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Contents 9
JULY 2014
The intersection of art, entertainment, culture, opinion and mad genius
Filling the hunger since 1992
EXCLUSIVE INTERVIEW
1-800-354-8776 • 215-862-9558 fax: 215-862-9845
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WILL THE REAL NICK CAVE STAND UP | 20 With Bad Seeds at its spirited high and a dramatized documentary screening this month, can we find the true Cave between the two poles?
COLUMNS City Beat | 5 Backstage | 5 Jim Delpino | 33
A THOUSAND WORDS Road Trip | 7 Margaret Bourke-White, Refugees, Pakistan, 1947 (detail).
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EXHIBITIONS | 8 The Baum School of Art Allentown Art Museum of the Lehigh Valley The James A. Michener Art Museum ART The Portenar Collection | 9 Sacred Spaces | 10
FILM
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CINEMATTERS | 12 Life Itself KERESMAN ON FILM | 14 Jersey Boys
NICK’S PICKS | 28 John Chin Keith Jarrett / Charlie Haden Jacob Young Adam Schroeder Joe Magnarelli KERESMAN ON DISC | 30 Rod Piazza and the Mighty Flyers Melissa Aldana & Crash Trio Glenn Tilbrook Cowboy Jack Clement Raoul Björkenheim Carlos Franzetti Paul Bley JAZZ LIBRARY | 32 Hampton Hawes
DINING The Pass | 34 Umai Umai | 37
ETCETERA L.A. Times Crossword | 38
BAD MOVIE | 16 The Counselor
Meryem Ana Kilisesi (Church of the Mother of God) Turkey, Cappadocia
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Agenda | 39
REEL NEWS | 22 The Lunchbox Bethlehem Under the Skin Le Week-End
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EDITORIAL Executive Editor Trina McKenna
DESIGN Designer Lauren Fiori Assistant Designer Kaitlyn Reed-Baker
CONTRIBUTING EDITORS Backstage & Jazz Scene Editor Bruce H. Klauber / drumalive@aol.com City Beat Editor Thom Nickels / thomnickels1@aol.com Fine Arts Editors Edward Higgins Burton Wasserman Music Editors Nick Bewsey / nickbewsey@gmail.com Mark Keresman / shemp@hotmail.com Bob Perkins / bjazz5@aol.com Tom Wilk / tomwilk@rocketmail.com Food Editor Robert Gordon / rgordon33@verizon.net
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THE JAZZ SCENE | 24
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Raina Filipiak filipiakr@comcast.net
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MUSIC
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Trina McKenna trina@icondv.com
A. D. Amorosi / divaland@aol.com Robert Beck / robert@robertbeck.net Jack Byer / jackbyer@verizon.net Peter Croatto / petecroatto@yahoo.com James P. Delpino / JDelpino@aol.com Sally Friedman / pinegander@aol.com Geoff Gehman / geoffgehman@verizon.net George O.Miller / gomiller@travelsdujour.com R. Kurt Osenlund / rkurtosenlund@gmail.com
FILM ROUNDUP | 18 Yves Saint Laurent Korengal A Coffee in Berlin Obvious Child
SINGER / SONGWRITER | 25 Colleen Rennison John Mayall Willie Nelson Hannah Aldridge Eli “Paperboy” Reeds
President
ON THE COVER: Nick Cave. Page 20.
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City Beat
THOM NICKELS
Backstage
BRUCE KLAUBER
ThomNickels1@aol.com
drumalive@aol.com
We learned a lot about the human brain and violent criminal behavior at the Athenaeum recently. The featured speaker explained that a marker for psychopathic individuals who are prone to violence was small ears set low on the head. While this characterization was presented as a general predisposition rather than fact, small ears set low on the head has for us always been an indicator of trouble. We couldn’t stop thinking about low hanging ears a week later when we participated at the first annual East Kensington Trenton Arts Festival as a food truck vendor judge. We sampled lobster, shrimp, Asian Foo delights, sumptuous cupcakes, ice cream, tacos, cheese steaks and more. Can too much deliciousness be a bad thing? By the end of the tour we came not only to appreciate why the ancient Romans valued the vomitorium, but how many low hangers there were in the world…Of course, we’re talking ears here, not meatballs.
This sounds like an exceptional event: “Invisible River” is described as an “immersive” two-mile performance journey on the Schuylkill River, where audiences travel by boat and view dance and kinetic sculpture performances—and hear music—on the shore, in the water and in the air. Wow. That’s “immersive.” The performances take place on July 12 and 13 beginning at 7 p.m. There are evening departures from the western shores of Fairmount Park—prepare to arrive at 6:15 p.m.—and if being immersive is not to your taste, the whole shebang can be experienced for free from the shores of Kelly Drive. Here’s how it works: Audiences will travel in kayaks, whaleboats, skiffs and rowboats, initially to the strains of a neo-medieval music ensemble. Then, larger than life animals float by, and aerial dancers fly underneath the Strawberry Mansion Bridge. And that’s only part of it. This is, quite simply, one of those events that must be experienced to truly understand what goes on. West Philadelphia-based non-profit Alie and the Brigade is the organization that puts this on, thanks to public support and dozens of sponsors, including Philadelphia Cultural Fund and Philadelphia Development Authority. Tickets, in the $25 range depending on the depth (sorry) of your experience, can be obtained via alieandthebrigade.org. Or watch from the shore for free. Last year’s event drew over 900 participants and substantial media attention, so tickets will be go quickly.
Nantucket was on our travel agenda years ago when, eating in a local bistro, we noticed our dead great aunt sitting at a table across the room cutting into a breast of chicken. This was no ordinary resemblance, but a shocking ultra-Xerox copy right down to the last hair follicle and freckle. Auntie had talked about Nantucket all her life, praising it as her favorite place. We thought of auntie (and her double) at the inaugural John C. Van Horne lecture at the American Philosophical Society (the occasion: Van Horne’s retirement from his position as CEO of the Library Company of Philadelphia). Guest speaker, author Nathaniel Philbrick (Whales, Pilgrims, and Revolutionaries), who lives in Nantucket, talked about his historical non-fiction. Philbrick’s presentation was no canned sound bite but an inside look at his writing habits. While we never asked Philbrick whether he’s had any auntie ghost sightings, we did chat with PMA’s Kathy Foster at the small-plate cocktail reception afterwards. “How great was that!” Kathy exclaimed, her eyes lighting up like a New England lighthouse. “I have a full time job, but my greatest wish is to write full time…to get up in the morning and sharpen those pencils and get to it!” We know what Kathy means, even if the sharpening pencil part makes us think of math, not literature. We met Fergie of Fergie’s Pub fame the day before Philly Beer Week (and two weeks before Bloomsday) even though every week seems to be Philly Beer Week. Fergie’s a pleasant Irish guy who sees the humor in everything. As committed wine drinkers (beer is a food, after all), we couldn’t get into Beer Week’s rowdy axe smashing-the-keg-here-comes-the-suds antics. Beer Week, however, did bring us a plethora of sudsy emails, one of them from Sugar House Casino announcing the Philadelphia Cornhole League Tournament. Now, we remember that riotous word from adolescence when it conjured up hushed Philip Roth woodshed scenarios and when it was the banter of jokes. Can it be that people don’t know the history of that word? We added the Cornhole League ad to our list of Philly oddities alongside sidewalk hookah smoking (very popular in London), but we’re not sure why. While hookah may be the dumbest thing to do since blindfold bungee jumping, doing things with corn has no malevolent after effects. We tried (but failed) to imagine Jane Golden doing hookah when we saw her at the Mural Arts annual Wall Ball at Union Transfer. Jane MC’d the evening and her performance on stage (jumping up and down like a female Howard Beale in the movie Network) called to mind her limitless energy. The annual fundraiser and auction drew hundreds of people, including the mayor, Philly’s Poet Laureate, and a lot of people intent on serious partying. But nobody parties like the people at Dirty Frank’s, where getting—and staying—drunk is an obligation. We visited DF’s for the opening of “Is it Art?” even if the exhibit didn’t live up to the “Is it?” factor at all. We expected found objects like Triamcinolene Acetonide Ointment, chlorhexidine gluconate oral rinse, or used band-aids arranged like a Leger painting, but instead saw some really handsome pieces. We sat in the front of the bar with Walton, Tamara and their dog Harry so as to avoid the crush of elbows. DF’s cultish atmosphere is the polar
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Journalist Thom Nickels’ books include Philadelphia Architecture, Tropic of Libra, Out in History and Spore. He is the recipient of the 2005 Philadelphia AIA Lewis Mumford Architecture Journalism Award. thomnickels.blogspot.com
On the Other Side of the Fence is a remarkable, touching and uplifting film documentary about two Philadelphia schools that have partnered for almost 30 years to stage a musical show called, naturally, On the Other Side of the Fence. What makes the project utterly unique is that one of the schools is the Germantown Friends School and the other school is the HMS School for Children with Cerebral Palsy. The mission of filmmaker Henry Nevison, who helped raise more than $87,000 via Kickstarter to fund the project, is to broaden the student’s experiences, open their minds, teach diversity, tolerance, instill compassion, understanding, and ultimately overcome the struggle with difference. By way of interviews with many of those involved, footage of the actual production and comments from students and alumni about just how this partnering experience opened their minds, On the Other Side succeeds on all those levels and entertains as well. Area composer, playwright, performer and music therapist Andrea Green, referenced in “Backstage” not long ago, created this musical and still engages with students today. “Her gift for bringing melody and lyrics to life, and addressing deep societal issues is the real star of this film,” says Nevison. Plans are for a local premiere sometime this fall with subsequent airing on public television. Wherever it plays, it deserves to be seen. There’s another documentary film out there ready for release, and it’s about as far removed from On the Other Side of the Fence as you can get. It’s called Take My Life…Please, and is a documentary about the late “King of the One-Liners,” comic Henny Youngman. Youngman’s son, Gary, an experienced film editor, is spearheading this project about this father, who died at the age of 91 in 1998. Like him or not, Henny Youngman stood apart most of the comics of his generation. And perhaps our generation as well. He had no particular
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Bruce Klauber is a published author/biographer, producer of DVDs for Warner Bros., CD producer for Fresh Sound Records, and a working jazz drummer. He graduated from Temple University and holds an Honorary Doctorate from Combs College of Music. W W W. FA C E B O O K . C O M / I C O N D V ■ W W W. I C O N D V . C O M ■ J U LY 2 0 1 4 ■ I C O N ■ 5
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opposite of more upscale places, like the Chemical Heritage Foundation’s 2014 Heritage Day, where Kiran Mazumdar-Shaw (the founder of India’s largest biotechnology enterprise) was awarded the Othmer Gold Medal. Our time at CHF reminded us that there’s a proper way to behave at cocktail receptions, namely that stockpiling glasses of wine at your table for later consumption (as we witnessed one guest do) is a major transgression. Maybe what’s needed is a cool book on Philadelphia reception etiquette. Some people who frequent city receptions could care less about the play, lecture or the exhibited art. We first witnessed this phenomenon years ago at Wilma Theater receptions when we spotted elderly women opening their handbags and sliding in napkinwrapped hors d’oeuvres. The old ladies moved fast yet the tendency was for observers to think: “Ah, the poor dears must need it, they’re on fixed incomes.” Recently, at another reception, we witnessed two sloppily dressed Dickensian types gobble up massive amounts of the hors d’oeuvres. When we pointed out the culprits to our friend Emily, she told us that one of the two was actually mentally ill and had an awful habit of pouring wine over your head if he doesn’t like what you say, or if you are talking too long to someone he really, really wants to speak with. Not long ago, one of the best things someone with an inquiring mind could do was listen to NPR, especially Terry Gross’ award-winning show, Fresh Air. As a second-best listening alternative, one could also listen to NPR’s Radio Times with Marty-Moss Coane. But then was then and now is now. Listening to Fresh Air today, one is struck by the preponderance of cable TV star guests, often vapid twenty- or thirty-something actors from obscure but popular cable TV shows. Add to this list Fresh Air’s repeated series of interviews with Judd Apatow, a director of the once (esoterically) popular cable show Freaks and Geeks, and you might ask: Is Terry Gross now serving a commercial purpose by supporting the careers of certain actors? When Gross’ replacement, Dave Davies is put in charge, however, Fresh Air’s heavyweight guests return like a South Pacific tsunami. Yes, Virginia, it is True: we did coin the line, Baby Up Talk, or BUT. “BUT” is when the sentences that come out of the speaker’s mouth have an upward tilt as if the speaker was intentionally raising the conversational pitch above normal speaking tones. BUT sentences also end with a blatant question mark. We got a big dose of BUT when we heard the son of a former colleague of ours interviewed on Radio Times. The son was being interviewed with a local filmmaker. We’ve never known him to speak in BUT, but here he was, pushing every declarative sentence into high tonal regions and ending them with a question mark. What in the name of God had happened to him, we wondered. At the City Institute branch of the Free Library we chatted with the retiring Artistic Director of the Pennsylvania Ballet, Roy Kaiser, a handsome, gracious man who came to Philly 35 years ago on a Greyhound bus from Seattle intending to stay for only six months but wound up staying. Decades of dancing, however, have ruined Kaiser’s hip, so this athletic-looking man of dance is slated for a hip replacement. Kaiser said he doesn’t tell young dancers what awaits them in terms of disintegrating discs and kneecaps, even if runners have certainly heard the message by now. After the lecture we bumped into a once-vibrant 40-something acquaintance hobbling down the street in crutches, the result of years jogging on Center City sidewalks. We visited the Center for Emerging Visual Artists (CFEVA) reception at the Barclay and realized that it’s always the same social interaction when it comes to emerging artists (EA’s): They cluster together in a corner, identifiable by age, as the adults circle them until one of the artists (perhaps a woman in bangs, the new “artsy hairdo”) consents to a momentary commingling, laughing and chatting, until the EA’s cluster group comes to the rescue, forcing the adult to go back to his pen of spent peers. When we went to the Center for Architecture to hear photographer Vincent Feldman talk about his book City Abandoned, we expected to see an old man, but instead saw a buff, Van Dyke-goateed younger man with fire in his eyes. For all of Feldman’s marvelous stories on some of the city’s most neglected structures, he spoke non-stop for over an hour, which had us wondering whether he’d ever come up for air. When an air bubble finally did appear, the Center’s host, David Bender, said the audience might be able to squeeze in a question or two. We ended the month at the 2014 Preservation Alliance Awards, for the first time held at the Union League, a big improvement over the old days when it dragged on endlessly at the Crystal Room at Macys. The new streamlined award ceremony allowed for a lot more moving around. We met the Reading Terminal’s Paul Stanke, David Richards of The Right Angle Club, and architect Ed Barnhart of Always by Design, one of the evening’s award winners. We last saw Paul Stanke at the 1616 Walnut Street design opening, sponsored by Cashman and Associates, where we walked through sample apartments after hitting up the champagne bar. 