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Contents
AUGUST 2014
The intersection of art, entertainment, culture, opinion and mad genius
Filling the hunger since 1992 1-800-354-8776 • 215-862-9558
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fax: 215-862-9845
EXCLUSIVE INTERVIEW WEIRD…ALL THE WAY TO THE BANK | 20 At 54 years old, Weird Al Yankovic Scores Billboard’s Number One With ‘Mandatory Fun’ COLUMNS City Beat | 5 Backstage | 5 Jim Delpino | 33
A THOUSAND WORDS Shedding Light | 7
ART Donna Usher, Blue Trio Contemplation 2.
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Donna Usher | 8 Performance Art X 2 | 10
FILM CINEMATTERS | 12 Boyhood KERESMAN ON FILM | 14 Dawn of the Planet of the Apes BAD MOVIE | 16 Third Person FILM ROUNDUP | 18
The Music of Regret 2.
NICK’S PICKS | 28 The Sean Jones Quartet Jimmy Cobb Ellen Rowe Quintet Jamie Saft, Steve Swallow, Bobby Previte KERESMAN ON DISC | 30 Philip Blackburn Sokal/Kanzig/Välihora Chicago Underground Duo Kelly Willis & Bruce Robison Jon Pardi The Ugly Beats Jenny Scheinman JAZZ LIBRARY | 32 Oliver Nelson
DINING Bibou | 34 Nikólas | 37
ETCETERA
Mood Indigo
L.A. Times Crossword | 38
Magic in the Moonlight
Agenda | 39
Alive Inside
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A Most Wanted Man REEL NEWS | 22 Locke Korengal The Railway Man Go for Sisters
MUSIC SINGER / SONGWRITER | 26
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EDITORIAL Executive Editor Trina McKenna
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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
CONTRIBUTING WRITERS 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
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Crosby, Stills, Nash and Young Dan Cohen Chris Smither David Olney Billy Joe Shaver
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THE JAZZ SCENE | 24
Ellar Coltrane in Boyhood.
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ON THE COVER: Al Yankovic. Page 20.
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City Beat
THOM NICKELS
ThomNickels1@aol.com
Chants of “USA, USA, USA!” shook the walls of The Bards bar at 20th and Walnut last month. Had the place been overrun by time capsule Bush-Cheney “Invade Iraq” zombies? The Bards is known for its photo gallery of famous writers (Samuel Beckett, James Joyce, et al), so I was shocked to see the portraits covered over with World Cup posters. “This is not the Irish Pub,” I protested, referring to the bar next door where sports rowdiness is a major tradition, “This is the Bards, the thinking person’s ‘soft’ alternative.” I asked the bartender whether the photos of Beckett and Joyce had been thrown in the trash, or broken by a soccer ball, but she said that the writers were underneath the posters. “Ah,” I replied, relieved, just as an influx of young white professionals, most of them college age and draped in soccer regalia like hats, shirts, shorts, shoes, bracelets, and facial tattoos, rushed into The Bards and began another round of “USA, USA, USA!” The chants made me think of Christopher Isherwood’s Berlin Stories (Germany in the 1930s) and the rise of militant nationalism. Will soccer become the catalyst for a new kind of (macho) patriotism? Will this happen despite decades of diehard football fans referring to soccer as a “sport for wussies?” There are good and bad marriages, which made me wonder about the recent merger of the Free Library and Rosenbach Museum. Will this marriage last? Will it improve the Free Library but denude the legacy of the Rosenbach? The first test case of the union was June 16, or the first Bloomsday since the union. The Frvee Library’s influence could be seen in the choice of three separate locations for the all-day reading of Joyce’s Ulysses: the library’s Central Branch, Rittenhouse Square, and the Museum itself. As designated Bloomsday readers, I read from The Sirens at 4:10 at the Rosenbach and noticed that the crowd on Delancey Street seemed smaller and less enthusiastic than usual. Missing was a feeling of esprit de corps, or what happens when a groundswell of energy is allowed to build all day in one spot. This is a magical synthesis that’s hard to put into words. Before the merger, the always attentive-to-the-little-things Rosenbach offered real libations to Bloomsday readers, but this year’s offerings had an institutionalized, Department of Education feel: sodas and bags of chips. This is a world away from the really old days when the Rosenbach would install a keg of Joycean beer in the upstairs Readers room. All of this makes me want to send intercessory prayers to Maurice Sendak and ask him to please make sure that our favorite small Museum is not stripped of her traditions. The subject of marriage brings me to a new Facebook trend: how my gay male friends who plan to marry legally seem to be following a similar path—planning an immediate ceremony within 60 days, but then promising to hold a more elaborate ceremony six months later. When did this two-pronged approach become fashionable? All the weddings I’ve ever attended have been one-shot deals, beginning with my very first same-sex wedding experience in the mid-1980s when a Navy lieutenant married a sailor buddy. This largely ceremonial, but not legally-binding affair, was a novelty then, as most of the guests were still in the shadow of the prevailing 1970s gay polemic stating that gays should not ape what straights do when it comes to marriage. Marriage, the “directive” went, was a heterosexual institution responsible for the oppressive nuclear family, as well as unrealistic expectations concerning monogamy. Two men must make room for the occasional other; ownership of another’s body is a capitalist, patriarchal invention, the mantra went. I divulged a little bit of this gay history to two young people at a party recently but was told to cease and desist by an annoyed older fellow who accused me of “getting too serious.” At the Franklin Inn, I met author Peter Binzen, now in his nineties, on hand to sign copies of his new book, Richardson Dilworth: Last of the Bare Knuckled Aristocrats, written with son Jonathan Binzen. Dressed in his seersucker best, Binzen, a reporter/columnist for The Bulletin for thirty years, and a writer for The Inquirer for two decades, greeted well-wishers like Dan Rottenberg, Sam Katz and the Daily News’ Don Harrison. (Dilworth, who died in 1974, was
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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
Backstage
BRUCE KLAUBER
drumalive@aol.com
While the majority of our area cultural institutions continue to flourish, despite an increasingly competitive and populated market, there will inevitably be some shakeout. It’s a part of business, cultural or otherwise. On the heels of the news of the Suzanne Roberts Theater problems—the building is up for sale, though the Roberts family did make good on their promise of a $200,000 grant — the Prince Theater, which emerged from bankruptcy in January of last year, could close as early as November 30. With the death of Herb Lotman in May, Prince lost its CEO and chief fundraiser. His widow and the Lotman family are not interested in being involved, and unless someone steps forward to keep the theater alive, it will be—yep—curtains on November 30. The principals of the troubled Please Touch Museum have said they will begin selling off some of the Museum’s assets, i.e., its exhibits. The Museum, in the midst of trying to renegotiate a reported $60 million debt, has fallen short in various fundraising efforts. The sale of assets will not happen, however, without a fight between “the owners” of the debt, a.k.a. the Trustees who want to sell the exhibits, and those representing the Museum itself. Museum lawyer Gretchen Santamour has said that any effort to pursue the sale of assets “would result in damages to the Museum for which the Trustee would be liable.” “Shakeout” may be too mild a word to use when talking about recent Atlantic City developments. The Atlantic Club Casino Hotel closed in January. And now, unless the Revel Casino and Hotel finds a buyer by August 18—an auction is set for August 7—that facility will close. While there has been talk of interested buyers, no one has yet stepped forward. Those who have looked at Revel have found that the structure itself has serious and costly design flaws that would have to be addressed, to say nothing of its rep as a “white elephant.” Then, seemingly out of the blue, the Showboat Hotel and Casino announced that it will close on August 31, and the under-performing Trump Plaza announced a September 16 shut down. There is talk of potential buyers, but at this juncture, it seems to be just talk. Regarding the Revel situation, Philadelphia Inquirer gaming writer Suzette Parmley told me that she still believes the $2.4 billion property will find a last-minute buyer. “Yes, Revel will go for a steal,” she said. And if that doesn’t happen, she’s pretty certain that Revel will not sit there abandoned, like the Atlantic Club. “I don’t think the city can afford to let the building just sit there empty without generating any type of income,” she said. “Even just the restaurants and retail shops—which lease space—could stay open even if the casino floor is shut down, just to keep traffic moving through there.” Insiders maintain that this shakeout isn’t over yet, and that the struggling resort town will have to take steps to finally reinvent itself, like Las Vegas of the mid-1990s. It can happen here.
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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 ■ A U G U S T 2 0 1 4 ■ I C O N ■ 5
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Philadelphia’s mayor from 1955 to 1962). Binzen, in a group toast to Dilworth, signed books for the better part of three hours, the only fly in the ointment being the appearance of a tall African-American man in black who resembled a federal agent and who stood watch over the room as if on assignment. Had Michelle Obama stopped by for a Binzen autograph? It was not the First Lady, but two-time Emmy award-winning former actress Suzanne Roberts of Comcast fame, her thick blonde hair in a contemporary Marie Antoinette downward swirl. The tall federal agent, as it turns out, was her driver. I paid respects to Suzanne but completely missed what our friend W said was a major faux pas: when Suzanne placed a large stack of her own 1952 copyrighted brochure, “The Candidate and Television” (published by TV Digest), right next to Binzen’s pile of books, as if she wanted to take a seat and sign autographs, too. When I was called for jury duty, I noticed that dress standards have...changed. Many were dressed as if for a picnic Frisbee throw: shorts, tee shirts, sandals, flip flops, and sneakers without socks. Some even wore dirty, stained shorts. One man was in a tank top, his arm tattoos exposed like sun-bleached leper sores. The women were better dressed overall. What these men in shorts didn’t count on, however, was the fact that once they were pulled into a courtroom—where the air conditioning turned the environment into an Arctic blast—they began to freeze. As in, really freeze. In fact, everyone who was in extreme summer clothing complained of the high air conditioning once in the courtroom. “Please turn the air conditioning down,” they pleaded. The attorneys, in full dark suits, were more than comfortable. “Over our dead bodies,” they must have wanted to say, but didn’t. How a jury picks a foreman was a mystery to me until my experience in City Hall. The truth is that it’s often the person with the biggest mouth who gets their way. Foreman is an honorary title like monsignor, having no special privileges other than a small speaking role at the end of the trial, and yet that’s what I wanted and almost got until I ran into a big mouth operative: a lone juror who wanted to bestow the honor on a heretofore painfully quiet guy so that he could be brought “into the conversation.” Rather than risk a civil war in the tiny jury room that used to be a City Hall prison holding cell (you can still see the scratched initials of former prisoners on the wooden phone booth dividers, though the phones have been removed), the jury acquiesced, though it wasn’t what they wanted to do. I say it’s time to exchange a grandstanding mouth for a paper ballot when it comes to selecting who’s to be Foreman. Finally, a school for Contemporary Realist Art: forget modernist DNA spiral representations that go nowhere and mean anything. There’s nothing abstract about Studio Incamminati (340 North 12th Street), where the curriculum is all about “teaching methods which fuse the classical traditions of the Renaissance masters” with a “fresh contemporary sensibility.” The recent Artists of Studio Incamminati exhibition and sale at Freeman’s on Chestnut Street drew quite a crowd. At Freeman’s, I watched as three portrait artists (who looked like models) painted from a live model, which in turn had me wondering if all Incamminati artists were really Hollywood extras (or models) painting other models, and if all of them were, at least in a Renaissance way, this good looking. I headed up to Port Richmond Books on Richmond Street to hear horror writer Joe Augustyn talk about his new book, A Tale of the Zombie Apocalypse. Port Richmond Books is owned by Deen Kogan of Society Hill Playhouse fame, and it’s probably the best used bookstore in the city. Augustyn was seated in manager Greg Gillespie’s office when I arrived, and said that the signing had not been a success. “It’s probably the fact that it’s summer and people are on vacation,” he said. I felt for him, remembering a comment made by the manager of the City Institute Branch of the Free Library that his branch doesn’t hold author signings or readings because people “don’t go to book events anymore.” The manager’s comment got me thinking about the annual Free Library Book Festival which places many local authors with new books to promote in branch libraries all over the city, despite the fact that people don’t go to author events at branch libraries. The notable exception in the “go-to” department, of course, is the Central Branch, where audiences pack the aisles, whether the speaker is Ann Coulter or a chorus of teenage poets from Temple University’s Dental School. Location is everything, even if location had nothing to do with the standing room only attendance at the Pennsylvania Historical Society’s hosting of Peter John Williams’ Arcadia book, Philadelphia: The World War I Years. Williams’ presentation attracted over 100 people, as well as a booming reception which in turn attracted the usual vagabond reception groupies—which in a twisted way is always a sign of success. The city is still reeling after the July 4th Parkway concert in which many of the featured singers and rappers used variations of the f-word and alluded to certain body parts. Buxom Nicki Minaj was a major culprit, as was Roots frontman Black Thought who opened the show with traditional rapper rhetoric. The rapper world has never been the Disney Channel, so when you invite a rapper to lunch, you had better be prepared that they’re going to use the wrong fork and spill things all over the floor. ■ 6 ■ I C O N ■ A U G U S T 2 0 1 4 ■ W W W . I C O N D V. C O M ■ W W W . 