Listening to Jazz, Dudley Branch Library, February 4.
(I've waited to post this since I thought I might make it back for the Mingus talk this past weekend. It didn't happen but here are some impressions from a couple weeks back.)
I went to a really super talk by Bill Lowe and John Kordalewski at the Dudley Square branch of the Boston Public Library. This was the second in a three part 'Listening to Jazz' series; the focus this time was Thelonious Monk. Evidently the first session focused on John Coltrane, and Lowe and Kordalewski connected the two by talking about the fruitful relationship between these two very different giants.
We listened to the recording of Blue Monk from their legendary appearance together at Carnegie Hall; we were coached in listening for and counting out the 12-bar blues form that lay under this piece, advised to listen for Wilbur Ware's rock-solid bass when Trane's busy explorations or Monk's reticent sketches threw us off, and invited us to share impressions of the players' very different approaches.
It was great, which was no surprise; I'd been to another really enjoyable library event presented by Lowe, Arni Cheatham and Kevin Harris a few months prior. They spoke to everyone in the group. We were maybe 15, and ranged widely in a variety of ways -- we were black and white, performing musicians and avid listeners and maybe people who just happened upon the talk, people with ready music-theory vocabulary and not.
I wish I could take a semester long class with these two. Their thoughtful enthusiasm was infectious and inviting, and their personal insights and reflections really interesting to hear. They conveyed that, as was made explicit by one member of the "audience," understanding music begins with feeling it.
Lowe and Kordalewski return to the Dudley Branch with the Makanda Project on March 9th, this time letting their instruments do the talking.
Feb 20, 2012
Sunday jazz.... Kurtis Rivers at the Ramsey VFW, Dorchester
It took almost exactly a year to get back to see the great reeds player Kurtis Rivers' Sunday night residency at the Ramsey VFW Post near Codman Square in Dorchester, but I finally made it last night. Wow. Like last time, I found really fantastic music in a friendly, down-to-earth setting minutes from my house. What was I waiting for?
Last night's stellar core band was Kurtis on alto with Alain Pacowski on guitar, Paul Dilley on bass, and Miki Matsuki on drums. During the set I saw, they were joined at various points by Mike Maleson and Either/Orchestra's Tom Halter on trumpets, fellow E/O alum Henry Cook on flute, former Ornette Coleman sideman James Kamal Jones on drums, and Christy Zarlengo on vocals.
I didn't catch the nams of all the tunes, but they included Joe Henderson's 'Inner Urge,' 'Sweet and Lovely,' Kenny Barron's 'Voyage,' a Charlie Parker signature piece the name of which escapes me, fronted by Cook on flute, the ballad 'I'll Be Seeing You,' with Zarlengo on vocals, and a set-closing 'Joshua Fit the Battle of Jericho' with Jones' big drum sound and featuring soloists Halter, Cook, Rivers and Pacowski.
The core quartet sounded wonderful, and the quality of the players called on for sit-ins is clear testament to that. Jones and Pacowski were both new to me, and at the risk of repeating myself, wow. Jones gets around, having done time with Ornette and Yusef Lateef, gigging locally with fellow Ornette alum Dave Bryant, and leading a jazz ministry in New York. I couldn't find much about Pacowski online, but this guy's a really great player. He'd certainly already more than caught my attention, but when I realized I was hearing him play note for note under the flute during the typically swirling solo on the Bird tune -- and carrying the melody when the flute dropped out for a few beats -- I leaned in even closer. I look forward to finding ways to hear more of him.
As the band closed out their set, Kurtis thanked a woman named Marie, who seems to run the Ramsey Post, for making it all possible. Marie stepped up and shared her heartfelt gratitude for the music and a charming anecdote about her grandkids before coming around with a bucket to accept donations for the musicians, as one of the women working the bar passed around plates of snacks.
I'd like to join Kurtis in thanking Marie, and Marie in thanking Kurtis. This is an amazing thing. Top-tier players, friendly setting, appreciative audience, cheap drinks, free nibbles. I won't wait a year this time to go back. Who's coming with me?
Last night's stellar core band was Kurtis on alto with Alain Pacowski on guitar, Paul Dilley on bass, and Miki Matsuki on drums. During the set I saw, they were joined at various points by Mike Maleson and Either/Orchestra's Tom Halter on trumpets, fellow E/O alum Henry Cook on flute, former Ornette Coleman sideman James Kamal Jones on drums, and Christy Zarlengo on vocals.
