Artist of the Day: Kurt Elling

Vocalist Kurt Elling is, as they say, the real deal. Long esteemed among jazz cognoscenti, Elling's latest disc, The Gate, is simply brilliant. He takes on a host of pop and rock songs one wouldn't expect, like Joe Jackson's "Steppin' Out" and King Crimson's "Matte Kudesai." In an interview earlier this year, Elling told me he was a King Crimson fan of longstanding and had been contemplating which song of theirs to cover. This was a felicitous choice.

No more so than the rest of the CD, however. He also includes treats by Lennon and McCartney ("Norwegian Wood"), Earth Wind and Fire's "After the Love Is Gone," a couple originals, and the crowning achievement of all, Stevie Wonder's "Golden Lady."

His version of "My Foolish Heart" is a staple of his shows, but he also has performed that classic with the Bob Mintzer Big Band. Mintzer's original featured the mellow tones of Michael Franks in a wonderful treatment, but Elling's version is no less brilliant.

It's hard to believe he's been releasing great music since 1995's Close Your Eyes. But it's true. He performed here in Traverse City at Milliken Auditorium several years ago, replacing Diana Krall. (I think we got the better end of that deal.) This past summer's performance at Kresge Auditorium at Interlochen wasn't near a sellout, which was too bad.

Artist of the Day: ABC

Another day, another blog, starting a new string of Artists of the Day. No particular rhyme or reason to the selections, other than they are recording artists from my collection of the weird, wild, wacky and wonderful. While I'm starting at the front of the alphabet, that won't be a trend. If I did that would mean I had to include Queen and Suzi Quatro, and after Yes and Neil Young, Zappa and ZZ Top, where do you go?

Anyway, here's ABC. The stunning debut album, The Lexicon of Love, held such promise, but sadly the band became a hit and miss operation. After the brilliant highs of "Show Me," "Poison Arrow," "Date Stamp" and of course "The Look of Love," subsequent discs simply could not match up. Equal parts Roxy Music, 40s jazz, funky basslines, Louis Prima, and swirling strings, the band's (and lead singer Martin Fry's) dramatic, romantic stylings still stick.

Several moments from the band's career promised a return to form: "When Smoky Sings" from Alphabet City was its biggest hit stateside, and though pretty much ignored, Abracadabra, featured bracing songs mixing house, funk and the inimitable ABC style.

The band is still around, performing on various 80s-theme tours. Me, I'm still kicking myself 30 years on for missing that initial U.S. tour, which featured a 16-piece orchestra. But I am still playing the music, and that's what really counts. Go to abcmartinfry.com.

The vagaries of real estate

You'd think after ten years as Marketing Director at Coldwell Banker Schmidt Realtors, I'd be immune to the kind of dreamy speculation that real estate buyers and sellers typically engage in. But after putting the house on the market, I almost immediately got interest, an offer and a backup offer. I was cocky enough to think that, as Herbert Hoover said, good times were just around the corner.

That was in June.

Since then, the offers have fallen by the wayside (financing or just plain cold feet), and the week of hundred-degree temperatures didn't help. Now, there's activity again, with a flurry of showings the last couple weeks, but no offers. That's probably because the place looked rather intimidating (read: ugly). In my defense, my plans for redoing the floor, painting upstairs and down and even getting the leaky roof fixed were put on hold as the first offer was "as is." But when that fell through, all subsequent showings were of the ugly house, not the spiffy one I'd intended.

That's being changed now. My neighbor Bill Bolton came over yesterday and helped me install the subfloor.* That included moving the piano. About a foot and a half, when one of the legs fell off. That necessitated a call to another friend, who came and slipped it back into place while Bill and I hoisted it up. Then a few lag bolts later and some dust in Bob Quinn's eye, the piano was rolling across the floor.

*By helping me install the subfloor, what I mean of course is that Bill purchased the subfloor, brought it over along with his pneumatic stapler and all his tools, measured and cut the flooring, while I did the stapling. Yeah, he helped me all right. Did I mention Bill's pushing 75? 

So anyway, the subfloor is now on, the piano is back in its place until it sells - who wants a 5-foot baby grand? I'll make you a great deal! - and painting will come next, then the floor tiles.

When that is done, it truly will be up to my Realtors to sell my house. No excuses, Doug and Judy. ;-)

Chicago stokes the Interlochen crowd

So the Reliving My Youth Tour continues, from Elvis Costello and Steely Dan to Return to Forever. Wednesday it was Chicago and my high school pal Vince motored up from Newaygo to take in the show. What a great time, and a great band. Vince had seen them twice before, but said this was the most energetic he'd seen them. Certainly the Interlochen crowd had something to do with that, roaring thunderous approval for the hits.

The band started with the suite "Ballet for a Girl in Buchannon," including "Make Me Smile" and "Colour My World." Surprisingly, on the latter trumpet player Lee Loughnane took the lead vocal. Keyboardist Lou Pardini sang lead on the rest. That versatility was one of the strengths of the band. When the group first started out it had three lead vocalists. Now it has five, including guitarist Keith Howland, bassist Jason Scheff, and founding member and keyboardist Robert Lamm.

