I'm Typing This With Jazz Hands

As much as I love music, and as much info as I enjoy absorbing about the medium, I have to admit that I have a weak spot - jazz. That isn't to say that I dislike the musical style, quite the contrary. One of my favorite childhood musical memories was attending a performance at the Gaillard Auditorium by the late Dizzy Gillespie. I'll admit that I paid more attention to the jazz trumpeter's cheeks, which puffed out like a bullfrog when he played his trumpet, thank the actual music, but I enjoyed the show. My friend and classmate, Alex Haddad, was really into jazz back then, which we'll go ahead and admit was kind of weird for a seventh grader in 1983. Of course it seems that way then, but in reality ol' Alex was ahead of the curve, an early adapter, and in possession of probably the most open mind at Christ Our King Stella Maris. While Dizzy was doing his thing, Alex was sitting a couple of seats down from me, snapping his fingers and nodding his head in time to the music. I mean, that cat was swingin', and I had to hand it to him for being so free in liking what he liked and if you didn't like it you could go pound sand. 

So, like I said, I was aware of jazz, and thanks to my open-minded parents I heard a bit growing up, but since neither mom nor dad was a jazz enthusiast, I grew up listening to more rock, folk, and country. Later on, as I grew more musically adventurous, I checked out the likes of Miles Davis, Chet Baker, Duke Ellington, Charlie Parker, and even more modern jazz artists like Chick Corea and Michael Brecker. I even got to see Brecker play with Paul Simon in Germany, complete with a solo on his Electronic Wind Instrument (EWI). But even as I started on a career as a music journalist, jazz was still the weak link in my chain of musical knowledge. 

That's why I'm very thankful that there are folks such as Charlton Singleton in this world. I've known Charlton for nearly thirty years now. I was a year ahead of him at Wando High School, and thanks to my amazing ability to totally not understand anything math related, we sat next to one another in Mrs. Weiss's algebra class. Even back then Charlton knew music, specifically jazz. He played in the marching band, eventually becoming drum major. He's now the Artistic Director and Bandleader of the Charleston Jazz Orchestra. If you haven't yet experienced the incredible shows that the CJO puts on, then, well, I could say that you're missing one of Charleston's best kept secrets, but in all honesty the CJO is anything but a secret any more. As a matter of fact, so many music lovers have discovered the CJO that Singleton has had to add a second show each evening it plays at the Charleston Music Hall downtown. "We were having a great problem of being sold out with many people complaining that they didn't get tickets," says Singleton. "If you go to any major city with jazz, like New York, Chicago, or DC, there are always two sets, sometimes three, per gig per night. It made sense for us. We actually have people that go to dinner before the show, catch the first show, then go out and have drinks after the show. Some even come back for the second set."  

The CJO will be doing its thing again this Saturday night at the Charleston Music Hall, as it presents "Atomic Basie," an evening focused on the music of Count Basie. According to Singleton, Saturday's show gets its name from the title of a 1958 Count Basie Orchestra album. "The Basie band is my favorite," says Singleton. "They have a long and significant relationship with Charleston and South Carolina in general. Freddie Green is regarded as the greatest rhythm guitarist to ever live. He is from Charleston. He played with Basie for over 49 years. Basie said that (Green) was the glue that held all of the rhythm section and the band together as far as timing goes. Rufus 'Speedy' Jones played drums for Basie. He was another native of Charleston. The late Pete Minger was the featured trumpet soloist for a number of years in the 70's and 80's. John Williams is a baritone saxophonist who was one of Basie's later hires in the 70's. He's still touring with the band. Both of them are from Orangeburg." 

Singleton also urges anyone who hasn't yet experienced the CJO to come out this Saturday. "If you have never seen the CJO I beg you to come out," says Singleton. "We are extremely personable in the Charleston Music Hall. There isn't a bad seat in the house. The band and the audience laugh, sing, dance. It's just a great time! We have played Ellington, Mozart, James Brown, Michael Jackson, Basie, and everything in between." 

Singleton recently had a chance to play with Cyrus Chestnut, one of jazz music's heavy hitters, in February. "The gig with Cyrus was fantastic," says Singleton. "He was my special guest for the Spoleto auction. This was the third time we had played together." Singleton also recently celebrated another musical triumph as the Kickstarter.com fundraiser for his next studio album became fully funded ahead of schedule. "When I saw that I was fully funded with Kickstarter I was relieved, emotional, and super excited. Lots of friends contributed. Unfortunately, we hear and see the fact that governments and school districts are cutting funding for for the arts left and right. So many arts organizations are going under. I think that Kickstarter and some of the other public funding trends are a big part of the future for arts organizations."

For now though Singleton is looking toward this weekend and the two sets of Basie's music he'll be leading the CJO through. For more information about the CJO visit jazzartistsofcharleston.org.

 

Goodbye, Goodnight, So Long Charleston...

