Live Review: Laura Cheadle at Piano’s, April 15, 2017

 

Laura Cheadle

Piano’s NYC

New York City

April 15, 2017

article and photos by Ernest Barteldeslaura1

Laura Cheadle traveled light on her recent appearance at Piano’s in New York’s Lower East Side – instead of her full Family Band she was backed solely by her own acoustic guitar, her father James Cheadle on keyboards and a drummer (Cheadle, Sr.  did the basslines on the left-hand side of his instrument), mostly showcasing material from her download-only EP “Chill,” out that day.

She opened the set with an uptempo take on Stevie Wonder’s  “I Was Made To Love Her,” a soul ballad whose lyrics speak of finally finding love and being unapologetic about it. She followed that with “Reverberate,” another tune from “Chill” that has a funky feel.  Cheadle and her father have great chemistry together, and that is evident as her body language affects how he plays – stops are clearly unrehearsed, but since they know each other so well musically it is just seamless.

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The audience received the new material well, but things really caught fire when she did a medley of some choice covers including  a low-tempo take on B.B. King’s “The Thrill is Gone” (in which she took over the drums), James Brown’s “I Feel Good,” Aretha Franklin’s “Chain of Fools” and two Stevie Wonder tunes, “Superstition” and “Higher Ground,” the latter of which really showcased her vocal range. During the medley, she left the stage and danced around fans (she even surprised me by coming to my side while I was busy with my notes).

The show ended in a high note – everyone seemed to be having a good time – unfortunately there wasn’t a second set (Piano’s has one set by each listed artist) so we didn’t have a chance for a some more of Cheadle’s music.

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Album reviews: Nouvelle Vague’s “I Could Be Happy” and Laura Cheadle’s “Chill” EP

By Ernest Barteldes

I first discovered Nouvelle Vague about a decade ago, when someone handed me a copy of 2006’s Bande a Part, an album which contained very creative treatments of tunes like U2’s “Pride – In The Name of Love” in a a samba-bossa groove and Billy Idol’s “Dancing With Myself” in what could be described as a tongue-in-cheek dance feel.

I have followed them since even though I seem to miss them every time they perform Stateside, this year being no exception. I love the way they recreate the covers they record in a manner that is almost incomparable – tunes feel completely different than the original, and you don’t have that feeling of “why cover this one?” since they have that original feel even if the song is amazingly familiar.

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Such is the case of I Could Be Happy, the first to contain original material by Olivier Libaux and Marc Colin, the band’s longtime leaders. The Ramones’ “I Wanna Be Sedated” is played in sleepy down tempo beat reminiscent of the Beatles’ “I’m Only Sleeping” that gives the lyrics new meaning – gone is the rebellious feel of the original and instead is that feeling of someone who simply doesn’t want to get out of bed. Also notable is Richard Bell’s “Love Comes in Spurts,” reinvented here as an electronic ballad that deeply contrasts with the original’s punk arrangement.

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Among the independent artists that get our attention, New Jersey-based Laura Cheadle is one of the most frequent – basically because she has great passion on a live setting, is a gifted songwriter and also because she is fortunate enough have a live band mostly formed by her family members – all gifted musicians in her own right.

Cheadle’s new (download-only) EP entitled Chill kicks off with “Conversations in My Mind,” a soul-tinged tune whose lyrics question the narrator’s judgments about her own life. It has a simple but catchy melodic groove and a nice hook that stays in your head for quite some time. Also notable is “See The World With Me,” a gentle ballad about living life beyond the everyday grind.

I also enjoyed the treatment she gave to the cover of the Supremes’ “You Can’t Hurry Love.” While the original (which Phil Collins pretty much copies) was about warning young girls about falling in love too easily, her down-tempo version sends a different message: here is a love-worn woman who is about to give up on finding someone – anyone – but realizes that the best things in life take time even if it breaks your heart every single time.