I didn't catch the nams of all the tunes, but they included Joe Henderson's 'Inner Urge,' 'Sweet and Lovely,' Kenny Barron's 'Voyage,' a Charlie Parker signature piece the name of which escapes me, fronted by Cook on flute, the ballad 'I'll Be Seeing You,' with Zarlengo on vocals, and a set-closing 'Joshua Fit the Battle of Jericho' with Jones' big drum sound and featuring soloists Halter, Cook, Rivers and Pacowski.
The core quartet sounded wonderful, and the quality of the players called on for sit-ins is clear testament to that. Jones and Pacowski were both new to me, and at the risk of repeating myself, wow. Jones gets around, having done time with Ornette and Yusef Lateef, gigging locally with fellow Ornette alum Dave Bryant, and leading a jazz ministry in New York. I couldn't find much about Pacowski online, but this guy's a really great player. He'd certainly already more than caught my attention, but when I realized I was hearing him play note for note under the flute during the typically swirling solo on the Bird tune -- and carrying the melody when the flute dropped out for a few beats -- I leaned in even closer. I look forward to finding ways to hear more of him.
As the band closed out their set, Kurtis thanked a woman named Marie, who seems to run the Ramsey Post, for making it all possible. Marie stepped up and shared her heartfelt gratitude for the music and a charming anecdote about her grandkids before coming around with a bucket to accept donations for the musicians, as one of the women working the bar passed around plates of snacks.
I'd like to join Kurtis in thanking Marie, and Marie in thanking Kurtis. This is an amazing thing. Top-tier players, friendly setting, appreciative audience, cheap drinks, free nibbles. I won't wait a year this time to go back. Who's coming with me?
Feb 12, 2012
how will i know?
Summer 1986, somewhere past the Paul Bunyan and Babe the Blue Ox statues that seemed to flank the gates to Northern Minnesota. Spanish camp. I'd been told that 'El Lago Del Bosque' meant 'Lake of the Woods,' but the lake isn't among the things I remember. I remember my cabin counselor attracting mosquitoes with his flashlight after dark so he could kill them. I remember learning that in some cases "tortilla" referred to an egg dish. I remember endless renditions of La Bamba by a guy who, if his first name really was Pablo, must have come from a family of Latinophile Swedes. I remember my first encounter with Toblerone. I remember a lot of standing around with a group of guys, not something that was happening much in my day-to-day life south of the ox. John had spiky hair and a laugh I unsuccessfully tried to adopt as my own; Victor had the slightest hint of proto-stache and always wore a black not-quite-fedora; Virgil was the only other one from Minnesota, but he was from a hipper Minnesota, the place where the Replacements were trashing guitars and mugging on rooftops.
I remember what might have been a dance, though if anyone was dancing, I didn't particularly notice. The hat guy and I were too busy scoffing at - that is to say, envying - John's apparent defection for some girl. It must have been a dance. There was music coming out of tinny camp speakers - in my memory, they were like the ones on M*A*S*H - and it was dark out.
For the most part I don't remember what music was playing, though I'm sure it was the Top 40 stuff I was learning to dismiss. I was certainly aware of Billy Ocean and the Pet Shop Boys but at home I was listening to records I found in my parents' collection, the Doors' debut and Magical Mystery Tour. I was about to discover the Talking Heads and Rush, the Who and U2, the Dead and Husker Du. And did you know Phil Collins had a life before Sussudio?
But the point right now is that Whitney Houston's songs were unavoidable that year, even if you tried. I'd never listened to her songs on purpose, and still haven't. But they're in there deep, and it sure wasn't Fool on the Hill or Making Flippy Floppy I was singing in the shower this morning. That voice was everywhere, even there in the woods on that hot, buggy, summer night, and sometimes I remember it like it was yesterday.
I remember what might have been a dance, though if anyone was dancing, I didn't particularly notice. The hat guy and I were too busy scoffing at - that is to say, envying - John's apparent defection for some girl. It must have been a dance. There was music coming out of tinny camp speakers - in my memory, they were like the ones on M*A*S*H - and it was dark out.
