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.

(It Means "Red Fox" In Gaelic)

With the month of March upon us and St. Patrick's day just a couple of weeks away, I figured I'd find someone with which to discuss Irish music. Growing up in a Catholic family with a father who idolized Dylan Thomas to the point that he named my younger brother after his love for the late poet (and, it could be argued, his equal love for Bob Dylan), to say I was exposed to Irish culture was an understatement. Heck, my little bro got off easy with his Scotch-Irish first and last name combo. In Gaelic the name Devin means "bard" or "poet," and Grant is an old Scottish surname, complete with it's own crest and tartan pattern. So yeah, I grew up eating corned beef on St. Patty's Day, lamb with mint jelly for Easter, and somehow I avoided the Irish drinking curse, which depending on which Irishman you ask is either a blessing or a curse. It might help a bit that I was adopted.
Of course, any good Irish upbringing had to include music, and my father was once again on the ball in that regard. I grew up listening to the likes of the Irish Rovers and The Chieftains, and once I was out on my own I continued to be attracted to Irish bands, including Van Morrison, Clannad, Black 47, Hothouse Flowers, Sinead O'Connor, The Waterboys, and of course, U2.
But enough about me, I was up for discussing Irish music, and then my buddy Alan Coker reminded me that this week marked the tenth anniversary of Madra Rua, one of the coolest, and certainly the most authentically Irish of pubs in the Lowcountry (sorry Tommy Condons). Perfect! What better folks to talk to about all things Irish than Madra Rua co-owners Stephen O'Connor and Robert "Spense" Spencer. I headed over to the pub and was soon seated across from the pair in one of the cozy nooks that make Madra Rua feel so authentically Irish. Oh, and yes, I've been in a few Irish pubs in Dublin and Killarney. O'Connor personally picks out most of the music you hear playing in Madra Rua. "You'll hear more jigs and reels during the day," said O'Connor, who hails from Ireland and despite living in the US for years still has that wonderful accent that makes one think of the Island of Saints and Scholars fondly. "Later on in the evening though, you'll hear a good mix of more modern Irish artists." O'Connor lists The Dubliners and The Chieftains as favorites, and also gives props to up and coming act The Coronas, who are relatively unknown in America, but who beat out U2 at the 2010 Meteor Awards (the Irish equivalent of our Grammy Awards) for Best Irish Album.
O'Connor moved to the US from Ireland in the 90's, initially working as an engineer for a construction company on Nantucket Island in Massachusetts before relocating to Charleston through his job in 1998. The idea for Madra Rua came from necessity. "I missed the feel of a real pub," said O'Connor. After meeting Spencer by chance ("My wife was in a band with Spence's brother," said O'Connor) the two became fast friends, and after hearing his friend pine for a real Irish pub one time too often, Spense suggested he simply open one, and offered to go in as a partner.
The pair searched for just the right location for their bar and soon found it on East Montague Avenue in North Charleston. Back in the first few years of the millennium, that now trendy neighborhood was still emerging from years of being known as one of those parts of town where you automatically locked your car doors from the inside while driving. Despite the fact that the neighborhood was starting to improve, the news that O'Connor and Spenser were building a pub there was met with curiosity by their friends. "They said 'Your really opening a bar on Montague?'," said Spenser, grinning. "At the time there were a few businesses in the surrounding blocks, including Aunt Bee's, Johnny's, and Idle Hour," said O'Connor, "but people thought we were crazy for picking that location."
Ten years later O'Connor and Spencer look like geniuses. The Park Circle neighborhood is in the middle of a full scale renaissance, and while plenty of other trendy restaurants and nightspots have sprung up (EVO Pizza, The Mill, Cork), Madra Rua is still viewed by many as an anchor business in the community.
According to O'Connor and Spencer, business was good from the minute they opened the doors back in 2003. "It's hard to believe it's already been ten years," said Spencer in a recent press release. "My best memories have to do with the neighborhood and the neighbors. From the day we opened our doors the neighborhood just supported us so strongly. We tried to build an awesome place for people to gather, but it takes a community to make a pub with soul. I've made some of the best friends a man could ask for at the pub."
O'Connor points out that part of the appeal of Madra Rua is that it truly feels like an Irish pub. "We're not here to see how many television sets we can cram into the bar to show the most football games," says O'Connor. While there are a few sets placed around the bar, they mostly show soccer and rugby matches from overseas. The volume is kept low though. O'Connor and his staff want the pub to be a place where friends can meet up and actually hear one another talk. They tried live music for awhile, but eventually moved away from having musicians play. "It's more all about the socializing," said O'Connor. Business became so good that the pub eventually expanded to a space next door. O'Connor remembers trying to cut through the 23-inch brick wall that separated the original pub space from the expansion space next door. "We bought a miniature jackhammer and exhausted ourselves trying to punch through that wall," remembered Spencer. "Finally, after hours of getting nowhere, we got a friend who had a diamond-tipped saw. He sliced through that wall like it was warm butter." The pub also made news recently by going completely non-smoking (previously one half of the bar allowed smoking), even though there's not yet an anti-smoking ordinance in North Charleston. "We just thought it would be a good idea," said O'Connor, "and so far our customers have been very positive about the change.  
Madra Rua already hosts some popular annual events, such as the Lowcountry Lebowski Celebration each June and what has become the Lowcountry's biggest St. Patrick's Day celebration in March. They'll be doing it again on Saturday March 16th from 12pm to 8pm. Before that though, O'Connor and Spencer are throwing a 10th anniversary party this Sunday starting at 6pm to say thanks to the Park Circle community for supporting the pub for the last decade. There will be food and drink specials, giveaways that include a trip to Boston, and other fun events. Stop by and grab a pint on Sunday if you can, especially if you've never had the chance to go to Madra Rua. Be sure to listen to the music that's playing as well. It's every bit as authentically Irish as the rest of the establishment.  
         

