Jimbo Mathus, Blue Light EP

By J Howell

Listeners unfamiliar with Jimbo Mathus as a solo artist might be aware of his tenure as a member of Squirrel Nut Zippers, a band that for many is unfortunately and unfairly remembered as a one-hit novelty act. Or they may know him as the instigator at least partially responsible for Sweet Tea and Blues Singer, two albums that may well be bluesman Buddy Guy’s finest work since he was a young man; or perhaps as part of roots-music supergroup the South Memphis String Band; or maybe even as a member of the North Mississippi Allstars.

While Mathus has garnered plenty of attention—and at least one Grammy nomination—as a collaborator, it seems that he is often overlooked as a solo artist, which is a damned shame, as Mathus is a confirmed house-rocker live. Continue reading ‘Jimbo Mathus, Blue Light EP’

The Very Best of Sonny Rollins

By Paul Casey

“What was beginning to happen to me was that I was being expected to really deliver great music all the time. In other words my name was bigger than I thought I could support with what I was doing. I remember one particular job that I had, when I just felt I wasn’t really playing well enough, you know? And everybody was really so excited to see me and I really felt I let the people down. I was really frustrated with myself, you know? That was really the genesis of this thing on the bridge. That’s what really it was all about.

I was out walking two blocks from where I lived at, actually, and I looked up and I saw these steps, you know, going up. And I walked over the street and I walked up those steps and there was this big beautiful expanse of bridge, you know? Nobody up there.

Usually I don’t pay too much attention to the trains. Usually absorbed in what I’m doing. But in a way it adds, you know it’s part of the atmospheric noise, and it adds to your playing in a way, you know? All these sounds, you see, because I’m sure subconsciously I change what I’m playing to blend with the sound of the train. It all has its effect.”
—Sonny Rollins from BBC Arena’s Beyond the Notes documentary

A striking image in the history of the 20th Century Jazz. A powerfully gifted man, having given up a professional life in music, plays his saxophone atop the Williamsburg Bridge, between Manhattan and Brooklyn, New York. Sonny Rollins, music, and the world. Moving with the trains, with the earth moving as they pass by, and the earth moving to the sounds of his saxophone.

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Assemblog: July 27, 2012

Jack and Diane, 2012

New this week on Popshifter: Jemiah explains why Laetitia Sadier’s Silencio is worth your time; I take critics to task on The Dark Knight Rises (again!); Chelsea chats with Glenn di Benedetto of Boston’s Parlour Bells; and Paul recommends The Very Best of Wes Montgomery. Continue reading ‘Assemblog: July 27, 2012’

The Very Best of Wes Montgomery

By Paul Casey

“His playing transcended the instrument. Other Jazz guitarists, you know they’re playing the guitar but Wes and his whole approach, the way he phrased, his sense of swing, you kind of lost a sense that he was playing the guitar. He played the guitar like a horn, for instance. He phrased like a horn player and it just really caught people’s imaginations. It was really different.”
—Jim Ferguson from NPR’s The Life and Music of Wes Montgomery

The guitar was rarely a dominant instrument in Jazz. Relegated to a back-up, or to flesh out a sound, the guitar did not have the sparkly flair of a lead instrument. With the exception of Benny Goodman Sextet member Charlie Christian, or the Gypsy Jazz of Django Reinhardt, there were few guitarists in Jazz who were considered to be serious figures in the genre. Through his recordings and performances, Wes Montgomery did much to legitimize the guitar in Jazz, as well as influence a whole heap of musicians. The fracturing of the genre into Free and Fusion guaranteed its place, as well as the legacy of Wes Montgomery.

Continue reading ‘The Very Best of Wes Montgomery‘

On The Airwaves, Postmeridian: Q&A with Glenn di Benedetto of Parlour Bells

By Chelsea Spear

Nate Leavitt, Glenn di Benedetto of Parlour Bells
Photo © Derek Kouyoumjian

After the Parlour Bells ended an epic set at the funeral for Boston radio station WFNX, former ‘FNX program director Paul Driscoll was heard to say “I think I have a crush on the whole band!” It’s not hard to see why one would become besotted with the rising Boston quartet. Their darkly romantic pop songs engage the listener with anthemic melodies, cinematic arrangements, and seductive vocals. Fans of Orange Juice, Peter Murphy, and Sparks might find room in their hearts for these up-and-comers.

On a balmy mid-July day, I called up charismatic vocalist Glenn di Benedetto to learn more about the Parlour Bells. Continue reading ‘On The Airwaves, Postmeridian: Q&A with Glenn di Benedetto of Parlour Bells’

Metacritical Mass, Part Two: Plot Holes and A-holes

By Less Lee Moore

Last week, I criticized criticism (as well as criticized the criticism of criticism), discussed how critics enjoy movies, and disapproved of Kevin Smith’s anti-critic campaign. This was all uppermost in my mind after the early reviews of The Dark Knight Rises provoked some rather unsavory behavior.

It’s okay, Selina. I’m afraid of them, too.

In the interim, I have actually seen The Dark Knight Rises (twice) and read the original reviews that caused such a stir. I’ve also endured an absolutely soul-crushing onslaught of “reviews” of The Dark Knight Rises passing themselves off as criticism. And I’ve come to question whether I even want to be considered as a film critic anymore.

Continue reading ‘Metacritical Mass, Part Two: Plot Holes and A-holes’

Laetitia Sadier, Silencio

By Jemiah Jefferson

The chanteuse of compassionate socialism hasn’t changed much since the earliest days of legendary agit-pop group Stereolab, and this is a very good thing; Laetitia Sadier‘s cool, clear-eyed voice, alternately crisp and authoritative and velvety-dreamy, is one of the greatest resources in music. As a songwriter, too, she only develops further complexities while keeping the core characteristics intact. Sadier has always created intensely listenable tunes to transmit messages of the political and the personal, and Silencio is no exception. Continue reading ‘Laetitia Sadier, Silencio‘

Assemblog: July 20, 2012

New this week on Popshifter: our latest installment of the excellent series from Paul Casey on The Band’s discography: Stage Fright; a balanced review of the Cure For Pain doc on Morphine’s Mark Sandman by Chelsea; high praise from Cait on Joe Jackson’s tribute to Duke Ellington called (what else?) The Duke; Lisa provides her thoughts on the ways we watch TV shows now; I weigh in on the fanboy shenanigans erupting around early reviews of The Dark Knight Rises and Kevin Smith’s blowhard tendencies; plus I review The Dark Knight Rises (NO SPOILERS).

Continue reading ‘Assemblog: July 20, 2012’

The Dark Knight Rises

By Less Lee Moore

Photo © Warner Bros. via ScreenCrush

Let’s be honest: The Dark Knight Rises doesn’t need my review. People are going to see it anyway. But I need to write a review. After the midnight showing I felt overwhelmed, exuberant, humbled. I couldn’t stop talking and thinking about the movie. I got home after 3 a.m., exhausted but unable to sleep. That hasn’t happened since the first night I saw Fight Club in 1999. Before that, it was in 1998, because of the movie Velvet Goldmine, with none other than Christian Bale—but I’m getting ahead of (behind?) myself. You want to know about The Dark Knight Rises.

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Metacritical Mass

By Less Lee Moore

Photo from Collider

It’s no secret that I’m not shy about criticizing other critics. In the last few days, however, I’m starting to feel more sympathy than annoyance.

Continue reading ‘Metacritical Mass’