What Am I Doing Here? Twisted MixTape

I am very, very tired. It's been a rough day, so I'm just going to jump into this weeks invite by Jen, for a Twisted MixTape. The challenge this week is to choose five songs outside your comfort zone, stuff from any genre which is not on your usual playlist. The original idea was five from the same genre, but that's not gonna happen tonight, so I'll mix it up.

Now I'm a rocker, don't think there's many of you who don't know that, but the blues always set me free. So I'll try to stay away from those two styles, but no promises. Like I said, I'm really tired.. and cranky, so zip it with the comments.

Let's start with Classical. Yeah, I said it. Now I don't know shit about Classical music for the most part, just a few pieces here and there. This piece is one I first heard a long time ago when "the other" would play it non-stop as he conducted an imaginary orchestra. Oh hell, we've all done it. It's been used for commercials, the Olympics, anytime you need a grand statement. The entire piece was derived from the poems of Benedictine monks in the 11th or 12th century. By the way, most of the poems were a little... erotic. Fun times. Written by Carl Orff, this is one piece of it, don't ask which piece, I'm to tired to go any further with it. Let's just say it's one of the better know sections of the composition.

Carmina Burana

Jazz, not my strong suit. But older Jazz I like. A little something from 1959. Miles Davis.

"So What"

A little country, not old country, but not new country either. Sometime during high school, I got into Kris Kristofferson. Then I got a bunch of my friends into him as well. That guy with the rough voice, who sounded like at age 30something, he had inhaled the fires of hell. Great lyrics and back in the day, not too hard on the eyes. From the album The Silver Tongue Devil and I, an album I may have played the grooves off...

"Lovin Her Was Easier"

Metal, or as far as I usually get into metal. Def Leppard. If they come on the radio, I won't turn them off, but I'm not playing them at home.

"Bringing On The Heartbreak"

Last up, a little country rock. It's fairly new, by an artist I interviewed this year, You can read it here on MusicStarUniverse.com. It's rocking, got some great licks, and is sexy as hell. From the album, The Road Ain't Long, Mr. Dee Rock.

Don't have a video, but take a listen to the audio.

"Ripples On The Moon"

Thanks for the extra curricular workout Jen. Enjoyed tonight's exercise.

Enjoying "The Beat" with Boney James

I'm not a huge fan of jazz. There, I've said it. I've probably said it before.

Old jazz: Ella, Sarah, Billie, Nina, Dizzy, Coltrane, Brubeck... them I got and like a lot of it. The newer fusion stuff... not so much. I don't get the structure, the math, the feel...hell I don't get the soul of it. But last night I went to see a little jazz concert and... I liked it.

My friend Jim Wood did an interview with Smooth Jazz Saxophonist Boney James a few weeks ago, and his take on Boney's new album The Beat got me interested. I knew he was going to play at the local Performing Arts Center, the Bergen PAC, but the show was last night and I knowing I had a late show to attend in Manhattan tonight, I thought I'd pass. Then fate stepped in. The PAC held an impromptu give-away on Facebook and I won a pair of tickets to the show. Suck it up Kat, time to return to the old days of back-to-back concerts.

From the moment Boney James strode onstage, I liked what I saw. Young, confident with both style and swagger. Yeah, if I didn't know better, I'd say he was Jersey all the way. Black jacket, pants, sneaks, white shirt, red tie and black fedora.

His show consisted of jazz yes, but he brings in some R &B along with Latin influences. Very, very nice. Not being a student of jazz, I won't try to review the show in terms of what works or doesn't from a technical point of view. Let's just talk about how it made me feel. Normally at a show, my feet are moving and my head is keeping beat, from the first note. This took me a while to get into the groove. Not because he was wonderfully talented and very fun to watch onstage, but because I just had to acclimate myself to a totally different type of energy. And the energy is plentiful.

Quite the showman, James knows how to keep the crowd interested. Encouraging audience interaction throughout the show, he was even part of the crowd at one point. Taking his sax, he wandered through the orchestra section, pausing to dance with various audience members (mostly females, as far as I could see.)

Switching between sax and clarinet, James dances, plays off his band and seems like he is having one hell of a good time. His just released album The Beat, was served up quite nicely. The title song, originally done by Sergio Mendes, was given a new life. He takes Stevie Wonder's "Don't You Worry About A Thing," even a little more Latin than the original. "Sunset Boulevard," another song from the new release, just like the street in LA, is a long smooth ride. In Boney James' hands, Bill Wither's "Ain't No Sunshine When She's Gone" doesn't need a vocal.

The night ended with an encore of "Grazing In The Grass," the old Hugh Masekela classic. It was still buzzing in my brain this morning. If you're a fan of jazz, chances are you know Boney James, with his Grammy nominations and all. The audience definitely did and several standing ovations throughout the night showed he gave them what they expected.