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point of view or comedic “attitude.” He simply spewed endless strings of one-liners, and some were hilarious. Just seeing Henny doing his schtick was funny, and somewhere along the line, no matter what your age or background, he’d get you with one of his jokes. I caught up with Gary Youngman recently, who related that the “real” Henny was devoted to only two things: his family and his work. “He would look at the event board in the hotel where he was performing,” said Gary, “to see if there were any weddings or Bar Mitzvahs scheduled that day. Then, he’d find the person in charge of paying for the shindig and ask, quite politely, if—for a fee—he could do his act during the festivities. More often than not, he got a gig out of it, even only if they paid him a few hundred dollars.” Holding up the release of the film are the exorbitant fees for film rights, which Youngman hopes to raise via Kickstarter. For those who never heard or saw the comic perform, here’s one from the vault: “My wife asked me to take her on vacation to a place she’s never been. I said, ‘How ‘bout the kitchen?’” Ba… rump…bump! New to the main branch of the Philadelphia Free Library at 1901 Vine Street is the Culinary Literacy Center. Though the Center is actually a demonstration kitchen with three ovens, a walk-in refrigerator, ten burners and seating for 36 guests, this facility will also focus promoting reading skills (from recipes, natch), math skills (from measuring cups), chemistry (in the oven and on the burners) and general problem solving skills. The kitchen is open to everyone, but will have a schedule that coincides with the availability of a certified supervisor to run things and ensure safety. Let’s eat. Details: freelibrary.org. At the recent East Coast Gaming Congress seminar held in Atlantic City, most of the politicians on hand said that in order for the town to get back on its feet, Atlantic City needs to be clean and safe. Assemblyman Ralph Caputo (D., Essex) was a bit more outspoken than the others, saying that what’s being done now to improve the city should have been done years ago. “It should have been the Paris of the Eastern Seaboard,” Caputo said without mincing words. “It didn’t happen. And the reason it didn’t happen? The companies themselves were most concerned about profit, market share, and immediate goals, rather than having a vision about the future.” There. He said it. Indeed, six of Atlantic City’s 11 casinos had gross operating losses in the first quarter, and four of the five casinos with operating gains still reported declines from last year. But the shows go on. Notable casino showroom headliners this month include The Jacksons (Tito, Jermaine, Marlon and Jackie) at Caesars through July 6, Dana Carvey at The Tropicana on July 11, Huey Lewis and The News at The Showboat on the same evening, and just booked for August 8 at the feisty Golden Nugget is Andrew Dice Clay. There is quality shore entertainment at venues other than casinos. The Ocean City Music Pier presents the David Bromberg Quintet on July 14 and The Bacon Brothers on July 21. There’s something relatively new, entertainment-wise in Atlantic City’s neighboring Margate, in the form of the Milton and Betty Katz Jewish Community Center Summer Series. Somehow, the JCC was able to secure the services of Lucie Arnaz on July 11 and Paul Reiser on July 17. Good for them. For tickets to this series, visit jccatlantic.com The beleaguered—and foreclosed upon—Suzanne Roberts Theatre, home to the Philadelphia Theatre Company, is now up for sale for $7.5 million. TD Bank, which held the mortgage, wasted no time in getting a realtor to put the property on the market, according to John Adderly, an agent with the Mt. Laurel-based real estate firm, NAI Mertz. But this isn’t over yet. The very well-to-do Roberts clan was considering a bailout, but first hired former Kennedy Center President Michael M. Kaiser to examine the finances of the theater company to see if a future is viable. Roberts’ spokesman Kevin Feely said the report is “almost complete.” Report or no report, the building is up for sale and ads hyping the “prime location on the Avenue of the Arts” are already running. Despite the fact that Jerry Lewis is 88 years of age, he’s still out there fighting, fussing and feuding. Watch what you say about this character. Joan Rivers didn’t, and now The Nutty Professor himself is not happy. It seems that the surgically challenged Rivers made a remark about Lewis having had “no career” except for the annual MDA telethon. This is a no no, and Lewis replied, as only he could: “If you find it necessary to discuss me, my career or my kids ever again,” he said, “I promise you I will get somebody from Chicago to beat your (blank) head off.” And he will, too. KYW radio, in the top ten for more than a decade, saw listenership drop by an incredible 54 percent during the February through April period. Some blame the weather, claiming that as the region transitions from winter to spring, the essential need to hear school closings and transit delays dwindles. Some experts blame a tired format, shifting demographics and changes in how people get their news. Media analyst Jerry Del Colliano was frank about the situation. “Find me someone under 40 who listens to the radio,” he said. Radio is on the decline.” Stay tuned. ■
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A Thousand Words
STORY AND PAINTING BY ROBERT BECK
Road Trip
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THE STATE LINE BETWEEN Texas and Arkansas goes right down the center of the street in Texarkana. The cities on each side blend together as one, sharing the wealth of donut shops, pickup trucks, ammo stores, signs with scriptural quotes, and plaid work shirts. It looks like a good place to breed cheerleaders. Texarkana is located at lunchtime if are driving from Dallas to Washington DC, as I was, accompanying my daughter, Cynthia, who was moving to her new home. It was a timely place to take a break after my first four hours in a Corolla stuffed to the headliner with all of her belongings that for whatever reason hadn’t been sold or shipped. I’m an old-school map guy and this was my first phone-centric trip. Cynthia is consumer-tech-fluent and the phone is an integral part of her life, if not her body. For many people today, most of what you need comes out of the phone and a lot of what you experience goes in. It is advisor, minstrel, and friend. The signs along Interstate 30 were not promising. Dairy Queens and Cracker Barrels are very popular. After consulting Yelp and deciding on barbecue we took one of the Texarkana exits and followed the phone’s GPS directions to Big Jake’s, which promised that theirs was “Dang Good”. Big Jake’s had pulled pork, chopped pork, sliced brisket, chopped brisket and a bunch more meat listed on the large wall menu, and the line moved quickly. My chopped pork came with a medium size potato hidden under a hefty cake of butter covered by a corpulent smear of sour cream and bacon bits. On top was a sprinkle of chives, which counts as a green vegetable in some parts of our country.
Robert Beck maintains the Gallery of Robert Beck in Lambertville, NJ. (215) 982-0074. robertbeck.net
The décor was aggressively patriotic: a lot of flags (U.S.), posters of Marines with assault weapons in front of helicopters, pictures of eagles, and a shelf lined with high school football helmets. It gave me the feeling that everybody was looking for an issue to sort out. There was a sizable lunch crowd and most of them appeared to be long-time fans of the potato. We had no plans to visit any attractions en route and were trying to cover as many miles as we comfortably could so all our stops were brief. We swapped driving chores at rest stops. Most of the gas stations near the interstate sold souvenirs, and at one in Tennessee you could buy a replica of Elvis’s drivers license, confederate flag Tshirts, or a cookie jar that looked like Aunt Jemima. Dinnertime conveniently found us crossing the Mississippi River into Memphis. We drove along the waterfront and main streets looking for the right place to eat without seeing anything that grabbed us, so we consulted Yelp again. Up came Peggy’s Heavenly Home Cooking, southern soul food, “Where you can get a meal just like Grandma used to make!” That sounded good. We followed the phone east through urban Memphis for a couple of miles to find Peggy’s. It was in the only building on the block that appeared occupied. Her cheerful sign was balanced by one in the window with a picture of a pistol in a red circle with a slash
across it. The one next door was more specific: “No Guns, No Kidding.” Cynthia and I sat in the car staring at it for a minute. She said, “let’s at least take a look inside.” What we found were the warmest people we would encounter on the whole trip. And the food? I wish my grandma cooked like that. I had the best catfish and turnip greens ever—light, and so delicious. The couple at the next table said they had discovered Peggy’s three days prior and had eaten there every night since. Again we were back on the road nipping at the heels of a huge storm that was going up the East Coast. The setting sun illuminated the backs of tractor-trailers silhouetted against the dark clouds on the horizon. Sometimes we listened to music from a playlist, sometimes podcasts, sometimes we held to stretches of quiet punctuated by the chirp of the radar detector. I watched cars and trucks slide by my window as we passed towns with names out of history: Nashville, Knoxville, Bucksnort. Our last night was spent in the Shenandoah Valley. Breakfast was the mysterious scrambled eggs and bad coffee they serve for free at medium-priced hotels. The morning air was cool and crisp. On the road we watched the fog rise between rows of mountains fading blue into the distance. I slipped the phone from my pocket and took a picture. ■
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Henri Duvieux (1855-1920), Venise, 1882-84, oil on canvas.
Destinations in Paintings: The Kasten Collection Allentown Art Museum of the Lehigh Valley 31 N 5th Street, Allentown, PA 18101 610-432-4333 allentownartmuseum.org Through August 17
Garrik, 2011, 24” x 20”
Gabriela Gonzalez Dellosso The Baum School of Art 510 Linden Street, Allentown, PA 610-433-0032 baumschool.org M-Th 9-9; Fri 9-5 July 9-August 8, 2014 Opening Reception 7/9, 6-8pm Dr. Christine I. Oaklander, guest curator, states of Dellosso, “She has a gypsy-like appearance with dark hair and eyes, dressed in lacy and embroidered garments; she surrounds herself with antique furniture, fabrics, dolls, and a cage full of finches, which are woven into her work. Her impeccably painted clowns, brides, friends, and family members present a range of moods and personalities including resignation, despair, shame, contemplation, and puzzlement. Her compositions, several presented on a monumental scale, strike us with their rich coloring, gorgeous fabrics and objects, and dramatic lighting, but their mysterious, unresolved mood makes us linger, wondering if a story or message is intended.” The winner of a state-wide art competition at age 13, Dellosso has amassed an impressive number of accomplishments and awards since, participating in group and solo exhibitions at museums and galleries across the country and abroad, most notably her first solo exhibition in 2006 at the Butler Institute of American Art.
Beatrice Reading Dante, 2013, 36” x 50”
The paintings in the exhibition Destinations in Paintings: Kasten Collection depict scenes from artists’ travels. Viewing them is like being transported to another time—from the 1860s through the 1920s—and to other places including Europe and Asia. During the second half of the nineteenth century, new modes of transportation (trains and luxury ships) made it possible for middle-class artists to study, live, and travel abroad. These realist painters who illustrated their journeys belonged to a new international art world, marked by transnational exhibitions and world’s fairs. This exhibition features thirty-two paintings by twentyeight artists from seven countries, including the Frenchman Jean-Louis-Ernst Meissonier, Great Britain’s Richard Redgrave, Philadelphia native Daniel Ridgway Knight, and his son Louis Aston Knight, who was born in France.
Isaac Snowman (1874–1947), Footsteps, 1901, oil on canvas.
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Steve Tobin, Steelroots, 2010, 12’ H. Photograph by Kenneth Ek
Out of this World: Works by Steve Tobin The James A. Michener Art Museum 138 S. Pine St., Doylestown, PA 18901 215.340.9800 michenerartmuseum.org Through October 26, 2014 Quakertown artist Steve Tobin received international acclaim for his massive work, The Trinity Root, at St. Paul’s Chapel in Lower Manhattan, NY. During the September 11 attacks on the World Trade Center, the chapel had been partly shielded from damage by a 70-year-old sycamore tree. Tobin created a bronze sculpture of the tree’s stump and roots that has attracted millions of visitors and is permanently sited on the corner of Wall Street and Broadway. In museum and gallery installations around the world, Tobin has exhibited work in metal, glass and other media - works he describes as “monuments to the meeting of science and art.” Tobin has pushed the limits of every material he has touched. Wondrous nature, order versus chaos and cause and effect are central themes of his amazing sculptures, enabling his works to resonate across a wide variety of audiences. While Tobin was first known for his glass work, in recent years epic sculpture in bronze and steel has been the focus of his attention. Specifically, he has evolved his most famous Roots to stylized and graceful linear elements. This exhibition will feature several large scale sculptures outside the museum walls and the 15’ high Steelroots sculpture soaring within the Martin Wing. These will be supplemented by more intimate examples in a variety of colorful patinas ranging from three to six feet high. Brush drawings in Japanese Sumi ink on rice paper that work through his ideas, and video interviews conducted world-wide will be incorporated in the galleries. In addition, an installation of Tobin’s early glass work, illuminated from within, will be an elegant complement to the strong steel and bronze compositions.
Steve Tobin, Steelroot Sculptures, Photograph by Kenneth Ek
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years on the walls of their homes, now to the walls of the Museum, The Portenar Collection makes its public debut.
HE ADAGE “DON’T LOOK a gift horse in the mouth” (lest one see rotten teeth) had a somewhat different ending for University of Pennsylvania curator Lynn Marsden-Atlass: “I was stunned.” Ms. Marsden-Atlass, who is the director of the Arthur Ross Gallery, referred to the donation of more than 800 works of art from Dr. Myron and Anne Jaffe Portenar. The result can be seen beginning July 19 in Shared Vision: The Myron and Anne Jaffe Portenar Collection at the Ross Gallery. It will run through October 14. “The overall quality is high,” she said, “and includes some of the best known artists of the 20th century.” The Portenar collection is unique in that it was used to decorate their homes in Florida, New York and New Jersey. The Portenars started their collection some 40 years ago and they are both now in their mid-80s. Items from their collection were not exhibited or loaned out for shows. The work was for their pleasure and enjoyment alone. Thus, much of the material is fresh. To winnow down the 800 pieces to the 62 that make up this show, Heather Moqtaderi, the University’s art collections manager, served as co-curator. Some 200 pieces of the donation are photographs from such names as Berenice Abbott, Eliot Porter, Edward Weston, Edward Curtis, and Edward Steichen. Not a minor artist in the lot. Marsden-Atlass called the photographic section “exceptional.” The bulk of the collection is prints or other works on paper. Ann Jaffe Portenar is a 1949 graduate of Penn and also attended numerous art history classes at the New School in New York City. Myron Portenar is a dentist. While collecting they focused on 20th century masters, thus the exhibition includes George Bellows, Stuart Davis, Lyonel Feininger, David Hockney, Jasper Johns, John Marin, Jacob Lawrence, Reginald Marsh, Robert Motherwell, John Sloan, and Robert Rauschenberg. The only work not from the 20th century in the show is an 1891 work by Odilon Redon. Most of the work is American, but there are three prints by Mexican artists who can be argued are the finest printmakers that country has produced: Franciso Mora, Jose Clemente Orozco, and Rufino Tamayo. The exhibit also has some small sculpture, one of which by Louise Nevelson entitled “Small Wood” is a favorite of Marsden-Atlass. Another is a Stuart Davis drawing entitled “Study for Eggbeater 3” which, according to Marsden-Atlass, is an excellent transitional piece capturing the point in Davis’ career when he went from figurative to abstraction. There are also sculptures by Jennifer Bartlett and Tobi Kahn. In addition to this presentation, Marsden-Atlass believes that between two- and threethemed shows can be assembled from the donation. The entire donation will be available to students, scholars, faculty, artists and curators as a teaching collection, a potentially important resource for anyone looking into the artistic temperament of the mid-20th century. The sheer joy of collecting and displaying of works of art in one’s own home can be an extraordinary reward. Now, for the first time, a wider audience may enjoy the Portenar’s private collection of art. ■ The Arthur Ross Gallery of the University of Pennsylvania is located in the Fisher Fine Arts Building, 220 South 34th Street, Philadelphia, PA. Weekdays 10:00am – 5:00pm; Weekends 12:00pm – 5:00pm. www.upenn.edu/ARG Top: Stuart Davis, Study for Egg Beater No. 3, 1927.
Edward Higgins is a member of The Association Internationale Des Critiques d’Art.
Bottom: Bette Saar, Return to Dream Time, 1990.
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Art
MANY VISITORS TO THE world-famous architectural landmark in Istanbul, Turkey, the Hagia Sophia or Church of the Holy Wisdom, have suggested that God dwells there in a structure He shares with humankind. Based on this belief, it is little wonder that great numbers of people from near and far visit this destination with considerable frequency. On the other hand, here in the Delaware Valley, travelers can do the next best thing to actually flying to that meeting place of continents where Europe and Asia come together. They do so by looking in on the Penn Museum in University City, Philadelphia in order to see a magnificent set of super-size, full-color photographs of that awesome edifice in a show called Sacred Spaces: Photography by Ahmet Ertug. It brings a surrogate presence of the Hagia Sophia into focus, at arm’s length distance, along with excellent views of several other ecclesiastical structures. The exhibition is currently in place, on an extended period basis, with no announced closing date. The major building (the name is properly pronounced aya-sophia in Turkish) was originally commanded to be built in the sixth century by the Byzantine emperor, Justinian. By general consensus, from the time it was first opened to the present day, Hagia Sophia has been considered by thoughtful connoisseurs to be one of the world’s greatest architectural monuments. It was completed in a relatively short space of time, between 532 and 537, and was designed by Isidorius of Miletus, a noted physicist, in concert with Anthemius of Tralles, a distinguished mathematician of the time. Today, prevailing scholarship maintains it was erected on the site of an earlier church, believed to have been requested several centuries earlier by the Roman Emperor, Constantius. The ground plan of the building is based on the shape of a longitudinal rectangle. It forms the base of the nave, the central sanctuary of the building which in turn is covered by a huge dome, attached on either side along the longitudinal axis to a half-dome. Throughout, the placement of windows introduces an abundance of light within the interior space. An especially vivid example of this is the circular necklace of transparent glass
Dr. Wasserman is a professor emeritus of Art at Rowan University, and a serious artist of long standing.