For the most part I don't remember what music was playing, though I'm sure it was the Top 40 stuff I was learning to dismiss. I was certainly aware of Billy Ocean and the Pet Shop Boys but at home I was listening to records I found in my parents' collection, the Doors' debut and Magical Mystery Tour. I was about to discover the Talking Heads and Rush, the Who and U2, the Dead and Husker Du. And did you know Phil Collins had a life before Sussudio?
But the point right now is that Whitney Houston's songs were unavoidable that year, even if you tried. I'd never listened to her songs on purpose, and still haven't. But they're in there deep, and it sure wasn't Fool on the Hill or Making Flippy Floppy I was singing in the shower this morning. That voice was everywhere, even there in the woods on that hot, buggy, summer night, and sometimes I remember it like it was yesterday.
Jan 30, 2012
Medeski, Gullotti & Zinno - Fete Lounge, Providence, 1/20/12
It was my first time going to the fairly new Fete, and it was a little hard to find. The venue is tucked quietly behind a busy commercial street in a former industrial building in Providence's Olneyville neighborhood, and it took my brother and me a couple spins around to find it.
The place was dead when we got there, though the black-tie-on-black-shirt-on-slicked-back-bodybuilder- guys security phalanx was in too-full effect, and a little unnerving. We sat in the nearly empty lounge (think Captain Nemo's submarine meets the strip club from the Sopranos and you're somewhere close... or maybe I exaggerate?) and sipped a beer and scratched our heads. It was pretty hard to tell if the decision to prominently feature Kenny G in the pre-show music mix was ironic or just misguided.
The room filled slowly, and then more quickly, prompting a room reorganization that found our table moved closer to the stage, about half a dozen feet from Bob Gullotti's drum kit (an exciting place to be, for sure... Gullotti's fantastic.) After an endearingly down-to-earth plea for email addresses from a staff person from this new-but-ambitious venue, the band took the stage without fanfare and got to it.
The ninety or so minutes that followed was engaging and wide ranging, by turns swinging and free and funky. After a few tunes, John Medeski took the mike and told a bit about the trio's history. Bassist Dave Zinno (Z-Ball), drummer Bob Gullotti (G-Ball), and keys player John Medeski ('Ski-Ball) -- together, together the Swinging Balls (ahem), played together a fair bit in the years when Medeski was Boston-based, including touring overseas behind Bill Lowe and Philippe Chretienne. This set included some Zinno compositions, at least one tune previously recorded on a Medeski, Martin & Wood record, and many others.
The couple decades since have made a kind of rock star of Medeski, whose lawyerly-sounding Medeski, Martin & Wood just marked 20 years. It's nice to see him so obviously excited by playing a small room with veterans of the Boston and Providence jazz scenes that helped launch him.
Here's a recording of the show, posted on soundcloud by someone called soundbetter. Give it a listen.
The room filled slowly, and then more quickly, prompting a room reorganization that found our table moved closer to the stage, about half a dozen feet from Bob Gullotti's drum kit (an exciting place to be, for sure... Gullotti's fantastic.) After an endearingly down-to-earth plea for email addresses from a staff person from this new-but-ambitious venue, the band took the stage without fanfare and got to it.
The ninety or so minutes that followed was engaging and wide ranging, by turns swinging and free and funky. After a few tunes, John Medeski took the mike and told a bit about the trio's history. Bassist Dave Zinno (Z-Ball), drummer Bob Gullotti (G-Ball), and keys player John Medeski ('Ski-Ball) -- together, together the Swinging Balls (ahem), played together a fair bit in the years when Medeski was Boston-based, including touring overseas behind Bill Lowe and Philippe Chretienne. This set included some Zinno compositions, at least one tune previously recorded on a Medeski, Martin & Wood record, and many others.
The couple decades since have made a kind of rock star of Medeski, whose lawyerly-sounding Medeski, Martin & Wood just marked 20 years. It's nice to see him so obviously excited by playing a small room with veterans of the Boston and Providence jazz scenes that helped launch him.
Here's a recording of the show, posted on soundcloud by someone called soundbetter. Give it a listen.
Jan 17, 2012
Here, there and everywhere
Some thought nuggets on Sunday's music-seeing ramble in Union Square.