But even if you're like me, a casual jazz listener and are looking for a taste of new music, go see him. It was a sweet way to taste something different musically and who knows, maybe I do like jazz after all.

Sometimes in Winter

In the late 60's a band came onto the scene with music incorporating a little jazz, a little folk and a little rock. They had a horn section, played a variety of music and would record songs by writers such as Laura Nyro, James Taylor, the Rolling Stones and Billie Holiday.

Over the years band members would come and go, but the era where they had their greatest success was when David Clayton-Thomas was their lead singer. The band was Blood, Sweat and Tears.

Many of their songs are quite well known: "Spinning Wheel,"  "And When I Die," and "You Made Me So Very Happy," to name a few. All those songs were sung by Clayton-Thomas. But there was one song by BS&T which always stood out to me, and with seasonal storms and cold weather throughout the country, it seems like a good time to shine a little light on it.

From the Grammy winning Album of the Year, Blood, Sweat and Tears, and written and sung by Steve Katz, one of the founding members, the song is "Sometimes in Winter."

"Sometimes in Winter 

I gaze into the streets 

and walk through snow and city sleet 

behind your room 

Sometimes in Winter 

forgotten memories 

remember you behind the trees 

with leaves that cried 

By the window once I waited for you 

laughing slightly you would run 

trees alone would shield us in the meadow 

makin' love in the evening sun 

Now you're gone girl 

and the lamp posts call your name 

I can hear them 

in the spring of frozen rain

Now you're gone girl 

and the times slow down till dawn 

It's a cold room

and the walls ask where you've gone 

Sometimes in winter 

I love you when the good times 

seem like memories in the spring 

that never came 

Sometimes in winter 

I wish the empty streets 

would fill with laughter from your tears 

to ease my pain"

and a rare live performance from 1971...

The stark crispness of the vocal contrasts perfectly with the lush orchestration. Wonderful.

It's just a song to keep you warm...sometimes in winter.

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Smoky Jazz for a Rainy Night

Let's set the stage.

A rainy night in Chicago. As she lights her cigarette, the tall brunette looks out her street-side window. She is waiting.

She sips a glass of Merlot, looks at the perfectly set table...then at the clock. The tear in her eye slowly falls down her cheek as she curses him, and herself for thinking it would be different... this time.

Some slow, sultry jazz to fit the mood.

Miles Davis "Blue in Green"

Inhale deeply.

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We're Singing The Blues Today: Sista

Now that we've gone through all the exciting events of the weekend, I need a taste of something a little soothing to my soul. Now although I am a rocker at heart, you just can't beat the blues.

A little taste of some soulful blues today from a former marine...Sista Monica Parker. Yes I did say former marine. Coming from a background of church singing, Sista Monica has recorded blues, R&B, jazz and gospel over the years. With a powerful voice, Sista Monica easily carries the feel of each genre of music.

Take a listen and even go beyond her incredible singing to hear the backing musicians...guaranteed to blow you away.

Taste treats today...

"Behind My Back"
"Stop Talkin' Bout Me Stalkin' You"
"You Got To Pay"
and because the title is so dear to my own personal evaluation of myself...
"Fierce Force of Nature"

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Urban Bleu: Boldly Breaking Out The Blues

"Forged from the blues and cleaved with equal doses of jazz, rock and soul…Urban Bleu is carving out a path from Utah, in their quest to take the airwaves by storm. The unique sound of Urban Bleu centers on a progressive blend, more city than bayou country, and is balanced by great harmonies along with a kindred blend of instruments."

Urban Bleu recently answered a few questions about how they began, their early influences and just how the musical magic happens. This interview first appeared on Technorati.com. Additional pictures, video and links have been added to this post.

Urban Bleu is: Aaron Fowler (Lead Vocals, Lead Guitar, Blues Harp), Django Lachlan (Bass Guitar, Vocals), Dan Robbins (Drums)

Kat’s Theory (KT): Right out of the gate let me tell you, when a band lists their musical influences as ranging from Stevie Ray to Deep Purple to The Beatles to Johnny Cash to Earth, Wind & Fire to The Rippingtons…you instantly get my attention.

KT: Aaron, I know your dad first turned you on to Stevie Ray Vaughn at around the age of 10…that’s like starting your music education on a college level. Was it Stevie Ray’s extraordinary ability or was it his depth of soul that first spoke to you?

Aaron Fowler (AF): The way he could make that guitar talk is what really attracted me, and that takes a combination of depth and ability to pull off.

KT: After Stevie Ray, who was the next musical influence?
AF: There were a lot that came after. Like Hendrix, Clapton and Page, but Stevie was always my main influence.

