and get it ' continues that playful, jaunty style , but takes it a bit
further . She's got some great players like Tony Monte who has cut his teeth
with Johnny Hartman & Peggy Lee to name a few. All of the players from Ed
Ornowski , her drummer on this cd and on the tour that supported it as well
as Nik Payton , Mike Hashim , Dan Barnett & Jon-Erik Kellso on brass.
Dave Blenkorn on guitar. They all come together to make a playful, teasing
album that is to me : Happy Jazz. Touring Players change according to Judy's
schedule, so check out whom she may be traveling with on this tour and always
support live Jazz and Touring Jazz Artists.
As a pianist, Judy's got Fats Waller down and then some . She also covers Duke
Ellington with a great version of ' Wanderlust ' & ' Everything but You' .
' Gee Baby ' is another fun song as well as her own tune, ' Boisedale Blues ' .
Again, this is happy, walking music, music to flirt by , music to surf by, music
to turf by, its a fun album & you can even drive to it, if thats your thing .
Besides the fact that she runs a non profit that supports music in schools.
She has interviewed everyone and anyone who has been inspired by Jazz, from
E.L. Doctorow to Robert Redford and many Jazz greats large and small . The
thing I respect about her interviewing style is that Judy gives the same attention
to each person regardless of they're status, regardless of their race, regardless
of their fame , yet always regarding the world of JAZZ . I implore radio stations
to consider picking up her show for presentation and meanwhile, to play the music
on her CD. Judy only plays on a Steinway so you know its always top audio quality.
Donate to her non profit / Buy Tickets to her Concerts / Definitely listen to her show !
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