Live Review: Anuhea at The Highline Ballroom, March 18, 2017

 

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article and photos by Ernest Barteldes

Anuhea

March 18, 2017

Highline Ballroom

New York, NY

I discovered the music of Maui-born Anuhea quite by accident. Shortly before Renata and I traveled to Hawaii, I started listening to a Hawaiian 105 KINE, a Honolulu radio station to get the place’s vibe, and one song made me smile whenever it was on their playlist. The song’s name was “Forever Summer,” a duet between Anuhea and Justin Young in which they sang about how it was always warm in the company of their significant other even if the weather was less than formidable.

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As someone who used to live in a tropical land and now has to face the reality of snow storms and a very short summer, I got the meaning behind the words, and started paying attention to the artist. I eventually got to know other tunes in her repertoire and ‘liked’ her page on Facebook, making a mental note to catch her live if she ever came to town.

To open the evening was indie singer-songwriter Mahi, who is also the guitarist for Anuhea’s band. Accompanied by his own Fender strat and drummer Revelation, he did a few covers – including Roberta Flack’s “Killing Me Softly” and an original ballad called “Be Mine.” He engaged the crowd by cracking jokes and also getting the audience to sing along to some of the tunes.

After a brief break, Anuhea took to the stage with her band (Mahi, Revelation and a bassist), playing reggae-tinged original tunes. Among the highlights was “Big Deal,” the first of her tunes to catch the attention of radio stations in Hawaii, and “A Simple Love Song,” a recent single whose video was actually shot during her first appearance in New York.

Her band has great chemistry together, and feed off each other quite well. They had wonderful three and four-part harmonies on many of the tunes, and that made for a very enjoyable experience. While she played mostly original material, she included a cover of Chaka Khan’s “Sweet Thing” with an arrangement closer to her own style. To my personal delight she included the aforementioned “Forever Summer” with Mahi taking over Justin Young’s vocal parts. There was a joke around the recent Disney cartoon “Moana,” and the band played a snippet of “How Far I’ll Go” as part of it to great response.

The set was short but highly enjoyable – I hope I get another chance to hear her live again soon.

Book Review: Horror Stories and Poems

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Book Review

An Anthology of Short Stories and Poems

by Coby Lane, Mason Casey, Patrick Murphy

and Jayson

Bradshaw

(BookRix GmBh)

review by Ernest Barteldes

“Not all of these stories are for the faint of heart,” reads the prologue for this short tome comprising, as the title says, as a collection of short stories and poems. Whoever wrote the preface (as none of the pieces reveal who the individual author is) was being coy to say the least. All of them- including the poems – have an element of supernatural and a bit of gore.

The collection begins with a very short story entitled “Car Crash,” in which the protagonist – a college professor – mourns the death of his wife, who lost her life in the hands of a drunk driver. Completely overwhelmed by grief, he drives to the same intersection where the original accident happens and ends up encountering the same fate. “He fully understood the pain his love had felt,” as the story comes to a close. “With his final breath, the man wept.”

The poems strategically placed are also less than uplifting. Take for instance, “Death”

‘Tick tock, tick tock

Went the old grandfather clock

He knew his life was ticking away

Faster than the average day

In some ways it was good,

Now he was finished with his dreadful adulthood.

The entire collection – which can be read as quickly as in three hours, is of a disturbing nature. What is the purpose of the authors, except maybe to make a bad day worse? The fact that is was published outside the US (and made available as a low-cost e-book by Amazon.com) makes you wonder about the market for horror stories an poems.

Don’t get me wrong. I actually found the book quite enjoyable, but I do have some interests on stories that go against the grain, sometimes going out of my way to avoid best-sellers (at least when everyone is talking about them). I recall being on the R train at the time Dan Brown’s The DaVinci Code was all the rage and noticing that at least half the people in the car were holding a copy. Though I had been gifted a copy by my younger sister, I refused to crack it altogether – it sat on my bookshelf for years until I finally decided to donate several books to friends as my move to a new home approached.

Would I recommend this book? The answer would be yes, since it is a nice way to spend a few hours distracting yourself from the current real-life horror story unfolding before our very eyes. But I would certainly not call this literary gold.