Though I enjoy hear her on record, the best way to enjoy her music on a live format – those in New York can confirm what am talking about at Piano’s on April 15th – an awesome way to drown out those tax-day sorrows in anticipation of Easter Sunday – or Passover.  Or just another Sunday.

Concert Review: Laura Cheadle Band at Pianos

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Laura Cheadle Family Band

Pianos

Saturday, March 5th

New York, NY

 

Backed by James “Papa” Cheadle on keyboards, a Tina Young on drums and her own electric guitar, South Jersey-born Laura Cheadle took to the stage of New York’s Pianos opening with B.B. King’s 1980 hit “The Thrill Is Gone,” played in a faster groove than the original recording, showcasing her vocal range and rhythm guitar. Given the intimate setting, she ventured into the audience, encouraging everyone to dance along with her. She followed that with a very personal take on The Beatles’ “Come Together”, taking it into a more bluesy direction, contrasting with Lennon’s more psychedelic feel. Her mother was present at the gig, so she dedicated an inspired rendition of Stevie Wonder’s “Love The Little Things About You” to her.

She then featured a few originals including a funk-laden tune about the end of a love affair, and also debuted a new tune called “Blues Hangs Out,” which got great applause from the audience, and then did a nice cover of James Brown’s “I Feel Good,” sticking close to the original. This was the first time I had heard Cheadle do so many covers in a single set. She also included a take on the classic soul tune “Train, Train,” a song that she said her parents – who recently celebrated their anniversary – danced to early in their relationship.

The stripped-down format (no lead guitar or extra keyboards, usually handled by her two brothers) specially showcased “Papa” Cheadle’s talents. He not only handles the keyboards, but also adds the bass textures to the music. He is an incredibly talented artist, but I do think that he would sound even better if Laura Cheadle added a bass player to her ensemble. Quite a few years ago she did have a bassist, but apparently things didn’t work out, and since Mr. Cheadle does handle the low frequencies on his keys (as The Doors did) I guess they probably decided that it was best to keep things that way.

Laura Cheadle is a highly gifted singer and songwriter with fantastic rapport with the audience. She is one of the few artists I have seen who integrates her family into the entire picture, acknowledging not only her father and musical director but all of those who have helped make who she has become.

Bluesy Christmas: Laura Cheadle’s “Ill Have a Blues Christmas” and Sheryl Crow’s “I’ll Be Home For Christmas”

By Ernest Barteldes

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Move over, “Santa Baby,” the song made famous by the late, great Eartha Kitt in which the singer hits on Santa Claus – you are not the sexiest Christmas song ever anymore. That title now belongs to Laura Cheadle‘s “Giving You Me For Christmas,” a driving blues with provocative lyrics about being ready to be unwrapped under the Christmas tree that is part of her  self-released “I’ll Have a Blues Christmas,” and album that blends original tunes with Holiday classics like “Rudolph the Red-Nosed Reindeer”  and “The First Noel.”

Other highlights of the disc include “Red Ain’t Everything,” which tells  Rudolph’s story from his own point of view, and a live rendition of “Here Comes Santa Claus” (there is no information of where it was recorded, but the audience sounds responsive and enthusiastic).  It is a strong disc thanks to the well-written arrangements and solid musical chemistry that Cheadle has with her family, who is present on every track.

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Speaking of blues, I recently discovered Sheryl Crow’s own Christmas record “Home for Christmas” (A&M), which is highly influenced by the sounds of Memphis. Recorded in the same era as her “100 Miles from Memphis,”  it contains mostly covers of classics like “White Christmas”  and “O Holy Night”  with a solid backing from a tight brass-heavy band featuring none other than Booker T (of the MGs), one of the key figures of the Memphis sound throughout the 1960s and 70s. I was surprised that I had never even heard about that disc for years – one of the last from her now-former label.

Among the best tracks are “The Christmas song,” played with a Jorge Benjor-like flavor. “Blue Christmas” has a nice backbeat focused on the rhythm section, great horn solos and of course Crow’s sultry voice. The inclusion of Crow’s “All Through the Night” (a track from ” 100 Miles from Memphis” ) seems a bit out of place on the collection, but it closes the album with a funky feel.