KT: Django, You’ve said when you and Aaron got together, you decided to play what you felt and break some rules. How do you manage to find the right balance between straight blues and the jazz connection of your past?
Django Lachlan (DL): Jazz and blues are very similar anyway. It just works

KT: Although the two of you have been playing together for over eight years, the band suffered a life-altering tragedy in 2009 when your tour van crashed into a semi, instantly killing Django’s long-time love. You’ve said Carmel’s spirit helped drive the band into a more focused vision. With some passing of time, does it seem the early path of the band has changed or just become more defined?
AF: It has definitely made us stronger and has allowed us to see that life is too precious and too short to give up on our childhood dreams. In her life and after her death, Carmel has been part of the spirit of Urban Bleu.

Aaron Fowler

KT: I know Aaron placed an ad in the paper for a bass player, and that’s how you two met. I was just curious if there were other applicants?
AF: Ha ha, I remember a bass player named Julian that auditioned before Django. He told me that we would never be anything more than a good bar band. Needless to say I never asked him to come back.

KT: This sound of yours, call it fusion, a blend, whatever…if you close your eyes and listen, traces of all those musical influences come through. Blues is the frontman, but the urban feel licks at its heels pretty good. How do you manage to stay true to the blues while firing up the city feel?
AF: Most of it comes naturally and I don’t usually try to force it. We all come from similar but different musical backgrounds and try to let the music organically happen.

KT: What is the music scene like in Utah? It’s hard for me to visualize it being a big blues area. Am I wrong in that?
AF: You are right, the blues scene in Utah is a bit sparse, but I think it is growing one fan at a time. Thank God for the World Wide Web (laugh).

KT: I’ve always felt when a band writes most of its own songs, it sometimes has a more difficult time developing a following, as opposed to a band that does some covers, where the audience has some recognition to the sound. The one exception I feel to that, is the blues. To me, once you hear that blues beat start, if it’s good, you’re gonna take notice. Was there any resistance to your sound when you first started out?
AF: Oh, (there) has been plenty of resistance but we always let that motivate us to do better. We play our music to make people feel better, like the Blues Brothers once said “We are on a mission from God.” Just kidding, but seriously, we are.

Django Lachlan

KT: Django, you whack on that bass pretty well. Listening to “What Do I Gotta Do”  the bass is so solid, when Aaron steps in with the crying guitar, it’s a seamless blend. How would you define your approach in developing your bass line?
DL: I really wanted to show my skills in this song but on the same hand, give Aaron his chance to shine as well.

KT: Aaron, you and Django have been a team for a while, but it seems being a drummer with you guys is not the most secure position. What’s behind all the changes on the skins?
AF: You tell me! I don't know, they all left for different reasons...but they get better each time we get a new one. 

KT: Aaron, your voice is perfect for the blues…raspy as hell…like you’ve been down in the dirt and just crawling out to sing. Was life that tough or are you just lucky to have found the right vehicle for your voice?
AF: I would like to tell you a really cool story about how my voice was forged by some great adventure, about me going to hell and back, and some of it would be true... though my voice was a god given gift.  

KT: Django, why the bass? Did you start on guitar and switch or just always feel the rhythm?
DL: It’s always been bass, I love the power.

KT: In writing your songs, how do you go about it? Do you work together or start separately and hook-up up a certain point?
AF: Usually one of us writes either a guitar or bass melody, and/or lyrics and then we work together until the song is complete. There really isn’t an exact formula to it.

KT: Is Dan (Robbins) involved in the writing at this point?
AF: Since Dan has been with us, he has been writing all of the drum parts.

KT: Now that Utah is Urban Bleu nation, what’s the plan for the rest of the country?
AF: Shhh… Stay tuned….

Urban Bleu continues to push the limits of their live performances, adding an army of devoted followers along the way. With their unique sound and masterful skills, Urban Bleu is on a road where singing the blues will only be about the music.

Many thanks to Urban Bleu for their time.

Check out Urban Bleu at:
Urban Bleu Website
Urban Bleu Facebook page
Twitter @UrbanBleu

Listen to Urban Bleu's Music at:
Urban Bleu on Myspace
Urban Bleu on ReverbNation

Watch Urban Blue Videos:
"Alley Cat"
"Worst Enemy"

Article first published as:
 "Urban Bleu: Boldly Breaking Out the Blues" on Technorati.com

Need A Break? Take Five

Music soothes the soul. No doubt.

Having no musical training, one of the few regrets of my life, it is sometimes hard for me to really understand jazz.  Older jazz from Ella, the Duke, even Glenn Miller...I could understand the rhythm and the feeling. I have a harder time really getting the newer fusion stuff.

The taste for today is a classic from Dave Brubeck. Most everyone is familiar with "Take Five." It's been used as background music everywhere from commercials to ice skating competitions.  Written by Brubeck's long time collaborator, sax player Paul Desmond, "Take Five" is an enduring representation of fluidity in jazz.

And, who doesn't need to take five from time to time?

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