 

Book Review: Rita Lee’s Candid and Brutally Honest Autobiography

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By Ernest Barteldes

Rita Lee: Uma Autobiografia

Globo Livros

$ 8.99  Kindle Edition(in Portuguese)/ $ 38 paperback

The music of Brazilian rock superstar Rita Lee Jones has been part of my life as far as I can remember, starting from when her signature song “Ovelha Negra” hit Brazilian airwaves in the mid-1970s until pretty much present day, even if I haven’t yet listened to her 2012 release Reza (“Prayer”).  I have attended her shows over the years (including her last NYC appearance in 2003), and her music has been part of the soundtrack of my life along with every other musician or band that I have admired over the years.

When I heard that she had released an autobiography I was a bit curious but didn’t really make a point of reading immediately. However, my mother so kindly bought it for me as a Christmas present and I could not resist to crack the tome and find out what it was all about.

Like with any rock biography, readers tend to want the author to go straight to the stories behind the music, but since this is also her own story, we spend a few pages learning about Lee’s childhood and her relationship with her parents,  two sisters and extended family in a large house in Sao Paulo.  I was actually surprised to learn that she had quite a stable family life – she went to Communion with her family, and had a pretty normal life save for the horrible story in which Lee was raped with a screwdriver at seven years of age – and that the culprit was never caught.

When we get to the 60s, things get juicy, as she describes her years with Os Mutantes and their relationship with the Tropicalista movement started by Caetano Veloso and Gilberto Gil. We also learn the ugly side of the band and the way she was unceremoniously ousted from the band once the two Brandao brothers decided to take the band into a Yes-inspired progressive direction, and then we follow her entire career with details on the recording of every album she made all the way to her retirement, when she decided to stop touring and dedicate herself to family and a quieter lifestyle.

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The book is highly personal, and she does not gloss over the darker moments of her life, including her infamous 1976 arrest for drug possession while she was pregnant with her first son Beto Lee, her addictions and especially the self-destructive behavior that almost destroyed her relationship with husband and longtime songwriting partner Roberto de Carvalho. She is brutally honest when it comes to her disdain to the Mutantes reunion and also her detractors – especially late rock critic Ezequiel Neves, who openly hated her and printed his vitriol in the press with impunity, even spreading rumors about her health.

It is a very good read – it is not yet available in English, but it surely deserves to be translated even if it only reaches a small audience of her die-hard fans who did not have a chance to learn Portuguese, as suggested by the English lyrics of Caetano Veloso’s “Baby” – which she recorded with Os Mutantes, by the way.

Prosecutor Szacki’s Last Stand?

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Book Review: Rage by Zygmunt Miłozewski

(Amazon Crossing)

translated by Antonia Lloyd-Jones

review by Ernest Barteldes

On the final part of his Prosecutor Szacki trilogy that began with Entanglement (Bitter Lemon) , Zygmunt Miłozewski takes us to Olsztyn, where he transferred following the events from Grain of Truth (Bitter Lemon).

Szacki’s life has changed considerably – his teenage daughter is now living with him while his ex-wife is traveling around Asia with her new husband, and he is also in a lasting relationship with a local woman – which prompted him to leave Warsaw for good for this former German city, where he lives in an apartment just across the boulevard from the prosecution service.

But Szacki has not lost his usual bitterness. When he is called at a construction site below a hospital when a skeleton of what is believed to be a “German” (old remains are always – according to the novel – considered to be of Germans who previously lived there), he mutters to himself about hoping to have a “real” case that he can really investigate, not the usual drunken college student brawls that he routinely deals with. Further studies of the remains shows that the bones are actually much newer than previously thought, and that the deceased – a travel agent – had a gruesome death, dissolved while still alive using hydrocloric acid – the kind sold in any supermarket for unclogging household drains.

Rage has plenty of colorful characters – among them a doctor that assists with the investigation – a Dr. Frankenstein, who is also a professor who has alcohol-fueled parties with his students in a his campus lab. He is clearly an eccentric, but he seems to get along well with the prosecutor thanks to his dry personality and detail-focused demeanor. As the story progresses, we find that anger is central to all the main characters, going from the prosecutor himself to the surprising perpetrator.

Miłozewski does no favors to the town of Olsztyn (where he – as of this writing – resides), and describes it as a dark, uninteresting place to be with lousy weather and ugly streets: “Some sort of Warmian crap was coming out of the sky, neither rain, nor snow, nor hail. The stuff froze as soon as it hit the windshield, and even on the fastest setting the wipers couldn’t scrape off this mysterious substance. The windshield washer fluid did nothing but smear it around.”