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But the show still must go on at the shore during the summer months, though it’s presumed that entertainment bookings for Revel, Showboat and Trump Plaza beyond August have been put on hold. Bookings of note for August include vocal group Straight No Chaser at Harrah’s running through August 12, Andrew Dice Clay at the Golden Nugget on August 8, a return visit for Donny and Marie to Caesars through August 21, Howie Mandel at Borgota on August 22, Rod Stewart at the Taj Mahal on August 23. Tickets available via ticketmaster.com and the usual outlets. In the “not a good move” department, Frank Giordano, CEO of the badly-in-need-ofgood-PR Philly Pops, has slapped deposed Maestro Peter Nero with a defamation suit. It seems that some of Maestro’s off-the-record remarks, printed in the Allentown Morning Call, related to the messy way in which Nero parted from the Pops, offended Giordano. Specifically, Maestro said, “A bunch of crooks dressed in $3,000 suits came in who didn't know a thing about the music business.” Though he didn’t mention the CEO by name, Giordano must have taken this personally, as the suit was not filed by the Pops, but by Giordano himself. Despite Nero’s public apology, the Pops dumped Nero from his July 3 conducting gig, which would have been his final one with the Pops. If this goes to court, this may be the first trials that hinge on the expert testimony of tailors. Though Andrew Lloyd Webber’s “Cats” first premiered in 1981, Webber believes that it should and could be as contemporary as ever. Webber has just announced that “Cats” will return to London’s West End, the spot where it first opened, as what he calls a “revamped hip-hop production.” Can’t wait to hear the rap version of “Memory.” Congratulations to area playwright/composer Andrea Green, profiled in these pages last month. The documentary film based on her play, The Other Side of the Fence, just had a premiere sponsored by the Philadelphia Film Society, and news has come that the film will air shortly on MIND TV. Green, along with filmmaker Henry Nevison, have been invited to The Republic of Estonia—in the Baltic region of Northern Europe—to present the translated film and a symposium, and attend several performances of Green’s The Return of Halley’s Comet, which will also be translated into Estonian. Running through August 14 at the Fine Arts Center Gallery within Montgomery County Community College is an exhibit called The Artists’ Model. This showcases the work of ten artists—including a portrait painter, anatomy teacher, NASA artist, botanical illustrators, and college professors—who have spent years working with each other. The exhibition features the results of their ten years of group sessions, and includes works in oils, charcoal, silverpoint, watercolor, pencil, pastel and clay. Information: mc3.edu/arts/fine-arts/art-cc. There was a time when the press protected many of our public figures, especially those who held public office. The press, of course, knew plenty about almost everyone who had dirty laundry, with an oft-cited example being the peccadilloes of John F. Kennedy. The level of protection was really astounding, especially when considered that most Americans never knew that Franklin D. Roosevelt, paralyzed by polio in 1921, had a disability, though he was President for nearly a dozen years. Given the extraordinary lengths taken to hide his condition, there was thought to be little or nothing of a visual record that showed the President actually walking. But eight seconds of such a film has been discovered, and it’s been given to the Free Library of Philadelphia. The footage, believe it or not, came from a Philadelphia Athletics baseball pitcher named Jimmie DeShong, who took home movies of the President’s arrival at Griffith Stadium in Washington, D.C., to watch the All-Star game. Though the footage will be a part of Ken Burns’ upcoming PBS documentary on Roosevelt, this clip can be viewed by the general public at the Free Library. Visit freelibrary.org. Elvis Presley fans are said to be outraged at the news that two jet airplanes once owned by The King may be removed from the Graceland property. Say it isn’t so! Fans have let their displeasure be known via critical comments on Facebook. The posts, in fact, were so large in number that Pricilla Presley made a public statement, which read in part: “Calm down. We’re in the midst of negotiations. It’s as simple as that. Thank you.” Or, as the late King may have said, “Thank you very much.” So now it’s public, though it’s not really news: Britney Spears cannot sing. The leakedto-the-internet audio track, “Alien,” one of the numbers on Spears’ 2013 album, Britney Jean, is the “pre-doctored” version. Audio doctoring these days, with programs like “auto tune” and “pitch correction,” can be used to make the most out-of-tune diva sound like someone with talent. Naturally, management is making all kinds of excuses for the pop star’s “performance,” but the fact is that Ms. Spears’ vocal skills are equal to that of a member of the junior high school glee club. As Liberace used to say to those who doubted his artistry: “Sure, I’m crying. All the way to the bank!” ■
A Thousand Words
STORY AND PAINTING BY ROBERT BECK
Shedding Light I HAD MY GUITAR in my lap and was playing one of the seven tunes I know when a song from the past came to mind. I thought it would be a good addition to my pathetic repertoire but I couldn’t recall the music. The words wouldn’t come either, or the title. I sat there wondering just what the hell it was that I was remembering. That answer came to me later as I learned more about the role of symbols in our lives, and in art. What I was remembering was not a song; it was the feeling I associated with it. Like when I’m in the supermarket and California Dreamin’ comes over the PA and I get cold feeling in my stomach because it was on the radio in Jimmy Smith’s 442 when he picked me up hitchhiking the last day I saw him alive. The song doesn’t do that, the mind does. All of our communication is built on things that are something else. Spoken words are vibrations. Photos are grained, screened or pixilated simulations. A written letter is just marks on paper. When they are organized in a predictable manner these things can convey an idea. We just have to see or hear them often enough to recognize the patterns and give them meaning. Once we start using symbology and metaphor to represent larger or unrelated thoughts the opportunity to describe expands exponentially. Interpreting those ideas presumes having experienced something you can relate them to. One thing builds on another creating more effective communication. Painting builds on itself that way, as do all the arts. If someone looks at a painting of an old Iranian farmer holding a pitchfork standing next to a woman in front of his archedwindow home it will have special meaning if the viewer is familiar with Grant Wood’s American Gothic. It will mean even more if the viewer knows that the woman in Wood’s painting is not dour-faced because she is the Midwestern geezer’s long-suffering wife but actually his daughter who has to endure him protecting her virtue. Not only does the Wood painting inform the Iranian farmer image, the concept becomes larger by reflecting back and giving us more to think about in Wood’s statement. There is a conversation going on there. Conversations about ideas are good. While some ideas should be repeated and reinforced,
Robert Beck maintains the Gallery of Robert Beck in Lambertville, NJ. (215) 982-0074. robertbeck.net
new ones need to be expressed without being weighted down by layers of convention. Over time, painting has broken free of ecclesiastical restraints and the confines of patronage to discover new truths in subject matter and new ways to communicate with color, drawing, and abstraction. Restrictions have been challenged. Does a subject or viewpoint have to be static? The Cubists decided to depict their subjects from multiple viewpoints and time frames. Do paintings need recognizable subjects? Some artists attempt to leapfrog representation or symbolism and tap into realms we don’t have words or images for. It’s understandable when someone who hasn’t been exposed to the evolution of art doesn’t see the worth in a lot of the ideas being presented today. Some of them aren’t worth much to begin with. You certainly can’t judge a work’s contribution to human dialogue by the market. Popular art can be repetitive, derivative, or lame. Commercial success doesn’t guarantee artistic excellence, or vice versa. Regardless, we absolutely need this form of communication in all of its voices. Like science, art is constantly expanding on itself. What
makes it different from science is that art is all about imagination and discovery, free from the rigorous pursuit of objectivity and proof. Art is not created for economic advantage or personal gain. Art is not subject to the drumbeats of performance, winning, and trouncing the other guy. Art is us at our best, experimenting with ways to communicate complex thoughts, and constantly asking “what if.” We need more earnest dialogue, and art is a universal means to have it. In addition to being all-embracing language, art is eloquent. A thought of immense proportion and reach can be conjured up by a few touches of a brush, and understood by people anywhere in the world. Six strokes on a field of blue can transport them to an unparalleled moment in time, or invoke a torrential cascade of personal memories, questions, and emotions. A simple image can convey enormous definition. Art is more than decoration. It is more than a recreation or pastime. Art is the sum of our collective experience and imagination, and the most powerful way to present ideas that we have. ■
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Art
BURTON WASSERMAN
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This page: “Autumn Contemplation 3,” 40” x 30” Opposite page: “Summer Contemplation,” 58” x 44” acrylic on panel.
Donna Usher
MANY YEARS AGO, DONNA Usher gave up the practice of representational picture making. Inspired by a journey to Australia to study Aborigine dot-painting and undertaking an exploration of pure aesthetic expression, she broke free of making pictorial artworks based on the overt appearance of people, places and things seen in the ordinary, everyday world. Instead, her creative focus turned toward exploring a vocabulary of circular and other assorted shapes, invented out of the depths of her imagination. While they may remind some spectators of curved cell structures, they also project the essence of a unique reality as forms with an identity entirely their own. During September and October, 2014, Usher will hold her latest solo exhibition of new paintings in the L. G. Tripp Gallery at 47 North 2nd St. in the Olde City neighborhood of Philadelphia. As is her custom, she will offer work that vibrates with a rare measure of freshness and vitality. In certain unmistakable ways, Usher pursues an idiom reminiscent of the approach once employed by the great Russian modernist, Wassily Kandinsky. Like him, she evolved a distinctive style of non-representational form, which is also frequently referred to as pure abstract or non-objective art. Generally, as creative visual form becomes increasingly independent, it develops certain potentialities encountered in the world of serious music. Kandinsky, for example, felt that his language of pure design allowed him to voice profound feelings and states of mind that enabled his art to rise above reference to the mere description of objects seen in the ordinary, everyday material world. The same possibilities have come into being in Usher’s work as the intuitive resources of her audience respond to the spiritual dimensions she has integrated into her passages of paint. Usher’s own way of expressing this notion is to say, “The interaction of vibrant color within the paintings is used to evoke sensations of the sublime for viewers to meditate upon as they study the work at hand.” “Blue Afternoon,” for example, has an unequivocally cool atmosphere, backed up as it is, with an all-over azure ground. Across this base, a range of dot patterns and linear arabesques move about each other with grace and a seemingly loose touch of quivering abandon. If one’s eyes aren’t wide open, they are destined to miss out on the abundance of fluid movement drifting across the surface in waves of rhythmic action. Usher’s “Autumn Contemplation” offers visitors intense interactions of radiantly brilliant spectrum colors. Their ability to project dazzling fields of a rainbow presence are like kinetic energies tingling with excitement in the spaces designated by their surrounding perimeters. Areas of opacity and transparency beat out agitated interactions of visual force, joined together in superbly unified shapes that cause a viewer’s sense of being alive to reach new heights of awareness. “Summer Contemplation” offers the connoisseur an adventure in seeing color bubbling with warmth in a combination of yellow, red, black, blue, green and white tones. They tremble with agitated energy in a universe of their own nature, without reference to any tiresome clichés from either the world of commercial art or textile design. All of the selections in the show have to be seen up close, in order to be appreciated for their painterly vitality and sheer spiritual being. Truly, they have characteristics that are akin to deeply meaningful, non-denominational religious experiences. Without a scintilla of compromise to petty decorative charm, her compositions never pretend to be other than what they are in their own terms, as dynamic constellations of refined clarity and balanced order. Free of superficiality, they glow in the light of their own artistic integrity. ■
Dr. Wasserman is a professor emeritus of Art at Rowan University, and a serious artist of long standing. 8 ■ I C O N ■ A U G U S T 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
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EDWARD HIGGINS
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THE THING ABOUT PERFORMANCE art is that you have to be there. It’s like the theater—you snooze, you lose. Then again if you run into a piece of performance art how are you expected to know it, understand it, and, potentially, enjoy it? According to RoseLee Goldberg, “Performance became accepted as a medium of artistic expression in its own right in the 1970s. At that time, conceptual art—which insisted on an art of ideas over product and as art that could not be bought and sold—was in its heyday and performance art was often a demonstration or an execution, of those ideas.” Performance Art 101 is currently on display at the Delaware Art Museum and ready to educate those who can’t tell performance art from a baseball game. The class comes in the form of two separate exhibitions: one that celebrates the history of the genre, and one that looks at works from the past ten years. “Retroactive: Performance Art from 1964 – 1987” is curated by Margaret Winslow of the Museum and includes six videos of performance art beginning in 1964. It is located in tucked away Gallery 9 and carries a disclaimer regarding children due to nudity. “Performance Now” is a traveling show curated by RoseLee Goldberg with the work of 21 artists since 2000. Both shows are in the form of videos which the notes say were “transformed by the artists to a ‘solid’ more permanent form.” Both shows run through September 21. Goldberg is also the author of a seminal” work, Performance Art from Futurism to the Present, which seeks to give this form of art a history, no doubt to give it added credibility—the Futurists through Constructivism, Dada, Surrealism, and Bauhaus. Goldberg is an art historian, born in South Africa, educated in London, and currently teaching at New York University. She has also approved of music videos by Jay Z. The “Performance Now” show features works by Marina Abramovic, Jerome Bel, Spartacus Chetwynd, William Kentridge, and Clifford Owens. Among the videos are a bullfighter facing an invisible bull, various people using a hula hoop (there are a number of real hula hoops for those inclined), a make-believe opera with all the clichés, a jumble of nude folks, and an oddly moving video of various people mouthing the apologies of former New York Congressman Anthony Weiner. Some of the concepts or ideas are difficult to follow, such as extensive “Floyd on the Floor” which involves several people of both sexes dressed in costumes parading around and doing amateur acrobatics. The piece was done by Kelly Nipper. Edward Higgins is a member of The Association Internationale Des Critiques d’Art.