And don't forget all the hits. The audience was treated to "Dialogue," "Does Anybody Really Know What Time It Is?" "You're the Inspiration," "Saturday in the Park," "Beginnings" and a host more. The band was dynamic and in great form, and everybody seemed to be enjoying themselves. Scheff was a highlight, singing Peter Cetera's features as if they were created for him, and holding down the bottom end. The horns - trombonist James Pankow, saxophonist Ray Hermann (subbing for Walter Parazaider) and Loughnane - were almost always in sync, no matter where they were prowling the stage.

Maybe they prowled a little too much. The advent of wireless mics for not only the vocalists but the horns allowed, nay, encouraged everyone to wander about the stage. It's great to have stage presence and all, but after a while, all the traipsing around gets a bit distracting. Pankow, creator of many of the band's arrangements as well as writing "Ballet for a Girl in Buchannon" and other songs, was bouncing around stage so much it appeared as if he nearly missed some cues. When Robert Lamm introduced him, he suggested that for any trombonist to be successful, it helped to be inhibited. He said it in jest, but I've gotta confess, a little inhibition would have been welcome. I found Pankow's antics borderline obnoxious.

Final complaint was the sound. It lacked the definition of earlier shows, such as Elvis Costello or Steely Dan. It seemed as if there was a huge cacophony at a certain frequency, from the upper register of the trombone to the cymbals and even some of the vocals. And the booming bass drum sounds were really unnecessary. I'm wondering if the amplification of the drums and percussion could have simply been taken down a few levels, as the nature of the instrument cuts through everything anyway, and if that wouldn't have improved the sonics throughout.

Despite these criticisms, however, the show was thoroughly enjoyable. Having not seen the band previously, it was a joy to finally hear such classic tracks as "Beginnings" and "Free." I would have loved to hear classic earlier material like "Introduction" and "Questions 67 and 68," though I knew that wouldn't happen, as Loughnane had warned me in an interview a couple weeks ago that that wouldn't be happening. Like Steely Dan, Chicago was a band I listened to incessantly from high school through college, though the sappy Cetera ballads left me cold. Hearing the group live - finally - was a treat.

Return to Forever returns again

Chick Corea. Lenny White. Stanley Clarke. The core of the legendary Return to Forever, now joined by Jean-Luc Ponty and Frank Gambale as Return to Forever IV, played Meadowbrook Friday. What a band, and what a show. I was a big Weather Report fan and a huge Jaco fan, but RTF was BURNING. They wowed the crowd. Great tunes like Chick Corea's "Spain" and Stanley Clarke's magnum opus "School Days" alongside RTF classics like "Romantic Warrior" and "The Sorceress" - it don't get no better.

Jean-Luc Ponty was a great addition to the band. Having played with Clarke and former RTF guitarist Al Di Meola on The Rite of Strings and in Mahavishnu Orchestra, he's familiar with a role of featured soloist as well as leading his own fusion groups. He effortlessly switched back and forth from electric violin to amplified acoustic.

And make no mistake, this is one wicked fusion band. Corea was dynamic and affable, Clarke was on fire, and drummer White was pounding the skins like there was no tomorrow. The newcomers, Ponty and guitarist Gambale, were perfect in their roles, though Gambale could have been more prominent in the mix.

The crowd helped launch them into the stratosphere. The all-but-sold-out crowd was on its feet from the start, and with good reason. Corea hasn't slowed down a lick, despite pushing 70 around. The maestro, as Clarke referred to him, kept things rolling along. The acoustic numbers were just as energetic as the electric ones. Gambale was especially brilliant here.

The band is ostensibly touring behind Forever, the 2-CD set comprised mostly of acoustic trio performances along with contributions from guests Ponty, Chaka Khan and original RTF guitarist Bill Connors. This tour was originally supposed to include Connors, but Gambale was a felicitous choice in his stead. Forever is a fabulous disc, but how about a new Return to Forever CD? Hopefully the band goes into the studio to cut some new material. And if that's the case, how 'bout including a bonus disc from this tour? I know RTF released Returns two years ago, a two-disc concert performance of the quartet tour from 2008 with Di Meola, but adding some of this fabulous, flashy set would be a highlight. If your doubt, check Youtube.

Opener Zappa Plays Zappa was fine and the Zappa fans in the audience were enthused. I was, well, less so as it reminded me of why I wasn't a Zappa fan. Too little melody, and the vocals were contrived rather than musical. But there was no doubting the mettle of the players, especially Frank's little boy Dweezil. It would be great to hear him ripping away on originals, but he's dedicated to preserving Frank's legacy. So be it.

Best concert in history?

When Kurt Elling gave a bravura performance earlier this summer at Corson Auditorium, I was sure it would be the concert of the summer. No matter what else was coming (quite a bit, as it turned out, from Return to Forever IV to the Tubes to Barrage), his performance was so warm, ingratiating, and spectacular it couldn't be topped.

Elling is almost without question today's premiere male jazz vocalist. His voice has warmed over the years, and he's now so comfortable performing that it reminds one of a professional athlete who is so good he just makes it look easy. Am I dating myself if I think of Tigers centerfielder Mickey Stanley? Elling is that effortless, yet he and his band played magnificently. Pianist Laurence Hobgood was brilliant, and his substitute rhythm section of Erik Privert on bass and especially the brilliant Pete Van Nostrand on drums was fantastic.