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BURTON WASSERMAN
panes situated at the base of the large overhead dome, contributing to the making of the space beneath come alive with an intense spiritual presence. In 1453, Istanbul, then called Constantinople, was conquered by the Ottoman Turks under the control of Sultan Mehmed II, who decided to convert the building from service as an Eastern Orthodox church into an Islamic mosque. It remained a mosque until 1931 when it was closed to the general public for several years. In 1935 it was reopened by the modern day republic as a museum. The exhibition is installed beneath the vaulted ceiling of the Penn Museum’s first floor Merle-Smith galleries. It consists of massive (some as large as six feet by six feet) squares rendered in crisply detailed colors by the distinguished Turkish photographer, Ahmet Ertug. Besides the nave, there are also pictures of various painted wall areas and superbly crafted mosaics. A digital-screen slide-show of exterior images of several of the structures pictured in the large photographs enriches the total offering along with a kiosk where visitors may learn about the significance of the rich iconography presented in the various artworks that make up the overall exhibition. Besides his mastery of the photographic medium, Ertug has also worked as an architect in various places in England, Iran and Turkey. His dedication to photography got underway during a year-long Japan Foundation fellowship to study architecture in Japan. During that time, he traveled extensively, photographing ancient temples and Zen gardens. He is convinced that the foundation of his creativity rises out of a profound knowledge of his heritage. To accomplish this end, he has photographed many Byzantine, Ottoman and Roman remains with a large format camera which has allowed him to capture the rich splendor of his sensitively chosen subjects. The Penn Museum of Archaeology and Anthropology is located at 3600 South St. (on the Penn campus, across from Franklin Field in University City.) The Museum hours are Tuesday through Sunday, 10:00 a.m. to 5:00 p.m. and first Wednesdays of each month to 8:00 p.m. The Museum is dedicated to the study and understanding of human history and diversity the whole world over. It brings those aims to realization with extraordinary distinction and success. ■
Opposite page from left: Hagia Sophia. Added by the Emperor Michael VIII after 1261 CE, the mosaic image of Christ from the Deesis (“prayer”) panel. The image is so fine that it resembles a painting. The skin tone is rendered by means of gentle gradations, with touches of red and green and the deliberate softening of the transitions with a checkerboard of colored tesserae. Photographic print by Ahmet Ertug, 2005–2006. KariyeCamii, Turkey, Istanbul. Rebuilt 1316-1321 CE. The Virgin Mary with the infant Christ appears in the medallion at the crown of the funeral chapel dome of the Church of Christ. Surrounded by a heavenly host of angels, the Virgin appears as the Queen of Heaven. Photographic print by Ahmet Ertug, 2005–2006. AhmetErtug. Photograph by Liz Dixon. Over the past 30 years noted Turkish photographer Ahmet Ertug has taken numerous photographs in the Göreme Valley of Cappadocia. Now a national park, the area is a monastic enclave that includes more than 30 painted churches. Ertug’s architectural work in Istanbul inspired him to begin photographing the city’s impressive Byzantine, Ottoman, and Roman remains, using a large format camera that enabled him to capture their full splendor. He came to realize that “the foundation of creativity is the profound knowledge of one’s heritage.” Karanlik Kilise (Dark Church), Turkey, Cappadocia, Göreme. Mid-11th century CE. This view, looking south, is decorated with the Crucifixion. Spearwielding soldiers, holy women, Mary, and John the Evangelist stand witness to the death of Christ, as do the sun and moon above. The Kiss of Judas appears in the barrel vault, opposite an angel. Photographic print by Ahmet Ertug, 2005–2006
Hagia Sophia (Holy Wisdom), Turkey, Istanbul. 532-537 CE. Photographic Print by Ahmet Ertug, 2005–2006. Hagia Sophia’s nave is covered by the great central dome, braced by halfdomes to the east and west. Light enters the building at many levels. Reflecting off polished marbles and gold mosaics, it suffuses the interior with a golden glow and creates an ethereal impression, of heaven on earth. The large circular panels with Arabic calligraphy were added after the church became a mosque; the left panel says “Muhammad” and the right panel says “Allah.”
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Cinematters
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I NEVER MET ROGER Ebert, who died last April at age 70, but I loved him. The film critic made me see movies as flickering images of a person’s soul, not just rainy day distractions. His delicate, concise prose inspired me to become a writer, which ceased being an occupation long ago. It’s in my DNA. He brought joy and intelligence and color into my 12year-old world, and he made me seek it from other sources. Perhaps it’s best that a meeting never happened. Who wants to see their hero as human? That’s what you are. I want to remember Ebert walking into the sunset to begin his leave of presence. Maybe that’s why I wasn’t enthusiastic to see Life Itself, the new documentary that combines interviews, old video clips, and footage of Ebert’s wobbly final months battling various ailments. So I proceeded carefully. Director Steve James (Hoop Dreams) does a marvelous job constructing the parts of Ebert’s life that were underdeveloped in his gorgeous memoir—particularly his combative relationship with the late Gene Siskel, his TV partner—through interviews with friends, colleagues, and family members. Forget formality. Life Itself is like a well-thumbed, yellowing photo album. In the film’s opening moments we see black and white photos of a young Roger accompanied by a brassy, tuba-fueled score. Interview subjects are captured in bars, offices, and homes. There’s a warm, familial quality to
PETE CROATTO
Life Itself James’s approach, which makes sense since Ebert was a father figure in contemporary film. We’re basically hearing all the great, untold stories about Dad. Did you know that Siskel was petrified Ebert—“He’s an asshole, but he’s my asshole”—would leave At the Movies? Or that Ben Bradlee desperately wanted Ebert to write for The Washington Post? Forever a Chicago Sun-Times loyalist, the critic kept refusing. “I’m not going to learn new streets.” Life Itself serves as a third-person addendum to Ebert’s titular memoir, but the lasting beauty (and relief) of James’ film is how Ebert comes across as a sage in the last months of his life when he had every reason to pack it in. “I have no fear of death,” he says at one point. “We all die.” The movie’s most inspirational scene, the one I can’t shake from my mind, comes when Ebert is confined to a hospital bed. Salivary gland and thyroid cancer has long locked Ebert’s face into a grotesque smile. Speaking is impossible—except electronically. He cannot eat or drink. A nurse feeds him through a tube, an act that elicits an unholy wheezing. But it’s OK: there’s a notepad on his lap, a laptop by his side. Writing was something Ebert was always good at. As the rehab and the days in sterile rooms mount, and James keeps the cameras rolling, movies and writing remain. They freed Ebert from the tether of silent misery. (When you’re in a zone, he says, all the worries get pushed back.) The brain
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worked fine. It could process the emotions while the fingers could capture those thoughts in the perfect voice that runs through our heads. Ebert could say what he wanted. He didn’t have to bang and gesture and hope Chaz, his saintly wife, understood him. With writing, he was nobody’s victim, no one’s charity case. He was Roger, the storyteller. Ebert’s writing was filled with compassion and humanity. James, via interviews and his sympathetic coverage of Ebert, proves that was more than a literary device. He got that way, I think, by eating from life’s plate with both hands. His circle of friends and admirers kept growing, from Martin Scorsese to Errol Morris to Ramin Bahrani (Man Push Cart). A longtime bachelor, he was married at age 50 and got a family in the process. He hit the Internet with a vengeance, recruiting new writers along the way, in his 60s. Roger Ebert taught me how to write. Turns out he was also teaching all of us how to live. [R] ■
An ICON contributor since 2006, Pete Croatto also writes movie reviews for The Weekender. His work has appeared in The New York Times, Broadway.com, Grantland, Philadelphia, Publishers Weekly, and many other publications. Follow him on Twitter, @PeteCroatto.
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Keresman on Film
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E’VE A BIOPIC HERE, and since some people’s cultural awareness goes back only five or ten years, a little background is in order. The Four Seasons was a vocal group popular in the 1960s and ‘70s; their lead singer Frankie Valli had a parallel solo career. While some members played instruments, The Four Seasons was not a “rock band”—the lads sang orchestrated pop with a big rockin’ beat, distinctive harmonies, and featured Valli’s expressive falsetto. The Seasons’ songs usually featured an agonized protagonist with his heart on his sleeve and/or against the world. Some of their songs dealt with classism, as in “I love you baby.” Their songs—they had many hits—are part of the life-soundtracks of a couple or three generations. The film Jersey Boys is based on the musical play of the same name—it’s the story of Frankie and the lads, from their rocky working class/juvenile delinquent beginnings to being inducted into the Rock & Roll Hall of Fame. The director and producer: Clint Eastwood, who in the mid-‘60s sang in the musical movie Paint Your Wagon. If you’re hoping for a bit of spot-the-star, forget it—most of the principals are played by players with musical/theatrical backgrounds. The only Big Star is Christopher Walken, who plays a Jersey
MARK KERESMAN
Jersey Boys Mob boss with a soft spot for the Four Seasons. As with The Runaways biopic, Boys focuses on basically two of the Seasons, lead singer Valli (John Lloyd Young, sounding a lot like the young Valli) and de facto “leader” Tommy (Vincent Piazza). Tommy is full of energy and drive but he’s not exactly subtle in his approach. Valli is a bit more level-headed—a scene of the lads’ booze-fueled hotel debauchery is contrasted by Valli chilling at home with his wife and children. These are the only two characters we get to “know.” A device not used in many movies nowadays—the central characters talk directly to the camera, providing “narration/commentary” on what’s going on—is both old-fashioned, refreshing, and a bit of a time-saver, telling instead of showing the audience. Eastwood’s direction is lively but unfussy—he’s unafraid to linger on the musical numbers. Whereas in some musical biopics we get to hear only portions of songs, here we get the complete song. The film is over 130 minutes and while it feels long, it never drags. The acting is mostly very good. Where the film falters a little are the scenes of Valli’s conflict with his wife—they seem perfunctory and underwritten, as if from a Domestic Arguing in Film 101 class. We get to see and hear the group building their own sound/style, but we never know what inspired them initially, outside of a desire to become famous. The Seasons’ style had one foot in the Tin Pan
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Alley pop that appealed to their parents and the other foot in rhythm & blues/doo-wop territory—it would have been cool to actually see Valli and/or the others get fired up by an earlier vocal group’s performance. It also would’ve been nice to give the Seasons some musical context—the only other performers of the time we see/hear (for more than a few seconds) is the girl group The Angels (“My Boyfriend’s Back”). After all, The Four Seasons was one of the few USA pop groups to flourish despite the British Invasion, folk singers, and folk-rockers that effectively changed the game (In fact, in 1969 the Seasons released a “concept album” Genuine Imitation Life Gazette—while it was a commercial failure, John Lennon named it one of his favorite albums at the time.) Naturally, some events become “condensed” or skipped entirely—in the mid-‘70s, the Seasons had a huge comeback hit with “December 1963 What A Night.” Overall, Jersey Boys is a very good film and very entertaining for lovers of 1960s vocal pop and Seasons fans, but like most biopics, it could have been better. ■ In addition to ICON, Mark Keresman is a contributing writer for SF Weekly, East Bay Express, Pittsburgh City Paper, Paste, Jazz Review, downBeat, and the Manhattan Resident.
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Bad Movie
MARK KERESMAN
Javier Bardem and Cameron Diaz.
The Counselor THERE’S A SUB-GENRE OF movies—call them neo-noir, or at least that’s what their makers want them to be—in which people, amateurs really, get involved in illegal affairs and find themselves in over their proverbial heads. The Counselor is one such, and it’s got a pedigree: Directed by Ridley Scott; starring Michael Fassbender, Brad Pitt, Javier Bardem, Penelope Cruz, and Cameron Diaz, and a script by acclaimed novelist Cormac McCarthy. Yet, it’s a turkey, albeit one in nice-looking feathers. The Set-up: A successful lawyer, known only as The Counselor (Fassbender), decides for reasons unclear to get involved in a big-time drug deal involving the Mexican drug cartels…surely you’ve heard of them. Naturally, things Go Badly, and The Counselor is shocked—shocked, I tell you— when he seeing his exceedingly comfortable life turn into a living Hell. Sounds like the basis for a good movie, right? Wrong. For one thing, it’s been done many times and better—The Last Seduction, to name one. Which is no big deal in and of itself as there are only so many plots to go around. It’s the execution that stumbles badly. For one thing, writing a screenplay is different than writing a novel—this is McCarthy’s first screenplay. Words that might look impressive on the printed page can sound really awkward coming out of allegedly real people’s mouths. Simply put, this is another movie in which the viewer can come away with the revelation: Nobody talks like this in real life.
Few people—excepting some writers—talk in monologues. Nearly everyone talks cryptically, yet no one says, “Hey, can ya repeat that in plain English?” Admittedly, I’ve little direct knowledge of the behavior of wicked, merciless organized crime barons, but I doubt these are the kind of guys that easily slip into philosophical lectures on the nature of life, free will, morality, and responsibility. I mean, look at Whitey Bulger or John Gotti—do they seem like they’d be into Kierkegaard or Nietzsche? There’s also a bedroom scene between lovers—the aforementioned Fassbender and Cruz, in which Cruz speaks not like a grown woman but instead like a simpleton teenager or a trailer-park debutante. We never really know why The Counselor gets involved in this drug deal—and not so coincidently, the details of which are never really made clear. It’s not like he’s some desperate character in dire need of cash—he wears Armani, lives in an apartment/condo that could contain 12 of my apartment, drives a very nice set of wheels. Greed? Boredom? We never learn…speaking of which, The Counselor’s associates, played by Pitt and Bardem, repeatedly and endlessly warn him that he’s getting involved with people who, if displeased, would just as soon eat his liver with some fava beans and a nice claret. Yet, he reacts with uncomprehending dismay when the poop hits the fan—who’d’ve thunk it? Getting involved in a deal with Mexican drug gangsters that think nothing of assassinating public officials who annoy
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them, and bad things are happening to me—who knew? You can see how it’d be kind of difficult to have any sort of investment in this character. (As I stated in this column before: I don’t expect to “like” every movie’s central character, especially if they’re evil or jerks—I just think they should be interesting.) As to interesting, movies like this usually have a femme fatale, the siren who lures our Sailor of Destiny to crash on the rocks of Reality—this film’s siren is played by Cameron Diaz. Cameron Diaz?!? While I think she’s a decent-enough actress—especially in light comedy roles (see In Her Shoes)—Diaz is way out of her depth as a cunning temptress. She’s made up to resemble a jungle cat (stealthy huntress—subtle, huh?), she dry-humps a car (that’s right), and recites some of her lines as if she can recall them but she doesn’t know what they mean. Clearly, this is the stuff that dreams are made of. [slight spoiler ahead] Brad Pitt is the character who “knows all the angles”—he is dressed like a polyester cowboy, after all—yet when things crumble he hides out in London (world-class/international city—“Nobody’ll think of looking for me there”) and is conned far too easily by a mini-siren. The Counselor is a dopey movie in the cheesy guise of a smart one, an example of getting a bunch of talent in one place and seeing it (pun intended) go to pot. ■
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Film Roundup
PETE CROATTO
Sebastian Junger, Kornegal.