Stop, Repair, Prepare: Variations on Ode to Joy, No.1, 2008 Allora & Calzadilla (born 1974 and 1971) Modified Bechstein piano, 40 x 65 x 84 5/8 inches Installation view at Gladstone Gallery, NY, photograph by David Regen Courtesy of Gladstone Gallery, NY and Brussels © Allora & Calzadilla
“Retroactive” features a few more recognized names such as Chris Burden, Dan Graham, Joan Jones, Yoko Ono, Carolee Schneemann, and Paul McCartney. These videos are older and have a grainy quality and have not aged well. Here there is more nudity with one being an equal number of men and women in Speedos and two-piece bathing suits assuming positions as in a synchronized swimming competition which then goes wrong and ends up as pro-wrestling tag-team match. They end up eating fish and a headless chicken. Another video shows a young Asian woman dressed in a suit only to have a series of men approach her and cut off parts of her clothes while she stares blankly ahead. Part of the reward of the two shows is that a fairly comprehensive view of performance art from 1964 to the present is all in a single place with a clear invitation for viewers to learn. There can be no question that the genre and the art on display is serious and taken as such by serious people. “…[Performance art] has advanced over the past 50 years,” Winslow said, “to incorporate music, dance, theater, technology, and audience participation to address aesthetic, personal, social, economic and political concerns.” ■ Delaware Art Museum, 2301 Kentmere Parkway, Wilmington, Delaware 19806 302.571.9590 delart.org
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Cinematters
PETE CROATTO
Boyhood THE BEST MOVIES ARE linked by simplicity of feeling. We don’t spend a lot of time debating why something is good. We just know it is. It’s as immutable as our moral code. Boyhood, which opened in Philadelphia last month amidst near universal acclaim, is one of those special movies. Richard Linklater’s bold approach of shooting the principal characters (played by the same actors) over 12 years generates its tingle through simplicity. As always, the writer-director (the Before trilogy, Dazed and Confused) has the tone of a compassionate, observant soul who has been there. Despite the ups and downs the main character, Mason (Ellar Coltrane), endures in his young life—and there are a few— the reassuring air of Boyhood remains. It’s a crowd pleaser without embellishment or special effects or orchestral swells. The biggest thrill comes from seeing the story of us unfold. Over the course of nearly three hours, we watch Mason (literally) grow up. First, his single mom (Patricia Arquette, her best role in years) moves him and his older sister (Lorelei Linklater, Richard’s daughter) to Houston. Mom at-
tends college and gets married to her psychology professor, who turns out to be an abusive alcoholic. Mason goes from school to school, gets close to his dad (Ethan Hawke), and discovers his artistic side. Mom gets her life together but enters another unfortunate relationship. Mason’s dad remarries, gradually sheds his hipster lifestyle, and swaps his GTO for a minivan. Mason, meanwhile, assembles the pieces of his own life. Linklater gives equal weight to the mundane: finding his mom whimpering on the garage floor, talking about women with dad on a hike, an adult conversation with a girl. It feels like a stroll down our own past. At least it did to me. Maybe that’s why I see Boyhood as an impetus to challenge our limitations. You only get so many chances before you’re locked into the life you didn’t want to live. “I thought there’d be more,” Arquette’s character sobs as she’s faced with the prospect of an empty house. We all have or will feel that way. We pull for Mason because, simply put, he represents us. We were untapped potential and dreams and risks waiting to be
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taken. Linklater’s real, live boy protagonist reminds us that there’s hope for us yet. Almost three weeks after watching Boyhood, I don’t remember specific shots or performances as much as I do a general awakening. That’s another quality the best movies share, and it doesn’t have to come from the loud, colorful trimmings associated with popular summer fare. The stories people tell remain the most powerful form of entertainment. Our life is a non-stop blockbuster. We’re the stars of our own show. And the best part is, we can write the script. Adaptability is Boyhood’s permanent legacy. [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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MARK KERESMAN
Dawn of the Planet of the Apes
E HUMANS THINK WE’RE hot…stuff. We think the Deity gave us this world and no one’s going to take it away…right? That’s one of the routes science fiction takes, showing us a world where the power structure is rent asunder or turned upside-down, known as the “dystopian future” sub-genre. In the original Planet of the Apes (1968, screenplay by Rod Serling), an astronaut crashes on a planet in which primates are the dominant species and humans are dumb beasts of burden. [SPOILER ALERT] The twist? At the conclusion, the astronaut finds the proof that he’s NOT on an alien world, but planet Earth centuries in the future, after the planet had been ravaged by an atomic war and apes evolved over humans. Dawn of the Planet of the Apes has a slightly different premise—it’s not a sequel or remake but a “reboot.” A contagion spread by lab apes, has wiped out most humankind. An ape, raised and taught by a kindly scientist, becomes the alpha male of a pack of primates, the former “residents” of zoos, circuses, and laboratories. These primates have developed the power of rudimentary speech and grasped the concepts of riding horses and rough architecture, forming a society in the Southwest USA. Most them believe the humans are gone forever. Most of the USA—and presumably the world—is covered by vegetation. There are human survivors, those lucky saps that have an immunity to the plague, living in what’s left of San Francisco. Naturally, these two societies come into conflict—while the humans have plenty of leftover munitions, the apes have the numbers and incredible agility. Regarding the conflicts, in each society there are those with the “Wipe out that threat NOW, once and for all!” mentality and those that
plead for restraint, cooperation, and peaceful coexistence. The apes: Led by Caesar (Andy Serkis), sort of a primate Don Corleone—a wise leader who rules with a stern hand in a furry glove. He’s gentle and patient with those he loves and a brutal s.o.b in a fight, and he tries to reason-through a “situation” before using violence. Raised by the aforementioned kindly scientist, he has a bit of a soft spot for humans. Koba (Tony Kebbell), his good friend and second-in-command, was abused by humans and he’d just as soon exterminate all of them. The humans: Led by Dreyfus (Gary Oldman) is Caesar’s opposite, except that he’d just as soon attack the apes and remove any potential threat. Calling for peaceful resolution are Malcolm (Jason Clarke) and his lady-love Ellie (Keri Russell); complicating things is shoot-first-ask-questions-later Carver (Kirk Acevedo). On each side there are nervous and agitated types…and things go from bad to good to bad and worse still. In some ways Dawn is almost Shakespearean—the leaders of two clans want what’s best for their respective peoples, and each side is hampered by individuals’ blind hatred and agendas. Is the ruthless Koba urging the humans’ demise for the good of his people and/or for revenge, or are those things merely pretexts to grab the reigns of power from the moderate Caesar? (How many dictators have committed atrocities under the guise of goodness? How about King Richard III?) But how’s the movie? Mostly very, very good—decent to great acting, actors truly resemble people (not models) and primates, and while there’s violence there’s nothing gruesome, no gee-whiz special effects or “The ape’s behind you!” moments. Scenes of kindness are genuinely touching (Malcolm’s son reads to a curious orangutan, Ellie helps a sick
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ape) and there are almost Hitchcock-ian moments of urgent suspense when you just know something bad is going to happen but how bad will it be? Most of the emphasis is on the relationships between assorted characters—Caesar and his eldest son, who’s a combination of Fredo and Michael Corleone (the seed of greatness is there but his actions are both brave and dumb; he gets caught up in Koba’s war-fever); Malcolm and Ellie are weary but try to retain their kindness and humanity in situations where some have lost theirs; Maurice is an intelligent orangutan fiercely loyal to Caesar and tries to keep an open mind about humans. Even in the midst of terrible strife, characters on both sides keep trying to find reasonbased solutions as opposed to further bloodshed (and there’s plenty of that), while some characters seem to relish mayhem. Caesar lives up to his name—regal, giving and commanding respect. Director Matt Reeves does two things many Hollywood directors don’t do: He concentrates on telling a story and values characterization over special f/x (the f/x are very good indeed), nauseating camera movements, and quick cuts. Rise of the Planet of the Apes is a rare bird: Intelligent science fiction that concentrates on people (apes are people too) and situations over dodgy “science”; it’s got enough action for action fans, enough “meat” for drama-heads, and the characters come off as, well, people, not models that got into acting…and for a change, here’s a dystopian future that looks grubby, including many of the people. ■ Mark Keresman also writes for SF Weekly, East Bay Express, Pittsburgh City Paper, Paste, Jazz Review, downBeat, and the Manhattan Resident.
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Bad Movie
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MARK KERESMAN
Adrien Brody.
SCREENWRITER PAUL HAGGIS HAS churned out some good movies—Crash and Million Dollar Baby, most notably. His latest, Third Person, which he also directed, is not likely to join that company. It’s another of those movies featuring supposedly interlocking stories—you know, like Nashville, Short Cuts (if you’ve not seen it, I’ll save you three hours and tell you the point right now: people suck), Magnolia, and Crash. The problem with that is it sometimes can be a bit of a strain to “connect” the stories, and Third Person not only has that problem but a couple of others: Hammy acting, an over-written script, and mostly unappealing characters. Liam Neeson plays a tormented novelist. We know he is tormented because of (surprise) the presence of empty wine bottles, stubbed-out cigarettes, photogenic three-day (OK, maybe two-day) facial stubble, and the way he slams his laptop computer shut in frustration. Despite the presence of his lover, played by Olivia Wilde, he’s tormented— another one of filmdom’s unhappy writers, despite his staying in a nice hotel room in Paris (France, not Texas) with a
Third Person knock-out gal-pal. (Jeez, I wish I was that unhappy. But I digress.) That’s story one. Story two: Adrien Brody is the stereotypical Ugly American in Rome—those darn Eye-talians, why don’t they speak English like we do?—who gets involved with a damsel in distress, an exotic Romanian lady (is there any other kind in movies set in Europe?) whose daughter has been kidnapped…or has she? Three: Mila Kunis is a “fallen” actress working as a hotel maid and she’s fighting her ex, James Franco, a painter (we know this because we see him imitating Jackson Pollock) over child custody-type stuff. Common element in all three: A woman, either dysfunctional or “in trouble,” is making a man miserable or semi-miserable. Third Person is one of those movies in which the viewer is constantly reminded that Actors—SERIOUS Actors, Are at Work. One can imagine the script reading: “PONDER, writer, and remove your glasses because that’s what people do when they ponder.” Brows are often furrowed, actresses emote with facial expressions as if in soap operas, characters gaze tellingly. We know these actors are Seriously Acting be-
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cause of the portentous dialogue, rich in heavy-handed platitudes and writerly, archly “literary” vagueness. Example: One of the novelist’s character’s lines is read aloud: “White. The color of trust. It's the color of honesty. And the color of the lies he tells himself.” Uh-huh. I’ll bet his novel has a catchy title like “The Expatriate Tailor of Agronomy” or “Broken Wings Make the Least Noise.” SPOILER ALERT: Third Person has one of “those” endings that feels like a cheat, one that negates most of what the viewer saw…namely, nearly none of it happened. Those stories that we saw? They were stories from the novelist’s book-in-progress, wherein the author was trying to exorcize his personal demons…or was it Haggis, a fugitive from Scientology, trying to do that? The heart wants what it wants, but did it have to want such a lame movie? File under: Good cast (Maria Bello and Kim Basinger also appear), crummy script. By the way, Haggis used to write for the TV shows The Facts of Life, Walker, Texas Ranger, and Diff ’rent Strokes. WHAchoo talkin’ ‘bout, Haggis? ■
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Film Roundup
PETE CROATTO
Magic in the Moonlight.
Mood Indigo (Dir: Michel Gondry). Starring: Romain Duris, Audrey Tautou, Gad Elmaleh, Omar Sy, Aïssa Maïga, Charlotte Le Bon. I’ve never read Boris Vian’s novels, so I cannot say how faithful Gondry is to this adaption of L’écume des jours. What I can say with certainty, even though it may get me eyerolls from the world’s cultured cats who have admired Gondry since he was directing White Stripes videos, is that the movie exhausted me. Gondry uses the whirlwind romantic life of a wealthy Paris eccentric (Duris) and his slowly dying wife (Tautou) to assault us with rudderless, unrestrained quirk. It’s like watching a Wes Anderson movie where the budget all went toward twee. Look, Gondry (Eternal Sunshine of the Spotless Mind, Be Kind Rewind) has a knack for dazzling visuals, and Mood Indigo features memorable, herkyjerky fever dream imagery: a dance that causes its participants legs to elongate, an apartment with a subway car hallway, a race to the altar featuring go-karts. But without a break, or sympathetic characters and a discernible story structure, Gondry creates a world that no one wants to inhabit. With English subtitles. [NR] ★ Magic in the Moonlight (Dir: Woody Allen). Starring; Colin Firth, Emma Stone, Eileen Atkins, Hamish Linklater, Simon McBurney, Marcia Gay Harden, Jacki Weaver. Allen’s latest takes us to the south of France in 1928. World-famous magician Stanley Crawford (Firth) is recruited to expose a fraudulent medium (Stone) who is beguiling a wealthy widow (Weaver) and her dullard son (Linklater) out of their fortune.
As the severely pragmatic Stanley gets closer to his target, he discovers that this young woman might be the genuine article, which rocks his cynical worldview—though it may not be enough for him to see the budding romance. Charming, bubbly romantic caper feels like summer thanks to its lush, sundripped scenery and the tart chemistry of the two leads, who joust and flirt with aplomb. Firth, in particular, is outstanding. Watching him submit to life’s pleasures by relinquishing his need for control provides a nice philosophical counterweight to the movie’s ingratiating breeziness. Only flaw: Allen’s decision to bathe the baby-faced Stone in soft lighting shaves ten years off the 25-year-old, making Firth occasionally look like her father as opposed to a suitor. [PG-13] ★★★1/2 Alive Inside (Dir: Michael Rossato-Bennett). Dan Cohen has found a simple, ingenious way to revive the spirits—and the memories—of nursing home residents: give them an iPod loaded with the music of their youth. Cohen’s project is remarkable. The only remarkable aspect of Rossato-Bennett’s documentary is its smug, pandering approach. In his quest to dredge hoary sentiment, the director bulldozes the purpose of Cohen’s project and any meaningful takeaways. Forget about Cohen’s struggle to raise money or getting a glimpse into America’s struggling healthcare system. They’re just entry points to squeeze our tear ducts dry, all part of a weepy sales pitch. That’s the objective as Rossato-Bennett can’t stop adding his two cents either by his PSA-style narration (example: “Unless you understand the isolation of their everyday
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life…”) or employing sudsy camerawork—lots of slow zoomins on solemn, craggy faces against dark backgrounds—that turn Cohen’s patients into caricatures in a non-stop pity party. Like Bully, this is the documentary as emotional cudgel, as shameless beggar for your sympathy. Can this not become a trend, please? [NR] ★1/2 A Most Wanted Man (Dir: Anton Corbjn). Starring: Philip Seymour Hoffman, Rachel McAdams, Robin Wright, Willem Dafoe, Grigoriy Dobrygin, Homayoun Ershadi, Mehdi Dehbi. Here’s a fascinating look at the politics behind the politics directed with assurance and restraint by Corbijn (The American). In post-9/11 Hamburg, awareness over terror plots has escalated. So when a Chechen-Russian Muslim (Dobrygin) immigrates illegally into the German city to claim a small fortune, hard-living anti-terrorist official Günther Bachmann (Hoffman) sees an opportunity to eliminate a bigger, less apparent threat. His superiors, however, want to make their own bold statement on the war on terror. Bachmann has three days to complete his mission while contending with the immigrant’s attorney (McAdams) and an opportunistic U.S. official (Wright). Intelligent, crackling espionage tale keeps you guessing, but a large part of its brainy appeal is seeing how these nuanced characters navigate patriotism’s realities. At the heart of both is the late and brilliant Hoffman, who turns the haggard Bachmann into a riveting figure of discontent: a man trying to keep his country safe without completely losing himself. Based on John le Carré’s novel. [R] ★★★★
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Exclusive Interview
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A. D. AMOROSI
Weird AL
OR HIS 14TH ALBUM in a 32-year-long recording career, song satirist and accordionist Weird Al Yankovic has managed to do something marvelous, and even unique: he’s made his new collection, Mandatory Fun, featuring his twisted takes on popular songs from Pharrell Williams, Iggy Azalea and Lorde, into something as fresh as it funny. That’s not easy when every network, televised and on-line, hosts parodists of all stripes. Yes, it features Yankovic’s usual genre parodies—the skeletal punk of the Pixies, the slimy sensuality of Robin Thicke—and a polka medley of recent hits. Still, Mandatory Fun sounds like both the work of an
Back when there was such a thing as a record store…[N]obody knew what to do with me and I fell between the cracks; never completely accepted in the comedy community or the music community … I’ve managed to hang around, and am now accepted by both worlds. And that’s a wonderful, warm feeling.
old master and a comedy nubile just getting his feet wet. And for this, the ultimate self-proclaimed nerd now celebrated by hipster icons such as Pitchfork Media and Chris Hardwicke, winds up with his first entering-atNumber-One Billboard entity. I caught up to Yankovic two days before the illustrious honor and he seemed genuinely perplexed. It’s more than likely in the next several day you’ll enter Billboard’s Number One spot for the very first time, and… Gosh. Ahh. Don’t even say it. The fact that people are talking about this is so surreal, it boggles my mind. I don’t want to set myself up for a letdown. It’s crazy to even think about it. And it’s not as if I’d be disappointed with the Number Two spot or anything really in the Top Ten. Even that is a huge deal. It’s beyond comprehension.
