Phish Friday (and Saturday and Sunday, too!)
Tonight, legendary jam band Phish will perform their first concert in over 4 years at the Hampton Coliseum in Virginia. Their highly-anticipated three night residency will answer the question on every hippie’s mind: is Phish good again? If you’re not already on your way down to the venue, then don’t worry. Head to <i>http://livephish.com</i>, where you can download free mp3s of each night’s gig. Check out next week’s edition of <i>The Tech</i> to read about the highlights from the weekend and predictions for Phish’s upcoming summer reunion tour.
CONCERT REVIEW When Sound Worlds Collide
Collage New Music, performing in Longy School of Music’s Edward M. Pickman Concert Hall this past Monday, articulated contemporary voices in music with a unique and refreshing ability. This isn’t a complaint about contemporary music performances: it’s not difficult to see that most contemporary music is performed by competent musicians and that it takes a very talented musician to play contemporary music in the first place.
INTERVIEW Hsunami Merge the Old with the New
At the CSC Chinese New Year banquet, the closing performance featured Hsu-Nami, a group named after founder Jack Hsu. The band labels itself as part of the “progressive Asian soundscape.” An instrumental rock band, they feature a traditional Chinese instrument called the erhu. The erhu is sometimes called “southern fiddle” and its sound can be compared to that of the Western violin. The usage of an amplified erhu lends a touch of classic Chinese folk to the predominantly rock songs.
CD REVIEW Nels Cline Drones On…
You either know Nels Cline as the thin-framed lead guitarist for the alt-folk collective Wilco, or as one of LA’s most experimental composers of avant-garde jazz guitar fronting the Nels Cline Singers. Either faction of Nels-fanatics would find something new in the accomplished guitarist’s latest endeavor, <i>Coward</i>. Though Cline’s canon dates back to 1979 (including myriad collaborations, trio projects, and a fraction of the Wilco discography), this is his first true solo album in that he composed all of the music and plays all of the instruments.
CONCERT REVIEW Antony Delivers, Johnsons Support Outstandingly
I touched Antony Hegarty’s ass. Both hands, both cheeks.
MOVIE REVIEW Waltz With Bashir
I made a mad dash to the Kendall Square Cinema one cold day during IAP to see the Academy Award-nominated film by Israeli director Ari Folman, hoping to witness cinematic art and escape my obligations for the day.
CD REVIEW Hoobastank Hasn’t Grown Up
Hoobastank is a lot like the hula-hoop. Everybody knows that they still exist somewhere and that people used to really like them, but it’s been so long since they’ve done anything remotely memorable that no one actually knows what’s happened to them. Clocking in at a tepid thirty-eight minutes, <i>For(N)ever</i> resembles a married couple’s 25th anniversary night activities: too short to be satisfying, but mediocre enough that you’re still glad it’s over quickly.
CD REVIEW ‘Artificial Fire’ Is Raw and Honest Art
Two years after the success of her 2007 Zedtone release <i>Miracle of Five</i>, Eleni Mandell is back with her latest work, <i>Artificial Fire</i>. If you take a quick listen to <i>Miracle</i>, you might not imagine that the same artist is the mastermind behind both albums. However, that’s where Mandell’s strength as a songwriter and band member comes through.
CD REVIEW The Bad Plus, Plus One
Jazz is a genre that consistently flirts with risk-taking. Whether this manifests itself in compositional structure, instrumentation, harmonic choices, or transcending implicit musical boundaries, The Bad Plus is a group that has done it all. Since the release of the group’s first record on the Fresh Sound / New Talent imprint, the critic community has argued over the true categorization of these three veteran musicians from Minneapolis. At the very base, they are indisputably a jazz group. But what causes most listeners to question this blanket classification is The Bad Plus’ penchant for risk. Boasting a catalogue of astounding original compositions (each member plays piano and writes for the whole band) and an arsenal of jazz-tinged rock and pop covers, The Bad Plus explores more musical territory than most of their jazz or indie contemporaries. This past summer, at the North Sea Jazz Festival in Rotterdam, Netherlands (an event I was fortunate enough to attend) Reid Anderson (bass), Ethan Iverson (piano), and David King (drums) announced the upcoming release of their new album, <i>For All I Care</i>. They also mentioned that they’d had a surprise waiting for the audience backstage. Seasoned Bad Plus fans are no stranger to the antics that this trio brings to the stage, but there’s just one thing that fans were not expecting: Wendy Lewis.
DANCE REVIEW MIT Natya Presents Shakti: Women of Power
Last Sunday MIT Natya performed their annual show in Little Kresge, entitled <i>Shakti: Women of Power</i>. Natya is purely devoted to Bharatanatyam, a classical dance tradition originating from South India. The show utilized the art of dance to convey the stories of three women in Hindu mythology who have had notable impact on the status of women. Bharatanatyam is an extremely technical and challenging dance form that incorporates percussive foot movements, which often complement the rhythm of the drums in the accompanying music.
THEATER REVIEW ‘The Vagina Monologues’
What would Valentine’s Day weekend be without a celebration of women? And I’m not just talking about getting your girlfriend or gal pals chocolates or flowers, or taking that cute girl from lab out for dinner. I’m talking about the<i> Vagina Monologues</i>, a production that has raised millions of dollars for anti-violence organizations over the past decade.
THEATER REVIEW MIT Dramashop Puts On ‘Julius Caesar’
Conspirators wear business suits. Mark Antony chats on his cell phone. The soldiers of Brutus deck themselves out in camo and army boots.
MOVIE REVIEW ★★ Shopaholic During a Recession?
Movies make the worst first dates — unless they invoke insightful discussion. This Valentine’s Day, I decided to watch <i>Confessions of a Shopaholic</i> — on a first date — because, well, I wasn’t expecting much from the date nor the movie. Instead, I had a great first date, at the expense of not taking the movie seriously.
Staff Picks
Trumpeter Dominick Farinacci performs repertoire off his US debut album Loves, Tales & Dances (E1 Music) at Scullers Jazz Club in Boston. Since being “discovered” by Wynton Marsalis at the age of 15, Dominick has charmed fans and critics alike with the warmth and rich lyricism of his sound. Produced by the legendary Russ Titelman (Eric Clapton, James Taylor, etc), Lovers, Tales & Dances features some of the greatest players in jazz, including Kenny Barron, James Genus, and Joe Lovano.
CONCERT REVIEW ‘Where the Word Ends’
It’s hard to be a living legend. It’s hard enough having one brilliant idea. It’s even harder moving past it. To be an over-the-hill performer without just regurgitating the epiphanies of one’s early years is certainly something.
CONCERT REVIEW A Renaissance Fervor
Johannes Ockeghem was writing in the fifteenth century, a time whose musical traditions may already have been lost to the ages. Ockeghem’s music, still a matter of active research and lively debate in terms of its performance and practice, was written in a time that preferred vacuous perfect intervals to plump triads at the close of cadences, when tritones were still considered <i>diabuli in musica</i>, when audiences were still intimately familiar with the melodies of Gregorian chant and plainsong.
CONCERT REVIEW Matt Wertz Rocks the Paradise
Having been branded with a black “X” on each hand and informed not to drink “adult sodas,” I entered the Paradise Rock Club last Friday for the concert I had been enthusiastically anticipating — Matt Wertz.
MOVIE REVIEW ★★★ ½ Only for the Brave Children
If I were a young child, I do not think that I would have been able to watch the entirety of <i>Coraline</i> without screaming my head off. The genius of the stop-motion 3D film is its ability to transcend age barriers.