Yves Saint Laurent (Dir: Jalil Lespert). Starring: Pierre Niney, Guillaume Gallienne, Charlotte Le Bon, Laura Smet, Marie de Villepin. Doddering, scattered biography of the titular fashion icon focuses on the years 1957 to 1976. That’s when Saint Laurent (Niney) evolved from shy, young Christian Dior exile to boutique darling to jittery, hedonistic creative genius with a love for cocaine and disco nights. YSL shared this volatile period with his no nonsense business partner/lover, Pierre Berge (Gallienne), who serves as the movie’s distracting part-time narrator. Lespert does the showy stuff well—the lovers’ tantrums, the angry sex, the runway shows—but Lespert’s focus is aggravatingly absent. Is his movie about the contentious relationship between two headstrong men, a delicate genius’s chaotic rise to power, or the rise of a legendary brand name? I honestly don’t know, and that indecisiveness dooms the picture. Yves Saint Laurent is easy to look at it, for sure, but it’s oh so hard to care about. In French with English subtitles. ★★ [R] Korengal (Dir: Sebastian Junger). Restrepo, the documentary directed by journalist Junger (The Perfect Storm) and the late photographer Tim Hetherington, covered a year in the life of the Second Platoon in Afghanistan’s dangerous Korengal Valley. In this sequel, which employs interviews with soldiers during and after their tour, the young men explain
the less glamorous aspects of fighting a war: what it feels like to be in a gun fight (exhilarating, actually), their uneasy relationship with the villagers, the boredom of living with the same people day after endless day. Korengal is direct, no-frills, and positively riveting. By keeping the approach simple, the subjects’ thoughts slap you in the face. And the studio interviews—shot in close-up—allow us to see the burdens these young men carry. These guys look gaunt and haunted, even though many are probably college age. An unknown cost lingers behind the everyday life of men and women in combat. ★★★1/2 [R] A Coffee in Berlin (Dir: Jan Ole Gerster). Starring: Tom Schilling, Friederike Kempter, Marc Hosemann, Ulrich Noethen. At turns absurd, sentimental, and whimsical, Gerster’s coming-of-age tale tracks aimless law school dropout Niko Fischer (Schilling) as he gains and loses perspective during a frenetically eventful day that has him crisscrossing modern-day Berlin. “I don’t understand a word of what people are saying anymore,” says Niko, only half-joking. With its flighty young protagonist and black and white cinematography, it’s easy to call this Frances Ha for guys. It’s also a lazy comparison. Noah Baumbach’s delightful 2013 film showed a girl’s journey away from life’s kiddie table. A Coffee in Berlin, with tenderness and blunt honesty, traces a young man’s dawning realization that
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he must do something, anything. The world will go on without him. He has to decide if he wants to keep up. This is required viewing for anyone about to enter adulthood—and everyone else, for that matter. Also known as Oh Boy. In German with English subtitles. ★★★★ [NR] Obvious Child (Dir: Gillian Robespierre). Starring: Jenny Slate, Jake Lacy, Gaby Hoffmann, Gabe Liedman, Richard Kind, Polly Draper, David Cross. Part of this month’s young adult travails double bill with A Coffee in Berlin. In Brooklyn, struggling comedian-actress Donna Stern (Slate, TV’s Parks and Recreation) gets dumped by her douchey boyfriend, beginning a lousy run that stars self-loathing and imminent unemployment. There’s a break in the misery when she hooks up with a strikingly handsome nice guy (Lacy, who looks a slice of Wonder Bread with eyes), only she ends up pregnant. Getting an abortion is an easy decision for Donna. Trying to start a relationship with her unraveling life and this burdensome secret? Excruciating. Writer-director Robespierre smart, funny script neither demonizes nor celebrates Donna’s pending act. It is simply the center of a young woman’s maturation. That stance gives Obvious Child a mature sweetness that it wouldn’t get by shaking its principles for the camera. Real people—Slate and Lacy are wonderful, by the way—face real problems. That’s it, that’s all. ★★★★ [R] ■
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Nick Cave WILL THE REAL
PLEASE STAND UP
With Bad Seeds at its spirited high and a dramatized documentary screening this month, can we find the true Cave between the two poles?
TO SAY THAT NICK Cave operates on his own level apart and away from other writersinger-performers is a minor observance of his unique stature at this point in his long career. Though certainly not the first baritone vocalist to be obsessed by death, America, love and violence (hello David Bowie and Scott Walker) Cave has always taken such passions to their extreme, as well as lacing their allusions with a literary language and a rich well of reference unwitnessed since Leonard Cohen and Lou Reed’s initial works. Unlike those icons of poetic text, Cave—the finest artist to emerge from European post-punk—had an energy that was as bizarre as it was unbound—like a caged, wild child let loose on Proust, Joyce and Carson McCullers. The results of his labors, most often displayed through the auspices of his longtime ensemble The Bad Seeds (but not exclusively, see the stripped-down, rude, raw Grinderman) have ranged from the dark discord of early albums such as From Her to Eternity and The Firstborn Is Dead to the more pastorally displayed gloom of latter-day Cave-Seed collaborations, No More Shall We Part and the double-album Abattoir Blues/The Lyre of Orpheus.
he
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Exclusive Interview Everything changed though with last year’s Push Away the Sky an album and tour that opened Cave up not only to the sound of epiphany, but a certain ebullience in finding such joy. “Yes, joy,” says Cave pacing throughout several rooms during what was my eleventh interview with the Australian writer-singer since his days as a member of the legendarily savage The Birthday Party. “There was definitely a certain celebratory spirit to the music and lyric of Push Away the Sky as well as the tour that followed, especially in America.” This month, Cave looks to conjure that same gleeful spirit with a show at the Mann Center (July 25) as well as a screening of the soon-to-be-released expressionist documentary on his doings, 20,000 Days on Earth at the Trocadero (July 27). Remind him that this is very nearly our twelfth conversation and Cave teases how “nice it is that we have stayed together. I hope that I don’t repeat myself too often,” before discussing the process that’s brought him to 56 years of age,
A. D. AMOROSI
as our decision to keep playing. There was something about those performances of 2013 that have us given a different look at the states—a different more unique impression. Before that, we had own way of doing America. Now, it’s more communal and celebratory.” Having witnessed Cave’s Seeds sell out the Keswick Theater in 2013 and watching the radiant love between the band and the audience, you could tell than there was epiphany to be found, even during Cave’s darkest songs. For this, Cave blames the fact the most recent album is more ambiguous than Bad Seeds’ albums past, much more obscure, intangible and amorphous than anything they’d recorded previously. “That sort of thing allows listeners to paint their own pictures, as opposed to my previous recordings and live shows where, quite frankly, they came off as ‘Here I am world, I’m fucking Nick Cave.’” This time, listeners suddenly became closer to him, to become part of his songs. “I think that they got beyond the wall, my wall. Do you like that theory?”
something more, something wider to put the footage they’d shot into. After the directing duo suggested a documentary in which Cave had no interest, the notion of something fuzzily and fictitiously narrative—something unconventional—became a better idea, especially when they propositioned that Cave improvise his way through fake moments of his real life—or real moments of his fake life. It wasn’t uncomfortable to act, as he wasn’t acting. Instead, he was an improvisational device moving through sets. “No it wasn’t uneasy being part of one’s own life. The only thing that would have made me uncomfortable would have been if I had to try to do something. That would have seemed pretend.” Joke with Cave that it’s telling he gets shot three times in the film and he laughs before discussing the “lovely thing that runs through this film” that’s supposed to be a day in the life of Nick Cave. Rather than have some “real” psychological discourse, the trio allowed the film to be a masquer-
Cave occasionally seems a surprisingly self-doubting character. After 30 years of live performance, the prospect of getting onstage still fills him with “fucking dread.” Whenever he releases a record, he says, he finds himself gripped by the fear that he is “going to be exposed, people are going to realize I was never really that good anyway, someone’s going to come round and find out I was supposed to be a different person or something like that.” — Interview with Alexis Petridis in The Guardian, February 2013. and whether he’s become the man he thought he would be growing up. “I was always older in my thinking, I believe,” says Cave. “The people I was influenced by were older, and even perhaps the people I measured myself against—if I ever really actually did that—were older, rather than, say, my contemporaries. Now that I’m older, I expect that I’ve caught up… I don’t know.” Having witnessed the live Cave experience since the time of The Birthday Party and its manic avant-rock ride (“you have to not take Birthday Party into consideration, as it was a different thing altogether”), his is a position where reserve meets abandon. “In terms of the Bad Seeds and I, we have mastered the art of control as well as the abandon of which you speak. I think all of us have within that band. There is a difference though, now,” Cave says with a great pause. “Our performances have become far more joyful than maybe they were ten years ago.” There’s great energy within the Bad Seeds, part of which comes from the cinematic yet sparer sounding melodies (longtime arranger Mick Harvey left the band and took with it some of the lushness) and Cave’s unwillingness to play judge or jury in some of its more dramatic looks at good people doing lousy things. Playing an album as such nightly does a lot to change even the most seasoned road dogs. “Quite truthfully, a lot of the newfound joy with the Bad Seeds and I has to do with touring the states last year as well If A.D. Amorosi can’t be found writing features for ICON, the Philadelphia Inquirer or doing Icepacks, Icecubes and other stories for Philadelphia’s City Paper, he’s probably hitting restaurants like Stephen Starr’s or running his greyhound
Where going beyond the walls are concerned nothing would seem so immersive and invasive as a documentary. That is if it were anyone but Cave. Unlike rockumentaries with Metallica (Some Kind of Monster) where bands sit through therapy sessions or even Let It Be where you watch the Beatles disintegrate before your very eyes until they nearly jump off a roof, Cave’s 20,000 Days on Earth, directed by Iain Forsyth and Jane Pollard, takes an avant-garde road, with build-around set pieces through which Cave can dramatically improvise. “No, not exactly act,” says a relieved Cave, the author of such films as The Proposition. Not only does Cave get shot several times during his 20,000th day of existence, he hangs in his office, eats with Bad Seed Warren Ellis while viewing Scarface, sits through a therapy session, and drives with Kylie Minogue. Other people In the same car with the singer include Ray Winstone and Blixa Bargeld, the legendary noise guitarist who famously left the Bad Seeds with a brief email after finding himself disappointed with Cave’s musical direction at the time. “I hadn’t seen or spoken with Blixa for twenty years, so that was a surprise,” he says. So why did Forsyth and Pollard succeed when others had tried? What pitch did they give Cave? “It didn’t have anything to do with any sort of pitch, yet had everything to do with the fact that we got them involved in the studio when we were recording [the pair directed the video to Dig Lazarus Dig!], then commissioned them to come in and shoot footage for Push Away the Sky’s press kits, and really got on very well with the both of them. While they were around, I found them helpful to a certain visual aspect of what we were doing. We don’t really allow many people into our world, so to speak…our process… but the footage they captured was so great, we began to think about
ade where everything that happened during that day was fake. “None of it is real, or even close to it. My psychoanalyst isn’t real. I don’t have any grand archives. The bedroom is not my room. Those offices are not my offices, nor are the bathroom or mirror I stand in front of mine. Within those fake sets, everything was improvised, so I never really knew what they were going to get or use. It isn’t a lie. It’s just all fake, yet somehow there’s a certain truth that came through. It’s just a more interesting way of coming out with the truth that anyone thought possible at the beginning.” The most dynamic truth comes from the car conversation between Cave and Bargeld, two intense men and friends, sharing their vision and standing their ground. Cave wasn’t surprised that there was so much honest conversational ease between them after so much time had passed. “Neither Blixa nor I have ever been interested in doing something that doesn’t have an emotional impact of some sort. There wouldn’t be any reason to do anything. It would be a complete waste of time. It’s true that we haven’t spoken to each other in years, so putting us into a car, with such close proximity, well…” Cave trails off, perhaps thinking of what could have been. Along with touring and playing solo piano shows in tandem with 20,000 Days, Cave is currently composing new music for the Bad Seeds—“Tiny ideas, tiny strands really. Nothing I can talk about, though I can say that it will be very different from Push the Sky Away.” As for pinpointing when it will be done or when Cave might move toward his next project without Bad Seeds, Cave says that the “fires and passion and immediacy” of everything he does is harder to harness than mercury when he gets started. “I just don’t have that level of clairvoyance,” says Nick Cave. “Not yet.” ■
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Reel News
GEORGE OXFORD MILLER / REVIEWS OF RECENTLY RELEASED DVDS
The Lunchbox.