It's always sad when a music act you've followed faithfully decides to pack it in. Sometimes the breakup makes perfect sense, like when Led Zeppelin called it quits after the death of John Bonham. More often than not though the band break up because of inner turmoil, inflated egos, loss of interest (either from the fans or with themselves), or some other sad reason. A couple of months ago one of Charleston's best bands, Crowfield, announced they were calling it quits. I've been a fan of the rock outfit since the first listen to their debut album, "Goodbye, Goodnight, So Long Midwestern." One part The Band, one part early Wilco, and one part a sound all their own, the roots rock act, led by singer-songwriter Tyler Mechem, got to live out their rock star dreams for a few years. Over the course of less than five years, Crowfield went from playing bars to getting radio airplay, getting signed to a major label, and playing before thousands of adoring fans. Along the way the band recorded three excellent and very different albums, including one fully financed by fans through Kickstarter.com. There were low points as well. That major label deal went sour, and the band had to deal with the loss of a close friend when manager and producer Johnny Diamond passed away in 2011. The band paid tribute to their late friend in the title of what would be Crowfield's final album, "The Diamond Sessions."
I sat down Tuesday evening with Mechem at Gene's Haufbrau in West Ashley. Over beers and some fried crawdads we talked about the band, the breakup, and what was next.
To start with, Mechem takes full responsibility for ending the band, saying, "I was the one that brought the breakup to the table." So how did the rest of the band take it? "There was no animosity. I told Parker (Gins, Crowfield's drummer) first, since he and I are the remaining core members of the band. He took it pretty well. He said 'I wondered if you'd ever do it, but I was with you until the end.'"
So why did Mechem decide to pull the plug? "For me, there are things you start a touring band for; getting your songs played on the radio, playing in front of as many people as you can, getting your music heard. Those things just weren't giving me satisfaction anymore like they used to." Mechem also advised that the fate of a band frequently depends on the person who is writing the songs. "I saw us at a plateau, and as an artist you crave upward movement," said Mechem.
When asked about fan reaction to the breakup, Mechem admits he was surprised by the majority of the reaction. "There were some folks who were angry," he said, "but much of the reaction was positive, although they were sad to hear the news."
As a way of saying thank you to the people who have supported the band for the last few years, Crowfield will be putting on its final performance this Friday at the Charleston Music Hall. That venue is currently undergoing a renaissance of sorts. Already this year Elise Testone, Shovels & Rope, and Boyd Tinsley of Dave Matthews Band have performed at the site. For Mechem, wrapping things up at the Charleston Music Hall was a no-brainer. "I love that place," said Mechem, "the way it sounds, the whole look of it. It was only natural that we say goodbye there."
Friday's show will start with a performance by Luke Cunningham, Ryan Bonner, and John Wesley Satterfield, who will trade songs in a songwriters in the round performance. "Those three are artists we've become friends with, and we wanted to surround ourselves with friends for the final show," said Mechem. "We wanted sort of a 'The Last Waltz' vibe." Crowfield will play two sets of songs, with a short intermission in between. "We'll be playing about 30 songs," said Mechem, "so we can try to make sure everyone hears their favorite." Fans can expect appearances by just about every member of Crowfield both past and present, including founding member Joe Giant, who left the band last year to go back to school, and Micah Nichols, who now plays guitar for Cunningham's band. Bassist Jonathan Gray, one of the hardest working musicians in town, is also scheduled to play with the band again.
So what comes next for Mechem and the rest of Crowfield? "I plan to keep writing and recording, but I have no definite plans other than that I want to keep making music," said Mechem. The songwriter and his wife will also soon be busy with another release; the birth of their first child in May. "I'm trying to get all the sleep I can now," joked Mechem. As for the rest of the band, Mechem says they all still plan to make music as well through various projects.
Mechem also wanted to make it clear how much the band has appreciated the support of its fans over the years. "I know it sounds cliché," said Mechem, "but we can't say thank you enough. Everything we've been able to do as a band was made possible by our fans."
While Friday night's farewell show is sure to be a bittersweet affair, Mechem and the rest of Crowfield plan to make it a celebration rather than a wake. A few tickets are still available, and if you haven't yet seen Crowfield live, this will be your last chance to see one of the Lowcountry's most dynamic live acts. I wouldn't miss it for the world.  

Heard Ya Missed Us, We're Baaack! (I Brought My Pencil!)