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.
Oh yeah, weird all the way to the bank I know. It’s like asking Meryl Streep what she’s thinking about her next Oscar nod. OK, so have you ever wanted to do this straight? Make music that doesn’t benefit from satire? Not really. People have asked me, beyond comedy, if I’m harboring any secret vision to do a “serious” album. I look around and see that there are enough people doing unfunny music already. Funny is how my brain is wired in the first place. I do this because I love it. I honestly enjoy comedy and making music and I’ve always been a little twisted, so mine is the perfect job. I’ve certainly known musical acts over the course of my life who had that first novelty hit, then when they got people’s attention, dropped what they thought of as “their real music,” my serious oeuvre, but that’s not me. This is what I do. I ask not because I’m waiting for “your more serious record” but because you are a damned accomplished accordionist. You could have been the Art Van Damme/Myron Floren of your time. I always knew, though, that if I ever got truly serious about playing the accordion I might be very in demand on the bar mitzvah circuit. Or at the very least, make a comfortable living playing Italian weddings. It wound up being more fun to make my own path. Are you necessarily a fan of—do you like each of the artists—that you satirize? You seem so invested, say, on the new album doing takes on Lorde and Pixies, but I just thought that you might not always dig everything that you satirize. Not necessarily, but I do say that I normally pick songs that I like because I’ll wind up having to live with them for the rest of my life, whether it’s through their recording or even, possibly, in live performance. For that reason alone, I pick songs that won’t drive me crazy, although the primary reason for choosing each song is whether a song is popular and whether I can come up with a funny enough idea for it. Outside of video ideas that you can parody – for example your “Fat” version of Michael Jackson’s “Bad”—what first element gets you about a song? What’s the initial spark that makes you go, Ahhh, I can do something here? It’s honestly an almost undefinable quality. It’s a musical or lyrical…thing…that just jumps out at you the moment you hear it. I can parody something and do it in a generic way. You can do that with almost everything. But the best parodies come from songs that have the truest signature about them. It also helps if the original artist is a huge personality so that you have charac-
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teristics you can exaggerate and caricature. Obviously, a song’s popularity is a strong asset. If it stays on the charts for ten weeks, that’s a pretty good indication that people are ready for parody. That video shot with you and Iggy Azelea on TMZ. She says she’s psyched to get an enormous royalty fee, but TMZ—which is run by a lawyer—states that parodists do not have to pay up. What’s wrong there? Everything. I make deals with all the artists I work with. They keep the publishing money, and we split the writer’s money, so she absolutely will make money. TMZ says she’s mistaken, that she obviously doesn’t know copyright law. She is as entitled as the other artists are, to fair songwriting royalties. So once again, TMZ is wrong. Imagine that! Between Funny or Die, and a world of YouTube videos, have you had to up your game? I don’t think of you as competitive, but certainly this glut has made it harder to find the funny beyond the overcrowding in its most unique and timely form. It makes it more of a challenge, let me put it that way. I think that it’s really healthy that all of these humor-themed portals on the Internet have created a level playing field for comedians. I wish there was YouTube when I was growing up. I had the Dr. Demento Show so that was my entrée into show business. Nowadays, kids are free to upload anything they like, and if they show real talent and are unique, people will pay attention. That’s a nice way to start a career. It makes my job just a little more difficult and challenging because I will never again be the only person to do a parody of any given hit song. Then again, I wasn’t the first to do it, so that’s fair. It just means that I have to keep at it, up my game, and work harder. Also, it behooves me not to pick the most obvious idea. If there is one truly apparent theme for a song, you can bet a thousand different comedians have already done it. Hence, you turning “Blurred Lines” into “Word Crimes” and dictionary dilemmas, and Lorde’s “Royals” into “Foil” and a soliloquy on food wrap techniques. Curious as to what place in your mind Demento still holds. You don’t hear from him as much, but he’s out there. Gosh, he changed my life in a very real and direct way. If it hadn’t have been for Dr. Demento, I guarantee you that I would not be in the music business right now. I would have either been an architect—which is what I got my degree in—or I would have some day job that I
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wouldn’t have enjoyed a fraction as much as the career I have now. Demento played my stuff on his radio show Then nationally syndicated. Yes. When I was recording in my bedroom with my accordion and a cassette tape deck. I can’t think of anybody else in the universe who would have given a kid like me a second look. But there was Dr. Demento and he gave me encouragement and airplay and kept at it until I had developed a cult following. You mentioned getting that architecture degree. When was the last time that you had an opportunity to do anything with it? Well, we’re currently remodeling our den, so I had to draw up some floor plans for it. That’s about it. Oh, and I still print pretty neatly. They really drum that into you, good printing skills. It’s gotten a little sloppy over the years, but I still have definably architectural lettering. What does your 11-year-old daughter think of your music? We haven’t let her listen to it yet. We want to shield her from all that. No… kidding. She’s always been a fan, and she’s always enjoyed what I do ever since she was a toddler. She enjoys the new album, and she’s one of the first people I run my stuff through. She’s very grounded, and doesn’t get overly excited by the trappings of pop culture. She also doesn’t roll her eyes in the way that you’d expect somebody of her age might if their dad was Weird Al. She’s a good sounding board. In fact, I went to her when I was wondering if I should be doing Iggy Azalea. At the time “Fancy” was going up the charts, I thought that there might be something to do with that song. I asked my daughter if they were talking about Iggy at school and my daughter said “not so much.” I waited another week, and asked the same question, and my daughter was like “Oh yeah. That’s all the kids are talking about.” That’s when I realized that we had reached the tipping point, and I should do my parody. I noticed that you’ve been all over social media pushing the new album’s agenda. Are you good with 140 characters or is Twitter just a necessary business evil? No, I actually enjoy it. I’m obsessed with social media. Having said that, I got dragged into it kicking and screaming. It seemed like a real time suck at first. Once I got into it, I loved it because it allowed me genuine communication and interaction with my fans on a minute by minute basis. It also allows me closer contact to my peers and friends in the comedy community. It’s really opened things up for me. That’s funny you say that because you always seemed to be, without pounding out a cliché, an island unto yourself—your own genre and best connection to your own world, far apart form other comedians and connections. Suddenly, you’re on Chris Hardwicke’s @ Midnight as if you’re best friends and fellow comedians seem to genuinely love you. What changed? I’m suddenly feeling that, and it’s odd. I guess part of that comes form the fact that I wasn’t easy to pigeonhole. Back when there was such a thing as a record store, you weren’t sure if you would find my stuff in the rock section or the comedy section or the novelty section. Nobody knew what to do with me and I fell between the cracks; never
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Al Yankovic. Photo: Seth Olenick.
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Reel News
The Railway Man.
GEORGE OXFORD MILLER / REVIEWS OF RECENTLY RELEASED DVDS
Locke (2104) ★★★★ Cast: Tom Hardy, Tom Holland Genre: Drama Written and directed by Steven Knight. Rated R One person trying to survive impossible odds—when done well, the formula is a nail-biter: Gravity, All is Lost. Director Steven Knight puts us in the car seat, and mindset, of construction manager Ivan Locke (Hardy) during his lifechanging ride home from work. His only connection with the world is his bluetooth phone. But instead of going home, Locke redirects his route, and life, so he can sit at a woman’s side in a hospital. He calls his boss to report he’ll miss work tomorrow, the most important day of a huge project, knowing he’ll be fired on the spot. He calls his assistant to walk him through the duties for tomorrow. Then he calls his wife and kids. Ouch! She won’t take lightly why he’s not coming home and will probably change the locks. The suspense builds as the consequences avalanche because Locke takes responsibility for his actions. The astronaut and sailor didn’t have a choice but Lock does, which makes his rollercoaster ride an even more intense psychological thriller. Korengal (2014) ★★★★ Cast: LaMonta Caldwell, Miguel Cortez, Stephen Gillespie Genre: Documentary Directed by Sebastian Junger. Raged R
Who makes the best war movies? John Wayne, Rambo, George Clooney? In this age of embedded film crews, we don’t need melodrama. We can follow real soldiers in real war zones dodging real bullets 24/7. General Sherman famously said “War is hell,” a sound bite to die for. What do the men of the 173rd Airborne Brigade serving in Afghanistan say? With Korengal, director Sebastian Junger revisits the same soldiers who fought in the valley of Korengal that he featured in Oscar-nominated Restrepo (2010). This companion piece explores how the intensity of daily life under fire affects soldiers at the time, and after returning to home. During the firefights, adrenaline keeps them pumped up and allegiance to their “band of brothers” gives them purpose, but PTSD will haunt them for the rest of their lives. Sherman was right. The Railway Man (2014) ★★★ Cast: Colin Firth, Jeremy Irvine, Nicole Kidman Genre: Drama Based on the memoir by Eric Lomax. Rated R If you saw the epic Bridge Over the River Kwai, you know how brutal the WW II Japanese military treated POWs building the Burma Railway, still known in Thailand as the Death Railroad. More than 100,000 men died building the route between Bangkok and Rangoon. This story is loosely based on the memoir written by Eric Lomax, played by Collin Firth. The wartime horror unfolds in flashbacks as the older Lomax gradually breaks through the past and
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tells his new wife Patti (Kidman) how he was tortured. Yet, he talks not just to relieve his deep traumatic pain, he’s discovered his chief tormentor is still alive. Will the knowledge rip open his wounds or lead to a way to resolve the hatred that has poisoned his life all these years? Catharsis or not, “War is hell” doesn’t have an expiration date on this side of the grave. Go for Sisters (2014) ★★★ Cast: LisaGay Hamilton, Yolonda Ross, Edward James Olmos Genre: Detective drama Directed by John Sayles. Unrated In high school, Bernice (Hamilton) and Fontayne (Ross) were so close people said they could “go for sisters.” Then their paths split. Bernice became a parole officer, Fontayne an addict and ex-con. Now after twenty years of estrangement, Bernice needs Fontayne in the worst way. Bernice’s grown son goes missing in Tijuana and Fontayne knows the drug world from the inside out. They re-connect, hire a disgraced LAPD detective (Olmas) and head for bordertown. The three weave in and out of the cartel underworld while meeting a collage of untrustworthy but totally intriguing people. Typical of a John Sayles character-driven drama, this old-style detective story revolves around relationships between new and old friends instead of chase scenes, pyrotechnics, or contrived computer graphics. ■
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The Jazz Scene Jazz Bridge, the Philadelphia non-profit devoted to assisting area jazz and blues musicians in need, has announced the lineup for its 11th season, and a number of new visitors to the five Jazz Bridge stages will be seen and heard in 2014/2015. Among the new visitors are a bevy of great singers, including Denise King, Gloria Allende, Barbara Walker, Rhenda Fearrington, Gina Roche, Lauren Lark and Peggy King. Other newcomers are saxophonists Ron Kerber, Odean Pope and Richie Cole; violinist John Blake; and bassist Tyrone Brown. jazzbridge.org Despite the heat and what is supposed to be a slow time of year for jazz in this area, these wonderful neighborhood festivals keep popping up. The 14th Annual West Philadelphia Jazz Heritage Series at 52nd and Pine Street, sponsored in part by the Philadelphia Department of Parks & Recreation, is a three-week series. On August 7, The Little Jazz Giants of Camden will play, followed by alto saxophonist Immanuel Wilkins on August 21. On September 4, the always swinging Philadelphia Clef Club Junior Band will perform. All shows begin at 7:00 p.m. and are free and open to the public. phila.gov/parksandrecreation. The Community Unity Music Festival, being held on August 17 at Clark Park—43rd and Chester Avenue—is an all-day, free event that will feature jazz, and a bunch of familyfriendly activities. The headliner is drummer Justin Faulkner and his trio. This incredible, 23-year-old is rapidly making inroads toward gaining international recognition. The fest runs from 11:00 a.m. until 8 p.m., and more details are available on The Community Unity Music Festival’s Facebook page. The Northwest Jazz Coalition and Phila. City Councilwoman Cindy Bass are sponsoring a month-long festival—“Jazz in the Park at Stenton Park”—every Monday evening through August 25. Stenton Park is on 4600 North 16th Street, and the free concerts begin at 6 p.m. Performers include drummer Rob Henderson, bassist Nimrod Speaks, and pianist James Collins. Info: 267-297-3078 Before there was a Mann Center there was an open-air amphitheater called the Robin Hood Dell. Still thriving, the Dell, now called the Dell Music Center, has always been a friend to rhythm and blues, gospel and jazz. This summer, the Dell has a knock-out booking of singer Al Jarreau and saxophonist David Sanborn on August 17. mydelleast.com. There is some controversy brewing re-
garding the tagline of the Outbeat Jazz Festival, which is being billed as “America’s First Queer Jazz Festival.” Pianist Fred Hersch, one of those set to perform at this September 1821 Philadelphia fest, is not happy about this “queer” business. In an open letter to Jazz Times magazine, Hersch said, in part: “In the midst of the creation of this important first festival of its kind, the tagline ‘America’s First Queer Jazz Festival’ was included in marketing campaigns for the festival. Though I have been ‘out’ in the jazz community since the 1980s, I do not play ‘gay jazz,’ if there were such a thing. And I certainly do not self-identify as ‘queer.’ I also would have preferred that I be consulted in this key marketing de-
BRUCE KLAUBER
Chestnut Hill’s Paris Bistro & Jazz Café on August 28, 29 and 30. Lordi is quickly become quite a force on the area’s jazz scene. For details on these and future gigs, visit michellelordi.com. Though Bethlehem’s Musikfest, which runs through August 10, has always featured
Through. This features a host of world-class guest stars, including pianists Frank Strauss and Jim Ridl, bassists Steve Varner, Tim Lekan, Andy Lalasis and Kevin MacConnell; drummers Dan Monaghan, Bob Shomo and Keith Hollis; flutist Mark Adler; vibraharpist Tony Miceli; and contributing some spoken word material, Phyllis Chapell. dottimerecords.mfmmedia.nl. Vibraharpist Tony Miceli and jazz violinist Diane Monroe have teamed up for a unique and exploratory duo album called Alone Together, being released by Dreambox Media. These two cutting edge players have worked together for 30 years, but this is their first recording. Monroe and Miceli explore jazz, classical, pop standards, original works and spirituals. The duo will perform a free concert on August 21, beginning at 7:00 p.m., at Hawthorne Park on 12th and Catherine Street. dreamboxmedia.com.