The Lunchbox (2014) Starring: Irrfan Khan, Nimrat Kaur. What is the purpose of life? If you answer “To love and be loved,” you’ll click with this lonely-heart, pen-pal romance set in India. In the digital era, people isolated by fragmented jobs and anonymous lives resort to virtual romance on social media and websites. In crowded, chaotic Mumbia, a misdirected lunchbox works just as well. Mumbai housewives pack elaborate lunches for their working husbands and delivery men take them to the workplace. Trying to rekindle the fire of her marriage, Ila (Kaur) starts sending elaborate meals to her husband, and secrets endearing letters in the lunchbox. The problem, or not, is the canister is always delivered to the wrong man, a lonely widower (Khan). Yet, he dutifully responds to the mystery woman. The lunches become more sumptuous and the letters more life encompassing as the kismet relationship develops. The tale unfolds around handwritten hard-copies, unexpected self-discovery, and well-crafted personalities impossible to develop in a text-messaging society. ★★★★ [PG] Bethlehem (2014) (Starring: Tsahi Halevi, Shadi Mar’i ) The endless Israeli-Palestine feud would be the perfect setup for a star-crossed, Romeo-and-Juliet tragedy, or any kind of tragedy for that matter. Writer-director Yuval Adler, a former Israeli intelligence officer with a doctorate in philosophy from Columbia, gets right to the heart of the political-interpersonal-
ideological-revenge-fueled conflict with this story of an Israeli agent and his Palestinian asset. Intelligence officer Razi (Halevi) cultivates Sanfur (Mar'i), a disenfranchised Palestine teen, to inform on his brother’s radical suicide-bomb squad. Over a period of years, the relationship develops into more of a father-son than a handler-asset bond. Yet, the hatred, rage, and distrust always simmer just below the surface in both men. Finally, hearts boil over when Razi is pressured to force Sanfur to expose his brother, and save Israeli lives, even though it means certain death for Sanfur. Torn between his allegiances and love, Razi, like the society and cultures around him, finds no hope in the lose-lose situation. Hebrew and Arabic with English subtitles. ★★★★ [Unrated] Under the Skin (2014) Starring: Scarlett Johansson. In the recent movie Her, Scarlett Johansson didn’t have, or need, a body. Samantha, a computer operating system, seduced her man with her smooth voice and exponentially expanding intellect. In this version, Johansson as Laura, the ultimate femme fatale, most definitely needs a sensuous human body, though it’s only a cover, literally, for a sinister, unearthly creature. She cruises around moody Scotland in a white van offering single men a one-way ride and terminally messy sex. Like the cyber personality of Samantha, Laura initially has no understanding of humans or the human condition. Humans are no more than objects to fulfill her needs. Then as she walks
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through streets filled with people living everyday lives, as well as seducing young men and turning them into Solvent Green, she begins to experience what being human is all about. Is the portrayal of an emerging empathetic woman a coming-ofage metaphor, a commentary on what it means to be human, or simply a dark and seriously mind-bending sci-fi thriller? Or all of the above? ★★★ [R] Le Week-End (2014) Starring: Jim Broadbent, Lindsay Duncan, Jeff Goldblum. Paris is the perfect place to make up, or break up. We’re never sure of the outcome of Nick (Broadbent) and Meg’s (Duncan) second honeymoon. After 30 years of less-than-blissful marriage, they tote a lot of baggage to the City of Light. The flames may have died but the ashes smolder with enough heat to either warm the heart or sear the spirit. Their dialogue alternates between body blows and caresses, their glances between daggers and seduction. They stay in a hotel beyond their means, skip the check in an expensive restaurant, sip coffee in corner cafes, and ponder their future–with or without each other. Then they meet an old colleague, Morgan (Goldblum), a free-spirited American academic and his young French wife. He invites them to a dinner party, which surprisingly, through the haze of alcohol, pot, and stuffy conversation, helps clarify their future. No chase scenes or pyrotechnics, and not much of a plot, but expect terrific acting and characters you’ll care about. ★★★ [R] ■
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The Jazz Scene The 23d Street Café Tuesday night jam sessions in Center City, founded by architect and one-time bassist Herman DeJong, have been running continuously since 1988. At 26 years and counting, this must be some kind of record. Unfortunately, the last several seasons have not been kind to the space or the sessions, despite the best efforts of drummer/session coordinator Jim Dofton and a core of enthusiastic regulars who come out to blow under any circumstances. With the death of house pianist John D’Amico, the subsequent departure of house bassist Kenny Davis, parking problems, maintenance and staffing issues and rumors of the jam session’s demise, moral and attendance “ain’t what they used to be.” However, there may be some light at the end of the tunnel. DeJong recently arranged two well-attended evenings honoring WRTI’s Bob Craig and Bob Perkins, and worked out a discounted parking program for customers. Further, in that it is no secret that the Café has been up for sale for some time, it seems there is finally some serious talk about buyers/investors who would rebuild the Café into a state-of-the-art performance space and upscale restaurant. The business plan is grandiose, but given the prime location—233 North 23rd Street—it’s entirely possible. Whatever happens with the 23rd Street, there are a number of other open jams in the region worthy of attending. They include Sundays from 8 p.m. to midnight at Time Midtown, 1315 Sansom Street, often with pianist Tim Brey and bassist Madison Rast in residence. World Café Live, 3205 Walnut Street, continues its Monday night jazz confab from 5:30 to 7:00. Probably the best of these get-togethers, in terms of the level of musicianship and a scene where younger jazz students mix—on and off stage—with seasoned veterans is the Sunday session at LaRose Jazz Club, 5531 Germantown Avenue in Germantown. Led by drummer Rob Henderson, the blowing and good fellowship begins at around 6:00 p.m. Philadelphia was once one of the recording and record label centers of the entertainment industry. Labels like Cameo-Parkway, Laurie, Jamie, Chancellor, Lost Nite and later on, Philadelphia International, issued hundreds of singles and albums and a lot of hits as well. Jazz-wise, probably the most famous of these imprints was the Laurie label, which issued several of the most important recordings of the legendary French jazz pianist, Bernard Peiffer. There was also a healthy underground scene over the years with private labels—recordings that were most often sold at gigs—proliferating. Most of these LPs received little if any national distribution and much good music was lost. Record producer/archivist David L. Brown, founder of Philly Jazz Time Records, hopes to help rectify that situation with the iTunes and eMusic release of product from the likes of legendary trumpeter Charlie Chisholm, guitarist George Freeman, organists Doc Bagby and Trudy Pitts, and other unsung giants. In addition to their digital release, Brown hopes to release these and many more titles on vinyl LPs, which is really the only way to dig these things. The Charlie Chisholm sides, recorded in 1960, are particularly welcome. The late trumpeter remains one of those shadowy legends that people talk about in reverential tones. Savannah-born but a Philadelphia resident for 54 years, he was an inventive and swinging player—who played with John Coltrane, among many others—
BRUCE KLAUBER
who also worked as a conductor, educator, promoter and historian. His privately recorded LPs, many with his own Boss-Tet, are valuable collector’s items. It’s great to see some of them back in circulation. Philadelphia’s neighborhood jazz festivals continue to help fill the void created by the absence of a nationally-sponsored, multi-day event. Perhaps that’s for the better in some respects, as the spotlight is on the players from this area who help make the Philadelphia jazz scene so vital. The 8th Annual Lancaster Avenue Jazz and Arts Festival will take place on July 19 at Saunders Park Green, which is at the corner of 39th and Powelton Avenue. The fest is sponsored by the People’s Emergency Center, with help from a National Endowment for the Arts grant. Performances run from noon until
Saxophonist Tim Warfield, Lancaster Avenue Jazz and Arts Festival 2013.
7:00 p.m., and performers do include one “national name headliner” in the form of saxophonist Azar Lawrence, who has performed with everyone from Miles Davis to Roberta Flack. Lawrence will also be hosting a master class for kids at the Philadelphia Clef Club the day before the festival. Also on hand on are fast-rising trumpet star Josh Lawrence, vocalists Shakera Jones and Charlene Holloway, pianist Glenn Byran, saxophonist Nasir Dickerson, the youngsters of the Play on Philly ensemble, and the always explosive West Powelton Steppers. The organizers emphasize that this is a familyfriendly event. Details: lancasteravenuejazzfest.com. Joe Wilder, who recently passed away at the age of 92, was one of the most versatile trumpeters in jazz. Classically trained and as at home in the world of classical music as he was in jazz—he was a founding member of the Symphony of the New World—Wilder was also a pioneer in breaking down racial barriers. He was the first African-American to hold a principal chair in a Broadway show orchestra, and was one of the first African-Americans to join a network studio orchestra. Fortunately, Wilder lived to see the publication of his just-released biography, Joe Wilder and the Breaking of Barriers in American Music: Softly, with Feeling, published by Philadelphia’s own Temple University Press and written by one-time Associate Director of the Rutgers Institute of Jazz Studies, Ed-
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ward Berger. This is a fine work in every respect, meticulously researched and a joy to read. Due in October from Viking Books is Herbie Hancock: Possibilities, a memoir by the influential pianist, composer and educator. Co-written with author Lisa Dickey, the book details delves into Hancock’s long career as a musician, composer, professor, UNESCO goodwill ambassador, father, husband and innovator. Another jazz bio, though this one is a documentary film rather than a book, is The Pleasures of Being Out of Step. This film details the life and work of Nat Hentoff, who has not only been one of the leading jazz journalists and jazz champions for more than six decades, but a crusader for free speech who helped found what we now know as “alternative journalism.” Among the film’s interviewees are Amiri Baraka, Stanley Crouch and Dan Morgenstern, and there’s plenty of archival footage of the jazz legends as well. This project has received rave reviews, and was the winner of last year’s Metropolis Grand Jury Prize for documentaries. For more details on the film and a list of playdates, visit firstrunfeatures.com/pleasuresofbeingoutofstep. The music of pianist/composer/bandleader and jazz innovator Sun Ra, gone since 1993, lives on by way of the continuation of his Arkestra, and the brand new release of 21 classic Sun Ra albums on iTunes. These come courtesy of The Sun Ra Music Archive and the Enterplanetary Koncepts. Ra, who headquartered in Germantown from 1968 until his death, was and is a controversial figure, musically and otherwise. Until his dying day he maintained that he was not from earth, but from Saturn, and never, ever went out of character. Musically, he laid the groundwork for the use of electronic music in jazz, the avant garde and free jazz. Sun Ra was no charlatan—he could swing with the best of them when he felt like it—and who knows whether or not he came from Saturn? The new iTunes releases include a good deal of previously unreleased material and are beautifully remastered, exceeding the standard 16-bit sound quality of CDs. Long-time Ra saxophonist Marshall Allen continues to lead the Arkestra, which is as busy or busier now than it was during Ra’s lifetime. This month for example, the crew tours Japan, Slovakia, Switzerland, The Netherlands, Austria, Poland, and Spain. Follow the band’s progress on sunraarkestra.com. Congratulations are in order for allaboutjazz.com and its founder, Michael Ricci. The prestigious Jazz Journalists Association voted allaboutjazz the Web Site of the Year. Don Glanden’s long-awaited documentary film on Wilmington’s favorite son, the legendary trumpeter Clifford Brown, is finally being released. It had a couple of screenings last month and it should be available to the general public shortly. This was not only a labor of love for Glanden, a world-class jazz pianist and educator, but a real labor as well. The work, time, sweat and research that went into Brownie Speaks were just remarkable. The Jazz Scene looks at Brownie Speaks in depth next month. ■ Send news to drumalive@aol.com
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Singer / Songwriter Colleen Rennison ★★★1/2 See the Sky About to Rain Black Hen Music Colleen Rennison, lead singer of the Vancouver-based rock band No Sinner, takes a different approach with her first solo album. On See the Sky About to Rain, named for the song by fellow Canadian Neil Young, Rennison displays some impressive vocal abilities in this collection of a dozen songs by other artists. Vocally, the 26-year-old Rennison, who also works as a TV and film actress, projects both intimacy and rawness. She provides a bluesy edge to Tom Russell’s “Blue Wing,” a tale of an inmate’s life beyond prison and captures an edgy sense of freedom on a country-fueled version of
TOM WILK ★=SKIP IT; ★★=MEDIOCRE; ★★★=GOOD; ★★★★=EXCELLENT; ★★★★★=CLASSIC
work and vocals of C.J. Chenier. Mayall continues to have a good ear for contemporary blues material to spotlight his backing band. Lead guitarist Rocky Athas takes center stage on a smoking rendition of Sonny Landreth’s “Speak of the Devil.” Mayall himself handles lead guitar on Albert King’s “Floodin’ in California,” one of his earliest blues influences. “World Gone Crazy,” one of five original songs by Mayall, offers his take on contemporary society. “Heartache” and “Just a Memory” mine familiar themes of lost love. While A Special Life may not break new ground, Mayall remains a staunch blues disciple still intent on spreading the word to anyone with ears to listen. 12 songs 48 minutes Willie Nelson ★★★★ Band of Brothers Legacy On Band of Brothers, his latest studio album, Willie Nelson gets back to one of his strengths—songwriting. The 81year-old singer/songwriter, who penned such classics as “Crazy” and “Funny How Time Slips Away,” co-wrote nine of the CD’s 14 songs with producer Buddy Cannon to give the album a unified feel. Nelson’s songs confront the aging process on “The Wall” and “Bring It On.” On the latter, Nelson
Colleen Rennison
Townes Van Zandt’s “White Freightliner.” On Joni Mitchell’s “Coyote,” Rennison and producer Steve Dawson go for a jazzy reading that emphasizes the romantic restlessness of the lyrics. Rennison performs two songs written by Robbie Robertson of The Band. “Stage Fright” plays up the tune’s rhythm-and-blues roots, while “All La Glory” a gentle celebration of a newborn child. Rennison shows her country side on “The Fool is the Last One to Know,” recalling the heartbreak songs of Patsy Cline. While the version of Bobbie Gentry’s “Fancy” falls short of the original, Rennison reveals herself to be a fearless interpreter. 12 songs 49 minutes John Mayall ★★★ A Special Life Thirty Below Records It’s no stretch to call John Mayall the godfather of the British blues scene. Over the last half century, Mayall’s band has helped to launch the career of such musicians as Eric Clapton, Jack Bruce, Mick Taylor and Mick Fleetwood. At 80, Mayall is showing no signs of slowing down with A Special Life, his first studio album in four years. Mayall’s musical foundation remains rooted in the blues but he continues to branch out. “Why Did You Go Last Night,” the album opener, adds a zesty Zydeco flavor to the mix, thanks to the accordion
tomwilk@rocketmail.com
Willie Nelson.
sings: “They say there’s no gain without pain/So I must be gaining a lot.” He playfully addresses romantic relationships on “Used to Her” and “Wives and Girlfriends.” Other songs— “Guitar in the Corner” and “I’ve Got a Lot of Traveling to Do”—use music as a metaphor for life. The latter serves as a sequel of sorts to “On the Road Again,” Nelson’s ode to life as a traveling musician. Band of Brothers also features Nelson covering five songs of his contemporaries, including two by Billy Joe Shaver. “The Git-Go” is a bluesy lament on the state of the world, performed as a duet with Jamey Johnson. On “Hard to Be an Outlaw” he sings about the changes in country music and what’s missing in today’s performers. Nelson continues to show he has the right stuff as a writer and performer. 14 songs 47 minutes Hannah Aldridge ★★★1/2 Razor Wire Trodden Black “I’ve been a little too long on love’s front lines,” Hannah Aldridge defiantly declares on “You Ain’t Worth the Fight,” the
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Hannah Aldridge.
opening song on Razor Wire. It’s a lyrically direct admission on an emotionally charged album about love and loss, pain and regret. Aldridge, the daughter of country songwriter Walt Aldridge, calls the songs on Razor Wire “Dark Americana.” It’s a label that fits for such tunes as the romantic noir of “Old Ghost” and “Howlin’ Bones.” Other songs, including “Parchman,” sung in the voice of a prisoner recalling a crime of passion, and the bittersweet “Lie Like You Love Me” find Aldridge baring her soul. The title track, heard in a full-band version and a stripped-down acoustic demo as a hidden track at the end of the album, is a haunting deconstruction of a crumbling marriage. As an album, Razor Wire recalls John Lennon’s Plastic Ono Band in its stark analysis of personal relationships. Aldridge’s compelling vocals ensure that it is not an album for casual listening. 11 songs 47 minutes. Eli “Paperboy” Reeds ★★★1/2 Nights Like This Warner Brothers Nights Like This represents a sonic transformation for Eli “Paperboy” Reed. The singer/guitarist has taken his love of Southern soul and rhythm and blues and given it a 21st century pop sheen with synthesizers and electronic instrumentation added to the mix. Call it Eli “Paperboy” Reed 2.0. “Sit back, relax and enjoy the ride, or you’ll never be satisfied,” Reed sings on “Well, Alright Now,” an invitation to the listener on the opening track. “Grown Up” employs a stopand-start rhythm and serves as an invitation to the dance floor. On the exuberant “Voodoo,” Reed and co-producer Ryan Spraker utilize a hip-hop groove to power the song. The title track is a celebration of the evening, while the joyful “Shock to the System,” one of 11 songs co-written by Reed, has overtones of classic 1960’s Motown updated for contemporary times. Reed slows down the proceedings for “Ain’t Worth It (Goodbye)” for a soul ballad. Nights Like This is a fast-paced album that should serve Reed well as a launching pad for the next phase of his career. 11 songs 35 minutes. ■
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Nick’’s Picks John Chin ★★★1/2 Undercover BJU Records There are many fine musicians who seldom have an opportunity to make a solo record, either by design or circumstance. For New York-based pianist John Chin, it may be a bit of both. Chin is a busy sideman throughout town and
nique where one plays several improvised lines at a time. That doesn’t mean that you strain to follow the music. To the contrary, he is a quick-witted pianist with a gift for constructing sinuous, pleasing melodies (the shimmering title track is sure to be Chin’s signature tune). The album is rooted in post-bop mainstream appeal—the strutting rhythm and soulful backbeat on Chin’s imaginative read of Ellington’s “Caravan” or his ruminative take on Chaplin’s “Smile” made extra dreamy by Le Fleming’s bass notes and Rieser’s brushes, reveal a grounded, confident musician with a fresh approach to standards. Undercover is a minor gem with compelling rhythms and gorgeous harmonics, and it’s a most inviting introduction to this first-rate musician and composer. (8 tracks; 53 minutes)
same sessions with a continued emphasis on poignant ballads and alternate takes of “Where Can I Go Without You” and Gordon Jenkin’s “Goodbye.” It’s an album that’s easy to love, particularly since Jarrett adds a mid-tempo version of Bud Powell’s “Dance Of The Infidels” to the otherwise serene set list. In a change of pace, Monk’s “Round Midnight” is refreshed by the remarkable flow of notes from Jarrett and stunning sound from Haden’s instrument; his tone is full, deep and round.