But with apologies to Kurt, his show is now only second best. The Steely Dan show Monday may be this veteran concert-goer's #1 show EVER. It was that good. As a 50-something, the sounds of the Dan were a soundtrack to my life in high school and college, generally the most formative years of anyone's life. Add to that the fact they stopped touring in '74, before they produced such brilliant albums as The Royal Scam and Aja, and then broke up after Gaucho. Probably never to return.

But ah, they did, and finally, 15 years later, here they were in northern Michigan. The crowd was electric as the band took the stage, with Becker and Fagen finally joining them. I don't even remember what the first couple tunes were, but when they played the opening notes of "Aja," the crowd went berserk. Or maybe it was just me. Nah, it was pretty much everybody. Walt Weiskopf took the saxophone spotlight, and Keith Carlock nailed the drums with all the passion and precision Steve Gadd brought to the original. It was a highlight, one of many.

Like, so many it was hard to keep track. "Black Cow" and "Peg" from Aja, a trio of tracks from Gaucho, a killer arrangement of "Reelin' in the Years" that melded the original guitar-heavy version from their debut disc Can't Buy a Thrill and the latter-day piano-filled one from Alive in America. Perhaps most surprising was the inclusion of "Dirty Work" from Thrill, replacing original vocalist David Palmer (remember him?) with the Embassy Brats, the backing trio of Cindy Mizelle, Catherine Russell, and my pal Carolyn Leonhart Escoffery (more on that momentarily).

By the end of the concert, the auditorium was a quarter empty - as the fans rushed the stage to bob and dance. "Kid Charlemagne," "Bodhisattva," "Peg," all joyfully embraced by a crowd that was as loud as any I've ever heard at Interlochen. The band was magnificent, Becker and Jon Herrington sharing stinging lead guitar work. Carlock was a wiz, fiery and dynamic. Fagen's voice isn't as elastic as when he was in his 20s and 30s, and could/should have been a little more prominent in the mix, but it was the unmistakable sound that graced the turntables and radios of my youth and that of and the rest of the crowd. The horns and singers, bass and keyboards all added just the right amount of sass and brass.

I've seen favorite artists like Yes and Todd Rundgren over a dozen times each, but it's the single times I've seen some artists that still stand out: Squeeze in Grand Rapids, Ronnie Montrose at a disco in East Lansing, Jeff Beck at DeVos Hall. This one tops them all.

And I finally got to meet my friend Carolyn Leonhart-Escoffery. The daughter of legendary jazz bassist Jay Leonhart, and sister to the Dan's trumpet player Michael, she and her husband Wayne Escoffery released If Dreams Come True in 2007. I reviewed the disc (positively) for Jazziz. Must have been a very good one indeed, as three years later, they asked me to write the liner notes to their then-upcoming release, Tides of Yesterday. I of course said yes (I'm nothing if not magnanimous), and began a correspondence with the two of them that culminated in a meeting after the show. Carolyn is as lovely a person as she is brilliant a singer. So now we just have to get Wayne to perform here, or better yet both of them. Whaddya think?

Progressive Rock? It Still Lives

A host of recent releases makes the point that decades after its heyday, prog is very much alive and well, thank you. Discs by two of the genre's progenitors makes the point.

Yes's Fly From Here reunites the core band - Steve Howe, Alan White, and de facto leader Chris Squire - with Drama-era keyboardist Geoffrey Downes (also the main man for the post-Drama all-star group Asia with Howe, John Wetton and Carl Palmer). Also on board is vocalist Benoit David. Originally assumed to be a short-term sub for a then-ailing Jon Anderson, David is now the band's official lead vocalist.

That's a change many fans have had a difficult time grappling with. As when Trevor Horn replaced Anderson for the Drama album and tour, a large percentage of Yesaholics won't stand for anyone standing in. That's too bad, as both Horne and David have their strengths.

David's are evident on Fly From Here. He sounds comfortable with the material, and less like Anderson than onstage. That's good and bad. There's less strain and less direct comparison. But there's also less Yesness. In fact, you could easily make an argument that this is among the least Yes-ish albums ever. Drama, 90125, Union - all sounded like a different Yes, and Fly From Here continues in that vein.

But is it any good? Well, yes (lowercase y). The title suite is all grandiose and properly dramatic, with sweeping keyboards, heavy bass from Squire, and the requisite three-part harmonies. The lyrics are less cosmic than Anderson's, and many are comparing the disc favorably with Drama. If you can get past David's vocals, Fly From Here casts Yes as the reigning prog heavyweight once again.

Another of the original era's heavyweights was King Crimson. And if Yes switched personnel regularly, the comings and goings from Crimson were a dizzying procession of bassists, vocalists, keyboard players, and percussionists. Somehow the band survived, emerging after long hiatuses with new players and new sounds. That's the case with A Scarcity of Miracles by Jakszyk, Fripp and Collins. Though it's dubbed a King Crimson ProjeKct - a fraKctalization, as Fripp likes to put it - this is Crimson in everything but name. Fripp, bassist Tony Levin, and percussionist Gavin Harrison of Porcupine Tree are all current Crims.  Saxophonist Mel Collins was a member of the band in the early 70s, and Jakko Jakszyk (guitar & vocals) is the son-in-law of original Crimson drummer Mike Giles. Moreover, both Jakszyk and Collins were charter members of the 21st Century Schizoid Band, the Crimson alumni group that performed music the current aggregation had abandoned.