ZZ Top.
an incredible array of national pop attractions—this year’s headliners include The Moody Blues, Steely Dan, Sheryl Crow, and ZZ Top—the promoters have always insisted that jazz be a part of the event. Among the jazz performers set to appear are the everbusy pianist, Eric Mintel; the Django Reinhardt-inspired Hot Club of Philly; Brazilian jazzers Minas; the SteelStacks High School All-Star Jazz Band; The Dixielanders Traveling Show Band; and the Two Cent Jazz Band. For the complete line-up, visit musikfest.org. Fred Hersch.
cision as it came as a surprise to me. It may be that ‘LGBT’ is not well-known as a descriptive term outside of progressive circles; ‘gay’ is not inclusive enough, but ‘queer’ is clear to all, whether in a positive or negative connotation. At any rate, I do hope that this festival will explore the impact of LGBT influence in many aspects of the jazz world and feature some inspired music.” Fred has spoken. Other than this letter, there has not been much in the way of news about this ground-breaking event, other than the fact that there will be more than 30 events held all over the city—indoor and outdoor—including Union Transfer, and that headliners will include Hersch, singer Andy Bey, drummer Bill Stewart, and the quartet of singer/pianist Patricia Barber. outbeatjazzfest.com. It’s a busy summer for pianist/vocalist Michelle Lordi, who checks in at The Blue Bell Inn—601 Skippack Pike in Blue Bell, PA-August 14 and August 21, and returns to
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Look for new websites for the ultra-talented singer, Mary Ellen Desmond, whose information can be accessed via maryellendesmond.com; and Lehigh Valley’s master jazz guitarist Frank DiBussolo. DiBussolo, now a frequent attraction in New York’s jazz clubs, is one of several guitarists offering online lessons. Sign up at jazzcatlessons.com. Atlantic City’s 15th annual “Chicken Bone Beach” jazz concerts have a full slate of impressive shows planned for this month. The quartets of singer Connie Jackson and bassist Mimi Jones perform on August 7, the bands of saxophonist Dwain Davis and singer Kameelah Samar on August 14, pianist Gil Thompson’s trio and saxophonist Tia Fuller’s quartet on August 21, and the bands of drummers Keith Hollis and Ralph Peterson on August 28. All shows are free and all begin at 7 p.m. on Kennedy Plaza. There are several notable CDs being released this month by area artists. The multitalented Paul Jost has a solo album coming out on the Dot Time label called Breaking
Veteran songstress Jill Salkin is at home in a number of genres, including contemporary pop, American songbook standards and hard core jazz. On her new CD, What the World Needs Now, the powerful vocalist tears through a dozen numbers, including a neat reworking of the title tune, jazz standards like “Joy Spring” and “Stolen Moments,” and even a cooking rendition of the unlikely “Feelin’ Groovy.” Salkin is backed by the area’s finest, including pianist Frank Strauss, who also wrote the great arrangements; bassist Chico Huff; drummer Steve Holloway; guitarist Nick Bucci; reedman Bob Howell; trumpeter Bob Meashey; and percussionist John Anthony. What the World Needs Now is always entertaining, sometimes touching, sometimes swinging and always refreshing. cdbaby.com. Area jazz events sponsored by producer/promoter Kim Tucker seem to sell out quickly, so here is ample advance notice: Tenor saxophonist Paul Carr, a Texas native who comes out of the hard-blowing Arnett Cobb tradition, is coming to Philadelphia on September 20 for a CD release party at La Rose, 5531 Germantown Avenue. The CD, Paul Carr B-3 Sessions/DC and NY, also features the cooking organ of Pat Bianchi and the swinging guitar of Paul Bollenbeck. Tickets are on sale now and can be purchased online via kim-tuckerpresents.ticketleap.com. Note: Brownie Speaks, the remarkable documentary film about legendary trumpeter Clifford Brown, will be commercially available next month. Watch September’s Jazz Scene for details. ■
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Singer / Songwriter Crosby, Stills, Nash and Young ★★★1/2 CSNY 1974 CSNY Recordings/Rhino
Dan Cohen ★★★ Bluebird Weston Boys Entertainment
Forty years after their reunion landmark reunion tour, Crosby, Stills, Nash and Young have released CSNY 1974. The three-CD, oneDVD package offers a snapshot of a band once regarded as the American Beatles. The music is divided into one acoustic and two electric sets and spotlights their peerless harmonies on such classics as “Suite: Judy Blue Eyes” and “Our House.” A version of the Beatles “Blackbird” is one of the highlights of the collection.
Dan Cohen uses a diverse instrumental palette to create a rich tapestry on Bluebird, his latest solo album. He and his backing musicians incorporate mandolin and dulcimer alongside electric guitar and saxophone to
TOM WILK ★=SKIP IT; ★★=MEDIOCRE; ★★★=GOOD; ★★★★=EXCELLENT; ★★★★★=CLASSIC
clude both CDs. The result is an entertaining journey through his back catalog that allows
out vocally The acoustic “Soldier of Fortune” captures the mood of soldiers returning from an unpopular war, as Olney describes in the notes for the album. “Why So Blue?” is cast as a jazz/pop tune that could have predated the rock ‘n’ roll era. Olney shows his skill as a crooner and scat singer. “Mister Stay at Home” is another throwback song, recorded in a jug-band style about searching for the heart of Saturday night. “Big Blue Hole” is a folk-styled examination of the afterlife as
Chris Smither.
Dan Cohen.
CSNY.
In a marked departure from current practice, band members presented a good helping of then-unreleased material. Neil Young’s “Hawaiian Sunrise” evokes an island feel, while Graham Nash’s “Fieldworker” is a vocal showcase for him and David Crosby. Young and Stills present a wistful, acoustic rendition of “Long May You Run,” two years before its official release. Other songs haven’t aged well. Lyrically, Crosby’s “Almost Cut My Hair” feels as dated as a leisure suit and “Wooden Ships” is only marginally better. Nash’s “Immigration Man,” however feels just as relevant today with the ongoing debate over immigration policy. In their electric sets, Stills and Young generate sparks with their guitar interplay on Young’s “Revolution Blues” and a nearly eight-minute version of “Pushed It Over the End.” Crosby’s “Déjà Vu” has a freefloating, jazzy feel. The DVD offers a crosssection of electric and acoustic songs, highlighted by Young’s “Only Love Can Break Your Heart” and “Old Man.” CDs: 40 songs, 186 minutes. DVD: 8 songs, 45 minutes
tomwilk@rocketmail.com
put an individual stamp on the songs. The use of cello elevates “I Want You” beyond a normal love song and plays off Cohen’s rich tenor voice. “Don’t Make Me Wait” is an infectious pop song that recalls mid-1960s Beatles with its layered vocals. The title track is presented in a melodic folk style. “Love is Gone” serves as a lament for lost opportunities. “I met you in the world but I was going to wait awhile for feelings to unfurl,” Cohen sings, “but you just turned away and smiled.” The upbeat tune helps to soften the loss expressed in the lyrics. A former resident of Philadelphia, Cohen unfurls a Dylanesque tale in “Pennsylvania,” a song inspired by his time in the Keystone State. Only “Descent,” a six-minute instrumental that wraps up the CD, feels a bit out of place. It’s an anticlimactic end to a strong album. 10 songs 36 minutes Chris Smither ★★★★ Still on the Levee Signature Sounds Chris Smither is observing two major milestones in 2014: a half century in the music business and his 70th birthday in November. To mark the occasions, the longtime bluesman has released Still on the Levee, a two-CD collection that highlights his strengths as a songwriter and keen observer of the human condition. The title is a reference to his native New Orleans, where Smither re-recorded 24 songs that span his entire career. One song, “Leave The Light On,” was recorded twice and is used to con-
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Smither to reimagine his songs. “Love You Like a Man” is a playful boast of sexual prowess that’s became a standard of sorts. Both Bonnie Raitt and Diana Krall have recorded it as “Love Me Like a Man” to offer the song from a feminine perspective. “Devil Got Your Man” is a quality blues about lost love that recalls the work of the legendary Robert Johnson. Lyrically, Smither’s songs transcend standard blues fare. “Train Home,” a mystical song about death and the hereafter, gets a New Orleans treatment, thanks to the piano work of Allen Touissant. On “No Love Today,” a song inspired by Smither’s childhood memory of a fruit peddler in the city, Touissant’s piano underscores the romantic hunger of the lyrics. The rhythmically hypnotic “Link of Chain” spotlights Smither’s driving guitar work. “What They Say,” performed as a duet with Loudon Wainwright III, offers Smither’s philosophical take on life. “Friends in need are friends in need are friends in deed,” he sings, “Friends who think are what we need.” 25 songs, 93 minutes David Olney ★★★1/2 When the Deal Goes Down Deadbeat Records David Olney maintains his high standards of songwriting on When The Deal Goes Down, an exploration of American roots music styles. “Servant, Job,” a horn-fueled slice of rhythm and blues, imagines a dialog between God and Satan, as they debate the nature of humanity over the Old Testament figure of Job. Olney adeptly portrays the struggle between good and evil while maintaining a sense of humor. The title track, a spirited rocker, recalls Bob Dylan’s “All I Really Want to Do” and gives Olney the chance to stretch
David Olney.
Olney contemplates the passing of historical figures from Cleopatra to James Dean. 12 songs 48 minutes Billy Joe Shaver ★★★1/2 Long in the Tooth Lightning Rod Records Billy Joe Shaver’s songs have been recorded or performed by some of the top artists in the music business, including the Allman Brothers Band, Bob Dylan, Elvis Presley and Johnny Cash. Long in the Tooth, Shaver’s first studio album in six years, shows he remains a stellar performer of his own material. Shaver turns 75 in August and he tackles the topic of aging with his dry wit. “What I used to do all night takes all night to do,” he declares in the title track, using a tone that falls between ruefulness and defiance. “Hard to be an Outlaw,” a duet with Willie Nelson, looks at getting older and the state of country music. “It’s hard to be an outlaw when you’re not wanted anymore,” Shaver observes in his distinctive, rugged voice. On Long in the Tooth, Shaver branches out into bluegrass with “Sunbeam Special,” featuring a lively banjo-and-fiddle arrangement and classic honky-tonk with “Last Call for Alcohol.” Both “I’ll Love You as Much as I Can” and “I’m in Love” show Shaver’s knack for ballads. Artistically, Shaver is still clicking on all cylinders and isn’t ready to go gentle into that good night. 10 songs, 32 minutes. ■
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Nick’’s Picks
The Sean Jones Quartet ★★★★1/2 im.pro.vise never before seen Mack Avenue An exceptionally gifted musician and leader, trumpeter Sean Jones has an accomplished track record. As a young man, he turned to jazz after hearing John Coltrane’s A Love Supreme. But it was the music of Miles Davis that pushed
Gaye’s “I Want You.” His uniquely titled seventh album, im.pro.vise never before seen, reunites Jones with longtime friends and self-assured improvisers—pianist Orrin Evans, bassist Lucques Curtis and Obed Calvaire on drums. The band recorded the date old school style, playing together live in the studio. There were no overdubs or unnecessary tinkering afterward and the result is breathtaking. There’s gangbuster swing that takes no prisoners (“60th & Broadway”), mesmerizing ballads (“The Morning After”), and emotive storytelling (his magnificent muted horn on “How High The Moon” along with a nice feature for Curtis’ precision bass playing)—all of which signifies a step up from his earlier fine work. im.pro.vise has flow, something that’s often remarkably missing from jazz albums, and the tunes here form a cohesive whole, all of which is played by a very tight, unified group who listen to each one another. Jones spreads his formidable talent evenly, forging a blistering attack on “Dark Times,” a song that reflects on a period of struggle and uncertainty for the trumpeter, and he digs deep on the melodic swinger “I Don’t Give A Damn Blues,” adding a pinch of New Orleans flavor. Bassist Christian McBride and Al Pryor expertly produced im.pro.vise, but I have to call out Orrin Evans as the date’s MVP. His bold solo turns and phrasing help lift this album to something truly great. Evans is having a banner year himself with two A+ solo records out, and numerous gigs recording as a sideman. Jones knows what he has with Evans, Curtis and Calvaire, and the quintet and its leader gives us a bounty of moods, style and feeling. I haven’t heard a more engaging or beautiful record by another trumpeter this year. (11 tracks; 70 minutes) Jimmy Cobb ★★★★ The Original Mob Smoke Sessions
Sean Jones. Photo: Jimmy Katz.
Jones toward his destiny as a player with the capacity to lead the pack. You can track his career through six previous solo albums for Detroit’s Mack Avenue Records, each of them conceptually interesting, all of them ringing with Jones’ clear, sweet voice on the horn. That’s in addition to holding the lead trumpet chair for the LCJO until 2010, touring in Wayne Shorter and Herbie Hancock’s Miles Davis Tribute Band and most recently, taking a star turn on Dianne Reeve’s record Beautiful Life, with an ace solo on Marvin
Nick Bewsey has been writing about jazz for ICON since 2004 and is a member of The Jazz Journalists Assoc. He also paticipates in DownBeat’s Annual International Critics Poll.
Drummer Jimmy Cobb, an historically important musician who duly received an NEA Jazz Master award in 2009, needs no introduction. If his only connection to jazz was through Miles Davis and playing on Kind Of Blue in 1959, his reputation would still be assured, but Cobb’s career includes deep connections to John Coltrane and Wes Montgomery as well as most every important leader and jazz group since his five-year tenure with Miles. At 85, Cobb is still making music, most of it very good and with his own bands (Jimmy Cobb’s Mob, “So What” Tribute band) often comprised of intensely creative, younger players. As part of the launch of Smoke Jazz Club’s excellent new series of live releases, a revived iteration of Cobb’s band called The Original Mob, assembles a former quartet, guitarist Peter Bernstein, pianist Brad Mehldau and bassist John Webber, originally linked to the drummer as students 20 years earlier at The New School in NY. Two things are striking about this album and its line up—although this was recorded at Smoke, Cobb chose not to record with an audience, yet that in-the-club vibe still crackles and shines
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Jimmy Cobb.
through the smooth, swinging performances of the players. As for this band, Cobb deliberately evokes a dynamic from one of his early groups with Wynton Kelly, Paul Chambers and Wes Montgomery, which is a nuanced tribute in itself. The music on The Original Mob is swift and robust and lit with a gentle fire. The mix of solid standards (“Sunday In New York,” “Nobody Else but Me”) and originals are rooted in pleasing Latin grooves and easygoing swing. Cobb coaxes subtle percussive rhythms behind Bernstein’s gorgeous chords and the interplay between the guitarist and drummer is generous. It’s fascinating listening to a modernist like Mehldau in a traditional setting as part of Cobb’s band. His playing is relaxed and particularly inspired on “Amsterdam After Dark” and the album’s sole trio number, “Unrequited.” A novel treatment of “Old Devil Moon” illustrates this unit’s cohesion—the melody unspools from Webber’s smoky bass notes, gets picked up by Mehldau then underscored by a tight Caribbean beat from Cobb. Bernstein ties it together and the tune is in full bloom, fully swinging for eight glorious minutes. Cobb refers to Bernstein as a player in the style of Grant Green, but Bernstein is no doppelganger—his solos take flight naturally, held aloft by a sustained groove. This is a fine band making tremendously entertaining music and it’s another ace effort from the folks behind Smoke Jazz Club. (10 tracks; 64 minutes) Ellen Rowe Quintet ★★★1/2 Courage Music PKO Records Here’s a genuine discovery that turns out to be honest, top-tier modern jazz from an artist deserving of wide recognition. Pianist, composer and arranger Ellen Rowe is a Pro-
NICK BEWSEY
★=SKIP IT; ★★=MEDIOCRE; ★★★=GOOD; ★★★★=EXCELLENT; ★★★★★=CLASSIC
fessor and Department Chair of Jazz and Contemporary Improvisation at University of Michigan’s School of Music in Ann Arbor who infuses her fourth CD, Courage Music, with colorful texture, palpable feeling and masterful interplay.