Keith Jarrett / Charlie Haden ★★★★1/2 Last Dance ECM Bassist Charlie Haden has a thing for piano duets and over the years his recordings with Kenny Barron, John Taylor, Chris Anderson and especially Hank Jones document performances full of magical interplay, but Jasmine (ECM), his 2010 album with pianist Keith Jarrett was something more, transcendent as music and art. Recorded in 2007 in Jarrett’s small home studio, the pianist and Haden didn’t re-
Keith Jarrett. John Chin.
often leads his own group on Monday nights at Small’s in the Village, but it’s been six years since his debut release Blackout Conception (Fresh Sound), an import album that sported a tight quintet with saxophonist Mark Turner. The pianist makes a welcome return with Undercover and it gives better measure to his intriguing talent. An evocative trio album that mixes three originals and five jazz covers played with a twist (Coltrane’s “Countdown” and an unexpected pair of Wayne Shorter tunes among them), it features bassist Orlando Le Fleming and Dan Reiser on drums and was largely improvised on the spot in single takes. Chin’s an advocate of polyphonic improvisation, a tech-
Nick Bewsey has been writing about jazz for ICON since 2004. A member of The Jazz Journalists Assoc., he blogs about jazz and entertainment at www.jazzinspace.blogspot.com. Twitter: @countingbeats
Charlie Haden.
hearse ahead of time, yet merely discussed song choice, chord changes and such before rolling tape. The process yielded standards and ballads that were deeply and equally felt by the musicians and listeners alike. Last Dance is an elegant sequel and comes from the
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As with Jasmine, Last Dance is recorded in spectacular fashion. It amplifies the quality of their playing, most evident on “My Old Flame,” which the duo illuminates with subtle swing. The Gershwin/Weill tune, “My Ship,” sails as an after-hours ballad, its melody shimmering and honestly played with the pianist hitting sparkling high notes at the denouement. This is Jarrett at his most accessible, though Haden steals the spotlight with his intimate solo, reminding us why he is so esteemed. To our delight, Last Dance brings two of the world’s finest musicians together again, one a restless perfectionist and the other finding happiness by exploring musical genres of all types. The album reveals both at their best, reveling in the beauty of song and warmth shared between longtime friends. Apart from the implication behind the album’s title, you can’t help feeling bittersweet near the album’s end as they intimately play Cole Porter’s “Every Time We Say Goodbye”—it’s the shortest track on the album and packs an emotional punch. (9 tracks; 76 minutes)
NICK BEWSEY
★=SKIP IT; ★★=MEDIOCRE; ★★★=GOOD; ★★★★=EXCELLENT; ★★★★★=CLASSIC
Jacob Young ★★★★ Forever Young ECM A guitarist who pulls from jazz and classical traditions, Norwegian-American Jacob Young leads a blissful group on his third ECM disc, Forever Young, and it’s the closest the label has come to producing a pop jazz record. That’s not a slight because the harmonics and earthy arrangements are artfully crafted and too sophisticated to be that smooth, but one or two of the album’s spellbinding melodies could find
Adam Schroeder ★★★★ Let’s Capri Records Baritone saxophonist Adam Schroeder is one fortunate jazz cat, mostly because his sophomore record, Let’s, features a dream team of collaborators—guitarist Anthony Wilson, bassist John Clayton and drummer Jeff Hamilton—and also because this recording is a gift to audiophiles. Like all of Capri’s releases, the sound is uncommonly warm, punchy and vivid. That doesn’t mean that Schroeder rides shotgun. He’s an assertive talent with hard-hitting chops and plenty of good taste. As a young adult, the saxophonist started as an alto player after hearing Charlie Parker, but switched to baritone and ended up being mentored by legendary trumpeter Clark Terry who instilled the value of altruism in his ward. From
singular tone highlight the fertile arrangements of Duke Pearson’s happy-sounding “Hello Bright Sunflower” and Benny Carter’s “Southside Samba” while his own compositions, from the gospel-tinged “Just Clap Your Hands” to the smoky Brazilian-styled “Patience Endurance, Steady Hope” shed light on the maturity of his songwriting skills. The varied program and Schroeder’s consummate playing style echoes the great works by saxophonists like Gerry Mulligan and Pepper Adams. Given his talent, hot solos, deft melodies and a band that dazzles as a unit, Let’s is easy to recommend. (11 tracks; 61 minutes) Joe Magnarelli ★★★★ Lookin’ Up Posi-tone An enthusiastic and surefire traditionalist, trumpeter Joe Magnarelli leads an ace quintet on Lookin’ Up, a rousing set of crisp hard bop originals and juicy jazz covers—their precise, fired-up “Suddenly It’s Spring” and “In Walked Lila” are surely leapin’ and lopin’, Sonny Clark-style. Magnarelli
Jacob Young.
their way on a quiet storm set list thanks to the tuneful interplay between Young and saxophonist Trygve Seim. Among these, “Bounce” has an infectious beat, a buoyant melody spelled out by Seim and a skillfully precise guitar solo by Young. The sensitive tune, “Therese’s Gate,” has a lovely, calibrated Brazilian feeling where Young’s classical guitar chords float over Seim’s lush horn lines and Polish pianist Marcin Wasilewski steps in with an extended and notable piano solo. The saxophonist opts out on “1970,” a tune that catches our ear with a theme that’s underscored by tumbling bass and drum rhythms, supple electric guitar work by Young and another beautifully played modern piano solo. Another of Young’s strong compositions, “Beauty,” softly kills with his acoustic fills and polished melody that’s tailor-made for late night radio. Wasilewski and his trio are at the heart of the recording—their own recordings for ECM and as part of trumpeter Tomasz Stanko’s quartet are superb, but here it’s Young and his frontline saxophone partner who deliver the shape and substance for this exceptional effort. (10 tracks; 74 minutes)
Joe Magnarelli.
Adam Schroeder.
those early days Schroeder graduated to work with Ray Charles, Diana Krall, Sting, John Pizzarelli and currently plays as a member of the Clayton-Hamilton Orchestra. Let’s is impressive on all counts. The low register of the baritone sax is out front and always thrilling; Schroeder and his band can swing and the harmonious arrangements give plenty of room for exemplary solos by guitarist Wilson, Clayton and Hamilton. (We’ve heard these guys before on Diana Krall’s best recordings.) Schroeder’s virtuoso phrasing and
learned the ropes in a variety of big bands like Harry Connick, Jr’s orchestra, which make his tunes richly entertaining. As a trumpeter, he’s no show boater, preferring a muted horn or flugelhorn and sticking to the middle registers where he runs self-assured and nuanced lines. He shares his front line with über-trombonist Steve Davis that, combined with the scintillating solos by the great (and undervalued) pianist Anthony Wonsey, bassist Mike Karn and drummer Jason Brown, makes for a swinging dream date in the Jazz Messengers tradition. A bouncing version of “You Go To My Head,” the leader’s own (Obama inspired?) “44” and the cool bossa groove on “Blue Key” are tightly arranged, played with feeling and move like a freight train. Magnarelli’s slick quartet is boss throughout and this wholly enjoyable record simply crushes it. (10 tracks; 53 minutes) ■
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Keresman on Disc Rod Piazza and the Mighty Flyers ★★★★ Emergency Situation Blind Pig Harmonica guy/singer Rod Piazza has been at it since the mid-1960s, first with The Dirty Blues Band (ah, the ‘60s) and on through the now. Piazza has a unique sound on the mouth harp, a virtual cross between a saxophone, an accordion, and a chainsaw. “Serrated” and “scorching” can be used to illustrate his tone. As a singer, Piazza is no Bobby “Blue” Bland
Records debut of Chile-born tenor saxophonist Aldana. While she’s, uh, young (26), she’s got plenty of suss ‘n’ moxie. Aldana has a big, shiny, resolute tone in the manner(s) of Sonny Rollins and George Coleman, and while the spotlight is obviously on her, she doesn’t hog it. Rollins made some fine recordings with Thelonious Monk, and the Monk seems to be an influence as well, never playing a barrage of notes when some sleek, well-chosen phrases will do nicely. Her bass and drums team—Pablo Menares and Francisco Mela, respectively—play up an interactive storm, never cluttering, giving this set of brainy post bop a somewhat “full”
Melissa Aldana.
sound. Plus Aldana has that sometimes rare quality of true swing, even at her most pensive. If you dig sax-gods Rollins, Coleman, and (Joe) Lovano, you must hear Aldana. (10 tracks, 53 min.) concordmusicgroup.com
Rod Piazza and the Mighty Flyers.
but he has the barroom plainspoken-ness of Little Walter and Fats Domino, and his Mighty Flyers are a crackin’-good combo. All this could mean naught if the songs weren’t there— fortunately they are, being a dandy mix of cry-in-your-beer and rollicking blues-chasers. The clincher: While the lads’ approach is based in the dark-of-night Chicago school, there’s substantial presence of jump blues (the swing-charged style that eventually evolved into rhythm & blues), N’awlins R&B (Lee Dorsey’s fun-silly “Ya-Ya”), and the suave, cooler, more goodtime-y horn-inflected West Coast blues (think Lowell Fulson and Amos Miburn, whose “Milk and Water” gets covered herein). Harmonica fans, take note—the flames of Walter, James Cotton, Paul Butterfield, etc. is in such good hands. In these troubled times Situation is a tonic. (11 tracks, 48 min.) blindpigrecords.com Melissa Aldana & Crash Trio ★★★★ Melissa Aldana & Crash Trio Concord For some listeners (me) saxophone trios—a lineup of sax, bass, and drums—can be a bit…problematic. With no chordal instrument (piano or guitar) or other horn, the results can seem a bit too stiff or austere. Not so with Melissa Aldana & Crash Trio, the Concord shemp@hotmail.com
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Glenn Tilbrook ★★★★ Happy Ending Anchor and Hope Why oh why wasn’t UK combo Squeeze more popular in America in their 1980s heyday? Maybe they were too good for their own good—at their best Squeeze approached the level(s) of classy three-minute pop/rock perfection established by Lennon & McCartney in their prime. While Squeeze has re-formed on an on/off basis, front person Glenn Tilbrook continues his solo career and his latest oft-approaches the swell-ness of Squeeze circa East Side Story/Sweets From a Stranger. Tilbrook’s singing still resembles young John Lennon with a touch of old-school sweet soul and that’s still a good thing. Happy Ending is predominantly an acoustic effort loaded with engagingly bittersweet reflections on barroom loneliness (“Hello There”), mega-businesses and their intemperance (“Everybody Sometimes” and “Rupert,” as in Murdock), and underrated Beach Boys member Dennis Wilson (“Dennis”—for a slice of pop near-perfection, hear Wilson’s Pacific Ocean Blue). While there’s nothing joyously manic as “Another Nail in My Heart,” this platter sounds like a folkier, somewhat stripped-down version of Squeeze in the early ‘80s—also a darn good thing, don’cha know. (12 tracks, 36 min.) GlennTilbrook.com Cowboy Jack Clement ★★★★★ For Once and For All IRS Records Nashville “Cowboy” Jack Clement (1931-2013) is a music industry MVP yet he’s certainly no household name…or is he? In his career as producer and recording engineer Clement worked with Johnny Cash, Townes Van Zandt, Doc Watson, and U2, his songs performed by Ray Charles, Elvis P, and George Jones. But he only did three albums himself and For
MARK KERESMAN ★=SKIP IT; ★★=MEDIOCRE; ★★★=GOOD; ★★★★=EXCELLENT; ★★★★★=CLASSIC
Once… is his last testament. Oh, it features guest shots from John Prine, Emmylou Harris, Vince Gill, and The Black Keys’ Dan Auerbach, but they’re just the icing on the tasty gravy. Clement is technically not a “great” singer but his voice is raw, warm, and honest, comfortable as that tattered pair of jeans or bathrobe you can’t bear to “retire.” Stylistically, Once is traditional country music (pre-Nash Vegas, without that sterile gloss) with strong acoustic folk overtones, the songs about trains, murder, feelings ‘n’ stuff, delivered with homespun élan. Clement could probably sing Nashville building codes and it’d be worth hearing—fortunately Once has so much more. Thanks, Mr. C. (12 tracks, 33 min.) irsnashville.com Raoul Björkenheim ★★★1/2 Ecstasy Cuneiform Finnish guitarist Raoul Björkenheim’s last platter Blixt was something of a (joyous, scary) blow-out, but this time around things be a lil’ different. He’s got a new band named the title of this album, and they play “out” jazz with lots of sass and vigor. Ecstasy recalls the thornier side of the ECM Records catalog, especially the works of fellow Scandinavians Edward Vesala and Terje Rypdal. Björkenheim attacks the guitar the way the late great Sonny Sharrock did—like Coltrane and Ayler “attacked” their saxophones (mad-fierce abandon)—yet blues is never Raoul Björkenheim. very far away. There’s also the chunky focus of pre-Mahavishnu John McLaughlin and the searing wit of Frank Zappa. The way RB cross-pollinates between jazz and rock recalls fellow traveler Nels Cline, and the results are similar: Oblique swing, gnarly noise, predictably unpredictable, swell. (9 tracks, 46 min.) cuneiformrecords.com
Carlos Franzetti ★★★★1/2 In The Key of Tango Sunnyside Paul Bley ★★★★ Play Blue – Oslo Concert ECM Sometimes you just got to have it simple—but not Lady Gaga simple, dig? Here are two gents at the 88s, solo piano all the way. Argentinean Carlos Franzetti has composed symphonies, big band jazz, and film scores (The Mambo Kings). Here, he has a go at the tangos of his native land. This isn’t “dance” tango—but one can easily imagine the most elegant of ballets to this: It’s Nuevo tango in the vein of Astor Piazzolla, two of whose tunes are herein. Simply put, this is gorgeous music—unabashedly romantic, melodic in a manner that’s cordial and mysterious, full-bodied, poised, and invigorating. Imagine Keith Jarrett in his most rhapsodic moments playing Ravel—yep. (15 tracks, 55 min.) sunnysidecrecords.com Now, on the other hand, Canadian jazz pianist Paul Bley has the rep for being a “cerebral” player. True, he has a generally spare, ruminative style and goes atonal occasionally. But at 75, Bley still surprises—while he’s been “avant-garde” he’s also played with Sonny Rollins and Chet Baker, and Play Blue subtly brings both spheres together. While this program has a “ramble-y” ambiance, it’s exquisite rambling, abidingly lyrical in a manner evoking Bill Evans (albeit more abstractly), and swing (also abstractly) is there. (5 tracks, 57 min.) ecmrecords.com ■ W W W . F A C E B O O K . C O M / I C O N D V ■ W W W . I C O N D V . C O M ■ J U L Y 2 0 1 4 ■ I C O N ■ 31
Jazz Library
Hampton Hawes
BOB PERKINS
NE CAN GO BONKERS trying to figure out why a certain person or certain something, isn’t more widely recognized, even though the certain something, or person in question, are clearly worthy. Many persons involved in the arts have suffered from society’s blindness, deafness, or indifference. Over the years, this has been true with jazz as a whole, and with a good number of its practitioners. One such practitioner was Hampton Hawes, who began his career as a child prodigy, and blossomed into one of the genre’s finest and most inventive pianists. Hawes entered the world November 12, 1928 in Los Angeles, California, and found out about the piano through his mother, who played piano in Westminster Presbyterian Church, where her husband was pastor. While a toddler, Hawes would sit on his mother’s lap while she practiced. He was soon able to able to tap out complex tunes by the time he was three. From then on he was mainly self taught, and in his teens was making music with some of the well known jazz figures on the West Coast—Dexter Gordon, Art Pepper, Wardell Grey and Shorty Rogers, to name a few. What really put him on cloud nine at age 19, was playing for eight months in a group headed by trumpeter Howard McGee that included Charlie Parker. Hawes served in the army from 1952-1954, and upon his release formed his own trio. Following a national tour of Europe in 1956, Hawes won the “New Star of the Year” award in Down Beat magazine, and “Arrival of the Year” honors in Metronome. Hawes sabotaged his career to some degree by becoming addicted to heroin, which prompted a federal undercover probe of drug trafficking in Los Angeles. Hawes was targeted and asked to inform on suppliers in exchange for some leniency. He refused to cooperate, and on his 30th birthday was sentenced to ten years in a federal prison hospital. He applied for a pardon in 1961 from President John Kennedy, and by a great stroke of good fortune, he, along with several dozen other prison inmates, were granted executive clemency in the final year of JFK’s presidency. His spirits buoyed by his release, Hawes resumed playing and recording, and during a world tour in 1967 discovered he’d become a big name abroad. During almost a year touring Europe, Asia, and the Middle East, Hawes recorded nine albums and played to sold-out club and concert venues in ten countries. Hawes became an author and, in his autobiography Raise Up Off Me, focused on his heroin addiction and the so-called bebop movement, of which he was a part. The book won high praise from a number of well-known jazz critics and writers, and was awarded the prestigious Deems Taylor Award for music writing in 1975. The Penguin Guide to Jazz, also heralds the book as “one of the most moving memoirs ever written by a jazz musician…“ If one knows something about jazz and, in particular, excellent jazz piano execution, they would be able to identify the playing of Hampton Hawes immediately. His gospel leanings are evident. His dad being a minister and his mom a church pianist, shine through. But he also did so many other interesting things, and his blends were, in great part, pleasing. I play his music often on the air. Every now and then, a listener with finely-tuned ears will call and ask, “Isn’t that Hampton Hawes? Wow! He was marvelous.” And I know I’ve not just been hearing things when Hawes plays. But somehow, he was just another highly-prized (to some) jazz artist, who wasn’t identified on the home front’s radar. Hampton Hawes died of a brain hemorrhage in 1977 at the age of 47. The City Council of Los Angeles passed a resolution declaring November 13th (Hawes’ birthday) Hampton Hawes Day throughout the city in perpetuity The Green Leaves of Summer, is one of his best albums. The title track alone is worth the price. ■ Bob Perkins is a writer and host of an all-jazz radio program that airs on WRTI-FM 90.1 Mon-Thurs. 6 to 9pm & Sun., 9am–1pm.