The story line is extremely engaging all the way to its anti-climatic twist ending. Antonia Lloyd-Jones’s translation (she works closely with the author) flows nicely, without leaving the reader with any feeling of being lost in translation at any moment.

In the backdrop of the narrative are the news stories of the day: the political crisis in Ukraine and the the civil war in Syria and minor news headlines from around Poland. There are many other pop culture references, which might make the novel seem dated in a few years – I mean, will anyone remember reruns of the American sitcom Friends in, say, two or three decades?

According to some news reports, this is where we say goodbye to Prosecutor Teodor Szacki, and the ending makes us pretty certain of that – but given that the series has been so successful since its inception (the first two books were adapted into movies), will this really be goodbye? As a fan of the series myself, I sincerely hope not.

Album Review: Chuck Loeb’s “Unspoken”

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by Ernest Barteldes

On  Unspoken (Shanachie, 2017) , legendary  Fourplay and Steps Ahead lead guitarist Chuck Loeb explores various sonic  textures over a collection of ten originals he either –except for one –  wrote or co-wrote. He kicks off the album with the up-tempo “Cotton Club,” a funk-driven tune that he dedicates to the staff of the eponymous Tokyo venue, which he describes on the liners as “my favorite jazz club in the world.”  The track was co-written with Jeff Lorber, who also contributes piano – including a dexterous solo – to it.

Loeb plays various instruments throughout the track – on tunes like “Natural Light” and Way Up High” he performs virtually everything except drums.  Though the arrangements to these tunes are relatively sparse, he uses them as a fodder to improvise more freely – on the former, Andy Snitzer contributes a mellifluous solo, while Loeb adds interesting textures on acoustic guitar.

The title track has a more downtempo feel, and features fellow Fourplay member Nathan East on electric bass and Brian Culbertson on piano. It’s the kind of track that makes you appreciate light jazz – accomplished, beautifully written and accessible.

“Si Se Puede” – which he dedicated to Barack Obama – has more of a bossa feel, with a more subtle arrangement that gives guest trumpeter Till Brönner plenty of space to stretch.  Way Up High (written by his daughter, Lizzy Cuesta) also has a bossa feel, featuring gentle vocals by his wife Carmen Cuesta, who also appears on the samba-driven “Voramar” and the trippy  “Via Verde,” which also includes daughter Christina Loeb on vocals and ukulele (the only appearance of the instrument on the album).

Unspoken is a great offering from Loeb – a concise and yet intriguing album that feels fresh after multiple plays – which this writer recommends to any fan of smooth jazz guitar.

 

Music Reviews: The Rolling Stones’ Blue and Lonesome + Putumayo Presentsa

By Ernest Barteldes

The Rolling Stones

Blue and Lonesome

Polydor

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As any fan of the Rolling Stones knows by heart by now, the band started out as mostly a blues band – like the Yardbirds, Alexis Korner and other contemporaries, they fed on the American music and went from there. That is quite evident from their self-titled debut album, which relied heavily on covers; including “Route 66” and Willie Dixon’s “I Just Want to Make Love to You” (this was before they recorded Lennon-McCartney’s “I Wanna Be Your Man”).

Though they would often include blues themes in their subsequent records, they never really did a blues album until now. According to the liner notes on Blue and Lonesome, the idea came while they hit a snag while recording an original tune in December 2015 and decided to “clean the palate” with a rendition of Walter Jacobs’ “Blue and Lonesome,” and the idea was planted.  The band played live in the studio with wild abandon, almost sounding like a bunch of 20-year-olds as they went along.  In the studio next door was Eric Clapton, who was invited to contribute on a few tracks, and by the end of only three days the album was done.

The band – augmented by session musicians Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (Wurlitzer) delivered one heck of disc – they sound energized and clearly happy to be doing this.  Jagger’s harp is second nature to him as well as his trademark voice.  Clapton contributed to “Everybody Knows About My Good Thing” and “I Can’t Quit You Baby,” but he was subtle, mostly adding to Keith Richards’ lead guitar and doing his best to stay out of the way – you can hear this clearly on the latter, when you hear Richards on the left and Clapton on the right, both with their distinctive sound.

This is the essence of the Stones masterfully doing what they studied deeply for years and throughout their careers, not some opportunistic rock band trying to sell records by taking on the blues and failing miserably – examples abound out there without me having to name names.