Interview: Catching Up With Laura Cheadle

by Ernest Barteldes

Over the past few years I have seen Laura Cheadle and her Family Band about four times, but I rarely had an opportunity to write anything about her save a short profile that came out in the City Arts back in 2011 (it was a series of short pieces on up-and-coming new voices in jazz and blues – you can check it out here http://cityarts.info/2011/05/03/laura-cheadle).

Four years on, she has continued her pursuit as an independent artist – she partly relocated from Philadelphia to New York and has appeared in various locales here since then. She has not abandoned her hometown completely, as she explains in this e-mail interview conducted during the last week of February.

Cheadle has a great funk and blues-inspired sound. Backed by a band mostly formed by her family members under the direction of her father, keyboardist James Cheadle, she belts out original tunes with a very personal feel. The musicians are very tight – they have been performing together for many years, and there doesn’t seem to be any ego battles there – they seem extremely happy to be doing this together.

You moved from Philly to NYC – what made you make that decision?

I am actually in Philly half the week and NYC the other half so I get the best of both worlds and cities 🙂 I’ll always be a Philly girl but the allure of New York City is so seducing to my soul. The magic is incredible. I am also meeting so many amazing musicians and opportunities here. I love both cities in different ways.

Your “Family Band” – how did that come together? And how do you keep everyone’s egos in check since you are the front woman?

It’s just been completely natural for us. I literally was four years old when I began singing with my family. We are unbelievably close and it just feels natural. I know most people would think that we have egos with each other, but we don’t. Performing together is the same as eating dinner together.. It’s natural and pure.

Your father has long experience as a musician and arranger. How does his experience play in your music?

 This plays a large part in my music! My dad is an incredible musician and not only performs with me and plays on my recordings, but he also records me in his professional studio and produces my albums. On some of my songs, he is playing every instrument. I am extremely lucky to have him. He has taught me since a young age about the details that go into making real music.

Ever since I was a baby my Dad has been playing and recording music around me. He used to take me to his studio and work with me right there in my toddler chair. I remember The Soul Survivors rehearsing in our basement when I was little and so many great musicians have passed through our houses through the years. My Dad always had a recording studio in or near the house and my brothers and I were always encouraged to participate in whatever capacity my Dad would want us to. I sang on many of his tracks and got to see him work and so understood the whole arranging/recording process firsthand.

You have a new album – how is it dealing as an independent musician with the dramatic changes in the music industry? Do you think the current formats – Spotify, iTunes and Rhapsody, for instance – are doing a service or a disservice?

It definitely is hard, especially when people listen to you for free. However, for people to learn about you, they must listen to you. A positive side for me is that a lot of people come to my shows and still buy CDs in person . My band has always been a band where people come and dance and I’m very thankful that people continue to come and support our music.

Don’t you think they represent music today the way that, say, radio did in the past? After all, folks don’t pay to listen to the radio…

 Yes but many people stream Spotify all day and do not ever feel the need to buy iTunes . It doesn’t bother me as my fan base still buys CDs. I also have nothing  against Spotify or any of the latest technology . I’m an old soul, born in the wrong generation. I am now buying records 🙂 sounds the best

What are your main influences as a songwriter, and principally as a singer?

As a songwriter, I have always idolized James Taylor. I feel like he writes in a way that makes you nostalgic for an experience that you have never had. Stevie Wonder vocally has always been the ultimate inspiration. He sill can sing better than ever .

New York seems to be becoming less and less welcoming to indie artists – so many venues have closed, and club owners refuse to take responsibility for their own clubs – how do you deal with that?

I have actually felt the opposite of this. Since being up here often, I have joined local groups of songwriters and jams that are extremely supportive. The clubs I am playing are also paying very well. I know not all of NYC is like this but there are many communities that support the arts. One of the best parts of NYC is the unknown and how you can meet different artists and learn about hidden gems or venues at any given time.

Check her out at www.lauracheadle.com