Time Stood Still.” Her band merit applause as well—saxophonist Andrew Bishop, trombonist Paul Ferguson, bassist Kurt Krahnke and drummer Pete Siers are perfect collaborators for the talented Ms. Rowe. (10 tracks; 65 minutes) Jamie Saft, Steve Swallow, Bobby Previte ★★★1/2 The New Standard RareNoise Without getting too hung up on labels, two members of the trio behind The New Standard have firm roots in the avant-garde and veteran bass player Steve Swallow traverses many styles, including free jazz, post-bop, and cool jazz. Playing together for the first time in an improvised setting makes for a quirky experiment in sound and musical interaction—rowdier moments are nowhere to be found here,
Bobby Previte.
mainstream appeal (“Clarissa”), but these guys can’t help but play left-of-center, which keeps the tunes modern and attractive. When he switches to organ (playing gospel licks on “Clearing” and deftly giving “Blue Shuffle” a soul-jazz sheen), Saft opens up a chill out zone where the vibe is cool and the beats have some heat without breaking a sweat.
Ellen Rowe at Rochester University School of Music, 2012.
Each of Rowe’s eight original tunes connects to one of the many personal milestones or experiences in her life, some marked by profound loss and others born of the joy of accomplishment, yet the impressive music is effectively melodic and gorgeously arranged throughout. The presence of trumpeter Ingrid Jenson is a key ingredient. Her precise, rounded tone has a sparkling quality in the style of Art Farmer, and her notes dance and leap off the charts. Jenson plays as if she’s singing along, highlighted by her voicing on Rowe’s quietly stunning “Circle Of Life” and later on the swinging “Summit Dog” where her upbeat and swaggering solo gives that tune an incomparable freshness. Rowe’s arrangements intentionally flatter her quintet (the soulful horns distinguish “Leaves,” a Jensen original and one of the album’s best tunes.) As a pianist, Rowe tells stories with a style that’s resonant and tuneful. She adroitly comps behind her soloists and her own solos are immensely satisfying, such as the grounded resolve she brings to “If
Jamie Saft.
but sonically it’s abuzz. The European label, RareNoise, pushes the boundaries of many genres while making sure that the recorded sound of their records is as engaging as their content. The trio, de facto leader Jamie Saft on piano and organ, Bobby Previte on drums and the illustrious Steve Swallow on electric bass, concentrates on groove-based originals and down tempo ambiance fueled by earthy melodies mostly derived from Saft. Swallow’s throbbing bass conjures an otherworldly sound—it’s all vibration and tremor that burrows into your head along with the boom of Previte’s kick drum and swoosh of his brushes. On acoustic piano, Saft aims for
Steve Swallow.
The New Standard was improvised throughout and recorded in three hours with engineer Joe Ferla (called the fourth member of the band by the group) and though the album doesn’t break new ground, it’s an unexpected and great sounding diversion—perfect for a late night hang. (10 tracks; 58 minutes) ■
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Keresman on Disc Philip Blackburn ★★★★1/2 Music of Shadows Innova Some composers literally compose, as in notation on paper, while others are sound artists, those who generate sonic tapestries that aren’t in the “strictest” sense “music” but the results can be nonetheless compelling. Prototypical example: Steve Reich’s “It’s Gonna Rain,” wherein a loop of a preacher shouting the title overlaps upon itself—maddening to some, invigorating to others. Brit-born, USA-residing Philip Blackburn is both, fashioning “soundtracks” (of a sort) to the environments of state fairs, forests, galleries, parks, and stages. “Still Points” features synthesized percussion that sounds like a stick striking a plastic pipe, then evolves into an alarm clock, and the buoyant pops multiply geometrically, suggesting African drumming and Indonesian gamelan, then transform into harmonica- and ac-
true.) Austrian saxophonist Harry Sokal has a style based in the surging bebop of Johnny Griffin and the temperate, supple, deceptively sweet tone of Eddie Harris, one of the fellows that defined groove-oriented jazz in the 1960s and ‘70s. While many of the compositions are indeed spacious (no keyboards or guitar, remember), Sokal plays melodiously with a sense of swing and affable yet soulful urgency, occasionally (as Harris did then, Jane Ira Bloom now) running his sax through electronic modifiers. Bassist Heiri Känzig coaxes moments of cello-like purity along with pliant, Paul Chambers-like swing and Charlie Haden-like throb, and drummer Martin Valihora provides propulsion but plays in a virtually Impressionist man-
Harry Sokal, Henri Kanzig, Martin Valihora.
Philip Blackburn.
cordion-like lilting bleats. It’s a bit like Terry Riley’s “In C” and Reich’s “Drumming,” yet totally different—lush, pulsating, slightly disorienting, and frequently beautiful, sounding like both the product of humans’ electronics and sounds of nature. “The Long Day Closes” takes inspiration from Handel’s opera Xerxes and oddly (or not) slightly suggests (but does not imitate) Gyorgy Ligeti’s choral music (the otherworld choir in Kubrick’s 2001)—it’s a beautiful sound-cloud of desolate beauty, of purposeful (slow) motion and oceanic stillness, wherein a ship’s foghorn slowed to an eerie, ghostly sigh. This is a disc to take you literally “away.” If you’re a fan of ambient (Eno, Roach, Köner, Cluster) with heft, this is a must. (3 tracks, 71 min.) innova.mu Sokal/Känzig/Valihora Refire ★★★★ Intakt Chicago Underground Duo Locus ★★★★1/2 Northern Spy It just shows to go you, sometimes. Intakt is one of the premier labels in Europe for avant-garde jazz and improvised music, but Refire is so darn accessible (yet uncompromising) and engaging I think it could be played on some American radio stations. (Strange, yet shemp@hotmail.com
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ner (as did the late Paul Motian). Refire has plenty of funky struts, hard-and-fast swing, and occasionally surreal/oblique passages (think of early ‘70s Weather Report). Gosh, this is fine. (13 tracks, 53 min.) intaktrec.ch The Chicago Underground Duo is one of American jazz’s most expansive and unusually long-running (since 1997) combos. Cornetist Rob Mazurek (some Don Cherry influence here) and drummer Chad Taylor play lots of other assorted instruments (and overdub themselves), drawing upon traditional and modern African music, open-ended improvisation, Glass/Reich minimalism, polyrhythms, mutant funk, and electronica for a set of throbbing, crackling, otherworldly soundscapes. Imagine electric-era Miles Davis combined with early‘70s Weather Report and distilled into some concise, captivating delicacies, and you have Locus: cerebral yet vigorous, ethereal yet vivid. (9 tracks, 40 min.) northernspyrecords.com Kelly Willis & Bruce Robison ★★★★★ Our Year Premium/Thirty Tigers Jon Pardi ★★★★ Write You A Song Capitol Nashville It’s performers like these that keep the true country sound alive. Kelly Willis and Bruce Robison, husband and wife, have established solo careers and it’s only in the last few years that they’ve been active as a duo. Our Year, a mix of originals and covers, is firmly in that tradition of Johnny Cash & June Carter and George Jones & Tammy Wynette, full of honky soul, voices that intertwine beautifully. Willis has more than a bit of Southern hillbilly/rockabilly wildness in her voice, while Robison has a plainspoken Texas barroom drawl, going together like honey and lemon in a cup of strong hot tea on a snowy day. This is real country music, performed tightly but minus any Nashville glitz, closer in style/spirit to the acousticoriented Austin country of Willie Nelson and the cracking Bakersfield twang of Merle Haggard. But this pair isn’t stuck in the past—they country-fy ‘60s Brit rockers The Zombies’ “This Will Be Our Year.” If you like the mix of plaintive, distinctive harmonies, sighing pedal
MARK KERESMAN ★=SKIP IT; ★★=MEDIOCRE; ★★★=GOOD; ★★★★=EXCELLENT; ★★★★★=CLASSIC
steel, banjo, harmonica, and acoustic guitar, this is one of this year’s best. (10 tracks, 33 min.) thirtytigers.com For his debut, Californian Jon Pardi achieves a nifty balance between the Nashville mainstream (slick production, a few radio-ready pop intimations) and fervent Bakersfield boisterousness. Pardi’s got a strong country voice (you can tell he’s dug Buck, Merle, & Dwight), sings with conviction
The Ugly Beats.
out of your head after two spins, I dare you. Retro? Sure, but so is The Flamin’ Groovies’ Shake Some Action and that’s a great platter. Brand New Day is one of those albums that sounds best in a dark room on a cool or rainy summer night. (12 songs, 35 min.) gethip.com Jenny Scheinman ★★★★1/2 The Littlest Prisoner Columbia Masterworks Many of us can only handle one career, but Jenny Scheinman has (at least) two—a violinist in jazz (with Bill Frisell, among others) and improvised music, and a violinist/singer/songwriter of country and folk music (w/ Bruce Cockburn). Littlest Prisoner is the latter, and it’s very fine indeed. Frisell plays all over this, but he’s scaled back on lengthy improvisations in favor of muted accompaniment to Jon Pardi.
and some self-deprecating humor, and the music is mighty, no-frills (OK, a few frills, so what?) honk tonk with a strong beat, plenty of twang, and tasty, tangy pedal steel guitar with a few hints of rock crunch (the opener “What I Can’t Put Down” sounds like a Steve Earle song and I mean that in the best possible way). This is a great debut and it’ll be fascinating to see where Pardi goes from here. (11 tracks, 39 min.) umgnashville.com The Ugly Beats ★★★★ Brand New Day Get Hip Some people can’t let go of the Sixties…and in some cases, that’s not a bad thing. Austin, Texas’ Ugly Beats evoke that era just before rock & roll became an (ahem) Art Form (i.e., Sgt. Pepper’s) and “heavy, maan” (Cream, Hendrix). The Ugly Beats’ modus operandi includes chiming/jangling guitars (think Byrds, Beau Brummels, Kinks circa 1966-68, the first four REM albums); plaintive, heart-on-sleeve vocals, conciseness, and yearningly pretty, insidiously catchy melodies that one can only generate after consistent absorption of early Beatles albums and Little Steven’s Underground Garage radio show. What separates this lot from other neo‘60s combos? Well, The UBs sound like they mean it, no hokey or joke-y frills, and tunes that get (even) better after successive listens. Go on, just try to get “Gone For Good”
Jenny Scheinman.
Scheinman’s very emotional vignettes…but make no mistake, his playing is exquisite. Vocally, JS sounds hauntingly akin to a huskier Gillian Welch or pre-1973 Joni Mitchell, and musically it leans toward singer/songwriter folk with inflections of mountain music (pre-bluegrass string-band sounds) and non-Nash Vegas country. (I could easily imagine Willie Nelson doing some dandy versions of these songs.) The only downside to this set is its uniformity of (sober) mood—a bit more variety would have made this a monster. As it is, it’s merely excellent. (10 tracks, 38 min.) sonymasterworks.com ■
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Jazz Library
BOB PERKINS
M
OLIVER NELSON
Oliver Nelson. Photo: Jan Persson.