The music here is more melodic and less aggressive than that of the last couple decades of Crimson. It harkens back to Lark's Tongue- and Starless and Bible Black-era KC, with a healthy helping of Frippertronics. Jakszyk's vocals are easier on the ear than those of current Crim vocalist Adrian Belew, and the music is moody, melodic and mysterious. Bravo!

Also noted: Ben Craven's Great & Terrible Potions, slightly metallic prog with lots of guitar and a grooving Roger Dean cover; Pendragon's Passion, still resisting my attempts to like it; and Wobbler's Rites at Dawn, all dreamy soundscapes and woodwinds before the retro keys and guitars chime in. More fun to come!

Elvis Costello, showman and rocker

 The crowd at Interlochen Tuesday night had a wonderful time being entertained by Napoleon Dynamite.

Unfortunately, Elvis Costello was unable to make the second part of the show, but Dynamite, the emcee for the evening, kept things sailing along, singing many Costello hits with backing from the Imposters. Dynamite’s witty stage banter, the forays into the crowd, his dancing girls, and the Spectacular Spinning Songbook more than made up for Costello’s absence.

Okay, Costello wasn’t absent – he was, in fact, the aforementioned Dynamite. But anyone expecting the angry young man from This Year’s Model or Armed Forces was in for a shock. This was the Costello who once subbed for an ailing David Letterman on The Late Show – funny, amenable, but just as ready to rock.

Of course, with the spectacle that is the stage set, anyone who wasn’t aware had to be wondering. The 20-foot-high Spectacular Spinning Songbook, looking for all the world like the wheel from Wheel of Fortune all dressed up for the carnival, dominated the right half of the stage. Then there was the go-go dancer cage stage left, complete with go-go dancer. Steve Nieve’s keyboards were obscured by the glitzy piano bar, complete with red and blue drinks, and a TV set apparently tuned permanently to The Outer Limits.

The audience contestants, guided expertly on- and off-stage by a woman who doubled as extra dancer and bouncer, spun the wheel, prompting Dynamite, er, Costello and the band to wail away. Songs including “Heart of the City,” “Alison,” “Watching the Detectives,” “I Don’t Want to Go to Chelsea,” a medley including “This Year’s Girl” and the Beatles’ “Girl” (on which it must be admitted Costello sang dreadfully out of tune), “The Other Side of Summer,” and others zipped by too fast.

In fact, the pace was so quick, Costello’s road crew had difficulty keeping up with him. He switched guitars for nearly every song, singing as the roadies would run onstage, guitar in hand, plug it in and hand it to him.

The band was in lockstep throughout. Longtime drummer Pete Thomas remains a basher of the first degree, while Davey Faragher on bass and vocals kept things moving. Nieve was all over his keyboards, including not only the Farfisa organ sound from the band’s first albums (which cut through everything), but also melodica, accordion, even the spooky sound of the theremin.

For his encore, Costello soloed on “A Slow Drag with Josephine” from last year’s National Ransom, before he brought up sisters Megan and Rebecca Lovell of opening act Larkin Poe on lap steel and mandolin, respectively. Both also added backing vocals to tunes from his rootsy Secret, Profane & Sugarcane recording, and stuck around for a rollicking “What’s So Funny ’Bout Peace, Love and Understanding” that finally closed the show.

The dancers onstage and off, and the rest of the crowd as well, had a marvelous time. And when you combine spectacle, charisma, great songs and righteous rock and roll, that only makes sense.  

Why the love?

With the Cars on tour again behind their new album, Bob Seger touring, and Bob Dylan celebrating 70, this seems like a propitious time to admit the following: I don't get any of these folks. It's not that I dismiss them - after all, they all had a lot of hits. It's not like I hate them. I just don't understand how or why they are so popular.

Look, I'm not a Van Halen fan, but I admit I paid attention to them. They were loud, crass, occasionally fun, and good copy, especially with Diamond Dave. They rocked, they had some great riffs ("Jump" jumps readily to mind), Eddie could really play till he became a caricature of himself. Ditto Duran Duran. Rio was the best album Spandau Ballet never made, replete with hooks, sleekness, and pretty boys and girls for the MTV era. Def Leppard was a joke, but "Photograph" still gets it.

But these three artists I just could never embrace, or understand the appeal of. Start with the Cars. They had hits with hooks, but did anybody really miss them while they were gone? Live they sound just like the album. Ric Ocasek could be replaced by a cardboard cutout and no one would know.*

     *I saw the Turtles on one of the very first oldies package tours back in
     the summer of '84, and they had lifesize cardboard cutouts of
     themselves onstage alongside the real thing. It was hysterical, and
     they were great. And big Tigers fans, as Mark Volman noted, saying
     "We put a bunch of money down on the Tigers in Vegas at the
     beginning of the year, and Sparky's making us look pretty good."