#1 - Paul Ahlstrand: wow. I'd seen him as a sideman in Tim Gearan's sprawling swampy thing, and he sounded good. Fronting his own quartet, I was pretty blown away. Ahlstrand's a super player. He was joined by Rusty Scott on keys, Dave Mattacks* on drums, and Dave Landoni on bass. Straightahead and classy and soulful, no shriek or shrapnel or irony, and none needed. (Sally O'Brien's)
#2 - Stopped in for the beginning of the Dub Apocalypse set at Bull McCabes. Jeff Lockhart and Johnny Trama on guitars and Dana Colley on baritone, Tommy B on the drums and Nate Edgar on bass. Maybe the best Dub Apocalypse lineup I've heard yet. They sounded amazing. And they've clearly outgrown that room. It's a scene, and I'm glad word has spread over the last couple years, but it's not pleasant to be that crowded.
And then #3 -- These two things are both true: First, I love music most when it makes me laugh, move, tap, frown, when it grabs me right here right now, when I'm not thinking at all. And also, I love music most when I know that the drummer*, let's say, played with various Beatles and did some time with a famous codpiece-wearing flautist. For instance. It matters to me that I didn't expect that note and that I can feel the bass in my chest, and it matters to me that I know that this piano player and the guitar guy down the street play together at another place on Tuesday. The visceral and the, what.... Genealogical? Taxonomic?.... aspects of my music enthusiasm are both essential aspects of it.
#1 - Paul Ahlstrand: wow. I'd seen him as a sideman in Tim Gearan's sprawling swampy thing, and he sounded good. Fronting his own quartet, I was pretty blown away. Ahlstrand's a super player. He was joined by Rusty Scott on keys, Dave Mattacks* on drums, and Dave Landoni on bass. Straightahead and classy and soulful, no shriek or shrapnel or irony, and none needed. (Sally O'Brien's)
 |
| Paul Ahlstrand Quartet, Jan 15 2012, Sally O'Brien's, Somerville MA |
#2 - Stopped in for the beginning of the Dub Apocalypse set at Bull McCabes. Jeff Lockhart and Johnny Trama on guitars and Dana Colley on baritone, Tommy B on the drums and Nate Edgar on bass. Maybe the best Dub Apocalypse lineup I've heard yet. They sounded amazing. And they've clearly outgrown that room. It's a scene, and I'm glad word has spread over the last couple years, but it's not pleasant to be that crowded.
And then #3 -- These two things are both true: First, I love music most when it makes me laugh, move, tap, frown, when it grabs me right here right now, when I'm not thinking at all. And also, I love music most when I know that the drummer*, let's say, played with various Beatles and did some time with a famous codpiece-wearing flautist. For instance. It matters to me that I didn't expect that note and that I can feel the bass in my chest, and it matters to me that I know that this piano player and the guitar guy down the street play together at another place on Tuesday. The visceral and the, what.... Genealogical? Taxonomic?.... aspects of my music enthusiasm are both essential aspects of it.
Take four?
Dave King is a playful and brilliant drummer. Check this out.
King for Two Days Trailer from Couple 3 Films on Vimeo.
King for Two Days Trailer from Couple 3 Films on Vimeo.
March Mandolins
Three of the finest mandolin players around are coming through the Boston area in March. This is a town filthy rich with great mando players in its own right -- no doubt some of them are jamming in the basement at The Cantab right now -- but these three gentlemen are worth special mention.
On March 1st, in what appears to be the opening evening of the Boston Jewish Music Festival, mandolin (and clarinet) shaman Andy Statman brings his longtime trio (Larry Eagle on drums and Jim Whitney on bass) to the Somerville Theater. It's pretty rare for Statman to play outside New York, and what makes this show extra special is that they'll be joined for the second set by Statman's longtime friend and fellow mandolin giant David Grisman. Wow.
Statman's a pretty fascinating guy, as described in this radio profile from a few years back.
Here's a couple tastes, first just the trio and then with Grisman:
And then on March 30, venue TBA, Matt Flinner brings his very different but equally astounding trio (Ross Martin on guitar, Eric Thorin on bass) to town. Flinner's records are consistently among my favorites. His writing is beautiful and his playing soulful and shredding, and this trio is something else. I have loved their Music Du Jour CD and look forward to the new one. I saw Flinner and Martin as a duo a couple years back, and it was really something -- here's a piece I wrote about it then. Can't wait to see the full trio.
On March 1st, in what appears to be the opening evening of the Boston Jewish Music Festival, mandolin (and clarinet) shaman Andy Statman brings his longtime trio (Larry Eagle on drums and Jim Whitney on bass) to the Somerville Theater. It's pretty rare for Statman to play outside New York, and what makes this show extra special is that they'll be joined for the second set by Statman's longtime friend and fellow mandolin giant David Grisman. Wow.