MANY TALENTED SOULS IN various walks of life, have departed the planet well before their loved ones and others who appreciated them and greatly admired their work, thought they should have. The abbreviated stay of the gifted, makes one ponder what other wonders they might have contributed had they lived. In jazz music, I always think of the contributions Clifford Brown made in such a short time. He died in his middle 20s, but not before becoming a near legend, and a well-established one after the fact. And there was Charlie Parker and John Coltrane, both of whom were jazz innovators and pioneers—Parker passing in his mid 30s, and Coltrane just a shade past 40. Less famous, but a much respected jazz musician also comes to mind when I think of the aforementioned, and his name was Oliver Nelson. Nelson was not only a multi-instrumentalist, he was a top-flight arranger and composer, and did much to advance the careers of many performers—and not only those in the jazz idiom. I first heard of Nelson in the early 1960s, via his composition, “Stolen Moments,” which became a jazz classic. A few years later, I lucked out and broke into the radio, and began hosting a jazz program. Oliver Nelson then became an even more familiar name to me, because I played his music on the air. His LP liner notes and other readings, told me more about him. I learned that he was born on June 4, 1932, in St. Louis, Missouri, that he came from a musical family, and that he started playing piano at age six, and several years later was drawn to the saxophone. After gigging in bands around his St. Louis, he got his first major job with Louis Jordan while still in his teens. He played alto saxophone in the band and did some arranging. Military service called, and he joined a band in the Marine Corps. While traveling with the band in Tokyo, he heard the Tokyo Philharmonic Orchestra, which he credited with whetting his appetite to become more advanced as an arranger. Following military service, Nelson attended Washington and Lincoln Universities, studying harmony and theory, while also mixing in study with private teachers. He moved to New York City, and made music with Erskine Hawkins, organist Wild Bill Davis, and a host of other established musicians. He also landed a job as house arranger for the famed Apollo Theater. Prestige records signed Nelson to a contract and he recorded six albums for the label. He later inked a contract with the Impulse label and recorded the landmark Blues and the Abstract Truth, which included his composition “Stolen Moments.” The piece is a work of art and with the likes of pianist Bill Evans, bassist Paul Chambers, drummer, Roy Haynes, Eric Dolphy doubling on sax and flute, Freddie Hubbard on trumpet, and Nelson on tenor sax—how could the cut not be the monster it was, and still is! Doors began to open for the young multi-talented Nelson. Not only was he producing and arranging for the likes of Nancy Wilson, James Brown, the Temptations, Diana Ross, organist Jimmy Smith, and other well-known artists, he was also composing music for TV, including Ironside, The Six Million Dollar Man, and Longstreet. And he arranged the music for the film, Last Tango in Paris. Those close to him knew he was spreading his gargantuan talents too thin by racing from the East Coast to perform with his own group, then to the West Coast to write for artists he was complimenting with his arrangements. Their concern for his well being, turned out not to be an abstract truth—Nelson suffered a massive heart attack in Los Angeles in 1975, and died at the age of 43. The word was that Nelson literally worked himself to death. Oliver Nelson, like some of his still youthful jazz predecessors, left while still having much more to say. But he, like they, kicked up a lot of creative dust prior to departing. One of his best CDs (besides Blues and the Abstract Truth) is one he shares with vibraphonist Lem Winchester, titled, Nocturne. On the disc, his solos on “Azurte,” and “Man with a Horn,” massage the heart. ■
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. 32 ■ I C O N ■ A U G U S T 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
About Life
JAMES P. DELPINO, MSS,MLSP,LCSW,BCD
I LOVE YOU. NOW GO AWAY. AT THE BASE OF all relationships between two people is a connection. The nature of that connection is unique to each relationship. Some connections are based on mutual interests while others are familial, or work related, or community related, or religious or spiritually related, or romance related, or sexually related, etc. However, the kinds of connections are not the same as their depth and vitality. Deeper and more vital connections are most treasured. What draws us to others is hardwired into us as a species—it’s the heart’s desire to bond and connect and in some way merge with another person. When people discover a spontaneous connection they often remark about how natural and easy it was. That kind of interpersonal experience is part of a normal bonding process. When people connect, bonding hormones are released which create a heightened kind of experience. In this initial phase of bonding people often project all kinds of traits and characteristics to each other. Enjoying a connection with someone else can easily distort perceptions. This is why people are surprised when someone else turns out not to be the person we thought he or she was. Folks often decide who someone is before observing whether the facts support an emotionally based projection. For example, it’s wise to assess whether a person is trustworthy before investing trust in him. This all too frequently becomes the downfall of the relational connection. In like manner, misunderstanding or misinterpreting the words of others frequently freezes or prevents a connection altogether. It’s easier to make a bond or fall in love than it is to keep a bond or stay in love. What draws us to seek out or be receptive to bonding with another is not the same as what it takes to maintain, nurture and further grow a connection. While personality may draw people together, it’s character and integrity that keeps them connected. Character flaws fall into the categories of lying, cheating, stealing, lack of motivation, greed and the like. While personalities are malleable, character structure is more rigid and difficult to alter. It’s easier to learn how to be more friendly (personality) than it is to overcome greed (character). In romantic relationships there is an even higher level of character required to maintain closeness. Having integrity—which generally means that the words and actions of a person are mostly synchronous—is a major key to progressing a relationship. Keeping promises, honoring agreements and striving to meet the needs of the other person are paramount in maintaining rapport and deep intimacy. Nearly everyone has emotional wounds from past experiences and these very wounds often contribute to the walls couples encounter when they try to get closer. Knowing these wounds exist in a partner helps to prepare them for the arrival of a situation that triggers a fear of intimacy. Fear of intimacy is the greatest saboteur of deep relationships. The two most common fears are abandonment and engulfment. Abandonment means the experience of a sudden loss of the loved one. Engulfment is a fear of loss of the self, as closeness and intimacy create an experience of “losing” oneself to the other. Abandonment fears are often presented as a need for reassurance, and a wish to be noticed and appreciated. Engulfment fears often manifest as a need for more boundaries and space. These are not feelings to be laughed at, judged, ignored or minimized. Wishing to have more closeness or more space are normal in the course of deepening a relationship. Having this awareness allows each individual to better navigate the depths of interpersonal intimacy. Learning to expect walls and impasses along with learning not to take things personally is a wonderful skill to develop— seeing through the outer behaviors or words into the wounds being expressed is a major key in moving through impasses and blocks. Being able to know a partner needs more closeness and time and/or more space allows for the interpersonal dynamic to blossom more fully. Needs at this level are best expressed and dealt with directly. A simple statement of understanding the need—for example, “You need to hear me tell you I love you more often,” or “You need some time alone or away to think about this”—often reduces tension. Everyone wants to feel understood. In order to have a vital connection, we need to: use our mind to choose a person of good character; allow our heart to fully open with love and compassion for the other; and have the wisdom to understand the ebb and flow of connections. ■
Jim Delpino is a psychotherapist in private practice for over 33 years. Email: jdelpino@aol.com Phone: (215) 364-0139.
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Dining
ROBERT GORDON
BIBOU I MET CHEF PIERRE Calmels about a decade ago when he, his wife Charlotte, my wife Sue, and I were judges at the New Hope Food & Wine Festival. Pierre and Charlotte had arrived in Philadelphia only a year or two before. They were living in Switzerland when Le Bec-Fin legend Georges Perrier phoned asking Pierre to relocate to the city as his sous chef. Pierre accepted. It was the start of a beautiful friendship between Philly and the Calmels. Although the New Hope fest was fairly early-on in his Philly residency, Pierre was sketching out some future plans: “I’d like to do something different. Not crazy, not weird, just different,“ he told us. “I’d like to own a small restaurant. In France we say it’s better to own something small than to pay rent for a big place you don’t own.” When Chef David Ansil’s iconic Pif (recommended in ICON years ago. Ansill is now at Bar Ferdinand, which we recommended in the December 2012 ICON) became available for purchase, the Calmels snapped it up. True, Pif made it an iconic spot, but it was also the spot Pierre and his wife had celebrated their marriage. Twice. Long story, short column—some other time. French cuisine is still vibrant in our region’s delightfully diversifying dining mix. I shudder to recall how low the bar for Philly dining was before Georges Perrier’s arrival. French cuisine—the lone cuisine on the UNESCO’s world intangible heritage list—elevated the city’s bar. Pierre’s success, along with that of fellow ex-pats like Olivier Desaintmartin and Patrice Rames has kept Philly’s cocorico crowing in the postPerrier period. Bibou pops up in virtually every Philly top-restaurant ranking. The tone is down-to-earth and friendly, with an understated sophistication. Charlotte sets that tone. She’s a veritable rock star to the regulars, and a de rigeur choice in virtually every rating of Philly’s finest in plying the art of front-of-house operations. The décor at this intimate 32-seater is subdued. Pale green wainscoted walls are hung with menus signed by culinary superstars like Paul Bocuse and Gerard Boyer. Colorful artistic work conceived by the Calmel’s daughters occupy similar places of equal honor. But the Bibou story is Pierre’s finesse in what he terms “family-style French.” His gastronomic compass points true French, even when he’s “trying something different,” like his interpretation of escargots. Served in a specially designed plate with a deep channel that spirals out in the shape of a snail shell, tender escargots bathe in tarragon-flavored ragout stocked with fava beans and trumpet-royal mushrooms. The dish exudes the homespun heart of the classic French bistro—as does a tasty winter menu where a terrine of wild boar pâté and sweetbread is dotted with pistachios. A recent country pâté, also studded with pistachio slices, scores with lively house-made apricot and mustard chutney. Grilled Ahi tuna loin, spruced with shaved fennel and
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baby beets in rosemary cilantro sauce, is sided with panisse. The outside of the panisse is crispy with oatmeal while the inside is custardy creamy and an ideal textural complement to the meaty tuna.
Escargots with fava beans and mushrooms.
A frothy lobster emulsion pools around wild halibut filet confit cooked in olive oil. The elongated stems of beech mushrooms tumble atop the halibut, as leek fondue with truffle brings out the halibut’s succulence. In a recent entrée, pickled, dried cranberry/red wine duck jus and sautéed chanterelle mushrooms moderate rich, roasted Long Island duck breast. Bibou is cash-only, no credit cards. Notwithstanding that restriction, Bibou vies with any eatery in the region in attracting and inspiring regulars. Keep that in mind. Walk-ins are rare. Book in advance. For non-Philly readers, I suggest the Sunday 4-course, $45 prix fixe. Center-city traffic is generally less frenetic and it’s an excellent price for fare so elegant, which, I guarantee, is distinct, different, and delicious—and never weird. ■ Bibou, 1009 South 8th Street, Philadelphia (215) 9658290 www.biboubyob.com
S WA N
HOTEL Modern Cuisine h Classic Comfort Corner of Swan & Main Lambertville, NJ 609-397-3552 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 ■ A U G U S T 2 0 1 4 ■ I C O N ■ 35
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21 / WEIRD AL YANKOVIC
completely accepted in the comedy community or the music community. As time went on, and by my sheer will of force or force of will, I’ve managed to hang around, and am now accepted by both worlds. And that’s a wonderful, warm feeling. I know you’ve had issues—from management mainly—with using Lady Gaga music, and more recently with Pharrell’s people until you happened to deal with the artists themselves. Is this often the case? These situations are the exception to the rule. In all fairness, I think that my management was talking to the wrong people when it came to Pharrell. After I spoke with him, I got connected to the right person who couldn’t have been nicer. I won’t say how and with whom I did this, but Pharrell was the nicest, sweetest person and honored by my wanting to parody his songs. What’s the biggest difference between directing your own videos as you do normally and those of artists such as the Black Crowes, Hanson and Ben Folds which you’ve tackled? It’s more fun to spend other people’s money. Is there ever a moment when you’re storyboarding where you’ve had one definitive idea that somehow just didn’t work, and the process had to be changed? I’m mak-
ing you sound like a fly-by-the-seat-of-your-pants improvisationalist, but… Not really, because I do all of my editing in the concept stage. I generate a lot of possible variations on a theme, and I never sign off unless I am absolutely convinced of the strength of those ideas. Once those ideas are down, I commit one hundred percent. I don’t believe that I’ve ever gotten halfway through a song I was performing, and gone, “Wait. No. this isn’t working.” I give it everything I have from the very start. What was the logic behind the barrage of eight videos from Mandatory Fun at one time? I wanted to make an event of the release of the album. Since MTV no longer stands for “music television,”they’re not thinking about me and I’m not thinking about them. The only way to work and live is on the Internet. I knew that I had to look to the online community to market this record. I learned that it has a really quick turnover, especially for comedy. Things go viral and get popular really fast, then die off and become old news the next day. What’s next? I figured that I could stay relevant for an entire week if I filmed and came out with a video every single day. I didn’t know that it would work—maybe people would tire of me. It would either backfire or have a snowball effect and it looks as if it had the latter. People were extremely excited the first day, the next day, and so on, which is amazing. I
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hadn’t done this before, and the success it had went beyond my wildest expectations. If you give up on comedy or architecture, you’d make a marvelous advertising executive. You’re at the end of a single 32-year-long, 14 album record contract, and I know you’re trying to figure what you might do next. Got anything for me? People think it’s hyperbole or a joke when I talk about that contract, but no, I signed in 1982 and I’ve fulfilled my contract. And I have to say that, truly, I don’t know for sure what to do. I’m not retiring, which some people thought. I really don’t think I’m going to be doing any more albums, not conventional ones at least. I have said like things like this before and the headline came out “WEIRD AL RETIRING.” I’m not retiring of my own free will. I just don’t think—and I feel strange saying this knowing that my album is going to be my most successful album on the charts yet— that albums are the best, most intelligent and efficient way to get my material out there. I’m trying to be topical and timely, and if I release all twelve songs at once, it’s a challenge to keep each and every one of them fresh. I’d rather just put ideas out as I think of them, which would make me more competitive with the amateurs on YouTube who drop videos as soon as they think of it. ■
Dining
ROBERT GORDON
Nikólas NIKÓLAS CONTINUES TO IMPRESS. Nikólas at Logan Inn has to be tempted to kind of “olé” the food operation, given the Logan Inn’s enviable visibility to New Hope’s throngs. Even an apathetic dining operation could probably turn tables over simply by luring unaware tourists and passersby. That’s not the way Nikólas rolls. There were periods over the last few decades when I’ve witnessed the Logan Inn rely entirely on its privileged location-location-location trifecta. Those days ended when Pandelia “Pete” Gialias purchased the Logan Inn in 2007. Throughout Pete’s tenure, I’ve enjoyed a succession of wine events, wine-pairing dinners, and fine meals. Although the Nikólas menu draws from a mix of culinary traditions, it’s the Greek dishes that score biggest. Dishes like Seared Octopus and Grilled Sea Bass demonstrate Chef and CIA grad Elliot Matos’ soulful mastery of Greek cuisine. The Logan Inn’s ambiance is lovely: historic and homey inside, casual-chic outside. Alfresco dining is New Hope-laidback with tables set with white tablecloth and attentive service. The alfresco deck, slightly elevated above the sidewalk, is an ideal perch for soaking up the New Hope scene. Ah, but that Greek fare … Yes, the Seared Octopus I mentioned just might be the tastiest anywhere. The octopus rings a mound of arugula piled with diced onions, pepper, and tomato spritzed with aged balsamic and extra virgin olive oil. Smoked Salmon Nicoise Salad A smoky undercurrent smolders in each forkful. Four juicy mango slices spokes radiate out from that centerpiece—functional eye-candy for a juicy, fruity finish to each bite. Another Med-inspired appetizer, Smoked Fish Platter, plates smoked-in-house trout, sturgeon and salmon alongside mussels and scallops with capers, shallot, and mustard vinaigrette for fuller taste. Grilled Whole Fish like sea bass or snapper, served either whole or deboned, is the Greek pièce de résistance. It’s become almost mandatory that someone at our table order it. The preparation
never disappoints. The fish always emerges moist, with its natural juices. A recent Mediterranean sea bass was served in a pool of fava purée, and paired with spinach, rice pilaf, and Swiss chard. Aside from the Greek treats, the menu is mostly contemporary American, with a focus on steaks and seafood—though most manage to incorporate some Greek and Mediterranean elements. For instance, porcini-stuffed gnocchi, which accompanies a Chicken & Dumplings entrée is standout enough to be an entrée itself. Shrimp is charred and served in the same fava purée as grilled whole fish. Another entrée, Eggplant Rolatini, scores due to the richness of three different cheeses: ricotta, mozzarella, and Parmesan. A vegetarian dish, Spring Vegetable Fettuccine, is a tempting riot of color, taste, texture and crunch. Wild, local mushrooms, sundried tomatoes, asparagus, broccoli, and pecorino romano cheese dressed with garlic and olive oil combine in healthful, colorful harmony. Some notable Greek homemade $8 desserts make Nikólas a late-night destination. Sicilian Ricotta Cheese Cake, Greek Yogurt, and pistachio gelati, fig and goat cheese gelati all reel with Greek zest. Warm Rice Pudding is topped with a scrumptious honey-roasted pear. And my personal favorite is Galaktoboureko: semolina custard in flaky phyllo, brightened with clear citrus syrup. Logan Inn is a definite contender for where to grab a late-evening dessert after a day in town. The deck has been fitted with overhead infrared heaters that will extend the alfresco dining season. That’s good news. The deck is roomy, airy, and comfortable—and presumably off-limits to some of the alleged ghostly beings inside (take the New Hope Ghost Tour to get filled in, or ask your server). The fare is tasty, reliable, and consistent, with some stand-out dishes. Nikólas doesn’t rely on location-location-location. Their model is more like food-ambiance-location. And that’s a winning trifecta. ■
Email comments and suggestions to r.gordon33@verizon.net
Nikólas, 10 West Ferry Street, New Hope, PA (215) 862-2300 www.nikolasnewhope.com
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The Los Angeles Times SUNDAY CROSSWORD PUZZLE
KIDDIE LIT By Amy Johnson Edited by Rich Norris and Joyce Nichols Lewis
1 6 11 15 19 20 21 22 23 26 27 28 29 30 32 34 35 36 40 44 45 46 47 48 50 54 58 59 60 61 62 64 65 67 68 69 71 72 74 75 80 81 82 83 84 86 87 89 95 96 97
ACROSS Beijing Zoo attraction It’s often seen in sheets Spreadsheet figures Foolhardy TWA competitor Cowboy’s rope Baylor, for one: Abbr. Analogy words Tolstoy tale of child’s play? Robert De __ Giga- x 1,000 St. Laurent of fashion Upper-bod muscle Hit song of 1950 Get cozy Like Death Valley Stud site Carson tale of well-behaved classroom clock watchers? Certain school team activity Kick __ double take Botanical coating “Fernando” band Matches at the poker table Hoover and Mossyrock Dickens tale of math woes? Drink that lost the second part of its name in 1961 Mended, in a way Israel’s Iron Lady War movie staples Diplomatic rep. Nods, say Evade 1921 sci-fi play Biol. or chem. Artichoke servings Earth has one Overdo the buffet, say These, in Juarez Palahniuk tale of a rowdy slumber party society? Half a fish Welles of “War of the Worlds” “Return of the Jedi” dancer Apollo landers, briefly Grannies Samoan capital Gets Orwell tale of Beanie Baby breeding? Oregon coastal city Late notice? Berlin School psychological the-
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ory Excitable cell Billionaire bank founder Andy Latin trio member Wind in a pit Parisian’s “to be” Updike tale of an idle cereal mascot? Employee IDs Actor Morales What a white flag may mean Complete __ drive “Father of the American Cartoon” “Symphony in Black” et al. “The Gondoliers” bride
DOWN 1 Forgoes the gimme 2 Like Dracula’s visage 3 Tiny republic formerly called Pleasant Island 4 Yankee legend, familiarly 5 Wall St. trader 6 Fish tank flooring 7 Old Bologna bread 8 Wiimote inserts 9 Stop: Abbr. 10 Most mournful 11 One with a second 12 Med sch. subject 13 Poker game tell, maybe 14 Batting figures 15 Mastermind 16 “The Robots of Dawn” author 17 Disco light 18 “Sesame Street” store owner 24 Poet Elinor 25 Cop’s quarry 31 Lab greetings 33 Prime meridian std. 34 Source of brown fur 35 Carbon compounds 37 Receded 38 Noggins 39 Hardly a doer 40 Code word 41 Timeline chapter 42 Pool on a pedestal 43 “The Aviator” Oscar nominee 47 Skunk River city 48 Highway breaker? 49 Came down 51 Last Supper attendees 52 PC processing unit 53 “Absolutely, amigo!”