With the loss of bassist Ben Orr, their one claim to charisma, the Cars are sputtering, at least according to the majority of reviews. They didn't even replace him, but have Greg Hawkes playing synth bass. A smarter way to go would have been to have someone else step in on bass, maybe Kasim Sulton from the Todd Rundgren-led New Cars. But he oozes charisma, and would certainly have overshadowed Ocasek, so that was a no-go.

Then there's Dylan. The songwriter. Granddaddy of protest songs. The man who plugged in folk.

Who cares. The guy can't sing. Never could. That whiny nasal twang was always enough to send anyone with an ear for tunefulness running for the volume control, if not the power switch. I've always been totally baffled by his deification. Of all the acts bridging folk and rock, he was the least melodic, the least musical, the least. Period. Give me the Everly Brothers or Simon and Garfunkel or Pete Seeger or anybody at all. "Like a Rolling Stone," "The Times, They Are A-Changin'," "Tangled Up in Blue" - I've heard better wheezing.

The All Music Guide says "His best albums became undisputed classics of the rock and roll canon." Not at my house they didn't. I'm proud to say I've never had a Dylan album and I never will.

Then there's Bob Seger, the ramblin' gamblin' man. Hey, I actually liked that song. But that was it. His Americana rock and roll left me cold. If that's your style, then how about a shout-out to Springsteen, or Mellencamp, or Southside. If you want to go to the roots of Detroit rock, then Mitch Ryder. Or if you just want rootsy, the Blasters. Yeah, the Blasters. Now there's a band that rocks, with visual imagery second to none ("Long White Cadillac" or "Trouble Bound" for example), and in Steve Berlin and Lee Allen, two saxists who could both cut Alto Reed.

While I'm at it, take the Grateful Dead. Please. Their legendary open-ended jams were fine for the drug-addled, but those interested in melody, or instrumental proficiency, or tuneful, soulful singing were simply out of luck. Dave Marsh once famously called them the worst band in the world, and he was right.

Freddie Hubbard lives

One of the greatest trumpeters of all time left us two and a half years ago, but two new/old CDs bring back the spirit, joy and bravura playing of Freddie Hubbard. First Light is part of the wonderful CTI reissue series, along with discs by George Benson, Don Sebesky, Deodato, and others. CTI was at the vanguard of the whole crossover jazz thing, decried by purists while making near-household names of Benson, Chuck Mangione, the Crusaders, Bob James, and others. The orchestral backing on "Lonely Town," including the harp, sounds today like the perfect accompaniment. His playing is great, especially on the title track. As a bonus, the new reissue includes a live version of "First Light."

Pinnacle is a live date that includes "Happiness is Now," the lead track from his 1979 album Skagly. It's a perfect vehicle for his relaxed blowing. Another track from that overlooked album is his version of "The Summer Knows (theme from Summer of '42)," featuring his work on flugelhorn. Perhaps the highlight is "Giant Steps," which closes the disc.

Can't get 'em out of my head

Songs that are playing over and over in my brain . . .

"I Hear Your Name" and "1975" by Incognito. The world's best funk/r&b band has been doing it for over 20 years, 30 if you include its lone 80s release, 1981's Jazz Funk. "I Hear Your Name" hails from the 1995 collection 100º and Rising, and features great vocals by Joy Malcom and Pamela Anderson, propulsive percussion, tight horn work, and lush strings. Last year's Transatlantic R.P.M. included the instant singalong "1975,"which namedropped EWF, Santana, Roberta Flack, Herbie Hancock, and a host of other r&b/funk hitmakers from that decade, all wrapped in a delicious discofied track. It doesn't get any better than this.

"Matte Kudesai" by Kurt Elling. Elling wraps his rich voice around this standout track by the 80s quartet version of King Crimson. He's appearing at Interlochen this summer in what's sure to be one of the top performances of the summer. Don't miss it.

"Do-Re-Mi" by the Brooklyn Rundfunk Orchestra. This mashup of "Do-Re-Mi" and the Jackson 5's "ABC" is hilarious and spot-on. What great chutzpah. And it was approved by the estate for the von Trapp family. Amazing.

"Led Boots" by Jeff Beck. One of the standout tracks from the brilliant concert at Devos Hall in Grand Rapids April 19. Beck and his band, including the hard-hitting Narada Michael Walden on drums, were on fire from the first note. "Led Boots" was the only track from Wired to make the cut ( it would have been great to hear "Blue Wind") and was among the many highlights of the evening. Check for my upcoming piece on Beck in Progression magazine.

Grammys continue to be a joke

So now the Grammy Awards have done away with a host of award categories, ostensibly to look at the "underlying infrastructure and rationale across all the awards as to how we're doing this," as Recording Academy president/CEO Neil Portnow told Billboard Magazine. Gone are the delineations between traditional and contemporary blues, as well as gender-based categories in pop, R&B, rock and country. There will no longer be separate awards for male or female vocals, simply an award in each genre for a single "solo performance." In R&B, for example, the three categories of female, male and duo or a group vocal performance have been consolidated to R&B performance. Several instrumental categories have been eliminated as well, including the key Latin Jazz category, home to numerous well-loved artists over the past 40 years.