Statman's a pretty fascinating guy, as described in this radio profile from a few years back.
Here's a couple tastes, first just the trio and then with Grisman:
And then on March 30, venue TBA, Matt Flinner brings his very different but equally astounding trio (Ross Martin on guitar, Eric Thorin on bass) to town. Flinner's records are consistently among my favorites. His writing is beautiful and his playing soulful and shredding, and this trio is something else. I have loved their Music Du Jour CD and look forward to the new one. I saw Flinner and Martin as a duo a couple years back, and it was really something -- here's a piece I wrote about it then. Can't wait to see the full trio.
Oct 24, 2011
recommended daily serving
Very full musical plate yesterday:
Boston Afrobeat outfit Opposite People at the annual lantern parade at Jamaica Pond. Great grooves at one of my favorite events, and it's a particular pleasure to share music as a family. Among all the lanterns and ghosties and princesses was a lone skull-masked sintir player practicing on a bench a few dozen yards from the heart of the fray; might just have been one of the hardest-working low-end guys in town.
Later on, after getting home and doing the bedtime thing with the kiddo - not to worry, T. was home with her! - I tried to go check out sax player Paul Ahlstrand at Sally O'Brien's but he didn't seem to be playing as advertised. Headed over to a very crowded Atwoods, and saw a few tunes from Unfulfilled Desires, a jazz/funk unit I hadn't heard of before. I walked in in the middle of Afro Blue, which was followed by Red Clay. Cool, especially the latter. The album named for that tune was one of my first jazz records, bought on cheap cassette in a northern Wisconsin drug store, and it was neat to hear it live. This was followed by an overly peppy take on Coltrane's 'Equinox' featuring some kind of synth-horn. Less cool. Oddly, the band's drummer and apparent leader is this guy; maybe that had something to do with the size of the crowd?
And then, sleepy, on over for the first few energizing tunes from Dub Apocalypse at Bull McCabe's.... Tommy Benedetti working the snare and hi-hat, Nate Edgar on bass, Johnny Trama on guitar, Dana Colley on baritone, and Ben Zecker on keys. Not sure I'd seen them with Zecker before, and he was the standout for me last night. Also very cool that Colley's horns seem to be on board a lot of the time lately. Seems right that this scene got a couple nods from this year's Boston Music Awards in the 'Best Live Ongoing Residency' and 'Best International Artist' categories. They won the latter last year.
Then home to bed, quite full.
What was your musical diet yesterday??
Boston Afrobeat outfit Opposite People at the annual lantern parade at Jamaica Pond. Great grooves at one of my favorite events, and it's a particular pleasure to share music as a family. Among all the lanterns and ghosties and princesses was a lone skull-masked sintir player practicing on a bench a few dozen yards from the heart of the fray; might just have been one of the hardest-working low-end guys in town.
Later on, after getting home and doing the bedtime thing with the kiddo - not to worry, T. was home with her! - I tried to go check out sax player Paul Ahlstrand at Sally O'Brien's but he didn't seem to be playing as advertised. Headed over to a very crowded Atwoods, and saw a few tunes from Unfulfilled Desires, a jazz/funk unit I hadn't heard of before. I walked in in the middle of Afro Blue, which was followed by Red Clay. Cool, especially the latter. The album named for that tune was one of my first jazz records, bought on cheap cassette in a northern Wisconsin drug store, and it was neat to hear it live. This was followed by an overly peppy take on Coltrane's 'Equinox' featuring some kind of synth-horn. Less cool. Oddly, the band's drummer and apparent leader is this guy; maybe that had something to do with the size of the crowd?
And then, sleepy, on over for the first few energizing tunes from Dub Apocalypse at Bull McCabe's.... Tommy Benedetti working the snare and hi-hat, Nate Edgar on bass, Johnny Trama on guitar, Dana Colley on baritone, and Ben Zecker on keys. Not sure I'd seen them with Zecker before, and he was the standout for me last night. Also very cool that Colley's horns seem to be on board a lot of the time lately. Seems right that this scene got a couple nods from this year's Boston Music Awards in the 'Best Live Ongoing Residency' and 'Best International Artist' categories. They won the latter last year.
Then home to bed, quite full.