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Putumayo Presents: African Rumba

Various Artists

Putumayo

 

When Angelique Kidjo took to the stage at Celebrate Brooklyn in the summer of 2016 for her Celia Cruz tribute, she stated that when she was in her native Benin, there were two artists that had superstar status:  The Queen of Salsa and James Brown – but she also said that Latin artists were highly respected, especially in the western part of the African continent.

As the liner notes of Putumayo Presents: African Rumba state, “in the 1930s a Cuban song called ‘El Manicero’ (The Peanut Vendor) became a worldwide hit reaching even in the heart of Africa The Ensuing popularity of Latin music and dance styles like the rumba, mambo and cha cha cha, which evolved into salsa, had a powerful effect on African music throughout the 1970s.”

“Latin music was so popular in Africa,” the notes add, “that when a 1974 concert featuring an array of international stars was organized in what was then Zaire, it wasn’t James Brown or B.B. King who filled the stadium but Cuba’s Celia Cruz and salsa star Johnny Pacheco who elicited the greatest response.”

This is quite evident in this Putumayo compilation that brings together music recorded   over the span of four decades, which shows how Latin influence shaped the music in that continent. Kicking off with “Aminata,” a duet by Cuban pianist Harold Lopez-Nussa and Senegalese bassist/singer Alline Wade recorded in 2015. The roots of the song are clearly African, but the beat and general feel is purely Cuban.  The same can be felt with Michel Pinheiro’s African Salsa Orchestra. A native of Benin, he found success later in life (he was a farmer for a long spell) in Abidjan, in The Ivory Coast. His “Paysan” has a slower tempo than most of the tunes on the disc, but it is very soulful thanks to his heartfelt vocal delivery.

Ricardo Lemvo and Makina Loka were also supposed to appear at Celebrate Brooklyn in the summer of 2016, but the concert was cancelled for unknown reasons. A native of Congo based in Los Angeles, his music has a stronger Central African influence (especially on the guitars and percussion) with more low-key acoustic arrangements that focus more on the vocals and beat – perfect to dance while still enjoying the music, as can be heard on “Tata Masamba.”

Also notable is the earliest tracks in the collection – Orchestre OK Jazz’s “Micorasson,” which is basically misspelled  “Mi Corazón”  (“My Love”) dates from 1956 – the year Elvis made his first recordings for RCA.  The interesting thing is that they sing in phonetic Spanish even though none of them spoke the language but you can hear how hard they try – even if they slip in some of their native words.

This is a great introduction to a genre few Americans – except maybe for a die-hard World Music Fan – have ever been exposed to, and a fantastic starting point for those who want to get to know these musicians better.

Music Review: “Fio da Memoria” by Luisa Maita

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By Ernest Barteldes

Six years is a long time to wait between albums for a new artist, but Sao Paulo-born Luisa Maita seemed to have made the right choice in this case.  Since the release of her much acclaimed debut album Lero Lero (Cumbancha), she did a lot of touring (including many stateside appearances), collaborated with various Brazilian musicians and collected various awards in recognition of that first album.

The formula of Lero-Lero was quite simple: a modern take on bossa and samba-inspired tunes with a creative edge.  When I heard that album, she reminded me a bit of Marisa Monte, who does a lot of experimentalism with her music but keeps a firm grip on more traditional beats.  She could have simply stayed the course and done more of that, but she clearly decided to go into a completely different direction with her second album.

Fio da Memoria” is more of a rock-fusion album:  distorted guitars are front and center, but the rhythm is pure Brazil. For instance, “Olé” has a lot of electronics going on, but the percussion is clearly influenced by the sounds of Northeastern Brazil, while “Porão” has a Maracatu feel. The title track is a refreshing electric samba (close to the work of +2 , the leaderless music collective formed by Moreno Veloso, Kassin and Domenico Lanceloti), while “Folia” is pure Bahia samba, with a full percussive group behind Maita’s voice – and little else.

“Fio da Memoria” takes a few plays to totally sink in – though most of it is fun to listen to, it is also music that makes you think thanks to its clever arrangements and the way the instruments are played – there are quite a few surprises as the music plays. An example of this is “Volta,” a tune that begins with layered vocals and a curious line –  until the drums come in behind a three-part harmony  that take you into a 70s-influenced slow funk.

In a year filled with so much music that made little sense, “Fio da Memoria” is quite refreshing – the music is both smart and enjoyable, and makes this one of the best World Music releases of 2016.