It's surely no coincidence that this restructuring happened on the heels of the win by independent band Arcade Fire for Album of the Year. The Canadian band shocked the music world by taking the Grammy over industry heavyweights such as Eminem and Lady Gaga. That prompted longtime marketing/music exec and hip-hop insider Steve Stoute to take out a full-page ad in the New York Times taking NARAS to task. Stoute basically made the point that in years when major artists are flourishing that NARAS can’t deny the album sales and have to recognize it on Grammy night, indicating that Justin Bieber, Eminem, and Lady Gaga should have won the major awards. In other words, there's no artistic relevance here, it's just a popularity contest. This restructuring of the Grammy Awards certainly favored the major labels and undermined the work of independent record labels. Steve, why don't you just take your ball and go home?

Well, why would he when he can gain Portnow's ear? After Stoute called the show "a series of hypocrisies and contradictions" in that full-page ad, he and Portnow buddied up. After meeting several days later, the two issued a joint statement saying they would discuss how the Recording Academy could evolve "in an ever-changing cultural environment." Talk about the tail wagging the dog. Portnow later said the changes that were made were already in play prior to his meeting with Stoute. Oh, we all certainly believe that.

Look, with a few exceptions (Herbie Hancock winning Album of the Year), the Grammys are and have almost always been a joke. They have been skewed towards popularity at the expense of artistry. We all know the example of Milli Vanilli, who sucked to start with, before being found out as impostors.

For further proof, look no further than 1979, when the Best New Artist Grammy went not to the Cars, Elvis Costello, Chris Rea, or Toto, all of whom were nominated, but instead to those influential tastemakers, A Taste of Honey. No, I'm not kidding. Or that the first ever Heavy Metal Grammy went to - Jethro Tull? Yes, the band that gave us "Bungle in the Jungle" and "Songs from the Wood"has always been one of my favorite head-banging outfits.

So yes, by all means, let's penalize the musicians some more. Take away more opportunities for artists to break in and garner some accolades. Idiots.

Grammys continue to be a joke

So now the Grammy Awards have done away with a host of award categories, ostensibly to look at the "underlying infrastructure and rationale across all the awards as to how we're doing this," as Recording Academy president/CEO Neil Portnow told Billboard Magazine. Gone are the delineations between traditional and contemporary blues, as well as gender-based categories in pop, R&B, rock and country. There will no longer be separate awards for male or female vocals, simply an award in each genre for a single "solo performance." In R&B, for example, the three categories of female, male and duo or a group vocal performance have been consolidated to R&B performance. Several instrumental categories have been eliminated as well, including the key Latin Jazz category, home to numerous well-loved artists over the past 40 years.

It's surely no coincidence that this restructuring happened on the heels of the win by independent band Arcade Fire for Album of the Year. The Canadian band shocked the music world by taking the Grammy over industry heavyweights such as Eminem and Lady Gaga. That prompted longtime marketing/music exec and hip-hop insider Steve Stoute to take out a full-page ad in the New York Times taking NARAS to task. Stoute basically made the point that in years when major artists are flourishing that NARAS can’t deny the album sales and have to recognize it on Grammy night, indicating that Justin Bieber, Eminem, and Lady Gaga should have won the major awards. In other words, there's no artistic relevance here, it's just a popularity contest. This restructuring of the Grammy Awards certainly favored the major labels and undermined the work of independent record labels. Steve, why don't you just take your ball and go home?

Well, why would he when he can gain Portnow's ear? After Stoute called the show "a series of hypocrisies and contradictions" in that full-page ad, he and Portnow buddied up. After meeting several days later, the two issued a joint statement saying they would discuss how the Recording Academy could evolve "in an ever-changing cultural environment." Talk about the tail wagging the dog. Portnow later said the changes that were made were already in play prior to his meeting with Stoute. Oh, we all certainly believe that.

Look, with a few exceptions (Herbie Hancock winning Album of the Year), the Grammys are and have almost always been a joke. They have almost always been skewed towards popularity at the expense of artistry recognize artistry. We all know the example of Milli Vanilli, who sucked to start with, before being found out as impostors.

For further proof, look no further than 1979, when the Best New Artist Grammy went not to the Cars, Elvis Costello, Chris Rea, or Toto, all of whom were nominated, but instead to those influential tastemakers, A Taste of Honey. No, I'm not kidding. Or that the first ever Heavy Metal Grammy went to - Jethro Tull? Yes, the band that gave us "Bungle in the Jungle" and "Songs from the Wood"has always been one of my favorite head-banging outfits.

So yes, by all means, let's penalize the musicians some more. Take away more opportunities for artists to break in and garner some accolades. Idiots.

Gohar Vardanyan's six-string magic

 They say you can’t go home again. As far as Gohar Vardanyan is concerned, they’re wrong.

Vardanyan returned to Interlochen Center for the Arts, where she studied from 2001 to 2004, for a classical guitar recital Wednesday April 6. The small but enthusiastic audience was rewarded with a program of uncommon skill and verve.

The opening set of three Argentinian pieces immediately established Vardanyan’s ability. She has a marvelous technical aptitude, effortlessly rendering arpeggios and runs. Best of all, it doesn’t come off as something difficult, but rather very fluid.