Given that my blog deals mainly with music, it probably comes as no surprise that I'm pretty music obsessed. It isn't really the act of listening to a record, CD, or MP3 file, that really does it for me, although discovering new recordings and enjoying old ones is definitely something I like to do. No, for me the true joy in being a music geek comes when I can share a moment with fellow enthusiasts. That may be why I love live music so much. The experience of seeing a live act hold an audience in the palm of its hand is almost indescribable. I'm not really a religious guy, but there have been times when I've experienced a live show that pretty much equaled a divine act. It doesn't happen often, but when it does goosebumps pop up on my arms, I get a shiver up my spine, and my cheeks ache from smiling.
I had all of those symptoms going this past Saturday night as local indie heroes in Shovels & Rope made a triumphant return to their hometown for a sold-out show at the Charleston Music Hall. The show had been sold out for weeks, and the show was a hot ticket not just here in Charleston, but in places like Savannah and Charlotte, where folks were looking to score tickets at any cost. I had even bought a couple of tickets just prior to them selling out. Sure, my job usually affords me the luxury of getting into a lot of shows free, but I had a feeling about this one, and fortunately my instincts were correct. How close did I come to not getting into the show? I was in the next to last row of the Music Hall's balcony. I figure if I'd waited another 30 minutes or so and I'd have been out in the cold.
For those not familiar with Shovels & Rope, the band consists of Michael Trent and Cary Ann Hearst. Both have enjoyed successful solo careers, Trent with his excellent solo album "The Winner" (which basically hasn't come out of my CD changer since it was released nearly 3 years ago), and Hearst with her single "Hells Bells," which was featured on the HBO series "True Blood." It wasn't until the husband and wife team joined forces though that their career took off like a rocket. After releasing "O' Be Joyful" last year the duo soon found themselves in high demand. By the beginning of this year they were accepting offers to play David Letterman and New York City's Bowery Ballroom, and then the festival invites started pouring in (Coachella, Newport Folk Fest, Hangout Fest). So naturally with a buzz on them like a swarm of hornets, Trent and Hearst had to expect a huge hometown welcome for the Charleston Music Hall show.
Prior to Shovels & Rope taking the stage the sellout crowd was treated to a gorgeous performance by local musicians Bill Carson, Rachel Kate Gillon, and Jonathan Gray. The trio, all of who are friends with one another, had never performed together as a trio - at least that's what Carson told me in the lobby during the intermission. Hopefully it won't be the last. With Carson on guitar, Gillon rocking the glockenspiel (rockin' the glocken, as it were), and Gray on the upright bass, they played several of Carson's songs, most of which featured Carson and Gillon harmonizing beautifully, with Gray occasionally chiming in. Carson has a wonderfully gentle, melancholy songwriting style, and I'm guessing he made a few new fans Saturday night. After playing the title track from his album "The Great Whale - Or, Say It; Don't Spray It," Carson took time to congratulate Gillon, who just hours before had received word that her Kickstarter.com project for her forthcoming album had received full financing. It was very cool of Trent and Hearst to give a bit of the spotlight to three of Charleston's more eclectic and talented musicians for the opening slot.

After a short intermission the lights went down and the venue erupted in a cacophony of hoots, whistles, and rebel yells. Trent and Hearst took their places on the stage, which was empty aside from a drum kit, a small keyboard, a few guitars and a couple of microphone stands. Shovels & Rope then kicked into "Hail Hail," one of the harder tracks from "O' Be Joyful," and the joint went completely berserk. No, really, I'm guessing that whoever does the building maintenance on the Charleston Music Hall will likely be investigating why the roof seems to have detached from the building. I've been going to see concerts since I was 12, and have seen literally hundreds of shows. I have never seen a reaction like that at the top of a show. The audience was up and out of their seats as one, and stayed on their feet for the majority of the show.

With the opening song out of the way, Trent and Hearst kicked into "Keeper," another great track from the new album. It was pretty evident from no matter where you were sitting in the theater that the couple were getting a bit emotional up their on the stage. "Eighty-seven more!," yelled someone from the balcony, a curious yet understandable interjection that would be repeated after almost every song in the set. Watching the pair interact with one another on the stage was almost like watching them perform some bizarre tango, a tango that required one dancer to be seated behind a drum kit. While each musician had plenty of moments when they threw their heads back in musical extacy, the really great moments came when the two were gazing into one another's eyes. The look on their face to me said, "Can you believe this?" You couldn't help but smile.

Later performances in Shovels & Rope's set included Trent performing the title track from "The Winner," and a gorgeous rendition of "Birmingham" by Hearst. While tuning her guitar early in the show, Hearst voiced her appreciation at being home, and started listing the virtues of the Holy City. The duo then launched into "Kemba's Got the Cabbage Moth Blues," a fast and furious hoedown tune that features the immortal drinking lyrics, "It was a whiskey and a whiskey and a whiskey and a whiskey and a whiskey and a whiskey and a whiskey while the music did play!" A song or two later the pair gave a shout out to local graphic artist Gil Shuler. Trent performed "All Those Words," another track from "The Winner," and a few songs later he introduced the White Stripe-ish tune "Tickin' Bomb" by saying "This song is somewhere between creepy ad sexy." The title track to "O' Be Joyful" gave way to a cover of Bruce Springsteen's "Johnny 99," which sounded perfect re-imagined by Shovels & Rope.

After briefly leaving the stage, Trent and Hearst returned for an encore that included the beautiful "Carnival" from "O' Be Joyful, "Boxcar" from Shovels & Rope's self-titled debut, and yet another Trent solo song, "Bad Luck," during which the duo brought out another local talent, Clay White, to play trumpet.

The show was easily one of the better and more emotional performances I've seen in this town. Trent and Hearst were at ease, no doubt because of the number of familiar faces in the audience. They might as well have been performing in a friend's living room, provided the living room was big enough tohold about 900 people. To sum it up, if you were late getting tickets then I feel for you. This is a show folks will be talking about for years. Congrats to Shovels & Rope on their fame thus far. Here's hoping that there's plenty more to come. Those of us that have been following Trent and Hearst's careers for the last few years know how hard they both work, and no one deserves what is currently happening to them more.