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About Life
JAMES P. DELPINO, MSS,MLSP,LCSW,BCD
What Exactly is Freedom?
F
FREEDOM EXTENDS FROM THE very depths of our inner being to the great expanse of the world outside of us. Because we live in the freest country in the world, external freedom is a given state of being not afforded to countless numbers of people who are alive today. Regardless of our external circumstances, almost everyone has some opportunity to experience at least some internal freedom. Freedom From Repetition Most of us have a tendency to repeat rather than to change. Call it human nature, social norms, religious, spiritual, or cultural beliefs, if we look for repeated patterns in our thoughts, feelings and actions and learn to spot them, we have the opportunity to go beyond their restrictions. Once something about us becomes conscious, we have choices about how to deal with it. Some repeated behaviors, feelings and thoughts are helpful because they aid in making good choices, give us peace of mind and a joyful heart. Becoming more aware of our patterns is an access point to greater freedom. Freedom to Look Deeply Socrates is credited with saying “Know thyself ” and “The unexamined life is not worth living.” To pry the lid off your inner self is like taking a cover off a well. Unknown and dark, we shine a flashlight into the well to discover what’s down there. We bravely shine the light of awareness into our own well—we peer into the unknown, rather than imagine all kinds of things that may or may not be in there. Mental Freedom It’s said that freedom issues forth from discipline. Consider the musician who diligently plays his scales, learns theory and technique—this is the same person who can then improvise freely because of all his training and discipline. Mental freedom is about the ability to control negative and unhelpful thinking habits and being able to choose the thoughts we want to think. That’s the balance of freedom and discipline. If you want to develop your body there are gyms, yoga studios, sports and numerous activities available. If you seek to develop mental freedom you must be willing to do the work. There are no shortcuts. Pursuits that require concentration, education, reading and meditation are all paths that lead to greater mental freedom. Emotional Freedom No one gets through life without experiencing wounds, disappointments, heartbreak and loss. Life, even in the richest and freest country on earth is still a
Jim Delpino is a psychotherapist in private practice for over 33 years. Email: jdelpino@aol.com Phone: (215) 364-0139.
very difficult proposition. Many of the hurts inside of us can restrict our ability to fully embrace life. The concern that one might be hurt or disappointed again Stone walls do not a prison make, can become a ball and Nor iron bars a cage; chain around our ankles. If we have a patMinds innocent and quiet take tern of avoiding cerThat for an hermitage; tain issues, people If I have freedom in my love, and places, then we’re And in my soul am free, not free to choose. While some experiAngels alone that soar above ences are healthy and Enjoy such liberty. uplifting, avoiding people who’ve hurt us To Althea, from Prison is probably a good idea. There are all Richard Lovelace 1618 - 1657 sorts of ways to sort through and diminish the control or influences of unhealed wounds on our lives. Introspection into our emotional realms can be inspired and aided by art, music, movies, books, articles, friends, family and professionals. Emotional freedom might be described as having foresight, insight and, of course, hindsight. Behavioral Freedom Our actions, reactions and transactions with ourselves and others is the locus of behavioral freedom. Behavioral freedom doesn’t mean we should do
whatever we want whenever we want. Being behaviorally free is knowing what freedoms of behavior exist in any given situation and being wise in selecting which to choose and which to ignore. Clinically, this skill is known as judgment. Judgment is defined as the ability to project the consequences of our words or actions into the future. Behavioral freedom is often choosing to do nothing at all and observe the behavior of others. In this way we may come to understand others better, perhaps learn from them. In observing we can see ourselves reflected back by other people, we can copy positive behaviors and learn not to behave in certain ways. This is one way to improve judgment. Positive behavioral choices tend to generate positive feelings and thoughts. “To make the unconscious conscious” is a maxim originally coined by Freud. Each of the five access points referred to are ways to trigger what we know inside that is hidden from us. When we’re unconscious of this we’re less free. When we’re unconscious we can hurt the feelings of others more. When we’re unconscious we can treat ourselves much too harshly. When we’re unconscious we can become too prideful and self-centered. When we’re unconscious we can take care of others at the expense of ourselves. In becoming more aware of these types of unconscious patterns our personal freedom expands. And this is perhaps why Socrates encouraged us to know ourselves and examine our lives. ■
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Dining
ROBERT GORDON
THE PASS IT’S ALWAYS A THRILL to stumble upon an out-of-theway eatery that merges small-town charm with big-city culinary offerings. However, we didn’t stumble upon this out-ofthe-way foodie citadel. We knew about the Pass well before its arrival. The Pass opened in May 2013 with the kind of fanfare accorded a chef-owner like Matthew Ridgway. A Johnson & Wales grad, Matthew’s CV includes The Fountain Room in The Four Seasons Hotel and Lacroix at The Rittenhouse, in addition to short stints in Paris’ internationally renowned, three-Michelin-star George V and Relais St. Victoire in Aixen-Provence. Matt had bowed out of the restaurant scene temporarily to set up PorcSalt in Philadelphia with partner James MacKnight. He focused on making high-quality local and
sustainable charcuterie, pâtés, and terrines that mirrored those of France and Italy. Consequently his return to active kitchen duty at the Pass was heralded. The Pass, located in pristine, small-town Rosemont, NJ, draws foodies from Philly to New York. Given Chef Ridgway’s ambitious cooking approach, the BYOB’s 4-course prix fixe is fair-priced at $49. There’s also a 6-course Discovery Menu for $74. “Discovery” is an unstated theme at the Pass. The menu changes about bi-monthly both to reflect the current season’s bounty and Ridgway’s latest creations. Thus virtually every visit affords the chance for exploration and discovery that usually reaps a reward. The four courses of the prix fixe are labeled “apertivo,” “second,” “third,” and “dessert.” Some random appetizers
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HOTEL Modern Cuisine h Classic Comfort Corner of Swan & Main Lambertville, NJ 609-397-3552 34 ■ I C O N ■ J U L Y 2 0 1 4 ■ W W W . I C O N D V . C O M ■ W W W . F A C E B O O K . C O M / I C O N D V
I’ve sampled over a few seasons are: Purely Farm Chicken Liver and Fried Oyster Jambonette, Jicama and Escarole Salad, Red Tail Venison Carpaccio, a “Winter Smorgasbord,” and Soft Scrambled Eggs with Perigord Truffles. The Fried Oyster Jambonette features oysters clad in extraordinarily delicate breading with Jambonette for character and 3-vinegar sauce for zing. Pieces of skate wing moderate the crunch of jicama and escarole, which is dressed lightly with citrus and argan oil. Red Tailed Venison Carpaccio perks from citrusy grapefruit-orange salad, mild Annaheim pepper, and tonnata sauce. Soft scrambled eggs
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with a huge cap of Périgord truffles was somewhat cheeky and unusual for an appetizer, but the pairing lacked the clarity and brightness that distinguish most of the dishes here. The Winter Smorgasbord fanned six different artisanal charcuteries around a plate, each one exciting a different part of the palate. Should it appear on your menu, try it. Charcuterie is Matthew’s passion. I’ve sampled a number of enjoyable entrées, like Baked Pacific Rock Fish in Fata Paper and Roasted Maple Leaf Farm Duck Breast. The former uses fata paper to wrap and retain the savory juices of the rockfish during the baking process. A scattering of edamame, tenderized while baking, are scattered atop the fish. Baby eggplant, pickled in lime, and shabu shabu sauce of soy, Worchester sauce, and coriander add range and spunk to a standout dish. Among many other notable entrées are Crisped Steelhead Trout with lentils in a marinated beef vinaigrette or a wintertime favorite, Sautéed Muscovy duck breast. Some standouts among the made-on-premises desserts are Pavlova cake (a light-as-air
Russian treat) with chocolate sauce; bread terrine in sauce anglaise; honey semifreddo with zippy mango spuma and an outer shell of shaved white chocolate. My favorite remains Baba au rhum, confected with bitter chocolate spiked with Myer’s Dark Rum and candied chestnuts. The ambiance is charming. Service is stellar. For the front of the house, Matthew nabbed the effervescent Steve Schiavo from Fond. I first met Steve when he won Philadelphia magazine’s “2011 Top Waiter” Award. His zest has not diminished, despite the Pass’ laidback, rustic setting with the big-city fare that makes it destination-worthy. ■ The Pass, 88 Kingwood-Stockton Rd, Rosemont, NJ 08556 (609) 961-1887 www.atthepass.com
Email comments and suggestions to r.gordon33@verizon.net
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u
ROBERT GORDON
Dining
umai umai THE SQUEAKY WHEEL DOESN’T always get the grease. Umai Umai doesn’t make much noise, but it certainly wins the hearts and minds of city sushi fans. A few years ago, we followed a stack of reader recommendations to Umai Umai for the first time. Umai’s neighborly vibe scored points with us right off the bat. It seemed as though every new arrival greeted Chef-owner Alex McCord, ever manning his post behind the sushi bar, which opens into a 40-seat dining area. The atmosphere balances intimacy with conviviality. A young couple seated near us rhapsodized about “Alex’ sushi.” “We need our Umai fix at least once a week,” they insisted. An hour into our first visit, we knew why. McCord’s style is gracious rather than garish He has a
singular flair for incorporating non-traditional elements and ingredients into the sushi motif. The famous—and becoming more so—Krakken roll with shrimp tempura, eel, avocado, soft-shell crab, cherries, Worcestershire aïoli, and almond bits blend in rip-roaring harmony. Ditto for Eternal Sunshine Roll: a lush panko-crusted creation with flounder, cucumber, avocado, and salmon. Pine nuts moderate the taste, while apricot-miso and blueberry balsamic deliver fruity pucker. In the Pingu Roll, panko rings a roll of cream cheese, chive, and spicy red crab salad. Suffice it to say that Umai Umai’s rolls are jumbo but not jumbled—a knack lacking in some chefs whose attempts to push the envelope puncture it. Alex is a cinephile whose rolls pay homage to his favorite films and video games. The menu is replete with rolls named the Godzilla, Poseidon, Nemo, King Kong, and (for fans of Lost) the 4-8-15-16-23-42.
The Godzilla Roll boasts a batallion of fierce fans. A few sushi purists say it strays beyond the limits of the sushi genre. Basketball purists once said that about the dunk. It was banned from basketball. So where would the game be now, absent the thrills of Air Jordan and others? Alex’ sushi also soars. The Godzilla Roll has strawberry slices plopped on avocado saddles. The avocados and strawberries look like spikes on Godzilla’s back, giving rise to the name. Honey bathes Godzilla’s cargo of shrimp tempura, eel, and avocado adding swirls of flavor. Some comments online tout Umai Umai as the place to convert non-sushi eaters. The authors probably had the Godzilla roll in mind. The elegance and eye-glam of Umai Umai’s designer rolls tends to give short shrift to non-sushi items. That’s too bad because you’ll find some gems. Whitefish Carpaccio plunges gossamer bits of delectably tender whitefish in citrussoy piquillo salsa that’s stocked with diced cherry tomatoes spiced with chives and ginger. Grilled Octopus vies with New Hope’s Nikólas as the finest octopus dish in memory. Stretched along a 15” black slate slab are fingerling potatoes, pickled red onion, olives, baby radishes, cherry tomatoes, and arugula sided with myriad tender slices of smoky octopus on a bed of arugula spritzed with pancetta vinaigrette. The pièce de résistance among the non-sushi dishes is a Korean import, Tuna Bibim (“mixed rice” in Korean). In Umai’s version, pickled daikon and carrot, marinated spinach, egg yolk, and Kizami nori in a ginger-soy dressing gather in a blisteringly hot black iron cooking pot, which is then cooked tableside. The rainbow of flavors owing to the marinating and pickling is scrumptious. The raw egg yolk gives the mixture a sublime, creamy texture in this destination-worthy dish. Even Baked Salmon is transformed into a multi-ingredient, coherent dish with diced tomatoes, cauliflower, Brussels sprouts, Enochi mushrooms, and capers swimming in butter redolent of yuzu. The woody ceiling, the cushy chairs that sidle wooden tables, the comfortable banquettes along one wall—all synthesize into a cozy, attractive ambiance animated by cheery servers. The operation rolls with seemingly effortless efficiency that never seems to make a squeak—and never needs to. ■
Email comments and suggestions to r.gordon33@verizon.net
Umai Umai, 533 No. 22nd St., Philadelphia, PA 19130 (215) 988-0707 www.umaiumai.com
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The Los Angeles Times SUNDAY CROSSWORD PUZZLE
ET TRADING By Frank Virzi Edited by Rich Norris and Joyce Nichols Lewis
ACROSS Final approvals Had to repay for Come into Total Bread for burritos? Break, as laws Pair of poochesʼ synchronized dash? 25 Lee of poetry 26 Altar boy 27 Broke the tape 28 Language of southern China 30 Vegas tip 31 Angle iron 33 Cold response 34 Bossʼ personal brewing ingredient? 38 Malachite and magnetite 43 Shoves off 46 “Swans Reflecting Elephants” artist 48 Dredge, say 49 Guiding principles 50 Blast off? 54 Super Bowl XXXIV champs 55 “With a Little Help From My Friends” singer 57 Utah lily 58 Rock follower? 59 Molecule that carries energy: Abbr. 60 “Go, team!” 61 Not to mention 63 Cub Scout leader 66 “Weʼre boarding the elevator now, chaps!” 74 One-celled critter 75 Rock producer Brian 76 Temperamental TV pooch 77 Water, chemically 78 Old orchard spray 81 Gp. led by a Grand Exalted Ruler 84 Part of a flight 86 Scared, maybe 87 Natural source of a Massachusetts dairy product? 91 Cry of triumph 93 Yogurt flavor 94 Dutch astronomer who lent his name to a cloud 95 South American border lake 97 Valentine figure 99 Result of washing political dirty laundry? 102 Theyʼre stuck in corners 1 7 13 20 21 22 23
104 Flying A rival 105 “Breaking __ Hard to Do” 109 “0 carbs. 0 calories” drink 113 Prompt 114 Tramp 117 Trap 118 Course that covers crop circles? 121 More puffed up 122 Way out 123 Harvey of “The Piano” 124 Joan Fontaine and Olivia de Havilland, e.g. 125 Exodus challenge 126 Eventually
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 24 29 32 33 35 36 37 39 40 41 42 43 44 45 47 51 52 53
DOWN 1978 Peace co-Nobelist Big name in gas Concerned query Some rental agreements Just “Let it be” Prefix with meter Nipmuc home “Bewitched” witch Faculty boss Thereʼs a statue of him outside TD Garden V-shaped slit Russian infant emperor, 1740-ʼ41 Video game giant They may be roasted Panache Broccoli __ Ending for residents TV segment? Yamuna River city Drawing a bead on Light wood ESPN figures Dr. Learyʼs turn-on Bible reading CEO, e.g. Formally end Give __ on the back Univ. staff title Bygone blade One whoʼs all skin and bones Pindarʼs Muse Tantalize One in a pack? Cafeteria carrier River of Florence Michenerʼs “The Bridges at __”
56 60 62 64 65 67 68 69 70 71 72
English channel CD-__ Bill word Some retired faculty Reagan adviser Nofziger Sauce with sole Brew servers Dirty Harryʼs rank: Abbr. “Donʼt look at me!” “If __ Hammer” Type of acid found in Brussels sprouts 73 Letter after eta 78 “SOS” singers 79 Good earth 80 “It will come __ surprise ...” 82 War on Poverty org. 83 O.K. Corral brothers 85 Justice Dept. staffers 86 “Just think” 88 Bridge opening 89 One going on and on 90 L.A. bus-and-rail org. 92 Cacophony 96 “__ a Rainy Night”: 1981 chart-topper 98 Slim candles 100 Catches up with old classmates 101 African insect attracted to the color blue 103 Pepper picker
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106 Page of music 107 Against a thing, to a judge 108 Panache 109 ATM transactions 110 Cross inscription 111 Those caballeros