What was your musical diet yesterday??
Oct 11, 2011
Galindo, Hobbs, Lockwood & Gullotti at the Beehive, 10/7/11
I had the very good fortune of hearing the Jeff Galindo Quartet at the Beehive Friday night, and I'm still buzzing from the spirited medley of Ornette Coleman tunes - Round Trip, Lonely Woman, and Peace Warrior - that they played early in their second set. I was sleepy and almost left after the first set, but I sure am glad I stayed for a while longer. Wow.
Trombonist Galindo was in very good company, with the great Jim Hobbs on alto joining him up front, and the Fringe's incredible rhythm section, bassist John Lockwood and drummer Bob Gullotti. Hobbs and Galindo are both great players, and really well suited to each other. Both choose carefully and playfully from a broad palette of sounds; Galindo moves from swoop to blart and back, and Hobbs has both an exquisitely light touch and a mighty and precise squall. And of course Lockwood & Gullotti are hugely impressive individually and share a kind of locked-in simpatico that comes from decades of playing together. (Reminds me, I need to go see The Fringe again....)
Great stuff. This was my first visit to the Beehive, and I'd like to go back. It's a neat space that seemed a little more of a see-and-be-seen scene than I was ready for. The music was audible but at times only marginally over the tipsy Friday night chatter, and standing room was limited to such a degree that I imagine I was in the way of servers more than once. (Sorry!) Happily, the sound guy was amenable to my suggestion that he bump up the volume on the drums a little bit. They do a neat thing of projecting the band, which plays downstairs, onto a kind of textured scrim visible from the bar area upstairs. Seems odd to go see a band and then watch them on a screen, but maybe that's the way to do it there?
Sep 28, 2011
Lennon via Frisell
I gave up trying to keep up with Bill Frisell's output a while ago... this guy seems to put out records more frequently than I clean off my desk. His latest, All We Are Saying, is a collection of John Lennon tunes, and features a top-shelf band of frequent Frisell collaborators: Jenny Scheinman, Greg Leisz, Tony Scherr, Kenny Wolleson. It sounds great. See for yourself:
Bill Frisell - All We Are Saying from Normal Life Pictures on Vimeo.
Bill Frisell - All We Are Saying from Normal Life Pictures on Vimeo.
Sep 23, 2011
Jacob Fred + Boston sax players, this fall at the Lily Pad
I mentioned a while ago that the great Jacob Fred Jazz Odyssey would be making several stops at Cambridge's Lily Pad this fall. The band has seen many lineup changes over its history, and has spent the last few years as a piano-bass-drums-lap steel quartet. For many of their dates this fall, they're adding some heavy-hitting guest horn players among those that recorded on their new Race Riot Suite record. I've been looking forward to seeing the Fred with ubiquitously hip slide trumpet player Steven Bernstein.
Things just got more interesting: they've announced a contest whereby local horn players in each city can have a chance to join the band. This could be a great opportunity for a young player, or any one of a dozen local legends could bring what already promises to be great show up a notch. Boston/Cambridge folks, who would you like to see.... Jim Hobbs? Dana Colley? Kurtis Rivers? George Garzone? Timo Shanko? Russ Gershon? Charlie Kohlhase? Jeff Robinson?
Need I go on? Suffice it to say, the possibilities are exciting and endless.... and with three local shows, a few of them will get a chance to be realized.
Here's a clip of some of the material from the Race Riot Suite performed in May in Tulsa, the band's hometown and site of the events the inspired the compositions.
Things just got more interesting: they've announced a contest whereby local horn players in each city can have a chance to join the band. This could be a great opportunity for a young player, or any one of a dozen local legends could bring what already promises to be great show up a notch. Boston/Cambridge folks, who would you like to see.... Jim Hobbs? Dana Colley? Kurtis Rivers? George Garzone? Timo Shanko? Russ Gershon? Charlie Kohlhase? Jeff Robinson?
Need I go on? Suffice it to say, the possibilities are exciting and endless.... and with three local shows, a few of them will get a chance to be realized.
Here's a clip of some of the material from the Race Riot Suite performed in May in Tulsa, the band's hometown and site of the events the inspired the compositions.
It Is Time
I like sounds, but music has at least as much to do with time, right? I have yet to watch this all the way through, but it looks like NPR's Anastasia Tsioulcas has it right when she calls it "deeply meditative and abundantly playful."
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