That was the case throughout the evening. Her playing made the difficult passages sing. The “Introduccion y Rondo Op. 2 No. 2” by Aguado was a prime example. Almost jaunty, her fingers never got ahead of her passion. She continued to warm to the occasion, performing three other pieces before a brief intermission, each more evocative than the last.

The second half of the program was even better. Whether she was more relaxed or simply more comfortable with the music, Vardanyan showed she’s both a formidable talent and an engaging one. Joaquin Turina’s “Sonata, Op. 61” showed a greater dynamic range, and Joaquin Rodrigo’s “Invocacion y Danza” found her fingers dancing up and down the fretboard and inviting the audience to do likewise.

Despite a player’s prowess, sometimes the classical guitar repertoire can sound a bit tiresome, like exercises meant to challenge or build up the student’s ability, rather than a composition people (other than guitarists) will enjoy hearing. That’s why the Scarlatti Sonatas were such a delight. The two pieces by the baroque composer were melodic, joyful, and far too brief.

Early on, Vardanyan paid homage to John Wunsch, her former instructor at Interlochen. Throughout the show it was engaging to see his reaction to her playing, beaming, bobbing his head in time to the runs, as his student demonstrated how she’s grown.

Onetime Genesis axe-slinger Steve Hackett, whose album “A Midsummer Night’s Dream” showcased his acoustic playing with orchestra and topped the classical charts, has said there is an orchestra inside the guitar. Vardanyan had no difficulty finding it and conducted it well.  

Music old and new

Yes in concert - takes you back a few years. My first Yesshow was in 1976 at Wings Stadium, with Jon Anderson, Steve Howe, Chris Squire, Alan White, and Patrick Moraz. Later shows featured Rick Wakeman, Geoff Downes & Trevor Horn, Wakeman and Anderson again, and then the mega-Yes, with Bill Bruford,Tony Kaye and Trevor Rabin among the eight-member assemblage.

Squire, Howe and White remain, along with Oliver Wakeman on keyboards (yes, Rick's son) and Benoit David on vocals. The show at the Orbit Room in Grand Rapids was a step down from previous excursions at Wings, Joe Louis, Olympia and the like, at least in size. Never mind the fact the promised comps and photo pass did not materialize, how was the show? First, the good. Howe and Squire haven't lost a thing technically. And there's still a lot of fire there, including White, pounding out the polyrhythms.

The set list was interesting, with two tracks from Going for the One and Drama, and de rigeur classics "Close to the Edge,""Roundabout" and "Owner of A Lonely Heart" (Howe has managed to put his stamp on that Rabin raveup). They went back as far as The Yes Album for "Yours Is No Disgrace," and the "Soon" excerpt from "To Be Over" on Relayer was a highlight. But no tracks from the more recent The Ladder or their upcoming CD, which was quite disappointing. "Owner" was the only Rabin-era track, and similarly no tracks from Tales From Topographic Oceans, though there were some brief quotes in Howe's guitar solo.

Also, in a smaller venue, the stage set was spare, with none of the Roger and Martyn Dean creations or lasers. But the biggest disappointment was the sound mix. Must be Squire was in charge, because his bass sounds totally overshadowed everything else, save Howe's electric guitar. When Howe pulled out the mandolin for "I've Seen All Good People" you couldn't hear it. Ditto Wakeman's phalanx of keyboards, with the exception of one; it must have been set on 11 and the rest on 3. Dad would never have allowed that.

The vocals too were difficult to discern, and David had an unfortunate tendency to go flat. A stronger mix might have helped even in that regard.

Overall,  the playing was impeccable, the stage presence of Squire and Howe strong, if less so for David.

On to the jazz side of things. Dave Grusin has a new CD, DVD, and iPad app: A Night with Dave Grusin includes his originals as well as music from Bernstein and others. Guests include Patti Austin, Gary Burton, Nestor Torres, Arturo Sandoval and Jon Secada. Stirring, cinematic music, even those tracks not from movies.

Grusin is a charming man and for someone with the career he's had - scoring 60+ movies, releasing another 20+ recordings, performing worldwide, and helping save jazz in the 80s by starting the GRP label with partner Larry Rosen - affable, humble and enjoyable to talk to. He gives much of the credit to Rosen, who he said took the idea of a concert and turned it into an event.

That includes the first-ever iPad app of its kind. It gives you not only the music but photos, bios, interviews, and several additional camera angles from the show. Fun stuff.

Finally: Lowdown on new Rippingtons, Yellowjackets, & more

Russ Freeman and the Rippingtons have delivered another winner, with great melodies, engaging riffs, and just a couple pratfalls. The second cut on the new Cote D'Azur, "Le Calypso," is one of the unfortunate missteps, with a melody that's not much there. But for most of the rest, from the zesty title track which opens the disc with a booming bassline, to the closing "Mesmerized," the Ripps show their mettle. Freeman shines as always - he never gets enough credit for his playing, and the band is tight and grooving throughout. Critics may call the music formulaic, and while it fits neatly into the smooth jazz playlists, it still offers more than ear candy. These guys can play, and even if they rarely surprise anymore, you can always count on a Rippingtons album to deliver the goods.