112 Hardware item 113 Pick in a trick 115 Golfer Isao 116 FBI agents 119 Soft drink ord. 120 Govt. property org.
Answer to June’s puzzle, THE SOUND OF VICTORY
Agenda ART EXHIBITS THRU 7/27 “Summertime Exhibit”, Group Show. The Quiet Life Gallery, 17 So. Main St., Lambertville, NJ. 609-397-0880. Quietlifegallery.com THRU 7/27 Frank Lloyd Wright: Architecture of the Interior and the Art of Seating. Reading Public Museum, 500 Museum Rd., Reading, PA. 610-371-5850. Readingpublicmuseum.org THRU 7/31 The Art of the Miniature, the 22nd invitational exhibition of fine art miniatures from around the world. The Snow Goose Gallery, 470 Main St., Bethlehem, PA. 610-974-9099. View the exhibit online beginning opening weekend. thesnowgoosegallery.com THRU 8/1 Painting New England. Scenes of the shores and charming towns of Cape Cod & Rockport, Massachusetts and Monhegan Island & Kennebunkport, Maine. Opening reception 6/14, 5-8. Patricia Hutton Galleries, 47 W. State St., Doylestown, PA. 215-348-1728 PatriciaHuttonGalleries.co m THRU 8/17 Destinations In Paintings: The Kasten Collection. All of the paintings depict scenes from artists’ travels throughout Europe and Asia from the 1860s1920s. Famous tourist destinations and captivating people and places in England, France, Holland, Belgium, Italy, Spain, and Germany are represented in vivid color and with great detail in more than thirty paintings. Allentown Art Museum of the Lehigh Valley, 31 North Fifth Street, Allentown, PA. 610-432-4333 AllentownArtMuseum.org
THRU 9/7 Of Heaven and Earth: 500 Years of Italian Painting from Glasgow Museums, a once-in-a-lifetime chance to see works by Italian masters like Bellini, Botticelli, and Titian up close at the only East Coast venue. Allentown Art Museum of the Lehigh Valley, 31 North Fifth Street, Allentown, PA. 610-432-4333, AllentownArtMuseum.org 7/8-9/7 Graham & Wederich: Light and Shadow. Red Filter Gallery, 74 Bridge Street, Lambertville, NJ Open Tues.-Sun., 12-5. 347-2449758. redfiltergallery.com 7/12-9/21 Performance Now: Presenting a survey of visual performance art at the start of the 21st century. Delaware Art Museum, 2301 Kentmere Pkwy. Wilmington, DE 19806, 302-571-9590. delart.org. THEATER THRU 7/13 Pennsylvania Shakespeare Festival 23rd Season presents “The Two Gentleman of Verona”. A company of industry leading artists, accomplished veterans of Broadway, film, and television. 140+ performances this summer! DeSales University, 2755 Station Avenue, Center Valley, PA. 610-282-9455. Pashakespeare.org THRU 7/26 Muhlenberg Summer Music Theatre presents “Gruff!”, a new family musical with goats! Muhlenberg College, 2400 Chew St., Allentown, PA. 484-6643693. Muhlenberg.edu/smt 7/9-7/27 Muhlenberg Summer Music Theatre presents “Monty Python’s Spamalot”. Muhlenberg College, 2400 Chew St., Allentown, PA. 484-664-3693. Muhlenberg.edu/smt
7/9-8/3 Pennsylvania Shakespeare Festival 23rd Season presents “Lend Me A Tenor”. A company of industry leading artists, accomplished veterans of Broadway, film, and television. 140+ performances this summer! DeSales University, 2755 Station Avenue, Center Valley, PA. 610-282-9455. Pashakespeare.org 7/17-8/3 Pennsylvania Shakespeare Festival 23rd Season presents “Macbeth”. A company of industry leading artists, accomplished veterans of Broadway, film, and television. 140+ performances this summer! DeSales University, 2755 Station Avenue, Center Valley, PA. 610-282-9455. Pashakespeare.org 7/20-8/3 Pennsylvania Shakespeare Festival 23rd Season presents “Women of Will”. A company of industry leading artists, accomplished veterans of Broadway, film, and television. 140+ performances this summer! DeSales University, 2755 Station Avenue, Center Valley, PA. 610-282-9455. Pashakespeare.org 7/28 Pennsylvania Shakespeare Festival 23rd Season presents “The Baltimore Consort”. The internationallyrenowned group performs songs and consort music from Shakespeare’s plays. DeSales University, 2755 Station Avenue, Center Valley, PA. 610-282-9455. Pashakespeare.org DINNER & MUSIC Saturday nights: Sette Luna Restaurant, 219 Ferry St., Easton. 610-253-8888. setteluna.com Every Monday, Live guitar with Barry Peterson, 7-10. Karla’s, 5 W. Mechanic St., New Hope. 215-862-2612. karlasnewhope.com
Thursday nights: DeAnna’s Restaurant, 54 N. Franklin St., Lambertville, NJ. LIVE JAZZ -music/raw bar. 609-397-8957. deannasrestaurant.com. Every Thurs.-Sat., Dinner and a Show at SteelStacks, Bethlehem, PA. 5-10. Table service and valet parking. Information, menus and upcoming events visit artsquest.org
ter St. (Route 512), Bethlehem, PA. Tickets $15-$35 in advance/at door. 610 434-7811 PASinfonia.org
7/18 KESWICK THEATRE Keswick Theatre 291 Keswick Ave. Glenside, PA keswicktheatre.com 7/11 7/17 7/24
CONCERTS Some organizations perform in various locations. If no address is listed, check website for location of performance. 7/12 Tribute to Benny Goodman. Ronald Demkee conducting and Dave Bennett clarinet soloist. Miller Symphony Hall, 23 North 6th St., Allentown, PA. 610-432-6715 millersymphonyhall.org 7/12 & 7/13 Bluegrass and Blueberries, 10 am-6 pm. Live bluegrass & country entertainment, local blueberries, fresh baked goods, family fun & free parking. Peddler’s Village, Lahaska, PA. 215-794-4000 peddlersvillage.com
7/30 8/1 8/5 8/22
8/17 Valley Vivaldi chamber music concert by instrumentalists of Pennsylvania Sinfonia Orchestra. Vivaldi,Bach, Pachelbel and Boccherini. 7:30 p.m., Wesley Church, 2540 Cen-
Natalie Merchant Dennis DeYoung Stayin’ Alive Tribute to The Bee Gees Winery Dogs Jeffrey Osborne Philadelphia Rock ‘n Blues Fest Retro Futura Tour
MUSIKFEST CAFÉ 101 Founders Way Bethlehem, PA 610-332-1300. artsquest.org 7/10 7/11
7/12
7/17
7/17 7/20 Valley Vivaldi chamber music concert by instrumentalists of Pennsylvania Sinfonia Orchestra. Music by Vivaldi, Bach, Pachelbel and Boccherini, with oboe, flute, violin. 7:30 p.m., Wesley Church, 2540 Center St. (Route 512), Bethlehem, PA. Tickets $15-$35 in advance/at door. 610 4347811 PASinfonia.org
7/12
7/23 7/24 7/25 7/25 7/26 7/30
INTO IT. OVER IT. Still Surfin’ Tribute to Beach Boys 2014 Levitt Fundraiser Craig Thatcher Private Acoustic Concert, Featuring Nyke Van Wyk Two Laugh Minimum: Big Jay Oakerson Satisfaction: Int’l. Rolling Stones Show Sailing Sweater Dave Mason’s Traffic Jam Run River North Spin Doctors Sandino The Fixx
GODFREY DANIELS Your original live music room —Since 1976—
7 E Fourth St, Bethlehem 610-867-2390 godfreydaniels.org 7/4
7/11
First Friday Series with Sam Steffen, Joe Janci & Dave Fry Barto All-Stars with
7/19 8/10
Jack Murray and special guests Mary Faith Rhoads & The Coyotes Dina Hall’s Summer Revival Frog Holler GD at Musikfest Liederplatz w/ Kris & Julie Kehr, Dave Fry & Dina Hall, Anne Hills, Girls Guns & Glory & Kevin Gordon
EVENTS & FESTIVALS 7/12 & 7/13 Bluegrass and Blueberries, 10 am-6 pm. Live bluegrass & country entertainment, local blueberries, fresh baked goods, family fun & free parking. Peddler’s Village, Lahaska, PA. 215-794-4000 peddlersvillage.com 7/15 Tinicum Art and Science, an innovative high school rooted in the principles of mindfulness, invites students and parents to visit us from 10am to 4:30pm. Youth Meditation 4:30-6:00 pm. All welcome, join at anytime. 85 Sherman Road Ottsville, PA 18942. 610-847-6980, .tinicumartandscience.org 7/18 Art is After Dark, afterhours events with live performances, tours, and more! 6-10 p.m. Free for Members, $8–$10 NonMembers. Delaware Art Museum, 2301 Kentmere Pkwy. Wilmington, DE 302-571-9590. delart.org. 8/9 & 8/10 The 2014 New Hope Automobile Show. Spend the weekend with some of the most beautiful antique and classic automobiles at one of the oldest and most respected shows in the country. See up to 250 different cars each day. New HopeSolebury High School, New Hope, PA. For more information visit: NewHopeAutoShow.com
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Carol C. Dorey Real Estate, Inc. Specialists in High-Value Property www.doreyrealestate.com (610) 346-8800
AUGUST DRIVE
TURNBERRY KNOLL
ARTISTIC MASTERPIECE
Set on a private 2.2 acre parcel, this classic colonial sits up high and is defined by an attractive brick exterior with keystone, shutter and dormer accents. The interior is a blend of sophisticated and comfortable gathering spaces including a well-appointed gourmet kitchen, sunroom with exposed brick walls, and formal living and dining areas. The interior offers 6 bedrooms, 4.5 baths, brickwalled sunroom, office, and a master suite. Close to the Saucon Valley Country Club, the Promenade Shops and I-78. $1,145,000
Stylish amenities and an elegant, yet functional, interior set this attractive home apart from the ordinary. Throughout, there is custom lighting, designed as a luxurious extra to showcase the home’s architectural amenities. The 2nd floor has a lofted second family room, a 2nd master bedroom suite with cathedral ceiling and 2 additional bedrooms. A partially-finished basement with walk-out entrance is a great kid’s getaway, while a 3-car garage has plenty of room for all. Finally, a whole house generator and a heated driveway will make winter days a delight. $1,049,000
The past embellishes the present in the traditional elegance of this spectacular French Country Estate. A turret provides a touch of medieval romance yet unifies the trio of levels and adds architectural interest, both inside and out. Designed to entertain in style, with all the family amenities one would expect from a fabulous home in Weyhill Woods. The home offers 3 bedrooms, with 1st floor master, 3 full baths, 3 half baths, 3 family rooms, 2 wet bars, a butlery's pantry and finished lower level. $1,375,000
HOLLYWOOD ERA GLAMOUR
1830s STONE COLONIAL The 9.33 acres offer a natural sanctuary for birds and wildlife, with woodlands, stream and idyllic paths for wandering. Set in a sun-filled clearing, the inground pool overlooks the lawn, rock-lined flower beds and woodlands beyond. While there is a detached two-car garage/barn with heat and a spacious second story studio, you’ll want to spend most of the time outdoors enjoying the glorious surroundings. Three bedrooms, 1.5 baths and approximately 2,508 square feet of living space. $399,000
VALLEY GREEN SOUTH
Come enjoy a piece of yesterday, updated for today, tucked down a long drive and located in a prime area, across from the entrance to the Lehigh Country Club. For outdoor entertaining you will love the awning-covered, 36 foot flagstone terrace, opening to the private rear acreage and harkening back to the time of lawn parties and croquet, evidencing all the beauty of a special heritage. 4 bedrooms, 7.55 acres, 2 fireplaces, 2 flagstone terraces, pecky cypress family room and East Penn schools. $599,900
On a premium lot in Valley Green South, the views and amenities from this custom home are relaxing and soothing, while the southern-facing windows showcase the backyard and custom paver patio. This upscale home offers a host of sophisticated details distinguishing it from the ordinary. 4 bedrooms, 9 foot ceilings, custom moldings, a Morris Black gourmet kitchen, hardwood floors throughout and a first floor office all combine to create an exceptional home, in a fabulous location. $649,000
ESTATE HOME
MINUTES FROM SAUCON VALLEY
STEVER MILLS
Accommodating entertaining on a grand scale, the large entry foyer is graced by a dramatic two-story, turned staircase and balcony. Lofty ceiling heights bring volume, sunlight and a soothing ambiance to the open floor plan. Generously-proportioned, an octagonal sunken living room has two-story window walls to showcase the stunning views of the surrounding greenery. The formal dining room is adjacent to a gourmet kitchen with butler’s pantry and limitless storage, a breakfast room and a family room overlooking the Lehigh Country Club land. $1,295,000
Rarely does a home of this caliber become available for purchase. The design and execution are unquestionably beyond compare. The owners are asking to pass along their dream home to a new owner who will share in their experiences. Come enjoy the ambiance….come be a part of the Upper Bucks County environs….adrift in the magic, warmed by sunsets and the beauty of these surroundings. 8 acres, 4 bedrooms, fabulous appointments, incredible privacy. $1,650,000
The elegantly appointed homes of Saucon Valley’s Stever Mills offer a private location overlooking the Saucon Creek and Lehigh University’s playing fields. Penstock is built with hardwood floors on the main level, exposed stone walls, dining room with crown moldings and fluted columns, and a cathedral ceilinged living room with corner fireplace. Reminiscent of a village in the European countryside, this lovely home is conveniently close to I-78, renowned hospitals and prestigious country clubs in the Lehigh Valley. $765,000
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