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Races with sulkies Tattoo parlor supplies PABA part Texarkana-born ’90s candidate Julia’s “Notting Hill” co-star “If I may butt in ...” Phoenix suburb “Take it!” response, in a jazz club City on the Rhein Latvia’s most populous city Rapidly shrinking ecosystem Didn’t __ beat Rice style Jim Morrison’s alma mater The Devil’s label? Tom of “The Dukes of Hazzard” Straight man Base decision maker Undergrad degs. Not a great chance Hendrix hairdo Comment from one rushing in Actress Scacchi Condo divs. Having the most marbles Sub-Saharan menace Reversals “You can’t get out this way”
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Building beam Shooting marbles Dessert cart goodie Drives the getaway car for Blows, perhaps Aquarium swimmer
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Predisposition Be up against Mickey and Minnie Pres. Mandela’s land Winter outburst? “Shame on you!”
Answer to July’s puzzle, ET TRADING
Agenda ART EXHIBITS 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 8/31 Painting New England includes scenes of the spectacular shores and charming towns of Cape Cod & Rockport, Massachusetts and Monhegan Island & Kennebunkport, Maine in oil, pastel and watercolor by award-winning Bucks County and New England artists. Patricia Hutton Galleries, 47 West State St., Doylestown, PA. 215-3481728. www.PatriciaHuttonGalleries.com 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 THRU 9/7 Graham & Wederich: Light and Shadow. Red Filter Gallery, 74 Bridge Street, Lambertville, NJ Open Tues.-Sun., 12-5. 347-2449758. redfiltergallery.com THRU 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. Thru 9/28 Platinum Visions: Photographs by Thomas John Shillea. Allentown Art Museum of the Lehigh Valley, 31 North Fifth Street, Allentown, PA. 610-432-4333. AllentownArtMuseum.org 8/1-9/14 Susan M. Blubaugh, “Reimagining Hunterdon & Bucks”. Opening reception 8/2, 2-5 p.m. The Quiet Life Gallery, 17 So. Main St., Lambertville, NJ. 609397-0880. Quietlifegallery.com
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 lead-
ing 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
JAZZ -music/raw bar. 609-397-8957. deannasrestaurant.com.
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
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 CONCERTS Some organizations perform in various locations. If no address is listed, check website for location of performance. 8/16 Panoply Books & T Penn Present: Esoteric Music Night, 6pm. Featuring King Darves & Mike Bruno & the Black Magic Family Band. Rain Date 8/23. Panoply Books, 48 N. Union St., Lambertville, NJ. 609-3971145. Panoplybooks.com 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 Center St. (Route 512), Bethlehem, PA. Tickets $15-$35 in advance/at door. 610 434-7811 PASinfonia.org 9/5 Horszowski Trio, Schubert Piano Trio in B-flat Major, D.28, “Sonatensatz”, Bright Sheng Four Movements for Piano Trio (1990), and Tchaikovsky Piano Trio in A Minor, Op. 50. Chamber Music Society of Bethlehem, 7:30 p.m, Foy Concert Hall, Moravian College, W. Church & Main Streets, Historic Bethlehem, PA. Tickets at door or at lvartsboxoffice.org. CMSOB.org 9/7 Gipsy Kings, Season Opener! Zoellner Arts Center, Lehigh University, Bethlehem, PA. Free event parking attached to center.
610-758-2787. Zoellnerartscenter.org 9/20 So Good for the Soul, A Tribute to the Music of Motown. Featuring the best of Four Tops, Temptations, Supremes, Smokey, Stevie, Marvin Gaye & More! 7:30, State Theatre, 453 Northampton St., Easton, PA. 610-252-3132, 1-800999-State. Statetheatre.org 9/21 Arts at St. John’s, Satori. 4 p.m., St. John’s Lutheran Church, 37 So. Fifth St., Allentown, PA. Suggested donation $10. 610-4351641, Stjohnsallentown.org KESWICK THEATRE Keswick Theatre 291 Keswick Ave. Glenside, PA keswicktheatre.com 8/5 Philadelphia Rock ‘n Blues Fest 8/22 Retro Futura Tour MUSIKFEST CAFÉ 101 Founders Way Bethlehem, PA 610-332-1300. artsquest.org 8/17 Kongos 8/22 Almost Queen 8/24 Classic Albums Live MUSIKFEST Sands Steel Stage at PNC Plaza musikfest.org 8/3 Jason Derulo 8/4 Sheryl Crow 8/5 The Moody Blues 8/6 Steely Dan 8/7 The Avett Brothers 8/8 Alan Jackson 8/9 Weezer 8/10 Keith Urban MUSIKFEST Aetna Americaplatz at Levitt Pavilion SteelStacks musikfest.org 8/3 Due South 8/3 Melodime 8/3 Sam Hunt 8/4 James Supra Blues 8/4 AJ Smith/Apollo 8/4 Robin McKelle
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Ballroom Thieves Wild Child Scythian Kevin Gordon Marla/Juniper Street Stone Flower Jeffery Broussard Tribute Jerry Garcia Southern Hospitality Friar’s Point J.D. McPherson Igor & Red Elvises Aaron Tracy Band Scott Bradlee’s Postmodern Jukebox Craig Thatcher Mike Mettalia and the Midnight Shift Todd Wolfe Band Blues Brotherhood
MUSIKFEST National Penn Bank Jazz Cabaret Stage at Frank Banko Alehouse Cinemas Steel Stacks Campus musikfest.org 8/3 Barbara Martin & Vince Lewis 8/3 Two Cent Band 8/4 Dan Wilkins Group 8/6 Hot Club of Phila. 8/7 Michelle Wiley 8/8 Brooke DiCaro
EVENTS & FESTIVALS 8/23 Bethlehem Vegfest, The Vegan & Sustainable Living Event of the Year! Offering an array of vegan natural food providers, top national speakers and chefs, and educational exhibitors in a fun and welcoming environment. South Bethlehem Greenway, PA. Bethlehem-vegfest.org 9/9 Tinicum Art and Science, an innovative high school rooted in the principles of mindfulness invites you to join us at Open House Day. Youth Meditation 4:30-6:00 pm. All welcome, join at anytime. 85 Sherman Road Ottsville, PA 18942. 610-847-6980. Tinicumartandscience.org
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Carol C. Dorey Real Estate, Inc. Specialists in High-Value Property www.doreyrealestate.com (610) 346-8800
CLASSIC GENTLEMAN’S FARM
BUCKS COUNTY ESTATE
SPECTACULAR VIEWS
This 1820’s Stone Manor house is the quintessential estate, nestled amidst 21 bucolic acres, restored and updated. Custom windows splash sunlight in spacious rooms, with random-width floors, hand-hewn beams, lofty ceilings and deep-set windows. The layout invites elegant entertaining, and each room is laden with exemplary woodwork. Outside areas for gatherings abound. All rooms provide views including a three-tiered pond and springhouse, a red barn with multi-car garaging, tack room and horse stalls, and a new 4-car garage with 2nd fl for future guest house space or studio. A designer pool with spa and waterfall is just steps away. $3,950,000
A long tree-lined drive is entrance to the almost 25 acres that surrounds this Country Estate. Tucked away among mature landscaping, this wonderful 1800s stone colonial has been embellished as time demanded, with new kitchen and baths, 2 fireplaces and 2 family rooms - retaining all the special charms of open beamed ceilings, exposed stone walls, random width floors and deep windowsills. A lighted outdoor and indoor arena, 2 tack rooms, 12-16 stalls, 6 fenced pastures and a meandering stream make this perfect for the equestrian or as the quintessential country property. Located just outside of Saucon Valley. $1,250,000
Taking full advantage of the fabulous views, this home has been positioned so that a walk to the front door will take your breath away. Inside, windows are artistically placed to bring these views and light inside. Brazilian cherry floors, two fireplaces, detailed coffered and tray ceilings, an elegant master suite with steam shower and a fabulous gourmet kitchen are just a few of the amenities. The backyard has been designed for family fun and landscaped with boulder walls, and a wraparound, covered porch and patio are the perfect places to entertain while watching the everchanging seasonal color displays. $895,000
BLACK RIVER PINES FARM From the top of 5 acres, this custom home, in the South Mountain Conserve, maintains the privacy of a country estate while located near the heart of the valley. A sanctuary built for entertaining, this four-bedroom home was designed with luxury in mind. From the sun-soaked solarium to the oak floored loft that provides the perfect station for reflection, there is a place for everyone to relax and enjoy the beauty of every season. An oak-coffered ceiling is the crowned jewel of the game room complete with wet bar, while a soaring hand-built stone fireplace is the centerpiece of the great room. $469,000
SAUCON VALLEY
WOODSIDE ESTATES
A 2-story great room, with burled wood entertainment center and floor-to-ceiling stone fireplace, opens to a back patio and a fabulous glass sunroom, leading to a magnificent pool - all on 2.3 acres. The gourmet kitchen accommodates the most experienced chef’s talents. A handsome, cherry library with fireplace leads to master suite. Space, grace and natural beauty are the hallmarks of this exceptional Saucon Valley property. This fine home has all the upgrades one would expect, with many custom appointments. Six bedrooms and a 3-car garage, just minutes from all of the Lehigh Valley’s premiere locations. $1,075,000
A brick façade, dramatic rooflines, and stunning views are your introduction to this stylish suburban home, minutes from I-78, Lehigh Valley hospital campuses, and popular shopping, restaurant, and recreational venues. Brimming with natural light, picture frame and multitiered moldings, and high ceilings, the Toll Brothers built home boasts a gourmet kitchen with adjacent solarium, main level office, and four en suite bedrooms, including a luxurious owner’s suite with fireplace and spa-like bath. Set in an attractive community of upscale homes, the 1.83 acre property is enhanced by a three-car garage, professional landscaping, a brick paver patio and inviting gazebo. $685,000
THE MANOR LIFESTYLE
VICTORIA MEWS
WINCHESTER HEIGHTS
Sumptuous, refined and rich with hardwood floors – this impressive four-bedroom estate home delivers commanding views, wonderful outdoor amenities and comfortable living in one of the Lehigh Valley’s most desirable neighborhoods. Outdoor entertaining will be a breeze at this custom-built home. A tiered patio has slate topped cooking area and built-in grill and wisteria-covered pergola. A refreshing in ground pool is heated and has 6-person spa and waterfall. Movie night will never be the same with the theatre room featuring a fireplace and built-in TV. Estate finishes of hardwood, tile and marble. $995,000
As the treetops in Historic Bethlehem reach up to the sky above the second level terrace, the views of the hills beyond display the artfulness of nature. The kitchen of this spacious condo guarantees culinary perfection using state-ofthe-art appliances. The living room has custom bookcases, window seats, an ornamental fireplace and 11 ft ceilings with curved deep moldings. The bathroom is a study in texture and tone with a frameless glass-walled shower and a sleek porcelain soaking tub. Slate and glass tile wrap the walls and floor in the warmest of tones. $389,000
A distinguished neighborhood of custom built homes on mature lots is the setting for this well cared for residence. Plentiful windows, wood floors, solid wood doors, and period colors enhance the exceptional floor plan. The living space flows beautifully on three levels with five bedrooms, three and one half baths, kitchen with center prep island, and oversized three car garage. A private yard and mature landscaping frame this special residence. Parkland schools, great proximity to major traffic routes, and Lehigh Valley Hospital are an added bonus. $599,900
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