The Yellowjackets predate the Ripps, and originally were more bluesy/r&b oriented, serving primarily as the vehicle for guitarist Robben Ford. With Ford's departure, they became more jazz-centric, first with saxophonist Marc Russo, then even more so with his replacement, Bob Mintzer. Their jagged compositions, by all four band members, bring to mind everyone from Weather Report, Chick Corea, and 60s West Coast jazz. Timeline features Mintzer, original members Russell Ferrante on keys and bassist supreme Jimmy Haslip, and the return of drummer Will Kennedy. Mintzer's magnificent sax playing is always marvelous, and Ferrante's keyboard work (especially his acoustic piano on the title track) makes this as fun to listen to in its way as the Ripps. And of course, the rhythm section is spot on. It's great to hear music by these veteran groups as impressive as anything they've recorded over their lengthy careers.

Back before either of these groups was in existence, the CTI label released a host of fab jazz discs. They ranged from early crossover discs to straightahead jazz to Latin flavorings and nearly everything in between. A series of re-releases includes George Benson's White Rabbit and Deodato's Prelude. The former offers a seven-minute take on the Airplane classic, done as a funky Latin jam, with Herbie Hancock, John Tropea on acoustic guitar, Benson on electric, and Hubert Laws on flute showing what masters can do with the mundane. Prelude was CTI's biggest seller ever, on the strength of the hit reworking of "Also Sprach Zarathustra," then popular as the theme to "2001: A Space Odyssey." Amazingly, Deodato only did two more albums for CTI as a leader, before going on to write and produce for other artists.

Super Bowl, not so super commercials

So the big game is over for another year (or more, if the NFL has a labor stoppage), and so are the commercials. Fortunately. Because most of them weren't very good. I was asked by the TC Business News to gather a virtual panel of advertising professionals and get their input on the commercials last night, ostensibly from the first half. So I watched with more than my usual fervor, making this the second year in a row I've actually watched the Super Bowl.

Let's start with the slew of spots for upcoming movies. I cannot ever recall seeing so many commercials for films. They were okay, but I can't recall any one flick over another at this point. Other than the fact it looks like there's another Transformers movie. Or maybe they're just re-releasing one of the others. No one would ever be able to tell. Too, too many.

The same with promos for FOX shows (with one huge exception, noted below). They all just blended together. What I found most disappointing was the lack of any support for my two favorites, Lie to Me and Human Target. I have a feeling the latter, which is showing its season finale this week, may be scuttled. Too bad. It's fun, in an over-the-top, A-Team kind of way. Lie to Me remains tied with Castle atop my personal fave list, followed by Human Target and This Old House. Sherlock on PBS would be #1 if its season had lasted more than three episodes.

There was a surprising amount of agreement among the panel on the top spot. Course, that doesn't mean they were right. The most popular commercial was the Passat spot featuring a pint-sized Darth Vader who finally captures the Force when he magically starts the car in the driveway, thanks to some help from Dad's remote. Huh? What on earth (or in space) does that have to do with the car? Oh, that's right, nothing. Great branding. Passat, the car Darth Vader used as a youth.

Most of the panel hated the Budweiser commercial where the cowboy threatens violence when the barkeep tells him they're out of Bud. The day is saved when the stage coach being pulled by Clydesdales (of course) arrives with ice-cold beer. Then the whole saloon broke into "Tiny Dancer." I found it absurd and hilarious, especially the part where the stage coach driver drops the case onto the bar amid a shower of ice cubes. Ice cubes. From a stage coach. In the old west. Funny stuff.

Worst in show had to be the Doritos commercial featuring the guy sucking Doritos powder from another guy's fingers and then de-pantsing a fellow office worker to sniff and lick his pants. Yeah, you remember the spot, with disgust and horror. It certainly disproved the adage "There's no such thing as bad publicity." Can anyone eat Doritos without thinking of the commercial and having their stomach crawl? No matter how cute the opening Doritos spot was with the pug crashing through the door atop its tormentor (very predictably, I thought), this one negated any goodwill there might have been. Now and forever.

The slew of automobile commercials were mostly okay, as predicted by media analyst David E. Johnson of Strategic Vision, a PR and marketing firm out of Atlanta. There wasn't much visionary here, but there also weren't too many "What were they thinking?" moments, as was the case with Doritos or Groupon.com, which garnered a big "Huh?" while also riling the Chinese with its sympathetic portrayal of Tibet. Analysts are already predicting big trouble for the company, which is trying to expand in China. Great thinking.

One car commercial stood out among all others: The two-minute Chrysler spot in the second half with Eminem driving around Detroit landmarks while the narrator spoke of a city that was down but not out. Haters can vilify Detroit all they want, but how could anyone from Michigan not feel their chest swell with pride?

Best of the best was the brief spot for House. The caustic doc is approached by a young boy who tells him he's the best doc ever. House, of course, agrees. The boy offers House his churro, to which House replies, "My patient just died. You think a Spanish deep-fried snack is gonna make things better?" Then House tosses the kid his cane, which whacks him upside the head and hand. This takeoff on the classic Coke ad with Mean Joe Green was easily the funniest of the night, and by far the best branding.