Whole Lotta Love

Unless you've been living under a rock for the last decade or so, then you at least have a passing knowledge of what "American Idol" is. The popular televised singing contest has earned huge ratings and given the pop music world the likes of Kelly Clarkson and Carrie Underwood. While winning the contest obviously has its perks, there have been just as many runners up that have gone on to find fame and fortune. Quick, name who won AI the year that Jennifer Hudson was a runner up. I didn't think so, and while hudson didn't win the big AI prize, she probably isn't losing to much sleep over it. If she does have any qualms about not winning, she can always talk to her Oscar statuette she won for her performance in "Showgirls."
The reason I bring this up is because this past week found a runner up from the latest season of AI, Charleston's own Elise Testone, putting on a special Valentine's Day performance at the Charleston Music Hall. Backed by a 12-piece band, Testone treated a sellout crowd to two sets of music that mixed classic rock and R&B tuns with Testone's own compositions. With it being Valentine's Day, Testone could have taken the easy way out and performed schmaltzy love songs for a couple of hours, but that isn't Testone's style. The singer-songwriter took to the stage with guitarist Wallace Mullinax and dove straight into a lovely cover of Sam Cooke's "Touch the Hem of His Garment." By the end of the song the pair had been joined by the rest of the band, which included drummer Daniel Crider, percussionist Jack Burg, bassist Ben Wells, keyboardist Gerald Gregory, cellist Lonnie Root, and saxophone players Michael Quinn and Simon Harding, as well as backing singers Shannon Cook and Diane Fabiano. The stage was festooned with candelabras, chandeliers, white ostrich feathers, and other frilly and decadent props. Testone wore a simple black dress and a pair of red shoes my wife probably would have killed to own.
Much of the first set was devoted to Testone's own songs, although she did deliver a great and unexpected cover of Gillian Welch's "Tear My Stillhouse Down." Testone mentioned that Welch herself had played the Charleston Music Hall a couple of years back, and sited that fact as part of the reason she chose the song to cover. During the first set Testone also welcomed to the stage David Bankston, who was her vocal professor when she attended Coastal Carolina University. Both musicians seemed to get a bit emotional during their duet, but not so much that they couldn't playfully make jokes at one another's expense. The set ended with a smoldering cover of the Smokey Robinson-penned "Who's Loving You," which was made popular by The Jackson 5.
After a short intermission the band kicked into the second set, and things started moving away from the unplugged performance that had been promised in advertisements for the show. Believe me, I'm not complaining about that. Anyone who has ever seen the adrenaline-fueled R&B reviews Testone used to put on at the Pour House prior to getting the AI gig will tell you that the woman can rock out. She did just that as she performed more originals, dazzling the crowd with some genuinely great songwriting skills. I hope when Testone finally gets to record the album she dreams of making, that she'll go with all originals. Her compositions are good enough to stand on their own. With that said, I was still delighted to hear Root start sawing out a familiar riff that was first introduced to the world four decades ago courtesy of Jimmy Page's guitar. Testone's performance of Led Zeppelin's "Whole Lotta Love" on last season's AI was one of the show's defining moments. Even the show's judges agreed that Led Zeppelin singer Robert Plant would have approved of the performance. At the Charleston Music Hall Testone started the classic cover slow, up until the point where Crider nailed John Bonham's climactic drum flourish, leading to Mullinax recreating Page's famous guitar solo while Testone wailed with an echo effect on her microphone. It was the perfect peak for the show and had the audience on their feet. Elise returned to the stage for one last song, a cover of local band Dangermuffin's "Homestead."
Throughout the show both Testone and her band were the picture of professionalism. Even when feedback was causing problems during one song, the musicians pressed on and overcame the technical difficulties. In the end, Testone demonstrated that she intends to make the most of the exposure she's received by being a part of AI. However it is also evident that Testone isn't about to let being an AI contestant define who she is. For those that missed last Thursday's show, Testone will be opening for blues legend B.B. King when he performs at the North Charleston Performing Arts Center on April 23.